#because I'm here and I don't think I can

[insanityisfine]

Lowkey pissed at how erectyle dysfunction has become commonly known across several languages as "impotence".

Like.

I'm sure it's incredibly frustrating and alarming and worrying, especially if it happens to someone younger. I'm not trying to minimize that.

But do you know what impotence feels like?

It's despair, it's understanding why Sysyphus' punishement was insanely cruel well beyond physical fatigue.

It's seeing someone you love suffer and knowing there's literally nothing you can do to help, not even hold or confort them, because they're in so much pain there's no possible relief. There's no meds you can buy that haven't already been bought, there's no appointments you can make that you haven't made already.

You have done something, hell, you've done all you possibly could. And it still changed nothing. All you have left to do is wait. And it kills you. Ever. So. Slowly.

That's impotence.

[brainrotcharacters]

the easy grip on the knife. the leg over the seat. the hand over the other seat. the sassy "come get it" move. you know the bitch is smiling behind that mask even as he said the line.

[bloggingboutburgers]

Yeah, I know "not all aro/aces" and all, but please don't use "not all aro/aces" as an excuse to not explore anything exclusively aro/ace ever. Otherwise any trace of aro/aceness might end up effectively lost to fandom osmosis.

To sum up... If you wouldn't be homophobic that way, please don't be aphobic that way.

[ohhgingersnaps]

I'm seeing some frustration over fandom creatives expressing anger or distress over people feeding their work into ChatGPT. I'm not responding to OP directly because I don't want to derail their post (their intent was to provide perspective on how these models actually work, and reduce undue panic, which is all coming from a good place!), but reassurances that the addition of our work will have a negligible impact on the model (which is true at this point) does kind of miss the point? Speaking for myself, my distress is less about the practical ramifications of feeding my fic into ChatGPT, and more about the principle of someone taking my work and deliberately adding it to the dataset.

Like, I fully realize that my work is a drop in the bucket of ChatGPT's several-billion-token training set! It will not make a demonstrable practical difference in the output of the model! That doesn't change the fact that I do not want my work to be part of the set of data that the ChatGPT devs use for training.

According to their FAQ, ChatGPT can and will use user input to train itself. The terms and conditions explicitly state that they save your chats to help train and improve their models. (You can opt-out, but sharing is the default.) So if you're feeding a fic into ChatGPT, unless you've explicitly opted out, you are handing it to the ChatGPT team and giving them permission to use it for training, whether or not that was your intent.

Now, will one fic make a demonstrable difference in the output of the model? No! But as the person who spent a year and a handful of months laboring over my fic, it makes a difference to me whether my fic, specifically, is being used in the dataset. If authors are allowed to have a problem with the ChatGPT devs for scraping millions of fics without permission, they're also allowed to have a problem with folks handing their individual fics over via the chat interface.

I do want to add that if you've done this to a fic, please don't take this as me being upset with you personally! Folks are still learning new information and puzzling out what "good" vs. "bad" use is, from an ethical standpoint. (Heck, my own perspective on this is deeply based on my own subjective feelings!) And we certainly shouldn't act like one person feeding a fic into ChatGPT has the same practical negative impact, on a broad societal scale, as a team using a web crawler to scrape five billion pieces of artwork for Stable Diffusion.

The point is that fundamentally, an ethical dataset should be obtained with the consent of those providing the data. Just because it's normalized for our data to be scraped without consent doesn't make it ethical, and this is why ChatGPT gives users the option to not share data— there is actually a standardized way (robots.txt) for website servers to set policies for how bots/crawlers can interact with them, for exactly this reason— and I think fandom artists and authors are well within their rights to express a desire for opting out to be the socially-respected default within the fandom community.

[reksink]

Beloved Residents of Dirtmouth (And Quirrel 👍)

[liauditore]

Equally Invalid

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[wordsinhaled]

thinking about how death of the endless almost certainly knows by now that edwin payne and charles rowland run from her hand in hand each time she comes for a departing soul they've helped, and maybe she even lets them get a head start.

thinking about how both of them are so deserving of the peace her kind word and friendly face bring, but they are too terrified she'll separate them to ever receive the actual gift she could offer.

thinking about how it might just fix something in them both to just... sit in the office with death of the endless while she has a cuppa, or eats an apple, and tells her terrible corny jokes; and maybe it helps them realize that nothing would dare to ever part them in the afterlife or beyond— least of all death herself.

[front-facing-pokemon]

[royalarchivist]

I love the QSMP. Not only has it introduced me to many amazing international creators, it's also introduced me to the French and Brazilian community, who are so sweet, funny, and chaotic in their own unique ways. I love seeing fans sharing their culture and learning from one another, and I myself have learned a lot this past year. I think it's incredible how QSMP brings so many different people together – all of us united in our love and passion for this project and its goals.

But passion can often evoke strong emotions, and these strong emotions aren't always positive.

The past few months, I have seen multiple waves of hate, bad-faith generalizations of communities, and racist remarks directed at fellow fans – especially those who are part of the French / Brazilian community. This kind of behavior is inexcusable, and is in direct conflict with the mission of QSMP, which is to break language barriers and unite communities.

We are a global community with a variety of people from different backgrounds. Miscommunications may occasionally occur because of cultural differences and/or language barriers, but we should use these moments as opportunities to learn and engage with other people rather than assuming the worst about them and starting fights.

Although certain issues can be resolved with communication, sometimes it’s better to block and move on. Avoid spreading negativity or hate, and save yourself the headache of interacting with people who are just looking for someone to argue with.

No matter what community we're a part of or what languages we speak, we're all here to have fun. Please remember to be kind to each other. We have more in common than we have in conflict.

[marshmallowgoop]

No matter how special it is, a kid's lunch is still just a kid's lunch.

I dunno, I liked "The Genius Restaurant" (Episode 1,089).

Happy (belated) birthday, Jimjam.

[Song link] [YouTube link]

[calware]

thinking about doing a month-long event for the homestuck tumblr community to encourage people to make + post fanworks as well as reblog other people's fanworks.... where people can opt-in by being randomly assigned one of two teams (probably red and blue) so that each team has roughly the same amount of members. teams get points for making fanworks and having their posts reblogged, which encourages people to make posts and also reblog the posts made by their team members. and the top 3 people in each team to get the most points get some kind of reward... hmmmm

[scificrows]

The feed ID doesn’t need to say anything other than what everyone else’s says, just name, gender, and…” She trailed off. She was looking at me and I was looking at her. - Martha Wells, Fugitive Telemetry (The Murderbot art I used is the official cover art from the French edition of ASR)

[lemonhemlock]

I did not get into Game of thrones when it first started airing. In fact, I waited until it was long past it's heyday (around s6 or 7) to check it out because the marketing and the conversation surrounding it misled me into thinking it was nothing more than "grimdark" bullshit. As one famous YouTuber sarcastically called it "hot fantasy that fucks." So, I avoided Martin's work for literal years due to the impression that I got from online reactors and show-only casuals who did as you and a few others have described as his work being fundamentally misinterpreted.

Fortunately, I overcame my hang-ups, purchased the books (even the supplementary material) and fell down an entire rabbit hole of ASOIAF which led me to recognizing that this world he spent decades creating is far more complex than what had been portrayed onscreen. Regardless of the possibility of the books remaining unfinished (which I am fine with, personally), what George has created is a genuine work of art that I imagine took a tremendous amount of time and energy. So, for so many people online to behave like children and throw tantrums because they feel entitled to him (ew) instead of ushering forth more reasonable conversations and legitimate debates about the nature of his situation frankly makes me look at this fandom with a heavy dose of skepticism.

It is truly baffling to hear even professional critics and see articles describing George as being "ungrateful" or "unprofessional" when it has been well-documented just how often authors get locked out of the adaptation process and left to the wayside as consultants. Look at what happened to Rick Riordan and Christopher Paolini! George R.R. Martin is not the only author to have qualms with how a multimillion dollar studio has mishandled his creative work, and to act like he should remain silent just because he's amassed a certain degree of wealth is quite frankly, ridiculous. He shouldn't have to settle down, be grateful, and stay quiet because the greedy corporate executives and their media drones will get offended by actual criticism that could alter the perception of the adaption being revealed as mediocre for having departed from the source material.

TLDR: authors should be allowed to speak up about their art being sacrificed for commercialization.

Thank you so much for this message, anon! This needs to be talked about more, because I don't think a lot of commentators truly understand the vulgar, late-capitalistic sheen that seems to set in and slowly poison any ASOIAF adaptation. It honestly baffles me how quick some members of this fandom are to rush to the defense of, what is essentially (let's not be kidding ourselves here), a cashgrab by a giant corporation to the detriment of the actual artist and the actual creative foundation behind it.

Why else would "MAX" (if that is even their name) make another (or several other) ASOIAF adaptations? Not to stay true to any philosophical aesthetic vision, as it has become more than apparent with Season 2, but to increase shareholder profits by appealing to the lowest common denominator. Even the basic premise has been shifted in order to address popular trends and satisfy the mindless consumer that doesn't want to engage with anything deeper than their favourite tropes, prettily packaged:

from a story about a doomed ouroborous family superimposed on the pitfalls of feudalism, with villainy and heroism to be found on both sides, it has been simplified and reduced to a narrative that exalts white feminism and disqualifies anyone who opposes its girlboss protagonist. This is Sheryl Sandberg's version of Fire and Blood.

Truly, I think Sara Hess did (unintentionally) outline it the best: "civilians don't matter in Game of Thrones". They don't matter in Game of Thrones, but they matter in A Song of Ice and Fire. The entire heart of the series is contained in Septon Maribald's speech. The writers "kind of", must have forgotten, though.

[averlym]

litany of the martyrs (click for better resolution!)

[wavesoutbeingtossed]

I know you don't like discussing the muses but i love your takes and perspectives and i had to ask you about this. after listening to ttpd, did you have the impression that she really loved matty more than any of her exes/previous relationships?. And listening to the whole album as a whole would you call it the ''matty album'' or do you think there are more prominent themes in there than their period together?. (hope this doesn't bother you, feel free to delete if you don't feel like answering it)

hey anon! You're right, I don't really like to get into the muses as I don't really think there's anything to add to the conversation at this point, and ultimately I don't think it matters.

That being said, and with the caveat that I am not Taylor and I do not know Taylor so I cannot speak to her thoughts and can only make relatively educated guesses based on being an avid consumer of her work and a student of the human condition (lol), no I do not think Taylor loved Matty more than anyone else. I think there was maybe a brief period in the thick of things where she *thought* she did because she was not thinking clearly and was in full-on denial, but to me the message that is loud and clear in the album (and more or less explicitly stated in the epilogue) is that it was not any kind of real love affair. It was certainly infatuation and lust and the promise of something more, and there may have been some love as well, but he was in no way the love of her life by any measure.

I would call it a "Matty album" insofar as they're about events in which he was present, sure. But I feel it much more as a Taylor album, if that makes sense, even though I know that's a cop out because every album is to a degree. I can't explain it well, but I don't see TTPD as a Matty (or Joe) album in the way that I would maybe say Red is a "Jake" album or 1989 may be a "Harry" album or even Lover being a "Joe" album whatever, because even if they don't figure in all the songs, that kind of heartbreak permeates so much of the material.

The thing about TTPD and the Matty situation is that the Matty situation is really a Joe situation (which in some ways is actually partially a Jake situation). I always say I hate treating Taylor like a character so I hate speaking about her and her work in this way, but you don't get the Matty situation without the Joe situation precipitating it. It's @taylortruther's now-infamous donut vs. hole analogy. The reason Taylor makes the choices she does with Matty is directly tied to what happened with Joe that made her feel she needed to. Which is not to say Taylor isn't responsible for her own actions or doesn't have agency in her own life, but I mean it in that the situation in which she found herself with Joe, and the pain it caused, is what made the alternative so comforting and perhaps even necessary in her mind. It's why it makes it so hard to "paternity test" the album, because the stories are inherently intertwined and you don't get the former without the latter.

The major "theme" of the album to me is the loss of a very specific, very personal dream, and the way in which she lost it, and the way in which grieving that loss drove her to make the choices she did. We're all talking very delicately about it because it's a sensitive topic, but it's late on Friday and few people are going to see this, so I'm going to say it: it's the give you my wild, give you a child of it all. The yearning she expresses both overtly and sub-textually for having a family in the album is palpable in a very iykyk kind of way, and it's the realization that those plans are not going to come to fruition in the way she had once imagined that drives a lot of the pain she experiences, and makes her jump at the chance to find that again with someone else.

I started a draft post about the theme of womanhood and motherhood on TTPD three months ago that I never finished because I ran out of time and ran out of steam, but it was the most striking thing to me on the album, not because I didn't know that she wanted those things because that's been obvious for years (definitely since Lover, and again, peace put it all on the table), but because the vulnerability she expressed about it on the album is incredibly moving, and it's so generous of her to trust listeners with those feelings and experiences.

Again, it's the thirtysomething of it all.

She is in relationship A which she at one point believes is forever, one which she at one point believes is going to lead to marriage and children. She is so committed to that dream that she either ignores or tries to fix serious issues that may otherwise lead others to think the two people in the relationship are incompatible, both because she loves the person deeply and because she feels that this is meant to be the way she achieves that dream. She gives it her everything, and it still dies a slow, painful, onerous death, and she feels like it may take her along with it. The dream of getting married and presumably having a family gets taken off the table: how we don't know and will likely never know because that is private between the parties involved. All that matters in the context of the album is that those plans never come to fruition and never would.

Then you have relationship B, an old flame who knows just enough buttons to push both to trigger and to flatter. A person who she presumably trusts with very sensitive, personal information as her life slowly crumbles, and this person is telling her all the things she wants to hear because he knows about what is happening in relationship A because she's told him. Person in relationship B doesn't get an "in" with her and sell her this dream unless what happens in relationship A precedes it. It's not a grand love affair for the ages, it's not a mutual decision on building their own dream together. It's Person B learning about what is happening with Person A and saying "I can do that!" even if he can't or doesn't. The dream he sells her is a rental car; it's not his own, he's just borrowing it from someone else and selling it back to her.

And the reason she falls for it is because it is what she aches for the most in her personal life, and she is grappling with it disintegrating, so she (unfortunately for her) falls for the easy way out, and in turn sells herself a story about how this must be fated, and this must be meant to be, because this person wants all the same things she does and she didn't even have to bargain for it! Well, yes, because she fed him the dream in the first place. (Like a mark falling for a sleeper cell spy.) It's too good to be true because it isn't true. IMO Person B doesn't come running out of the gate with the marriage/baby/dream life promises unless he knows that is what she most desires. But what's left unsaid out of all of it is that: those dreams were her dreams because they were her dreams with Person A. It was a whole life they had together, and a whole life they had planned for in some fashion, and a whole life that has to be dismantled in the aftermath.

So all this to say, yes, on the surface, Matty is a "main character" on the album, but truly he's a side character to Taylor as the narrator and person experiencing it and Joe as the ghost bit-player-who-haunts-every-scene. (Again, I hate referring to real people as characters, it gives me the absolute ick, but in this case it's the only way to answer the question.) I jokingly call it the Matty album for shorthand or when I want to say something out of pocket, but really, it's a disservice to the album to say that because it's not a muse album as in it's about the romance (like, say, Red often is), it's about a soul-crushing heartbreak that goes beyond it. The romance is the symptom, not the cause.

The loss of youth is tied in with all this: she's not 22 anymore. She isn't even 32 anymore. She had a very specific idea of what her life was going to look like at this point and had planned for that life, and it goes up in smoke. But again, to bring the womanhood into it all: there is, unfortunately, a deadline for these things. You're with someone for over half a decade you think is going to be your life partner and father of your children and and then he's not. You spent half a decade building this relationship for it to crumble, but now you're in your mid-30s and you don't necessarily have another half-decade to build that trust and faith in someone else before being ready to start a family. And maybe you're scared that anyone else who may become your partner will need that much time to build that trust and faith, because that's kind of all you've ever know in relationships. But lo and behold, someone comes into your life you once had feelings for and maybe now do again and is offering you everything you want and thought you'd have by this point in your life right now. It feels like an elixir that as we find out is actually poison.

That youth is not just the chance for motherhood, but it's also the hopes and idealism and belief in the future that often gradually erodes as we age. But for Taylor as well, it's also tied into the trauma of what she went through particularly in 2016, which kicks off a lot of things on the album as well (her retreat, her relationship with Joe, the pivoting in her career, etc.). That event caused a pretty clear before/after in her life (like a few other events, I suspect), and another major theme in the album is her finally grappling with the full weight of that. They're all different branches of the same tree of the story of TTPD and her life.

I could talk about this stuff forever, but I'm going to stop here because it's long enough and I should save stuff for one of the dozens of drafts I have half-baked lol. But this is just something I needed to get off my chest perhaps.