#this is not a failure but a part of the process

[associatedwithpumpkin]

So Let’s Talk…

For many adults, the mere sight of a pile of dirty dishes can trigger memories of their childhood trauma, leading to feelings of anxiety, shame, or worthlessness. Even if they have the skills to complete the task, their emotional landscape can create barriers that hinder their ability to follow through. This struggle can feel isolating, as it may not be readily apparent to others why a seemingly straightforward household chore can provoke such intense feelings.

The journey of healing from an abusive childhood is complex and often filled with setbacks. It involves unlearning negative thought patterns, building self-esteem, and developing the ability to advocate for oneself. For adults who experienced this kind of upbringing, simply knowing how to do the dishes isn’t enough; they may need to navigate their emotional responses to the task first.

To foster a healthier relationship with chores for all children, it’s essential to teach them in a supportive and encouraging environment. Here are some key approaches:

1. **Model Positivity**: Adults should model a positive attitude towards chores by showing that they can be a part of daily life. Use language that frames chores as a shared responsibility rather than a burden.

2. **Encourage Autonomy**: Allow children, regardless of gender, to take ownership of their tasks. Instead of enforcing chores through punishment, help them understand the importance of contributing to a communal space.

3. **Provide Guidance**: Teach children how to do chores by guiding them through the process rather than forcing them. For example, you can turn washing dishes into a fun activity by making it a game or incorporating music.

4. **Normalize Mistakes**: Make it clear that making mistakes is part of learning. This helps children develop resilience and reduces the fear of failure that can stem from abusive environments.

5. **Open Communication**: Encourage children to express their feelings about chores. If they’re feeling overwhelmed or frustrated, creating a safe space for those emotions can help them articulate their needs and develop healthier coping mechanisms.

6. **Celebrate Achievements**: Recognize and celebrate the completion of chores, no matter how small. Acknowledging their efforts can boost their confidence and reinforce positive behaviors.

7. **Teach Life Skills**: Emphasize that chores are essential life skills that contribute to a healthy lifestyle. This includes teaching the benefits of maintaining a clean space for mental and physical well-being.

By using these approaches, we can help children build a healthier relationship with chores, reducing the likelihood of trauma manifesting in adulthood. The goal is to create a nurturing environment that fosters independence, self-worth, and emotional regulation, empowering individuals to tackle daily tasks without the weight of past trauma.

When it comes to teaching children about chores and responsibilities, especially in sensitive contexts where trauma may be a concern, there are critical practices to avoid to prevent further traumatization. Here’s what NOT to do:

1. **Do Not Use Fear as a Motivator**: Avoid threatening or instilling fear as a way to get children to do their chores. This can create anxiety and reinforce negative associations with responsibilities.

2. **Do Not Yell or Berate**: Refrain from raising your voice or using harsh words when a child does not complete a chore. This can be emotionally damaging and may trigger past trauma.

3. **Do Not Punish for Mistakes**: Making mistakes is part of the learning process. Avoid punishing children for errors in completing chores, as this can lead to shame and fear of trying again.

4. **Do Not Dismiss Their Feelings**: If a child expresses fear, anxiety, or frustration about chores, do not minimize their feelings. Acknowledge and validate their emotions, showing understanding and support.

5. **Do Not Overwhelm Them**: Assigning too many or overly complex tasks can lead to feelings of being overwhelmed. Keep chores age-appropriate and manageable to help them feel successful.

6. **Do Not Compare to Others**: Avoid comparing a child's efforts to those of their peers or siblings. This can create feelings of inadequacy and pressure, making them reluctant to engage in chores.

7. **Do Not Ignore Individual Needs**: Every child is different, especially if they have experienced trauma. Do not assume a one-size-fits-all approach; tailor chores to fit each child's unique capabilities and emotional state.

8. **Do Not Make Chores Gendered**: Avoid assigning chores based on gender stereotypes. All children should learn to contribute to household tasks, reinforcing that these responsibilities are not gender-specific.

9. **Do Not Present Chores as Punishment**: Chores should not be framed as a consequence for misbehavior. This can associate responsibilities with negative experiences, pushing children away from taking part.

10. **Do Not Neglect Positive Reinforcement**: Failing to praise or acknowledge a child’s efforts when they complete a chore can diminish their motivation. Celebrating small successes helps build confidence.

11. **Do Not Force Compliance**: Forcing a child to do chores without their willingness can lead to resistance and resentment. Encourage participation rather than demanding it.

12. **Do Not Ignore the Importance of Teaching**: Simply telling children to do chores without explaining the reasons behind them can lead to confusion and frustration. Teach them about the importance of contributing to the household.

By avoiding these practices, you can help create a nurturing environment that fosters a positive relationship with chores, promotes emotional well-being, and minimizes the risk of further traumatizing children.

When supporting an adult who experienced trauma related to chores or responsibilities as a child, it's essential to approach the situation with sensitivity and understanding. Here’s a guide on what to do and what not to do in order to help them navigate their feelings and encourage healthier behaviors:

✅ What To Do:

1. **Listen Actively**: Provide a safe space for them to express their feelings. Listen without judgment and validate their experiences and emotions.

2. **Be Patient**: Understand that healing from trauma is a process that takes time. Be patient with their progress and avoid pushing them to overcome their fears too quickly.

3. **Encourage Open Communication**: Foster an environment where they feel comfortable discussing their feelings about chores and responsibilities. Encourage them to share their triggers and concerns.

4. **Offer Support, Not Pressure**: Offer to help with chores or responsibilities without imposing pressure. Let them know you’re there to support them, but allow them to take the lead in what they are comfortable with.

5. **Normalize Mistakes**: Remind them that it’s okay to make mistakes and that they can learn and grow from them. Emphasize that everyone struggles with tasks at times.

6. **Celebrate Small Wins**: Acknowledge and celebrate their efforts, no matter how small. Positive reinforcement can build confidence and motivate them to continue facing their challenges.

7. **Provide Resources**: If they’re open to it, suggest resources like therapy or support groups that specialize in trauma and mental health. Professional help can be incredibly beneficial.

8. **Model Healthy Behaviors**: Demonstrate a positive attitude towards chores and responsibilities by engaging in them with a sense of calm and positivity. Your behavior can influence theirs.

9. **Encourage Mindfulness**: Introduce mindfulness techniques or grounding exercises that can help them manage anxiety when faced with tasks that trigger their trauma.

10. **Respect Their Boundaries**: If they express discomfort or resistance to certain tasks or discussions, respect their boundaries and don’t push the issue.

🚫 What Not To Do:

1. **Do Not Minimize Their Feelings**: Avoid dismissing or downplaying their feelings about chores. This can make them feel unheard and invalidated.

2. **Do Not Pressure Them to Conform**: Forcing them to engage in chores or responsibilities before they are ready can lead to increased anxiety and resentment.

3. **Do Not Compare Them to Others**: Avoid making comparisons to how others handle chores. This can increase feelings of inadequacy and hinder their progress.

4. **Do Not Use Guilt or Shame**: Avoid using guilt or shame to motivate them to complete tasks. This can be damaging and may trigger past trauma.

5. **Do Not Assume You Understand**: Everyone’s experiences of trauma are unique. Avoid assumptions and instead ask questions to understand their perspective better.

6. **Do Not Criticize Their Efforts**: Critiquing how they approach tasks can be discouraging. Instead, focus on encouragement and support.

7. **Do Not Ignore Their Triggers**: If they mention certain tasks or situations that trigger their trauma, do not disregard these. Acknowledge and take their triggers seriously.

8. **Do Not Avoid the Topic**: While it’s important to be sensitive, avoiding the topic altogether can prevent healing. Engage in gentle conversations when they’re ready.

9. **Do Not Enable Avoidance**: While it’s important to be supportive, don’t enable avoidance behaviors. Instead, gently encourage them to face their challenges at their own pace.

10. **Do Not Forget Self-Care**: Supporting someone with trauma can be emotionally taxing. Ensure you also practice self-care and seek support if needed.

By following these guidelines, you can create a supportive environment that helps the individual navigate their trauma while fostering healing and encouraging healthier behaviors over time.

[venomous-qwille]

Hi Qwille!

So I was wondering because I’m struggling with this myself- how did you continuously improve with art when you were first still building upon your skills? Like to get to a level that could be professional?

And I think I mean this in more of a mental capacity way. I tend to get angry at the fact that I’m not better by now and feel like I struggle by the skin of my teeth to improve from where I’m at every time, even if objectively speaking I’m already better than people would expect me to be.

I just feel like there’s a better way to go about it than being fueled by anger or spite. I enjoy art, and I’m proud of my work, but I don’t know how to *not* be angry at myself for not being better at it. How do you accept self criticism with grace when it comes to your work? Or how did you, when you were younger? If that’s a question you’re willing to ask, of course! Thank you <3

Hiya! So, I'll start out by saying that this is absolutely the hardest part about learning to draw/paint. The continuous failure and discontent with the work we produce is a constant struggle that is, I believe, the main reason people stop trying to learn at all.

It's okay to get angry and sad, it's okay to be dissatisfied. It's a very cruel joke that, as artists, our eye will improve faster than our ability to draw. We are constantly chasing a carrot that is being pulled further away from us. For me: my improvement was not constant. There were several points where I didn't draw for years, because of other life factors and because the art I was creating brought me no joy.

Things had to change when I decided that I wanted to do art professionally. I needed to improve and improve fast, so I bent a lot of time towards studies. I found that the things I got better at the fastest were the ones where I found studying to be really fun. I really enjoy copying master paintings- especially the nineteenth and twentieth century realists. Finding fun in doing them for the sake of doing them really helped me improve fast because it wasn't stressful- I was just creating art I liked, even if they were copies.

I think accepting that the main joy of art is in the creating, not the result, really helped me be at peace with my artwork. Also, becoming a professional artist and realising that I didnt own what I created- and that I was subject to the (often questionable) tastes of my commissioners/art directors/stakeholders really allowed me to unlatch my emotional self from my work.

Every piece is a step, sometimes you will hit your bellcurve, make the best thing you are currently capable of making- and fuck that feels good- but often you wont, and you wont know why you dont like it. Learning to enjoy the push towards those small moments, the slow improvement as you gradually grasp new skills, learning to love learning, that is the most curative thing. Once I started to enjoy failing, because it meant I was learning- and once I started forgiving myself for not picking everything up straight away- I was much, much happier.

It's okay for it to be hard and your emotions are valid. Forgive yourself for having them and try to find something you enjoy about the process. Recontextualise your mistakes as what they are: not a failure, but just another step up the giant mountain of your art journey. There is always a higher peak. The journey never ends. Stop looking at the top and just enjoy the view and the mountain air. (And for fucks sake don't compare yourself to other people. They're not even climbing the same landmass.)

[lostatsea-blog]

Aftermath Part 1

Alexia Putellas x Bronze Reader

Warnings: None

The immediate aftermath of the ACL injury. This is a 3 part fic and will go between different POVs

Alexia’s POV

Numb, that is the only way to describe how you feel right now. There is noise, chatter and movement all around you but you cannot process anything. Mapi is besides you, answering questions asked by the doctor while you remain silent. You did not need a doctor to know what had happened, you knew the second you felt the pop and your knee gave out under you. Everything you had worked so hard for was being taken away and you did not even have it in you to cry. Mapi had tried to get you to talk but you had remained silent and so after a while, she stopped trying. Your first European championship group match was due to take place tomorrow but you knew that your tournament was over and now your career hung in the air. You were Alexia Putellas, Ballon d’Or winner, the best in the world but now you were nothing more than a failure, who had let her nation down. Mapi had told you that they were trying to get hold of y/n, but you knew it was no use. y/n had joined the England camp two weeks ago and they were having very little contact with anyone outside their bubble, which included you. It did not matter anyway. y/n was also one of the greats in the women’s game and would not want a failure like you holding her back.

After a series of scans and X-rays, the diagnosis was confirmed. You had torn your ACL and would not be competing in this tournament. It would also be a significant period of rehabilitation so you likely would not be involved in Barcelona’s upcoming season either. After discussions with the doctor, you were released to return to the team hotel, where you would have to make preparations to return to Spain for surgery and rehabilitation at Barcelona. In all honesty you did not know if you wanted that rehabilitation, you did not know if you ever wanted to kick a ball again. You knew that your silence was unsettling Maria but you could not bring yourself to care. You did not want comfort or reassurances that everything would be okay. The van that had brought you to the hospital also returned you to the team hotel with your knee propped up along the back seat. As you sat and stared at the compression bandage covering it, you could not help but feel a sense of betrayal. Your body had betrayed you and you could not bare to look at it.

Once back at the hotel, you were taken into the dining room where the rest of the team were eating dinner. Food was placed in front of you but the rolling in the pit of your stomach made it impossible to eat. You could hear whispers all around you but did not have the energy to engage with any of your team. They told you that they had not been able to contact y/n but would keep trying. Again, you told them not to bother. She still had a chance at becoming European champion and you did not want her wasting her time on you. Once dinner was over you hobbled to your room and collapsed on your bed allowing yourself to fall into what felt like oblivion. You don’t know how long you had been there wallowing in your misery when you were interrupted by an insistent knock on your door..

[utilitycaster]

What do you mean (from your latest post) that you think that many actual play failures are failures of ambition?

Usually, when an actual play show doesn't click for me, it's because the GM or players aimed very high or tried to push the boundaries (of the medium or system) and it didn't quite land right. It's a pretty new medium, and while I've been very openly disparaging of how much many writers in the AP space focus overmuch on novelty over consistent quality, I do think these failures are important! I think it's good to play with what the medium can be! I just think that sometimes, it does indeed fail.

Examples off the top of my head:

Too much plot for allotted length: EXU Prime was fun to watch but I think this plot really needed to be a 16-20 episode season, not an 8 episode one, which meant that we never really learned Myr'atta's motivation or the deal with Ted until years later in the real world despite that being the core plot. Similar issues have come up with various D20 seasons; I think running a one- or two- session story isn't too hard to do, or running a longform campaign isn't too hard to do, but 8 or 10 or 20 episodes can be really difficult to plan for properly, and a lot of people overfill.

Trying to bend the system too far: I wrote a long-ass post I cannot find about this for a few D20 seasons as well (notably Neverafter) and I've fallen off of WBN for a few reasons but in part because it really increasingly feels like D&D is the wrong system - the classes of D&D support the worldbuilding, but the pace and style and magic system of D&D increasingly feel like they and the narrative are in conflict.

Trying to fit in An Important Message: the infamous Rusty Quill Gaming Everything Changes [now make a monumental decision we have not once explored in 7 real world years of telling this story, in the last half of the last episode] is a big one here. This is not unique to AP (this is why Battlestar Galactica's ending is widely panned) but I think the nature of actual play makes it more likely because to some extent you as the GM must relinquish a good degree of control.

Not realizing what you need to plan for: ultimately, in my opinion, the failure of Campaign 3. I don't think the problem is that Matt wanted to bring everything together across multiple campaigns; I don't think this is a cheap setup with a pre-determined outcome (though I could be proven wrong); I think the problem is that there needed to be a much more stringent character creation process and on-rails early plot to actually get from point A to point B in a way that felt natural within the story.

Trying to break production value records while neglecting story: With the caveat that I hated nearly every second of the hour of Kollok I watched, I have yet to see a review that talks about anything it does other than how good the production values are (*whisper* they're not even that good). Burrow's End had some really good aesthetic/filming choices and some really not good ones on top of having a story I found weak; the season of Candela Obscura I thought had the strongest story had no split-screen film edits. This could just be that my AP introduction was TAZ Balance followed by simultaneous C1 and early C2, but like...I've heard incredible actual play with no music and no fancy lighting and no sound effects and no official character art, and I've watched some heavily produced stuff that had the plot of a fucking Ed Wood movie and was utterly joyless to boot. Story first; accessibility production values (clean and clear sound, transcripts, making all speakers visible if you're a filmed production) second; anything else should ONLY come after that.

[curseofthebloodcountess]

First, let me say that Bird is phenomenal. Exceptionally kind and professional, she made this art something that I will treasure (and that my players) will treasure for years to come. I have spoken to my partner and we want to get a framed print of this for our home. This exquisite piece captures the essence of the Blood Countess campaign - dark, with threads of amber warmth and striking beauty. It's perfect. I have had so much trouble expressing to Bird how perfect it is, in part because the holiday season is upon us and I have been pulled in a thousand directions and in part because there is nothing more to say than this is perfection. Bird, thank you for your hard work, artistic vision, and warmth throughout this process. I imagine it was no small feat to create this. Thank you, thank you, thank you!

Top Right: Sister Theodora "Theo" Abotchers Petrovna is one of the Abbot's many, nearly identical "children", but she was imbued with the spark of a soul upon her creation... and a strange, strengthening connection to the Morning Lord. Theo fled the Abbey of St. Markovia after two years and was adopted in the town of Vallaki by Father Lucian Petrovich. She thrived there, but when her father sent her on a mission to the village of Barovia, she underwent a trial by fire. Theo had once thought her only purposes were to serve the Morning Lord and marry the Countess, but now she knows there is more out there and her eager, curious nature wishes to pursue it. (Celestial Warlock)

Bottom Right: Ismark and Ireena Kolyanovich have lost everything except each other in the last year. Their home, their village, their childhood dreams... But they remain strong and kind in a world that is almost unfailingly cruel, if only to keep the other one's belief in something better alive.

Bottom Left: Tam Mantiegri is a simple hunter and a Vallaki native, who would swear there was nothing all that special about him. However, Tam has always been a little more alive than his neighbors and he's had a longer memory than most. His soul is old and twined with the history of the valley. He recently learned that he is the reincarnation of Sergei von Zarovich, fallen prince of Barovia, son of the Lady of Shadows, and brother to Countess Strahd von Zarovich. Tam has strange dreams of a life as Sergei and of countless deaths at his "sister's" hand. Upon Theo's return to Vallaki, he met her strange new friends, including the Kolyanoviches and despite his better judgment, he agreed to help them out. Now, he and Ireena Kolyana share a bond they couldn't sever if they tried and their fate is inextricably linked to that of Strahd's and the whole valley. (Monster Slayer Ranger)

Center: Alistor Gwilym is a soldier, not a priest. He has always known war, always known how to fight, and can scarcely recall a time before his life was marred by loss. As a child, Alistor and his twin brother, Godfrey, were raised by their grandfather, Lord Argynvost after their father's mysterious disappearance and the isolation of Barovia. However, as a teenager, Alistor escaped the Mists and has only just returned. Four hundred years have passed and everyone and everything Alistor loved and knew is dead or forever changed. (Grave Domain Cleric)

Top Left: The Countess Strahd von Zarovich is cursed to relive the greatest failures of her life. This time will be different, she is certain. This time, her brother's spirit, her lover's champion, and her youngest son have banded together to protect Ireena Kolyana, the reincarnation of the woman that she loved. This time will be different as they quest to bring light back to Barovia and end Strahd's reign one way or another.

Let's take a break from one horrible man (Douglas) and talk about another horrible man (Strahd), this time - the female version of him. SheStrahd campaign poster for @curseofthebloodcountess's and @troubledtimeinravenloft's campaign, starring Her Grace herself, three party members, and Kolyan siblings. Boi, this one almost cost me my sanity.

More info about commissions here, more details in close-ups under the cut

You can only guess how long it took us to set up the whole flower thing.

[questforgalas]

Constantly reminding myself that healing and recovery are not linear, that they’re filled with rolling highs and steep tumbling downs, and sometimes the downs feel like falling into a cavern that I’m cursed to lay on the floor of for eternity, but even the small act of simply sitting up from the floor is a step up. Standing from the floor is a step up. Stepping towards the wall is a step up. And soon I’ll find the hand holds and the foot holds and will start climbing again. And sometimes during that climb, I might slip. I might fall. But I’ll grab on again and climb again. Little by little. And eventually, in hours, days, weeks, months, or maybe even a year, I’ll reach the flat surface on the other side of that cavern, and pull myself up. And I’ll walk straight for a bit, maybe walk up a hill, maybe stumble here and there. And maybe I’ll meet another cavern in the future, but it’ll be ok. Because just sitting up from the cavern floor is a step up.

[thepeacefulgarden]

[brown-little-robin]

it went fine yesterday btw :}

[coquelicoq]

i fucking love prereading. getting documents about what's going to be discussed in a meeting and reading them and then going to the meeting and having context for all the things that are happening. if i could do this in all areas of life i would. send me a list of the words i'm going to need the definition of in order to understand what you will be talking about. give me a rundown of what topics might come up during this social encounter. provide detailed documentation of what to expect in a new setting. i will read the fuck out of that shit.

[kausijuoppo]

Final experiment

[muirmarie]

I got the screenshot right before I went to sleep last night =)

I know this will seem like a lot to some people and very little to some others haha, but! It's silly to compare it to anyone else, since we all write in different fandoms over the years and write different types and lengths and amounts of fics.

So this is really just me thinking about the number itself, and like. Kinda wild that 30,000 times someone had pushed a little button to say they liked one of my fics!

Kissing all your faces xoxoxo

[jvzebel-x]

🦋

[journey-to-the-attic]

We know what goes on between them in DDVD, but would Lucifer and Zhao ever take an interest in each other in mainline JTTA?

it's not an impossibility! if they're compatible in ddvd, they'd still be in jtta, since zhao is still very much the same person at his core - the main difference is that, in ddvd, zhao doesn't have the time to make the mistakes he does in jtta, since he ends up in the devildom. ultimately he is still the same pathetic little man who is full of love but never knows how to express it

it'd take a while for them to actually see each other in that light, though - it'd only really become viable once zhao is at least significantly on his way to making up for how lonely ik's home life has been. before that, lucifer's disdain in regards to it would stop him from entertaining the fact that he finds zhao kind of cute

also in ddvd, i'd say it's only after getting down to the devildom that zhao realises he also likes men, so zhao in baseline jtta is even MORE repressed about being bi - which is another hurdle he's gonna have to cross before he even thinks about the fact he might have an interest in that demon dude who's adopted his kid

(also if we want to be sappy perhaps it's just a matter of zhaolu finding each other in every reality )!

[raplinesmoon]

i think the thing that no one tells you about being forced into being a high achieving child/teen is how much it comes to fuck you over later in life when you can’t do anything without holding yourself to an insane level of perfectionism and then you realize it’s basically leeched all the fun out of any hobbies you created for yourself and left you with a shell of a personality

[garciapimienta]

Barcelona are young and exciting. But Barcelona are also still naive and inexperienced. Just like their coach. (Domagoj Kostanjsak)

[mortalityplays]

This is a dangerous sentiment for me to express, as an editor who spends most of my working life telling writers to knock it off with the 45-word sentences and the adverbs and tortured metaphors, but I do think we're living through a period of weird pragmatic puritanism in mainstream literary taste.

e.g. I keep seeing people talk about 'purple prose' when they actually mean 'the writer uses vivid and/or metaphorical descriptive language'. I've seen people who present themselves as educators offer some of the best genre writing in western canon as examples of 'purple prose' because it engages strategically in prose-poetry to evoke mood and I guess that's sheer decadence when you could instead say "it was dark and scary outside". But that's not what purple prose means. Purple means the construction of the prose itself gets in the way of conveying meaning. mid-00s horse RPers know what I'm talking about. Cerulean orbs flash'd fire as they turn'd 'pon rollforth land, yonder horizonways. <= if I had to read this when I was 12, you don't get to call Ray Bradbury's prose 'purple'.

I griped on here recently about the prepossession with fictional characters in fictional narratives behaving 'rationally' and 'realistically' as if the sole purpose of a made-up story is to convince you it could have happened. No wonder the epistolary form is having a tumblr renaissance. One million billion arguments and thought experiments about The Ones Who Walk Away From Omelas that almost all evade the point of the story: that you can't wriggle out of it. The narrator is telling you how it was, is and will be, and you must confront the dissonances it evokes and digest your discomfort. 'Realistic' begins on the author's terms, that's what gives them the power to reach into your brain and fiddle about until sparks happen. You kind of have to trust the process a little bit.

This ultra-orthodox attitude to writing shares a lot of common ground with the tight, tight commodification of art in online spaces. And I mean commodification in the truest sense - the reconstruction of the thing to maximise its capacity to interface with markets. Form and function are overwhelmingly privileged over cloudy ideas like meaning, intent and possibility, because you can apply a sliding value scale to the material aspects of a work. But you can't charge extra for 'more challenging conceptual response to the milieu' in a commission drive. So that shit becomes vestigial. It isn't valued, it isn't taught, so eventually it isn't sought out. At best it's mystified as part of a given writer/artist's 'talent', but either way it grows incumbent on the individual to care enough about that kind of skill to cultivate it.

And it's risky, because unmeasurables come with the possibility of rejection or failure. Drop in too many allegorical descriptions of the rose garden and someone will decide your prose is 'purple' and unserious. A lot of online audiences seem to be terrified of being considered pretentious in their tastes. That creates a real unwillingness to step out into discursive spaces where you 🫵 are expected to develop and explore a personal relationship with each element of a work. No guard rails, no right answers. Word of god is shit to us out here. But fear of getting that kind of analysis wrong makes people hove to work that slavishly explains itself on every page. And I'm left wondering, what's the point of art that leads every single participant to the same conclusion? See Spot run. Run, Spot, run. Down the rollforth land, yonder horizonways. I just want to read more weird stuff.