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.
18K notes
·
View notes
day 15: haunting ♡
(femslashfeb prompt list)
5K notes
·
View notes
Also, Jinshi in "How to Buy Out a Contract" was hilarious.
Do you think he's prettier than me
I was contemplating your murder but my future wife cat thinks you'll make a good brother in law so I'll let you live
My future wife cat trusts you, so I trust you. Don't fuck it up.
Have some money to leave my future wife alone forever go marry her sister
Did you see that Gaoshun? I did a socializing. Do you think Maomao will be proud of me?
Also Lihaku is precious. What an adorable golden retriever of a man. He went from absolute disdain at Maomao when she approached him for an escort to being like "help me little sister, I'm in love".
1K notes
·
View notes
i was talking extensively with a friend about reiju’s delicate balance of caring/emotionless and her relationship with sanji
1K notes
·
View notes
It's 11 PM, but one of my favorite little Darcy/Elizabeth moments happens while she still hates him and thinks he's a depraved monster, and I find it really entertaining.
It's during the Kent section, when Darcy calls at the parsonage and finds Elizabeth alone. During a longer, awkward conversation in which they both deeply misunderstand each other, they have this tiny interchange:
[Darcy:] “This seems a very comfortable house. Lady Catherine, I believe, did a great deal to it when Mr Collins first came to Hunsford.”
“I believe she did—and I am sure she could not have bestowed her kindness on a more grateful object.”
“Mr Collins appears very fortunate in his choice of a wife.”
“Yes, indeed; his friends may well rejoice in his having met with one of the very few sensible women who would have accepted him, or have made him happy if they had. My friend has an excellent understanding—though I am not certain that I consider her marrying Mr Collins as the wisest thing she ever did."
So: they are in Mr Collins's house. Darcy tries to re-start the conversation with a polite nothing about the house. Elizabeth agrees about Lady Catherine's micro-managing, but can't resist the chance to make a sly jab at Mr Collins (who is not present) to Darcy (a genuine villain, as far as she believes).
Darcy's reply looks a bit like an attempt to redirect the conversation into safer waters (they can agree that Charlotte is cool!). But although his remark is only somewhat related to what Elizabeth said, I think it's a natural follow-up in his mind because he is also insulting Mr Collins, if more subtly.
He could have praised Mr Collins's judgment in choosing Charlotte or just said something nice about Charlotte; he doesn't. Instead, he suggests that Mr Collins's choice of Charlotte was a matter of good fortune—or chance, as Charlotte herself would say!—on Collins's part. Darcy and Elizabeth both know Collins is a fool and that his choice of a woman like Charlotte says nothing about his judgment, only about his good fortune. (Elizabeth has even better reason than Darcy to know how much Collins ending up with Charlotte was lucky for him, but Darcy can see it anyway.)
Darcy's phrasing gives him some plausible deniability, but I think he's generally quite careful with his wording and the implicit insult to Mr Collins is not accidental.
Elizabeth, I think, takes this exactly as intended. She's not at all confused about where this tangent came from or offended by it or anything. She readily seizes on the new line of conversation as encouragement to keep insulting Mr Collins and his appeal to women with functioning brainpower.
Elizabeth is pretty scrupulously polite in general, so I kind of love that she just starts venting about her absolute contempt for Mr Collins and the Collins/Charlotte marriage to Darcy in the middle of a tense and weird conversation in Mr Collins's house. And I love that Darcy, who is otherwise more or less dog-paddling his way through this conversation, is like "yeah, your friend seems really cool, that dumbass is lucky he accidentally chose someone with a brain."
Elizabeth: "Right? And, let me add-"
(Is it a bit of an asshole move on both their parts in the context of that scene? Yeah, I think a little. I also love it! Please trash-talk obnoxious hosts in their own parlours for the rest of your lives.)
639 notes
·
View notes
I saw an interesting post a while back that said “Capcom made us [Miles and Diego/Godot] only have like two(?) interactions because they knew we would be unstoppable with a brother dynamic” and tbh it stuck with me bc it was intriguing.
So yeah that potential brotherhood, but that Godot/Diego AU I made (that I still need a name for)
Also I bet Gregory Edgeworth would have smelled like a bit like coffee, and so Diego just reminds Miles of that comforting presence 😭 (the von Karma estate was a tea household, so he didn’t smell much coffee after DL-6 and didn’t realize how much he missed it/reminded him of his father)
910 notes
·
View notes
"I'm going to become a prince!"
2K notes
·
View notes
Could u plz draw part 2 of Damian asking Anya 's hand from Loid ?
Your wish is my command, anon 🥖
(part one)
1K notes
·
View notes
Talking as players outside the game is an incredibly important part of having good PC/PC D&D relationships, and obviously the characters involved in the relationship talking to each other in meaningful ways is crucial, but I think the importance of talking in-game in depth to other people is really underrated, in that it not only tells the other player what your character is feeling without having to reveal it in-game to them, but also serves to engage other characters in the story and deepen those platonic bonds to the point where they might even serve as confidants or wingmen. To give a bunch of examples and what they achieved:
Vax telling Gilmore he didn't want to string him along made it clear out of game that his feelings towards Keyleth were his priority, even though it happened where the other characters were not able to hear.
Similarly, Vex giving her blessing eventually after her initial resistance signaled to Liam that this would not be a major break between the twins.
Vax asking Vex what she intended to do about her feelings for Percy served not only as an opportunity for her to voice them to someone; it also serves as a big green light for Taliesin as Percy to kiss Vex later that episode (which he had already from Vex's resurrection ritual, but it underscores it).
Pike talking about Scanlan with Keyleth and Vex allows her to make it clear that she does ultimately like a lot of things about him despite sometimes being annoyed, and her talking to him through her earring while Scanlan is very much not there but Sam is at the table also serves as this kind of green light.
Jester asking Veth about kissing in relationship to Fjord lets Travis know where Jester is at and invests Veth in-game in the relationship.
Caleb asking Jester if she's "sweet on [Fjord]" lets her openly reassess her feelings after an intense arc and also indicates in-game that Caleb has noticed.
Beau waiting to hear the sound of thunder signals to Ashley (who was not at the table but who was presumably staying updated on events) that Beau has feelings for Yasha; it also allows those playing Yasha (often Matt for pure RP and Travis in combat) to return that flirting, since the baseline was already established.
Possibly the most obvious example, but Beau and Fjord's conversation on Rumblecusp not only clarifies to the whole table where everyone is (opening the door, for example, for the scenes in the beer garden a few episodes later of Caleb having Fjord and Jester dance together and Caduceus encouraging Yasha to pursue Beau) but very much serves as a green light to Ashley and Laura respectively. This is then mirrored by them talking after Beau has asked Yasha on a date and Fjord and Jester have kissed, and everyone involved can "debrief" with their partners not present in-game.
As mentioned, this is mostly about PC/PC relationships because PC/NPC is an inherently different dynamic mechanically though still should be a conversation, but Veth describing Yeza and Jester asking Caleb about his feelings about Essek both give Matt clues for playing these NPCs and how things might be received.
FRIDA mentioning their crush on FCG to Deanna means it's not a complete surprise to Sam, since it is a very sudden relationship, and lets him prepare and decide how FCG would feel in the moment, and also establishes how Deanna will feel about it.
Similarly in the C3 Uthodurn arc, Fearne going to Chetney about Deanna is an incredibly good move from Ashley (to the point that talking about this is what led me to write this whole post). It lets Travis play out where Chetney is. It lets Aabria therefore hear not only where Chetney is, but also know that Fearne is potentially interested. It establishes a ton of the dynamics for a relationship that out of game everyone knows will not have a full campaign to play out since one of the characters involved is a guest. And finally, it signals to Christian as FRIDA what the situation is in case Deanna confides in them.
554 notes
·
View notes
his flower...
Aww, from the signing doodle board and the Adventurer’s Bible long illustration… He likes flowers he likes shells, just a guy and his flower he picked from the side of the road, what’s not to love. Nature lover boy…
210 notes
·
View notes
glorioso from last years twitterin
280 notes
·
View notes
There's something about the idea that every adult that spends more than ten minutes alone with Steve Harrington is instantly enamored with him
The King Steve era house parties don't get broken up by the cops anymore. Steve is too far from his nearest neighbors for a noise complaint and the cops who would do it like Steve. They know they don't have to worry about any underage drinking and driving incidents after a Steve Harrington party because anyone who doesn't have a DD just crashes at the Harrington place, it's not like they have to worry about getting out of there before his parents get home.
His teachers can't help but let certain things slide. Excusing a middle school Steve's tardiness, the Harrington house is such a long bike ride away from the school and the bus route doesn't reach the grounds of Loch Nora. High School Steve's grades are average at best and his attention drifts, but his questions if poorly worded are insightful at heart and if you catch him away from the friends he tries too hard to keep he's polite and willing to spend time discussing his school work. By senior year they're excusing his tardiness again, they all know he has to swing by the middle school on his way over; and his forgetfulness too, two concussions in as many years it's a wonder he's not worse.
Joyce Byers, who by all accounts should hate this boy who fought her son and belittled her family, already has a snag in her armor thinking about a little boy who used to bike to Melvalds all alone for more milk and the sugar dusted cereal his mother didn't like him to have. Has her walls damaged by Jonathan coming home with a Christmas present they both know Nancy Wheeler even in her middle class glory couldn't afford. Has the adoption papers ready to be notarized when that same little boy, just a little bit bigger, offers to cart her Will around town since he knows she and Jon are busy and he has nothing better to do; really, and Will is the only one that ever says please or thank you.
Hopper, who largely left the everyday police work to the other officers, didn't interact with Steve much until the Upside Down business started. He's ready to add Harrington to the list of kids he'd die to protect the second the bloodstained boy cracks open a bleary eye from the Byers' sofa. Concussed and happy for it since it meant the youngest ones were safe.
Claudia Henderson has decided that the law has little to do with family. She's seen too many young men in the hospital grieving loved ones they can't see while parents who don't care make decisions for the dying. Steve Harrington is hers now has been since he did her Dusty's hair. The Sinclairs only let Erica roam the mall on her own on days they know Steve is working. They know no matter what Erica and Lucas promise the two of them aren't staying together. There's something rotten in Hawkins, and the kids don't whisper as quietly as they think they do. They know there's something they are missing, but they don't need to know everything to know they can trust the boy who put himself bodily in front of their child to protect him. Karen still occasionally mourns the loss of Steve as a son-in-law but the fact that he still drives Mike around even on his surliest days, she couldn't ask for more.
Wayne Munson lasted the longest. A product of night shifts and a powerful wariness around anyone whose tax bracket exceeds his by more than one jump. But he knows the kind of skittish that Steve is, remembers an eight year old boy with eyes he hadn't grown into who used to skitter away from a sharp tongue or raised hand just the same. Even then all it takes is sitting next to Steve on a rare night off, the game fuzzing in and out on the TV, listening to him softly explain the rules of it all to his boy relating it back to the ones of that dragon game Eddie likes so much and he's gone. Steve's a hard worker, a wage slave as much as Wayne these days, seems wrong to begrudge him just cause the house he's kept at is a little bigger than theirs. There are worse boys to have as future in-laws, even if he is a Cubs fan.
The only person who doesn't seem to get the memo is Richard Harrington. So rarely around his own son he isn't swept up in the charm. Richard and Stephanie Harrington make their way back to Hawkins, unannounced on a Tuesday. The sleepy morning hours are still lingering when they make their way into the house, through the foyer, and onto the kitchen; following the sounds of crooning oldies. Richard has long thought his son a disappointment, too lazy to get into college and too spoiled to leave home, catching him dancing around the kitchen like a fairy with some trailer trash punk is really the last straw. He lets the wife he wishes he didn't have make some asinine comment to this freak that's in his kitchen, and turns to the child he never wanted to say, "I want you out, I won't have a queer living under my roof."
Stephanie and that long haired bastard both rear back like they've been slapped. While Richard is forced to watch as the son he's neglected straightens up, every ounce the man every other adult on Hawkins has watched him become, look him in the eye and say, "It's not your house, it never was. Grandpa Otis left it to me. So if you've got a problem with me or my fucking boyfriend, you can get out of my house. Looks like you're already packed."
That empty house gets emptier as Richard, alone, takes the furniture he paid for and the clothes that lingered in the closet; but it's quickly filled with the hand-me-downs of everyone who has ever fallen for that Harrington charm. They're all too happy to help Steve fill what's his.
2K notes
·
View notes
Me explaining in terms of strictly how I read canon I think Nahida not severely punishing the Sages is just meant to convey that Nahida, even when wronged, is not a very vengeful or harsh person and makes the choice to be kind instead, but in my mind I have this idea of a Nahida interpretation which elaborates on that where her self punishing tendencies extend to her being someone who internally downplays her own experiences constantly, and as a result has a hard time feeling she’s allowed or justified in placing a lot of blame on the Sages for what they did to her So while she is following her own philosophies regarding teaching lessons/wisdom/etc in how to handle the Sages and genuinely doesn’t want to be really angry or punishing because of who she is as a person, her decision is also influenced by the fact she’s basically blocked herself out of grappling with how to handle people who hurt her by blaming herself for said hurt instead as a coping mechanism. And like this is all just me being insane about Nahida Trauma and not something explicitly implied in canon but also I really do think this isn’t a far stretch from her canon characterization especially when my vision isn’t to conclude that Nahida needs to be angry and vengeful but she should extend the kindness she shows others to herself and also every day I get tormented thinking about she was the mental equivalent of an average human child when the Sages found her and how they basically specifically discarded her for being a child and the idea of how Nahida would pick up on + internalize that and eventually need time to unlearn it
332 notes
·
View notes
:-P
174 notes
·
View notes
[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]
saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.
110 notes
·
View notes
Can everybody please read what the people who designed Rapunzel's tower for the Tangled movie wrote about all the drawings on the wall!!
Here is the text:
[As might be expected, Glen Keane is as interested in what's inside as what's outside."What's most interesting about the art direction is the inside of the tower. To me, that is Rapunzel's world, and the idea that this girl is making her walls go away by painting on them-I love that.
Visual development artist (and Glen Keane's daughter) Claire Keane continues, "We didn't want it to be just decorative. This is all of her subconscious desires and all of her conscious desires. When I started trying to figure out what she would paint and how she would paint, I started looking into medieval drawings, and also the way other artists work with interconnecting their objects-Rapunzel paints on the walls and she paints on her furniture and it's all connected. I was trying to come up with a new language for the way she would paint"
Claire Keane took a very personal approach to identifying Rapunzels art. "I started on the weekends, and in the mornings, and whenever I was at home, documenting my life in a sketchbook, and turning it into Rapunzel.
Cleaning up my house, putting away my clothes, separating the dirty from the clean. I'm singing while I'm doing it. That leads into this life-as-art thing, where everything Rapunzel is doing is another opportunity for art.
Nathan and Byron also wanted her to feel a little analytical, as if she's documenting things that she's discovering. So it's not just about her art, she's also learning things"
Glen Keane concludes, "Well, you start off when she was a little girl, she just started painting very simple childlike images on the wall. It progresses in maturity to where every square inch is painted. When we're starting the story, there is no room left on this wall any longer. Her next step has to be to go out."]
Like this is so lovely!!!! Especially the last part: "When we're starting the story, there is no room left on this wall any longer. Her next step has to be to go out." I love that so much!!!
122 notes
·
View notes