#they're doing it because money

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[saltpepperbeard]

gnawing on my arm because i think there's something to be said about how stede not only dreams about himself with a beard, but ed with his full beard back too. like, the dream seems to be riddled with imagery that he thinks ed would want.

and i say this especially because of how stede reacted when ed had to shave his beard. he freaked out on his behalf. he shrieked in horror whereas ed was entirely unbothered. he feared he had ruined him, had dragged him down to some despicable level, when in actuality, ed was completely content to shed that part of his persona.

and then there he is dreaming about ed with that part right on back.

so there's very clearly still a part of his mind that's convinced that's what ed wants. because why wouldn't he? everyone else seems to. and why would he want the softness and femininity stede had been bullied for his entire life?

which in turn plays into his own imagery too. bearded, masculine, fiercesome, rugged...

because how could someone love what everyone has hated him for? how could someone want what everyone has tried to quite literally beat out of him?

[yuwuta]

PLS PLS PLSSSSS keep talking about kids with olympic athletes! gojo and nanami pls pls pls i have to Know. everything u wrote about yuuta was already so so cute

(prev olympics au here)

the gojo twins are hilarious because your baby boy looks exactly like satoru, but has very little of his personality—it seems like the only things he inherited was satoru’s love for sweets and love for you. still, even though he’s a strong swimmer, he much prefers to relax in his floaties alongside you if you’re also in the pool, or chill by your side on a lounge chair, glasses too big for his face keeping the sun out of his eyes as he shares his smoothie with you, and asks to borrow your phone to take pictures of his sister and daddy in the pool. 

your baby girl on the other hand… she might have your face but she’s got satoru’s everything else—his competitive streak, his confidence, and definitely his mischievous nature. she’s the one who tiptoes into your bedroom at five in the morning, tapping at her daddy’s shoulders, and putting her little finger over his lip to shush him before he can wake you up; she’s always the one to convince satoru to take her swimming the backyard at the crack of dawn, and why by the time you and your baby boy wake up, she and satoru are already past warm up laps and swimming lessons and onto who can make the splashiest canonball competitions (she always wins because while her tiny body can endure a belly flop, satoru’s years of training physically doesn’t allow him to do it… and maybe because he’s not so competitive when it comes to his baby girl, he’ll always let her win). 

kento’s professional judo career honestly doesn’t last very long. after his first olympic games, you two start dating and he proposes just after he wins gold the second time he’s in the olympics; he does maybe two more years of national competitions while you’re pregnant, and decides that the intense training for the next two years in preparation of a third olympic competition isn’t worth missing time he could spend with you or your baby girl—plus, with all the money he’s made from competitions, winning gold medals, brand ambassadorships, commercials, and collaborations, he had enough money to provide for all of your for the rest of your lives. so, that’s what he does (his dream has always been to be a househusband, anyway...) his previous salaryman career comes in handy when deciding how to invest his money, how to buy a house, how to take care of his friends, how to set up a fund for your daughter, and an extra account or two… just incase more babies come along… 

by the time your baby girl is four, she’s already kento’s biggest fan. she loudly and proudly proclaims to everybody that her daddy was basically superman and won all the shiny trophies and medals in the house from when he was being a superhero. if anyone recognizes kento when they’re out together, she always confirms their suspicions, proudly boasting, “yeah kento is my daddy! he’s a winner!” it always makes kento’s heart swell to hear her praise. he doesn’t compete professionally anymore, but he does train from time to time, and has taken on a few mentees, and your daughter LOVES to watch him coach/train. she’s got her own uniform that she always puts on whenever they go to the gym together, and gets so excited when kento or ino or yuuji pretend to spar with her. 

she’s honestly kento’s mini figure. she’s respectful and reserved, but strong and knows when to fight and how to use her voice. there’s a time when he gets a call from her school saying that she got in a fight, the principal frames it as your daughter needlessly pushing around an older kid, but your daughter is certain in her words when she tells her dad that it was because the kid was being mean to the younger kids, and to her. kento doesn’t say a word to the teachers—doesn’t even fight them sending her home early for the day, because he’s happy to scoop her up and take her out for ice cream and tell her that he’s proud of her.

[3liza]

a looooooooooot of American leftist perspective on what is good or possible with basic policy about land use, recycling, public transit etc is so fucked up purely because we are completely unaware that much of Europe has been doing stuff we consider pie in the sky laughable dreamerism (like effectively and safely going home from shift work or from a nightclub at 3am on the subway, or recycling anything instead of strip mining a mountain every time we need to bottle beer, or turning vacant office buildings into apartments, etc) for decades or centuries.

you do not find out about it unless you're fortunate enough to visit and stay long enough to actually interact with the infrastructure, not just as a tourist, because likewise the Europeans just assume we can take buses everywhere or get 25¢ for a beer bottle and simply choose to live in suffering and profligacy out of simple American degenerate preference for driving cars and smashing bottles until an American tells them exactly how bad everything is here, which they can hardly believe

[alighterwithlove]

if you talk to the average conservative voter, they'll always talk about their conservative representative with unabashed enthusiasm. "this guy is supporting my rights!!!!!" even when the representative is very much not supporting their voting constituents' rights in some cases (ie. poor white ppl not realizing they're getting poorer because of their representative)

and I bet that's why conservative candidates are so good at winning. any person listening to their voters only gets a great impression of the candidate.

and if you talk to the average liberal/leftist voter, they all hem and haw. "oh yeah, I voted for them but they're Okay, they're Disappointing. they haven't done this. they haven't done that." and I bet if you fucking pressed them to state some Good Beneficial Legislation they've passed, either the voter 1. can't name any, or 2. has to attach caveats. ("yeah biden passed student loan forgiveness BUT not ALL loans were forgiven")

why aren't we ever excited about incremental progress. why aren't we cheering to the sky about every win. maybe more people would vote if there was genuine excitement, the same type of excitement that conservative voters seem to have about anything labeled "conservative".

I'm just so fucking tired of hearing ppl be like "I'm just disillusioned with my leftist representative" EVERY TIME but are DEAD SILENT on the small victories, the progress. conservatives know how to do this, and that's why they build momentum into the next election. why does this seem impossible for the other side.

[wiisagi-maiingan]

I'm gonna be straight with you all, I really don't know how people think that all the fundraiser messages flooding people's notes rn are real and not scams when I just got randomly @'ed by a supposed person looking for help in the replies of someone else's post.

I get that people want very desperately to help, but when the "fundraisers" use blatant scambot techniques for everything they do, at some point you've gotta accept that it's because they're scambots.

[gingermintpepper]

As usual I read your tags always and so you said Apollo did not ask for resurrection of Asclepius and Hyacinthus so i just wanted to share this. About Asclepius death I read it on theoi.com, that earlier authors don't make him resurrect as a god but that's a later development mentioned only by Roman authors like Cicero, Hyginus and Ovid. But still Apollo has a role in Ovid's version

Ovid, Fasti 6. 735 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) : Clymenus [Haides] and Clotho resent the threads of life respun and death's royal rights diminished. Jove [Zeus] feared the precedent and aimed his thunderbolt at the man who employed excessive art. Phoebus [Apollon], you whined. He is a god; smile at your father, who, for your sake, undoes his prohibitions [i.e. when he obtains immortality for Asklepios].

So here it is actually because of Apollo the decision was taken to resurrect him as god. And with Hyacinthus, I don't think I've read about Artemis playing the primary role. I know in Sparta there was a picture of Artemis, Athena and Aphrodite carrying Hyacinthus and his sister to heaven.

This is not on theoi.com but I saw on Tumblr it's from Dionysiaca by Nonnus

Second, my lord Oiagros wove a winding lay, as the father of Orpheus who has the Muse his boon companion. Only a couple of verses he sang, a ditty of Phoibos, clearspoken in few words after some Amyclaian style: Apollo brought to life again his longhaired Hyacinthos: Staphylos will be made to live for aye by Dionysos.

So since he is singing inspired by amyclean stories it probably means in that place it was believed Apollo was the one to bring back his lover to life.

Apollo as god of order was very important so i think it shows how special these people (and admetus too) were to him that he decided to go against the order for them 🥺

ANON!! Shakes you like a bottle of ramune!! BELOVED ANON!!!!! I'm littering your face with kisses, I'm anointing you with olive oil and honey - you absolutely made my night with this because, not only did I get the pure serotonin shot of having someone interact with my tags (yippee, wahoo!!) I also got to have that wonderful feeling of "oh wow, have I misunderstood something that was integral to my understanding of this myth/figure this whole time or is this a case of interpretational differences?" which is imo vital for my aims and interests as someone who enjoys mythological content and literature.

I'll preface my response with this: Hyacinthus is by far the hardest of these to get accounts for because his revival itself, as you very astutely point out, is generally accounted for in painting/ritual format which muddies the waters on who interceded for what. I wasn't actually familiar with that passage from the Argonautica - and certainly didn't remember it so thank you very much for bringing it to my attention!

That said, what I've come to understand, both about Hyacinthus and about Asclepius is that in the accounts of their deaths, Apollo's position is startlingly clear.

For Hyacinthus, it is established time and again that Apollo would have sacrificed everything for him - his status, his power, his very own immortality and divinity. Ovid writes that Apollo would have installed him as a god if only he had the time:

(Ovid. Metamorphoses. Book X. trans. Johnston)

Many other writers too speak of how Apollo abandoned his lyre and his seat at Delphi to spend his days with Hyacinthus, but they also all agree that when it came to his death - he was powerless. Ovid gives that graphic account of Apollo's desperation as he tries all his healing arts to save him to no avail:

(Ovid, Metamorphoses Book X. Apollo me boy, methinks him dead. trans Johnston)

Bion, in one of his fragments, writes that Apollo was "dumb" upon seeing Hyacinthus' agony:

(Bion, The Bucolic Poets. Fragment XI. trans Edmonds)

Even Nonnus in the Dionysiaca speaks constantly of Apollo's helplessness in the face of Hyacinthus' fate where he writes that the god still shivers if a westward wind blows upon an iris:

and when Zephyros breathed through the flowery garden, Apollo turned a quick eye upon his young darling, his yearning never satisfied; if he saw the plant beaten by the breezes, he remembered the quoit, and trembled for fear the wind, so jealous once about the boy, might hate him even in a leaf...

(Nonnus, Dionysiaca, Book 3. trans Rouse)

And the point here is just that - Apollo, at least as far as I've read, cannot avert someone's death. He simply can't. Once they're already dead - once Fate has cut their string - all Apollo's power is gone and he can do nothing no matter how much he wants to. And this is, as far as I know, supported with the accounts of Asclepius as well!

Since you specifically brought up Ovid's account, I'll also stick only to Ovid's account but in Metamorphoses when we get Ovid's version of Coronis' demise, he writes that Apollo intensely and immediately regrets slaughtering Coronis. He regrets it so intensely that he, like he does with Hyacinthus, does his best to resuscitate her:

(Ovid, Metamorphoses Book Two. Apollo's regret)

And like Hyacinthus, when it becomes clear that what has happened cannot be undone, Apollo wails:

(Ovid, Metamorphoses Book Two. Apollo wept.)

Unlike his mother, Asclepius in her womb had not yet died and so, with the last of Apollo's strength, he does manage, at least, to save him.

(Ovid, Metamorphoses Book Two. Apollo puts the 'tearing out' in Asclepius.)

But it goes further than even that because Ocyrhoe, Chiron's daughter, a prophetess who unduly gained the ability to directly proclaim the secrets of the Fates, upon seeing the baby Asclepius, immediately prophesies his glory, his inevitable death and then his fated ascension:

(Ovid. Metamorphoses, Book Two. Ocyrhoe's prophecy. trans Johnston)

Before she too succumbs to her hubris and is transformed by the Fates into a horse so she can no longer speak secrets that aren't hers to share.

These things ultimately are important because it establishes two very important things: 1) Apollo can't do anything in the face of the ultimate Fate of mortals, which is, of course, death and 2) even when Apollo is Actively Devastated, regretful, yearning, mournful, guilty or some unholy combination of all of the above, when someone is dead, he accepts that they are gone. Even if he is devastated by it, even if he'll cry all the rest of his days about it - if they're dead? Apollo lets them go. In Fasti, when Zeus brings Asclepius back, he does not say Apollo asked him to - Zeus, or well, in this case Jove, brings Asclepius back because he wants Apollo to stop being mad at him.

(Ovid, Fasti VI. Apollo please come home your father misses you. trans. A.S Kline)

Even Boyle's translation which you used above in your findings hints that Zeus made Asclepius a god because he wanted Apollo to stop grieving. (i.e 'smile at your father', 'for your sake [he] undoes his prohibitions')

And like, Apollo was deeply upset by Asclepius' death - apart from killing the Cyclops in anger, in book 4 of the Argonautica, Apollonius writes that the Celts believe the stream of Eridanus to be the tears Apollo shed over the death of Asclepius when he left for Hyperborea after being chastised by Zeus for killing his Cyclops:

But the Celts have attached this story to them, that these are the tears of Leto's son, Apollo, that are borne along by the eddies, the countless tears that he shed aforetime when he came to the sacred race of the Hyperboreans and left shining heaven at the chiding of his father, being in wrath concerning his son whom divine Coronis bare in bright Lacereia at the mouth of Amyrus.

It all paints a very clear picture to me. Apollo did not ask for either of them to be brought back. Though bringing them back certainly pleased and delighted him, they are actions of other gods who are moved by Apollo's grief and mourning and seek to mollify him. Him not asking doesn't mean he didn't want them back which I think is a very important distinction by the by, but it simply means that Apollo knows the natural order of things and, even if it hurts, he isn't going to press his luck about it.

Which, of course, brings us to Admetus. And I'm really not going to overcomplicate this, Admetus is different because, very vitally, Admetus is not dead. Apollo can't do a thing once Fate has been carried out and Death has claimed a mortal but you know what he absolutely can do? Bargain like hell with the Fates before that point of inevitability. And that's what he does, ultimately for Admetus and Alcestis. He sought to prolong Admetus' life, not revive him from death or absolve him from death altogether and even after getting the Fates drunk, he's still only able to organise a sacrifice - a life for a life - something completely contingent on whether some other mortal would be willing to die in Admetus' place and not at all controllable by Apollo's own power.

All of these things, I think come back to that point you made - that Apollo's place as a god of order is very important and therefore these people are very special to him if it means he's willing to go against that order but, I also wish to challenge that opinion if you'd let me. Apollo's place as a god of order is very important and therefore, I would argue, that it is even more important that it is shown that he does not break the divine order, especially for the people that mean the most to him. The original context of my comments which started this conversation were on this lovely, lovely post by @hyacinthusmemorial which contemplated upon Asclepius from the perspective of an Emergency Medical personnel and included, in their tags, the very poignant lines "there's something about Apollo letting go when Asclepius couldn't that eats my heart away" and "you do what you can, you do your best, but you don't ever reach too far" and I think that's perfectly embodied with the Apollo-Asclepius dichotomy. Apollo grieves. He wails, he cries, he does his best each and every time to save that which is precious to him but he does not curse their nature, he does not resent that they are human and ultimately, he accepts that that which is mortal must inevitably die. There is nothing that so saliently proves that those who uphold rules are also their most staunch followers - if Apollo wants to delight in his place as Fate's mouthpiece, he cannot undo Fate. And, if even the god of healing and order himself cannot undo death, what right does Asclepius, mortal as he is, talented as he is, have to disrespect it?

The beauty of these stories isn't that Apollo loved them enough to bring them back. The beauty is that Apollo loved them enough to let them go.

[plushie-lovey]

FINALLY!! At long last, I've gotten my hands on a Pumpkin Kitty, after a whole year of wanting and waiting.

Her name is Latte! (Short for Miss Pumpkin Spice Latte) You can also call her Miss Spice!

[icewindandboringhorror]

Some fantasy traveler inventory details (like what they would carry in their bags), based on two of the recent costumes I did.. love finding random little scraps and items and putting them together lol

[keekeenuggets]

We don't talk enough about how well ALL of the Vees know and care about each other so much, like--

We first see them when Velvette is calling Vox about Val being upset in ep 2, but there's no way he would have asked for the help himself. Like he's not gonna be like "hey get Vox for me I need him" because that seems too vulnerable, BUT he was expecting Vox to come.

He literally says "Fuckin' finally!"

Which would either mean that Velvette told him Vox is on his way, OR Val knew Velvette would tell Vox to come. (It is possible he expected it because of the cameras, but Vox didn't seem to know Val was throwing a tantrum until Velvette called him, and Vox's plan for the day seemed to involve multiple meetings, so I don't think he watches the cameras often enough for that.)

Also Velvette knew how to calm Valentino down. She was busy with a fashion show and needed to focus on that, and she was mad that Val was wrecking her shit, but even after he was out of her hair and not a problem to her, she repeated to Vox that he needs to go take care of Val.

"Take care of the piss baby!"

I 100% believe she could have done it herself (she probably did partly?? considering he stopped the tantrum and was in his room before Vox got there-- unless her telling Val that Vox was on his way was what did it, but that would still be something she knew to do), but she had a show to run. Still, she wasn't going to leave Val alone to be moping around.

Also the fact Valentino seems to have some level of control over his smoke implies he wanted to be dramatic as fuck or wanted to hide himself and sat in a cloud of smoke on purpose.

Vox obviously knows how to talk Val out of shit, and canon makes it more clear that he understands Val well.

But overall there's obvious intimacy between all three of the Vees in that they care for each other and know exactly what's needed and/or what will happen in situations like that.

[iliothermia]

Packages are a bit late to go out because someone stole my debit card a few days ago and things that ran out require a card 😭 that's why there's no shop update today too. The person is still shamelessly trying to use it on everything they can but thankfully I got my money back and it's cancelled. They also stole my brand new arcade card, the only thing I really allow myself to enjoy without worrying.. I hope they win nothing

I'm expecting things to go out normally by next week!! But I'm working on packing what I can so they'll go out immediately after that.

[toss-a-coin-to-your-stan-account]

in todays news of asinine bullshit discourse on tiktok: apparently there's a hot debate over whether or not you're entitled to nice greetings and conversations with cashiers/retail workers. and. now here's the kicker. whether or not thinking no one's entitled to the pleasantries of an overworked exhausted employee is counterintuitive to the idea of a "third space". yes this is real life

[softpine]

idk why this made me laugh so hard to see all these greyed out worlds but if EA had a competent marketing team they would've sent them all the packs for free as soon as they announced the gaming channel was coming back

[pagesofkenna]

it's basically the same explanation as in the manga, but the anime has made it easier for me to understand what Kabru's beef is with the Touden siblings, and I think that explanation was really well done

[thisisntreaver]

Listen I just KNOW Sparrow was pissing the preexisting nobility off when they became ruler

I mean first off a former poor person raised in a dweller camp after spending over a year living as a street urchin? Someone who has become a champion of the people by being with the people? Who prefers not to be drapped in the beautiful silks and jewels as the rest of them? Who has drastic changes done to the castle and the gardens they all hang out in? If Sparrow supported Belle they probably hate them for that, and Sparrow is also likely how Reaver got any foothold in Bowerstonian society, I can't imagine the other uber wealthy being keen to welcome a pirate into the fold. Imagine being on of them and hearing that he's got an actual title now and is apart of Sparros advisory team. Non of the actual nobility seem to be, because Walter is implied to have also been on their team and he doesn't seem particularly rich. Also Logan an HOBW? I feel either way you go, a married Sparrow, or a Sparrow thats no married but has children, they'd find a reason to be upset. Be it because the spouse isn't one of them, or because they view the kids as bastards.

And they can't even DO anything, because the reason Sparrows in charge is because enough people do like them, ans also they're like a one person army. The rich are fuming and everyon else is straight vibing

[aparticularbandit]

When the Rio leaks (re: her relationship with Agatha) dropped, I didn't believe them because I didn't think a Disney-run Marvel would allow for that.

However, in conversations regarding when the MCU might actually the queer, I considered Agatha a possibility - in part because of Kathryn Hahn, but in part because of something else.

In the grand scheme of things, Agatha doesn't matter.

Now, let me explain that, because I love Agatha and I'm loving the show. I don't really think she doesn't matter but—

-sighs-

Agatha Harkness was only supposed to be in WandaVision. She was not intended to have her own show, she was not intended to have multiple appearances, she was not intended to necessarily show up again.

Agatha Harkness gained her own show on the basis of Jac's writing, Kathryn's performance, and the fans' reaction to her.

But Agatha does not matter to the grand scheme of whatever is happening in this saga of the Marvel Cinematic Universe. If she was, Kathryn would have been signed on for multiple things when she signed on as Agatha the first time, Jac would have known early on that she would be continuing Agatha later, etc. etc.

What this means is that a Disney-run Marvel could use Agatha's show as a testing ground for all of the queer.

It's an indicator of what the average viewer wants and enjoys.

If it does well, then the Disney/Marvel conglomerate can feel more assured about future queer content (particularly when it comes to characters like Billy and Teddy and America).

If it does NOT do well, then Agatha and all of the characters herein (minus Billy and Teddy) can be written off because they don't need them for anything in the future anyway. They're just here because the fans loved Agatha and WandaVision. They don't matter.

And it does feel very much like that's what they're doing with Agatha All Along. They gave Jac more leeway to write a queer story, and she's hitting it out of the park, as are each of the actors portraying their characters. They're doing SUCH a good job.

But this really is about audience perception.

So I hope that the show does well for more than just us queers here on tumblr.com.

(And I honestly don't know how to gauge that.)