#they just DO NOT HAVE THE DEVELOPMENT INVOLVED

[lucrezianoin]

Rating all the romances in Veilguard

For no reason that I watched them (here)/played them all. (I played Taash, Emmrich both paths, Davrin, and all the romances up till the commitment scene)

All the romances (with few exceptions) seem to follow the same pattern of: about three or four flirting moments, a missed kiss scene where you non-commit to the romance, a commitment to the romance scene and a dinner/date. All these scenes are also friendship ones and the romance extends them (with various levels of extension). Then the romance has three unique scenes: a pre-Ghilan'nain chat, the post-Fade sex scene, a final chat before the end and that is it.

I am gonna put some of these scenes in preference order! What I look for in a scene is:

If it is a friendship scene: how much the romance scene adds;

The scene tells me something new about the characters;

How well the scene sets up the tone of the romance (especially starting scenes);

Just how much I liked the scene! the tone, the movements, other added things

Every link is the scene from the same youtube channel I linked before, at the correct timestamp.

EDIT: changed the rating for Neve, she is now my second fav (I am replaying it and realized I missed something from her commitment scene)

TL TR: My favorite romances in order:

Davrin: his romance ties very well with his character development and quest. Weisshaupt and his relationship with death being confronted with losing his home, trying to stay casual and then getting attached against his own will, and then choosing a new path (a road less travelled, as he says) which also ties with the relationship with him and his Dalish clan. It is also the only romance that allows the player to decide what comes after for Rook.

Neve: I felt like her romance had its own sub-plot that I did not feel was 100% reflected in her quests (given she shows attachment to other characters and things), but there is a lot of content and like for Emmrich it all fits well in the tone of Neve's character and quests at least: it really makes you feel like you are in a detective story, romancing that one character who has a tons of protective walls around her heart. The banter and flirting was my favorite, with a lot of small back-and-forth, that I think do the heavy lifting.

Emmrich: this romance is a bit less involved with the main plot, but I thought it felt very cohesive. It is a more classical romance which sees Emmrich surprised to be the subject of Rook's flirting, to then taking them both in a very classic path of dating and breakfasts in bed. It also has a lot more content given it has technically two paths, and fits well with the whimsical sometimes humorous tone of Emmrich but also his relationship with death (fear).

Taash: Their romance is probably the easiest and fastest to get. I think the content is a bit less compared to other romances, but their inability to fully express their attachment (especially in the context of their mom's death) was a nice touch. I wish the story had integrated their personal quest (what happened to their mother) a bit more at the end, given we have a parallel of Taash not being able to save her vs being able to get Rook back.

Harding: I think her romance actually makes her character much more compelling to me. We see her dealing with her powers a bit more, and in the final scene it is all pulled together with this dialogue about how she wished the world could stay simple, but closing your eyes against the change does not mean the change is not happening. Still, I feel like she has the least amount of scenes (but my favorite romance commitment scene) especially if she dies then her romance feels absolutely incomplete. In the case of Davrin, his death makes his previous scenes much more tragic instead.

Bellara: I actually really like Bellara's romance, I just feel like if I try to look at it objectively it seems a bit all over the place. It starts very sweet and awkward, but it mainly relegates Rook in the role of someone who needs to reassure Bellara a lot, especially about not being liked. I am also very annoyed by the two mentions of "Rook makes Bellara calmer". As far as I know Bellara is supposed to have adhd, and as someone who has adhd... no, love does not "cure" you. Or make you feel calmer.

Lucanis: I am so sorry for all the Lucanis fans. I have no idea what happened here. I loved the final scene, but the rest of his romance feels strangely directionless. I admit I did not believe it could be so much short in content compared to the other romances but after playing half of it and watching the rest - it kind does. It has some nice extra banter and comments (ex. a lot of supporting Lucanis in battle), but I am also unsure what this romance is even about. His personal quest is about starting to live again and accepting Spite, but his romance seems a mix of guilt for his failure and deflections. The only thing I can come up with is that the writers were trying to convey a Lucanis who was not ready for a romance but still wanted it nonetheless?

The almost kiss:

Bellara: This one has no almost kiss, but I loved the scene nonetheless. The friendship scene is adorable (I love characters who write stories!), and the romance part is quite extended with Bellara giving us new information about her: she never really has been in a long relationship, about her ex from the Veil Jumper, and we also see her trying to act all suave and smooth and almost falling from the desk, which was adorable and sets up the awkwardness and inexperience of the romance.

Davrin: The almost kiss is interrupted by Assan, which makes perfect sense giving the previous interruptions. It also reinfornces the fact that Davrin is direct, and it tell us that there is a correlation with him chasing his romance/being direct and how close to death Grey Wardens are. It sets up an almost casual/overly-flirting and seducing tone to the romance instead of the more romantic one found in others. The scene also makes the friendship version 100% better and make it much more sense.

Neve: The friendship scene is quite cute, but after seeing the romance one I feel like the whole scene is a setup for the romance. Most of it is in the romance version, with a lot of characters moving through the room (checking the wisp, sitting on the desk, almost kissing). It also tells us a bit about Neve: she is attracted to Rook, but very hesitant to start a relationship, almost scared, and that the theme of the romance is this almost magnetic attraction that she cannot resist to. Hilarious also because of Rook looking at the ceiling in frustration when the kiss doesn't happen.

Taash: I am not a fan of the growls, but the movement, the hilarity of Taash standing up saying "yes so..." and pushing Rook against the mirror - perfect. The friendship scene also tells us something on its own and the two takes a different paths. We also find out that Taash is extremely direct, they are very open about sex, and take initiative very quickly when needed. Plus their sense of smell is very developed and connected with the breathing-fire thing. The interruption is probably my favorite here, with Taash and Rook sharing an amused glance, it builds comraderie!

Harding: The scene sets up Harding's main plot (her new powers) in the romance, which will then continue in the actual commitment scene. The scene overall tells us that Harding sometimes loses control of her lyrium while touching people, and that she is a bit awkward but also not too easily embarassed (like Bellara is). In general it is quite sweet.

Emmrich: I usually love Emmrich scenes and this is probably my list favorite in his romance. The dialogue is beautiful and elegant as always, and we find out that Emmrich romance will follow more traditional and romantic paths. We do not learn much about Emmrich himself, a part from the fact that he is interested in the romance. I also am a bit confused by the show of magic, I suppose it is seduction but what does it mean... it escapes me. I guess, another thing we learn is that Emmrich likes to take the seduction into his hands, which sets the tone for the romance.

Lucanis: the first part of this scene is Spite trying to run away. Then the scene feels like it goes from zero to one hundred very quickly, with Lucanis and Rook almost kissing, then bam, Lucanis needs to clear his head - I know it is Spite but it felt a bit strange. I am unsure what the scene is trying to tell me, we already knew Spite is a problem and often takes over/stops Lucanis from doing things (ex. starting scene by the fireplace).

Romance confirmation/commitment:

Harding: the scene expands a lot on the friendship version, so much that I almost forgot I even played the friendship version of it. We also have the continuation of Harding's touching problem, and not only it is hilarious (Harding backing away and being shocked Rook would still kiss her), but also tells us something about Rook themselves (that they are a bit of a reckless fool). The scene happening in public with all the other npcs being like "wtf", hilarious.

Davrin: The scene adds a little bit from the friendship one, with the most schoolgirl kiss in the game (which is adorable), the return of the "hunting" metaphor, and Davrin looking at Rook when he talks about Assan having "the heart of a halla". It all ties in the fact that the scene is a way to draw a parallel between Davrin and Assan - it works well given it is a romance scene and one of the parallels is about both of them finding a new path and having "the heart of a Halla". There is also a small additional banter when you go back to Eldrin, where Rook can tell Davrin "you have me too now".

Neve: So I love this scene (skipping rocks, thinking about her case), it feels very detective-like in a dark foggy city, chasing leads. EDIT: I previously put this down at n5 but I am replaying Neve romance and realized there is so much more. Not only Neve throws herself at you (for a kiss), plus a fumbled kiss, but you also get a very cute banter about "kissing a girl/kissing neve gallus" while you chase for leads. Overall, while the majority of the scene is the friendship version, the romance version changes it quite a bit.

Taash: the scene was great before the romance one, I loved seeing Taash getting to the realization and decision about using they/them. But it also felt a bit like zero to one hundred, with only a few flirtings before (pretty sure only two? or three?). But the kiss? that was the best kiss in the game for me, with Taash being like "okay bye". It follows the general theme of Taash being a bit uncomfortable to face their own feelings, and very direct.

Emmrich: one of my favorite scenes in the friendship version. To see an older than usual character remembering their parents, talking with them and introducing them their new partner is pretty rare. The rest of the scene was quite classical seduction from Emmrich, he really feels like the character who is doing the courting and the scene in general looks quite beautiful. Beautiful kiss too. The addition from the friendship version is the extra seduction with magic.

Lucanis: Zero points for payeya. The rest of the scene is very sweet, I loved that Lucanis remembers Rook's drink and that a previous choice returns in play, but the scene is so short and it seems to mainly revolve around Lucanis apologizing. It tells us that Lucanis remembers, and that probably his romantic side is more acts of service than words, but it also feels a bit like Rook is romancing themselves and jumping to conclusions because Lucanis is giving very little.

Bellara: the commitment scene was so small, and so Cyrian focused I should probably not even put it here.

Dates/dinners:

Emmrich: This is a full on date that follows the Emmrich's path of "classically romancing Rook". We have the dinner, special Mourn Watcher dialogue about the skeletons raised to cook, a kiss, and you can also exchange questions - you can tell Emmrich you are a virgin too haha - plus, Emmrich expresses worry for Rook and how much work he is taking on, which is always nice to see given sometimes Rook feels excluded in the game. The dialogue also remembers previous choices, with different options if you expressed distaste for necromancy.

Neve (scene 1) (scene 2): She has technically two, one where you can meet with Rana or Elek, and then the initial one where she takes you to eat fried fish, so before the start of the romance. Both scenes? Amazing. I absolutely love them, especially the tour of Dock Town and eating fried fish with her while looking at the sea. They felt perfectly in tone of a noir-detective romance. In the first scene we get Neve's main romance theme (the tables always turn) and feels (banter, back and forth) and in the playing cards scene we return to the back and forth banter that is characteristic of the Neve romance.

Davrin: This was mainly about Davrin being asked to take a break and him worrying about Rook working too much, which is always nice to hear! I was a bit disappointed that so much of the date ended up being about Assan and Rook not being able to do mushrooms without tripping, but the small bits of Davrin being disappointed he could not take Rook's mind off work for an afternoon felt strangely in line with Davrin's more seduction-like romance (which seems to be mainly on the casual side of things) and his attempt to make this work.

Taash: I loved Taash's mother immediately zeroing in on Rook being their partner, but sadly there is not really a romance scene. The scene is very similar to the friendship one, and it doesn't tell us anything more about the romance itself or Taash.

Lucanis: I am confused by this scene. It seems much more about Lucanis and Spite than Lucanis and Rook and Lucanis. The part taht is about Rook and Lucanis is very very short, and mainly a lovingly gazing Lucanis and Rook with not a lot of dialogue.

Bellara and Harding seems to have no date/dinner scene. Harding has a longer post Ghilan'nain scene, and Bellara has a lot of small scenes around here and there.

The fight before the fight

Davrin: similar to Taash but softer. This is also when you find out a lot about Davrin here - mainly how he made sure to never get attached - and more about his relationship with death that turns into him wanting to finally think about a future without death. I thought this scene added a lot to his character, and pulled together his whole plot arc too (the non romance one, so his attachment to Assan, his relationship with death, Weisshaupt and his new home). It also felt realistic and hopeful bre-battle, and it is even more devastating in the light of the Harding vs Davrin death choice.

Neve: the voice acting in this one is just stellar. It is also very detective-feels like a noir old movie with forbbiden romance. It shows how important it is for Neve to keep everything under control. Her voice breaking out at the end - amazing, one of my favorite lines by Neve. This does not fully connect with her arc, like Davrin's did, but it is the breaking of her walls scene.

Emmrich (Lich) (link to my twitter): As much as I love saving Manfred, I prefer this scene with Lich Emmrich and how much you can play a Rook that is absolutely extra in love and refuses to listen to what Emmrich is saying. And it is nice to have a scene where a companion actually suggests for the protagonist to not go into battle. It ties with Emmrich's fear of death, and accepting that people around him will always die now that he is a Lich. I was just a bit sad that he clearly did not fully make peace with that before his transformation, given that was one of the requirements.

Taash: classic angst and tsundere, loved that Taash refuses to admit their feelings to avoid getting hurt. This is similar to Neve and Davrin's scene, but I think it tells us less about Taash than Davrin's, and the scene is much shorter than Neve's. It feels also a bit more in line with Taash's character here given what happened to Taash's mother, but I wonder if you can still get this scene if you do not complete Taash's quests... I suspect you might, which makes the scene in that case a bit out of place in my opinion.

Emmrich (non Lich): Look, I LOVE this scene, and I love seeing Emmrich talk about their age difference, but I thought it felt a bit random placed as a pre-battle fight. I know this is about Emmrich confronting his own mortality again, and this is the main theme, Emmrich realizing he is fully in love and not ready at the idea of leaving Rook alone. I love Rook's answers, but I would have loved to expand on this way before (especially given that one of the option is Emmrich implying that Rook does not know what they want because they are too young "I know what I am getting into" / "at your age?").

Lucanis: I really enjoyed this more than I thought I would, but mainly the first part. Lucanis feeling the responsibility of the strike to protect Rook after he failed once. It ties well into his arc, being responsible of this big job, and Rook tried to show him that they are in this together. Except that then the scene kind of derailed, in my opinion with extra Lucanis' deflection. Maybe I do not fully understand Lucanis' romance and character, but the scene goes from: Lucanis' guilt and fear, "I only know death", I am not alone I have Spite, I will kill to protect you, don't promise you will survive. I am unusure what is Lucanis romance here trying to tell me, I wish they had focused on his guilt/weight of protecting Rook more.

Bellara: too sweet for my taste. The scene does not have a fight, but we get Bellara being honest with her feelings, and saying she feels calmer with Rook (which I hate, given she is supposed to have adhd if I understand correctly, and as someone with adhd no amount of romance is gonna make me feel calmer, medicate me). It also re-iterates that Bellara feels bad about who she is, and Rook makes her feel better. The scene does not seem to tell me anything new about Bellara or the romance itself.

Harding: This feels very generic. It is a "what if things go wrong", which makes sense for a scene before the big fight. It is so short, and a missed opportunity to give us a bit more given that Harding can literally die in the next mission. The point of the scene is "I am worried", Rook "It's okay we have us", Harding: "Alright".

Final romance scene:

Davrin: Look, the start makes me a bit embarassed, the shirts vanishing? the fact that Rook in the fade is barely mentioned, how Rook's size does not seem to matter at all, the Rook's breathless moaning - some of the dialogue is a bit strange, if you don't play the joke-y Rook/direct Rook. But it is also the only scene where the characters talk about their future and that to me feels like a conclusion to the romance. I was actually surprised when I got to all the other romances and I did not see the final choice of "what will you do with your LI" like in Davrin's scene. We have a Davrin who is finally living without thinking of death, we have a new choice that is then reflected in the final chat later, Rook and Davrin organize their future together (the road less travelled being one of them, which Davrin says "it is how I found you" and really summarizes Davrin's whole story with the team, Rook and Assan, but also his past with his Dalish clan).

Lucanis: I really liked this scene, both the start of it with Lucanis feeling relieved and the whole "are you falling asleep", and Lucanis asking for Rook to talk to him. It was very sweet without being too mushy, even if it felt pretty short. The scene pulls together Lucanis' attachment, showing how much he learnt to care for Rook. I am still unsure how this pulls together his whole romance (or his fight scene pre battle) more than "Lucanis trusts Rook and now Rook is part of his new life", but it is still worth it for the tenderness. And the whole kneeling part was nice, giving the whole "Dellamorte never kneel".

Taash: picking up Rook is an A+, I admit I was not a fan of the growls, but the whole discussion of their romance? lovely, even if it was pretty short. This is mainly about Taash and Rook defining their relationship, after Taash's fear of losing Rook. They are ready to be honest about their feelings, which is a nice conclusion, but I wish it had tied a bit more into what happened with Taash's quest (their mother's death mainly, especially given that their fight scene was about the risk of losing someone they love).

Neve: this is another direct continuation of the pre-Ghilan'nain scene, where Neve actually cries and we see how relieved she is. Her pushing Rook on the couch and closing the door with magic? Great, stellar. The rest of the scene is mainly about Neve finding the courage to say I love you and living day by day. It is the conclusion of her arc within the romance (tearing down her walls until she can finally admit she fell for Rook). Neve "I won't life like we are not getting one (an after)" is very sweet.

Emmrich: Lich and non-Lich are pretty similar, they are both mainly focused on Emmrich making sure there is no enchantment on Rook, then a kiss and a very humorous cute scene after they bang in a coffin. It did not add any new information to the romance, but it was still sweet, and different (given they are not in Rook's room). I just wished it had tied a bit more into their pre battle fight, or had talked a bit about their future.

Harding: I think she might have the longer scene, mainly because she does not have a lot of scenes before? I found it pretty interesting because she actually suspects for a bit that Rook is a spirit and she remembers Cole. The rest of the scene was a bit too mushy and sweet for me, and more about Harding herself than the romance. It helps define her character as someone who has gone through some really world-shattering revelations, which I think makes her a bit more compelling vs her without the romance.

Blighted Bellara coming back: I think this works a bit better than Neve's version, because Bellara and Rook generally have a more open romance. They already kind of accepted each other's feelings before, even if Bellara never said "i love you". In this scene she is trying to finally say it. It also adds a bit more about Bellara's ordeal with the blight ("you found me and saved me").

Bellara: I feel so bad for putting most of Bellara scenes at the end of each list. The final scene was very cute, very humorous for the first part. Unfortunately it felt a bit repetitive. It was clear Bellara wanted to say "I love you", through a lot of moments in the scenes and she could not say it. The whole scene seems to be about Bellara being open with her feelings and wanting to take a moment for her and Rook vs worrying about everything, unfortunately I cannot help but be annoyed at the whole "Rook makes Bellara calmer" feels I got from it. On the other hand, she is the only one who wonders if she was a regret in the fade regret prison, which I really enjoyed.

Blighted Neve coming back: The scene is the shorter version of Neve's scene, and the reverse of it (Rook is the one worried and waiting for Neve to come back). It feels a bit empty given the ordeal, and given that this happens after the game actually ends. I did not play this, but from what I see it has no "I love you" after and it ends with neve closing the door and it 100% (at least for me) makes Neve's romance feels strangely unfinished because so much of the previous scenes in it were about Neve not being able to not feel fear about losing Rook.

[razztazzel]

Thought it would but cute to revisit this old au of mines and give it some lore!

I’m really passionate about this au specifically because I LOVE sci-fi like ALOT… so I might make a lot of content of it… OFC Helios planet will still be going on trust

Non filtered version + lore ⬇️⬇️⬇️

LORE!!!

All the toons are aliens!!! On a completely different planet (exoplanet) about 4.2 Light years away from earth. The company, C.V. inc. aka Cosmic View Incorporated labeled it “Proxima Centauri b” (Its a Genuine exoplanet that’s the closest known to earth it’s so cool) Let’s just say In this au, Earth is extremely Sci-FI like, reaching advances where it wouldn’t be really…. Possible as earth is now…

And so they developed travel though hyperspace (just to clarify, Hyperspace is a fictional concept and not based on current scientific understanding; it's often portrayed as a different dimension where normal space-time rules don't apply - google or something) and managed to land on Proxima Centauri b! The people traveling were highly advanced scientists and they were like, woahhh look at these little whimsical creatures!!! But only like 4 “handlers” went Cause it was still in development!!! So it was kind of a suicide mission to put it frankly

They didn’t die.. Thankfully!!! And they successfully made it back probably old and decrepit, just with a few aliens that totally weren’t kidnapped or anything (They done took the mains, Besides Zee(Vee) she didn’t exist on their planet since she’s a robot made by C.V. Inc.) Vee was made by the soon to be handlers in an attempt to collect direct data from the totally not kidnapped toons! Her emotions are 100% programmed but ran through an advanced ai that study’s the emotion of literally everything living that’s around her so her emotions can be pretty accurate to a certain degree before the robot part generally makes way, Her ai detects any subtle or visible emotion and collects data of it to train itself on how to process and express emotion, but she’ll never have TRUE emotion

Unlike original Vee they’re smart and makes her entirely water proof and very much heat resistant, Zee just cannot be Submerged in water. Anyway a group of.. more like.. scientists in like…training became handlers as a little hands on experiment for them since the owner of the entire thing was really really interested in the toons and wanted to be involved with data processing so she assigned newbies (ish) to be the handlers.. She herself handles Andy (Dandy)!

The toons are all kept in separate rooms similar to those of like experiments just less cruel, like SCP type shit but cooler and not evil… looking… trust trust… so they can be observed and have data recorded…Besides confinement they’re actually treated really well! Sprout learns to bake through his handler and generally enjoys it so he’s allowed to bake every now and then, Shelby (Shelly) gets loads of attention for being an alien bro does NOT wanna leave, Genesis Rock (Pebble) is treated like a legitimate dog gets walked and has play time even though since he’s a rock he probably doesn’t need it, but data is data, Andy hates it there they tried to feed him plant fertilizer once cause he resembles a flower..

Anyway Vee is the only one who’s not in confinement and is generally like a little bot helper for the company, YES!!! THE TOONS ARE ALLOWED TO ROAM!!! Those lovely creatures are not locked away… forever…

TOON TRIVIA

Andy(Dandy) Now has 4 arms!

Astro becomes spiderman ( Ok not really he just gets 6 arms and is constantly floating, Studies show that he cannot seem to stop..)

Shelby (Shelly) Is a mixture of an alienized fossil with a freaky chameleon, with more feral-ish aspects like protruding fangs and sharper hands compared to the others

Genesis (Pebble) can literally walk on air

sprouts hair is ALIVE do NOT cut it he will scream and he has awful fashion sense because refuses to take the scarf off because it was a gift from cosmo before being taken by weird tall things he didn’t know hashtag last thing he has from cosmo hashtag fruitcake angst hashtag NO MORE FRUITCAKE/j

Zee (Vee)is specifically meant to look similar to the alien toons, She doesn’t have a handler though the handlers like to let her wear a coat, they think it looks cute on her small frame…🫶🫶

Sprouts handler encourages sprout to wear the cute aprons they give him, he always refuses… one day.. one day..

Astro generally cannot stop floating, luckily for some reason gravity won’t allow him to float too high so he’s just chilling fr

I think I’ll call this au Cosmic Veiw incorporation /inc or to put it simply, Alien or space au for easy tagging

[frownyalfred]

(only somewhat distantly related to the whole 'i dont know him / he's my dad' angst) but i've been obsessed over the though of JUST how ingrained robin training must be for all of them, but honestly? especially for dick because he was there the longest. he IS robin. he helped create batman to who he is today.

and just thinking of any flavor of angst and battle that involves batman yelling 'robin, [insert action]!' and WHOever, even if they're not robin any longer, even if it's been YEARS, listens. because they KNOW. YES!!! b is regularly full of shit and overprotective nonsense, but he's also your best bet in the field to keep you safe. and that THIS is the first lesson in robin training: there is PLENTY of time to develop your own style and bicker with b, BUT you can only do that AFTER this battle is through and you still have your head because you listened when he told you to duck

(and of course, the same in reverse. batman not even having to look when a robin calls out 'b, your nine!', just does what needs to be done)

agreed, this flavor of Dick & Bruce supremely fucks me up. I have another rant in me somewhere for another day where it's about Robin being a blessing and a curse because it is everything you ever wanted but also a curse because once it's done, you will never be able to achieve that kind of closeness again and that enrages you with grief, at a certain point. (I loved ameliorating this with the bond in my fic borderline, they got to be close to Bruce again and possessive of him again and there was no one saying they couldn't anymore, not even themselves)

[iatheia]

I'm not sure I entirely agree? I would love nothing more than if every single student in my class got an A, if they demonstrated they understood the material, and demonstrated it in the homeworks and on the exam. But, there is always a fraction of students who refuse to even show up or do the barest minimum. And plenty of students would half-ass it. And after you taught a class enough times, you can pretty well intuit not "this is the bell curve distribution, and it has to be maintained no matter what" but "this student is doing comparatively to all those who have earned this grade in the past". I strive to have a consistent grading, but it isn't necessarily imposes a particular distribution of grades on a particular class, just that on average you would get certain types of students year after year.

Of course, if you have multiple people teaching the same class, you should communicate with your fellow instructors, striving to have consistency. You want to be fair to the students, if they answer the question incorrectly, but they answer it in the same way, that deserves the same grade, you shouldn't have the case where one student would get a B, and another a D for the same submission assignment in the same class, with the only difference being who is grading them. But this is solved through having a consistent rubrics, not through it being free-for all for the TAs and then trying to match each other's grade distribution.

My opinion on ChatGPT is that it is a tool like any other. And if you know how to use it, great. But in order to use it effectively, you already need to know quite a bit about the material. Even the thing that it is supposedly good at, writing computer code, it cannot handle anything more than the most trivial of tasks without hand-holding. About half of my class involves programing. And it is incredibly obvious when a student uses it. So many times they ended up generating random data instead of using the data provided to them, because a student mindlessly copied over what chatgpt has given them and didn't care if it is correct or not.

Obviously it isn't a problem unique to ChatGPT. A decade ago, there was a different type of assignment that I gave, they needed to go outside and record some observations. And if you know what you are doing, these "recordings" are incredibly easy to fake, and I would have been none the wiser. But if you don't know what you are doing... I had a student trying to convince me that they have never seen the Moon in their life after I caught them trying to "observe" it when it was below the horizon.

But generative AI amplifies the problem more. Even if you wanted to use Spark Notes, at least you needed to read those, and engage with the material to at least some degree. They were also written by people who understood the material, so even if students regurgitate that, they wouldn't be lead quite as far astray. With ChatGPT, students don't even need to read what it wrote to submit it, but they are also more blindsided when it takes them astray.

There were a couple of students I ended up calling out on its usage. One of them has admitted that he had no idea what he is doing, and I sat with him, and I walked him through the assignment, from the beginning to the end. And he is still not great at it, it doesn't come to him naturally at all, but you can definitely see him improving after he started doing stuff without resorting to AI. I can see him being more engaged, more interested in trying to succeed. The other student... is a bit of a hopeless case. They don't care, and I have no idea what is it is they are trying to get out of not just my class, but their major as a whole, because what they are getting out it so far ain't much...

Point is, yes, a diploma doesn't make a person more special than someone who doesn't have one. What matters is your passion, and whether you are willing to put in the work. Classes are meant to encourage cognitive development, to broaden the perspective, to gain at least some skills that would be useful to you later in life - they aren't the only way to get these skills, of course, you can do it in other settings if you chose to apply yourself elsewhere instead. But, if you chose to pursue higher education, then I would hope that by the end of the 4 years, you would get something meaningfull out of it, and this would only happen if you actually put in at least some modicum of effort. Otherwise you might as well buy your diploma off the street, and that would benefit absolutely nobody, least of all yourself.

(taken from a post about AI)

speaking as someone who has had to grade virtually every kind of undergraduate assignment you can think of for the past six years (essays, labs, multiple choice tests, oral presentations, class participation, quizzes, field work assignments, etc), it is wild how out-of-touch-with-reality people’s perceptions of university grading schemes are. they are a mass standardised measurement used to prove the legitimacy of your degree, not how much you’ve learned. Those things aren’t completely unrelated to one another of course, but they are very different targets to meet. It is standard practice for professors to have a very clear idea of what the grade distribution for their classes are before each semester begins, and tenure-track assessments (at least some of the ones I’ve seen) are partially judged on a professors classes’ grade distributions - handing out too many A’s is considered a bad thing because it inflates student GPAs relative to other departments, faculties, and universities, and makes classes “too easy,” ie, reduces the legitimate of the degree they earn. I have been instructed many times by professors to grade easier or harder throughout the term to meet those target averages, because those targets are the expected distribution of grades in a standardised educational setting. It is standard practice for teaching assistants to report their grade averages to one another to make sure grade distributions are consistent. there’s a reason profs sometimes curve grades if the class tanks an assignment or test, and it’s generally not because they’re being nice!

this is why AI and chatgpt so quickly expanded into academia - it’s not because this new generation is the laziest, stupidest, most illiterate batch of teenagers the world has ever seen (what an original observation you’ve made there!), it’s because education has a mass standard data format that is very easily replicable by programs trained on, yanno, large volumes of data. And sure the essays generated by chatgpt are vacuous, uncompelling, and full of factual errors, but again, speaking as someone who has graded thousands of essays written by undergrads, that’s not exactly a new phenomenon lol

I think if you want to be productively angry at ChatGPT/AI usage in academia (I saw a recent post complaining that people were using it to write emails of all things, as if emails are some sacred form of communication), your anger needs to be directed at how easily automated many undergraduate assignments are. Or maybe your professors calculating in advance that the class average will be 72% is the single best way to run a university! Who knows. But part of the emotional stakes in this that I think are hard for people to admit to, much less let go of, is that AI reveals how rote, meaningless, and silly a lot of university education is - you are not a special little genius who is better than everyone else for having a Bachelor’s degree, you have succeeded in moving through standardised post-secondary education. This is part of the reason why disabled people are systematically barred from education, because disability accommodations require a break from this standardised format, and that means disabled people are framed as lazy cheaters who “get more time and help than everyone else.” If an AI can spit out a C+ undergraduate essay, that of course threatens your sense of superiority, and we can’t have that, can we?

[literaryvein-reblogs]

Writing Notes: Narrative Arc

Narrative arc - also called a “story arc,” a “dramatic arc,” or just an “arc”.

It is a literary term for the path a story follows.

It provides a backbone by providing a clear beginning, middle, and end of the story.

Freytag's Pyramid

The concept of narrative arc as we know it today was created by Gustav Freytag, a German novelist and playwright who closely analyzed ancient Greek writing, along with William Shakespeare’s five-act plays.

As the term suggests, when plotted on paper, a typical narrative arc forms the shape of a hill or pyramid.

5 Classic Elements of a Narrative Arc

A traditional narrative arc has five elements, in the following order:

Exposition. This is the reader’s introduction to the story. The exposition offers background information to prime the audience for the rest of the story, including introducing the main character(s) (the “who”), setting (the “where”), and circumstances or time period (the “when”).

Rising action. This is when conflict begins to ramp up. The rising action usually begins with what’s called an “inciting incident”—the triggering event that puts the main events of the story in motion. This is when the audience starts to see what your story is really about.

Climax. This is the highest point of tension in your storyline, and often the point at which all the different subplots and characters converge. Typically, the climax requires the main character to face the truth or make an important choice.

Falling action. This is what happens as a result of the protagonist’s decision. During the falling action, the conflict gives way to resolution. Loose ends are tied up, and tension begins to dissipate.

Resolution. Also known as a denouement, this is how your story ends. The resolution of a narrative arc isn’t always happy, but it does close the loop and show how the events of the story have changed the characters and the world around them.

Narrative Arc vs. Plot

Plot - the individual events that make up your story. In other words, the plot is what happens.

Narrative arc - the path or sequence of your plot, and how that series of events creates a flow and progression that keeps the reader engaged at each stage in the story.

Narrative Arc vs. Character Arc

If a narrative arc is the path of the overall story,

a character arc is the path a specific character takes during that story.

The story arc is external, and happens to all of the characters,

while a character arc is internal, and happens to one person.

A character arc usually involves a character overcoming an obstacle and changing the way they see the world.

When the narrative arc begins its descent down the pyramid into the falling action and resolution, the character arc has its moment to shine.

This is when a character experiences a turning point by asking for help, learning a new skill, making a critical choice, and/or becoming more self-aware.

Typically, only major characters have character arcs, though minor characters can undergo this type of character development as well.

Create a Narrative Arc in 4 Easy Steps

Here are some writing tips for building a narrative arc in your own writing:

Choose an archetypal narrative arc. Think about the story you want to tell. Is the main character overcoming an obstacle? Going on a quest? Experiencing a rebirth? You don’t have to follow any one example to the letter, but writing with an archetypal narrative arc in mind can be a huge help.

Identify your beginning, middle, and end. Who are the main characters? What are they doing? When are they doing it? Where are they doing it? Why are they doing it? And, most importantly: What is all of that building toward?

Plug your events into a narrative arc. Creating a visual diagram of your chosen narrative arc, then add the events of your story along that arc. Seeing a quick overview of your story on a page makes it easier to identify problems and fill any gaps. For instance, if you have a lot of events clustered in your “exposition” stage, you may want to cut some of them out or reimagine them as new developments in the rising action.

Adjust as needed. Of course, there’s no hard and fast rule that you have to stick to Freytag’s traditional narrative arc. Every story is different: some are heavier on exposition, while others draw out the rising action. Give yourself the freedom to be flexible and see where your unique story goes.

The next time you sit down to write, consider drawing up a quick narrative arc. It’s a useful tool that can help you stay on track if you’re ever unsure of what comes next in your story.

Source ⚜ More: References ⚜ Plot ⚜ Character ⚜ Worldbuilding ⚜ Exposition

[apas-95]

Quick question, do you have to be anti porn to be a good communist, due to it being the capitalist manifesation of the commodification of women? while opposing the industrial production of it, that is studio porn, is a very obvious red line and shouldnt exist at all, is it wise to make a point of just hating All of it? I ask because some comrades in a server are discussing it and i wanted your thoughts

My thoughts regarding this are threefold:

First: it is important to understand the class character of any given institution, the failure to do so leads to errors. A common 'left' error is in attributing the negative aspects of an institution under capitalism to the institution itself, without understanding its capitalist character. An example would be the characterisation of the police as fundamentally an agent of repressing the people (when under socialism they are an agent of the people for repression of the bourgeois), or of the academy as fundamentally an arbiter of class access to certain roles in society (when under socialism it is straightforwardly an educator and enabler of technically-skilled labour). To some degree the abuses of the pornography industry are, doubtlessly, down to the social context it exists in, and in the exploitation of (lumpen)proletarians engaged in sex work.

Second: a vulgar 'proletarian feminism' which avoids this class analysis inevitably also commits the same ignorance of class in the opposite direction, and commits rightist errors. Commonly, in the advocating of an alliance with the bourgeois state and bourgeois police to 'protect women' - by criminalising one or the other aspect of sex work under capitalism. The status of sex workers as proletarians, and, when criminalised as such, lumpenproletarians, is essentially ignored. It must be understood that first and foremost the issue of sex work is a labour issue, and like any labour issue it can only be solved by the self-organisation and self-emancipation of the workers themselves.

Third: the categorisation of pornography as specifically an issue of the commodification and exploitation of women (as above) breaks down in the contexts of both male pornography and amateur pornography. Male pornography clearly does not involve the commodification of women (though it does involve the exploitation of sex workers!); and amateur pornography, produced, as it were 'as an expression of one's own nature', and removed from any valorisation of capital, clearly involves no commodification at all.

Generally it has been the case that socialist states have banned pornography and sex work once established. Sex workers who found themselves now unemployed under socialism were not, as in capitalism, made even more desperate and destitute - rather, they were happily able to take up other fields of guaranteed work. However, socialist states were generally established in impoverished, semifeudal nations, where the conditions of sex work were uniformly that of sexual slavery and prostitution. In the most culturally advanced socialist state, the German Democratic Republic, restrictions on pornography were much more lax. Certainly, the conditions of a modern, developed nation would have a major impact on the treatment of pornography under socialism.

[wheneverfeasible]

Wiggly Wednesday?

The brain worms are here again.

I honestly hate Christmas and avoid doing too much for it. However, an idea came to me suddenly and I can’t stop thinking about…

Secret Santa Steddie AU.

In one of Steve’s high school classes senior year, they’re assigned a Secret Santa project. They all put their names in a Santa hat and have to draw one out (returning it for another if it’s their own) and that’s the person they have to secretly give a gift to, either homemade or purchased, but there’s a cap of like…whatever the equivalent of $20 today is back then. Idk.

This is supposed to be a team building type of exercise, something to foster camaraderie, after say maybe a huge argument/fight broke out between Tommy and his group and the Freak, Eddie Munson, as well as some other nerds. Steve is exhausted and doesn’t care for Tommy’s bullshittery anymore, so he didn’t really get involved, though Eddie did throw a few digs his way. Which was hurtful but probably deserved.

Anyways, Steve draws out Eddie’s name.

For the next week or so the last fifteen minutes of class are devoted to questionnaires and such where the students answer questions about themselves directly or they fill in answers to widely asked questions, all used to let the Secret Santas learn about their recipients. Some people take it more seriously than others.

Steve gets to know more about Eddie, who is more blasé about it all, obviously not expecting anyone to give him something good (if they give him anything at all) since he has no friends in the class and most people don’t like him. So Steve, who has never paid Eddie any amount of attention before in the past but has been now and finds himself intrigued, starts observing Eddie outside of class.

Steve knows he could buy Eddie something music related. An easy cop-out gift. But the more he observes Eddie, the more he gets to see the tiny cracks in the Freak persona whenever he spies on him, sees the nerdy but also kind person beneath the leather jacket. And…okay…maybe he starts to develop a sort of crush without realizing that’s what happens.

Maybe he bribes other nerds about Hellfire Club and Eddie and makes certain they don’t squeal about him asking (he doesn’t realize he comes off as threatening, he just thinks he’s being urging), maybe he hears Eddie mention things and then he goes and asks Dustin what they mean, learning it’s from a book series about midgets and some jewelry or whatever, and so an idea forms.

While shuttling the kids about after school, Steve asks Will if he’d be willing to draw something for him, which Steve would pay him for. Will, obviously excited because it’s his first commission job and Steve pays him fairly, agrees.

(Steve may also purchase a patch at the record store they stop at—Will’s request as he wants to buy something for Jonathan—because it reminds him of Eddie, but that doesn’t matter.)

Yadda yadda ya, it’s time to exchange gifts. The teacher has allowed them to drop them off leading up to the Friday before winter vacation to keep the mystery alive.

When Eddie gets his, he’s expecting something more like a prank gift. Instead, he’s gifted a colored drawing (sadly not enough time for a painting) of Eddie dressed as someone named something like Spider or Arrow Gone or whatever, Steve doesn’t really know, but it’s him fighting off a horde of monster things with a flaming eyeball in the background and further back is an erupting volcano.

Steve doesn’t know what the hell is going on, not really able to absorb the massive info dump Dustin gave him, but Will assured Steve that the dude was cool and the battle depicted was awesome and important when he dropped off his old yearbook for model reference. Will’s opinion was enough for Steve of course. He just hoped Eddie liked it, and the patch that he rolled up with the picture.

Eddie is, of course, gobsmacked and trying his hardest not to show it. He scans the classroom to try to figure out who could have given him such an amazing gift, but no one even looks at him. There’s no way he would ever suspect the truth.

Steve ended up getting a can of Farrah Fawcett spray, which everyone laughed at and assumed was a joke gift for a jock, but Steve noticed a small twitch of a smile on Tommy’s face, the only one besides Dustin now who knows his secret.

Later, Eddie’s battle vest is adorned with the patch he received in his gift, a red and black Leviathan cross, but Steve doesn’t know what happened to the drawing. He hopes it didn’t get trashed.

It’s not until later, after everything with Vecna and recovering what was salvageable from the trailer, that he found the picture safely secured behind a glass frame hidden in Eddie’s room. It’s only then that Steve realizes that he might have been a little bit in love with Eddie “the Freak” Munson all this time.

~

Aaaaaaaah sorry this is a little bit of a nebulous ending here. Does this story follow canon and Eddie is dead, never knowing who his Secret Santa is? Or is Eddie recovering from his injuries, fated to recognize Will’s art style and thus learning the truth behind one of his most prized possessions? Who’s to say 🤷

I’m just gonna tag my perma list because I’m lazy. Anyone can be happy to consider this a tag for their own future brain worms tho!

Hostage Hotties:

@derythcorvinus @katyawriteswhump @honeii-puff @scoops-aboy86 @dotdot-wierdlife

@everywherenothere @bumblebeecuttlefishes

[360degreesasthecrowflies]

100%! - and the other way around!

I wish so much that teachers in my school or any kind of careers advisor would have bluntly sat us kids/teens down and said something like "what kind of lifestyle do you want as an adult? Here are 5 career paths that would facilitate that."

I was a working-class kid. "Follow your dreams" is great advice for those that have a safety net if those first dreams don't end up working out. For kids like me, "here's how to secure a baseline that will give you multiple chances in the future to follow the dreams you later develop" would have been much more valuable advice.

Even to the extent of hammering home "going to college/university is the one time in your adulthood you will be provided with guaranteed funding to train yourself to gain some lasting skills. It would be wise to pick something you have no other path to picking up." A lot of students misuse that opportunity to study something they could just take an informal class in as an adult. Nobody seems to tell prospective students it will cost you the exact same amount whether your degree involves three years of just attending talks and lectures once or twice a week, or whether it's three years of getting the chance to use and gain expertise on expensive specialist high-tech equipment in laboratories and tech specialist workshops, getting access to field leading specialists to shadow and network with and intern for, and having the opportunity to publish, travel, present at conferences and really establish yourself in a field before even graduating.

The next generation really need to be informed of the true ins and outs of further education before asking them to fix in a certain lane, not least because we all benefit from a maximally-skilled population - we might need people with the optimal knowledge possible in the right fields someday.

When you're a kid/teenager everyone expects you to base your career around your passions and interests and that works for a lot of people but it's not the full story. I wish they would also teach students to consider the lifestyle that career would require.

Like... if I had to choose a passion and work a career around it, I would probably work at a zoo or aquarium. But those jobs require a lot of schooling with STEM classes (which I hate) and a lot of early mornings (which make me feel ill) and an obligation to work in person with no flexibility to move (which makes me depressed). So even if I'd enjoy caring for animals all day, it's not a good career path for me.

My current job is travel writing, which is not my passion. I like it, but it's not my passion. But I work a flexible schedule, I can live anywhere, I get a travel stipend, and my team is really chill. So it works for me.

Rather than solely focusing on "What topics do you like?" I think we should ask students "Of the careers that suit your preferred lifestyle, which are the most interesting?"

[isfjmel-phleg]

Toward the end of Young Justice 1998, Anita Fite sets out to avenge her father's murder and for complicated reasons ends up coming home with both her formerly deceased parents in tow. Which sounds great, but...they're now babies. Babies whom she, at age fifteen, has to look after. Her final stories involved her being overwhelmed by this task and working with YJ less because of this new development in her personal life, then the series ended and she just...sort of mostly disappeared.

Sometimes this is responded to as the narrative of YJ 1998 itself choosing to kick her off the team and saddle her with raising her own parents. Which, if that were the case, is pretty harsh, especially for a character who chose heroism for herself and values it.

But I think there's some more nuance to this. Did Anita really quit the team to raise her parents?

After the babies come into her life, she is seen at her home with Cissie looking after them, but there is never any indication that she has formally left the team. In YJ 1998, whenever a team member leaves, there's always a formal declaration, an emphasis on the reactions of the others, and some far-reaching consequences. Cissie's leaving was the dramatic conclusion of an issue. Bart and Tim's exit was a whole prolonged and emotional conversation.

But Anita never announces to the team that she is leaving, nor does anyone react as if she had. She is merely more busy with her personal life now. The fact that no one is lamenting losing her (as they did with Cissie, Bart, and Tim) suggests that the general understanding is that her absence is believed to be a temporary situation.

She is present, as Empress, with the rest of the team at the start of the reality TV show that Young Justice is starring in, implying that she plans to be around for the show at least sometimes and still is considered part of the team.

When Cassie intends to call her on the phone one day during the filming, she refers to her as Empress, not Anita. If Anita had formally quit, no one would be using her code name anymore, as they stopped doing with Cissie.

Young Justice 1998 ends with her as Empress, leaving her parents to be babysat by Cissie and her mother while Anita herself joins the team to deal with Secret's rampage. This is not the behavior of someone who has quit the team. (Compare with the now-retired Cissie, who is featured in the issue but does not show up as Arrowette even to take part in restraining Secret)

In Titans/Young Justice: Graduation Day, the miniseries that transitioned between Young Justice 1998 and Teen Titans 2003 (the comic, not the TV show, obviously), she is still part of the team, unlike Greta and Ray, who were present at the end of Young Justice 1998 but absent henceforth. Anita is absent by the end of the miniseries because of an injury, but she never declares an intention to quit.

Young Justice is implied to have disbanded after this event, and Anita apparently chooses not to join the Titans along with Tim, Kon, Bart, and Cassie. She doesn't join the new team, but there's still no clear indication that she has retired.

She is referred to as an ex-member of Young Justice during her final appearance, a guest-starring role in Supergirl 2005 #33, but again, this is because that team disbanded, not that she specifically quit. There is no indication that she has retired in her role as Empress; she is very much acting as Empress in this story.

This appearance also confirms that she is not caring for her parents full-time; they have a nanny now. Anita is fifteen by the end of Young Justice 1998 and presumably still in school. She is referrred to as her parents' primary caregiver at that point, and she is overwhelmed by it. But apparently this must not have been the permanent situation. Perhaps Ishido Maad, Anita's godfather who is implied to be her guardian after her father's death, stepped up and did something about this teenage girl's having to take on such an adult responsibility alone. I wouldn't be surprised if Bonnie King-Jones, who has been protective of Anita in the past, had gotten on his case about it.

Did Anita really quit the team in-universe, or did the writers just stop bothering much with her after the end of Young Justice 1998? That's the actual issue. No one except her creators wanted to feature her, which is a shame, so she gradually all but disappeared from the narrative. It's the writers'/editorial's fault, not the narrative's.

If Young Justice 1998 had been allowed to continue, I think it's possible that Anita would have stayed on and that her parents might eventually have been aged up back to adulthood; a precedent is established for Agua Sin Gaaz's clones that they rapidly age (see Young Justice 1998 #48). Which would have introduced other concerns (would they rapidly age indefinitely, or would that taper off at some point?), but whatever the case, there could have been room in the narrative for something to happen that would allow Anita to keep her family and her career as a hero, both of which mean so much to her.

But that didn't get to happen, and she's been left in limbo since the late 2000s.

[airas-story]

Kinder Worlds

“So,” Tony started as Nebula as carefully lined up her next shot. They’d played in silence thus far since Nebula had shown up out of the blue and demanded a game. “Something wrong?” he asked. “You normally don’t just show up.”

“Do you think I can see this Terra?” she asked, instead of responding to his question. “You spoke of ‘hamburgers’ I would like to try them.”

Tony considered her, then decided not to push. He grinned. “Oh, we can try all sorts of things. I’ve got a photostatic veil if you want to go out in stealth mode—“ He’d told her the first time she showed up that she was fine, but she seemed to like ‘stealth mode’. “—though if you want to go as you are, that’s fine.” Most people had gotten used to aliens, the few that hadn’t—Ross came to mind—Tony could handle. “Or we can order in. Whatever you want.”

Nebula gave this her standard due consideration. “I would like to go out,” she decided. “And I will wear the veil. Stealth is imperative; I would prefer people to underestimate me.” She paused. “Perhaps we can visit your spider child. Or your wizard.”

Tony considered that. It was a Saturday, which meant no school. “Peter will definitely join,” he told her. “Picnic in Central Park with hamburgers with you? Yeah, there’ll be no keeping him away. Stephen… Hit or miss if he’ll join.”

Stephen was, unfortunately, almost always busy with something, it could make it difficult to meet up with him, though Tony still thought that every opportunity was worth it. Especially after things had… developed between them in ways Tony would never have expected.

He pulled out his phone and sent out a text to ‘Team Titan’—or at least that was what Peter had named them—to invite them both.

From: Tony Stark

Picnic at Central Park! Nebula’s here!

I’ll provide the food—prepare for burgers.

He shifted so that he could take a selfie of the both of them—something Nebula put up with with a sigh—before sending that along as well.

From: Spiderling

Oh my word! Are we finally introducing Nebula to hamburgers?

Peter always had been quick on the uptake.

I’ll be there!

“That’s Peter decided,” Tony said cheerfully. Who knows if we’ll hear from—“

From: Merlin

I would appreciate far more warning for something of this nature.

I am not at your beck and call.

Tony rolled his eyes. Picnics were always best when they were spontaneous, everyone knew that. Or at least every picnic he’d ever been on had been of the ‘you know what, I want a picnic’ variety and the majority of them had been enjoyable.

Though there had been that time with the ant invasion… he shuddered. Not to be repeated.

And of course, a few had involved drinking and he honestly didn’t remember them, but he was sure they’d been great.

Alas, the difficulty of being sober, that wasn’t an option anymore.

From: Tony Stark

Oh please. Not like I knew Nebula was coming.

Where’s your spontaneity, Stephen?

“All right,” Tony said, standing up. “Let’s get you set to go and then we’ll go get us burgers and other delicious food so you can experience a proper Terran picnic.”

Nebula nodded, satisfied.

His phone dinged.

From: Merlin

I suppose—since Nebula is present—I can condescend to join you for a ‘picnic’.

Tony snorted.

From: Tony Stark

Please, don’t pretend you don’t like me and Peter. We’re absolutely in your top five people.

From: Spiderling

Top four!

Can we get ice cream?

Tony glanced up at Nebula. “How do you feel about ice cream on this spontaneous picnic?”

“I was partial to your ‘Stark Raving Hazelnuts’,” she told him seriously. “I would not mind if we were to indulge in some.”

Tony grinned at her. He still wasn’t entirely certain whether she really liked Stark Raving Hazelnuts, or if it was because she felt that choosing Stark Raving Hazelnuts was a sign of loyalty—and Nebula was nothing if not loyal—and refused to try anything else. “Stark Raving Hazelnuts it is.” And he supposed he could pick up some Hunka Hulk of Burning Fudge for Stephen’s sake.

The traitor.

They got Nebula suited up in a photostatic mask and glove set before heading out. The drive from the compound to the city wasn’t too long and Nebula spent most of the time factually relaying her adventures since the last time she had visited and texting with Stephen and Peter on his phone to finalize their plans.

They made several stops to gather the requisite food before Tony took them to Central Park.

Both Peter and Stephen were already there sitting on a blanket that Peter had brought, when he and Nebula arrived at the spot they’d ended up agreeing to.

Peter proved his priorities by grabbing the bags of food and setting it on the blanket, plopping down and immediately starting to divvy up the food. 

Tony rolled his eyes while Stephen stood, stepping close and pressing a quick kiss to Tony’s lips. Nebula and Peter made a simultaneous disgusted noise as though he and Stephen had started making out in front of them. Tony considered flipping them off, but then decided it was probably not a good idea to set a bad example for Peter and the gesture would be lost on Nebula anyways.

He stepped away from Stephen and grinned up at his sort of, kind of boyfriend.

Stephen smiled back at him.

“Food,” Peter called out, interrupting the moment. “And I’m starving, so if you don’t sit down and eat I’m stealing your food too.”

“I brought enough for even you,” Tony said. Still, he and Stephen both sat down and grabbed their plates and hamburgers.

Tony looked around at the group and their spontaneous picnic, Peter hoarding the food, Nebula examining everything with her careful scrutinization, Stephen sending a knowing smile in his direction.

Huh.

Kinda perfect.

[askshivanulegacy]

The "child" in the womb belongs to the mother. It's literally part of the mother's body. Because all people inherently have full autonomy over their bodies, she gets to decide everything that happens to her. It's not the federal or state government's business or choice.

The mother makes an enormous health and life-impacting sacrifice to birth a child. It's the level of bodily trauma that you simply cannot force a person to undergo unwillingly. Only the person in question can make that choice. Just like you can't order a person to experience torture to save another person's life, you can't force a mother to give birth if she decides it's not for her. Only she gets to choose. Life isn't a movie and she's not obligated to be a hero.

It's that simple.

You can go ahead and believe that it's "morally wrong." Your beliefs are up to you. But they also don't play a role. She can still do what she wants. It can be "wrong" (to you) and she can do it anyway.

She can do it out of fear if she wants. I would not consent to life-altering torture to save someone I don't know. That sounds horrible! No way. Yes, I would be afraid. So what? I'm allowed to be afraid, just like I'm allowed to do whatever I want to my body for whatever reason.

That inherent right exists and it doesn't matter what anyone thinks about it. You can have your opinion, and it doesn't change anything.

But also, your "statistics" on the "vast majority of women being afraid or greedy" are wrong.

And also, it wouldn't matter if they were correct.

Bodily autonomy is independent of and agnostic from morality. Morality does not apply, least of all from some random person. What's right and wrong is up to the one person involved, which is the mother.

No one needs to sacrifice their health and well-being for another person. Not even a child! That child is not more important and does not have more rights than a fully developed and accomplished adult. If anything, the adult is worth more because more has been invested into them to make them into the incredibly worthwhile and valuable life they are today.

You don't sacrifice that for something undeveloped.

But you know, if the father still wants the child, he can have it. It'll be up to him to figure out how to keep growing the clump of cells, but that's not the mother's problem when she's withdrawn her consent.

Here’s the thing I think conservatives don’t understand: I don’t care what someone else does with their own body.

You wanna get surgery or take medication to make you look a certain way? Okay. I don’t care

You wanna ctrl+alt+delete that clump of cells in your uterus. Sure. I don’t care.

You wanna use meds to block a natural aspect of your body’s system? Alright by me. I. Don’t. Care.

I don’t care because it’s not my body

“But what if they regret it?” So? Let them regret it. That’s their choice to live with.

“But what if that baby would have grown up to cure cancer?” Kinda short sighted on God’s part to only put that potential in one baby, yeah? (Also … you can’t cure cancer, but that’s a level of nuance for a different time)

“But what if they want to use that function in the future?” Funny thing about meds: you can just stop fucking taking them and things usually go back to normal.

I DON’T CARE WHAT ANOTHER HUMAN BEING DOES WITH THEIR OWN BODY! I don’t care 🤷‍♀️ it’s not my body so why should I have a say in it?

The choice is not “being left up to the states instead of the federal government”, it’s that the choice is being taken away from individuals.

Why the fuck to they care so much what other people do with their own shit??

[yeonbam]

jack and joke are soulmates in a way that is so exclusive yet contradictory to each other. it's the way no one can understand them like each other and the way no one can misunderstand them like each other. they know exactly what the other needs, at the same time they don't know how to be what the other needs. Both of them know their shortcomings, neither believe they're perfect. And each hurt they cause the other is a miscalculated one yet inflicted with awareness, each wound they heal for the other is the exact way the other wants it to be healed.

Choosing to open up to Jack about what he did at the hospital of all places was an act of driving a double-ended sword. As he stabs himself, he stabs jack too— only strangers stab you in the back, Joke stabs Jack in the front; jack saw it coming and he didn't at the same time. Joke's self destructive tendencies, his inability to forgive himself, makes him develop trust issues that prevent him from opening up and this indirectly sabotages the relationship before it starts.

As ama puts it, he trades Jack's freedom for never getting to see him again. the understanding of hurt inflicted is lodged within it. Jack never wanted to have his freedom stolen back without his knowledge. The culmination of all the stress and trauma and information he recieves in half a day leads to his outburst— to ask joke to never show his face again; this was the only way he could return the pain and inflict it on himself at the same time— by isolating (and he not only isolated from Joke but from his friends, only choosing to act with Save). Joke took his word for it this time because he loves Jack more than he did the first time they met, he believes himself to be the thorn in every relationship because all his solutions involve stealing— the one thing Jack asked him to stop doing.

both of them are traumatised and emotionally unstable due to what happened in the span of literally a day. Joke is so consumed by his guilt, he only wants to hurt himself thinking it will fix everything, Jack is so consumed by his pain he too goes to literally hurt himself in the hands of Boss' men thinking violence will give him answers as to why his life just turned upside down. And that moment between the life-and-death of their relationship, at the hospital, their pains gave rise to the worst possible misunderstanding for the moment. Jack's feeling of betrayal and saying things he doesn't mean, Joke's all-consuming guilt and not giving Jack the full story.

[usafphantom2]

The YF-12 Blackbird

On the other side of Edwards Air Force Base (AFB), the YF-12 Blackbird kept its secrets near and dear. The YF-12 was a variant of the A-12 with a backseat for the missile launch controller.

The YF-12s took the seventh through ninth slots on the A-12 assembly line; these were designated as YF-12A high-altitude, Mach 3 interceptor.

The main changes involved modifying the A-12’s nose by cutting back the chines to accommodate the huge Hughes AN/ASG-18 fire-control radar initially developed for the XF-108 with two infrared search and track sensors embedded in the chine leading edge, and the addition of the second cockpit for a crew member to operate the fire control radar for the air-to-air missile system. This airframe could easily fly Mach 3.

North American Aviation had built the first Mach 3 bomber (although the six-engine..

Valkyrie could only dash to Mach 3 🌟

:due to aero heating and not cruising at that speed) and their public relations firm was advertising every place they could about how their airplane could fly higher and faster than anyone could before.

As told by Donn A. Byrnes and Kenneth D. Hurley in their book Blackbird Rising: Birth of an Aviation Legend, they were both being tested at Edwards AFB at the same time, so naturally, they hung out at the same bar after work. One of the local watering holes was called Hernandez Hideaway.

Mach 3 rivalry

YF-12 test pilots, often flew at Mach 3 more often than the XB-70 would do in a lifetime. Jim Eastham had just about enough of the bragging he heard daily about the XB-70. Eastham was a Lockheed test pilot who had already flown the A-12 and was now flying the YF-12.

One evening at the bar Al White of the XB-70 program was raving about his high Mach numbers when Eastham couldn’t stand it any longer. He turned to White and said, “Al, we do more Mach 3 time in a single YF-12 mission than you guys have flown in your entire program” Al looked at Jim, and without missing a beat, he said, “yes that’s true, Jim, but we lose pieces that are bigger than what you fly!!

The XB-70 was an extremely large airframe; the YF-12 was not a small airframe, being 107 feet long. But if you compared the two, the Blackbird looked small. The YF 12 looks small, but it could fly at Mach 3+ all day long as long as it had the fuel.😎

Photo credit: U.S. Air Force and Peter Chilelli

@Habubrats71 via X

[chaifootsteps]

Hiya! If you don't mind a little bit of Hazbin-themed venting, I've got something I'd like to get of my chest, if that's alright!

I'll start this by saying that I'm...uh, well, a decently competent artist. The sort that can land some goofy roles here and there, those entirely irrelevant to this ask. Saying this not to brag, of course, but just to illustrate that I have spent years on my craft and take it very, very seriously!

My art has always generally leaned a certain direction, and that direction has overlap with VivziePop's art style, incidentally. I've never taken inspiration from her—my inspirations can be sourced elsewhere—and my artistic journey has not involved her whatsoever. Regardless, in real life, in the past recent years, people have repeatedly compared my art to Hazbin Hotel. Over, and over, and over. When the show came out, those comparisons ramped up, and I feel like by pure misfortune I have this shadow casted on me, as if I owe all that I've worked for to a coincidence.

I don't know. There's no real way for me to prove that I 100% did not take after Vivzie since I don't really have the Internet footprint for it. My friends and loved ones can attest to my work being my own, but...there's nothing I can do. People look at me and see someone else now. I've had comparisons before, but nothing like this. I consider art ultimately as an expression of the self, and to know that others hear a voice that's not my own is nothing short of distressing.

I would like to post my work online, and I'm itching to (if the dice rolls well on it) make my own cartoon, but I kinda sorta fear that those Hazbin comments'll end up dominating the space and, uh, I admit I don't trust the Hazbin Hotel fandom to be nice about it.

I'm considering the idea of changing my art to escape all the comparisons, but I also hate the idea of changing myself over something vain and, really, so, so dumb. I like my art. I think it's different, and I think it's me. It works for what it's meant to do! I just...wish other people could see that, y'know?

I've developed a sort of embarrassment over work that I've been chipping away at for over a decade because of this, and I find myself demoralized over making and showing art knowing exactly how other people are going to percieve it. I'll for sure still do what I do, but I find myself at a low point, and I felt the need to yell it out there. I'd be more than happy to welcome any advice on how to tackle this issue!

Trust me, Anon, you're far from the only artist who's run into this problem. You'd be surprised how often it comes up.

I think you've got to just do your own thing, even if some of the comments make you develop an eye twitch. There will always be people who see your hard work and unique style for what it is, and you can't hold back your talents just because Vivienne Medrano happens to be dooking up the Earth. The world needs more artists and more stories!

[moonyasnow]

Ok I'm making a change to Veronica's backstory

You know her teacher Miss Averesch? The human teacher who taught her how to control her temper better (at least with her friends) and was the closest thing she ever had to a mother(that she can remember)?

I've decided that instead of just leaving, Miss Averesch was killed by someone. Specifically in a hate-crime against humans in Briar Valley.

And some other students (whom she'd been friends with and was on good terms with) ended up also being killed, for being witnesses.

Veronica wasn't there because she was away running an errand for Miss Averesch.

Here's the new version:

Miss Averesch actually taught a class for students where no magic teaching was involved. It was meant for magicless students like Veronica (of which there were very few) or other students who had good enough grades to get into the school, but not the magical aptitude recquired. A 'general studies' class, basically.

Though one day at the age of 13 in the middle of a lesson, a man living nearby who was very against a human teaching at one of the best school's in Briar Valley, holding a great grudge due to having lost people dear to him at the hands of humans, snuck into the school to kill Averesch. And as the rest of her class was there...well, he wanted no witnesses.

At the time, Veronica was in the city, getting a few materials Miss Averesch had asked someone to buy. And being her little helper, Veronica volunteered.

When she came back to the school, the building her class was supposed to be in was dead quiet. No one answered when she called out that she was back and apologized for taking so long— she got a little distracted looking at some pretty fabric. Then when she went towards the classroom, the door was open, which was unusual, since Miss Averesch liked to always keep it closed during lessons.

When she went closer and saw a drop of dark red on the floor, the panic set in.

She was afraid to go into the classroom.

But she did anyway.

The scream she let out alerted nearby authorities.

She developed a lot of survivor's guilt after this incident, since she was the only one who survived. She also feels guilty about not being able to do anything, and feels like it's her fault for not being there, that she might have been able to prevent their deaths. She was the only one among them who had any experience with a weapon, and she'd even said that she'd try to protect the others if it was ever necessary, but she couldn't do anything.

She often asks herself what would have happened if she hadn't volunteered to go purchase those supplies, or if she'd gotten back just a little bit earlier.

And all other teachers at the school, including the new teacher of her class, looking down at her for being a magicless half-fae, Veronica knowing they thought she would never be anywhere near as good as the other students at said school, meant that now more than ever, she had something to prove.

This was actually the original version of her backstory— I just changed it because I thought it might be too edgy. But I've realized that, her once again failing to protect people she cared about and had even promised she'd protect, and how it impacted her ability to trust people, how it added to her protective side, and gave her survivor's guilt, is a vital part of her backstory.

She's just not the same without it.

So uh yeah!

I'm changing her backstory! And I'm gonna update Veronica's Showcase post to include that

Tag list: @another-random-paradise @thehollowwriter @faefum @cactus13-rolloflammesimp @beneathsakurashade

@nyx-of-night @theolivetree123 @babyghoul138 @skibidibabygirl @screamintoad

[fiona-fififi]

I think the thing that bothers me most about this is that it doesn't fix anything. Being closer doesn't mean a single thing if Christopher is still living with his grandparents. Being closer doesn't mean they'll share things with him or keep him informed. They've spent months actively cutting Eddie out of Christopher’s life. Because okay, yeah, Chris didn't want to talk. That doesn't mean Helena and Ramon didn't have a responsibility to keep Eddie informed of all developments in Christopher’s life. Even if Christopher had a problem with it, they did not have the right to keep that information from Eddie, and Christopher didn't have a problem with it, because he's the one keeping Eddie informed in the end.

Moving closer but still allowing Christopher to live with his grandparents does not change who holds the power in the current situation, and it does not imply Eddie will be given any greater say or any greater involvement.

All this is likely to do is help uncover just how manipulative and controlling Helena and Ramon really are. Which might make for an interesting storyline.

But jesus christ, Eddie. Put a stop to this. Bring your son home.

The fact that he's happy there in the moment doesn't mean he wasn't happy in L.A. Nor does it even mean he is happier. He is a 14-year-old making the most out of a new situation and trying out new things, just as he would be if he were at home where he belongs.

Just bring him home, Eddie.