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#this reminds me of that post i made
iamanartichoke · 9 months
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I don't know who needs to hear this, but as a creator -
I am fine with "the audience" -
downloading my fics
printing my fics
copy/pasting or screenshotting my fics
sharing your saved copy of my fics with anyone else who might want them in the unlikely but never impossible case that my fics are no longer available on ao3
making a book of my fic(s) and running your fingers across the pages while lovingly whispering my precioussss
doing these things with anything I create for fandom, such as meta, headcanons, au nonsense like 'texts from the brodinsons,' etc
I am not fine with "the audience"
doing any of the above with the purpose/intent of plagiarizing my work or passing it off as their own in any capacity
feeding my work into ai for any reason whatsoever
Save the fandom things. Preserve the fandom things. Respect the fandom things.
Enjoy the fandom things.
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arealtrashact · 1 year
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Were they animals, that music could move them so ?
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njere · 3 months
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Sunsets and warm smiles
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mugentakeda · 5 months
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better safe than sorry
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chiropteracupola · 15 days
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iskierka iskierkaaaaaa my honeycake my thousand-times darling i love you i love you i love you i love youuuu
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royalarchivist · 21 days
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Baghera: I know you for like, few– few weeks, and I know you're a good boy!
Slimecicle: You think I'm a good boy?
Baghera: Yeah, you're a good boy, yeah!
Slimecicle: Fit, Fit– do you think I'm a good boy?
Fit: Yeah, you're a good boy! Yeah, 100%.
Slimecicle: Can you say it again?
Fit: You're a good boy.
[Fit and Charlie laugh]
Baghera: Can you say to me I'm a good boy? :D
Fit: You're a good boy!
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[ Transcript continued ↓ ]
Baghera: Oh, thank you!
Slimecicle: Hey Fit, hey Fit, hey Fit–
Fit: Yeah, yeah?
Slimecicle: Hey.
Fit: Hey.
Slimecicle: I know you don't get to hear this a lot, but you're a good boy.
Fit: Whoa. Uh—
Baghera: Antoine, you're a good boy!
Fit: Wait wait–
Slimecicle: Antoine! Antoine? Let me see you. Let me- let me look— [he circles around Antoine] Ok, yeah. Antoine: you're a good boy.
Baghera: You're a good boy!
Slimecicle: Antoine, you're a good boy!
Baghera: I'm a good boy!!!
Antoine: THANK YOU GUYS! That means a lot to me! Are you good boys too?
All of them: Yeah!
Fit: We're in a gang!
Antoine: Baghera, are you a good boy?
Baghera: Yep, yep, yep–
Slimecicle: WHAT A STUPID FCKING QUESTION!
Fit: Yeah, we're in a good boys gang!
Slimecicle: What a stupid fcking question! I'm a good– Antoine, say I'm a good boy.
Baghera: Antoine, say.
Antoine: Slime.
Slimecicle: Antoine.
Antoine: [Demon voice] You're a good boy.
Slimecicle: YEAHHHHHH!!!
Baghera: Yup, you're a good boy!
Fit: There we go. Yeah.
Baghera: Antoine, am I a good boy?
Antoine: Baghera. [demon voice] You're a good boy.
Baghera: YEAH! Good boy, yup!
Antoine: Fit?
Fit: Yeah yeah, let's hear it.
Antoine: You are... a very very good boy.
Fit: Yesss, let's go!
[They all cheer]
Baghera: We ready for tonight now!
Slimecicle: Oh my god, I- I– we could do anything guys!
Fit: That's right!
Slimecicle: Us four good boys versus the– [laughs] versus the bad world!
Baghera: Four good boys!
Fit: We're good boys gang, baby!
Antoine: Do you think the others are not good boys?
Slimecicle: Good boys get it done.
Fit: Ohh, I don't know if they're all good boys.
Baghera: You have to be to the club of good boys–
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skitskatdacat63 · 16 days
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Okay now where's the Seb teddy bear so I can make them kiss each other!?
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kotaki · 6 months
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Suite Precure Episode 2 || Hirogaru Sky Precure Episode 5
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Updated some sims
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buggachat · 2 years
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I love miraculous ladybug. Not ironically, not spitefully. I legitimately just think it’s a good show. I think it’s hilarious and genuinely fun and I always have a good time watching it. It brings a smile to my face and gets my synapses firing like not many other things can. I love seeing the characters go on wacky little episode-long adventures. I think the characters are extremely consistently written, where every episode I see them do something and think “oh my god, they so would do that”. I think their motivations and personalities make sense. I think the chemistry and dynamics between the characters are absolutely impeccable. I like watching them develop over time. I believe they have developed over time. I like the episodic format. I actually enjoy the slow, gradual plot, where characters can kind of just exist and have a bunch of different little mini-adventures where we get to see how the characters would react to all different kinds of situations without it all needing to be huge earth-shattering, plot-changing stuff. Sometimes that’s nice. It’s not for everyone, but I still think it’s good. I love it. I enjoy it. It’s my comfort show.
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bamsara · 7 months
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i think my patreons are the best tbh im out here fighting demons, brain damage, car broke, cost of living, price inflation, printer errors, delivery mishaps, rapid onset of media brainrot, inconsistant art style, isolation, the toils and tribulations of living in the rural south, social obligations with financial cost requirement, a cat that actively breaks into plastic bins to chew on stickers and burn out
i am constantly slipping on a bannana peel and patreons are just
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roseworth · 1 year
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broke: jason is mad at dick for putting him in arkham
woke: jason doesn’t care that dick put him in arkham because he was using it as a means to an end and he could’ve escaped at any time
bespoke: jason doesn’t care that dick put him in arkham but he still brings it up constantly whenever he needs to guilt trip him
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thunderboltfire · 2 months
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I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.
It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.
The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.
What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.
But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.
There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.
On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.
But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.
My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.
The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.
I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.
And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.
It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.
And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?
There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.
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shepards-folly · 3 months
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shout out to the fellas who can’t help but assume everyone is mad at them if they even sound slightly upset (it’s me i’m the fellas)
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fluo-skeletons · 2 months
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In order: Undertale Papyrus, Gravel (from @maxladcomics's au), Sharp (gemknight fell papyrus)
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bobmckenzie · 1 month
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women selfshippers who aren't stereotypically feminine, whether in physical features or personality or anything, your f/o loves you just the way you are 💚 you are their ideal woman ! :)
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