Voting is a tool.
By which I mean, voting is just a tool; it isn't sacred or magical.
And by which I also mean, voting is one tool that is good for one kind of purpose. If it isn't suitable for the goal you're trying to achieve, you need different tools.
Every time someone makes a post on here rightly criticizing Joe Biden's support for genocide, there's at least one person in the notes saying "but remember, you still have to vote for him!" or, "did you know Trump wants to deport Muslims?" or, "then who do you want me to vote for?"
But that's like going into a plant nursery and demanding they sell you the correct drill bit for planting a tree. They will never sell you the drill bit you want, because the drill bit you want--the drill bit suitable for planting trees--doesn't exist, and also plant nurseries don't sell drill bits.
Standing in the plant nursery asking about drill bits will probably initially get you people explaining to you where to find a shovel, and a watering can, and some mulch, because those are tools that will help you plant the tree. If you ignore the attempts to educate you, and start yelling about how they must just want you to throw away your drill, and also they probably hate trees and hate you and want you, personally, to suffer in a world without shade, you'll start getting different answers, like "please stop shouting" and "I'm going to have to ask you to leave now."
Because you're demanding that they tell you how to use the wrong tool for the job. They can never give you the answer you want; the answer you want doesn't exist.
I can't tell you who to vote for to prevent the rise of fascism in the United States, both because you can't prevent something that's already happened, and because you can't vote your way out of fascism.
You need different tools; you need to ask different questions and be willing to sit with the answers, even if they aren't the answers you want.
Boycotts are a tool. Protests are a tool. Shutting down highways, physically blocking weapons shipments, picketing arms companies, those are tools. So is going to your library and checking out books about Palestine, and about decolonization generally.
Instead of asking which war criminal you should vote for, perhaps ask how you can organize members of your community to support and look after each other and keep each other safe. Perhaps ask how you can support Land Back and prison abolition. Ask how you can organize a union in your workplace.
The tool you're most comfortable using isn't going to work for this job. Learn how to use another.
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I really don't like how in the new chapter all of Yuuji's individuality and specialty gets reduced to his body. It quite literally says it doesn't matter who operates his body, all that counts is what they use it for and then it works on autopilot, Yuuji himself doesn't have to do anything. The only reason he got this far and learned so fast is because other people used his body. He himself, as a person, is nothing special and has no unique skills. It's all his inherited physical capability and the people taking advantage of it.
After sitting on it a bit, I think I get what Gege is going for here and the message that once again gets underlined.
Even people who claim to care about him as a person like Choso perpetuate this narrative. Choso says without any pushback that Yuuji should eat the remaining Death Paintings to make his body stronger and swap souls with someone else so they can also improve on his body. No one ever questions if Yuuji is alright with that or what he himself could contribute, if he could maybe just learn something on his own through regular training with Kusakabe. They all say for Yuuji to get better as quickly as possible, his body has to get better if he likes it or not. And that's why Yuuji goes along with it because other people must know best what's good for him, he can't even understand his own physique after all. Let them make the decisions about him, he'll just do the dirty work of going out there in the end and punching Megumi out of Sukuna. He gets objectified again just like when he was still the vessel who was meant to seal Sukuna once and for all and gets executed to rid the world of the King of Curses for good. Same principle, different method. He can take the lead in planning how to kill Sukuna, the thing he was created to do, but he can't make decisions about his own body.
Yuuji is just a tool for others to use. For him to have any value as a sorcerer more skilled and experienced people have to use his body or he uses their body (Death Paintings, Sukuna) to take their skills for himself in the service of others.
The only thing unique to him at the moment (who knows for how long) is his perception and targeting of souls. It seems to be something you can't just inherit or gain by being or having a vessel as Sukuna can't do the same thing. The only other people who could do it were Mahito and to a degree Yuki. And this is what gives Yuuji an advantage over Sukuna and what can be used to actually hurt him. RCT and Simple Domain keeps him alive, Blood Manipulation and Shrine are distractions, but his soul punches are what got Sukuna in the miserable state he's in now.
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ATP i don't wanna add "i am enjoying this critically" disclaimers when I read stories with upsetting elements bc this phrase has deteriorated into total nonsense to me and it still assumes that the content is being "enjoyed", ergo "consumed for the sake of gratification" rather than being "studied for the sake of experience". I like reading stories (with higher writing quality!) in which terrible things happen to people, both those with good execution and with bad, cause at the very least you can analyze the points you disagree with and build your writing repertoire thru reacting to others' work. I am a narratologist, a literary theorist, before I am a human person. I interact with media in a fundamentally different way than fandom people on the internet, because I am someone who will approach even a yaoi one shot very studiously from all angles and view even the most barebones characters as narrative tools who are controlled both by an internal theatrical force and the external intent of the author (and also never forget... intentional fallacy is a thing) I will never see the characters as my boyfriends I will never succumb to my own revulsion and pass up a story im interested in! In other words, you know me well enough to know I dont read with my dick in my hand. If you dont know this of me, well okay... but I think the existence of the proship label (which i do not align myself with whatsoever, and find abhorrent both as a csa victim and because any identity built around shipping is feeble) has pushed everyone who is rightfully in opposition to it to place themselves on the "other side", as though "morals + literacy" is an on/off switch. Like its not the existence of imbalanced relationships, sexual assault etc in stories that is vile and disruptive, it is that certain people AND LARGELY THOSE WHO HAVE NEVER BEEN VICTIMIZED BY THESE ENTITIES IRL react to them and spew blatantly untrue literary misconceptions that disfigure the relationship between fictional portrayal of abuse and the real world mechanisms of abuse to justify jacking off to cartoons. Ok well I think its stupid to jack off to cartoons even if you're ethical about it so I dont do that 👍🏻 and don't assume this of me
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My work boots are the most expensive shoes I’ve ever owned.
Also the most comfortable. I chose them after trying on several different brands and comparing lifespan vs usage vs comfort - I needed them for a physically demanding job, not the weekend hiking trails. I could have easily chosen cheaper boots that would have lasted long enough to be worth their low price, but I know the Sam Vimes Boot Theory and knew weaker, less comfortable boots would make my life harder in the long run.
So when the outside edge of the heel started wearing down after three years of heavy use I went to the shop I got them from and said “hey this is a common problem for me with how I walk but now it’s affecting my ankles and knees and I don’t wanna have to buy a new pair, is there a way to fix this?”
The salesman at this very fancy upscale boot store said “oh yeah, there’s a shoe repair place that can give you some heel guards - it’ll keep the rubber from wearing out.”
So at 8am this morning right after my 9hr shift ends I went to the shoe repair shop and it is the most hole-in-the-wall, is-this-a-real-business-or-a-mafia-front, am-I-gonna-get-shot tiny cinder block cube I’ve ever seen in my life. I grew up plenty poor and love me a good hole-in-the-wall business, but going from upscale store to this cash-only repair shop gave me whiplash. Wasn’t expecting this when a guy who wears three piece suits to sell boots said it’s the best place to go.
The skinny kid behind the counter looks somehow 16 and 25 at the same time, but when I tell him this place was recommended he smiles and says to hand over my boots. I hand him the vaguely warm foot-smelling boots, and stand in my socks in the 3’ square entryway surrounded by every color leather polish you could buy and watch as he turns my boots around in his hands, sizes up a crescent moon bits of plastic, and unceremoniously hammers tiny nails through them before handing them back.
The heels are perfectly level again. I can walk without almost rolling my ankles. They don’t clack loudly on the pavement or feel different. This is gonna fix my knee pain. It cost $10.
This kid had every tool he needed within arms reach, worked fast and smoothly, I was in and out the door in less than 8 minutes, and it only cost $10.
I didn’t think anything could cost only $10 anymore. I’m so used to hyperinflation prices I was spiritually thrown back to the 1400’s visiting the cobbler in town square. This kid might have been that cobbler and just decided to never die.
I’m still reeling from the whiplash, and gobsmacked at the price, and thrilled I didn’t have to go buy new, worse work boots (cuz I don’t have that kind of money for a second pair, I’m expecting these ones to last a decade) and it feels like I just experienced one of the rare little chunks of magic that floats around our world.
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I’ve gotten a WAVE of asks about this AU, so I decided to flesh it out some more and answer some of those questions!
I’ll probably polish this extended summary up at some point and submit it to AO3. But for now, here’s a rundown of my thoughts–please feel free to send more questions! I’ll update this post if I get any more. But if you’re someone who wanted to write fic for it, don’t worry, you don’t need to take my headcanons as gospel. It’s a pretty basic AU honestly lol
Summary:
The portal accident results in a violent explosion that wipes out the whole block, and condemns all of Amity Park. Danny haunts the city for 100 years, before Sam and Tucker find him.
Setup:
In the 1920’s, 19-year-old Danny went into the incomplete portal on his own, hoping to help out his parents. Ripping the portal open through unnatural means created a huge burst of energy that resulted in a massive explosion. A good portion of the Amity Park population died, many were injured, and the ones on the fringes relocated–Amity was quickly deemed too dangerous due to the excess ectoplasm in the area that attracted ghosts.
While the disaster was in Amity, the fallout was seen around the globe. Before, natural portals were rare, short-lived, and rarely allowed ghosts to fully slip into our realm (the most severe cases being on par with poltergeists that most people didn’t believe in). Now, natural portals pop open frequently around the world, large enough to allow the entirety of a ghost into the physical plane. They’re more common the closer you get to Amity, but they happen enough elsewhere that this change was something of a small apocalypse before people settled back down and found out how to combat at least some of their new, permanent neighbors.
Danny is unaware that he’s only half-dead, believing he’s a full ghost. He ends up sticking around Amity, unintentionally making it his haunt. His grief and guilt over causing the death of his loved ones (and many others) makes him isolate and avoid human contact. Though he has, at times, scared nosy people away from the city in a mix of territorial instinct–and to get them to leave before a less friendly ghost finds them.
Ghosts are much more of an uncontested danger in this AU. Lesser ghosts are practically mindless, and while stronger ghosts are capable of reason, their interests are limited. They’re highly territorial, possessive, and often destructive. Most worrisome is that they also like to snack on the life force of anything alive. No one is sure what dictates a ghost’s propensity to attack or hunt the living for their life force since ghosts don’t exactly experience hunger. At least, not the way we do. If a human is rescued before their life force is fully drained, they can make a full recovery–though humanity has still not yet found what this “life force" is.
And since the Fentons’ research died along with them, there aren’t many tools available to the public to protect them from ghosts. Most homes have standard ghost shields and some weapons are available on the market, but certified ghost hunters are required to take care of anything more powerful than your average spook.
Sam and Tucker met in high school, and are now rooming together for college very close to the Amity border. Rent is surprisingly cheap when you’re a stone’s throw away from a condemned area crawling with ghosts. Sam is the one who drags Tucker along with her fascination over finding out more about the city, and its largely mysterious demise. Sam is aware of the danger, but feels ghosts have a place in this world just like everything else, and does exercise caution–like one would while foraging in the woods with a known tiger population.
What she and Tucker weren’t expecting was to run into a ghost that felt almost human. One that hasn't hurt them, not for lack of trying–while being powerful enough to walk past ghost shields without so much as a flinch. The long white hair is familiar in the whispers of the ectobiologist community, but there’s no way it could be the rumored ghost king Phantom, right?
About Danny:
He has very long hair, claws, and black sclera. His hazmat suit is more torn and ragged, with exposed hands and feet that fade into a burnt black.
His hair tends to float a lot on its own. It can start morphing into fire under duress.
He does still technically have gloves and boots, they've just charred and melted into his skin towards the ends. He can't take them off in his ghost form. His hands and feet have a leathery texture that's tougher than the rest of his skin.
The white of his hazmat suit is both supposed to look like flames, and also a battered look representing his more violent, explosive death.
Overall, he appears rather listless and sad, with an unnerving air of danger around him–even for a ghost.
Danny’s “ghost sense” comes out as white smoke.
He does breathe black smoke at times, usually when agitated.
He's already fought and defeated Pariah Dark by the time Sam and Tucker find him, technically making him the Ghost King. This is heavily speculated by ghost experts, despite there being no real proof beyond a massive battle that scarred Illinois. He has not donned the Ring or the Crown, and captured sentient ghosts are hesitant to answer questions surrounding him. Danny basically has the throne but doesn’t do anything with it, and finds it meaningless enough to routinely forget he has the title. He only fought Pariah because he knew otherwise, humanity would have perished. A lot of ghosts are scared of him because he's so hard to figure out, and he's strong.
Danny is usually very quiet and speaks softly, because his lungs were damaged in the blaze that half-killed him. He's technically healed since becoming a ghost, so it's more of a compulsion due to the traumatic memory. That, and he’s just… very forlorn and distant, shy around humans who don’t seem to understand how dangerous it is to keep hanging around him.
His memories pre-accident are extremely fuzzy. He knows the very basics of who he was, but specifics have been muffled due to trauma and isolation. He routinely forgets human habits, etiquette, etc. and tends to act more like a full ghost with some odd quirks.
He does try to scare Sam and Tucker off numerous times. Unfortunately for him, they realized they shouldn't have been able to escape a ghost that strong–but they did, because he let them.
Sam and Tucker think he's mute at first! He doesn't speak a word to them until several encounters later, when he fumbles his whole scary act and saves them from another ghost.
He’s still half-ghost, though he doesn’t figure this out until Sam and Tucker come along trying to unravel the mysteries behind the Amity catastrophe. Physically and emotionally, he’s been stuck for 100 years–so his human form is still 19. It’s unclear at this point if he can age normally like a human as long as he stays in human form, or if he’s immortal.
Danny's family did not turn into ghosts, though he sometimes worries he'll find them in the afterlife as shells of their former selves. He doesn't know if it's better or worse that he's not sure he'd recognize them.
(Danny also still has some living family. Take a guess.)
Yes, he knows how to Wail. Understandably, he very rarely uses it. You do not want to witness this.
Danny :) is not immune :) from the allure of eating a human's life force :)))
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You need more free art.
I quit my job yesterday. Well, actually I quit my job eight weeks ago, but they finally released me yesterday for good behaviour. Don't get me wrong, I love what I do - but I do it for the wrong reasons. Working for major charities, you learn very fast that 'I want to make the world a better place' is a phrase you use to ask people for money, not to give them things. I was an ass-backwards fit for that world.
You need more free art. I need more free art. Everyone has felt the shift in our media landscape over the last ten years, away from access and towards nickel-and-diming the human experience. That lack of access is making life and culture worse for all of us, across the board. Paywalled news sites leave us less informed, attacks on the Internet Archive leave us less capable of research. Algorithmic social feeds and streaming walled gardens trap us inside smaller and smaller demographic bubbles, where we are increasingly only likely to encounter ideas that have been curated for us by marketing departments. Hasty efforts to resist AI commodification have only led to more artists locking their work away and calling for even more onerous systems of copyright law. This is not good for us.
We all need more free art.
So what am I going to do about it?
This is a question I have been asking myself for years. It's easy to sit here feeilng frustrated and thinking 'boy I hope SOMEONE does SOMETHING'. It's harder to take action in a world where I still have rent to pay. But hard doesn't mean impossible. Sometimes hard just means time-consuming, frustrating and slow. And sometimes it's worth doing something time-consuming, frustrating and slow because...I want to make the world a better place.
I'm going to do this:
1. From April 1st, I am relaunching as a freelance writer and editor.
This is the one that will (hopefully) help to pay the bills. I am a very good and experienced editor. I've worked on hollywood movies, I'm a member of the Chartered Institute of Editors and Proofreaders, I have clients who have been coming to me exclusively for more than 10 years.
Alongside bigger contract jobs, I am going to refocus on offering my services to small-press creators at a reduced rate. That means you, graphic novelists. That means you, itch and amazon writers. I want to help you develop your work, the same way I help large organisations. You can learn more about what an editor even does and what kind of pricing you can expect here.
2. I'm also going to start giving shit away. Like, constantly.
Next week I'm going to launch a new free shop. If you're unfamiliar, a free shop, giveaway shop, swap shop, etc. is an anarchist tradition of setting up a storefront where anyone can take what they like for no cost. Offline, this often means second-hand clothes, tools, furniture, food etc. Online, I am going to be giving away digital art. Copyright-free, no strings attached. It will (eventually) feature everything from print-res posters to zines, poems, tattoo flash, t-shirt designs and anything else we come up with.
Yes, I said 'we' - while this is a curated collection, it will feature work from a variety of credited and anonymous artists and activists, all of whom have agreed to give their work away to the public domain. Some of it will be practical, some of it will be political, but a lot of it will be decorative or personal. This is, in part, a response to recent difficulty I had finding somewhere that would print a one-off joke poster for a friend that featured the word 'faggot'. Enough. No middlemen - no explaining ourselves. Just print our shit and enjoy it.
I'm very, very excited about this project. I'll have more to say about it closer to the launch, but you can expect it to go live on March 27th.
2.2 I forgot to mention the ACTUAL LAUNCH GIVEAWAY
To celebrate my launch, I am going to be giving away a ton of physical prints. When I went looking for my old stock to see if it was worth setting a new (paid) storefront up, I realised I had way more old work in storage than I thought. This will be announced in its own right on Monday, but this is why I've been hinting you should go follow my Patreon.
On April 1st, I will pick 8 random patrons (from across all tiers including non-paying followers!) and mail them a bundle of assorted prints and postcards. The prize pool includes A3 and A4 posters, packs of A6 postcards, and printed minicomics that I've previously sold for up to £12 each.
You don't have to be a paying subscriber to enter - this is strictly no-purchase necessary. It is purely and entirely a celebration of the concept of GIVING ART AWAY FOR FREE.
3. PORN, YOU PERVERTS
Because I still have to pay to stay alive, I am going to be subsidising all this free art with the introduction of Fuck You Fridays. Starting from March 29th, I will drop a new 18+ short story on the last Friday of every month, over on itch.io (yes I know my page is desolate right now, don't worry I'll get there).
The first edition, Go Fuck Yourself, is about, well - telling your boss where to stick it. Julia has had it with her millionaire man-child manager, and is just about ready to let him know what she really thinks. It's a short and steamy 5k words, with a gorgeous cover illustration by @taylor-titmouse, and you can pick it up for $3 starting from March 29th.
4. ANOTHER BIG SURPRISE
I'm keeping this one under wraps for now, but April 1st will also play host to one more (FREE) launch. If you've been following me for a long time, you might remember the other significance of this date (no not April Fool's day, though that is certainly thematically relevant to this entire effort). That's all I'll say right now. Watch this space.
tl;dr: I'm sick of paywalls and career ladders. I'm literally putting my money where my mouth is. More free art for everyone and I'm not kidding around!!!
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