#who have very different outputs

[britneyshakespeare]

no offense but when 2pm came back from a five-year hiatus in 2021. i'm still not over that

[echoekhi]

I’m Declaring War Against “What If” Videos: Project Copy-Knight

What Are “What If” Videos?

These videos follow a common recipe: A narrator, given a fandom (usually anime ones like My Hero Academia and Naruto), explores an alternative timeline where something is different. Maybe the main character has extra powers, maybe a key plot point goes differently. They then go on and make up a whole new story, detailing the conflicts and romance between characters, much like an ordinary fanfic.

Except, they are fanfics. Actual fanfics, pulled off AO3, FFN and Wattpad, given a different title, with random thumbnail and background images added to them, narrated by computer text-to-speech synthesizers.

They are very easy to make: pick a fanfic, copy all the text into a text-to-speech generator, mix the resulting audio file with some generic art from the fandom as the background, give it a snappy title like “What if Deku had the Power of Ten Rings”, photoshop an attention-grabbing thumbnail, dump it onto YouTube and get thousands of views.

In fact, the process is so straightforward and requires so little effort, it’s pretty clear some of these channels have automated pipelines to pump these out en-masse. They don’t bother with asking the fic authors for permission. Sometimes they don’t even bother with putting the fic’s link in the description or crediting the author. These content-farms then monetise these videos, so they get a cut from YouTube’s ads.

In short, an industry has emerged from the systematic copyright theft of fanfiction, for profit.

Project Copy-Knight

Since the adversaries almost certainly have automated systems set up for this, the only realistic countermeasure is with another automated system. Identifying fanfics manually by listening to the videos and searching them up with tags is just too slow and impractical.

And so, I came up with a simple automated pipeline to identify the original authors of “What If” videos.

It would go download these videos, run speech recognition on it, search the text through a database full of AO3 fics, and identify which work it came from. After manual confirmation, the original authors will be notified that their works have been subject to copyright theft, and instructions provided on how to DMCA-strike the channel out of existence.

I built a prototype over the weekend, and it works surprisingly well:

On a randomly-selected YouTube channel (in this case Infinite Paradox Fanfic), the toolchain was able to identify the origin of half of the content. The raw output, after manual verification, turned out to be extremely accurate. The time taken to identify the source of a video was about 5 minutes, most of those were spent running Whisper, and the actual full-text-search query and Levenshtein analysis was less than 5 seconds.

The other videos probably came from fanfiction websites other than AO3, like fanfiction.net or Wattpad. As I do not have access to archives of those websites, I cannot identify the other ones, but they are almost certainly not original.

Armed with this fantastic proof-of-concept, I’m officially declaring war against “What If” videos. The mission statement of Project Copy-Knight will be the elimination of “What If” videos based on the theft of AO3 content on YouTube.

I Need Your Help

I am acutely aware that I cannot accomplish this on my own. There are many moving parts in this system that simply cannot be completely automated – like the selection of YouTube channels to feed into the toolchain, the manual verification step to prevent false-positives being sent to authors, the reaching-out to authors who have comments disabled, etc, etc.

So, if you are interested in helping to defend fanworks, or just want to have a chat or ask about the technical details of the toolchain, please consider joining my Discord server. I could really use your help.

------

See full blog article and acknowledgements here: https://echoekhi.com/2023/11/25/project-copy-knight/

[sayruq]

A new investigation by +972 Magazine and Local Call reveals that the Israeli army has developed an artificial intelligence-based program known as “Lavender,” unveiled here for the first time. According to six Israeli intelligence officers, who have all served in the army during the current war on the Gaza Strip and had first-hand involvement with the use of AI to generate targets for assassination, Lavender has played a central role in the unprecedented bombing of Palestinians, especially during the early stages of the war. In fact, according to the sources, its influence on the military’s operations was such that they essentially treated the outputs of the AI machine “as if it were a human decision.”

During the early stages of the war, the army gave sweeping approval for officers to adopt Lavender’s kill lists, with no requirement to thoroughly check why the machine made those choices or to examine the raw intelligence data on which they were based. One source stated that human personnel often served only as a “rubber stamp” for the machine’s decisions, adding that, normally, they would personally devote only about “20 seconds” to each target before authorizing a bombing — just to make sure the Lavender-marked target is male. This was despite knowing that the system makes what are regarded as “errors” in approximately 10 percent of cases, and is known to occasionally mark individuals who have merely a loose connection to militant groups, or no connection at all. Moreover, the Israeli army systematically attacked the targeted individuals while they were in their homes — usually at night while their whole families were present — rather than during the course of military activity. According to the sources, this was because, from what they regarded as an intelligence standpoint, it was easier to locate the individuals in their private houses. Additional automated systems, including one called “Where’s Daddy?” also revealed here for the first time, were used specifically to track the targeted individuals and carry out bombings when they had entered their family’s residences.

The Lavender machine joins another AI system, “The Gospel,” about which information was revealed in a previous investigation by +972 and Local Call in November 2023, as well as in the Israeli military’s own publications. A fundamental difference between the two systems is in the definition of the target: whereas The Gospel marks buildings and structures that the army claims militants operate from, Lavender marks people — and puts them on a kill list. In addition, according to the sources, when it came to targeting alleged junior militants marked by Lavender, the army preferred to only use unguided missiles, commonly known as “dumb” bombs (in contrast to “smart” precision bombs), which can destroy entire buildings on top of their occupants and cause significant casualties. “You don’t want to waste expensive bombs on unimportant people — it’s very expensive for the country and there’s a shortage [of those bombs],” said C., one of the intelligence officers. Another source said that they had personally authorized the bombing of “hundreds” of private homes of alleged junior operatives marked by Lavender, with many of these attacks killing civilians and entire families as “collateral damage.”

Remember, the Israeli occupation government considers all men over the age of 16 to be Hamas operatives hence why they've claimed to have killed over 9,000 of them (which matches the number of Palestinian men killed according to the Ministry of Health). So, when the article speaks of 'low level' or 'high level militants' they're likely speaking of civilians.

If Israel knew who Hamas fighters are, Oct 7th wouldn't have caught them off guard and they wouldn't still be fighting the Palestinian resistance every single day.

[mostlysignssomeportents]

American education has all the downsides of standardization, none of the upsides

Catch me in Miami! I'll be at Books and Books in Coral Gables on Jan 22 at 8PM.

We moved to America in 2015, in time for my kid to start third grade. Now she's a year away from graduating high school (!) and I've had a front-row seat for the US K-12 system in a district rated as one of the best in the country. There were ups and downs, but high school has been a monster.

We're a decade and a half into the "common core" experiment in educational standardization. The majority of the country has now signed up to a standardized and rigid curriculum that treats overworked teachers as untrustworthy slackers who need to be disciplined by measuring their output through standard lessons and evaluations:

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

This system is rigid enough, but it gets even worse at the secondary level, especially when combined with the Advanced Placement (AP) courses, which adds another layer of inflexible benchmarks to the highest-stakes, most anxiety-provoking classes in the system:

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

It is a system singularly lacking in grace. Ironically, this unforgiving system was sold as a way of correcting the injustice at the heart of the US public education system, which funds schools based on local taxation. That means that rich neighborhoods have better funded schools. Rather than equalizing public educational funding, the standardizers promised to ensure the quality of instruction at the worst-funded schools by measuring the educational outcomes with standard tools.

But the joke's on the middle-class families who backed standardized instruction over standardized funding. Their own kids need slack as much as anyone's, and a system that promises to put the nation's kids through the same benchmarks on the same timetable is bad for everyone:

https://pluralistic.net/2021/11/28/give-me-slack-2/

Undoing this is above my pay-grade. I've already got more causes to crusade on than I have time for. But there is a piece of tantalyzingly low-hanging fruit that is dangling right there, and even though I'm not gonna pick it, I can't get it out of my head, so I figured I'd write about it and hope I can lazyweb it into existence.

The thing is, there's a reason that standardization takes hold in so many domains. Agreeing on a common standard enables collaboration by many entities without any need for explicit agreements or coordination. The existence of the ANSI/SAE J563 standard automobile auxiliary power outlet (AKA "car cigarette lighter") didn't just allow many manufacturers to make replacement lighter plugs. The existence of a standardized receptacle delivering standardized voltage to standardized contacts let all kinds of gadgets be designed to fit in that socket.

Standards crystallize the space of all possible ways of solving a problem into a range of solutions. This inevitably has a downside, because the standardized range might not be optimal for all applications. Think of the EU's requirement for USB-C charger tips on all devices. There's a lot of reasons that manufacturers prefer different charger tips for different gadgets. Some of those reasons are bad (gouging you on replacement chargers), but some are good (unique form-factor, specific smart-charging needs). USB-C is a very flexible standard (indeed, it's so flexible that some people complain that it's not a standard at all!) but there are some applications where the optimal solution is outside its parameters.

And still, I think that the standardization on USB-C is a force for good. I have drawers full of gadgets that need proprietary charger tips, and other drawers full of chargers with proprietary tips, and damned if I can make half of them match up. We've continued our pandemic lockdown tradition of my wife cutting my hair in the back yard, and just tracking the three different charger tips for the three clippers she uses is an ongoing source of frustration. I'd happily trade slightly sub-optimal charging for just being able to plug any of those clippers into the same cable I charge my headphones, phone, tablet and laptop on.

The standardization of American education has produced all the downsides of standardization – a rigid, often suboptimal, one-size-fits-all system – without the benefits. With teachers across America teaching in lockstep, often from the same set texts (especially in the AP courses), there's a massive opportunity for a commons to go with the common core.

For example, the AP English and History classes my kid takes use standard texts that are often centuries old and hard to puzzle out. I watched my kid struggle with texts for learning about "persuasive rhetoric" like 17th century pamphlets that inspired anti-indigenous pogroms with fictional accounts of "Indian atrocities."

It's good for American schoolkids to learn about the use of these blood libels to excuse genocide, but these pamphlets are a slog. Even with glossaries in the textbooks, it's a slow, word-by-word matter to parse these out. I can't imagine anyone learning a single thing about how speech persuades people just by reading that text.

But there's nothing in the standardized curriculum that prevents teachers from adding more texts to the unit. We live in an unfortunate golden age for persuasive texts that inspire terrible deeds – for example, kids could also read core Pizzagate texts and connect the guy who shot up the pizza parlor to the racists who formed a 17th century lynchmob.

But teachers are incredibly time-constrained. For one thing, at least a third of the AP classroom time seems to be taken up with detailed instructions for writing stilted, stylized "essays" for the AP tests (these are terrible writing, but they're easy to grade in a standardized way).

That's where standardization could actually deliver some benefits. If just one teacher could produce some supplemental materials and accompanying curriculum, the existence of standards means that every other teacher could use it. What's more, any adaptations that teachers make to that unit to make them suited to their kids would also work for the other teachers in the USA. And because the instruction is so rigidly standardized, all of these materials could be keyed to metadata that precisely identified the units they belonged to.

The closest thing we have to this are "marketplaces" where teachers can sell each other their supplementary materials. As far as I can tell, the only people making real money from these marketplaces are the grifters who built them and convinced teachers to paywall the instructional materials that could otherwise form a commons.

Like I said, I've got a completely overfull plate, but if I found myself at loose ends, trying to find a project to devote the rest of my life to, I'd be pitching funders on building a national, open access portal to build an educational commons.

It may be a lot to expect teachers to master the intricacies of peer-based co-production tools like Git, but there's already a system like this that K-8 teachers across the country have mastered: Scratch. Scratch is a graphic programming environment for kids, and starting with 2019's Scratch 3.0, the primary way to access it is via an in-browser version that's hosted at scratch.mit.edu.

Scratch's online version is basically a kid- (and teacher-)friendly version of Github. Find a project you like, make a copy in your own workspace, and then mod it to suit your own needs. The system keeps track of the lineage of different projects and makes it easy for Scratch users to find, adapt, and share their own projects. The wild popularity of this system tells us that this model for a managed digital commons for an educational audience is eminently achievable.

So when students are being asked to study the rhythm of text by counting the numbers of words in the sentences of important speeches, they could supplement that very boring exercise by listening to and analyzing contemporary election speeches, or rap lyrics, or viral influencer videos. Different teachers could fork these units to swap in locally appropriate comparitors – and so could students!

Students could be given extra credit for identifying additional materials that slot into existing curricular projects – Tiktok videos, new chart-topping songs, passages from hot YA novels. These, too, could go into the commons.

This would enlist students in developing and thinking critically about their curriculum, whereas today, these activities are often off-limits to students. For example, my kid's math teachers don't hand back their quizzes after they're graded. The teachers only have one set of quizzes per unit, and letting the kids hold onto them would leak an answer-key for the next batch of test-takers.

I can't imagine learning math this way. "You got three questions wrong but I won't let you see them" is no way to help a student focus on the right areas to improve their understanding.

But there's no reason that math teachers in a commons built around the (unfortunately) rigid procession of concepts and testing couldn't generate procedural quizzes, specified with a simple programming language. These tests could even be automatically graded, and produce classroom stats on which concepts the whole class is struggling with. Each quiz would be different, but cover the same ground.

When I help my kid with her homework, we often find disorganized and scattered elements of this system – a teacher might post extensive notes on teaching a specific unit. A publisher might produce a classroom guide that connects a book to specific parts of the common core. But these are scattered across the web, and they aren't keyed to the specific, standard components of common core and AP.

This is a standardized system that is all costs, no benefits. It has no "architecture of participation" that lets teachers, students, parents, practitioners and even commercial publishers collaborate to produce a commons that all may share and improve upon.

In an ideal world, we'd get rid of standardization in education, pay teachers well, give them the additional time they needed to prepare exciting and relevant curriculum, and fund all our schools based on need, not parents' income.

But in the meanwhile, we could be making lemonade of out lemons. If we're going to have standardization, we should at least have the collaboration standards enable.

I'm Kickstarting the audiobook for The Bezzle, the sequel to Red Team Blues, narrated by @wilwheaton! You can pre-order the audiobook and ebook, DRM free, as well as the hardcover, signed or unsigned. There's also bundles with Red Team Blues in ebook, audio or paperback.

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

https://pluralistic.net/2024/01/16/flexibility-in-the-margins/#a-commons

[comicaurora]

In the latest trope talk you used Odo as part of your examples. I think You've talked about Star Trek: The Next Generation before but not Deep Space Nine and I just had some questions about what you thought about the show.

What did you most/least enjoy about the series?

What did you think of DS9's syndicated episodes compared to contemporary trek's (TNG, VOY) episodic nature?

How do you feel about the Dominion storyline as a whole? Did you feel like it went against Star Trek's utopian future?

Which characters stood out to you the most/had the most engaging development?

What do you think gagh tastes like?

Any other thoughts about the series?

Oh man, DS9.

I have this very consistent pattern of thinking that the star trek I have most recently watched is the best star trek. When I watched TNG it was the best because of its standout episodes that let Patrick Stewart and Brent Spiner show off. Then when I watched Voyager it was the best because Janeway was incredible and 7 of 9's arc was a beautiful iteration on the "inhuman character explores humanity" star trek trope. Then when I got to DS9 I was like "Oh, so this is what actually good Star Trek looks like." I do think I'm actually right this time, though.

I think they really took advantage of how different the core premise of the show was from previous Star Treks. Because the setting was very consistent, the episodic variations on the formula weren't dedicated to seeking out Weird New Shit, but to focusing on the characters and their dynamics with one another. Correspondingly I think the best thing in the show is the character writing and how everyone's arcs are built up. This was something I think they were building towards with the previous series; TNG would occasionally have character-focused episodes, but for the most part everybody on the ship operated like a well-oiled machine, inputting the Weird Thing Of The Week and outputting a solution. Voyager destabilized the formula by yeeting the heroes halfway across the galaxy and well outside the safe confines of federation space, so you got a lot more opportunities for drama caused by limited supplies or existential despair, and a lot more character-driven conundrums without clean or flawless solutions. DS9 is kind of the apotheosis of this shift away from "seek out new life and new civilizations, boldly go etc etc" because instead of our heroes briefly interacting with Bajor and then fucking off into the end credits, they're sitting right on top of a planet undergoing tumultuous social restructuring after the end of a long and horrible military occupation, and they're there for 7 seasons. Because they aren't following an adventure-of-the-week formula, absolutely everything they do has consequences they have to deal with later down the line, and that lends itself very well to longform character arcs.

I liked the Dominion storyline well enough, and I think the existence of an evil space empire to fight doesn't preclude the Federation being a utopia. Utopias are internally perfect systems, not worlds that have absolutely no conflict. I think the part of DS9 that does undercut the utopia is the whole thing with Section 31, but I think that's part of a very intentional move on the writers' part to highlight that Section 31 is not as necessary as they think they are, and that doing all this stuff unethically is a moral concession and a shortcut that demeans the principles of the Federation. That's part of why I like that they serve as a nemesis to Doctor Bashir, who has very personal reasons to despise the idea of taking the easy way out.

Character-wise, I have very predictable favs. Jadzia Dax is fascinating to me, and I love the way they play with her past lives and centuries of experience to create this very layered character packed with plothooks. Also I have very simple tastes, and "woman fills narrative Man Role trope and nobody is weird about it" is an itch I so rarely get scratched despite how not complicated it is. Jadzia gets to be a swashbuckling romantic hero with a tragic starcrossed lover; she gets to be a wise yet cheerful mentor to Captain Sisko; she gets to be a noble warrior honoring debts from a lifetime ago. And I adore how her dynamic with Sisko plays out over the seasons - another completely uncomplicated trope I so rarely get to enjoy, male and female leads who are profoundly ride-or-die for one another and have absolutely no interest in making out. I am still so mad about how Jadzia gets iced, but that doesn't mean I don't like Ezri, and there is something very beautiful about how when she gets Dax'd and her existence becomes an absolute mess of confusion and conflicting memories and she doesn't even know who she is anymore, her single point of stability is Sisko.

That said, Garak is probably my overall fav. The man is an absolute drama hound and since he's not technically main cast it's a rare treat to get him focused on. He is so much fun on a rewatch when you can see exactly when and how he's lying and when he's telling the truth in a way that everyone thinks is lying, and what I think is most interesting about him is how absolutely everybody else on the station has him figured out. There's this "I know he knows I know they know" loop underlying almost every interaction. Everyone knows he's a spy, he knows everyone knows, and they're all just vibing anyway. It's like his entire character is built on telling the truth in a way that sounds like a lie, to the point where it always manages to surprise people when he does something absolutely ruthless. He's been saying he's a bad guy the whole time! People seem to keep forgetting!

Also, fun fact, the very first chunk of DS9 I caught was the back half of the episode "The Wire", and when I was mentioning this to my dad, I was like "yeah I don't remember their names but these two guys seemed extremely married-" and he immediately went "oh, Garak and the doctor?" so that's very telling I think

[sumikatt]

(Has alt text.)

AI has human error because it is trained on “human error and inspiration”. There are models trained on specifically curated collections with images the trainer thought “looks good”, like Furry or Anime or Concept Art or Photorealistic style models. There’s that “human touch”, I suppose. These models do not make themselves, they are made by human programmers and hobbyists.

The issue is the consent of the human artists that programmers make models of. The issue—as this person did correctly identify—is capitalism, and companies profiting off of other people’s work. Not the technology itself.

I said in an earlier post that it’s like Adobe and Photoshop. I hate Adobe’s greedy practices and I think they’re evil scumbags, but there’s nothing inherently wrong or immoral with using Photoshop as a tool.

There are AI models trained solely off of Creative Commons and public domain images. There are AI models artists train themselves, of their own work (I'm currently trying to do this myself). Are those models more “pure” than general AI models that used internet scrapers and the Internet Archive to copy copyrighted works?

I showed the process of Stable Diffusion de-noising in my comic but I didn’t make it totally clear, because I covered most of it with text lol. Here’s what that looks like: the follow image is generated in 30 steps, with the progress being shown every 5 steps. Model used is Counterfeit V3.0.

Parts aren’t copy pasted wholesale like photobashing or kitbashing (which is how most people probably think is how generative AI works), they are predicted. Yes, a general model can copy a particular artist’s style. It can make errors in copying, though, and you end up with crossed eyes and strange proportions. Sometimes you can barely tell it was made by a machine, if the prompter is diligent enough and bothers to overpaint or redo the weird areas.

I was terrified and conflicted when I had first used Stable Diffusion "seriously" on my own laptop, and I spent hours prompting, generating, and studying its outputs. I went to school for art and have a degree, and I felt threatened.

I was also mentored by a concept artist, who has been in the entertainment/games industry for years, who seemed relatively unbothered by AI, compared to very vocal artists on Twitter and Tumblr. It's just another tool: he said it's "just like Pinterest". He seemed confident that he wouldn't be replaced by AI image generation at all.

His words, plus actually learning about how image generation works, plus the attacks and lawsuits against the Internet Archive, made me think of "AI art" differently: that it isn't the end of the world at all, and that lobbying for stricter copyright laws because of how people think AI image gen works would just hurt smaller artists and fanartists.

My art has probably already been used for training some model, somewhere--especially since I used to post on DeviantArt and ArtStation. Or maybe some kid out there has traced my work, or copied my fursona or whatever. Both of those scenarios don't really affect me in any direct way. I suppose I can say I'm "losing profits", like a corporation, but I don't... really care about that part. But I definitely care about art and allowing people the ability to express themselves, even if it isn't "original".

[geopsych]

re: the tumblr ai stuff, please don’t wipe your blog!! your blog has been so important to me and many others as a place of authentic light and beauty and i would hate to lose it forever 💕

there is a way to download the contents of a tumblr blog (it’s in settings, i don’t remember rn, but i’ll find it if you need it) maybe you could upload to another site or a personal site?

i know this is very serious, and i hate how we are unwillingly contributing to synthetic art, but the world would be poorer for me without your pictures <3

Thank you. Your words mean a lot to me.

This is a dilemma for me. I have loved doing this blog and going out to look for pictures and interesting things to bring here has given me motivation and meaning through years of struggle with depression and several kinds of grief. Going out to look for pictures has put me in situations where I have seen incredible beauty, much of which I never really managed to capture. Also, the many warm and kind messages I've received from people all over the world have given me heart and made me feel less meaningless as a person and more connected. Sometimes I've been criticized for buying the checkmarks and giving money to Tumblr but I wanted to do what I could because Tumblr has been my one happy and safe place online. But now this. To me AI in relation to creativity is just a way for well-to-do but untalented people, the proverbial tech bros, to profit from other people's hard work and creativity. It has no redeeming value in relation to creativity and is actively harmful to artists of all kinds. <trying to figure out how to put a read more link here> I don't even count myself among the real creatives, artists and writers and others who have worked hard and put years into honing their crafts, into learning to translate their hearts and unique spirits into their creative expression. I just see beautiful things and take pictures of them. But it would still make me sick to see AI works based on my pictures, on these times and places that have meant so much to me. Recently I saw a set of cat 'photos' on here that everyone was reblogging and exclaiming over but that to me seemed to just be AI art that was more convincing than most. As time goes on more and more output of AI is going to be almost indistinguishable from real works and unscrupulous people will pass them off as real, getting credit for what was actually created by others. Whether they profit from them becomes almost irrelevant at that point because what's worse is that we will have less and less sense of what is real. And as some have pointed out AI will now also be scraping from AI, muddying the waters further from here on in. This is an apocalypse of sorts, an apocalypse of creativity, ultimately likely to kill the joy of artistic endeavor for many who would otherwise produced brilliant, beautiful, funny, and/or shockingly original things. I'm still parsing and dissecting my thoughts and feelings about what Tumblr has done and how to react. Staying and leaving my blog up feels like consent. I am not confident in the integrity of anyone connected with scraping sites for AI. I'm not convinced that a little toggle in settings is going to make much of a difference in the long run. On the other hand I like posting here and I have received enough messages over the years to know that my blog is a positive influence on some lives. I was looking forward to May and June and posting pictures of the incredible beauty of eastern Pennsylvania in those months. And I was planning on making a side blog for posting some poetry I've been working on. It will break my heart to leave.

I haven't decided yet. Believe it or not this whole thing has given me awful physical symptoms. I'll let you know when I decide. Thank you again for your kind and lovely note!

[athanasius-symposium-of-writings]

The Economic Difference Between The Miner and Mine Owner's Daughter

Based of this ask @anastasiablossomlove

Rated Explicit | Warning: period typical sexism

Ao3

Chapter Two

The world will not change if change does not happen from the top!

Your father is wealthy, as a mining owner with some oil stocks, he has money and power. As such, he made sure you wanted for nothing. You are his little girl, his sunshine, a gift your mother left before her death. You love your father, a humble creature unlike most old money children, you only want his love and time when he can spare it.

Outside of business, you are the only thing he cares about. Maybe even possessive given how he controls who you interact with, when you can go out, and now. Now, as you are of age; a beautiful young woman who society believes should be married off, your father has selected a fine young man to court you.

He is a pig! A selfish prick! If there was a ditch nearby, you would push him in it!

“Let him go.” Your voice is loud, foreman-level loud, as your idiot fiancee believes encouraging competition between the miners will boost output. Output being coal mined. “Get back to your posts!” The other miners stared as if in disbelief that this woman was ordering them around.

“Honey, come now,” You glare at the peacock, “Let the boys let out some steam.”

“By beating each other to near-death?! Are you a fool?” You shake your head, “If they can't move, they can't work, if they can't work,” Stabbing the head of your hand fan into that ugly clean suit of your fiancee, “No coal. And I do not have to explain any further what happens when there's no coal.”

Most of the old miners can share many stories about the Mine Owner's daughter. The tomboy who was willing to pick up a pickaxe and mine with workers.

Your father would quickly scold you but cave in when you relentlessly asked him to teach you the business.

Paperwork, counting the money, and many other things.

You know this company like the back of your own hand.

Thus why you are territorial about it.

The man who you will refuse to marry is upstaged most disrespectfully by a woman putting him in his place. He knows how this looks, the societal sexism showing its ugly face as he yells at you about your place.

“Then our arrangement is over.” Breaking the fan he gave you as a gift and rolling up your sleeves. “Help me take him to the infirmary!” Ignoring the spoiled brat and giving your attention to the miner who was beaten. Another miner helps you and one of the other miner tells your former fiancee to leave.

His name is Norton Campbell, he is slightly older than you, he works the mine because his father worked the mine. The debt of the father falls upon the son, an all too common way to get workers.

You met him once while sneaking a visit over to the mining site. The workers travel wherever the coal appears. The conditions are always horrible, most of these workers do not get to see past their forties.

The world will not change if change does not happen from the top!

You heard those words from a politician, a person speaking up for the workers. If only the rich would listen… Father says it is a waste of time, that the workers will only demand more and not work for even half of what they take.

When you look at the resting man on the cot, a scar on his face from all too common accidents in the mine, you see a man who works for less than anything he is given.

You know all this because you have seen and worked on all of the payroll for each and every miner in this company.

“Miss,” An old man, the doctor here, “Your father just arrived.”

You groan as you lean against the old wooden chair, “God above…” He is going to be very cross about what happened between the brat and yourself. Cross but he will agree when you tell him the facts. “Thank you.” Smiling at the doctor. “Here.” Giving him a few coins, “Tell your wife I hope to see her soon.”

You are generous. None of the workers take your money without doing something to earn it, pride maybe? In doing so you have learned a lot. Most of the old workers are a part of your heart. You care about them. When they pass on, you send the families (if they have any) a care package and pay for the funerals.

It is the least you can do…

If only you could change things…

He is tall, with some muscle on him but malnutrition, a dark scar on the left side of his face, and his eyes lack the light of life in them. His name is Norton Campbell, you address him as Mr. Campbell. He is the youngest miner here, his father was a worker here before he became ill. The other miners, a group of four or five, harass Mr. Campbell, especially on paydays.

Competition makes revenue, you glare at papers on your father's desk. That statement works for not allowing monopolies in business! That does not work when miners are willing to kill one another for some scraps!

Suddenly you do not want to eat the soup given to you. Soup to keep you warm on this winter night.

Then an idea pops into your head! Why not give this to the miner— Norton, it would keep him warm!

In your walks among the workers, you noticed Norton often (too often to the point of unhealthy) works overtime. Often he is doing twenty-four-hour shifts with only three hours to sleep before the next shift.

Again, you see the paperwork.

So, a bowl of soup should help! Yes, you know he probably won't take it from you given how you are literally the daughter of the man keeping him in debt, but you have to try!

So tonight, dark and cold like coal, you put on your cloak and grab the tray with soup, bread, and oranges.

You are careful not to let anyone see you leave the cabin and especially careful not to let any of the other miners see you sneak into the mines.

A few lights help guide you towards the sound of iron hitting rock, the sound echoing until you are at the source. There he stands working with only an acetylene mining lamp on his hat to light his path.

“Mr. Campbell?” He stops at the sound of your voice, “I uh,” You do not need the light to know the moment he looks at you the glare in his eyes is like a thousand knives. “Here. For you.” Placing the tray down as if you were leaving an offering to a lion.

He stares at you and then returns to work.

You understand, you truly do. So you leave, going back to the cabin… Here it is warm and fresh air, with clean linen and a bed to sleep in. Tomorrow you will wake up after the miners, you will do no backbreaking work… You resume living your privileged life.

But when you leave the cabin, you see the tray you left for Mr. Campbell empty save for the dishes.

[starsworldd]

astro observations part 6

i am back!! please take with a grain of salt per usual. to all my people finishing up ap exam week hope you still have some life left in ya and know that i support you❤️ i only have one ap exam left!!! woo hoo🥳

✢ while many people on here say that cancer risings look like 🌝 in all honesty it depends a lot on their moon sign like everything else with a cancer rising😭

✢ venus in the chart shows where we express our harmonic side the easiest. it may show where we sacrifice bold, assertive energy in exchange for contentment and satisfaction with the people around us or the things (physical or non-physical) around us. venus represents ease

✢ 6th house placements feel restricted often and may feel as though the everyday routines they complete lack a purpose to the bigger cause. although this is very much so a purposeful house, this house also does highlight repetition and with so much repetition these placements can easily feel as though they’re stuck in an ever-perpetuating cycle of the same exact thing everyday — coming from a 6th house sun ☀️

✢ 6th house placements especially sun are also really good at community service, they will put their heart and soul into that stuff

✢ virgo placements get along with saggitarius placements. same with virgo and scorpio

✢ somebody mentioned saggitarius and scorpio both being signs of transformation not just scorpio and i could not agree more. saggitarius being ruled by jupiter wants to expand and make things bigger. making something that was once limited to something large takes transformation and change does it not?

✢ water and fire signs are the 2 sides of the same coin in my opinion. i think the majority of people think that fire energy is too much for water energy, but water energy can be just as overwhelming as fire energy. they both prioritize their emotions and intuition. but people paint water signs so passively and as if they lack confidence which is not necessarily true. fire expels their emotion and intuition through action. water often expels their emotion and intuition internally or metaphysically. this doesn’t make water less motivated, both fire and water are equally motivated. i would say that water is motivated by a bigger purpose or sacrifice. but fire is motivated by feeling and power. but the main takeaway is that water and fire are both intuitive and emotional. just different outputs!

✢ mars conjunct venus in the natal chart often points to some sort of artistic talent, songwriting, performing, singing, etc…

✢ people with both mars and venus in earth signs are very attractive. earth being physical and associated with touch, mars and venus being the feminine and the masculine energy…you get the point

✢ virgo venus and scorpio mars people are the real heartthrobs around here

✢ scorpio is so similar to fire energy it’s so true. scorpio is fire energy but somebody put a dampener in their room or something like that

✢ scorpio placements are good at turning pain into power. i think this is why people often associate scorpio placements with fame or high professional positions

✢ gemini give off the color yellow to me 💛

✢ libra moons have an amazing taste in fashion

✢ mercury retrograde people are really creative

✢ fixed mars people are so attractive im not really sure why but they just are (to me at least). they can also be good dancers especially taurus and leo.

✢ i went on a date with a guy who had an aquarius stellium and boy was he boring…standing out this, standing out that, yes those things can be true but aquarius represents society and the “audience”, and in these contexts people can appear the same from one another (not all aquarius people are boring just offering a different pov bc people always saying aquarius is different and unique from the rest)

✢ jupiter 5th house people have an elite sense of humor

✢ capricorn placements and having naturally good teeth

✢ jupiter in the 6th house is such a blessed placement imo. it’s giving “everyday is a new adventure” 💫

hope you enjoyed!

[toxicanonymity]

Hey, this person has directly credited you as their ideas for their character bots

https://poe.com/pedroxo

unauthorized AI Bots of fics

Thank you everyone who kindly let me know. I did not give permission. From what I saw, they built >25 bots using content directly from my fics (screenshots under the cut). They also used others to various degrees.

Listen, I strongly relate to the desire to talk to these characters - I've said it before. I appreciate how invested someone must be to go to all this effort, and I appreciate the credit. But it's not right and I'm not comfortable with it. You may not realize what it feels like to the writer. It feels like a violation.

Unfortunately, this wasn't the first incident for me. Someone once made a bot of my fic 4 days after I publicly said not to in response to an ask. I didn't find out until it had almost 1k "chats" and you'll see I use that term very loosely under the cut.

I've said don't do this, and it's in my masterlist. I've even shared my anxiety about being so slow to update that people take matters into their own hands. I'm not really sure what else to say. I'm tired.

Please don't do this. And when you see chatbots built on fics, please alert the writers.

Note: The bots are down. I don't want the person to be harassed - i think that's obvious based on my tone from the start.

Beyond these, there were more bots from night walks, slasher, and stepdad, ones from Raider and Speakeasy and even a few from hypotheticals I published like when stepdad goes to jail for indecent exposure or when you aren't getting wet for raider joel.

Night Walks: Original, Soaked

Left in Lincoln pt. 1; jalbird

Slasher: Midnight Tow, Stop Playing

Stepdad: Clock, Ring Doorbell

Sorry I was too overwhelmed to do the IMG text on each of these but it's basically just snippets from the works listed.

After being contacted, the person copied and pasted a message to multiple writers saying they were sorry, didn't know what they were doing, were deactivating their acct. They asked to spread their message, and said have an amazing day/night.

------

Past Incident

IMGs: 1) I answered an ask August 16 saying no. The asker had "offered" to credit me. 2) August 20, someone made a bot without credit. This is worse imo and suggests trying to hide their actions.

I told a lot of people about this, but it was an isolated bot unlike the profile discovered 2/23.

IMG: comparison of left in lincoln text to the bot.IMG: A seven paragraph narrative bot output. Obviously failed my test if you've read the fic.

-----

ANYWAY

If you're not already on ao3, I recommend signing up. This isn't a threat to leave, but I may not put everything on Tumblr forever. My AO3 profile.

Edit: I like tumblr because I like answering lore and questions and getting thots, plus my blog is very multimedia with many awesome contributions from different people. Please help keep it that way, because your interaction is why I'm here. I value everyone's engagement here.

For many reasons, I'm less and less comfortable with Tumblr being the primary home for all my writing. I'm aware people can still take things from AO3, but not as easily. I'm trying to be nice by preemptively suggesting people sign up on AO3 if they want to read everything. If it's not worth the trouble to you, just don't do it.

----

Ty very much to those who have been supportive and checked on me. It means a lot. I will admit this made me put on a hat and cry in public lol.

feel free to rb this because idk if everyone realizes the extent of this or how jarring it can look.

[mamoonde]

i really really really love the idea of wei wuxian revolutionizing modern cultivation over breakfast and conceptualizing these different theories simultaneously because the adhd brain has no brakes and the only reason it took him a decade to publish all these ideas was because he could not stick to a single train of thought long enough to finish (verbalizing) it, let alone put it down on paper coherently.

the only reason he even got to publishing them eventually (and enrolling to cultivation theory grad program to get on that track) was because one morning, his undergrad thesis advisor, lan qiren, finally got fed up and sat him down for an early morning progress check-in because it was midterm season and wei wuxian still hadn't decided on a topic.

wei wuxian, fueled by an unhealthy amount of redbull and three all-nighters, finally word vomits all his 'convoluted' ideas which he'd thought were uselessly obvious and redundant (because he's gone over these like a bajillion times, it's very plain-as-day to him, so he probably just hasn't read the articles that say these exact things).

lan qiren, teacup frozen halfway to his mouth: ...first of all, i only understood half of how you got to these conclusions, which only means they are indeed too convoluted and will need to be pared down; secondly: you have never mentioned any of these ideas before. why.

wei wuxian: oh. haven't i? oh well, i just thought, xyz, because, obviously, abcde. which is really what the 2 centuries old law on ghjkl was alluding to, right? and so, logically, xyz.

lan qiren: [mind blown, screaming, good gods this is the same child who's always tardy and spent freshman year pulling on the metaphorical pigtails of my straight-laced nephew?!?!??!??!?!] ..again, why...how have you never even spoken or submitted these ideas?

wei wuxian: because!!! they're so obvious!! surely, it's been published somewhere already? i can't be the only one to connect these dots, surely??

lan qiren: incredibly, you are. no one else has even thought to question tradition nor pursued more thoughts on the law of ghjkl, with half as much...sound arguments as you seem to have. in the past century, the focus of modern cultivation has tended towards practical uses and tools, some fine-tuning, perhaps. not entirely new theories.

wei wuxian: huh....

lan qiren, sighing, feeling a migraine: your problem with your thesis is not a lack of focus or ingenuity, but likely to be more a lack of recent, evidentiary sources. you will need to become very familiar with the university archives and dig deep for sources that will back up every argument you make.

he jots down notes on a paper. "you will also need to strictly adhere to the structure and methodology of these articles, especially given how radical your thesis will be. if you are diligent enough, you may just be able to submit your thesis without too much of a delay." he slides the list of materials to a gaping wei wuxian. "depending on your output then, we can discuss the possibility of submitting this for peer review."

"peer review." wei wuxian repeats. "as in, that thing where some uppity committee of old coots put their stamp of approval for it to become the reading materials of undergrads like me. you're joking."

lan qiren chooses to ignore the sentiment about peer review committees being uppity old coots, especially considering how he can't completely deny it on account of some of his colleagues, but also as a member said peer review committee, he isn't exactly pleased about being lumped in the same category.

wei wuxian backtracks at his unamused look. "right, you're not joking, of course you're not." he slowly inches the list towards himself. "right, yes, i guess i'll uh, get to it then. ok bye."

----

idk, just, waves hand at wei wuxian candidly explaining new modern cultivation theories over cheerios at 2 in the afternoon to lwj who's trying to help him structure his grad thesis, getting mind blow dick hard at how this messy genius who's talking with his mouth full of half eaten cereal is the object of his affection....

wwx: --oh, oops, your highlighter fell

lwj: mn

wwx: ...aren't you gonna get that?

lwj: it's fine; i'll pick it up later. finish your thought.

wwx: right... i'll pick it up for you!

lwj, fighting for his life, trying to think unsexy thoughts: NO! sit. finish your meal, and then your thought.

[jellazticious]

“You can’t rush art”

I think everybody can recall the quote from Toy Story 2. From the most satisfying part of the movie where we see a montage of Woody getting restored by a toy maker. It’s one of my favourites too, I absolutely loved looking at the different procedures used to fix a single toy. The toymaker’s precision and care were found mesmerizing by everyone. As a multi-hatted artist, one that can draw, sculpt, animate, and write, I can say that it’s spot on that there’s so much to do for a single piece of work. HOOO boy, you should see how me and Beefy are organizing Cursed to Charm, there’s so much.

For the upcoming webcomic, we design characters, give each and every one of them their stand-alone story, design different clothes, create the map, draw renders and posters, polish scripts for the episodes, plan to program the comic’s own website, make the backgrounds eventually, etc. To people who aren’t artists or take art for granted, to them, art is stroking a paper using a pen and BAM instant masterpiece. No no, it’s more than that.

Another thing I’d like to say about the comic is that the progress is very slow yet very fruitful because of the time taken. Me and my co-author came up with the idea at late November, which makes the comic four months old now. However, with all that time passed, we have already finalized the list of nine episodes of season one. We have also written seven out of nine summaries from that season before actually writing the dialogue in detail. We have a rough four seasons worth of story progression in the span of four months. Nyeh, excuse the little ramble about CtC, I’m just giving insight of how much should be done for the production of anything which leads us to the next point.

Art production in general.

Movies, animation, shows, video games, books, comics etc etc

All of these are part of art, some people would deny because it isn’t sophisticated like they’re lead to believe art is supposed to be. Art is literally just creation man, can’t get any simpler than that 😩 if you made something, then you made something woohoo! Congratulations you made art, cooking included. It came free with your fucking humanity.

Anyway, just like the webcomic, every single one of these listed also have a set of different procedures that will piece together the final output.

Let’s take Disney movies as a specific example, I want to talk about something real quick.

So one time, I was watching Tarzan with my parents and we stuck around for the end credits. My mom pointed out the animators are divided into sections and there’s so much names on them. There are different teams of animators for each character and these teams are divided in two for the storyboarders and the clean up artists. When the credits rolled a bit more, it showed that the background artists and colorists also have their own sections too. There’s so much people working on different body parts of a movie. I got the habit of reading end credits of every movie I watch, animated or live action, then I would compare the credits of old and new movies. Boy, let me tell you that the work space on old movies are FILLED compared to newer movies. One thing I noticed about Disney movies although, is that the old movies have more sections compared to new ones. The major difference of old Disney and new Disney are the length of the credits and the time gap of the movies. I’m really not trusting the way new movies have way shorter end credits while the publish time of new movies are getting narrower and narrower. Before the 2000s, movies usually come out twice a year and sometimes there’s a two-year hiatus before the next batch of movies are published. Now there’s at least two or three movies that publish yearly while also releasing a bunch of shows in the middle of it. I really don’t understand business talk with the way it sacrifices quality over quantity. Like I get having money is great and all but what’s the use of hoarding it? Especially when there’s so much news of people about to be in poverty and mass layoffs. Why should companies earn money if they’re not going to redistribute it back to the economy at all? This is a little off topic but I want to point it out that people in the 80s used to buy whole houses by being a janitor but nowadays people could barely afford a one room apartment even with three jobs. The Simpsons is an example of this because it was set in the 90s and the family is constantly reminded of how “poor” they are. They even created an episode that talks about the same job that supported people’s fathers will no longer support you nowadays (Poorhouse Rock ep22 s33). It’s fishy and I’m salty about it especially because I hear so much people complaining about how they’re not being given a chance to work. Anywho! Let’s go back to art.

I’m just spitballing my thoughts here but somehow they’re connecting either way. All I’m trying to say is that for the people who care so much about the quality of art, it’s noticeable that they get downgraded, not just by the look but by the way they’re written.

Example.

Clone High.

Jesus Christ, the new show is a nightmare and an insult to the original Clone High. The difference is clear with this one. The original Clone High was heavy satire of every single high school trope used in shows and movies. Every single character was meant to have one personality and that personality is the butt of the joke. The original did not care about making the characters appealing because the appeal is found in the way they interact, they clash so much and a lot of them are idiots. The writing is funny because the dialogue flows so easily unlike the renewal. The renewed Clone High takes itself too seriously and it tries too hard to be relevant. It’s funny to me that fans can draw the original’s art style more accurately than the animators hired. What’s even more frustrating is that concept art was released from the art head and the concept art looked way better than what they decided on the final designs. Other than the art style that tries to be marketable, the writing is insufferable with the way they try to be “relatable” without understanding why the original jokes were funny to begin with.

Now we’re all familiar with this cheap tactic of using the title of successful franchises to grab clicks and views. It’s every live action Disney film, it happened to Scooby Doo, Marvel shows, FNAF, some Cartoon Network shows, Megamind, and now even Kung Fu Panda. Basically MILKING. It would have been better if the productions TRIED to understand the original’s intentions which they forgot about. They ended up being disappointing at best and soulless at worst. I won’t be explaining much cuz I’ve already reached the minimum word count lmao. I’m just rambling here, I better not see anyone interrogate me in asks or replies. ANYWAY, I’m gonna get to the point real quick.

Back to the quote at the start of the post, people tend to forget that. Art is a skill, not a button people press and it gives you pretty pictures or videos. Art is a job and an effort. While art is subjective and it differs from person to person, one thing for certain is that art that is made ingenuinely will never be better than art that is made because the artist loves art. This is why the Tom & Jerry reboots with the lineless art style even if they had a storyboard artist who understood the cartoon wackiness (which were discarded for a “cleaner” and faster style). This is why it’s so frustrating to see concept art of movies which have more appeal than the final 3d models. This is why FNAF Security Breach was nearly unplayable.

Because they all rushed art.

They rushed in favour of what is marketable, no matter how unappealing it is. Everything could have been better, some final products are good, but all of them could have been better. As good as what were released pre 2010s when production had a passion. You can’t spell heart without art.

I’m just really passionate about art in any form since it’s everything that created me too. I will not be here at this point in time if it weren’t for me learning that there’s so much beauty in the world if you could just squint and appreciate why that’s so. I’m defined by my works and it only hurts and infuriates me that people who have the ability and accessibility to create better art than I do waste it for their personal gain or selfish intentions. Everyone could be a better person because of art just as it did to me. Again, it came to us the moment we’re born, art isn’t just a pretty picture, it’s everything we create out of love, passion, time, and effort.

But really, to the wise words of Chef Saltbaker, “like any good bake, heart and soul is the secret ingredient”

You can’t rush art.

[moonlight-tmd]

Bumblebee having an electric ability without mods and he’s just never told his team because outliers weren’t always seen as good & so he never uses it publicly.

One day his stingers get yanked out and his team is hurt and so he HAS to use it.

He hasn’t used it in so long he forgot how powerful it could be and accidentally knocked out himself and the threat and his team because he lost control.

Blitzbee - he hints at it to Blitz because decepticons were more open about outliers & one day he shows blitz who helps him learn how to control it.

Prowlbee - Bee doesn’t give a single hint and prowl is so hurt bee didn’t feel he could trust him but he understands because he’s seen what outliers went through and Ratchet is so hurt because his grandson ( self declared ) didn’t slip him the outlier info off record while Optimus is such a mom and worrying for bee.

Bulkhead figured it out when he saw bee get electrocuted one day on Earth but didn’t even seem phased beyond surprised and just brushed it off.

Ok i kinda don't know what you're on about but i think i see it?

To simplify: Bee can manipulate electricity as a feat, just like Icy and Hotheat can control Ice/Fire respectively. And those that can do that are basically outcasted from society for being a threat/different.

Bee may have been forged defected but lemme tell ya, those wiring mishaps actually made him tougher to crack. The electricity just didn't flow right like with normal bots therefore he couldn't really take shock damage. He'd withstand high voltages with almost no harm.

Of course, being the street-raised bot he knew the risks of standing out so he tried his best to hide it. I think he might have accidentally electrocuted someone to death when he was a fresh runaway from the carequarters. He never knew they died, just that one moment someone was trying to hurt him and the next they were laying on the ground motionless and he ran as fast as he could.

He knew electricity could hurt so he tried his best to pretend being hurt whenever something zapped him. It was tough getting around trying not to zap anything but once he got the stingers from Ratchet the uncotrolled zapping was slightly more controlled as it had actual output designed to release electric charges.

Team Prime- Bee never told them about his little stunt ability, he thought they would look at him differently if he ever did.

One time some 'con ripped out his stingers and crushed them, Team Prime barely got to Bee to defend him. Ratchet had a lot of fixing to do so Bee was left defenceless for a while. One time when he and some other bot from the team were helping out some citizen, Constructicons wanted to have fun and came to wreck them. It was a close call and the rest of the team got there in time to fight... but something went wrong and the bad guys had advantage after advantage. At some point they were about to finish off Prowl when Bee came out of the forced hiding and latched onto the 'con before letting out the highest voltage electroshock he could muster. Of course it barely missed his teammates as chain reaction went off and knocked out half of the cons and damaged the rest. Somehow they managed to scramble and run away with the carcasses of their unconscious fellas, leaving Team Prime in quite literal shock of what happened.

Optimus was the first to be at Bee's side after noticing the scout laying motionless on the ground. He tried to reach and shake him awake but the moment his servo got close a leftover jolt of electricity zapped him hard, leaving a half-scorched mark.

Bee wakes up in medbay after few hours and is greeted by very worried Team. They ask him about what the heck happened back there and Bee avoids answering until Ratchet yells at him to tell them because it's important (and from that high voltage technically he should be dead lol).

Bee is visibly nervous but gives in and tells them. "So you know how Blitzwing can manipulate ice 'nd fire?"

"Yes- what does that have to do with this??"

"Well,... I can kinda do the same but- with electricity?"

And then he shows them a trick he learned to entertain himself- just making little electric sparks between his servos- when they ask to explain. Now onto reactions-

Optimus: He's still recovering from having his servo temporarily disabled by the leftover discharge, he's very much surprised and then concerned that Bee never told them- he worries about Bee's wellbeing as well as this being a possible threat for everyone if Bee doesn't get full control over it.

Ratchet: Honestly he shouldn't be surprised, the kid had so many electrocuting accidents that ended in no damages he should have connected the dots already. He just wishes the kid would have told him something about it to spare so many hours half-paranoid over how this mech still works after so many stunts that should have killed him.

Bulkhead: Bee told him about nearly everything except the super personal stuff like trauma. He's a little hurt for the lack of trust from his best friend but still finds it cool that Bee has such neat ability.

Sari: She is so heckin happy- Bee can do cool shit and make electronics do his bidding(kinda)! That's so cool! She does get a little spooked if she's too close to said electricity cuz she's been taught about the dangerous side of it.

Prowl: He's very much surprised cuz he didn't think someone else on the team possesed a unique ability like him (the whole hologram duplication and weird telekinesis thing, ex: turning stasis cuffs/electric locks off). He'll be glad to help Bee learn to control this ability. If ProwlBee: Prowl would still be surprised but he'd also be disappointed that Bee never told him when Prowl himself was pretty open about having his unique ability. He understands why Bee might have felt like he shouldn't say anything but he still feels that little bit of hurt inside.

If BlitzBee: Blitz learns about it before the event. Icy was showing him fun ways to play with ice and frost and Bee was so amazed by it he accidentally mentioned wishing he'd be able to do that with his element. Bee was shy about it when Blitzwing asked but he eventually showed him the little entertaining trick i mentioned earlier. It wasn't anything spectacular, he tried his best to keep it as low as possible to not get it out of control, but Blitz was still amazed and excited that his hummel could do something similar to his powers. Of course he teaches Bee how to manipulate element and they have some fun.

I think after the fact Bee can manipulate electricity is out in the open, Bee will definitelly pull some pranks on the others like messing with the lights or turning on/off some non-important machines to annoy them.

It would also make them aware of why the fuck Bee has so much energy all the time- the scout keeps his battery up by touching electronics, he unawarily charges himself via other stuff's batteries/outlet connections. (This explains why his switch/controller keeps dying so soon, huh.)

After being taught how to control his ability he defo drains certain stuff on purpose like, he'd drain stasis cuffs off their power and switch off the forcefield cell the 'cons put him in to hold hostage. Heck he might even drain them off energy if he sticks to them long enough and gets them passed out on the ground. It's also a good way to make someone go to berth when they can't recharge- drain them low enough to enforce the recharge protocol.

Ngl, that kinda sounds like energetic vampire but Bee's all for it. He likes the joke and keeps the play up quite well whenever someone mentions his ability.

[bakuhatsufallinlove]

I love your translation posts, they give great context to some moments! I’ve seen chapter 348 translated with Toga’s confession as almost being narrated by Bakugou but I’ve also seen it translated as a more generic voice. Is there a correct version?

This is a complicated question, so let me put it this way: while there is less uncertainty in Japanese about who is narrating 348, that doesn't mean there is no uncertainty. In general, I think English audiences are responding with much more scrutiny to something that is not particularly notable in Japanese manga.

We don't have a lot of information about the narrator that refers to Izuku in the third-person. "Midoriya Izuku" is not how Izuku narrated the story when his internal voice was dominant, he always used first-person pronouns to tell "the story of how I became the greatest hero."

In the series, there are inner monologues that convey what the characters are thinking in the moment, and then there is "framing narration." Framing narration positions the story in the past tense, implying a future person is relaying this event with more knowledge about its conclusion than the audience has.

Inner monologues have distinct clarity both in visual cues (who is on-screen) and how they speak.

Ochako's inner monologue during 321 is indisputably Ochako; the opening words are placed over her image, and the Japanese audience is already familiar with the fact that Ochako calls Izuku "Deku-kun" and uses the personal pronoun watashi (私), so when she says "we," it's watashitachi (私たち), pluralizing her own pronoun. If this were Shouto's monologue, we would have had Midoriya and orera (俺ら) or oretachi (俺たち) instead. The audience would have understood the distinction, although the visual cue centering Ochako would feel a little odd, like Shouto is looking to her while thinking this.

Framing narration, of course, has little-to-no visual cuing, so we have to rely on speech patterns, and thus end up with subjective interpretation and predictions.

348's framing narrator uses kare (彼) to refer to Izuku as he. This is not a pronoun we have ever seen Katsuki use for him. Katsuki exclusively refers to Izuku in the third-person with aitsu or soitsu (あいつ or そいつ), both of which mean "that guy" in a rude way consistent with his typical speech pattern.

There is the possibility that the audience is supposed to be surprised by the use of "shitty nerd" following the pronoun kare, because the two contradict each other, and "shitty nerd" is put at the end of the sentence like a zinger. This might imply that, sometime in the future, Katsuki starts using kare for Izuku, and that really would be a shocking change, because it is extremely polite and non-confrontational compared to how he normally talks. I don't think that is what is going on, though, for the following reasons:

In manga, framing devices are not always explained or particularly thought of as noteworthy. Some series use a framing device at the beginning, and then completely abandon it by the end. Some series have very inconsistent framing devices, sometimes due to the intense workload of weekly chapter output and sometimes because the author just wants it that way, and they use the inconsistency as a way to be poetic, develop story themes, or conveniently convey information.

English language media, especially in recent years, has much more strict rules and expectations about framing devices. I don't think Japanese audiences are as concerned about who this narrator is because the expectations are different.

That said, from both a writing standpoint and the experience of the audience, Katsuki's words being brought up in the middle of a love confession is not meaningless. The literal identity of the narrator may not be that important in the end, but what the narrator conveys is absolutely still important.

There are a lot of ways you can interpret Katsuki's words being brought up here, but it is undeniably intentional. If he wanted the "nerd" meaning without connecting it to Katsuki, Horikoshi could have just called Izuku an otaku, since that term carries an implication of "indifferent or ignorant to human relationships" in Japan. If this were just about how oblivious Izuku is, he could have said that Izuku 空気を読めない (kuuki wo yomenai, can't read the room).

But he chose the words Katsuki alone uses for Izuku--words that were historically derogatory but, as their relationship has improved, could almost be read as friendly or affectionate.

I personally feel like it is foreshadowing, but we'll have to see how it shakes out!

[comicaurora]

Hi! I'm a big fan of your work. Thanks for taking the time to read this.

 I'm an artist who's been working on a story with a close writer friend of mine since the pandemic. Together we've outlined a webcomic that we're both very excited and passionate about, and it's been a great experience. Late last year we started actually making the comic itself, and a little less than a year later we're 37 pages in. 

I wanted to ask you how you're able to somehow push out three high-quality pages every week? I work full time, and most days I'm too drained when I get home to immediately start working on the comic. Plus all the other stuff I have to take care of to be a functional adult. I'm not even that slow of an artist, but it just doesn't feel like there's enough hours in the day. At my current rate, I get about one page done per week. I'm 24 now, I don't want to be in my 50s still working on this story. Do you have any advice for increasing your output as an artist without completely overwhelming yourself?

Sorry for the wordy question. There's a reason I'm the artist and not the writer.

Oof, that's a tough one!

I mean, to start with, a fundamental difference in our schedules is I don't work full time. Everything I do for a living is very self-scheduled, and I can work far in advance to meet the deadlines I set and take entire days or even weeks off when I need them. Back when I was in college, dealing with outside schedule requirements, I definitely wouldn't have been able to keep up everything I do now.

That said, there are still methods to streamline and speed up the artistic process. I don't know the details of your methods, but I'd recommend sketching and storyboarding larger numbers of pages at a time and finalizing them at a more leisurely pace, rather than taking one page of comic at a time from a total blank to a finalized, polished version. The storyboard can be very basic; many of mine are little more than color-coded scribbles showing the characters and text boxes showing their dialogue. It's just enough to be readable to me so I can go in and edit it for pacing and timing, but it looks like absolute chickenscratch to anyone else. On the production side, that makes it much more feasible for me to work on multiple pages at a time, since I don't need to finish polishing one page before I can start boarding another.

This method can be expanded into a bit of a factory production line, allowing for a two-pronged approach of progress - one for finalizing older pages, the other farther along for storyboarding new ones. And once you have multiple pages done at a time, you can schedule them well in advance, which takes a lot of deadline pressure off and can make it less mentally daunting to work on. This also diversifies the space of things you can work on, depending on your headspace and energy levels - which is a useful option to have when you're wiped from outside responsibilities.

[centrally-unplanned]

I played a few more of Nemlei's (Developer of The Coffin of Andy & Leyley) games to sort of get a feel for their design philosophy a bit (typical Ash behavior, everything's a production history). I played No-Good Noelle & Candy Scabs, and poked around Better Half.

Andy & Leyley is their most ambitious project by a country mile, and a good deal more advanced conceptually. It is also their first RPG Maker game, the rest being pure Ren'py VN projects. This was a very smart choice on their part - they love gore & horror style elements, but in a simple VN those elements are going to be carried, in the main, by dialogue, with the occasional splash art. Its hard for that not to overstay its welcome, or come off as a bit too edgy? You can make it work with real design flexes (Doki Doki Literature Club being a classic example) but that is very high skill (DDLC is famously impressive on the coding side). Meanwhile Andy & Leyley gets miles out of the fact that you-as-player physically do all of the actions, and engage with 'bonus' dialogue from the environment as much as you want. You are extending that welcome via choices you make.

Andy & Leyley also seems like their first project to take place in "our world", even if it's a crapsack alt skin version of it. It is another smart choice, as - typical to the relationship-focused VN genre - Nemlei cares about characters first, and that is where all the time goes in these games. Which means the fantasy settings of say No-Good Noelle are inherently shallow; they don't want to spend time developing it all that much. In A&L all that is presumed *except* the relevant differences, which are way easier to drip-feed. The longer length & RPG elements help with that too ofc. And I think it works a little bit better with the toxic dynamics they are so enamored with; a toxic snow fairy/imp dynamic is like, yeah, they are magic creatures, guess they can do that. Fun, but that isn't going to hit the way a Covid-Quarantine metaphor driving you over the edge is going to.

Of course the art has also evolved and all that too; they started making full games in 2019 it seems, had choppy "generic western cute-horror-anime" aesthetics for a few there, couldn't get "adult" character designs to work for Better Hal & Divelethion, but finally broke the barrier on Andy & Leyley, and committed to a more cohesive style with its own identity to boot.

Btw they have very impressive output for a solo artist who is virtually never charging for these products and doing like no social media promotion. They love the grind for stories, I see who they are in every work and respect them immensely for that.