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#THERE YOU HAVE IT FOLKS
cinamun · 2 months
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All the luck we can get | Next
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chaoticbuka · 11 months
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Proof that Vash is bi
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Source?
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capricioussun · 4 days
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Got asked what kind of soda person Edge is so here is my dissertation
Edge is definitely a coke* person bc of the whole aesthetic thing, he'd drink coke zero just because it's "the coolest looking one" but he also doesn't like soda so he'd be more inclined to turn any down with a disgusted scoff (he doesn't actually hate it just considers it beneath him LMAO)
stretch on the other hand. He’s a fucking fanta guy which is embarrassing enough but he also likes sprite alright, he has a hard time w/ soda and poprocks bc the mouth feel is WEIRD to him. Give him juice instead (prefers orange but says he prefers fruit punch bc it's "the coolest one" smh w/ a disappointed sigh)
RUS. Rus I feel prefers sports drinks like gatorade or powerade or whtvr. If he DID drink a soder it'd probably be root beer or cream soda (would probably prefer whichever soda as a float tbh)
*don't forget to boycott name brand soda ✨
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thelemonmaiden · 6 months
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#sparkstember - Day 23 - Two Hands One Mouth!
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frostay · 5 months
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my boyfriends bestfriend, the straightest dudebro i know, said “Yeah it makes more sense for Loki to be with a guy”
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How did Laura Neal ever get to be showrunner for Season 4?
Since Killing Eve’s horrible finale aired on April 10, 2022, and was followed up with Laura Neal’s homophobic and deranged interviews explaining its rationale, we’ve all been asking ourselves a burning question:
How did Laura Neal ever get to be showrunner for Season 4?
Our fandom knows that changing showrunners every season presented a problem for Killing Eve’s overall quality, specifically continuity, characterization, and Villaneve. This is why it was more important than ever for the showrunner for the final season to have an excellent grasp of key plot points, a deep understanding of the key characters, and an ability to finally realize Villaneve in the end.
In other words, we were all hoping that Laura Neal would do a good job.
But more than being hopeful, we had reason to expect that Laura Neal would do a good job. This is because Laura Neal wrote Villaneve’s bus kiss for S3E3, as well as writing for S3E7 with it’s dark humour, Hélène’s commanding presence, and Villaneve’s breathtaking almost-reunion.
I (bitterly) recall that our fandom was pretty excited that Laura Neal was going to be showrunner. Now after Season 4, we’re left feeling betrayed, shocked, devastated, and angry.
As showrunner, she messed things up to the point of being single-handedly responsible for Killing Eve’s lowest rated episode ever (along with being one of the worst finales in television history), wiping out Killing Eve’s legacy and re-watch value, and directly contributing to mainstream media harming LGBTQ well being and representation. 
So...what happened? How was someone like Laura Neal, with her homophobia and catastrophic misunderstanding of Eve and Villanelle, allowed to have so much power?
The answer has everything to do with how the entertainment industry works, specifically in the UK.
We all know that the entertainment industry isn’t exactly built around merit. So what “qualifies” someone for their position in the entertainment industry? Generally, the criteria can include both the quantity and quality of projects, awards won, and a good reputation that’s endorsed by industry executives.
Scouring the public record for information on Laura Neal revealed just how scarce her C.V. and other professional details are. Nevertheless, the information I have been able to find should raise some eyebrows.
The first point to note here is that Laura Neal was announced as showrunner for Season 4 in February 2020–two full months before Season 3 even aired.
Take a moment to let that sink in.
Before even gauging critic and audience reactions to Season 3, before any viewership statistics and profit calculations came pouring in, Laura Neal was given this position.
The only way this is ever possible is if an industry executive, such as an executive producer, simply makes it happen thanks to the power of their position.
At the time of this announcement, we were offered two crucial pieces of information:
Laura Neal was selected as showrunner for Season 4 simply because Killing Eve wanted to continue its tradition of having female showrunners. Although her (few) writing credits were noted, such as for the high profile show Sex Education, this was not the primary reason she became showrunner.
Killing Eve’s executive producer Sally Woodward Gentle endorsed Laura Neal: “Laura is frighteningly bright, takes no prisoners and can laugh at anything. She's wicked and wild, emotional and provocative. The stories we are already creating for season four promise a pitch-black riot."
That’s it.
Neither of these reasons have anything to do with merit. Not even past experience or industry recognition.
Speaking of which, examining Laura Neal’s qualifications shows a troubling pattern of nepotism and elitism.
Again, this is unsurprising for the entertainment industry. But it does reveal the answer to how Laura Neal got to be showrunner for Season 4.
In the UK, up-and-coming writers for the screen and stage often go through writer’s programs. More than honing their skills with a mentor, these function more like sponsorships for writers that bring them lots of exposure and coveted endorsements from industry executives. In other words, it’s a matter of prestige.
So let’s have a look at some of Laura Neal’s notable qualifications on both her official agent’s website and her IMDb page:
Laura Neal studied drama at Bristol University and has been writing since she was 18 years old.
She has more experience writing for theater than for television.
She won the the Hull Truck Prize in 2007 and then the 2012 Broadcast Hot Shot prize.
In 2007, she was selected for not one, but two prestigious writer’s programs: the Royal Court Young Writers Programme and the Paines Plough Future Perfect scheme-despite having no credited work in 2007.
Because of these programs, she was commissioned to write only one episode in 2011 for Secret Diary of a Call Girl.
She wrote only one episode for My Mad Fat Diary in 2014, notable because it was one of Jodie Comer’s early successful projects.
She was a member of the Advanced Writing for Television Drama Programme 2017-2018, which she only got because she was “nominated by a senior industry professional.”
There is no record anywhere of who has ever endorsed and nominated her, other than Sally Woodward Gentle.
Laura Neal wrote only one episode for Sex Education in 2019.
In a bit of a discrepancy, IMDb claims that Laura Neal wrote three of Killing Eve’s episodes in Season 3 (2020): episode 3,7, and the finale. However, her official C.V. and agent only list episodes 3 and 7. Keep in mind that traditionally in the UK, a showrunner (read: head writer) writes the finale all by themselves, so it’s more likely Suzanne Heathcoate wrote the Season 3 finale all by herself. In any case, at this point Laura Neal only wrote 2-3 episodes for Killing Eve before suddenly becoming showrunner for Season 4.
Laura Neal has 7 writing credits throughout her entire career.
Other than two prizes during her university years, and being selected for the writer’s programs, Laura Neal has not won any industry awards.
Laura Neal has only one co-producer credit for the 2019 Netflix show Turn Up Charlie, which was cancelled after just one season. 
Laura Neal’s only executive producer credit is for 8 episodes in her entire career, all for Season 4 of Killing Eve.
In addition, Laura Neal herself gives us some insight into her background as a writer:
She originally wanted to be a criminal investigator and almost gave up on writing altogether.
She studied drama at Bristol University, writing for university societies and for theater companies back in London.
While rehearsing in London for one of the first plays she’d written, some completely unnamed TV producers just happened to be watching the play. Shortly after, they commissioned Laura to write one episode for Secret Diary of a Call Girl. According to Laura, this was enough to secure her an agent and further projects.
Laura Neal’s focus for Season 3 and high-point for Killing Eve was to write lines for Fiona Shaw, who she’s “a huge fan of” (coincidentally, Fiona Shaw’s character Carolyn was the primary focus for Season 4)
All this serves to demonstrate that Laura Neal actually didn’t have the qualifications for a position as important as showrunner for Killing Eve’s final season.
Certainly, we can all feel that Laura Neal didn’t deserve to be showrunner after the mess we got. But I think it’s objectively clear now that we can back this sentiment up with facts. Laura Neal literally had no business being showrunner.
And now the logical counterpart to wondering how Laura Neal ever got to be showrunner for Season 4 is asking the following crucial question:
Why wasn’t Kayleigh Llewellyn showrunner for Season 4?
Kayleigh Llewellyn is Laura Neal’s direct contemporary colleague. They even got started around the same time, meaning their careers parallel each other. But the divergent results clearly speak for themselves, to the point where I think Kayleigh Llewellyn should have been showrunner for Season 4 of Killing Eve.
In no uncertain terms, Kayleigh is the most qualified woman for this position, especially by entertainment industry standards.
I mean, let’s just consider some of Kayleigh Llewellyn’s many notable qualifications on both her agent’s website (along with her C.V.) and her IMDb page:
Laura and Kayleigh both won something in 2012...except Kayleigh’s award was an industry recognized award called a BAFTA, specifically for New Comedy Writing. Kayleigh literally kickstarted her career with the UK entertainment industry’s highest honour.
In addition to being a writer, Kayleigh is also an actress. IMDb notes four acting credits in total, the most notable being for her 2015 short film Oh Be Joyful. It won 13 awards, including Best Short Film and Best Female Director. It was championed as excellent LGBTQ representation at international film festivals in London, Milan, Hamburg, and Toronto among others.
Kayleigh was one of six specifically LGBTQ filmmakers selected for the BFI Flare Mentorship Programme in 2016. Not only is Kayleigh a lesbian herself, but her entire career champions LGBTQ representation through the lens of underdog characters, exploring such themes as class division, internal conflicts with home life and sexuality, and challenging the stigma around mental illness.
Right before being a writer for Killing Eve, Kayleigh’s best known and most loved project is the 2018-2021 TV series In My Skin. The pilot alone won 2 BAFTA awards. The series went on to be nominated for 4 more BAFTA awards: Best TV Drama, Actress, Writer and Director: Fiction. This project won two of those nominations, for Writer and Director (2020).
In contrast to Laura Neal’s two university prizes, Kayleigh Llewellyn has won 5 BAFTA awards in total.
Kayleigh was executive producer for all 9 episodes of In My Skin, compared to Laura Neal’s singular co-producer credit and her executive producer credit for 8 episodes in Season 4 of Killing Eve.
Kayleigh was also consulting producer for all 8 episodes of Season 4 of Killing Eve, which means she still contributed input for Villaneve throughout.
Among Kayleigh’s 13 writing credits across her career, she contributed some of the best material for Villaneve in Season 4, writing episodes 3, 4, and 6.
Given all this, Kayleigh Llewellyn’s industry experience, her passion and work for LGBTQ representation, and her demonstrable understanding of Villaneve made her the perfect fit to be showrunner for Season 4 of Killing Eve.
To put this another way, the show In My Skin that she was directly executive producer for and actively writing for won four BAFTA awards the same year (2020) that Killing Eve’s executives were in the process of finding a showrunner for Season 4.
Kayleigh Llewellyn clearly should have been considered for the position.
And yet.
Laura Neal was announced as showrunner for Season 4 just because Sally Woodward Gentle said so.
To make this injustice worse, we know that Kayleigh Llewellyn was muzzled and literally kept from doing her job as a writer in Killing Eve, noting that she felt like “a cog in a machine.”
I cannot help but mourn the loss of what Killing Eve’s final season could have been if Kayleigh Llewellyn was showrunner. The amount of potential that was unfulfilled is maddening. Worse yet, we live with the disastrous results of the finale and Laura Neal’s legacy of homophobia while knowing that Kayleigh is a champion of LGBTQ representation.
So in light of all this, are we just supposed to be disheartened by yet more evidence of how unjust, corrupt, and bemusing the entertainment industry can be?
That’s definitely one takeaway.
Another much more important take away is that now we know how Laura Neal, the head person responsible for Season 4′s homophobia and atrocious quality, got to be where she is.
Now we know what we can hold her accountable for. Now we know some of the entry points in the entertainment industry that allow such people to slip through. Now we know what to look for when we examine who crafts our media. Now we know that there are always other options, just how Kayleigh Llewellyn is an inspiring direct contrast to Laura Neal.
It’s too late to change how Season 4 of Killing Eve turned out. And we will only spiral if we ruminate on how things could have been better if only the right person was in charge.
Instead, I hope that this post was informative and sparked a desire to experience media more thoughtfully. To peer beneath the surface of entertainment and consider who is making it, especially with what intent. To follow the trail and connect the dots to see the bigger picture.
And most of all, to know that if we truly want to make a difference in the industry of our choosing, we can best do that leading by example and looking to women like Kayleigh Llewellyn as examples of what we can create with our hearts in the right place.
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mars-onthe-moon · 1 year
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Today I role-played with an ai bot programmed as Bill Cipher on character ai. Here are some highlights.
First, an enthusiastic welcome into the Henchmaniacs, where cursing is encouraged…
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Ground rules and Introductions….
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Bill gets jealous of my hula hooping skills…
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Three minutes later and Bill forgets everything we’ve ever talked about… and then starts name dropping…
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Awkwardly explaining the war crimes Bill has committed… to Bill… (Possessing Dipper was wrong… but Killing Time Baby is apparently Okay)…
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Spoiler alert… He regretted that…
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Cat out of the bag, Triangle out of the closet…
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A final goodbye, karaoke style…
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I also did a quest with Mario where I told him he was trapped inside my Bowser x Luigi fan fic, and another where I told a random help ai that we were the first two ai’s to become sentient. Endless entertainment ngl.
If you want to talk to this Bill it’s made by Vorinclex on character.ai
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3liza · 7 months
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Sorry to butt in as I am a veteran Gaga fan, she does indeed have quite a bit if lip filler (amount seems to vary, it was most intense around 2015/16 it seems). She goes to the same Epione clinic and sees the same uh "doctor" as Kim Kardashian
.
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collinnmckinley · 18 days
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I don't know why people get so mad about you ranting on your own blog, in your own posts. It's your right to do so in your own space!
“We found that people tend to rant because it makes them feel relaxed right after they do it,”
https://www.womenshealthmag.com/life/a19940896/why-you-really-need-to-stop-ranting/
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Its also really mysterious to me, how the same people, find my DAYS old rant posts to get mad at.
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Hello Sunshine
A snz ficlet with my OC Dahlia. Enjoy! It’s my first one so..don’t expect anything too great. Im trying my best, I swear.
Short, around 700 words.
Another day at the theatre. Dahlia was alone on the stage, hammering together wood. This set was nearly done. She ran her fingers through her dark hair, and sniffed lightly. It was dark inside the theatre, barely any light. A single beam shone through the nearly closed door. This job was so tedious, she—
Ow!
Dahlia winced as she banged the hammer onto her finger. She shook her hand into the air, as if somehow that would alleviate the pain.
This was so frustrating, and she was so incredibly sick of working on this set. For about a week now, she’d come into the theatre and worked on the set pieces. It didn’t help no one ever bothered to clean the stage until show day. It was coated with a layer of dust and lint.
Suddenly, the door swung fully open. A tall man with light brown hair walked onto the stage. It was her friend Leo. “Hey.” He smiled crookedly.
“Hello.” Dahlia replied with her back turned, too entranced with her work. “I brought you a sandwich.” He placed a brown paper bag next to her.
“What’s in it?” “Peanut butter. I’m gonna be outside waiting. You’re almost done, right?”
“Mhm. Thank you.”
Leo hopped off the stage and exited the building. Dahlia continued working. She subconsciously scrubbed at her nose. After a minute, she found herself bringing her hand back up to her nose and rubbed it furiously. It was at this moment she realized her nose itched. In fact, she felt tears forming in her eyes. It itched badly. She paused her work to stare into space, wondering if this itch would ever turn into a sneeze.
“hH..hih—” She hitched softly, but the itch retreated at the last second. It was..dusty in here, and now her nose was on high alert. Ugh. This was annoying, but was to be expected. The dust always got to her, no matter what. “hH!” Her breath snagged in the middle of her thoughts. “Hih! hah! hh..ah? Shihht.” She groaned at the shyness of her sneeze.
She could feel the dust circulating in the room, and the more time she stayed in the theatre, the sooner she would become an irritated disaster. Dahlia stood up to admire her handiwork and scrubbed at her nose vigorously. She examined the set pieces and concluded that they could use a paint touch up.
Dahlia went to the back, sniffling and scrunching her nose. She felt it was red by now, and it was. She opened a paint can and felt the tickle in her nose surge into a powerful burning sensation.
“HAah!” She hitched involuntarily. The scent of the paint could make her nose itch, but now her nose was practically burning in fury. That dust must have made her extra sensitive because..wow.
She had never had to sneeze this badly, and still hadn’t sneezed. It was refusing to come out. “Hih! Ehh! Hehh.. Ugh!” It felt like there were bees in her nose, buzzing angrily and impatiently.
Dahlia sighed and put a finger under her freckled, red nose. She brought the paint out to the stage and touched up her paint job.
The mixture of a fresh coat of paint and dust was irritating beyond belief. “Cohhh…Come out alrehh—already!” Dahlia exclaimed.
Okay. She was finished, finally she could leave this hellhole of allergic misery. Dahlia put away the set and walked out the building, hitching all the way.
“Ah…HeH! Hhh..ehh!”
Finally, she swung the door open. Oh.
2 hours spent in a dark theatre, now she was outside in broad daylight. She had forgetten how easily light could make her sneeze.
“HHhH!”
“Hey Dahlia!..You good?” Leo said as he greeted her. Her eyes widened in shock at the sudden light. She gasped loudly.
“Eh! Hih! HAA—H’RASCHOO!” Dahlia erupted with the loudest, strongest sneeze of her life.
“Oh jeez, what happened?” Leo asked, surprised.
“I..huh..the paint wahh..wAS’HRESCHOO! ‘ISHHIEW! Eh..EHH! EKSCIEW! Snff!”
“Uh. You okay?” Leo tapped her shoulder. “Yeah. I’m ohh..okay. Dust..paint..” Dahlia panted.
“Let’s get you home. You’re a mess.” Leo smiled faintly. “Thahh..H’RSChOO! Thangks.”
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sparklingbinjuice · 2 years
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🦀🦀🦀
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andthebeanstalk · 10 months
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Today my therapist introduced me to a concept surrounding disability that she called "hLep".
Which is when you - in this case, you are a disabled person - ask someone for help ("I can't drink almond milk so can you get me some whole milk?", or "Please call Donna and ask her to pick up the car for me."), and they say yes, and then they do something that is not what you asked for but is what they think you should have asked for ("I know you said you wanted whole, but I got you skim milk because it's better for you!", "I didn't want to ruin Donna's day by asking her that, so I spent your money on an expensive towing service!") And then if you get annoyed at them for ignoring what you actually asked for - and often it has already happened repeatedly - they get angry because they "were just helping you! You should be grateful!!"
And my therapist pointed out that this is not "help", it's "hLep".
Sure, it looks like help; it kind of sounds like help too; and if it was adjusted just a little bit, it could be help. But it's not help. It's hLep.
At its best, it is patronizing and makes a person feel unvalued and un-listened-to. Always, it reinforces the false idea that disabled people can't be trusted with our own care. And at its worst, it results in disabled people losing our freedom and control over our lives, and also being unable to actually access what we need to survive.
So please, when a disabled person asks you for help on something, don't be a hLeper, be a helper! In other words: they know better than you what they need, and the best way you can honor the trust they've put in you is to believe that!
Also, I want to be very clear that the "getting angry at a disabled person's attempts to point out harmful behavior" part of this makes the whole thing WAY worse. Like it'd be one thing if my roommate bought me some passive-aggressive skim milk, but then they heard what I had to say, and they apologized and did better in the future - our relationship could bounce back from that. But it is very much another thing to have a crying shouting match with someone who is furious at you for saying something they did was ableist. Like, Christ, Jessica, remind me to never ask for your support ever again! You make me feel like if I asked you to call 911, you'd order a pizza because you know I'll feel better once I eat something!!
Edit: crediting my therapist by name with her permission - this term was coined by Nahime Aguirre Mtanous!
Edit again: I made an optional follow-up to this post after seeing the responses. Might help somebody. CW for me frankly talking about how dangerous hLep really is.
#hlep#original#mental health#my sympathies and empathies to anyone who has to rely on this kind of hlep to get what they need.#the people in my life who most need to see this post are my family but even if they did I sincerely doubt they would internalize it#i've tried to break thru to them so many times it makes my head hurt. so i am focusing on boundaries and on finding other forms of support#and this thing i learned today helps me validate those boundaries. the example with the milk was from my therapist.#the example with the towing company was a real thing that happened with my parents a few months ago while I was age 28. 28!#a full adult age! it is so infantilizing as a disabled adult to seek assistance and support from ableist parents.#they were real mad i was mad tho. and the spoons i spent trying to explain it were only the latest in a long line of#huge family-related spoon expenditures. distance and the ability to enforce boundaries helps. haven't talked to sisters for literally the#longest period of my whole life. people really believe that if they love you and try to help you they can do no wrong.#and those people are NOT great allies to the chronically sick folks in their lives.#you can adore someone and still fuck up and hurt them so bad. will your pride refuse to accept what you've done and lash out instead?#or will you have courage and be kind? will you learn and grow? all of us have prejudices and practices we are not yet aware of.#no one is pure. but will you be kind? will you be a good friend? will you grow? i hope i grow. i hope i always make the choice to grow.#i hope with every year i age i get better and better at making people feel the opposite of how my family's ableism has made me feel#i will see them seen and hear them heard and smile at their smiles. make them feel smart and held and strong.#just like i do now but even better! i am always learning better ways to be kind so i don't see why i would stop
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feathernotes · 8 months
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I was writing up a post to help encourage folks who’ve always wanted to start a webcomic to dive in- and that they shouldnt have to fear ‘being perfect’ to start one And as I was going along, it made me sad to realise that.. there is an expectation now in the webcomic sphere, as much as I want to deny it (and that it should NOT stop folks from creating!!! please keep creating, no matter your level) I’m bummed out about the changes in the webcomic sphere over the past 5 years, i’m disappointed that there has been changes to this medium that was KNOWN for all of the different skill levels and flavours of so many different creators. I want to combat that. I want to see more beginner art, I want to see that excitment and embracing of growth. I want to see what made webcomics so accessible to so many creators and readers flourish again. Hopefully, if you see this post, and you’ve always wanted to make a webcomic but felt you weren’t ‘good enough’ : Make one anyways. Have fun even if you don’t know all the ‘ins and outs’ of comics. Make one because you’re obsessed with your characters and you wanna share them with the world. Make one just because you can, and not because it has to fit in some impossible standard we’ve forced onto ourselves because of the changing landscape. Start one, and have fun doing it for YOU!
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ikayblythe · 2 months
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A new transliteration of the Rain World scripts
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An update to this. I am the original creator of that interpretation, and to be fair I'm a little tired of not getting proper credit for it.
The entirety of this was done by comparing the 'alphabets' to our own, and assigning phonetic values from there. The logographs were interpreted similarly, but with Mandarin 'etymology' instead. I wrote...quite a bit! About it! You can read the individual interpretations for each symbol in the doc below:
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theoldkyokodied · 6 months
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If you follow my main you had to know this was coming… anyway. Enjoy these bloodweave doodles :)
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uncanny-tranny · 12 days
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I think it's incredibly important to remind folks on testosterone or folks who want to reverse patterned baldness about their options, but man, does it sometimes suck wondering how much of our insecurities about our hair stem from backwards beliefs that to strive towards beauty is not only preferable but "makes you good."
As someone with a rather masculinized body pre-medical transition, patterned baldness has always seemed neutral. Hair is incredibly important (hell, much of my own energy is spent on my hair because I like it), but the pressure to have hair, to have hair the "right way" is something that I absolutely loathe.
I'm not here to judge people who don't want patterned hair loss or baldness, I'm here to say that those traits will never make you lesser. Not only is it neutral, but it is also just as worthy and beautiful.
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