#it’s the variable textures

[lemongogo]

i need 2 stop drawing static stuff . white bg . front facing pose. <will do it again

[mantisgodiveblog]

"Is it somehow satisfying for you to beat yourself up for things you couldn't be blamed for missing? It's not as though it's obvious - anyone could have missed it. Why do you assume that something like this is a flaw of the self?" I think it's a preference thing, honestly. Sometimes it's more comforting to believe that you are the problem (so it's in control), while sometimes it's more comforting to believe the world is the problem (so it isn't your fault). Sif takes the former to an extreme. Plus the low self esteem.

We know the psychology, in theory, but it's... hmm. Frustrating, we suppose? We've been there, we know how it is to be hurting for control so badly you'll shred yourself to ribbons for a single piece of it, but it's partially that that makes the thought process so damn irritating when it turns up, especially when we sometimes have to play whack-a-mole with it in ourself.

It's a theatre of destruction for no audience. Ripping yourself to shreds in a way that benefits no one and will only hamper you later down the road. You attack your every flaw, and for what? Making yourself fear to try new things for fear of the repercussions that you yourself placed. Making yourself believe you are worse. Sabotaging your own chances just to pretend that you call the shots in a world that never worked in the way you pretend it does.

The more that you do anything, the more it becomes a habit, the more you take the cart down a road that wears and wears until the wheel-ruts are too deep to get out of, and when that habit is something that actively sabotages your chance to get things right, it does nothing but harm you.

Yelling at it isn't productive, either, it gets nothing done, but it is immensely frustrating to watch that go down, because it's an endless mud pit of feeling bad that doesn't even accomplish anything but making everyone in the area feel worse. It's the particular flavor of poor mental health where having experienced it ourself makes us a bit worse at dealing with it, because - well, we've experienced it ourself, and now we have to deal with watching someone dig a pit for themself and we can't even do anything about it because it's the sort of thing that they actuvely have to figure out and take action to handle themself.

[tundrabeast]

into a wretched haze of indignity shatters and eliminates your stiff-necked old pride....

[gothmods]

I keep seeing ads claiming viscose is this uniquely cooling and breathable wonder-fabric and its making me a bit crazy like i know ads lie i know this and yet this feels like the worlds longest unfunniest prank

Like sure i guess that viscose-elastane pajama shirt would be cooler to sleep in than a fully synthetic material but thats not exactly the claim being made

And never any mention of the other qualities of the fabric like sometimes they mention weight but never what kind of weave/knit and so on

I think it bothers me more than other marketing bullshit because i actually do run very hot and also sensory issues so im hyper aware of the feel and breathability of fabrics

[lilliganshitposting]

one thing about me is that i love sorting shit baby, i love my folders, i love my naming, i love my categorising, but does that shit exist off of the screen? no, but we still carve cunt out of the coal and make that shit into diamonds baby B)

[freyito]

ʟɪᴛᴛʟᴇ ᴛʜɪɴɢꜱ ᴛʜᴇ ᴋᴏᴍʙᴀᴛ ʙᴏʏꜱ ᴅᴏ

so sorry for the little mini hiatus! im finally allllll moved in and i think all i really needed was like. a clean space. refreshed my mind a bit, lol. can't promise i'll have a steady schedule cause im still working on my inbox, just dont wanna get anything done (after this) til i've finished my new masterlists... anyways! ideas been in my head forever, need to get it off my chest NOW

cw: gn reader, just fluff, not proofread

⎯ Liu Kang

Liu Kang will come up with poetry ON THE SPOT. It's crazy scary how quick he is with it. He chooses something about you and just runs with it. How your eyes are just the most enticing color in the sunlight, just how beautiful you are in kombat...

⎯ Bi-Han

Bi-Han will place little notes around the house or on things he knows you use often. He'll place one on the cover of the book your currently reading, or even within the pages. Little love notes, mainly motivating you, praising you... but he'll write a simple 'I love you', too.

⎯ Kuai Liang

Specifically whenever it's colder, Kuai willpull you in for a hug, and make his body temperature increase. He'll do it under different circumstances sometimes, even to tease you. He likes to keep you close as his temperature steadily rises. Perfect for cold nights.

⎯ Johnny Cage

Footsies. Anytime you two are sitting across from each other, either at the dinner table, or at some fancy restaurant, Johnny's always tapping at your shins, your knee, anything. Brings you closer, in a way.

⎯ Kenshi Takahashi

Kenshi has a habit of placing his hand on your head, whenever he feels like it. He'll play with your hair, or scratch at your scalp. He likes the texture, but he also just enjoys messing with you a little bit.

⎯ Kung Lao

Tickling you. Always and forever. Kung Lao will take the most inopportune moments to taze your sides, find those soft bits of flesh that make you giggle in just the right way.

⎯ Raiden

Raiden will do the little heart thing with his hands (or fingers) from across the room when he can't be with you. Eventually, he'll even try to do it with his lightning. It's an uncontrollable variable, and it takes him so LONG to get ahold of it. But, when he finally gets it, he's all giddy.

⎯ Zeffeero

As much as Rain groans and complains that his magic shouldn't be used for mundane things or fun, sometimes he'll form water into little hearts or stars. All for you. But he'll do it away from you, and kind of side-eye you, to make sure your watching.

⎯ Tomas Vrbada

Smoke has a tendency to sway whenever you two hug. Specifically when it's a longer hug. He just finds the motion comforting! He'll hum a little as he does this, too. That hum starts small, but then it catches on, he'll hum the same tune to you before you fall asleep.

⎯ Baraka

Point. Why? Baraka doesn't know. But he kinda likes your reaction. You two have a little game where he'll point, and you'll pop up and look around, do the whole "who, me?" thing. It's like a displacement behavior for him. Secretly, he kind of just wants to place his whole hand on your face like a basketball. He won't. Too risky.

⎯ Geras

Since Geras is still kind of unfamiliar with mortal love, he'll bring you little vials of sand. Kind of like bottles of shelves you'd find in a souvenir shop? He also most definitely asks Liu Kang for help throughout your relationship. So, normally, you get sent little (they're not little actually, they're like 5-page essays) love letters via Liu Kang.

⎯ Syzoth

Syzoth will flick his tongue over your cheek unintentionally. He swears! He's not doing it on purpose! You'll be lying down, or just close in general, and boom! There's the tongue!

⎯ Havik

Havik does that thing where he'll pull you in with one arm around your shoulder and one on the side of your head, and shake you gently. He'll make a little "rah" sound, it's a whole thing. Sometimes he's just over-whelmed with the urge to do that.

⎯ Shao Kahn

Sometimes, whenever Shao passes by you, he'll take you by your hand, and spin you. He'll chuckle and go back to what he was doing. But sometimes, it turns into full blown dancing.

⎯ Shang Tsung

Shang loves passing winks to you. He'll do it when he's too busy, he doesn't even use it to imply something. He'll do that super corny thing where he over-exaggerates his face and winks at you a LOT.

⎯ Reiko

Whether Reiko's just sparring, or in a genuine match, he'll always dedicate it to you. Even if you're not there. He'll whisper something for you under his breath, then beat the shit out of his opponent. He also loves bragging about his achievements to you. Only you. A soldier MUST have some humility.

⎯ Takeda Takahashi

Takeda loves saying your name in a real stupid sing-song voice. Dragging it out, horribly, in such a cheesy manor. He'll bring his voice up all high pitch and even bring his hands up to his face.

⎯ Erron Black

As much as Erron tries to be smooth with it, he kinda fails at hiding the fact that he's doing this for you. He exaggerates his accent, he'll quote all sorts of westerns, and just play reaaaaal hard into the Cowboy part for you.

© freyito, 2023 | masterlist | queue | kofi DO NOT REPOST AS YOUR OWN OR USE FOR AI/AI CHATBOTS.

[nosignalformiles]

the cats name is Snickerdoodle

[cryptotheism]

Ranking Every Large Monster in Monster Hunter Rise by How Tasty I Think They Would Be:

A TIER - Delicious Tier. Monsters that are prized for their delicious meat. The tier reserved for luxury meats like foie gras, or wagyu beef. 

Tetranodon [A+]

Luxurious, fatty, versatile, and convenient. These massive omnivorous amphibians cushion their ponderous weight with layers of marbled fat. Shanks are delicious spit-roasted over an open flame, or breaded and fried in their own drippings. Neck, and breasts are cubed for stew meat and stuffed back into the shell with herbs for pit baking. Butt and sirloin are slow-cooked in clay pots to reduce in their own fat like fine carnitas. 

Jyuratodus [A]

These omnivorous filter-feeders are prized in-universe for their meat. Its bipedal stance but fishlike physiology imply a meat somewhere between salmon, catfish, and chicken. Denser thighs are cut into steaks and smoked. The more muscular sirloin is butterflied and deep-fried like catfish filets. The fatty brisket would be the finest cut, reserved for sushi. 

Lagombi [A-]

The already-delicious rabbit, evolved for long-pursuit sub-arctic grazing. Powerful hip joints cushioned by layers of cold-resistant fat. The lagombi would produce a brisket fit for the pinnacles of sephardic cuisine, basted in honey, orange juice, prunes, and apricots. Shoulder and rump should be sliced thin, basted with herbs and oil, and used for gyros. 

(Long Post Ahead)

B TIER - Ordinary Tier. Monsters that can be eaten, and eaten well. The tier of humble, everyday meats like chicken, pork, and beef. 

Great Izuchi / Great Wroggi / Great Baggi [B+]

The chicken of monster hunter ecology. When butchered and clipped of their poison sacs, claws and feet, I can imagine these beasts whole roasted like a holiday turkey, or spit roasted like rotisserie chicken. Given their tails and posture, I imagine they taste slightly oily and gamey, closer to pheasant or game hen than chicken, but still wholly within the realm of chicken. 

Kulu-Ya-Ku [B+] 

A leaner, more agile cousin of the great Izuchi. Similar to Cornish game hen, their limbs produce less meat, but their bodies are traditionally eaten stuffed with herbs, and basted with fat during baking. Flesh is similar to waterfowl, oily, slightly dense, but a sponge for flavor. Not fatty enough to fire-roast, but careful baking can produce a delicious Kulu-Ya-Ku a l'orange. 

Aknosom [B]

Would be placed higher on this list were it not for the complication of having to butcher and remove the flame sac. Specialty cuisines would be developed for cooking a butchered aknosom in its own fluids. Slightly more fat than the Kulu-Ya-Ku, but I would prefer stewing, perhaps an aknosom vindaloo. 

Anjanath [B]

A large monster, armored with dense fat rather than scales. Two caveats: Anjanath eat just about anything, so the taste of their meat would heavily depend on the anjanath's diet, and their flame sac is notably more complex than many other fire-breathing monsters. If properly grazed on offal and vegetables scrap, their meat has a texture somewhere between beef and pork. The top sirloin is especially prized, but notably difficult to acquire. 

Diabolos  [B-]

Most of the meat on these massive, armored predators is far too dense to be worth eating. However, their fatty brisket and thighs are delicious after significant, significant slow-roasting. A favorite for BBQ. 

Rathalos / Rathain [B-]

These large, agile predators are eaten more for their abundance than their taste. Rath meat is similar to horse in texture; stringy, sparse, and of variable taste depending on their hosts diet. Most chefs get around the unpleasant texture by grinding cuts into hamburger or sausage filling, and spicing heavily. 

C TIER - Uncommon Tier. Monsters who can be eaten, but are likely not one’s first choice. The tier of uncommon meats such as rabbit, crocodile, and venison. 

Royal Ludroth [C+]

The neck sacs are unpleasantly spongy, and taste of pus if butchered incorrectly. The meat itself is passable, but similar to gator, dense, fishy, chewy if improperly cooked. The choicest cuts are the tail and sirloin, ideal for gumbo. Skillful chefs can produce a wonderful griddle-cooked Ludroth-mac-n-cheese. 

Somnacanth [C+]

Surprisingly difficult to butcher. These creatures feature a complex endocrine system that constantly threatens to ruin their frankly sparse and oily meat. Skilled chefs marinate tail and belly cuts in a sweet and savory sauce, to produce a result strangely similar to pineapple marinated fish, or somnacanth al-pastor. 

Almurdron [C]

Nearly inedible, but can produce delicacies when butchered properly. Their serpentine bodies are extremely muscular, and feature a weaponized excretory tract that can make the meat foul and actively dangerous to consume if butchered improperly. When prepared correctly, most of the animal is discarded, save for the sheathe of subcutaneous fat and tissue which can be used as a sausage casing. Ground almurdron offal sausage is a common feed for domesticated carnivores, but is occasionally enjoyed by humans. The discerning chef may long-cure the meat, producing a rare and exotic cold-cut enjoyed similarly to a rattlesnake sausage. 

Basarios [C]

Tough, dense, extraordinarily difficult to butcher. The sheer amount of effort involved in butchering these creatures for consumption often outstrips their culinary benefits. When they are eaten, they are drained by the neck and packed in clay for pit baking. Even then, the meat is spongy and gamey, not unlike raw calamari or rocky mountain oysters. 

Barroth [C]

Similar to a great Izuchi, but tougher, chewier, less available, and far more difficult to butcher. Even skilled butchers and captive ranchers have been unable to remove the faint muddy taste from the meat. A tragedy, in that they are almost tasty in so many ways.  

Bishaten [C-]

Of questionable ethicality. Meat has a taste smack dab between pork and chicken, but very lean and slightly gamey. Generally does not have enough meat to be considered worth hunting for consumption, and their diet is varied enough to make the taste a gamble. Occasionally, the fruits they collect may ferment in their pouches. A bishaten persimmon wine reduction is considered a rare delicacy, but generally requires cultivation in captivity. 

Rajang [C-]

Skirting the lower end of edibility is the rajang. Meat is leathery, gamey, and chewy, like a steak that worked out before the slaughter. The organ systems that maintain their extraordinary muscle strength may even continue to hold a charge after death, and butchers must be careful to ground the beast before applying any metal tools. Requires cooking so slow that one generally has time to hunt two more beasts in the meantime. 

D TIER - Delicacy Tier. Monsters that probably should not be eaten, are only partially edible, or require special preparation. The tier of snake, fish eyes, chicken feet, and most edible insects. 

Pukei-Pukei [D+]

Proper butchery of these animals requires extreme skill. Well made Pukei-Pukei pate is treated as a rite-of-passage for aspiring master chefs. A single Pukei-Pukei will only produce 2lbs of fatty cheek, and a single mistake could flood the meat with its deadly toxins. The meat itself is delicate, fatty, and flavorful, akin to a lovechild of white fish and high-quality chicken. 

Tobi-Kadachi [D+]

A Tobi-Kadachi’s spines are actually articulated electrosensory organs, akin to insect mandibles. Each follicle is surrounded by a powerful muscle sphincter, and loops into the creature’s endocrine system. Butchery is an exhausting process of plucking and deveining, all for subcutaneous back tissue that is underwhelming and stringy. Ideal serving would be finely ground and baked into a pie. 

Goss Harag [D+]

These creatures are not hunted for their meat. Due to a unique quirk of the goss-harag’s sebaceous glands, the creature’s adipose deposits gain a unique flavor. Sufficiently mature Goss Harag lard has an herbal, almost minty, flavor. Its culinary use is divisive, a favorite to some, and reviled by others. Their meat is leathery, foul, and dense. Their livers are sweet, and excellent source of vitamin C when eaten raw, but few culinarians are so adventurous. 

Barioth [D+]

Meat is overwhelmingly dense, stringy, and run through with the creature’s jellylike blubber. Some cultures do consume the liver, heart, and testicles, as a source of essential vitamins in sub-arctic environments, but these require skillful butchery and unorthodox techniques to prepare. Offal is sometimes ground and compacted into a baloney-like loaf that is surprisingly good on sandwiches, or stir-fried with eggs.

Tigrex [D]

Tigrex meat is so dense that it cannot be butchered along traditional lines. Ordinarily fatty cuts like breasts and thighs are akin to eating grilled steel wire. However, the lungs, diaphragm, and pelvic muscles are edible after a few days of slow-cooking. Even then, they are quite dense. It is meat that demands a 24 hour pit bake, the realm of BBQ chefs with an experimental streak, or more patience than sense.

Ibushi / Narwa [D]

Bizarre biology and sheer rarity make these creatures a true challenge for the aspiring game chef. Those privileged enough to dine on Narwa meat have described it as fishy and gritty, similar to crab with notes of ozone. Efforts have been made into the production of Ibushi caviar, but none have since been successful. 

Bazelgeuse [D]

Inedible. Even attempting butchery can cost an overconfident chef their hand. However, their unfertilized eggs are delicious, a bomb of umami and natural capcasin. Ideal for Huevos Rancheros or about ten savory omelets. 

Arzuros [D-]

When raised in captivity, on a purely vegetarian diet of herbs, honey, and berries, their meat can be edible. Given that Arzuros are an omnivorous predator, the ethicality of this is contested. Even when properly farmed, arzuros meat is lumpy, unpleasantly textured, and lacking in any distinct flavor. All of the time, controversy, and resources required to produce a single Arzuros steak would be better spent on Tetranodon. 

Nargacuga [D-]

Only edible in that it can be physically consumed. Nargacuga meat is relegated to fringe cuisine, the purview of dubious half-magical medicinal stews and rumors during famine years. The meat is unpleasant, somehow bland, foul, dry, and oily at the same time. Only theoretically edible when mixed with other meats, and heavily spiced. Additionally, the creature’s adrenal secretions can be actively dangerous in more than trace amounts. Improper butchery can make the meat hazardous to consume. 

Chameleos [D-]

Most of these creatures are inedible. The biological mechanisms that facilitate their light-bending abilities are not understood by zoologists, much less chefs. Their meat is sparse and leathery, similar to ludroth, but is also to cause a dangerous allergic reaction in more than 50% of consumers. The only part of the Chameleos known to be safe is their eyes, which are candied and served with sweet rice as a dessert delicacy. 

Mizutsune [D-]

Tastes of soap. Only reached D rank because roughly 10% of the population bears a genetic quirk that makes Mizutsune meat taste like cilantro. 

F TIER - Inedible. Monsters that should not be eaten, cannot be eaten, or are actively dangerous to eat. 

Kushala Daora  [F+]

With a skin of iron-laced keratin, the Kushala Daora is more fit to be used as a grill than placed upon it. The meat is dense, overwhelmingly bloody, and riven with grits of iron oxide. Tastes like iron shavings kneaded into leather. 

Khezu [F+]

It is said in-lore that many hunters have tried, and failed, to make the Khezu palatable. These giant leeches feature a complex digestive and endocrine system more useful for medical applications than cuisine. Escargot is already unpleasant. Even stir fried like chinese periwinkle snails, Khezu meat is far too muscular to eat. Tastes like an art eraser soaked in cough syrup. 

Rakna-Kadaki [F+]

Edible only in the sense that it can be physically consumed. Where the fire-breathing organs of other organisms can be removed during butchery, insect respiration is done through spiracles in the carapace. Spider meat already tastes of pus and rot, but the rakna-kadaki features overtones of sulphur and gasoline. 

Zingore [F]

A large, muscular, agile pursuit predator with biological mechanisms for electroconductivity. Wolflike predators already taste of gristle and death, but the Zingore’s electrochemical organ system taints its meat with an overwhelming flavor of bleach and battery acid. Meat is highly toxic to humans. 

Teostra [F]

A large, muscular pursuit predator known for attacking caravans to eat gunpowder. The meat is stringy, gristly, sulfurous, and smells of rotting eggs. Impossible to cook, as applying any sort of heat will cause the meat to rapidly combust. Tastes of old rope bathed in a sulfur vent. 

Valstrax [F-]

A heavily armored, extraordinarily agile aerial pursuit predator with a secondary respiration system to facilitate jet propulsion. Meat is stringy, rubbery, chemically astringent with overwhelming notes of crude oil and smog. Biological fluids are a chemical accelerant, and risk exploding if ignited. 

Magnamalo [F-]

The only thing that could make this monster edible would be slow-roasting in the whole shell. This should never be attempted. Given its purple coloration, the Magnamalo’s secondary respiration system exhales what is likely a complex and highly volatile lithium phosphate. Meat is dense, gristly, tastes of battery acid and spoiled wine. Risks exploding if ignited, oxygenated, or introduced to an electrical charge. 

Volvidon [F-]

Indescribably foul. The volvidon’s digestive tract produces both a paralytic venom, and a predator deterrent in the form of toxic flatulence. Consumption will risk paralysis and uncontrollable vomiting, risking a horrific death by asphyxiation. 

[autisticsupervillain]

Autistic Avatars not realizing that they're Avatars because they're just "like that": a thread

The Eye

Special Interest in the supernatural = constant food for The Watcher

You know about Interest? TELL ME EVERYTHING

"Hey man listen to me infodump about this horrifying ghost story I read for twenty minutes, alright?"

I need to Know everything about something before I partake in it.

"How did I Know that? Eh, I probably hyperfixated on it at some point."

I cannot be misunderstood so I'll beam the facts into your brain.

The Web

I must plan everything 200 steps in advance before doing anything.

I have prepared for all possible outcomes, I can now have this one conversation.

If I set up all these variables long in advance, then I can do everything correctly and Win the social interaction.

I cannot do anything before The Plan says to.

"I practice my social skills by talking to my spider friends." -Martin "Autism" Blackwood

The Stranger

I cannot socialize without being Uncanny.

If my socialization seems like an act, that's because it is. I practice it in the mirror every day.

Theater Kid

How do you Normal Human?

The Anatomy Class.

Assuming fellow Stranger Avatars also just have the 'Tism. They're not trying to be creepy, honest.

Can't do faces. Doesn't notice when you get replaced.

Being subtly off is too subtle for me.

The Lonely

"I have failed the social interaction. Let the fog reclaim me."

Talking to people is draining my batteries even faster than ever. I need to be alone for approximately 384,400,000 years.

Nothing can overstimulate me in the cool, blinding fog.

Nothing unpredictable can happen in the fog.

The fog is your friend.

The known connection between autism and depression feeds the fog.

The Dark

Why is the sun so god damn bright? I'm going to blow it up I swear.

Night Owl.

Everything's decently quite at night and people leave you alone.

Same overstimulation preventatives as the Lonely tbh. Dark and fog are good concealers.

The dawn is your enemy.

The dread florescent lights shall never bother me again. They break upon my arrival.

Can and will infodump to the monster under my bed. Even now it feels like it listens.

The Spiral

Autism makes getting other mental illnesses recognized hard.

Autism dissociation from body and mind. When did it become 3 AM and why do I hurt? Why am I grumpy? What vital self care task did I forget?

Literal mind doesn't often match reality. Reality is specifically unspecific.

Spaced out and wandered off. Where the fuck am I?

I'm not a mental baby, please stop treating me like it.

I'm not inherently dangerous, please stop treating me like it.

Memory problems my beloathed. Did that happen? I dunno.

What Is Time?

What Is Me?

The Gender

Why do things only make sense to me? What does no one else make sense?

The Flesh

Autism Genderfuckery = Flesh fueled dysphoria.

Meat is the only texture that's palatable. Especially the Mystery Meat.

Will never try any other foods. Too picky.

Infodumps about the horrors of meat processing at dinner and ruins the meal for everyone. More steak for me.

Hates PETA.

Double the arms means double the stim. You weren't using them, right?

Working out is a great stim.

The Corruption

Practices social interaction with the bugs who live in my walls.

"Insects are disgusting. I love them!"

Will protect endangered insects by any means necessary.

According to all known laws of aviation-

Relationship boundaries struggles.

Difficulty noticing sickness symptoms.

Is that nausea or am I overstimulated? *Accidentally causes supernatural plague outbreak*

Difficulty getting diseases diagnosed because of both Autism and noticing too many symptoms so the doctors assume they're faking.

Forgot vital hygiene needs.

The Bugs Are My Friends! They keep me company when I'm sick!

The Buried

Weighted blankets are insufficient, I need the Earth to reclaim me.

Avoid social interaction by tunneling everywhere like a mole.

101 facts about worms.

Forgor hygiene again. Time to become dirt.

Digging a hole is good stimming.

That guy who had to be buried alive to sleep properly. What do you mean you don't want to be buried?

The End

Aradia Megido from Homestuck.Com

That's it, that's the list.

The Desolation

The Autism Temper.

Losing relationships and friendships to ableism and your own disability constantly.

The Fire is a wonderful stim board. Watch it crinkle.

Just watching candles melt for hours.

The fire and thrill gives my life passion again.

Jude Perry.png

The Vast

Accidentally terrifying people by infodumping about the horrors of nature.

The stimulus of falling.

Nature/Space/Weather Documentary on in background always.

Okay, but from how high did you fall? I want to calculate your velocity as you fell through the void.

Weirdly enough... power scaling?

Power scaling is just the art of determining how easily your favorite characters can destroy mankind so... yeah, I can see it.

Brain empty, only terminal velocity.

The Hunt

Cat Autism

The inherent hyperfocus of the hunt. The chase. Your prey.

Studying the habits of your latest hyperfixation/Hunt assigned prey for days at a time.

I've spent so much time hunting in the woods that I forgot about human society. The Missing Person's Bureau have written you off for dead.

Returning to society to sell your wears and realizing you aren't human anymore.

That's okay. Social interaction is random. The Hunt makes sense.

It's black and white. Predator and prey. Humans hunting monsters. It Makes Sense.

The Slaughter

The incredible human WW1 documentary.

"Did you know?" *Describes horrible historic warcrime*

Takes apart puts back together guns from their collection.

The list of known casualties from this war is incomplete. With my help, they can expand it. :)

The Extinction

The world is spiraling towards its end and only you seem to care.

It hurts to be this passionate about a lost cause.

You Will Make Them Care.

[nineblooddances-if]

CHAPTER ONE - PUBLIC RELEASE

This took a long time! Yet, I am excited to officially release chapter one!! A lot of work was put into this chapter, with new stuff to experience for both, early readers and the public!! Hopefully, for chapter two, I can get you all more involved. Honestly writing NBD has been fantastic, even with all the coding and characteristics, which made it easier for me in the long run!! As well with this being somewhat lengthy with so many new traits!!

WORD COUNT: 193K + 130K [INCL.CODING]

ADDED FEATURES: 

| | MEET THREE LOVE INTERESTS

| | + 10 NEW SKIN TONES

| | + 2 NEW PERSONALITY TRAITS

| | UPDATED HAIRSTYLES BASED ON HAIR TEXTURE TEXTURE

| | CHOOSING THE COLOR OF YOUR FRECKLES

| | ADDED ACHIEVEMENTS [STILL WIP]

| | TIMER SYSTEM

| | UNLOCKED TWO NEW PROFILES

| | PRE-ESTABLISHED CHARACTER

UPDATES:

SYSTEM VIEW OVERHAUL ~  WITH THE SAME LAYOUT, BUT WITH A NEW LOADING SCREEN!! RECOMMENDED THAT YOU START FROM THE BEGINNING TO EXPERIENCE EVERYTHING NEW, AND HAVE NEEDED VARIABLES FOR LATER IN THE STORY! 

| DEMO |

| ITCH.IO | DISCORD | KO-FI | PATREON|

[zaebucca]

About scale, process, palette and canvas: a few considerations on pixel art as a medium

User moredogproblems answered an interesting and legitimate question by another, DiscountEarly125, regarding my work and canvas size. He also perfectly isolated two central concepts of pixel art, which are scale and process. Canvas size, which was the theme of DiscountEarly125's specific request, is more of a dependent variable to those two aforementioned concepts, rather than a starting point. I hope the following considerations I shared may help or prompt some other ideas, but this is what I could come up with 15-ish years of experience with pixel art (and a few more years of art and media studies). I was quite in the mood of writing down these few thoughts that have been floating for a while. I apologize as this may also result in a confusing wall of text, but it is all part of a my work and research, and I would love to polish all the material, hopefully with some thoughts, insights from other colleagues, as well as pictures and materials!

A. Scale and canvas size It is true that the bigger the canvas, the more distance one may visually create from pixel art, but I personally think this is to be possibly considered a matter of perceiving pixels, rather than a fundative problem of the medium. In fact I concur with the idea of "process makes the medium" rather than identifying pixel art as how (evidently) pixeled the result feels. The general picture, or the sum of pixels, though, is a really important matter to the medium nonetheless! Pixels themselves work in relation one with another, so it's their overall result that gives context and makes the subject recognizable. This relationship between pixels links back to all the art fundamentals that each artist is taught, from color theory to shape and composition - and so on. So, the canvas size debate usually boils down to a matter of scale or necessity of your subjects. As long as the dimension (canvas) of your subject (as in: a drawing of an apple, a character sprite, a mockup environment) allows you to operate, control and keep an eye on the quantity (number/area of pixels together) and quality (color, shaping of multiple pixels, texturing obtained through color and shapes) of isolated single pixels or pixeled areas, you're in the pixel art universe. The other way around to define the matter of scaling: in order to be operating pixel art fundamentals and techniques, your subject has to be on a scale that allows you to apply principles of pixel art within the space of your canvas and your personal style. These very same principles, or basics, can be applied with different results and extent to bigger and smaller canvases alike, each with their own specific difficulties and variables. It is important to adapt your scale when learning, and trying classic canvases per subject like "16x16px" (standard tile or character sprite unit, tied to older consoles and screen ratios, it's a bit complicated there) is always a nice idea - they also tend to be industry benchmarks and necessities so in case you'd like to consider a professional output, that's very useful.

Scale also applies to the array of colors, and there lies the concept of palette: a number of single hexadecimal hues we are using for each single pixel. Any single pixel can have one hexadecimal color only.

Consequentially it is absolutely true that either a huge canvas or a palette too broad may prevent a viewer from perceiving immediately the "nature" of your medium, namely seeing square pixels, recognizing a certain amount of color - or more thoroughly recognizing that you made some choices for each subject on a pixel level. What could possibly happen on a huge canvas (without zooming in) is that you can't really grasp the pixels, but just the "overall picture" - and that may not differ too much from digital, raster art, which is of course also based on pixels. Therein appearently lies a sort of threshold that is really hard to pin down for us pixel artists, as it depends on screen size, visualization methods, distance, filters and lots of other inherently subjective parts.

This kinda is my case sometimes: I make big environments (possibly too big, and too detailed in each part I tell myself) that are a sum of many lesser parts: both tilesets and sprites that relate (but not strictly adhere) to a basic space unit that is 16x16pixels. You can indeed consider scale in a broader sense as a subdivision or magnification issue, much alike squinting your eyes to focus on a picture's overall contrast or, conversely, analyzing its fundamental parts with a magnifying glass, and then a microscope - an analogy as follows:

a. the picture as a whole is like a colorful rock that you can analyze by magnifying its grain. b. the characters, geographical elements and textures, works like the different substances that compose the rock and give its visible characteristics grain and complexity, c. single pixels constitute the very atoms of those previously recognized substances.

I mean "atom" in the traditional, classical meaning of indivisible, fundative object. That's a "quantized" part of information, which for pixel art is ultimately color (or a binary value, like yes/no black/white). If you were, for example, to crop some parts of my work - let's say 160x144 pixels (a gameboy screen resolution in pixels) you would see the substances that are characters and elements of nature, and when you zoom in again, every atom becomes visible as a single entity of color. There are 29 different type of "atoms" in Ruin Valley as in different, singularly hexadecimal colors that work together in different combinations and shapes to create different substances and characters. 18 of them are used for the different qualities of the environment, and 11 more for extra hues for characters and other elements to pop out a bit.

It's really interesting to see how many pixel artists push this "threshold" of pixel art canvases to the extremely small or the extremely big, whereas, notably, palettes are less open to growth: it is indeed my opinion that pixel art tends to quantize color (quality) over than dimension (quantity). Palettes, notably, do not grow exponentially, but tend to a lower, fixed, controlled amount of individual values instead. This usually gives the artist the true possibility and toolkit through which is possible to think about/with pixels. In other words: color (or its absence) is the founding unit and identity of pixel art as a digital medium.

B. Pixels as process or pixels as objective? Pixels themselves (as strange as that may sound!) are not to be considered an objective of pixel art, I think, but the founding matter of its research as a medium instead. I think that making pixel art is not just devoting oneself to show those jagged, squarey areas or blunt edges that we all know and love: this is just one of the possible aesthetics that pixel art conveys or adopts - especially on small canvases. Pixel art is not about denouncing itself as pixels, but, rather, embracing the square, atomic unit to build an ensemble that conveys a content or a style. That's the important part of the discourse that emancipated pixel art into being a medium, and not just an aesthetic choice or style of representation. Again: process makes this medium. Speaking of that, I consider pixel art as part of a broader family of "quantized art", namely media that operate on/with "indivisible, founding bricks and unities" that can assume a certain quality (color, mainly) within a certain quantity (palette, canvas size) and in relation to its surroundings to describe something. This puts pixel art, with its specifics and with a certain degree of semplification, among other mediums such as cross-stitch, bead art, construction sets, textile art (on a warp and weft basis), (micro-)mosaics and others.

A classic threshold example of process vs objective: oekaki art. Oekaki art - which I love and also happen to make from time to time - doesn't really work or "think" specifically on a pixel base: it doesn't place pixels per se, but uses pixel-based areas and textures on bigger canvases with a certain degree of freedom, like one would normally do with brushes on raster digital art programs (adobe ps, gimp, clip studio and so on) in order to convey an aesthetic with fewer colors and a certain line style and texturing. That way, oekaki uses and knows pixels in a deep way, but doesn't see them primarily in a quantized way. As a result the "overall picture" shows pixels to a certain extent, and it's possible to recognize distinct pixels for each part, but the objective is not an analysis and use of pixel and quantized information, but the use of an aesthetic based upon accessibility of resources, their control and a certain rendering style.

A huge part of pixel art is its absolute accessibility: everyone with a fairly outdated computer or screen and a basic drawing program can study the medium. To be fair, it's indeed considering accessiblity that I highly support an inclusive approach to the term "pixel art" and I think traditional oekaki is a close, beautiful relative that builds upon the rules and techniques of pixel art and pixel rendering, yet keeping its identity as its very own medium - somehow like a dress may be built around/upon textile design. Anyway, boundaries are meant to be crossed and I think there definitely are lots of oekaki and pixel-based art that meet traditional pixel art mid-way - or further. I also think the "is it pixel art?" discourse possibly ensuing - and generally speaking any media belonging purist ontology - is a treacherous, slippery terrain leading to excesses, and this is not my focus today, neither am I able to tackle that subject extensively at the moment.

C. Conclusions and a few good exercises Everything above may be farfetched or too complicated as a starting point. I tried to write all down as orderly as possible. The point of this (possibly discouraging) analysis and the reasoning between scale and process is that (pixel) art is about trying different canvases, and reasoning on one's subject and objective, rather than limiting oneself to presets sizes or styles. It's important to choose something that resonates with us and, in doing so, thinking about other, more interesting limitations: that's the discourse about quantity of space and quality in color. Limiting is the best possible exercise and one I wholeheartedly encourage: by doing so we are progressively delving deeper on the basics, as we learn the fundamental relationships between shapes and colors that we can achieve through pixels. A few good exercises that I too implemented in my own workflow come to mind: 1. Trying different canvases (or sizes) for the same subject (sprite, character art, illustration or so on). This helps a lot finding a comfortable size to apply pixel techniques, as well as getting a hold over fundamentals such as aliasing, linework, conventional representation and so on. 2. Trying different palettes for the same subject, both by varying colors themselves (therefore learning about values and contrast and readability, as well as atmosphere and mood!) or singular hues and their components, in order to discover possible relationship between them. Have fun! 3. Reducing the width of the palette progressively for the same subject: reducing the number of singular colors forces a reasoning on shapes, rapresentation. You may go from 1-bit art (just black/white) to 3 colors, 4, 8 and so on. We'll not talk about transparency as a singular color there, but if you happen to be interested in retro art, transparency counts to the palette size. This exercise is very useful in rendering, and possibly tricky. And definitely fun. :') 4. Choosing an objective and usage of our work: for example trying to learn about old pixel art limitations for games, in order to reason within specifics. Get inspired by traditional games (spriters-resource is your best friend here, in case you have a specific retrogame you're thinking of)! I will probably talk about limitations and style on another post. 5. Four eyes (and other multiples) are better than two: try to talk with people and friends and other artists you trust and feel comfortable with to get their point of view. This can be scary, I know, especially at the beginning. You're not forced to, of course, but if you do (in a safespace) there's lots you can learn about concepts such as readability, subject recognition, rendering and composition. Our eyes and brains get accustomed to something, and pixel art being a rather analytic medium made of synergies, subtle changes, limitations and conventions is especially tricky on the artist's eyes on the long term. Either way, the important thing about pixel art is understanding that this medium is about recognizing and enjoying the process rather than the eventual aesthetic and in order to do so the best choice is to start simple, small, with few colors and techniques at a time! Have fun and hit me up with your progress and considerations. :')

[wifetomegatron]

perceptor wants to study you. afab!reader. nsfw! drabble. skirt mentioned.

Perceptor is a scientist. It is his job to learn. To observe. In many ways, when the situation calls for it, it is also his job to solve things. The most reliable questions to answer were equations, solid and truthful: numerical variables were tangible enough to pull apart and rebuild without straying too far from his reality. They only have one answer.

But you were different. A moving target that never stood still. Always changing and taking him by surprise. You were a blow to his ego. And that caught his attention. A beauty that had no source in his stout and unyielding world. The possibilities were endless.

He wants to drink you dry.

" Open your mouth."

His voice was barely short of a whisper. Do all humans have this ability to render sentient beings speechless, to rob the room of any sound? Maybe they are also capable of manipulating magnetic fields: of defying the laws of gravity to knock their opponents off their axis. That would be dangerous. It was a good thing that you didn't see him as a threat. Not when you were looking at his past your lashes, eyes coy — fingers drawing circles around his shoulders.

" My," You hummed, " How bold of you, Perceptor."

Have you always had this lilt to your voice? He searched his processor for a comparison — the water running down the creek back in your green organic planet, the lonely echo of bullets as they ricochet, the tentative hum of a spark as it reignites. None of them comes close. He feels sick. Dizzy. Maybe he needs to go and see Ratchet.

" Open your mouth, please."

He repeats himself. Voice surprisingly level, even though it felt like his vocalizer was going to snap. And that earned him a smile. He did nothing to warrant your laughter, and yet you indulged him like you always do. Tongue — pink and wet — peeking past the row of pearls you call teeth as you tilt your neck gently backward. His hand moved instinctively, dwarfing the back of your head for support. 

He pressed the pad of his thumb flat across the soft surface and felt the metal sink. Your eyes fluttered shut, legs, slightly parting to let him slot his body in between. He held you in place. Chest to chassis, the thin fabric of your shirt did nothing to hide the subtle race of your heart.

Sinew and muscle, humming, unlike anything he's ever heard. 

This is for science, Perceptor tells you, retracting his servos to pick up his PADD, mind bursting with a flurry of thoughts. He couldn't even remember what he wrote down. He will have to review it later. 

He runs a few more exams. Medical needs it. And yet he had offered himself to run them. He says it was also crucial for his research. 

What kind of research, Ratchet had asked him.

A personal one, he had replied.

No one stopped him, especially not when you were so eager to help.

He kissed you on the lips. Tentatively, once, twice. You sighed into his mouth. Lips soft. Too soft. He needed to know if you were just as delicate between your —

This is for science, Perceptor tells himself, already sinking onto his knees. You were a plethora of texture, so different from his biology. So far from the mundane. While he clings almost religiously to the dependable — facts, numbers, metal — the purest, rawest form of science is the unknown. He nudged your knees with his nose, wider, and you wordlessly complied. 

Every scientist is an explorer at heart. And what is more unfamiliar than the feel of your skin? 

Perceptor rubs up and down your thighs, feeling you shiver. His cooling fans clicked to life, reacting, responsive. And this pleased you. And you pleased him.

Prettiness is symmetry, all things in the right place. And yet you were an artifact of unknown beauty, with no origin, no source. All things have to start somewhere — stars were born out of gases, sparks out of a mass of positrons supercharged by energon. But where did you come from? So alien. So different.

If the Earth was your creator, then you must be molded out of clay, shaped by her gentle hands, not carved, for he was sure even under his touch you would break. That the slightest misplace of pressure would shatter and scatter you into pieces.

But humans were known to be resilient. He likes to call you generous instead. Ever so giving, ever so kind.

Today, you wore what you called a skirt. Isn't it pretty? He doesn't have much to say about its color other than that it was practical and worn with a purpose. An invitation.

You mewled in encouragement when he pressed a kiss square against the plush, wet slit of your cunt.

Perceptor is a scientist. It is his job to learn. To observe. In many ways, when the situation calls for it, it is also his job to solve things. And there is still so much he wants to learn from you. He wants to map every sensitive spot that made you gasp and writhe. He wants to chart every delicate twitch, every clench. And with your body arching atop his table — sweat dripping down your brow, you were his muse.

But make no mistake, this was a symbiotic relationship. You were also studying him, changing him. ( He was certain you've ruined him for anyone else.)

Perceptor knows he should have stayed as an objective observer, standing on the sideline. Yet you were a very seductive hypothesis, just waiting to be kissed to life. There was lubricant leaking down his chin as you reached your high, nails scratching the back of his helm. Objects cluttered off the table in the distance, yet he continues to drink.

You broke his idea of truth, and Perceptor lets you.

[dropout-if]

Dropout Customization

Due to some questions about MC customization, I have decided to compile all the physical and personality aspects that are selectable about the Dropout.

A reminder that this is all subject to change and that new things may be added (or deleted). Feedback and ideas to further develop MC are encouraged.

Main Ideas

Name Surname Nickname

Sex, Gender, Pronouns (it's possible to customise them), Breast/Pecs, Penis/Vagina (If MC is transgender, their transition takes place while they're away) Title (Ms. / Mr. / Mx.)

Virginity or lack thereof.

If MC is trans (when they realized about it [high school, middle school, college] and if they told their family // the ROs already know, as MC told Uma and J, and word spread).

Birthday which establishes the Dropout's age as either 21 or 22 depending on the season (Spring, Summer, Autumn, Winter)

Major (Engineering, Biology, Chemistry, Computer science, Law, Economics, Education (in relation to science/maths/etc), Mathematics, Physics, Psychology). The Dropout's Major affects flavor text. These options are the ones approved by the Dropout's parents, though it's possible for MC to express interest in other degrees/topics (music, art, English, anthropology, archeology, classical studies, history).

Reason behind dropping out (MC got kicked out (they were caught cheating) MC didn't get a high enough GPA and dropped out / MC never even wanted to go to college and ultimately decided they wanted out / MC didn't fit in (they were discriminated, lonely, etc) though they really liked college / MC originally liked their degree and college but gradually lost interest in the entire thing / MC never liked their degree and decided to drop out / Something specifically related to mental health (mainly anxiety) / Impostor's syndrome.) This affects flavor text.

2 Coping Mechanisms (Alcohol, Tobacco, Drugs, Sleeping around, Avoidance, Overspending, Humor, *Hobby (overworking self) [Anger, Fake/forced happiness, Sadness, Indifference].) Each coping mechanism opens a variable and a storyline. You can choose two, though choosing one related to emotional responses [between brackets] automatically blocks out the others.

2 Hobbies (Singing, playing an instrument, songwriting, creative writing, drawing, sketching, sculpting, acting, photography, soccer, football, swimming, basketball, gymnastics, boxing, judo, karate, taekwondo, kickboxing, going to the gym, cooking/baking, dancing [ballet, contemporary dance, modern], yoga.) This affects flavor text and scenes.

Job (Bartender [Wanda, Statler is also around often], Cashier [Statler], Columnist [J (+Kai if poly)], Caregiver [Kai], Waiter/Waitress [Uma (+Travis if poly)], Tutor [Travis]) Each job gives you more time with a certain RO, as well as unlocking a storyline.

Personality Stats

Playful/Serious Honest/Dishonest Friendly/Rude Introverted/Extroverted Laid-back/Uptight Cynical/Idealistic Flirty/Reserved Family oriented/Individualistic

Others: Insomnia, Migraines

Physical Appearance

*It's possible to choose MC's appearance as a high schooler as well. This affects flavor text.

Height (very tall, talk, average, short, very short)

Skin tone (ebony, dark brown, light brown, russet, golden, olive, honey, tawny, tanned, fair, rosy, ivory.) Choosing any skin tone gives you the possibility of choosing to be a poc (idea I stole from Mila, @beyondthegame)

*Build (scrawny, skinny, lithe, lean, muscular, chubby, curvy, hourglass).

*Hair color (max 3 tones, 1 base and other 2) (possible to return home with a mess of dye for Maude to fix. NATURAL (Ashen blonde, Sunflower blonde, Strawberry blonde, Caramel, Honey brown, Chocolate brown, Copper, Auburn, Ruby red, Midnight brown, Jet black, Ebony black) NON-NATURAL (Pink, Violet, Lilac, Blue jade, Vermilion red, Snowy white, Silver, Emerald green, Canary yellow, Bleached).

Hair texture (kinky, very coiled, coiled, curly, wavy, slightly wavy, straight)

*Hair length (ear-length, chin-length, shoulder-length, below shoulder-length, chest-length, waist-length)

*Hair style (SHORT/MEDIUM: natural, side-parted, mullet, layered, bob, ponytail, twin ponytails, buzz fade, slick back, messy, wolf cut, bun. LONG: natural, high/low ponytail, messy, shaggy, California waves, a half updo, side-swept, bun, braid, twin braids, twin ponytails).

*Eye color (albino red, dark blue, light blue, dark green, light green, hazel, amber, chestnut brown, chocolate brown, black, grey).

Others

*It's possible to choose MC's appearance as a high schooler as well. This affects flavor text.

*Glasses (yes, no, contacts)

*Facial hair (No/shaved. Stubble, full beard, goatee, ducktail,van dyke, garibaldi, mustache, soul patch, light beard).

Scars, can choose as many as possible (Back, chest, abdomen, upper and lower arm, thigh, knees, calf, mouth area, neck, cheek, hands, eye area, shoulder)

*Tattoos (One big in X body area, patch-like bodysuit, bodysuit, one/two sleeves, just legs, a few tattoos all over, a small in X place).

*Piercings (Ears [helix, lobe, industrial], navel, tongue, nose ring and septum, eyebrow, lips, smiley, nipples, genital)

Dimples

Braces

Freckles (face, body, both)

Beauty mark, multiple (under eye, over lip, neck, body)

*Outfit/Style (streetwear, alternative, cute, preppy, casual, formal, business casual, dark academia, messy, boho/eclectic, comfortable)

*Bedroom, at family home and at new apartment (messy, colorful, emo, basic, boho, modern, industrial, vintage, minimalist, cute)

*Diet (vegan, vegetarian, pescetarian, keto, meat-eater, lactose intolerant)

Family pet (small/large dog, cat, fish tank, hamster/rabbit/guinea pig, cockatiel/parrot/canaries)

Characters

Closeness to all family members (tight-knit, close, so-so, cold, barely any relationship)

Same with the friend group

Crush on Statler during high school (yes/no)

'Popularity' during high school and college (popular, social butterfly [got along with many people but wasn't part of the popular groups], normal, loner, outcast [somewhat antagonistic in a way/rebel].)

[pillowspace]

Okay. Okay here's a time loop thought

Y/N realizing that acting like they know everything causes more distance. That's not good. So they play dumb one loop, just to see what happens. They let slip they know a little. Just a little. And maybe it's something big, like dodging Moon that first time, or something little, like a kid not liking a specific texture.

This might?? Intrigue the DCA more. Because it's clear they know stuff, but they're hiding it. Why? What's the reason?

Y/N messing up at some point and the dca realizing that they knew everything the whole time. Confused as to how they knew so much, but also probably hurt.

The next loop, they're better at balancing it. Closer to figuring out how to fix it, perhaps.

Except they're making slow progress. It's hard to stay motivated. They've decided every couple loops they'll slow down. Take a break, perhaps ? Because they know everything they can know about the DCA, and the kids, there's not much to pursue. It's just figuring out what causes the loops.

One loop, they figure out that it's a virus. It takes several more to learn how to work software. And then there's trying to help get rid of it.

Time after time they get so CLOSE. But fail in the end. Yet they don't lose hope. It's almost manic, after a while. How hard they have to pretend. How good they are at it. Every time they get faster, better at building the solution. And yet the end is just out of reach by something or another. I don't think they'd ever give up, though. They want this loop to end. And they desperately want to save Sun and Moon.

No I didn't get inspo from Homura wdym.

AAAAAAAAA I LOVE ALL OF THATTT YESSSSS

Y/N, the day before going into work: haha, I don't know anything about software. It's okay though!

Y/N, the very next day ...?: I am the master of code. I see variables in everything

I am eating up your words om nom nom

[blorbologist]

Lovely detail already at the start of episode two: these three Isisaurus all have unique markings!

It would have been so easy to just duplicate the model and texture, but nope - there’s a little variability between the individuals.

[From first appearance to last / right to left: Female #1 has a spot before her first long neck stripe and has more off-white covering the mouth seam, Female #2 has a really short first stripe that curves sharply towards the mouth, with a very thin stripe right after it, and final Female #3 who is only visible briefly has a very obvious, jagged darkly colored mouth seam and more spacing between her initial neck stripes]

And in another shot we see that some of them actually have some of these initial stripes merged into branching Ys:

It’s so cool to see so much effort put into making these feel like living, breathing animals

[arctic-hands]

For real tho health freaks who scream about how sugar and salt will kill us all and try to push for restrictions on things like candy and chips for SNAP recipients or politicians who try from time to time to replace food stamps all together and give out Government Approved Staples like bread and peanut butter and Government Cheese are gonna kill a whole lotta sick and disabled people like

Diabetics

POTS sufferers

Hypotensives

People with peanut allergies

People with celiac disease or wheat allergies

The lactose intolerant

People who can't eat solid food

People who are undernourished for any reason and need all the calories they can pack on

So-called "picky eaters" who can't tolerate certain tastes and textures without getting violently ill

A myriad of other human conditions that cannot be neatly tallied into categories because the human body and human experience is vast and infinitely variable

But I don't think ableds really care about us and our health like they like to claim so they can harass us about it, do you?