hey. don’t cry. crush four cloves of garlic into a pot with a dollop of olive oil and stir until golden then add one can of crushed tomatoes a bit of balsamic vinegar half a tablespoon of brown sugar and stir for a few minutes adding a handful of fresh spinach until wilted and mix in half a cup of grated parmesan cheese and pasta of your choice ok?
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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.
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when bakugou works out, he usually has earphones in. he likes to listen to music, usually, because people are irritating. but sometimes when he knows you’re likely to be free, just doing chores or running errands or lounging around, he calls you.
“hey katsuki,” you say. he won’t ever tell you, but he likes the way you say his name. he likes the feeling he gets hearing the warmth in your voice. only for him.
“hey,” he says back.
you never need prompting to begin chatting away. he does his cardio, weightlifting, to the sound of your voice in his ears. he turns the volume up because he’d rather hear you talk about your day, your dumb coworkers, what you’re planning on having for dinner, than listen to the ambient sounds of a gym, or worse—other people trying to talk to him.
(and maybe you look forward to these calls of his. maybe you enjoy the sounds of his exertion—the grunts, the heavy breathing. they remind you of… another type of exercise.)
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I'd love to see a dpxdc story where the Justice League knows about Amity Park and the Ghosts the whole time, and does think the ghosts are rogues to be addressed. Doesn't agree with the GIW, maybe doesn't even know about them? THE IMPORTANT PART.
The Red Huntress is the only active vigilante in Amity Park, according to the JL. Phantom is marked as one of her rogues. Maybe the Fentons even are marked as rogues from all the property damages and random shooting/sliming of citizens. Valarie is the only person successfully taking care of the ghosts, masking and suiting up in the classic vigilante way the whole time.
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I'm not just cooking, i'm baking a whole ass CAKE
not 100% happy with the design but I wanted to get it out of my system, I went for darker and more muted colors for Zoro while still utilizing the usual elemnts of his outfit like the sash and the haramaki. also the color palette for the full outfit turned out very tasty, like it makes me think of chocolate and sweets. not sure about the use of haramaki though, I feel like it makes the proportions a bit awkward when everything else is dark, but it does make the shirt fold nicely so I may keep it in the end
now that I'm further into WCI I think I should add a suit version as well for the wedding bit hmmm
My idea for this is after coming to Big Mom's territory and fighting her commanders they get to the Germa carriage just like in canon. Zoro watches Sanji fight Luffy, restraining himself from interfering. He respects Luffy's decision to not fight Sanji back, but the moment Luffy gets knocked down it's Zoro's turn to try and bring the cook around and he's not gonna hold back
a very tense fight ensues
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december 31st but i make it silly (based on a tumblr post, below the cut!)
everyone say thank you xenia, i made adjustments for the december 31st context but nyx avatar is still fitting.
original draft of the last panel. i considered putting the bi flag but i didn't know how to squeeze it in. we love ryoji mochizuki in this house.
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