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learn-from-my-experience · 11 months

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Every TypeScript example and tutorial I've come across so far mainly focuses on language features, static typing, and working with Visual Studio. However, I couldn't find much guidance on how to use TypeScript effectively with JavaScript and the DOM.

I remember having the same question a while back, just like Johnny on Stack Overflow. "Can we use TypeScript to manipulate the DOM?" This question motivated me to dive deeper and figure it out, and I'm here to share what I've learned.

Configuration: Using TypeScript for DOM manipulation is straightforward, but it does require some configuration. You'll need to include the specific types for DOM access, which aren't available by default in TypeScript. To do this, you must explicitly configure the TypeScript compiler to include the "dom" library in the compilerOptions section of your tsconfig.json file. It's worth noting that the decision not to include these types by default might suggest that TypeScript's creators initially intended it more for server-side development with Node.js than for front-end work.

/** tsconfig.json - Configuration file in the project folder for the TypeScript compiler */ { "compilerOptions": { "lib": [ "es2015", "dom" ], "strict": true, "target": "es2015" } }

Hello World: In this article, I'll create a simple "Hello, world!" program to demonstrate how to use the DOM in TypeScript. Since this is my first post about TypeScript, I'll cover the basics of working with DOM types and address a common challenge that beginners might encounter. Please note that I won't be discussing DOM events in this post; that's a topic for a future article.

Let's start with the basics by changing the inner text value of an existing HTML element. I began by creating an HTML file with a standard HTML5 boilerplate, including an <h1> element with the id "greeter" in the body.

<!DOCTYPE html> <html lang="en"> <head>  </head> <body> <h1 id="greeter">Hello</h1> </body> </html>

Next, I opened a new TypeScript file and added the following code:

let greeter: HTMLHeadingElement = document.getElementById("greeter") as HTMLHeadingElement; greeter.innerText = "Hello world!";

In this code, I created a variable called greeter and assigned the type HTMLHeadingElement to it. The HTMLHeadingElement type is defined in the "dom" library we added to the configuration. It tells the TypeScript compiler that greeter expects an HTML heading element and nothing else. Then, I assigned the greeter to the value returned by the getElementById function, which selects an element by its ID. Finally, I set the inner text of the greeter element to "Hello world."

When I compiled the code with the following command:

tsc script.ts

It produced the following error:

Type 'HTMLElement | null' is not assignable to type 'HTMLHeadingElement'. Type 'null' is not assignable to type 'HTMLHeadingElement'.

It's a bit frustrating, but TypeScript is doing its job. This error means that I tried to assign a greeter, which is of type HTMLHeadingElement, with an object of type HTMLElement that the getElementById method returned. The HTMLElement | null in the error message indicates that the method's return value can be either of type HTMLElement or null.

To address this, I used TypeScript's type assertion feature to tell the compiler that the element returned by getElementById is indeed a heading element, and it doesn't need to worry about it. Here's the updated code:

let greeter: HTMLHeadingElement = document.getElementById("greeter") as HTMLHeadingElement; greeter.innerText = "Hello world!";

With this change, the compilation was successful. I included the script.js file generated by the compiler in the HTML document and opened it in a browser.

Decoration Time: Now that I've confirmed that everything works as intended, it's time to make the page more visually appealing. I wanted a font style that was informal, so I chose the "Rock Salt" font from Google Fonts. I imported it into my stylesheet, along with "Dancing Script" as a secondary font, using CSS imports. I then added a few more elements to the HTML document, centered all the text using CSS flexbox, added a background from UI gradients, and adjusted the positions of some elements for proper arrangement. The page now looked beautiful.

Animation: To add a finishing touch, I wanted to include a background animation of orbs rising to the top like bubbles. To create the orbs, I decided to use <div> elements. Since I wanted several orbs with different sizes, I split the task into two steps to simplify the work.

First, I created a common style for all the orbs and defined a custom animation for the orbs in CSS. Then, I created the orbs dynamically using TypeScript. I created a set number of <div> elements, assigned them the pre-defined style, and randomized their sizes, positions, and animation delays to make them appear more natural.

Here's an excerpt of the code for creating the bubbles:

function createBubbles() { for (let i = 0; i < bubbleCount; i++) { let div: HTMLDivElement = document.createElement("div") as HTMLDivElement; let divSize = getSize(); div.style.left = getLeftPosition() + "px"; div.style.width = divSize + "px"; div.style.height = divSize + "px"; div.style.animationDelay = i * randomFloat(0, 30) + "s"; div.style.filter = "blur(" + randomFloat(2, 5) + "px)"; div.classList.add("bubble"); bubbleBuffer.push(div); } console.log("Bubbles created"); }

After creating the orbs, I added them to the DOM and started the animation:

function releaseBubbles() { createBubbles(); for (let i = 0; i < bubbleCount; i++) { containerDiv.appendChild(bubbleBuffer[i]); } console.log("Bubbles released"); }

And with that, the animation of orbs rising like bubbles was set in motion.

Here's the final output:

youtube

You can find the complete code in this repository.

Conclusion: While writing this article and creating the example, I realized the involvement of advanced concepts like type assertion and union types. I now understand why the authors of those tutorials didn't include them; introducing them could confuse beginners. It's best to learn TypeScript thoroughly before venturing into DOM manipulation.

In my example, I skipped null checking when fixing the type mismatch error, as it seemed unnecessary for the demonstration. However, in real projects, it's important to check for null values to avoid runtime errors. I also didn't

#While writing this article and creating the example #I realized the involvement of advanced concepts like type assertion and union types. I now understand why the authors of those tutorials di #beginner #typescript #dom manipulation #Youtube

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literaryvein-reblogs · 2 months

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Writing Notes: Children's Dialogue

Language is extremely complex, yet children already know most of the grammar of their native language(s) before they are 5 years old.

BABBLING

Babbling begins at about 6 months and is considered the earliest stage of language acquisition

By 1 year babbles are composed only of the phonemes used in the language(s) they hear

Deaf babies babble with their hands like hearing babies babble using sounds

FIRST WORDS

After the age of one, children figure out that sounds are related to meanings and start to produce their first words

Usually children go through a holophrastic stage, where their one-word utterances may convey more meaning

Example: "Up" is used to indicate something in the sky or to mean “pick me up”

Most common first words (among the first 10 words uttered in many languages): “mommy,” “daddy,” “woof woof,” “no,” “bye,” “hi,” “yes,” “vroom,” “ball” and “banana”

WORD MEANINGS

When learning words, children often overextend a word’s meaning

Example: Using the word dog to refer to any furry, four-legged animal (overextensions tend to be based on shape, size, or texture, but never color)

They may also underextend a word’s meaning

Example: Using the word dog to refer only to the family pet, as if dog were a proper noun

The Whole Object Principle: When a child learns a new word, (s)he is likely to interpret the word to refer to a whole object rather than one of its parts

SYNTAX

At about two years of age, children start to put words together to form two-word utterances

The intonation contour extends over the two words as a unit, and the two-word utterances can convey a range of meanings:

Example: "mommy sock" = subject + object or possessive

NOTE: Chronological age is NOT a good measure of linguistic development due to individual differences, so instead linguists use the child’s mean length of utterance (MLU) to measure development

The telegraphic stage describes a phase when children tend to omit function morphemes such as articles, subject pronouns, auxiliaries, and verbal inflection

Examples: "He play little tune" or "Andrew want that"

Between 2;6 and 3;6 a language explosion occurs and children undergo rapid development

By the age of 3, most children consistently use function morphemes and can produce complex syntactic structures:

Examples: "He was stuck and I got him out" / "It’s too early for us to eat"

After 3;6 children can produce wh-questions, and relative pronouns

Sometime after 4;0 children have acquired most of the adult syntactic competence

PRAGMATICS

Deixis: Children often have problems with the shifting reference of pronouns

Children may refer to themselves as "you"

Problems with the context-dependent nature of deictic words: Children often assume the hearer knows who s/he is talking about

AUXILIARIES

In the telegraphic stage, children often omit auxiliaries from their speech but can form questions (with rising intonation) and negative sentences

Examples: "I ride train?" / "I not like this book"

As children acquire auxiliaries in questions and negative sentences, they generally use them correctly

SIGNED LANGUAGES

Deaf babies acquire sign language in the same way that hearing babies acquire spoken language: babbling, holophrastic stage, telegraphic stage

When deaf babies are not exposed to sign language, they will create their own signs, complete with systematic rules

IMITATION, REINFORCEMENT, ANALOGY

Children do imitate the speech heard around them to a certain extent, but language acquisition goes beyond imitation

Children produce utterances that they never hear from adults around them, such as "holded" or "tooths"

Children cannot imitate adults fully while acquiring grammar

Example:

Adult: "Where can I put them?" Child: "Where I can put them?"

Children who develop the ability to speak later in their childhood can understand the language spoken around them even if they cannot imitate it

NOTE: Children May Resist Correction

Example: Cazden (1972) (observation attributed to Jean Berko Gleason) – My teacher holded the baby rabbits and we patted them. – Did you say your teacher held the baby rabbits? – Yes. – What did you say she did? – She holded the baby rabbits and we patted them. – Did you say she held them tightly? – No, she holded them loosely.

Another theory asserts that children hear a sentence and then use it as a model to form other sentences by analogy

But while analogy may work in some situations, certainly not in all situations:

– I painted a red barn. – I painted a barn red. – I saw a red barn. – I saw a barn red.

Children never make mistakes of this kind based on analogy which shows that they understand structure dependency at a very young age

BIRTH ORDER

Children’s birth order may affect their speech.

Firstborns often speak earlier than later-born children, most likely because they get more one-on-one attention from parents.

They favor different words than their siblings.

Whereas firstborns gabble on about animals and favorite colors, the rest of the pack cut to the chase with “brother,” “sister,” “hate” and such treats as “candy,” “popsicles” and “donuts.”

The social dynamics of siblings, it would appear, prime their vocabularies for a reality different than the firstborns’ idyllic world of sheep, owls, the green of the earth and the blue of the sky.

MOTHER'S LEVEL OF EDUCATION

Children may adopt vocabulary quite differently depending on their mother’s level of education.

In American English, among the words disproportionately favored by the children of mothers who have not completed secondary education are: “so,” “walker,” “gum,” “candy,” “each,” “could,” “wish,” “but,” “penny” and “be” (ordered starting with the highest frequency).

The words favored by the children of mothers in the “college and above” category are: “sheep,” “giraffe,” “cockadoodledoo,” “quack quack,” the babysitter’s name, “gentle,” “owl,” “zebra,” “play dough” and “mittens.”

BOYS / GIRLS

One area of remarkable consistency across language groups is the degree to which the language of children is gendered.

The words more likely to be used by American girls than by boys are: “dress,” “vagina,” “tights,” “doll,” “necklace,” “pretty,” “underpants,” “purse,” “girl” and “sweater.”

Whereas those favored by boys are “penis,” “vroom,” “tractor,” “truck,” “hammer,” “bat,” “dump,” “firetruck,” “police” and “motorcycle.”

Tips for Writing Children's Dialogue (compiled from various sources cited below):

Milestones - The dialogue you write should be consistent with the child's developmental milestones for their age. Of course, other factors should be considered such as if the child has any speech or intellectual difficulties. Also note that developmental milestones are not set in stone and each child is unique in their own way.

Too "Cutesy" - If your child characters are going to be cute, they must be cute naturally through the force of their personality, not because the entire purpose of their existence is to be adorable.

Too Wise - It’s true kids have the benefit of seeing some situations a little more objectively than adults. But when they start calmly and unwittingly spouting all the answers, the results often seem more clichéd and convenient than impressive or ironic.

Unintelligent - Don’t confuse a child’s lack of experience with lack of intelligence.

Baby Talk - Don’t make a habit of letting them misuse words. Children are more intelligent than most people think.

Unique Individuals - Adults often tend to lump all children into a single category: cute, small, loud, and occasionally annoying. Look beyond the stereotype.

Personal Goals - The single ingredient that transforms someone from a static character to a dynamic character is a goal. It can be easy to forget kids also have goals. Kids are arguably even more defined by their goals than are adults. Kids want something every waking minute. Their entire existence is wrapped up in wanting something and figuring out how to get it.

Don't Forget your Character IS a Child - Most of the pitfalls in how to write child characters have to do with making them too simplistic and childish. But don’t fall into the opposite trap either: don’t create child characters who are essentially adults in little bodies.

Your Personal Observation - To write dialogue that truly sounds like it could come from a child, start by being an attentive listener. Spend time around children and observe how they interact with their peers and adults. You can also study other pieces of media that show/write about children's behaviour (e.g., documentaries, films, TV shows, even other written works like novels and scripts).

Context - The context in which children speak is crucial to creating realistic dialogue. Consider their environment, who they're speaking to, and what's happening around them. Dialogue can change drastically depending on whether a child is talking to a friend, a parent, or a teacher. Additionally, children's language can be influenced by their cultural background, family dynamics, and personal experiences. Make sure the context informs the dialogue, lending credibility to your characters' voices.

Sources and other related articles: 1 2 3 4 5 6 7 8 9 10

Writing Notes: On Children Writing Notes: Childhood Bilingualism

#writing prompt #writeblr #writers on tumblr #spilled ink #poets on tumblr #writing notes #children #writing tips #literature #writing advice #writing reference #studyblr #langblr #linguistics #dark academia #dialogue #writing resources

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tellafairy · 6 days

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get anything you desire overnight; what is STATS? how do i use it? — a quick guide.

STATS is short for “state akin to sleep,” a phrase used by neville goddard several times.

for example, one of neville's most popular experiments utilizing SATS is called the "ladder experiment". this experiement demonstrates how useful sats is.

what was the experiment?

1. During one of his lectures, Neville instructed his students to visualize themselves climbing a ladder vividly. He asked them to repeatedly imagine this scenario in detail each night before going to bed. They were to feel themselves climbing the ladder, using all their senses to make it as real as possible.

2. on top of this, Neville told them to write down or say affirmations throughout the day such as, "I will not climb a ladder." This was meant to consciously contradict their nightly visualizations, creating a sense of disbelief in the process. The challenge was to see whether their repeated visualization of the ladder would override the conscious denial of the event.

3. Many of the participants reported that within a few days, despite their daily affirmation of "I will not climb a ladder," they ended up encountering situations in which they physically climbed a ladder. The experiment was intended to show that the subconscious mind, which was being impressed by the vivid visualization during the SATS state, was far more powerful than their conscious thoughts or affirmations.

essentially, Neville wanted to show that imagination, particularly when focused in the relaxed state akin to sleep, could create real-life outcomes, aka — attract your desires instantly.

so . . . how do i use SATS?

1. relax. sit or lie down, and relax your mind and body. this method does not need to be used at night. many people have used it during the day and have gone to sleep for only a few moments before waking up with their desire. This is basically just a form of meditation. A similar mental state occurs naturally in the morning right after awakening, and in the evening before bed, hence why some may prefer to do this method at night despite it not being mandatory.

2. embody the feeling. now while in this state, visualize your goal. Feel your desire completely. want someone to text you? imagine yourself opening your phone to that text message. want a new car? imagine yourself feeling the interior, smelling the new car freshener, testing out the radio. whatever it is, fully immerse yourself in the desire.

3. focus and persist. loop this desire on repeat as you fall asleep, it should be the only focus on your mind. quickly shift any other thoughts that may appear, back onto your desire. the more you do this, the more you'll feel the desire completely.

brief comments;

1. over time, it becomes more and more natural. it's very easy to get into the habit of using SATS to manifest whatever you desire. i often find myself using it without even intending to, just randomly deciding i want something and it becomes all i think about as i fall asleep. it's a very natural method that's easy to custom to.

2. yes, you can use this for shifting realities. there's a reason why so many people "randomly" shift when they stop using long complicated methods and just go to sleep with their DR in mind.

3. you don't need to take action. you don't necessarily need to do anything when manifesting. this doesn't just apply for SATS, but any other form of manifestation. you don't need to take action or do anything further to get your desires if you don't feel like it. remember; they're already yours. they can fall into your hands out of the blue. you don't need to put in effort.

i used several different articles and videos for this to explain it in the most simple way possible, since i know a lot of people tend to struggle with understanding this stuff to the maximum!! so i hope this is easy to read! ૮ ◞ ⸝⸝ ◟ ྀིა

4. does this mean affirmations don't work?

no, it does not. affirmations DO still work for LOA. you CAN achieve anything through affirmations, it was never stated that you couldn't or that SATS is the only way. this only states that according to neville goddards experiement, sats appears to be a more powerful method than affirmations and that's how he viewed it. more powerful doesn't equate to the other method being completely incorrect or impossible. i also personally find this method to work a lot quicker as well.. similar to the void state.

#reality shifting #shiftblr #manifestation #manifesation #manifesting sp #law of assumption #loablr #manifesting #void state #loassumption

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mostlysignssomeportents · 2 months

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Holy CRAP the UN Cybercrime Treaty is a nightmare

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

If there's one thing I learned from all my years as an NGO delegate to UN specialized agencies, it's that UN treaties are dangerous, liable to capture by unholy alliances of authoritarian states and rapacious global capitalists.

Most of my UN work was on copyright and "paracopyright," and my track record was 2:0; I helped kill a terrible treaty (the WIPO Broadcast Treaty) and helped pass a great one (the Marrakesh Treaty on the rights of people with disabilities to access copyrighted works):

https://www.wipo.int/treaties/en/ip/marrakesh/

It's been many years since I had to shave and stuff myself into a suit and tie and go to Geneva, and I don't miss it – and thankfully, I have colleagues who do that work, better than I ever did. Yesterday, I heard from one such EFF colleague, Katitza Rodriguez, about the Cybercrime Treaty, which is about to pass, and which is, to put it mildly, terrifying:

https://www.eff.org/deeplinks/2024/07/un-cybercrime-draft-convention-dangerously-expands-state-surveillance-powers

Look, cybercrime is a real thing, from pig butchering to ransomware, and there's real, global harms that can be attributed to it. Cybercrime is transnational, making it hard for cops in any one jurisdiction to handle it. So there's a reason to think about formal international standards for fighting cybercrime.

But that's not what's in the Cybercrime Treaty.

Here's a quick sketch of the significant defects in the Cybercrime Treaty.

The treaty has an extremely loose definition of cybercrime, and that looseness is deliberate. In authoritarian states like China and Russia (whose delegations are the driving force behind this treaty), "cybercrime" has come to mean "anything the government disfavors, if you do it with a computer." "Cybercrime" can mean online criticism of the government, or professions of religious belief, or material supporting LGBTQ rights.

Nations that sign up to the Cybercrime Treaty will be obliged to help other nations fight "cybercrime" – however those nations define it. They'll be required to provide surveillance data – for example, by forcing online services within their borders to cough up their users' private data, or even to pressure employees to install back-doors in their systems for ongoing monitoring.

These obligations to aid in surveillance are mandatory, but much of the Cybercrime Treaty is optional. What's optional? The human rights safeguards. Member states "should" or "may" create standards for legality, necessity, proportionality, non-discrimination, and legitimate purpose. But even if they do, the treaty can oblige them to assist in surveillance orders that originate with other states that decided not to create these standards.

When that happens, the citizens of the affected states may never find out about it. There are eight articles in the treaty that establish obligations for indefinite secrecy regarding surveillance undertaken on behalf of other signatories. That means that your government may be asked to spy on you and the people you love, they may order employees of tech companies to backdoor your account and devices, and that fact will remain secret forever. Forget challenging these sneak-and-peek orders in court – you won't even know about them:

https://www.eff.org/deeplinks/2024/06/un-cybercrime-draft-convention-blank-check-unchecked-surveillance-abuses

Now here's the kicker: while this treaty creates broad powers to fight things governments dislike, simply by branding them "cybercrime," it actually undermines the fight against cybercrime itself. Most cybercrime involves exploiting security defects in devices and services – think of ransomware attacks – and the Cybercrime Treaty endangers the security researchers who point out these defects, creating grave criminal liability for the people we rely on to warn us when the tech vendors we rely upon have put us at risk.

This is the granddaddy of tech free speech fights. Since the paper tape days, researchers who discovered defects in critical systems have been intimidated, threatened, sued and even imprisoned for blowing the whistle. Tech giants insist that they should have a veto over who can publish true facts about the defects in their products, and dress up this demand as concern over security. "If you tell bad guys about the mistakes we made, they will exploit those bugs and harm our users. You should tell us about those bugs, sure, but only we can decide when it's the right time for our users and customers to find out about them."

When it comes to warnings about the defects in their own products, corporations have an irreconcilable conflict of interest. Time and again, we've seen corporations rationalize their way into suppressing or ignoring bug reports. Sometimes, they simply delay the warning until they've concluded a merger or secured a board vote on executive compensation.

Sometimes, they decide that a bug is really a feature – like when Facebook decided not to do anything about the fact that anyone could enumerate the full membership of any Facebook group (including, for example, members of a support group for people with cancer). This group enumeration bug was actually a part of the company's advertising targeting system, so they decided to let it stand, rather than re-engineer their surveillance advertising business.

The idea that users are safer when bugs are kept secret is called "security through obscurity" and no one believes in it – except corporate executives. As Bruce Schneier says, "Anyone can design a system that is so secure that they themselves can't break it. That doesn't mean it's secure – it just means that it's secure against people stupider than the system's designer":

The history of massive, brutal cybersecurity breaches is an unbroken string of heartbreakingly naive confidence in security through obscurity:

https://pluralistic.net/2023/02/05/battery-vampire/#drained

But despite this, the idea that some bugs should be kept secret and allowed to fester has powerful champions: a public-private partnership of corporate execs, government spy agencies and cyber-arms dealers. Agencies like the NSA and CIA have huge teams toiling away to discover defects in widely used products. These defects put the populations of their home countries in grave danger, but rather than reporting them, the spy agencies hoard these defects.

The spy agencies have an official doctrine defending this reckless practice: they call it "NOBUS," which stands for "No One But Us." As in: "No one but us is smart enough to find these bugs, so we can keep them secret and use them attack our adversaries, without worrying about those adversaries using them to attack the people we are sworn to protect."

NOBUS is empirically wrong. In the 2010s, we saw a string of leaked NSA and CIA cyberweapons. One of these, "Eternalblue" was incorporated into off-the-shelf ransomware, leading to the ransomware epidemic that rages even today. You can thank the NSA's decision to hoard – rather than disclose and patch – the Eternalblue exploit for the ransoming of cities like Baltimore, hospitals up and down the country, and an oil pipeline:

https://en.wikipedia.org/wiki/EternalBlue

The leak of these cyberweapons didn't just provide raw material for the world's cybercriminals, it also provided data for researchers. A study of CIA and NSA NOBUS defects found that there was a one-in-five chance of a bug that had been hoarded by a spy agency being independently discovered by a criminal, weaponized, and released into the wild.

Not every government has the wherewithal to staff its own defect-mining operation, but that's where the private sector steps in. Cyber-arms dealers like the NSO Group find or buy security defects in widely used products and services and turn them into products – military-grade cyberweapons that are used to attack human rights groups, opposition figures, and journalists:

https://pluralistic.net/2021/10/24/breaking-the-news/#kingdom

A good Cybercrime Treaty would recognize the perverse incentives that create the coalition to keep us from knowing which products we can trust and which ones we should avoid. It would shut down companies like the NSO Group, ban spy agencies from hoarding defects, and establish an absolute defense for security researchers who reveal true facts about defects.

Instead, the Cybercrime Treaty creates new obligations on signatories to help other countries' cops and courts silence and punish security researchers who make these true disclosures, ensuring that spies and criminals will know which products aren't safe to use, but we won't (until it's too late):

https://www.eff.org/deeplinks/2024/06/if-not-amended-states-must-reject-flawed-draft-un-cybercrime-convention

A Cybercrime Treaty is a good idea, and even this Cybercrime Treaty could be salvaged. The member-states have it in their power to accept proposed revisions that would protect human rights and security researchers, narrow the definition of "cybercrime," and mandate transparency. They could establish member states' powers to refuse illegitimate requests from other countries:

https://www.eff.org/press/releases/media-briefing-eff-partners-warn-un-member-states-are-poised-approve-dangerou

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/07/23/expanded-spying-powers/#in-russia-crime-cybers-you

Image: EFF https://www.eff.org/files/banner_library/cybercrime-2024-2b.jpg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/us/

#pluralistic #cybercrime treaty #un #cybercrime #treaties #eff

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sarasade · 10 months

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One of the most generally useful things to come out of Hbomberguy's plagiarism video and Todd in the Shadows' similar video on misinformation is how they bring transparency to the internet phenomenon of "I made up a guy to get mad at".

Seriously, I've seen people make up a lot of stupid shit on the internet over the years and it's often just a manipulative attempt to paint a group of marginalized people in a bad light.

That's the TL;DR version of this post.

ANYWAY here is the long version

Those videos are mostly about James Somerton's plagiarism of other queer people's work. However I'd like to talk about that 20-30% of Somerton's original writing- and oh boy. It's mostly about complaining about White Straight Women and misgendering well-known trans creators such as Rebecca Sugar and calling Becky Albertalli a straight woman while it's pretty common knowledge that she was forced to out herself as bi because she received so much harassment over "being a cishet woman who appropriates LGBT+ stories".

One thing that irks me especially is how in his Killing Stalking and Gay Shipping videos Somerton brings up how straight women/ teen girl shippers exploit gay men for their personal sexual fantasies. This gets brought up several times in his videos.

Being all up and arms about Somerton being a "White Cis Gay Who Hates Women and Queer People tm" is not that useful because the kind of rhetoric he's using is extremely common in fandom and LGBT+ spaces on Tumblr, TikTok and Twitter. We really don't need to bring Somerton's identity to this since he is in no way an unique example.

It's hypocritical to make this about an individual person when I've seen A TON of posts, tweets and videos where queer people talk about these Sinister Straight Women who are supposedly out there fetishizing and exploiting queer men. It's pretty clear to me that this is just an excuse to shit on women and queer people for having any sexual interests. At worst these comments are spreading misinformation about BL, a form of media that has been excessively studied by both Asian feminists and Asian queer women.

This all sounds really familiar and I think it's good that people are calling it out as what it is: misogyny and transphobia. I'd also point out the potentially racist motives behind being this hypervigilant about Asian media.

People can absolutely be misogynist regardless of gender or orientation. I really don't know why we need to create some kind of made up enemy to get mad at. I actually think it's almost sinister how "anti-fujoshi" people call Slash shippers and fujoshi misogynists or claim that they have internalised misogyny while being dismissive about women's interests and creative pursuits under Japanese obscenity laws, China's censorship, book bans in American schools and various other disadvances that are part of being a queer and/or female creator.

I think we shouldn't be naive about the bad faith actors who want to turn queer people against each other. For example Fujoshi.info mentions anti-gender (TERF, GC etc) movement using this kind of rhetoric as well.

Anyway if you want to read more:

- about the false info around BL fandom fujoshi.info

-There is the scholar Thomas Baudinette who studies gay media in Japan. Here is a podcast with him and the scholar Khursten Santos

-James Welker is a BL scholar as well. Here is a podcast interview about the new international BL article collection he edited.

-I've already talked about this Youtube channel by KrisPNatz and his great Killing Stalking video that actually engages with the themes of the manhwa

- There is also HR Coleman's thesis DO NOT FEED THE FETISHIZERS: BOYS LOVE FANS RESISTANCE AND CHALLENGE OF PERCEIVED REPUTATION where she interviews 36 BL fans and actually breaks down why fetishization has become such a huge talking point in the fandom discourse. Spoilers, it's mostly about young queer people and women being worried that they will get judged and pathologized for their interest in anything sexual.

-Great podcast about Danmei and censorship with Liang Ge

#Also I don't mean that you can always tell if someone is a transphobe or a TERF based on a couple of things they have said.#My point is that sometimes ok people can have very regressive ideas too.#This is not a call out post about how we should go around accusing anti-fujoshi people #todd in the shadows #hbomberguy #sarasade text #even I've got those “Fandom is mostly straight women fetishizing gay men” comments once and it begins to sound kind of passive-aggressive #when you're a bi woman. Lot of fandom stats at AO3 show that fandoms are montly bi women. who are these people calling straight exactly hmm #also straight women are completely ok leave them alone. I know I know Yes I'm so brave for saying this #cw: transphobia

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felassan · 3 months

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Dragon Age: The Veilguard info compilation Post 4

[Part 1] [Part 2] [Part 3] [another post]

Post is under a cut due to length.

There is a lot of information coming out right now about DA:TV from many different sources. This post is just an effort to compile as much as I can in one place, in case that helps anyone. Sources for where the information came from have been included. Where I am linking to a social media user’s post, the person is either a dev, a Dragon Age community council member or other person who has had a sneak peek at and played the game. nb, this post is more of a ‘info that came out in snippets from articles and social media posts’ collection rather than a ‘regurgitating the information on the official website or writing out what happened in the trailer/gameplay reveal’ post. The post is broken down into headings on various topics. A few points are repeated under multiple headings where relevant. Where I am speculating without a source, I have clearly demarcated this. if you notice any mistakes in this post, please tell me.

Character Creation

BioWare confirmed that even if you make your Rook a short king, the team has done work to ensure animations fit any character build [source]

"Dragon Age's character creator has seen a massive glow-up" [source]. "The volume of choices you get here are frankly insane. As Epler noted, “you could spend forever here,” and he’s not kidding." [source] The art and graphics teams spent a lot of time trying to make hair look amazing [source: the Discord]

In CC we can customise our "bulge size" [source]

Some more detail on the new lighting options to see how Rook looks like in CC when you make them: you can view them in "blazing forest sunshine versus the glare of an underground temple" [source]

"newly mobile, extra-hairy hair" [source]

Faction choice has statistical boons. For example, Shadow Dragon Rook deals extra damage to Venatori blood cultists [source]

Faction choice basically determines why Rook has been called to help in the fight against Solas [source]

All pre-determined character models in CC can be adjusted [source]

You can make a really tall dwarf if you want [source]

"Setting your previous world state is fully integrated into the character creator for Veilguard" [source: the Discord]

Inquisitor appearance will be re-created, there is no way to carry their appearance from DA:I into the game [source: the Discord]

Classes for Rook are not restricted in the sense that you can play any almost class, lineage and faction combination that you want. For example, a mage Rook can be a Crow [source: the Discord] (Fel note: it sounded like Rook cannot be a magic-wielding dwarf, even though the exception of Harding now exists) (Fel note: there is a mage Crow in one of the books)

Story and lore

Here is another article which refers to Rook as "the Rook" [source]

The story is set "9-10 years from DA:I and about 8 years from Trespasser" [source: the Discord]

They have been tracking Solas for "a while. Something else you’re gonna learn about…" [source]

The game does not use the Keep [source]

Shadow Dragon is the faction background with the most in-game reactivity (e.g. from other characters' dialogue) during the prologue section of the game, due to the fact that the prologue is in Minrathous and the Shadow Dragons are a Tevinter-based faction [source]

"I also saw a big moment after the gameplay trailer ends that I can't talk about" [source]

During the more narrative-heavy dialogue choices, "the game will also give a bit of context on what you're about to choose, but doesn't go as far as explaining the exact consequences or precisely what will happen thereafter" [source] "the game shows you how you’ll go about the choice, but it doesn’t tell you the consequence of that choice". [source]

"The game is bringing back Dragon Age 2s dialogue system, which was tone-based and resulted in its protagonist Hawke falling into one of three different personality states. You have three general tones in a conversation: kind, humorous, or aggressive, with slight variations depending on the situation" [source]

"Venatori blood cultists" [source]

"The whole game has the makings of another Suicide Mission [ME2], given that you are up against a god with the ability to collapse dimensions" [source]

"Choices and consequences". "Now, it seems you can see the effects of your choices like never before, and this time, they marry that choice with incredible visuals" [source]

In the bar when you're trying to get information in the opening, if you choose to fight it out and the barbrawl ensues, you then have to run from the pursuers in the bar [source]

A key concern of the developers when creating the environments was to make “a world worth saving" [source]

The prologue is quite linear but there are additional paths you can follow to find additional loot [source]

In the opening section of the game there is a dock which has been attacked and the soldiers that were there have been killed, "but rather than seeing this passively, we walked through the aftermath and had to interact with the scene to piece it all together" [source]

The tone of the gameplay video is a good indicator of the tone of the rest of the game [source]. On the tone: "dark fantasy" [source]. horror & gore is back along with DA's classic dark elements [source]

Tevinter Nights is a better tone indicator for the game than the original reveal/character trailer. Ghil Dirthalen: "Tevinter Nights has felt the most 'DAV' to me" [source]. The gameplay reveal video is the best indicator for the tone of the game (vs the character one) [source]. there is still messy dark shit in the game [source]

Tonally the game is closest to Tevinter Nights and DA:O [source]

Ghil Dirthalen: "[as] one of those unfortunate souls who has latched onto a media world so hard: This game is for me. For the hardcore DA lore nerds, I've been secretly screaming about things I saw for MONTHS now" [source]

The game is true to the DA stories we know and love [source]

Characters, companions, romance

You can choose to engage in companions' own storylines as you progress or ignore them entirely [source]

You will often have to make dialogue choices that will affect how your various companions treat you [source]

Neve is quick-witted [source], measured and elegant [source]

In the opening, you interact with the companions as you move through Minrathous. "your choices during these interactions will determine who goes on portions of the mission with you, along with how “pleased” they are with the answers." [source]

On Varric and Harding: "Instantly the two felt like they’d never been away and avoided the trap of being parodies or fanfiction versions of themselves" [source]

Solas' eyes were always purple hh [source] (yes!)

Gameplay, presentation, performance etc

Some enemies have additional shields that are weak to ranged attacks [source]

When asked about if the war table from DA:I returned, John Epler said "There is a table. Now, whether it works the same way as the table in the previous game..." [source]

Once you get passed a certain point in the game, it opens up dramatically, however it is not an openworld game and they wanted to make sure that all the content mattered and was a more structured, sculpted experience for the player. There is some exploration, some opportunities to get off the beaten path, and some spaces that are fairly wide [source]

The button to press to bring up the skill wheel is RB or R1 (depending on what controller you're using) [source]

"You'll also have access to two skills or spells for each of your two companions that you can command. For a more seamless, uninterrupted combat experience, you can also assign these skills to shortcuts (such as holding the left trigger and hitting the X button) to quickly use them" [source]

"booting Fade demons into pits" [source]

"BioWare have revised Dragon Age's art direction to make character models a little more consistent with the series' lovely Tarot-inspired menu art. Flesh is ruddy to the point of painterly; facial features and bodily proportions are thicker and more striking, as though the characters had been cut from clay" [source]

The 3 specs for Warrior are Reaper (has lifesteal/stealing health from enemies, and other freaky powers, does big damage), Slayer (can wield the biggest blade, big swords, big damage) or Champion, which is tanky, shield-using and Paladin like [source] [source]

There are quick-recover prompts [source]

You can roll through puddles of incoming AOE [source]

There are ziplines between some levels levels [source] (Fel note: just like in As We Fly... )

There are also slidey hills to slide down between some sections [source]

There are still some Hinterland-type areas designed for exploration [source]

We can do some home base management to our home base [source] (Fel note: this refers to The Lighthouse, detail in a previous post)

Camera placement is quite zoomed out [source]

Where Rogues have 'momentum', Warriors have 'rage' and Mages 'mana'. When a warrior spends rage in the ability wheel it triggers more powerful attacks. this has been referred to as a build-and-spend mechanic. this system resource gates your use of more powerful skills and is built by getting stuck in [source]. Momentum for Rogues is built by landing hits without taking any [source]

There are big glowing environmental cues for picking up loot or replenishing health potions [source]

"Epler noted that The Veilguard will not be an open-world experience like Inquisition, and instead will have large spaces to explore with quests littered throughout. This allayed my early concerns that they would course correct too hard from the oft-maligned open areas of Inquisition" [source]

Melee and ranged attacks can be charged up [source]

It sounds like there is an option to have greater guidance on when enemies are attacking [source]

The community council gave a lot of notes on the game's art direction to BioWare (gave feedback to the devs) that they were told and shown were changed from the first reveal/character trailer, these made it into the gameplay trailer [source]

The community council asked about having an arachnophobia mode, though they can't guarantee this was implemented [source]

"You’re encouraged to explore and grind for stronger weapons and gear, so your stats and cosmetics improve the further you get into the game" (in the sense that you’ll be rewarded for hard work) [source, two]

Follower information such as cooldowns and health will be visible on the HUD [source: the Discord]

There is a "quick cast" option if you prefer not to use the wheel, should be a chorded action using a controller [source: the Discord]

On PC you can play with keyboard and mouse or controller [source: the Discord]

An accessibility option is the ability to make auto-targeting stronger or weaker depending on your preference [source: the Discord]

The game will have DLSS support at launch [source: the Discord]

Re: hard drives, the game can be played using an HDD, they would recommend an SSD though for the optimal experience [source: the Discord]

There are lots of different interface options you can play with, e.g. combat text size, opacity, when to display health bars [source: the Discord]

Other

The leak from last year or whenever it was (the one that leaked screenshots and a gif from the game) was mainly a lot of outdated stuff and didn't really represent even the early version some community council members had played [source, two]. It was not leaked by a member of the community council, but by a member of another focus group [source]

The community council were given the chance to play the game twice, once in Fall 2022 and a year later in 2023 [source]

There is no information as yet regarding when pre-orders will be open [source: the Discord]

BioWare are hoping to at the very least have the very "best of" the Discord dev Q&A featured on social media and potentially in a blog [source: the Discord]

[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

#dragon age: the veilguard #dragon age: dreadwolf #dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #long post #longpost #video games #blood cw #mass effect #solas #dragon age: tevinter nights

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writingwithfolklore · 4 months

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How Conflict Causes Character Change

You’ve heard me say over and over again that your character arc is your plot and it’s driven by conflict. But that’s easy to say and a lot harder to do. How does conflict actually inspire change? Let’s talk about it:

1. Choose your conflicts

Not every conflict is equal, and it may be harder to justify change for some conflicts over others. The type of conflict that’s going to inspire change will force your MC to come face to face with their flaw.

Okay for example maybe your character’s flaw is that they self sabotage whenever things are going well for them. A conflict they could run into is that they’re working on something with someone they care about, and their sabotage not only impacts them, but the person they’re working with as well.

While they may be used to and fine screwing over themselves—facing the consequences of hurting someone they care about may inspire them to try to work through their flaw or make a real change in their life.

2. All conflict comes with consequences—or it’s not really a conflict

Leading from the last point, note that it’s the consequence of something happening that truly makes it a conflict, and allows it to inspire change. One thing my screenwriting prof always used to ask us was, “why hasn’t your character reached their goal yet, and why haven’t they already overcome their flaw?” You have to justify why they are in the place they are in at the start of the story.

If their flaw is self sabotage, just facing the consequences of their self sabotage wouldn’t be enough to inspire a change—because if it was, why haven’t they changed yet? So consider what consequences to their flaw they’d have to face to really force them to change. Hurting people they care about, taking away things they want, allowing their enemy to gain the upper hand, etc. are all good consequences outside of their usual that may inspire change.

3. One conflict spurs another

To help with driving the story with conflict, consider how each conflict you create can spur the next. Following our example, maybe our MC screws something up for someone they care about, then that person decides not to stay friends with them, or tells someone else what happened.

Conflict can also come from seemingly good or harmless acts, like holding the door open for someone about to rob a bank, or writing an article for a relatively unknown newspaper that turns out takes an extreme political stance in your world, etc. Each action should have its consequences that leads to more action that leads to more consequences. With enough of that cycle, the gradual change of your MC will be believable and propel their story.

#writing #creative writing #writing community #writers #screenwriting #writing inspiration #books #filmmaking #film #writing advice #conflict #character arcs #writing character arcs #How Conflict Causes Character Change #writing conflict #writing stakes #writing consequences

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icedbatik · 5 months

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I saw this opinion piece in the New York Times and, while I don't normally copy and paste entire newspaper articles, this is an excellent (if scary) read.

Aside from the sections on how much lack of consent there is in today's sexual landscape, hockey fans -- who should be well aware of the dangers of concussions -- might take particular note of the section in which "choking" during sex is linked to brain damage on par with concussion damage.

The Troubling Trend in Teenage Sex

April 12, 2024

By Peggy Orenstein

Debby Herbenick is one of the foremost researchers on American sexual behavior. The director of the Center for Sexual Health Promotion at Indiana University and the author of the pointedly titled book “Yes, Your Kid,” she usually shares her data, no matter how explicit, without judgment. So I was surprised by how concerned she seemed when we checked in on Zoom recently: “I haven’t often felt so strongly about getting research out there,” she told me. “But this is lifesaving.”

For the past four years, Dr. Herbenick has been tracking the rapid rise of “rough sex” among college students, particularly sexual strangulation, or what is colloquially referred to as choking. Nearly two-thirds of women in her most recent campus-representative survey of 5,000 students at an anonymized “major Midwestern university” said a partner had choked them during sex (one-third in their most recent encounter). The rate of those women who said they were between the ages 12 and 17 the first time that happened had shot up to 40 percent from one in four.

As someone who’s been writing for well over a decade about young people’s attitudes and early experience with sex in all its forms, I’d also begun clocking this phenomenon. I was initially startled in early 2020 when, during a post-talk Q. and A. at an independent high school, a 16-year-old girl asked, “How come boys all want to choke you?” In a different class, a 15-year-old boy wanted to know, “Why do girls all want to be choked?” They do? Not long after, a college sophomore (and longtime interview subject) contacted me after her roommate came home in tears because a hookup partner, without warning, had put both hands on her throat and squeezed.

I started to ask more, and the stories piled up. Another sophomore confided that she enjoyed being choked by her boyfriend, though it was important for a partner to be “properly educated” — pressing on the sides of the neck, for example, rather than the trachea. (Note: There is no safe way to strangle someone.) A male freshman said “girls expected” to be choked and, even though he didn’t want to do it, refusing would make him seem like a “simp.” And a senior in high school was angry that her friends called her “vanilla” when she complained that her boyfriend had choked her.

Sexual strangulation, nearly always of women in heterosexual pornography, has long been a staple on free sites, those default sources of sex ed for teens. As with anything else, repeat exposure can render the once appalling appealing. It’s not uncommon for behaviors to be normalized in porn, move within a few years to mainstream media, then, in what may become a feedback loop, be adopted in the bedroom or the dorm room.

Choking, Dr. Herbenick said, seems to have made that first leap in a 2008 episode of Showtime’s “Californication,” where it was still depicted as outré, then accelerated after the success of “Fifty Shades of Grey.” By 2019, when a high school girl was choked in the pilot of HBO’s “Euphoria,” it was standard fare. A young woman was choked in the opener of “The Idol” (again on HBO and also, like “Euphoria,” created by Sam Levinson; what’s with him?). Ali Wong plays the proclivity for laughs in a Netflix special, and it’s a punchline in Tina Fey’s new “Mean Girls.” The chorus of Jack Harlow’s “Lovin On Me,” which topped Billboard’s Hot 100 chart for six nonconsecutive weeks this winter and has been viewed over 99 million times on YouTube, starts with, “I’m vanilla, baby, I’ll choke you, but I ain’t no killer, baby.” How-to articles abound on the internet, and social media algorithms feed young people (but typically not their unsuspecting parents) hundreds of #chokemedaddy memes along with memes that mock — even celebrate — the potential for hurting or killing female partners.

I’m not here to kink-shame (or anything-shame). And, anyway, many experienced BDSM practitioners discourage choking, believing it to be too dangerous. There are still relatively few studies on the subject, and most have been done by Dr. Herbenick and her colleagues. Reports among adolescents are now trickling out from the United Kingdom, Australia, Iceland, New Zealand and Italy.

Twenty years ago, sexual asphyxiation appears to have been unusual among any demographic, let alone young people who were new to sex and iffy at communication. That’s changed radically in a short time, with health consequences that parents, educators, medical professionals, sexual consent advocates and teens themselves urgently need to understand.

Sexual trends can spread quickly on campus and, to an extent, in every direction. But, at least among straight kids, I’ve sometimes noticed a pattern: Those that involve basic physical gratification — like receiving oral sex in hookups — tend to favor men. Those that might entail pain or submission, like choking, are generally more for women.

So, while undergrads of all genders and sexualities in Dr. Herbenick’s surveys report both choking and being choked, straight and bisexual young women are far more likely to have been the subjects of the behavior; the gap widens with greater occurrences. (In a separate study, Dr. Herbenick and her colleagues found the behavior repeated across the United States, particularly for adults under 40, and not just among college students.) Alcohol may well be involved, and while the act is often engaged in with a steady partner, a quarter of young women said partners they’d had sex with on the day they’d met also choked them.

Either way, most say that their partners never or only sometimes asked before grabbing their necks. For many, there had been moments when they couldn’t breathe or speak, compromising the ability to withdraw consent, if they’d given it. No wonder that, in a separate study by Dr. Herbenick, choking was among the most frequently listed sex acts young women said had scared them, reporting that it sometimes made them worry whether they’d survive.

Among girls and women I’ve spoken with, many did not want or like to be sexually strangled, though in an otherwise desired encounter they didn’t name it as assault. Still, a sizable number were enthusiastic; they requested it. It is exciting to feel so vulnerable, a college junior explained. The power dynamic turns her on; oxygen deprivation to the brain can trigger euphoria.

That same young woman, incidentally, had never climaxed with a partner: While the prevalence of choking has skyrocketed, rates of orgasm among young women have not increased, nor has the “orgasm gap” disappeared among heterosexual couples. “It indicates they’re not doing other things to enhance female arousal or pleasure,” Dr. Herbenick said.

When, for instance, she asked one male student who said he choked his partner whether he’d ever tried using a vibrator instead, he recoiled. “Why would I do that?” he asked.

Perhaps, she responded, because it would be more likely to produce orgasm without risking, you know, death.

In my interviews, college students have seen male orgasm as a given; women’s is nice if it happens, but certainly not expected or necessarily prioritized (by either partner). It makes sense, then, that fulfillment would be less the motivator for choking than appearing adventurous or kinky. Such performances don’t always feel good.

“Personally, my hypothesis is that this is one of the reasons young people are delaying or having less sex,” Dr. Herbenick said. “Because it’s uncomfortable and weird and scary. At times some of them literally think someone is assaulting them but they don’t know. Those are the only sexual experiences for some people. And it’s not just once they’ve gotten naked. They’ll say things like, ‘I’ve only tried to make out with someone once because he started choking and hitting me.’”

Keisuke Kawata, a neuroscientist at Indiana University’s School of Public Health, was one of the first researchers to sound the alarm on how the cumulative, seemingly inconsequential, sub-concussive hits football players sustain (as opposed to the occasional hard blow) were key to triggering C.T.E., the degenerative brain disease. He’s a good judge of serious threats to the brain. In response to Dr. Herbenick’s work, he’s turning his attention to sexual strangulation. “I see a similarity” to C.T.E., he told me, “though the mechanism of injury is very different.” In this case, it is oxygen-blocking pressure to the throat, frequently in light, repeated bursts of a few seconds each.

Strangulation — sexual or otherwise — often leaves few visible marks and can be easily overlooked as a cause of death. Those whose experiences are nonlethal rarely seek medical attention, because any injuries seem minor: Young women Dr. Herbenick studied mostly reported lightheadedness, headaches, neck pain, temporary loss of coordination and ear ringing. The symptoms resolve, and all seems well. But, as with those N.F.L. players, the true effects are silent, potentially not showing up for days, weeks, even years.

According to the American Academy of Neurology, restricting blood flow to the brain, even briefly, can cause permanent injury, including stroke and cognitive impairment. In M.R.I.s conducted by Dr. Kawata and his colleagues (including Dr. Herbenick, who is a co-author of his papers on strangulation), undergraduate women who have been repeatedly choked show a reduction in cortical folding in the brain compared with a never-choked control group. They also showed widespread cortical thickening, an inflammation response that is associated with elevated risk of later-onset mental illness. In completing simple memory tasks, their brains had to work far harder than the control group, recruiting from more regions to achieve the same level of accuracy.

The hemispheres in the choked group’s brains, too, were badly skewed, with the right side hyperactive and the left underperforming. A similar imbalance is associated with mood disorders — and indeed in Dr. Herbenick’s surveys girls and women who had been choked were more likely than others (or choked men) to have experienced overwhelming anxiety, as well as sadness and loneliness, with the effect more pronounced as the incidence rose: Women who had experienced more than five instances of choking were two and a half times as likely as those who had never been choked to say they had been so depressed within the previous 30 days they couldn’t function. Whether girls and women with mental health challenges are more likely to seek out (or be subjected to) choking, choking causes mood disorders, or some combination of the two is still unclear. But hypoxia, or oxygen deprivation — judging by what research has shown about other types of traumatic brain injury — could be a contributing factor. Given the soaring rates of depression and anxiety among young women, that warrants concern.

Now consider that every year Dr. Herbenick has done her survey, the number of females reporting extreme effects from strangulation (neck swelling, loss of consciousness, losing control of urinary function) has crept up. Among those who’ve been choked, the rate of becoming what students call “cloudy” — close to passing out, but not crossing the line — is now one in five, a huge proportion. All of this indicates partners are pressing on necks longer and harder.

The physical, cognitive and psychological impacts of sexual choking are disturbing. So is the idea that at a time when women’s social, economic, educational and political power are in ascent (even if some of those rights may be in jeopardy), when #MeToo has made progress against harassment and assault, there has been the popularization of a sex act that can damage our brains, impair intellectual functioning, undermine mental health, even kill us. Nonfatal strangulation, one of the most significant indicators that a man will murder his female partner (strangulation is also one of the most common methods used for doing so), has somehow been eroticized and made consensual, at least consensual enough. Yet, the outcomes are largely the same: Women’s brains and bodies don’t distinguish whether they are being harmed out of hate or out of love.

By now I’m guessing that parents are curled under their chairs in a fetal position. Or perhaps thinking, “No, not my kid!” (see: title of Dr. Herbenick’s book above, which, by the way, contains an entire chapter on how to talk to your teen about “rough sex”).

I get it. It’s scary stuff. Dr. Herbenick is worried; I am, too. And we are hardly some anti-sex, wait-till-marriage crusaders. But I don’t think our only option is to wring our hands over what young people are doing.

Parents should take a beat and consider how they might give their children relevant information in a way that they can hear it. Maybe reiterate that they want them to have a pleasurable sex life — you have already said that, right? — and also want them to be safe. Tell them that misinformation about certain practices, including choking, is rampant, that in reality it has grave health consequences. Plus, whether or not a partner initially requested it, if things go wrong, you’re generally criminally on the hook.

Dr. Herbenick suggests reminding them that there are other, lower-risk ways to be exploratory or adventurous if that is what they are after, but it would be wisest to delay any “rough sex” until they are older and more skilled at communicating. She offers language when negotiating with a new partner, such as, “By the way, I’m not comfortable with” — choking, or other escalating behaviors such as name-calling, spitting and genital slapping — “so please don’t do it/don’t ask me to do it to you.” They could also add what they are into and want to do together.

I’d like to point high school health teachers to evidence-based porn literacy curricula, but I realize that incorporating such lessons into their classrooms could cost them their jobs. Shafia Zaloom, a lecturer at the Harvard Graduate School of Education, recommends, if that’s the case, grounding discussions in mainstream and social media. There are plenty of opportunities. “You can use it to deconstruct gender norms, power dynamics in relationships, ‘performative’ trends that don’t represent most people’s healthy behaviors,” she said, “especially depictions of people putting pressure on someone’s neck or chest.”

I also know that pediatricians, like other adults, struggle when talking to adolescents about sex (the typical conversation, if it happens, lasts 40 seconds). Then again, they already caution younger children to use a helmet when they ride a bike (because heads and necks are delicate!); they can mention that teens might hear about things people do in sexual situations, including choking, then explain the impact on brain health and why such behavior is best avoided. They should emphasize that if, for any reason — a fall, a sports mishap or anything else — a young person develops symptoms of head trauma, they should come in immediately, no judgment, for help in healing.

The role and responsibility of the entertainment industry is a tangled knot: Media reflects behavior but also drives it, either expanding possibilities or increasing risks. There is precedent for accountability. The European Union now requires age verification on the world’s largest porn sites (in ways that preserve user privacy, whatever that means on the internet); that discussion, unsurprisingly, had been politicized here. Social media platforms have already been pushed to ban content promoting eating disorders, self-harm and suicide — they should likewise be pressured to ban content promoting choking. Traditional formats can stop glamorizing strangulation, making light of it, spreading false information, using it to signal female characters’ complexity or sexual awakening. Young people’s sexual scripts are shaped by what they watch, scroll by and listen to — unprecedentedly so. They deserve, and desperately need, models of interactions that are respectful, communicative, mutual and, at the very least, safe.

Peggy Orenstein is the author of “Boys & Sex: Young Men on Hookups, Love, Porn, Consent and Navigating the New Masculinity” and “Girls & Sex: Navigating the Complicated New Landscape.”

#off-theme #and long #but worth the read

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grey-sorcery · 1 year

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Suggested Reading

Threshold Theory Energy Work Fundamentals The Subtle Body Spell Design Spell Dictation Sigils: How-to Intro to Gnosis Anchors

What is a Spell Circle?

Spell circles, while they aren’t necessary, are a tool that is used as a focal point for a working. They are also very helpful in aiding in headspace via the implementation of aesthetics. Spell circles are technically hypersigils, or a complex sigil that is typically constructed of multiple sigils in tandem. They are typically constructed of three parts: Incantations, foundations, and root sigils. They are used in a ritual format, typically with each practitioner having a standardized approach to using them for spell work.

How do they work?

A spell circle is similar to a sigil in the way that there is an incorporation of intention, energy, passion, and focus in their creation. Spell circles operate most effectively within the energetic model or something adjacent. The psychological model will be entirely ineffective; at least as I have prescribed their creation in this article. They often contain sigils as well as some other elements that serve to connect the circle to the overall working. These elements include incantations, words, phrases, symbology, geometric/organic designs, numerology, etc.

Incantations, words, or phrases can be said out loud as part of the working (provided that doing so doesn’t break gnosis), or written out and burned into ash and incorporated into the working through that process. Though they can also be incorporated in other ways as well. As an example, you could write a song and record it and have the tablature or staff wrapped around the perimeter of the spell circle. You could then listen to the song while casting your spell using it as a centerpoint of your gnosis.

The other elements of a spell circle are used to enhance the threshold of the root sigil or purpose. Each additional element adds a node, or correspondence, to the threshold of the spell. Doing so helps refine the accuracy and potency of the working.

Designing a Spell Circle

If you have experience working with sigils, then designing a spell circle can be pretty easy. I highly recommend using programs like procreate to make these, or drafting tools! Freehanding them can be quite difficult without any experience with technical drawing. I use my tablet to draw them digitally and then trace them onto a burnable substrate such as paper.

Incantation(s)

An incantation is a phrase that is said that astutely states the intent of the spell. It is important to have this memorized, if you use them. Without having them memorized, using them will pull you out of gnosis by disturbing your focus. Incantations are like the thread that binds the spell circle to the rest of the working, especially if you use other tools, sigils, etc. When I construct my spell circles, I use the pronunciation of my sigils as the incantation, which are all aspects of a conlang that I developed. This can be seen as a sigil chain. So long as the incantation is written somewhere on or near the circle, then it is capable of being connected to the burning of those sigils via the incantation. I find that having the incantation encircle the root sigil is the most aesthetically pleasing for me.

Root Sigil

This is a sigil that is at the core of the circle. It should represent the base goal of the spell. This sigil is connected to the rest of the circle via the Foundation(s). Like all sigils, it is important that it is drawn while channeling its meaning through your mental state, emotions, and subtle body to be most effective.To create them, I will draw the enclosing circle first before drawing a grid within it. This grid is then used to ensure that the root sigil is centered and scaled appropriately. The sigil is always the first part that I draw. Here are a few examples of sigils I have used for spell circles:

Foundation(s)

Foundations are simple designs that each have their own correspondences. Some foundations use numerology to derive their meaning, others are given their meanings based on how they interact with the root. The foundation(s) used should also align with the purpose of the spell; but more specifically, to describe the means of manifestation of the spell to some degree. They can also be used to expand the context of the root sigil, ex. Whether it is intended to be a blessing or curse. I am always sure that when I draw them in the grid, that they appear to be a part of the sigil, yet also behind it by having the lines stop and continue any shapes that are a part of the sigil, like circles, triangles, and squares. Here are a few foundations that I use:

Associative Symbology

These symbols are things I don't really implement in spell circles myself, but include things such as astrological symbols, alchemical symbols, magical alphabets, color, and imagery. These symbols are typically incorporated in equal distribution around the circle in radial fashion, but can also be used in other configurations. The number of symbols can be implemented with numerology in mind as well. Colored line-work can also be used to further the correspondences. Imagery such as pictographs can also be used, following similar implementation as other symbols.

Applications

Spell Circles can be used for all sorts of workings, typically in a ritualistic fashion. However, they may also be used as passive sigils, meaning that they are placed and affect a specified space gradually over time. If they are used in this fashion, they will need to be revisited and charged periodically. When using a spell circle in a ritual, place them underneath the central spell elements such as cauldrons, candles, bowls, etc. Please use discernment. Fire safety is of the utmost importance. Once the spell is in motion, use the incantation that connects the circle to the working. I highly recommend rehearsing your incantation until it is memorized so that your spell’s effectiveness isn’t hindered. I highly recommend placing a spell anchor onto your spell circle as well so that there is a direct medium holding it. This way the spell can be recharged, broken, or altered as necessary.

Ritual Closing & Disposal

As part of closing any working, it is important to close off all energy that is connected to the working other than the anchor. Part of this is disposing of the spell circle in a responsible manner. This can be through responsibly burning it and burning the ashes, burying the spell circle itself (Provided it is on a biodegradable medium), soaking it in water to dissolve the ink and then cleansing the medium, or if it is drawn on a dry-erase board you can just erase it and cleanse it. When burying the ashes of your working, try to use your discretion as to which direction it is buried relative to your sleeping place or place of casting.

Identifying a Spell Circle

A few popular designs for spell circles have been misidentified in the past, specifically those of John Dee, who was a prolific cryptographer. These designs have a lot of the hallmarks of spell circles; however, they are enclosed with 72 latin letters, which don’t have any magical or mystical correspondences, but are very common in encryption wheels, and then are encoded through biblical reference. The influence his work had was very substantial in the development of spell circles and their design. While his encryption circles can be used for magic, like any other design drawn through intention, passion, and gnosis, it is obvious that it was not intended as such given the historical context of his life.

Interested in my other articles? You can find my masterpost here.

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#informational post #spellwork #spellcraft #spell casting #spell craft #spell circle #witchcraft #witchcraft resource #witchcraft guide #ritual #beginner witch #sigil #sigil creator #energy work #sigil magic

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writing-with-sophia · 1 year

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How to write an elderly main character?

I'm back! Because school is quite busy and I'm about to take exams, I don't have time to post new articles. I wonder if anyone remembers me. (probably not, lol)

There are many novels that feature elderly as main characters, for example, "The Hundred-Year-Old Man Who Climbed Out the Window and Disappeared" by Jonas Jonasson or "Our Souls at Night" by Kent Haruf. Today, I'll show you a few tips for writing this type of character.

When writing an elderly main character, it's important to approach the portrayal with sensitivity, authenticity, and a nuanced understanding of the aging process. Here are some tips to consider when developing an elderly main character:

Characterization: Create a well-rounded character with depth and complexity. Consider their personality traits, background, life experiences, and values. Remember that elderly individuals, like people of any age, can have diverse personalities and interests. Give your character hobbies, interests, and passions that reflect their individuality and bring richness to their life. Older adults can have a wide range of hobbies, such as gardening, art, music, or storytelling, which can add depth to their character.

Realism: Research and understand the aging process. Gain insights into the physical, cognitive, and emotional changes that commonly occur in older adults. This will help you create a realistic portrayal of your elderly character and avoid stereotypes or misconceptions.

Language and Dialogue: Reflect the character's age and life experience in their language and dialogue. Consider the vocabulary, speech patterns, and cultural references that may align with their generation. However, be cautious not to overuse stereotypes or make assumptions about their language abilities.

Challenges and Strengths: Portray the challenges and strengths that come with aging. Depict the character's struggles with age-related issues such as health concerns, memory loss, or changes in mobility. These changes can impact how your character interacts with the world and inform their daily routines and challenges. Also, highlight their resilience, wisdom, and life experience as sources of strength.

Relationships and Interactions: Explore the character's relationships with people of different ages, including family members, friends, and younger individuals. Show how their interactions and perspectives may differ from those of younger characters, while also highlighting the potential for intergenerational connections. This can involve exploring intergenerational conflicts, mentorship, or the passing down of wisdom and traditions.

Avoid Ageism: Be mindful of ageist stereotypes or biases and avoid perpetuating them in your portrayal. Treat the character with respect and dignity, highlighting their agency, autonomy, and ongoing personal growth.

Emotional Depth: Explore the character's emotional landscape, including their joys, fears, regrets, and aspirations. Show their emotional growth and the ways in which they navigate and adapt to life's challenges.

Seek Input: Consider seeking input or feedback from older adults or conducting research to gain firsthand insights into their experiences. This can help ensure an authentic portrayal and avoid generalizations or assumptions.

Life History: Develop a backstory for your character that encompasses their life experiences, significant events, and milestones. Consider how their past has shaped them and influenced their perspectives, values, and motivations.

Cultural Context: Take into account the cultural and historical context in which your character grew up and lived their life. Different generations may have distinct cultural references, societal expectations, or historical events that have influenced their worldview.

Social Roles: Explore the roles your character has played throughout their life, such as parent, grandparent, spouse, or professional. Consider how these roles may have evolved over time and how they perceive their identity in relation to these roles.

Please remember that every character is unique, and individual differences should be considered when writing an elderly main character. Approach the portrayal with empathy, respect, and a commitment to representing the complexity and richness of older individuals' lives.

If you want to read more posts about writing, please click here and give me a follow!

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theerurishipper · 10 months

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Just saw a post that said Adrien is a love bomber... are we really throwing buzzwords around for the sake of salting on Adrien, the abuse victim? Love bombing is an emotional manipulation tactic, and it is usually paired with the cycle of abuse. Adrien is not abusive. He is not emotionally manipulating Marinette. He is showing her affection. I guess we're demonizing showing our loved ones any sort of affection now...

Yeah fr, people will throw around all kinds of words istg. This is the definition of love bombing:

Love bombing is a tactic in which someone “bombs” you with extreme displays of attention and affection with the intent to manipulate you. Although being showered with "love" can seem positive at the beginning of a romantic relationship, love bombing can lead to gaslighting and abuse. Psychologists caution it might be a tactic used by a narcissist or sociopath in an attempt to control you.

Anyways, Adrien doesn't do this. In fact, this is what Gabriel does to Adrien. From this article:

In a relationship with a pathological predator, love bombing is combined with intermittent reinforcement to create a sense of instability and longing in the victim. Intermittent reinforcement (in the context of psychological abuse) is a pattern of cruel, callous treatment mixed in with periodic affection. The abuser hands out rewards such as affection, a compliment, or gifts sporadically and unpredictably throughout the abuse cycle. This causes the victim to perpetually seek their approval while settling for the crumbs of their occasional positive behavior.

This is exactly what Gabriel does. Whenever it seems like Adrien is rebelling against him because he is tired of Gabriel's neglect, Gabriel will offer him a little concession. Adrien is rebelling against him? Fine, let him go to school. In this way, Adrien doesn't rebel against his father anymore, and Gabriel can keep him under his control, because now Adrien will continue to believe the best of his father and will continue to try and earn his love. Another example is in Gorizilla. Adrien gets tired of Gabriel stopping him from seeing his mother's movie, and sneaks out. Later, Gabriel allows him to watch the movie, and throws in a little bit of gaslighting in there, essentially blaming Adrien for not being open with him and making him feel guilty, when it's his own fault his son didn't open up to him, which is because he's a neglectful asshat.

This is Gabriel and Adrien's relationship. Adrien stays with his father and tries so hard to please him, because Gabriel has instilled in him that love is something conditional that is to be earned. And whenever it seems like Adrien is breaking away from this mentality, Gabriel will do something "nice" for him, which will bring Adrien right back, because he's an abused child who wants to believe the best of his father and wants his love and affection.

Again, to quote the article:

As author Adylen Birch writes, “Creating fear of losing the relationship and then relieving it periodically with episodes of love and attention is the perfect manipulation.” Much like the way a gambler at a slot machine becomes addicted to playing the game for a potential win despite the risk of major loss, a victim in the abuse cycle can become attached to the idea of getting a return on their investment in the relationship despite the toll it takes on their well-being.

There's actually an example of this in the show. From Illusion:

Adrien: Speaking of which, Dad, I'm not really comfortable with having my face on all these rings. That's actually why I didn't want to be a model anymore, to avoid that. Do you understand? Gabriel: Of course, I understand, my son. But that's the point; it's just an image, it's not you! And since this image frees you from your obligations, we, the Agrestes, are able to spend more time together. But if you'd rather everything went back to the way it was before, just say the word. Adrien: (wears the Alliance ring on his index finger) You're probably right.

Gabriel even explicitly says what he's doing, which is holding the threat of going back to their previous relationship over his son's head to emotionally manipulate him. To refer back to the article, he creates the fear of losing the relationship in Adrien, and then makes a big deal of showing that he cares so much about Adrien and his future, and he makes him breakfast. This is love-bombing. And so, Adrien goes along with whatever Gabriel wants as long as he doesn't lose it. And so, he continues to do what Gabriel wants, which is to accept the Alliance rings and his image being used in ways he doesn't want. And true enough, Adrien goes back to defending his father after he finally worked up the courage to confront him for his shit in the beginning.

Adrien: My father? But Nino, he's changed, he's making an effort, and it's the first time he's coming to school!

I could go on, and there are several examples of this in the show, but then we'd be here forever. But I highly recommend that article. I just read it, and it is literally Gabriel and Adrien, oh my god. It's very informative and I think we should all be aware of this.

But anyways, back to your question anon (sorry for the tangent). Adrien doesn't love bomb. Adrien is just very affectionate. He doesn't withdraw affection from anyone, he doesn't make them settle for scraps. He doesn't try to manipulate anyone, he doesn't gaslight anyone, he doesn't try to make them seek his approval. Adrien is always kind and loving towards everybody he cares for.

In fact, Adrien does the exact opposite. He fawns over others, and he tries to earn their love and approval. This is because of Gabriel's abuse. And to accuse him of love bombing is so disgusting. Honestly, people just throw those words around like candy. But then again, I've seen what the side of the fandom that might have said this usually says, and it's usually the same victim-blamey abuse apologist rhetoric, so I'm not even surprised.

Thank you for your ask!

#MLB #Miraculous Ladybug #Adrien Agreste #Chat Noir #Gabriel Agreste #Meta #My meta #Asks #ML Fandom Salt #Abuse tw #Abuse cw

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llyfrenfys · 5 months

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In which I try not to be That Guy TM when it comes to Irish ancestors: An exploration of ancestry, diaspora and culture

Because of The Horrors TM in my life atm I've been looking into my biological family tree. I'm adopted but estranged from my adoptive family and I never met my biological family since I was adopted just short of my 2nd birthday. I've been tracing my ancestry for about 3 years now and it's genuinely quite stress relieving to me. It's also fun and challenging from a research standpoint - putting together my own family tree gave me the skills to write articles like this one I wrote in 2022 about historical Welsh queer people, for example.

Lately, I've been finding out more about my Irish ancestors while an adoptee (and thus not knowing any of my biological family) - but also doing this as a Celticist and tired of people doing the 'my sister's friend's cousin's father's mother was Irish' thing. This has created an almost unbearable tension between curiosity at my own ancestry while trying not to be That Guy who finds out about one (1) Irish ancestor hundreds of years ago and is weird about it.

Especially since mine are quite distant ancestors - my great, great, great grandparents were born in Dublin and in a tiny village in County Down called Dunnaman (near Kilkeel). However, they were Irish Catholics and emigrated to Liverpool in the 1870s - all of their subsequent children and grandchildren were born in Liverpool and all of the above + great grandchildren were raised Catholic - including my grandmother (who died before I was born). So there was an obvious attempt to maintain that heritage. There's even evidence my great, great, great grandmother at least spoke Irish (which, as she was born in County Down, would have been Ulster Irish).

The problems with uncritically throwing oneself at an ancestor's nationality:

Now, not all North Americans of Irish (or Welsh, Scottish, Italian, Scandinavian, German etc.) descent do this - but there's a very vocal set of North Americans of Irish descent who find awe and interest in their ancestry - which is actually quite a positive thing! - however, due to either temporal or cultural disconnect, they may end up doing or saying things (and not necessarily with bad intentions) which can have a negative impact on the Irish and the Irish language (or [nationality] and [language(s) associated with that nationality].

I'm reminded of the time an American commented on a Welsh language rights post I made in support of Welsh speakers, but they accidentally ended up using a white nationalist slogan by mistake. It can be a minefield - and with regards to Ireland specifically, mistakes like that can be so much worse. To literally give my own (mild) example, today I decided to relearn Irish (since I haven't spoken any in years since being taught basics at undergrad) and picked up a blank notebook I bought at Tesco the other week, while completely forgetting the inside cover of the notebook was orange. I was planning on decorating the notebook anyway and painted it a different colour. While I know that nobody would really hold it against me if I didn't change the colour, I just know that walking around with an orange notebook filled with Irish I'm relearning because of interest in my Catholic ancestors could be a confusing set of messages, at the very least. If you don't understand why this is, look up the meanings of the colours on the flag of Ireland.

Which is to say, even those of us in Northern Europe who have significantly greater physical proximity to Ireland than North America (and therefore should know better) still can and do get things wrong. And not just benignly wrong like in my case.

The tendency for some North Americans of Irish descent (Canada isn't exempt from this) to conflate Irish ancestry with a contemporary connection to the modern countries located on the island of Ireland as a whole can have results ranging from 'a bit weird' to 'jesus fucking christ'. As a Celticist, I've seen far, far too many Americans of Irish descent try to weigh in on modern Irish politics without any background knowledge or tact at all - and naturally they stake their claim on modern Irish politics entirely on the premise of having distant Irish ancestors. Or, even worse, things start to get all phrenological.

'Irish blood' and the nonexistence thereof:

'Irish blood' is continually evoked by some to validate their sense of 'Irishness' and the obsession with '[insert nationality] blood' is a distinctly North American phenomenon- likely related to or an offshoot of the concept of 'blood quantum', in which enrolment into some Native American nations and tribes is determined by how much 'Native blood' a person has. Notably, many people who would ostensibly have been described under this system as 'full blood' were registered by the US as 'half blood'. This is a method of genocide intended to wipe out tribes and nations by imposing strict measures of who does or does not qualify to enrol into a tribe or nation. This concept seems to have been extrapolated over time (in a North American context at least) into the idea of descent from other nationalities' being measured in a similar or adjacent way. This is how you end up with some North Americans declaring they are '1/8 Italian and 1/4 Irish' on their dad's side etc. While in Europe (where these nationalities hail from, crucially) this practice is seen as a really weird way to describe your ancestry. In general, it's simply 'my 4 times grandfather came from Spain' or 'my great great grandfather on my dad's side came from Finland' etc. if it comes up at all. For various political reasons, many Europeans with descent from multiple other European nationalities may choose to omit to mention descent from certain nationalities, especially if in recent history there has been conflict between their birth nation and an ancestor's nation. The most famous example of this is literally the British royal family changing their surname from the German Saxe-Coburg and Gotha to the more 'British sounding' Windsor in 1917 due to the onset of the First World War.

Where it gets really weird (and also very offensive and rude) is when cultural stereotypes get invoked alongside the whole 'blood' thing in usually quite damaging and/or disparaging ways. I've seen way too many North Americans of Irish descent claim they're alcoholics because they have 'Irish blood' or even worse, claim it's normal to domestically abuse their spouses because of it!! (Genuine thing I have seen btw). Same goes for claiming to be a naturally good chef because of 'Italian blood' and so on. As a general rule, people from the place where your ancestors were from don't generally like to be inherently be considered drunks or prone to violence due to their nationality. Or have weird and inaccurate idealisms projected onto their language or cuisine.

Aren't there any positives?

It wouldn't be fair to make a post like this without mentioning some of the positives that can come from interest in an Irish ancestor. Like I mentioned at the start of this post, I myself felt inspired to relearn Irish because of my own Irish ancestors. I was taught the Connacht dialect at undergrad, however, since my ancestor was from County Down, I'm going to try and learn Ulster Irish instead. One doesn't need Irish ancestors to learn Irish of course - when I learned I wasn't aware I had any Irish ancestors. But being inspired to learn Irish because of an ancestor can't hurt and directly increases the number of Irish speakers in the world (provided you keep at it). This is a net positive for the language as a whole.

Similarly, people who have educated themselves on Irish politics because of their ancestry and genuinely learned something are also a positive thing to come out of discovering Irish ancestors. In my experience, these people are the kind of people I enjoy talking to about being a Celticist because they actively want to learn and respect the cultures being talked about. Which is huge to me!

Conclusion:

As a Welsh speaker whose national identity is more-or-less Jan Morris-esque, my Irish ancestry is an interesting facet of my ancestry I simply didn't know about before. And being an adopted person, I can sympathise with the general sentiment of a lot of white North Americans of feeling disconnected or alienated from any ancestral heritage. The conditions which create That Guy TM as described above rely on that sense of alienation to propagate a very ineffective, tactless and often very insensitive approach to Irish and other European cultures. But the important thing is that that approach can be challenged by people genuinely interested in their ancestry who are also conscientious of the living versions of the cultures their ancestors hailed from.

For me, that means learning Irish in a dialect my ancestors are likely to have spoken. I also visited the library today to check out some books on the Irish emigration to England and the sociopolitical reasons behind that emigration. I know the broad strokes, but the details are desirable to know to get a better idea of the why and how the country of my birth had a hand in creating the conditions which led my ancestors to emigrate in the first place. I think the world would be a better place if people took the time to understand the history and politics of ancestors which don't share their nationality.

As always, reblogs and thoughts are welcomed and encouraged!

Thank you for reading to the end - and if you'd like to support me, please see my pinned post. Diolch!

#long post #Ireland #Irish #Gaelige #Celtic Studies #Celticist #Irish diaspora #Irish americans #blood quantum cw #racism cw #(just in case)#ancestry #geneology #family history #I've probably made typos but it's 11:40pm and I need to go to sleep

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literaryvein-reblogs · 2 months

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15 Ways to Improve Your Vocabulary

in response to:

1. Develop a reading habit. Reading is the most effective way to build your vocabulary. Read books, magazines, and newspapers that cover a wide range of topics, and pay attention to unfamiliar words. Look up their meanings and try using them in context. Vocabulary building is easiest when you encounter words in context. Seeing words appear in a novel or a newspaper article can be far more helpful than seeing them appear on vocabulary lists. Not only do you gain exposure to unfamiliar words; you also see how they’re used. In fact, 15 minutes is recognized as the ideal time for students to see positive gains in reading achievement; students who read just over a half-hour to an hour per day improve the most.

2. Utilize word lists. They are incredibly flexible tools that can help you organize your learning in a variety of ways. For instance, vocabulary can be grouped into small, easy chunks that can be revisited for maximum learning benefits. Research shows that a word needs to be seen up to 10 times before we really learn it, and researchers believe that staggered repetition is the best way to learn new vocabulary. Word lists help keep vocabulary terms in manageable chunks that a student can come back to as they gain mastery. I have posted some word lists HERE and will continue to add to this in the future.

3. Use the dictionary and thesaurus. Online dictionaries and thesauruses are helpful resources if used properly. They can jog your memory about synonyms that would actually be better words in the context of what you’re writing. A full dictionary definition can also educate you about antonyms, root words, and related words, which is another way to learn vocabulary.

4. Keep a vocabulary journal. Making a vocabulary journal is a great place to collect and interact with words you hear or see in your reading. Each page should be dedicated to a singular new word, including its definitions, synonyms, and antonyms. Review the journal regularly to reinforce your learning.

5. Choosing appropriate vocabulary. It’s important to use words and expressions that fit the context so your meaning is clear. For example, different audiences for your writing will require different levels of formality: the vocabulary you use in an academic essay may not be effective for a blogpost targeting a popular audience. Consider the following questions to help you choose the most appropriate words for your audience and purpose:

a. What’s the exact meaning of the word? Words may be broadly similar in meaning but differ in important aspects of that meaning. Consider the difference between ‘the fragrance of flowers’ and ‘the odour of rotten eggs.’ Both words refer to the sense of smell, but fragrance has a positive core meaning while odour has a negative one. If you don’t know what a word exactly means, check it in a dictionary. b. Is the word attached to a feeling? Compare the two sentences: ‘The freeway snakes through the town’ and ‘The freeway meanders through the town’. In this example, snake indicates negative feelings about the freeway while meander doesn’t. c. What level of intensity does the word show? Many words with similar meanings describe different degrees of the same quality or action. For example, ‘comical’, ‘hilarious’ and ‘side-splitting’ show different degrees of funniness. Think about the intensity of what you want to convey when choosing words. d. Is the word formal or informal? Go for formal words and expressions in business communication and academic writing. In the following examples, the second expression in each pair is more formal than the first: (1) come up with / create (2) one after another / at regular intervals (3) huge / considerable (4) enough / sufficient e. Is the word polite? Words which describe negative qualities or sensitive issues too directly can be offensive. Good communicators consider the feelings of their audience. For example, when writing about childhood obesity, it’s more appropriate to use ‘children with weight problems’ or ‘children of an unhealthy weight’ than ‘fat children’. f. Is the word specific or general? Use words with specific meanings whenever possible to make your message clearer to your audience. For example, avoid overusing general verbs such as ‘be’, ‘do’, ‘have’ and ‘get’, especially in academic writing, as they don’t accurately convey specific ideas. It’s better to use a more specific verb or verb phrase to strengthen your message. Compare the impact of the verbs in these sentences: ‘To be successful, learners need to have high-level literacy skills.’ ‘To be successful, learners need to develop and demonstrate high-level literacy skills.’ g. What other words does the word often go with? Some words are frequently used together and therefore sound more natural in combination. This is called collocation. For example, we say ‘fast train’ not ‘quick train’, but ‘quick shower’ not ‘fast shower’. Similarly, it’s more natural to say ‘highly critical’ rather than ‘deeply critical.’

6. Play word games. Classic games like Scrabble and Boggle can function as a fun way to expand your English vocabulary. Crossword puzzles can as well. If you really want to be efficient, follow up rounds of these word games with a little note-taking. Keep a list of the different words you learned while playing the game, and then study that list from time to time.

7. Use flashcards. A quick way to build a large vocabulary is to study a number of words via flashcards. In today’s digital age, a wide array of smartphone apps make flashcards convenient and easy to organize. Aiming for one new word a day is reasonable. You can always go for more, but it may not be reasonable to assimilate dozens of English words every single day.

8. Subscribe to “word of the day” feeds. Some web platforms will provide you with a word a day—either on a website, an app, or via email—to help you expand your vocabulary. You can add these words to running word lists.

9. Use mnemonics. A mnemonic device is a form of word association that helps you remember words’ definitions and proper uses. For instance think of the word obsequious which means “attempting to win favor from influential people by flattery.” Break down that word into components: “obse” is the beginning of “obsessed,” “qui” sounds like the French word for “yes” (oui), and “us” is like the word “us.” So you can think of that big word obsequious as “obsessed with saying yes to us”—which is kind of what it means!

10. Practice using new words in conversation. It’s possible to amass a huge vocabulary without actually knowing how to use words. This means you have to take it upon yourself to put your personal dictionary into use. If you come across an interesting word in your reading, make a point of using it in conversation. By experimenting in low-stakes situations, you can practice the art of word choice and, with a little bit of trial and error, hone in on the right word for a particular context. Furthermore, speaking to native – or non-native – speakers of English (or any language you are learning) will guarantee you the chance to learn new words. Anyone who has ever wondered how to develop their vocabulary will know that the most important thing is putting your vocabulary to use and hearing what people say in return. This is how language works, and before long you’ll be finding ways to work those new words into your everyday use of the language.

11. Watch movies and TV shows. This simple activity can expose you to new words and phrases. When watching TV or a movie, pay attention to the dialogue and note any unfamiliar words. When the TV show or movie is done, look up the meanings of the new words and try to use them in context.

12. Build a story. Learning vocabulary words outside of their context is difficult, so why not create context with some creative storytelling? This can be an individual writing activity or you can do this in a group. A sample group activity: Choose a word list and determine an order in which your students or friends will take their turn. Every person gets to choose one word from the word list. You begin by writing the first sentence of a story; each student then uses their chosen word in a sentence to build on the story. This gets learners comfortable using the words in sentences, and putting those individual vocabulary words into a broader context. This is also an activity you can do via text, chat window, or email, which makes it perfect for remote learning.

13. Draw it. Sometimes the best learning activities are ones that don’t feel like a learning activity. This can be an individual activity but can also be used in group settings. Here’s a way to turn vocabulary acquisition into a game: Ask each student to have a piece of paper and a pen or pencil ready, and tell them you are going to be playing a drawing game. Using the private chat feature of your remote learning software, choose one student and give them a word from your vocabulary list along with its definition, and tell them that they have 20 seconds to draw it. While the student is drawing it, make sure that you make their screen the main screen of the software. You can do a countdown to keep up the momentum, or play music while you wait. At the end of the time, the student shows their drawing to the other students: The first student to guess which vocabulary word has been drawn is the next student to draw. This activity is not only fun, but also benefits students who are visual or tactile learners.

14. Be aware of idioms. Idioms are commonly used word combinations or expressions. These have very specific meanings that are not obvious from the words they contain, e.g. ‘a piece of cake’, ‘get the hang of it’, ‘an Indian summer’, and ‘after a fashion’. Many dictionaries list and define idioms if you look up the component words. For example, try looking up ‘Indian’ or ‘summer’ to find ‘Indian summer’. Idioms are generally more appropriate for speaking and non-academic writing.

15. Practice, practice, practice. In many ways, vocabulary is like a muscle – it will get stronger the more you use it. The key to building a strong vocabulary is to use it regularly. Try using new words in your conversations, writing, and everyday life. The more that you use them, the more they will become a part of your everyday vocabulary.

Sources & other related articles: 1 2 3 4 5 6

#writing prompt #spilled ink #writeblr #writing tips #writing advice #vocabulary #langblr #dark academia #studyblr #booklr #light academia #literature #poetry #writers on tumblr #poets on tumblr #words #linguistics #writing reference #writing resources

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jojo-oliver · 1 year

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How to tumblr for artists… my own version

A collection of things that have been working for me, but may not work for everyone

~~~ your posts ~~~

!!!reblog your own stuff!!! you need to reblog your own stuff, there is nothing morally wrong with reblogging your own stuff regularly. in fact, it is morally right to allow the chance for more people to see your artwork.

~~~ queue it!! ~~~ my queue is 500 posts strong. maybe don't try to make your queue hundreds of posts strong in the same day omg but like… once every month or two i'll go through my whole blog and just scroll and "add to drafts" to every one of my own posts i have. then i'll use the "mass post editor" to add content warning tags. and add to queue, and shuffle. and then I write down what the date was for when I last added my posts to be reblogged on queue. this is helped by turning on timestamps for posts in tumblr "dashboard preferences" settings.

queueing is necessary and life saving for me. It takes out so much work with decision fatigue and the anxiety around posting. It also guarantees that even if I suddenly need time off or away from my phone, I don't just disappear and lose all traction. It also breaks the instant-gratification cycle that you expect when you finish an artwork. It's hard to keep creating when you post something and, when you're expecting to get that gratification, you get none... If you queue your new artwork to come out at a later time, you've separated that expectation - with time. It hurts less and contributes to a more consistent gratification thing instead of peaks and troughs.

~~~ tag ya stuff ~~~ when you're making a new post, the first 20 tags are what gets put into the searchable tags. do not feel shame for using lots of tags. shame is the mind-killer. tags are hard. hard to know what to tag a post with. hard to remember the tags. so I found some ways to help myself. maybe they'll help you too. dedicate some time towards just figuring out what tags you want to use. i have a list in my phone notes that i add tags to and reference whenever i'm making a new post. i have the phone right beside the laptop while i'm tagging so that i can just look at it and scroll. tags are the only way for people to find your artwork, other than people manually coming to your blog because they saw you somewhere. there is no algorithm. posting without tags, until you have an established fanbase, is throwing something into the void.

When I'm doing tag research, I look at what people seem to use - when you put something in the search bar, tumblr recommends you some that have a higher following, typically. Looks like this on desktop:

if you like one tag, look at what other people who use that tag also tag their posts with. Observe and learn how this tag is used. search through a bunch of them and write them down.

here's what i got in my notes, for the specific kind of art I post and look for:

these tags are sort of specific to me and the kind of art I make. You'll want to research your own tags, but this is an example of how I keep them organized to make posting more effective. I generally only write down a tag when it's got more than 2k followers. You might be tempted to use the tags with millions of followers, but I've actually found those a lot less functional for small artists. If your stuff doesn't immediately get a bunch of notifications, you're drowned out and pushed to the bottom much faster. But the bigger tags are better than no tags, so I keep them if I can't think of anything else to tag something with.

~~~ post at the right times….? ~~~

fridays and saturdays is when I post fresh new things... usually. every website has it's own peak hours, and you can find those hours in many different online articles that try to sell you social media growth services. tumblr is unique in having later hours.

here's some random graph from google images:

please don't over think this. please don't let this consume the idea of when to post, preventing you from posting at all. it doesn't mean too much - if you post during very active hours, maybe your art would just be pushed down the feed faster. if you post at the end of hours, maybe everyone's going to sleep… if you post at inactive hours, maybe there's less 'competition'… if you post at the beginning of active hours, maybe that's just more time for your post to circulate for the day, if you have enough people reblogging it once it drops....

this also is in EST. So fuck the other time zones, I guess. I'm over here in europe knowing that the "best" time to post would be like 2-3am or something. It's like this for most english-speaking majority sites - higher traffic in north american time zones.

it's also worth mentioning that this is scattered as heck, compared to other social media sites. and it's not like, the activity times of your followers. it's not the best time to post for your niche. this is just tumblr, broadly. all of tumblr.

~~~ Plan ahead for annual dates ~~~

Your artwork will get more circulation if it's posted on a celebratory day. You could just put them on your calendar and if you're wondering what to make, look on the calendar for what's coming soon. For example, asexual awareness day, trans day of visibility, location-specific holidays, etc. Here's my phone notes thing with my own recorded annuals:

I got these dates from googling and reading different articles, but I find that I still miss dates, and then I add them for next year. If you know of some I missed, tell me and I'll add them please <3

~~~ reblog other people's stuff ~~~

tumblr is sorta about ecosystems. things get passed around within groups of people that are all following eachother. to enter this ecosystem, you must engage and reblog other people's stuff too.

if you reblog other artists' stuff, sometimes they'll come over and reblog your stuff too. sometimes they'll follow you back. this is called becoming a mutual. I'll search specific tags for the kinds of people I want to follow and the kind of art I like - those are listed in the screenshot of my tag note under "Tags for finding new people".

I see a lot of blogs out there that are very clean, posts are tagless, and are only for the artists' content. like scrolling through a portfolio. I imagine this is good for people who are migrating to tumblr but already have their own established fanbase from elsewhere.

you don't need to do reblog other people's stuff on your art blog, you can do this on a separate blog. but if the two don't look very closely correlated, it's hard to tell who you are when you're interacting. and hard to make sure people know that you are the same person as your art blog. and you gotta remember to promote yourself on your personal blog.

~~~ have an art tag ~~~

make your blog easy to search!

if i go to your blog, and you've written 'artist' or 'sometimes art' in your bio, i wanna see it… it make me so sad when i don't get to see it. i want to reblog it. please let me reblog it :(

to make a tag on your own blog searchable, you don't need to repost it to add a tag. you don't even need to reblog it. you can actually just go back to the original post and edit it to add your tag. I've seen post people just have their art tag be something like #(blogname)art . you can see my own in my tags image above. if it's very unique, then it'll work tumblr-wide. I think that's good, since the tumblr search function is really weird. Otherwise it should still work if it's not entirely unique, people just have to make sure they're searching specifically your blog to see only your stuff.

I like to have a link in my pinned post where people can click to have immediately searched for my art tag. Convenience is king. Keep in mind that most people are on mobile, and if something isn't immediately clickable, they often won't find it.

~~~ be consistent and be patient ~~~

!!!this time will pass anyway!!! how many notes you have is not correlated with how good you are as an artist. wanting to earn something from your art means you essentially have two jobs. two potentially full time jobs. this shit's difficult. most of the job is promoting yourself. don't undersell how hard it is to do… don't feel bad for not immediately succeeding. I would write about how hard it's been to promote myself, but it would just be long and sad I think.

This isn't a full guide, please feel free to add more!!

I'm sure in another year I'll disagree with a lot of this, it will become irrelevant with time, and I'll have a lot of different opinions. Chip in and share what you've been doing? Teach me? This is very overwhelming. Don't do it all at once, just like, try one thing at a time, and see how it works for you. Your niche might be different. One size does not fit all. If you're confused about some of the things I talk about in here, you might be on mobile. I do most of my queueing and posting from the desktop browser version.

I will update this with more as things change, but I think you'll have to click through to see the updated post

#pinned #beginner artist #small artist #queer artist #trans artist #artists on tumblr #artist support #artistsupport #new artist #art blog #art on tumblr #lgbt artist #lgbtq artist

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djuvlipen · 2 years

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There's something I've been meaning to talk about for a while now.

It's the impact of the trans rights movement on the Romani feminist and gay rights movements.

Now, most Romani rights organizations are very disconnected from the Romani masses. They really don't speak for us at all. Most of them get private fundings from the EU and billionaires like Soros (x). That's what leads a lot of Romani feminist groups to supporting the sex trade (x), despite Romani women being among the first victims of sex trafficking in Europe (x).

With the trans rights movement, we've got Romani feminist groups praising Romani men for taking the place of Romani women. Antonella Lerca Duda, a Romanian Romani transwoman, is featured on many Romani feminist posts whose aim is to present empowering Romani women (x) (x). Antonella Lerca Duda is "the first transexual Romani woman to run for mayor in Romania".

German Romani feminist organization RomaniPhen even chose to include his portrait in their post about powerful Romani women - instead of chosing to picture an actual Romani woman (x). Duda also created a "sex work" organization that fights for the decriminalization of prostitution. He's not our sister and he doesn't fight for Romani women. Yet he was even invited to co-write and star in a play from the only female-only Romani theater troup in the world, Giuvlipen, once again taking the job that could have gone to an actual Romani female playwright and to an actual Romani female actress (x).

In Spain, the trans movement is piggybacking on the back of the Romani rights movement. "Trans women" and "Gitanas" are associated in a manner much similar to what the TRA movement is doing in the US by associating "Trans people" and "Black women". Thus Spanish Senator Teresa Ruiz-Sillero recently said that ""Personas LGTBI (en particular trans), inmigrantes, personas gitanas" se considerarán "colectivos vulnerables de atención prioritaria"." ("LGBTI people (trans in particular), immigrants, romani people" will be considered "vulnerable groups to give a priority attention to") (x)

Many tweets from popular TRA Spanish accounts associate Romani women and trans women (I'm only gonna add three examples because this post is already long; you can look up "gitanas + trans" on twitter to judge by yourself):

And many Spanish Romani activists and organizations are denouncing TERFs as fascist and fighting for self-ID laws

Nevermind the fact that Romani women desperately need sex-segregated spaces considering that Romani women are particularly vulnerable to domestic violence and sexual assaults (x). Nevermind the fact that saying Romani women are not female because we're Romani is inherently racist.

But it's even worse when we think about the Romani gay rights movement. As opposed to many other gay rights movements, the Romani one is very recent. Which means we never got to build up a proper LGB Romani movement detached from "queer theory". We never got a movement only dedicated to SSA Roma, because trans and queer activists are behind all our LGBT groups. Gender rhetoric is deeply embedded in the Romani gay rights movement.

Here's a clip from the ERRC, the largest Romani rights organization in Europe, organizing a workshop on LGBTIQ Roma in the Balkan and in Spain. No lesbian or bi woman is present in this video. There's only one (straight) woman. The person with the longest speaking time is a TIM. This is particularly bad considering Romani orgs have a tendency to ignore Romani women's voices (x).

Ara Art is one of the largest Romani LGBT organization in Europe. On their website, they have interviews with trans Roma. These interviews are deeply sexist and homophobic: here's one in which a gay boy raised in a homophobic family comes out as a trans woman. This story is framed in a positive light.

Romani organizations are repeating the lie that Stonewall was started by "trans women" and are further erasing gay men and lesbians from their own history (x). They publish articles framing LGB Roma's sexuality as "sexual dissidence" (x). By supporting the trans rights movement, orgs like Ververipen, Ara Art and ERRC are supporting the sterilization of LGB Roma. All over Europe, Romani organizations hold conferences to discuss "LGBTIQ rights" (x) and are interviewing Romani TRAs (x), all in order to fight for trans rights (that last link even includes an interview with a biromantic asexual transman lmao). There's no LGB rights movement that exists outside of the gender realm for Roma.

source: Asociacion Gitanas Feministas por la Diversidad (x) and E-Romnja, one of the largest Romani feminist org in Romania (x)

Gadje newspapers are writing articles about "Queer Roma" (x). Gadje academics are writing gender theory thesis about "Queer Roma" (x).

This doesn't help LGB Roma. In my so-called progressive, Western European country, my Romani relatives used to tell me that LGBs were deviant perverts while I was growing up. My local Romani community openly calls for the lynching of LGB Roma. Most European Roma are deeply religious (muslim or christian), sometimes to the point of being fundamentalists. The vast majority of European Roma are working class and don't care about "queer theory".

Yet the associations that are supposed to be fighting for us are reinforcing the idea that LGBs are perverts and that not supporting the homophobic trans ideology makes you a fascist. Since Romani rights groups are all very recent, we never even got the chance to make our own movements before we got swipped into the gender trend.

The trans rights movement is actively harming Romani women, LGB Roma, Romani feminist and Romani gay rights movements.

#roma #gender critical #drop the t #lgb #radical feminists do interact #radical feminists please interact #radical feminists do touch #radical feminists please touch #radfems do touch #radfems please touch #radfems do interact #radfems please interact #radblr #radical feminism #this post is so long and boring i hope it won't flop tho it took me an hour lol

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cerastes · 7 months

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How do you rate the gacha booty shooter?

NIKKE sure is a game! It's the funnest mixed bag I've played lately. As a side game, it's been pretty good, because it's good at what it does good, and not terrible at its weak points, leaving you with a pretty "Ok :)" feeling overall.

So what's up with Nikke? Yeah, let's have a talk about that so I can explain a bit by what I mean with "fun mixed bag".

Nikke's setting is the same old tired, you've seen it a million times: Once day, humanity was almost decimated by a mysterious enemy that came out of nowhere... We call it... The Enemy! They were simply too strong, so humanity had to deploy its strongest weapons: Anime Girls. And you are the lucky Authority Figure that commands the Anime Girls to defeat The Enemy! But... The Enemy and Anime Girls have more in common than it seems...!?

Replace "The Enemy" with "Rapture", "Anime Girl" with "Nikke", Authority Figure with... Technically "Commander" but more on this in a bit, and you've got Nikke. In other words, the game's setting and premise are just a few word swaps away from being Punishing Gray Raven, Snowbreak, and a bunch of other properties. But here's the thing: Whereas Punishing Gray Raven tells you its story with all the charm and pizzazz of a Wikipedia article, and Snowbreak... Uh, stands there staring at a wall Blair Witch style because nothing ever fucking happens in Snowbreak, Nikke actually has good moment to moment flow. Allow me to elaborate.

Read More break here because I wrote a lot more than I intended:

Nikke has probably the dumbest premise to open with: The Nikkes are basically superpowered cyborg girls (war machines with human brains) that look like supermodels on purpose because they were created, in the game's own words, "with the ideal form in mind". That's all a wordy way of saying they are super hot girls with very powerful guns and superhuman physical capabilities. The dumb part is that Nikkes are treated like absolute shit in-universe by humans. You're telling me humanity is making cyborgs -- not even full on robots or AI, these are straight up people getting turned into weapons -- that are hot as fuck and have tits bigger than my head and asses that could crush cars under their sheer heft and then decided to hate them and treat them like shit, and also these cyborgs are the ones actually keeping humanity alive? Well yeah we need a reason for the Main Character (you!) to be Special and bond with them, so your thing is that You Don't Treat Nikkes Like Shit. In fact, you care for them.

Now, this is all absolutely fucking stupid, but then, the game sort of... Realizes how stupid it is? And some may say "this was always the plan" but to me personally it feels like they kinda realized how god damn stupid this all was as a premise, and they started veering the car mid-trip because for a while this all feels REALLY sincere, not in a foreshadowing way, but then you have some developments such as "no yeah, Commanders are a dime a dozen, are brainwashed into seeing Nikkes as walking garbage and that they'll be heroes, risk their lives for pennies and are extremely expendable", and there's also what I consider a really good and consistent thing the game has done: Nikkes were always a desperate last minute rushed product as a concept, so the safety measures in place so that they don't rebel against humans were never perfect.

This is what I mean by the moment to moment being good: The plot is absolutely whatever, the setting is something you've seen a million times, but the actual scene by scene, beat by beat, is fun. On the micro level, the game knows how to be entertaining and interesting, and when they expand these micro nuggets of gold to a macro level of writing, it's when they end up with their best bits of narrative and world building. I want to use two examples about the whole safety measures thing: Crow and Rose.

Crow is a Nikke that hates humans and is part of a squad of known dangerous elements that Missilis, the most irresponsible of the Big Three companies, is responsible for. This squad is Exotic, and Exotic works with you (your squad is named Counters) on this one mid-game chapter. The thing is, they never really intended to work with you, and Crow wanted you dead because Crow wants to spark a Human Vs Nikke conflict in the Ark (humanity's last big home), because you might quell the hostility between both sides. But, Nikkes can't intentionally kill humans (accidents happen and a Nikke may be ordered to subdue a human, but they are hardwired to not be able to shoot at them or kill them). So, how does Crow go about it when she betrays you? She has her squadmate Jackal plant a steel plate on the ground, and then shoots the plate in a way that the bullet ricochets and hits you. NIMPH, what's used to, among many other things, make sure Nikkes can't turn on humans, was so, so easily circumvented, and this is consistent with what we've been told about the Ark and Nikke in universe development in general: It's sloppy, it's lazy, it's not good. Rose, the other example, is a Nikke from a flashback story around a hundred of years before the start of the game. Rose was a prototype Nikke that was geared for melee combat instead of ranged combat, as all Nikkes are, and she was one of ten such units. Basically, Rose realized that their human Commander was intentionally trying to get them killed until one remained, which would be deemed the success of the line in Darwinian fashion. Rose got so immensely, justifiably angry at this that she plotted to kill the Commander. How can she do this, though, with the NIMPH that prevents her from doing so? Well, Rose was an actual swordmaster, and what she did was wear a blindfold, convince herself that what she was slicing was not a human, but a Rapture, and then she easily killed the shit out of him, unimpeded by her system. The NIMPH, end of the day, is sloppily made, highly dependent on the mental state of the Nikke, and easily circumvented. This is a very important plot point throughout the story, and the way they show this in multiple ways is really good.

Another thing I like is how the game goes about the player's title. It's technically "Commander" but the truth is, most every single Nikke calls you a different way relative to your relationship with them or their impression of you. Rapi and Anis some of the few that call you Commander, because they are in fact your subordinates, but Rapi says "Shikikan" while Anis says "Shikikan-sama" in a sarcastic way initially and after a while in an affectionately playful way, Neon calls you "Master" (Shishou) because she likes the way you use firepower, Liter calls you "Greenhorn" because you are, well, that in her eyes, Moran calls you "Partner" (Ototou, "little brother" in Japanese) because she's the head of a crime syndicate and she considers you as a cool person under her protection, the sports inclined ones call you "Coach", the school themed ones "Teacher", Viper, the flirty one, "Honey" or "Darling" depending on the scene, and so on, the old timey Scarlet calls you "My Lord", the religious Rapunzel uses "Believer", and the coarse, rough around the edges Snow White just uses "You" (Omae). It's a great touch that I like when it's done.

So, basically, you have a charming combination of a setting that's been overdone infinite times with plot beats that vary between legitimately good (the NIMPH and its logistics) and legitimately bad (Whatever the fuck Chapter 18 was, to name one case), and moment to moment that's really charming and entertaining.

The gameplay is honestly extremely unbalanced, and the sheer disparity in strength between units of the same rarity makes you wonder if they have anyone in the team that actually cares about balance, but honestly, putting the issues of balance aside? It's fun to point at stuff and shoot a million bullets and rockets, and they even get pretty creative with the fights sometimes in terms of enemy types and how they use them against you, so gameplay balance is awful, gameplay itself is suprisingly good for how simple it is.

I know people are going to be like "Dreamer, You Didn't Even Rate The Asses" so okay here:

First of all, the ergonomically perfect ass of the VIXEN that lured me into the game in a moment of weakness, Scarlet:

And next up, the Clothed But Massive Ass of Snow White

In fact, I appreciate the variety, because if it was just bare cheeks and panty shots, it'd be kinda whatever to me, but bodysuit ass and clothed but noticeably huge ass? Fresh, to be honest.

Also notable is that progress in entirely gated by passive production of resources and daily stuff because there's no stamina system. Bold!

But yeah feel free to ask more specific questions, but this is pretty much how I've felt about it.

#long post #nikke

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