#and other people and objects for instance

[michanvalentine]

Unfortunately, I played Baldur's Gate late, so I often find myself reflecting on concepts that have probably already been discussed a million times. Bear with me — I need to vent these thoughts somehow.

So... Every now and then, while reading various posts around the web, I find myself wondering what those unfortunate 7,006 souls ever did to be so quickly dismissed and condemned. Seriously. I’m stunned by how easily people judge and by the lack of moral and objective analysis. In the game, of course, everything goes — I myself sent them all to hell without much hesitation in one of my runs. They're not real people and the point is to have fun.

But when you stop and analyze the situation from the outside — not as players inside a videogame, but as people with empathy, morals, and common sense who are engaging with a narrative — I genuinely struggle to understand how this act can be seen as justifiable. Among all those souls used in the ascension ritual, the only one that truly deserves to burn in hell is Cazador. The others? Unlucky, foolish, maybe in love. Astarion says it himself: they were people who let their guard down and fell for his sweet words.

"Every one who ever trusted me enough to let down their guard... innocents, idiots, and the unluky."

Among them, there’s surely some piece of shit who hurt Astarion, who abused him, and maybe does deserve to rot in hell alongside Cazador. But others were just drunks, not entirely in control of their decisions. Were some of them whoremongers? Sure — but that’s not a crime. They were seduced, lured in, encouraged — they didn’t drag Astarion into an alley to use him. It was Cazador who exploited and raped him, forcing him into that role.

Were some of them jerks, criminals? Sure. But Astarion himself isn’t a saint — that doesn’t mean he’s more worthy of mercy than they are. He’s not inherently more deserving of survival than his brothers and sisters, for instance. And I say this as someone who loves Astarion. On top of that, these poor bastards have been imprisoned for centuries, starving, neglected, stripped of the most basic decency. Astarion himself points it out.

If you believe Astarion has paid for his past sins by enduring Cazador’s abuse (and on this point I fully agree), then that same logic must apply to them. A little consistency, for God’s sake. Yes, they’re starved vampire spawn — but they’re also capable of self-control. And more importantly, they want to live, just like Astarion. In fact, I would go even further: they are Astarion. They represent the mirror in which he sees himself — and what he sees is so unbearable that he wants to erase them entirely. Just as he would erase that part of himself he considers pathetic and miserable. When in reality, it’s not pathetic at all — it’s the strong part, the part that survived the 200 years under Cazador.

"[...]I don't want to be like them... They are patethic, horrible... [...] That weakness in me is dead. It's dead! I have a higher purpose."

Moreover, it’s made very clear in the epilogue that they’re not mindless bloodthirsty monsters without reason or restraint. If they were, it’d be easy for everyone — for the player, for Astarion, and for the rest of the companions — to sacrifice them all. There wouldn’t be a moral dilemma. There wouldn’t be consequences. No tension in the plot, I might add. It would be completely flat.

But there are consequences. All the companions react accordingly. They condemn the act. They realize Astarion has become a monster. Because the ascension isn’t a walk in the woods with birds chirping — it’s a vile act, a deeply repugnant devil’s bargain, as Raphael himself says. It condemns a multitude of innocent souls to eternal suffering, after being deceived by Astarion (just like the player, who’s drawn in by his charm and simple plan), and after already enduring unspeakable pain under Cazador.

It’s monstrous.

"[...] It's a rather grim tale, even for my tastes. [...] The contract states that Cazador will be granted knowledge of an infernal ritual so vile it has never been performed. [...] Your soul will set off a very weave of death bringing Cazador his twisted life."

A diabolical act that will bring forth something twisted and corrupted, a sick imitation of life.

Somewhere I even read: “The companions suddenly treat AA like he’s evil incarnate when he hasn’t done anything wrong yet!” Seriously?! Honestly, it sounds less like we’re talking about victims and more like parasites. And besides, I don’t even see why these vampire spawn should be considered more dangerous or less deserving than the ones AA would go on to create. So no, you’re not doing the world a favor by eliminating them.

The morally right and more humane choice is to set them free.

Then, if someone in the game wants to kill them because they’re playing an evil character, prefer the ascended vampire, or whatever else — fine by me. Far be it from me to ruin anyone’s fun.

But to justify the act in general, outside the game? Mmmh…

The fact that people love Astarion and that he has suffered — and no one is denying that — at the hands of Cazador, doesn’t automatically give him the right to do whatever he wants or to be excused and treated like a righteous man because of it, especially when he acts like a monster beyond redemption (the damn ritual). Otherwise, why not grant the same satisfaction to Cazador himself? He also suffered at the hands of Vellioth, poor thing. And he suffers deeply because of his condition as an undead, even though he stands above his vampire spawn and possesses everything Astarion believes to be important—power, wealth, status.

"These deathless dreams hold memories of a mortal life once-forgotten. Of the boy I was, the man i became, the monster that will not end. I sleep, but cannot rest. I live, but cannot die. I'm eternal, and I grieve."

Astarion is just one of the many other spawn meant to be sacrificed, identical to the others in every way. The only difference is that we happen to get the chance to know him, that’s all. And most importantly, in what way, during the act itself (the performance of the ritual), is Astarion any different from Cazador? In none. He literally takes his place. So if Cazador is the evil one—the bastard, the monster who must die and be punished—then in that moment, Astarion becomes one too. And it’s precisely by refusing the ritual that Astarion sets himself apart and becomes morally deserving of something—respect and admiration, to begin with—better than the others, better than Cazador. Otherwise, he’s just a thief who brutally steals his tormentor’s life’s work.

It’s not like I’m trying to overanalyze the concepts and the characters — which, for the record, are crystal clear to me and thoroughly explained within the game itself — it’s just that I genuinely can’t understand how mass murder or condemning innocent souls to hell can be seen as just or acceptable outside the context of the game.

[ihavethegrimoire]

yes and please hear me out because I know a lot of people take what you're saying and just conclude that geto is stupid and evil, but this is a part of what makes jjk such a brilliant anti-saneist narrative (even if it is by accident).

gojo and geto both lacked empathy as understood by neurotypicals. gojo was straight up cold and cruel in every instance that didn't involve someone he personally, selfishly cared about. he is called out by geto who was also cold and cruel, but also by so many other people in the narrative. it is incontrovertible, he lacks empathy. he picks on people for being weak, he treats human beings as bugs and only slightly at the end acknowledges their deaths as significant. but i think it's incomplete to say he lacks empathy. he has empathy as a system. that's not something most neurotypical people understand but it is extremely common among different neurodivergent people. and the thing is gojo's system of empathy is based on his selfish, personal feelings and connections. it weakens him, true, but it also works in the grand scheme to improve the world because those feelings, those connections matter. that is the message i think jjk is going for.

now, suguru. suguru also only has empathy as a system. but he fails because he is looking for the objective system. he has had this horribly traumatic experience that affected him personally and deeply, and instead of understanding that scope, instead of reaching out for personal connection, which WAS offered to him. he rejects it in favor of some objective truth that does not exist.

i think jjk is an anti-saneist narrative not just because of the textual "sorcerers are crazy and that's okay" narrative, but also that it acknowledges these differences within neurodivergent populations and shows how some can still overcome through an attempt (even futile) at connection and how some will search for an objective truth that fails them and fails everyone.

to me, geto was nice, but not kind. he was morally righteous and lived to uphold his ideals, which just so happened to align with selflessness at the time. he would protect the weak, because that was his role as a strong jujutsu sorcerer. it was not out of the goodness of his heart, but out of obligation.

teen geto put on a superficial display of upstanding behavior; his true drive had little to do with saving lives or empathy towards non-sorcerers. therefore, his unwavering commitment to his ideals into disillusioned adulthood continued to dictate his actions, no matter how cruel they had become.

[anti-transphobia]

Twitter users have learned the term "weaponized incompetence" and of course are using it wrong and it's pissing me off. The latest example of "weaponized incompetence" is a husband who decided to make crescent rolls but didn't realize he needed to roll them up so he made large crescent chips instead. Literally just a mistake. Y'know. Those things people make?

Another recent example is someone's fiance being asked to clean up hot sauce. Now this could certainly more likely actually be weaponized incompetence! The very slow movements very much says "look at me do this and fail. You should just do it next time, it's easier." But you know what it also very much says, something that is just as likely? The movements are slow because it's more than he expected and he's trying to figure it out. I struggle with this, and have gotten better with practice, but what else are you supposed to do? Sometimes there's a puddle of something and you put a paper towel on it and it absorbs but is not nearly enough. He specifically examines how full of hot sauce it is after the first soak and how much more there is. And when he starts smearing it around...how else are you supposed to avoid that? It's still cleaning it so long as the smears aren't left behind

As I said, weaponized incompetence or someone genuinely trying are both likely there. The thing is, I'm not making assumptions about it. And neither should other people. Those types of slow, unsteady movements as I figure things out are extremely common for me. I am autistic and have struggled to process physical tasks (how to accomplish things that require my body to move in a certain way, including running and jump roping etc. didn't learn how to jump rope until I was 18) my entire life. This is how I figure shit out. If someone assumed me literally doing my best to complete a task was weaponized incompetence, I'd be pissed. In fact, that happens all the time!

My mother, while I was growing up, pretty much weaponized weaponized incompetence, without using those words. She would ask me to do something. I, being an autistic child, would try my best. I'd fail or do a poor job because I'm a child. She might try a few more times with me but because I didn't get it instantly or it struggled to click she'd visibly get mad at me and tell me not to bother and that she'd just do it instead. As I got into my teens she accused me of doing things badly on purpose so I wouldn't have to do it, when the reality is she just gave up on me and asked me to do things less and less frequently with age. Then at around 16, and ESPECIALLY 18+, she started expecting me to do ALL kinds of things. Saying "you're an adult, you should know this". How? Adults know the things they do because they have experience. I don't. I've had to play such hard catch up for everything I've missed because people (not just my mom) find it easier to not bother with the disabled child.

I'm not saying the man in that video is autistic, or anything else! But what I said brings another point into play: he's an adult and simply doesn't know how to do it. That's a problem! Now why would he be an adult incapable of doing what should be a simple task he should have already learned? He wasn't taught. It reminds me of the guy who got a ton of shit online because his mom did his laundry for him all his life so when he first lived out of the house (I think with a roommate) he had to learn how to do his laundry. He wasn't refusing to do his laundry, he wasn't whining and complaining about it, he was just texting a friend about it. It would be a problem if he didn't bother to learn. If someone is LITERALLY TRYING TO LEARN HOW TO DO SOMETHING it's not weaponized incompetence! I don't care how old they are!

And honestly it does play into the whole "the patriarchy is bad for men too" situation. If a man doesn't know how to do something, such as laundry or cleaning up spills, as an adult because those jobs were always deferred to women, he is now incapable of caring for himself when alone. And then when with someone else, accused of weaponized incompetence when trying to learn by people learning new words to run into the ground. Or once again, maybe it's not a situation where he didn't learn because the women specifically always did the cleaning, he just generally might not have been taught. I don't know!

The very point I'm trying to make is that you can't make those kind of assumptions based off of a short clip, or a picture, of someone doing something poorly. Even if there's a CHANCE it could be weaponized incompetence, it is so BEYOND horrible to go on and on about how it HAS to be weaponized incompetence because no one could be that stupid. It feels awful to be a disabled person seeing people being mocked and called abusers for making the same kind of mistakes you've made. It feels awful to see something, think "oh I've messed that up too", and then see 50 different comments about how it has to be weaponized incompetence because no one could be THAT stupid

Can we please stop forgetting the existence of disabled people and people with generally different life experiences than you, thanks. There's a huge difference between weaponized incompetence and learning (or someone doing the best they can and being physically unable to do things more efficiently because of being disabled)

[cent-scratchnsniff]

something bad did indeed happen to that man. spent abt 25 minutes trying to find a better picture of that one (1) offical piece with his eyes open that wasnt compressed or tiny

[cementcornfield]

I don't know that I've seen a quarterback exerting that kind of pressure on the organization....Joe Burrow has been incredibly consistent and vocal about wanting to keep Tee Higgins around...

Burrow's contract has already forced Cincinnati to start doing some things that they don't normally do. He has already broken rules that the Bengals have typically had in terms of how they handle their contracts. Like his deal is the type of deal that they don't sign previously. So they've already made exceptions...started to modernize...started to act the way the rest of the NFL does, because Burrow is so special...so if he was able to make them do that for his own contract, is he able to make them do that to keep Tee Higgins in the building? To go in a different direction than they would normally do?

[spacesheeeeeep]

I think you might find the mother-daughter sexual abuse angle in Black Swan of interest if you haven't already delved into that

yesss

I was really taken aback by their relationship when I first watched the film because the incestuous subtext was pretty blatant and I hadn't seen any discussion around it beforehand. The idea of the abusive mother is still pretty hard to register for certain people, so when you add sexual abuse into the mix, plus inflicted on another woman, it mostly disappears from analysis.

[dxxtruction]

///

[lisbonsteresa]

[through gritted teeth] i am so normal about this

[hell-heron]

Possibly hottest take I ever posted but I dislike that "let's test and scrutinise whether the real life mostly queer women I share fandom with are interacting with sufficent enlightened and pure thoughts with fictional women and fantasize about punishing them if they don't" is now an extremely widespread cute little meme

[br1ghtestlight]

two and sunshine are so funny i wish literally anyone but me cared abt them. they're both middle aged men. one is a kindergarten teacher who likes gardening and positivity. one is locked up in prison for second degree murder and hasn't had a single healthy relationship in his entire life. neither of them has a single friend. they're both mentally ill and traumatized. they hate each other. they make each other better people. they challenge the worst parts of each other. they're in love w/ each other but neither of them knows it. they are a rainbow beach ball and the literal embodiment of the sun

[jumping-jackalope]

its just so crazy to be faced with the proof that people think about you even while you are not around

[cherrypikkins]

@dimiclaudeblaigan asked for a tutorial on how to begin drawing. Good news! If you can draw a funky looking stick man, you have already started!

I think that stick people are a great starting point for artists because of the things you can learn from them that will be important later on.

If you are able to draw a circle and a couple of lines, you can easily put together a stick person.

Congratulations! You have started to draw. :)

A stick person is a very minimal artistic representation of a real life person. It is simple yet recognizable, and is widely used in art, media, and signage.

But what can a stick person teach us about drawing people that look more like… well, people? Lets have a look!

By simply adding a few more lines, we can add a pair of eyes and a mouth. Maybe even a little triangle nose! Or half circles for ears. We can now draw a face, which provides a basis for all sorts of expressions.

These simple additions can allow us to explore the wide range of human emotion and individuality.

This may seem like the basics of the basics. But that is what we want! In order to get to the point where we are able to draw complex, elaborate representations of humans and objects, we will need to start with simple shapes like lines and circles and build our understanding from there.

For instance, lets give our stick person some cool new features, such as hands and feet. I chose little squiggly circles to represent hands, and triangles to represent feet.

We can go a step further and modify the body of the stick person to include shoulders, hips, elbows and knees. These parts of the human body are quite complex in real life But here, all we need to do is add a few simple lines and dots to our stick person.

The lines provide some additional structural elements to our stick person's body, which are the shoulders and the hips. The dots indicate the points of articulation - elbows and knees, the places where the arms and legs bend!

Now we can use our stick person to show us an even wider range of human movement, action, and expression.

Our little drawing of a human being is evolving! All it took was adding a few more lines and shapes here and there.

By elongating some of the existing lines and making the head an oval instead of a circle, we can give our stick person proportions that resemble that of a real life human.

By this point, we have managed to add more complexity to our stick person simply by using our ability to draw lines, circles, and other basic shapes!

These basic ideas are the building blocks that will enable us to create more complex shapes.

The next part may be a considerable step up if you are absolutely new to drawing, but I have decided to include it in order to show you how complex objects like the human body can be built from shapes that are a bit more complex than circles and lines.

For example. Two ovals and a rectangle can be combined to create a cylinder.

Six squares can be combined to create a cube, or a box. Here, each square is distorted slightly depending on which way the cube is facing.

Note that the back faces of the cube and the bottom of the cylinder are hidden. These shapes allow us to visualize that which should not normally visible.

A sphere from all perspectives can be represented by a circle. But we can make it more like a sphere by adding lighting and shadow if we so desire.

Cubes, cylinders, and spheres are examples of 'solid shapes' because they consist of 3 dimensions.

Lets see how these solid shapes can be used to compose the human body.

By stacking three cylindrical objects, we can create a torso. Two spheres have been added to form shoulders, while a smaller cylinder forms the neck.

An arm is an alternating sequence of spheres and cylinders connected together. Note that the hand has been simplified for this example.

We can apply these solid shapes to the rest of the body to give us a more recognizable representation of the human form. It doesn't even have to be perfect. And just like that, our stick figure now has a silhouette that is unmistakably a person!

In the above examples, notice that we kept the stick person at the beginning while building up the shapes and solids around it. This is because the stick person serves as a guide for positioning the body and its various parts -> also known as posing.

You can do the same thing to everyday objects! Here, I drew a wine glass by stacking these three dimensional solid shapes.

The cup and its contents are two ovoid shapes that were cut in half. The stem is a very thin cylinder shape. The base is a cylinder with a slightly wider bottom.

Solid shapes help inform us how objects and parts of the human body may appear from different perspectives.

For example, a sphere can be used to demonstrate how the human head appears when looking up or down, turned to the side, or tilted at an angle.

With these examples, I hope I have managed to convinced you that if you can draw a circle and a couple of lines, you can draw a person! You just have to train your eye to recognize the simple shapes within complex objects. Try it with everyday objects as well! Or even your favourite media! A drawing subject can be as simple or as complex as you envision it to be.

Once you have mastered that, there are many aspects of drawing you can explore from here that may require you to seek additional resources or a fellow artist's advice.

Last of all, remember that drawing is an iterative process. Even if you draw something correct the first time, you will need to draw it again and again to get it right all times! And by making small changes like the ones we explored in this tutorial, your drawings will gradually transform!

I hope what I've demonstrated here are enough to provide the basics of how to get started with drawing objects and people, and also to help refresh more experienced artists. :) Hopefully I didn't go too off topic with what was requested, and let me know if there are any more questions I can answer.

Cheers :3

[nightingale-prompts]

Overworked- DCxDP prompt

The knight led the group of selected heroes into the throne room. Sitting before a crowd of his people was none other than the ghost king.

"Do not test His Majesty, his mood his well this day. Say only what is necessary." The knight warned before stepping aside.

The kind wasn't what Constantine had mentioned. He was young and rather small for the throne he now sits on. The green flaming crown was unmistakable though.

The young man glared at them with intense animosity, his upper lip curled as he held back a reflexive snarl. Sharp canines peeked out just for a moment as he schooled his expression.

"Do you have any idea what you've done?" The kind said drumming his fingers on the armrest of his chair. His black claws each clicking aginst the cold metal.

The group had been briefed on the situation by Constantine after they were summoning to this realm.

The short and sweet was that they were being mandated to appear before the king of the infinite realms for a long list of violations against the order of the universe. The current group contains Bruce, Clark, Wally, Kon, Jason, Hal, Barry, and Damian. Constantine himself will also be there but he already knows that this tribunal will have multiple groups.

The group reamined mostly silent.

"Where you not read your list of crimes?" The boy asked this time.

An attendant scurried through the crowd with a large scroll in hand before the king immediately waved him off tp return to his post.

"No, lets skip the reading. It would take cycles to get through the charges. Let me be brief. You have all been found guilty of charges of resurrection, time traveling, timeline manipulation, Planetary rearranging courtesy of Mr.Kent here, Interdimensional universe travel, and UNIVERSE MELDING! THE LIST GOES ON!" The king became more irate with every charge. "Tell me why I shouldn't banish you to an empty dimension right this instance."

Constantine knew this was all politics at the end of the day. This whole thing could be smoothed over with the right words by the right person.

"We are human." Bruce said firmly before anyone could stop him. Jason held back a groan of agitation.

"...So you are. What does that have to do with anything?" He boy asked.

"Isn't it natural for us to want to live and do whatever we can to keep living?" Bruce responded

Murmurs erupted amongst the crowd of onlookers.

"So what? Do you think you are the exception then? Look around heroes. This room is full of ghosts who would also have done to keep living. My people couldn't avoid death but they accepted it. What can I say to them if I let you go while they paid their price? How fair would that be?" The king condemned.

The murmurs turned into cheers for their king's words. It was unfair. Why do they get to do what they want without repercussions when they died without even getting the option to live?

"If it counts for anything many of us died to protect as many people as possible," Hal said.

"Well, good for you. How much was that sacrifice worth in the face of your resurrection? That probably doesn't feel cheap at all." The king said sarcastically. "I suppose that goes for most of you."

"I have an objection. Resurrection is not a choice if someone chooses to bring us back we don't get a say. By default we shouldn't be charged for it." Jason argued.

The king paused and raised a hand silencing the crowd.

"Hmmm, I suppose you are correct. Fine, I will strike it from the record." The kind relented.

The heroes had finally found an in. If they could argue their charges down they could leave.

"None of use have willingly time traveled. Hell i hated it. Being lost in time was not a chose we made." Wally said as Barry nodded along.

The king bit the inside of his cheek as he pondered the response.

"I suppose I can overlook it."

"Let me just say that any melding of the universe happened as a consequence of our battle with Darkside." Clark said getting rid of their their biggest charge.

"Darkside?" The king narrowed his eyes.

A courtier stepped forward and leaned down to whisper into the boy king's ear.

"I see. He will be added to the ledger for his crimes. His trial will not be as forgiving as yours. You will not be seeing him again." The boy silently signaled to the knight who bowed and exited with a group of others.

The boy sighed and stood up.

"Follow me."

The group was led down a long corridor to an office with stacks of paperwork from floor to ceiling lining the walls.

"Welcome to my personal hell." The king announced.

Constantine whistled at the sheer number of documents scattered across the room.

"Sorry about the whole court thing. I don't really want to do it but I kind of have to. The Observers demand some kind of punishment for violations. Also, you need to understand that your actions are kept track of and you can't escape it. When you break the rule I have to do the paperwork. AND I HATE PAPERWORK. So here is the deal. You guys bring me the people that have done worse than you on this list and I'll call it square. And if you don't I take everyone's souls." The King handed the scroll to Bruce. "I want the Al Ghul clan first."

"Wait but my-" Damian spoke out but was cut off by the King's raised hand to silance him.

"It is irrelevant to me what your personal issues are. Every violator will be judged for their crimes. If they can give me a good plea then they can return. Consider yourself lucky that you're too young for a full sentencing. As for the rest just do what I say and make up for your crimes. This is a mercy so don't complain."

It was clear that the moody young king wasn't going to argue. It was best to keep quiet and before they knew it the group was sent back to earth.

"You have no idea how lucky we got," Constantine said lighting up a cigarette and leaving to get a drink.

[prokopetz]

You know a lot about the cultural influences behind various aspects of D&D, so: do you know the origins of the thing in 3.5 where it seems like a main way they want you to play as a psionic warrior is to grow massive claws and get breath weapons? It's so specific and out of left field for a "warrior who uses the power of the mind" that I've always wondered.

Much of 3E's handling of psionics closely follows material presented in the 2E supplement The Complete Psionics Handbook, which, contra later editions' habit of treating psionics as a variant of wizardly magic, presents psionics as a totally separate and mutually incompatible thing. One feature of this treatment is psionics having its own distinct set of "schools", or disciplines: clairsentience, psychokinesis, psychometabolism, psychoportation, telepathy, and metapsionics.

The 3E psionic warrior stuff is a more or less direct port of the discipline of psychometabolism; I can only presume that this is because it's the most "fightery" of the Psionics Handbook disciplines, though I can't back that guess up. Apart from your cited examples, other psychometabolic powers presented here include self-healing; energy absorption; turning into animals, objects, or living shadows; wuxia-style "lightfoot" techniques; camouflage; shrinking or expanding; stretching one's limbs Mister Fantastic style; and others.

Of course, that just kicks the can further down the road: if the 3E psionic warrior is a port of 2E's psychometabolism specialist, where the heck did 2E get the idea for the discipline of psychometabolism? The general idea of shape-shifting and fire-breathing and such being psychic powers that can be cultivated through mental discipline pops up in quite a few places, but we're looking for a specific constellation of tropes, not isolated instances of little bits and pieces of it.

The Complete Psionics Handbook helpfully includes a comprehensive bibliography of its inspirations (remember when Dungeons & Dragons used to have those?), though I'm unacquainted with most of the books it cites, so that's where my ability to help in this respect ends. I'll include a copy of that bibliography under the cut, though – maybe one of this blog's followers can point out which of its entries, if any, might be most directly informative.

Taken from page 113 ("Related Reading") of The Complete Psionics Handbook:

Fiction

Bester, Alfred; The Demolished Man, The Stars My Destination.

Bradley, Marion Zimmer; Darkover series: The Bloody Sun, Children of Hastur, Darkover Landfall, The Forbidden Tower, Hawkmistress!, The Heritage of Hastur, The Keeper's Price, The Planet Savers, Sharra's Exile, The Shattered Chain, The Spell Sword, Star of Danger, Stormqueen!, The Sword of Aldones, Thendara House, Two to Conquer, The Winds of Darkover, The World Wreckers.

Brunner, John; The Whole Man.

Del Rey, Lester; Pstalemate.

Henderson, Zenna; The People, The People: No Different, Holding Wonder.

Foster, Alan Dean; Flinx series.

King, Stephen; The Dead Zone.

Kurtz, Katherine; Deryni Rising, Deryni Checkmate, High Deryni.

May, Julian; Saga of the Pliocene Exile series: The Many-Colored Land, The Golden Torc, The Non-Born King, The Adversary.

Nourse, Alan E.; Psi High and Others.

Pohl, Frederik; Drunkard's Walk.

Russell, Eric Frank; The Mindwarpers.

Robinson. Frank M.; The Power.

Schmitz, James H.; The Universe Against Her, The Lion Game, stories.

Simmons, Dan; Carrion Comfort.

Sturgeon, Theodore; The Synthetic Man.

Tucker, Wilson; Wild Talent.

Van Vogt, A.E.; Slan.

Zelazny, Roger; Creatures of Light and Darkness, The Dream Master, Lord of Light, lsle of the Dead, This Immortal, To Die in ltalbar.

Nonfiction

Brookesmith, Peter (ed.); Strange Talents, from the series "The Unexplained: Mysteries of Mind, Space, and Time;" Orbis Publishing, London, 1983.

Index of Possibilities: Energy and Power; Pantheon Books/Random House, New York, New York, 1974.

Mind Over Matter, Powers of Healing, Psychic Powers, Psychic Voyages, from the series "Mysteries of the Unknown;" Time-Life Books, Alexandria, Virginia, 1987.

Puharich, Andrija; Beyond Telepathy; Anchor Press/Doubleday, Garden City, New York, 1973.

Rhine, J.B.; The Reach of the Mind; William Sloane Associates, New York, New York, 1947.

[vivlily]

can you please explain who these horses are????

You made a mistake in asking me, but I will try anyway. This will go over some general things and mainly focus on white and cyan, not so much the other horses.

They are characters from a Twitter webseries/game(?) hosted by @/snakesandrews. Where viewers essentially vote on whatever horse they think might win. These horses bounce around randomly off of objects like a screensaver of sorts, and a horse wins once it touches a png of a carrot.

These horses are typically referred to by their color until they win and are thus given a name, for instance, orange, eventually becoming jovial merryment.

How much or how little these horses win as well as what goes on during a race end up leading to a lot of fan made content. And for the most part, any characterization of these horses is largely up to fan interpretation.

For these two horses, white and cyan specifically? White and cyan and brown would go on to not win one match for quite some time, leading to them being put into a race all on their own. Which brown would eventually go on to win and attain the name Door Knob. Leaving white and cyan in their own little race. With a special little map, file this special little map for later.

It is important to note that these races do not usually last much longer than around 2 or 2 and a half minutes. Cyan and White would go on to race for a whole 7 minutes and 9 seconds. This led to a lot of fans depicting them as sort've not wanting to win, usually because of enjoying one another's company or something similar. I'm a yuri minded individual, so you can probably guess how I decided to interpret it.

As you probably realized, since they had a defined time for the race, a winner also exists. This is where White had won, earning the name Superstitional Realism. This led to a lot of fans depicting Cyan as either feeling betrayed or upset by white winning. Some also show Cyan being happy for white.

It here that white, now superstitional realism(I will refer to her as Sup from now on), would join the next days' race and proceed to not win. And in the next day's race, white would be mysteriously missing. It is in this race that Sup is missing that something unusual happens once the race is over.

Cyan has lost every single race, every single one. This race where Sup is missing is followed by a video in which Cyan was racing all alone in an empy room with only herself, eventually obtaining her first win. But did such a win even count? There was no one for Cyan to even race against after all. It was assumed Cyan would get a name for her victory, but the fanfare screen would simply continue listing her name as Cyan.

People expected that Cyan would finally join the next race proper, only for the next race to be a race between what looked to be 7 distorted horses (6 a form of cyan, and 1 white). Despite there being 6 cyans, they still lost to the distorted white horse, whose fanfare screen read "a Mysterious figure." Leading many to think this might be cyan reliving her worst moments, and more specifically, the moment where she get left behind by white.

The latest race as of this post was with the regular set of horses interspliced with the 6 distorted cyans having a race of their own. It's unknown if this "nightmare" world is real or in cyans head. But one of the 6 distorted cyans does win and is rewarded with the name of Garbage Bin. We then cut back to the "normal" world where Sup remains missing and jovial merryment wins the race(go figure).

Now, do you remember that special little map where cyan and white initially raced in? The "normal" world race was taking place on the very same map, just with more color and rounder edges. This leads to me and probably a few others believing that that last race was the other horses looking for cyan.

My assumption for why Sup has been missing for the last few races is because white had already gone back to look for cyan ahead of everyone else.

As for how the story might end? Well, you can find out both today and Friday as the series seems to be having it's last to races.

Will jovial win once more? It's possible. It's annoyingly possible. And will cyan and sup have a happy ending? I SURE HOPE SO. SAVE YOUR GIRL.

Whadya mean I'm getting emotional over screensaver pngs?!?

Apologies if this was long winded, I'm not used to typing this much and suck at using words. BUT you made the mistake of asking me, dear Anon. Always remember there is always yuri for those with eyes to see. Now go consume some fan content, there's a lot of really good writers and artists out there, show them some love.

[mesetacadre]

do you have any posts explaining dialectics?

if not, what is dialectics? i have several friends interested in the study, but not so interested as to read Lenin or Stalin, im hoping to 1.) study more for myself, and 2.) have a simple explanation i can send to people

you are very good at these things

Dialectics revolve around contradictions and how to resolve them. I'll take an example first and then define it more precisely.

There exists a contradiction between the interests of the proletariat, a class defined by its exchange of its labor power for a portion of the value produced, and the capitalists, a class defines by its private ownership over the means of production and its dominant position over the proletariat through salaried work. It is in the proletariat's interests to reap the full value produced by its labor power, and it is in the capitalists' power to continue extracting part of that value and sustain that relationship through the myriad mechanisms of class domination. If you take both of these facts, fundamentallt at odds with one another, informed by history and its previous, comparable class societies, you can arrive at the conclusion that, fueled by that constant and irreconcilable contradiction, the proletariat will aim to rid itself of the "leech" that is the capitalist class, and with it create a new society on the foundations of its class interests

The dialectical process, that oft repeated thesis, antithesis, synthesis, is not putting two concepts together, it's not thesis and antithesis, nor is it taking the common elements of each concept or object. It's placing the contradiction, the dialectical relationship between them, at the center of the analysis, and synthesizing a new conclusion, which might or might not have common elements with the contradictory elements. A dialectical relationship is like a conversation (hence the name), the elements influence, limit, allow and develop each other. It's similar to the kinds of relations that govern the biosphere. For instance, the soil and the vegetation on a slope. The soil, via its chemical components, allows and disallows, or rather, facilitates and hampers, the kinds of vegetation that can grow on it. At the same time, the vegetation, through its mechanical stabilization via its roots and through the organic matter it contributes to the soil (hummus), also modifies the soil to be closer to what it prefers. If there was no vegetation, soil on a slope is washed away after a few rains. If there is no soil, there can be no vegetation. The vegetation and the soil allow each other's existence, and they also modify each other.