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ooc-but-stylish · 3 years

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freezedive:

I think I said it in one of your other beautiful posts, but I thought I’d mention it again. All of the ridiculous cutscenes did give us a golden nugget of information on Luna that most of us who are brutally critical of her (like you and me), suspected all along: Luna openly admits to Gentiana that she doesn’t think she has anything to offer Noctis outside of being an oracle. And Gentiana makes it worse by speaking in fancy words by saying some bullshit about her being the oracle is her being human or something and that she is fulfilling her true calling and that is what Noctis needs? Idk but it reeked of emotional manipulation.

I hold little to no regard for Ravus because there’s evidence Luna was being brutally beaten right under his own nose while he was busy being the Emperor’s lapdog thinking it could maybe give him the power to save his sister? The man should have opened his eyes and defended her against the men that kept them jailed

I happened on this reply to roxainn’s post while trying to recapitulate all my other FFXV critical posts and reblogs on the way to making new ones.

Crawling back to find anything about this point, I find that it was posted 3 years ago. But at least I reblogged the reply to it.... and missed that it was literally @ ME. Goddamn did I slack.

But here’s my reply, 3 years late, which should elaborate on where I stand on this.

Yes, the flashback that gets triggered by a random creepy little girl in Tenebrae is about Luna and Gentiana. Somehow the little girl knew about that conversation even though she wasn’t there to witness it first-hand? Or maybe Noctis was imagining what the conversation would be like between Gentiana and Luna off of the vague suggestion from the girl, and it’s just him telling on himself that his imagination of Luna says all that? Otherwise the not-altogether-tinfoil-hat theory says it’s Gentiana in the form of a little girl, telling Noctis something that IMO should piss him off but just makes him sad and guilty because Luna loved him so much, don’t you see. She loved him so much that after wrapping her entire life around him, she’d just want to keep that going for the rest of their lives!

Gentiana opens the conversation with, “At first, the father had mourned the fate of his chosen son. Yet in Tenebrae, the two found solace. It was not the Oracle who assuaged their fears. But the girl…she holds…the true power.”

Then Luna replies, “I have little to offer a king, other than the voice afforded the Oracle. Nevertheless…” She turns to look at the wedding dress. “And—I’m afraid he might find this foolish… But…to be together with Noctis again, even if only for a short while… It…would mean the world to me. I do not seek to guide him, merely to stand beside him.”

The exchange is all types of fucky.

First off, she was twelve. What comfort could she have offered Regis and Noctis? What comfort was she capable of when Sylva was right there, an adult with experience of an Oracle and a personality thanks to a presumable full life not hampered by grooming of the gods?

Second, every other scene of Luna as a child is of her telling Noctis his duty, and that it was her duty to see it through. Did that assuage his fears-- the fears he didn’t have at the time since he never knew the entire meaning of his fate and was being told a saccharine, embellished version of it by Luna right there? Did that comfort Regis, knowing a little girl would also die to protect his son if the gods wanted it, but that she wouldn’t have the will to avert their fates whatsoever?

Third, even she thinks Noctis would think her desire to be with him is foolish. So... was she expecting that Noctis himself didn’t have feelings for her or want to spend time with her of his own volition for reasons outside of her job? She was looking forward to a marriage with no emotional security, where her desires are one-sided and unreciprocated, and the man she cares for think she’s worthless outside of her powers? She would’ve been willing to put herself through that, given a choice?

We know what we know and think what we think, but the fact that this was placed right in the vanilla game and no one thought that was wrong, and instead they doubled down on it in patches, is pathetic on their part.

Moreover, what does The Girl have, that was separate from The Princess and The Oracle? Every facet of her being wrapped around Noctis since age 4. She was nothing but her duty by the time Noctis met her; they had no scenes where they acted as children would. Even supplemental/promotional art for other XV media and related locales cement that. Little Luna serves Little Noctis pastries, she’s not seen eating with him. Luna teaches Noctis how to play piano, she’s not playing with him. Dawn of the Future came out with its own art, and Noctis is afforded the liberty to sit in a chair, and his son(?) sits on his lap, while Luna and her spitting image child(?) are both on their knees, looking up at the dudes.

In most of their art together, Luna and Noctis are either not meeting each other's gazes, she's bending or kneeling to him, or he's supposed to be holding her close but he hover-hands her, or there’s that one time where they took a selfie and the picture was of their Pocket Edition versions. They’re still not looking at each other in that one. And it’s not canon.

Anyway yeah, any conversation Gentiana has with Luna about Noctis is emotional manipulation on Gentiana’s part, but the writers manage just enough to make everyone involved seem creepy and reprehensible in their own way.

In DOTF, Luna has a death soliloquy that confirms she sunk into the water at the end of the game’s Chapter 9, but the soliloquy is about how she was prepared to die even at the age of 12, and she put on a smile and resolved to be strong for Noctis’s sake, so that he wouldn’t remember her having a look of despair. There’s a line there about how she would cry herself to sleep but Gentiana would wipe her tears. Gentiana does nothing else except allow her to cry and wipe her tears afterward, and makes no effort to save her from her fate or at least take her out of terrible situations so that she would cry fewer tears. But there is cut dialogue from the game, and used in the novel, where Gentiana revealed herself as Shiva when Luna was <16 (probably still 12 at the time), when she thought she was being held back from forming the covenants, so there’s that. And Luna still somehow ignored that this meant Shiva allowed Sylva to die, and thanked this useless goddess for her nonexistent generosity.

For whatever reason they had to add a passage where Luna superimposes the image of an eight-year-old Noctis onto the adult version-- quote, "the image of him as a child, burned into my eyelids, overlaps with his now-grown face"-- even though Noctis has canonically sent her photos of him as a teenager (15-16, around the time he met Prompto in high school, see: Brotherhood). Granted, that's a translation from Luna's voice actress reading an excerpt as if it were first person POV. The English version says she sees the child image first, then the adult version is superimposed. Then not much after that there's a passage where Noctis smiles as his child self and it was "that smile she loved that had been in her heart all these years, giving her strength, always and forever".

So she was groomed and turned into a shell since age 4, believes she has no value outside of her job and turned her grooming on a similarly vulnerable child, and her strongest image of him, the one she fell in love with and kept in her heart, is of the helpless boy that promised her the world without knowing the cost. The smile of the carefree boy that didn't know his journey would end with his soul annihilated. It couldn’t have been that hard to have her see an image of him as the 30 year old True King of Light that he would become. At least she'd sound a little less like a weirdo who continually places herself (and is placed by the narrative) as below him, unworthy of him, etc. but also has strong feelings and memories toward a goddamn child.

Re: Ravus: you already got a reply to that, but for real? Ravus was also shafted by the plot and beaten down by terrible, amateur writing. The narrative shits on him as if it’s written by a high schooler or otherwise emotionally arrested adult trying to push a Mary Sue Protagonist. The modus operandi for those stories is that everyone who disagrees with the protagonist in any way has to suffer tremendous humiliation including but not limited to death, because the Protagonist Is Just So Good And Perfect And Always Right.

Nothing Ravus does justifies his treatment in-game or in-fandom like he’s a one-note out-and-out villain who wanted nothing but to kill Noctis and disrespect his sister, to the point where his corpse is defiled multiple times in Chapter 13 and he’s twisted into a perversion of himself that begs to die.

Chapter 13 has Noctis land next to Ravus’s corpse and all his letters to Luna, and Noctis has piss all to say about it, either out loud or to anyone. He looks at the Sword of the Father, glances at Ravus, and without a word takes the Royal Arm and lets the Magitek arm-- still dripping, still gross-- fall onto Ravus’s body and doesn’t even move it.

He had no way of knowing beforehand that Ignis and Gladio knew of Ravus being killed. WE didn't even know they saw security footage until Ch13V2 was added in. Noctis happening on his late fiancée's dead bro sounds, I don’t fucking know, like something you’d want to tell everyone else about later. Along with the letters he wrote evidencing that he intended to return the Sword of the Father to Noctis!

An aside: The Letters from Ravus are just weird to behold; it isn't 100% clear whether Luna ever received all of those letters. She had to have received the first one, at least. But the idea that Ardyn intercepted even one other letter so that Luna never heard from her brother between Tenebrae and Altissia is farfetched. He shouldn’t be able to intercept those messages as if they were delivered conventionally. Luna has a pair of magic space-bending Shiba Inu that send letters instantly across continents. If she’s sparing their use to send Noctis one-liners and stickers but can’t afford that for Ravus to send her discrete updates on Noctis’s status, she’s a piece of shit.

They do meet in Tenebrae as Ravus wanted her to, and they have the conversation where he gets on her case about her “throwing [her] life away” for Noctis. So chances are higher that Ardyn only got a hold of all three letters after Luna received them and no sooner, but then he shouldn’t be tossing letters from Ravus at the dude’s body when it makes more sense for him to toss down letters to Ravus, since the writers wanted to make a point of Ardyn having a vicious streak. It makes way more sense for Ardyn to deprive Ravus of Luna’s writing, then insult him with them post-mortem, unless Ravus’s notes were really all he could acquire, meaning Luna never once wrote back to her brother.

The Doylist explanation is that the writing team sucks and couldn't be assed to think of anything for Luna to say because they didn't think of her at all. The Watsonian explanation is that Luna’s a piece of shit and that tracks with her in Kingsglaive watching her brother burn alive in response to the Ring, but ignoring him and running to Regis’s aid instead, but then the rest of the plot presents her as morally pure through her white clothing and “unconditional, self-abnegating love” for Noctis.

Back to the topic: I don’t know, maybe I’m being old fashioned, but Noctis should’ve given more of a shit that his dropping the Magitek Arm on Ravus’s body was probably what turned him into a mutated abomination begging to die, and he thought so little of Ravus that the dude isn’t even in the glimpse of "people who helped me get this far" in the Beyond. Ravus doesn’t even get a spot to wish Noctis and Luna well on their afterlife wedding, not that it makes any sense for any of them to have words to say since Noctis is already dead, no one was there with them, and none of the bros expressed any sign that they knew that Noctis was bound to get married after his sacrifice (he sure doesn’t mention it in the final campfire scene and that’d be a better place than any). But anyway, Regis is in the Beyond at Noctis’s side even though he never told Noctis a damn thing and still never spoke to him from within the Ring, but Ravus? Nah, he’s the real asshole somehow and doesn’t deserve any recognition whatsoever.

The only other characters I know of that have a remotely similar dynamic to Noctis, Luna, and Ravus (lovers, but the girl has a straight-edge protective brother working for the bad guys) is Nero, Kyrie, and Credo (see: Devil May Cry), but as much as I think the writing in that series is hokey as fuck, at least the writer(s) for DMCs 4 and 5 had enough sense to make the love story simple and based it from a line from Amagasaki City-- “I love you, so I love the city that you love.”-- and opted against portraying Credo as an outright villain because if Nero killed him, Kyrie would resent him for it even though she knew Credo was working for the same Order that threatened her life.

Shouldn’t Noctis care about the shit Luna cares about even if he has no personal investment in it or it’s inconvenient to him? Shouldn’t he care about Tenebrae and its prosperity? or about Ravus? Nah, it’s okay, Noctis doesn’t have to respect Luna’s love for her brother or her kingdom because for all intents and purposes, she doesn’t care for Ravus or for Tenebrae as much as she loves Noctis. Her love for Noctis and her looking forward to the wedding is what matters here.

The yaaaas queen vicious clapback from Kingsglaive!Luna about how Ravus is the Empire’s dog is especially rich coming from her when she’s fellating the gods all through the game even though Eos’s equivalent of The Holy Bible says the Hexatheon’s Revelations destroy cities and that undoubtedly means people are killed by the gods, and their summoner is complicit, because there’s no such thing as a perfect evacuation. See: "Revelations left great devastation in their wake, with entire cities being laid to ruin," noted in the Cosmogony long before the True King even exists.

Luna herself didn’t see a problem with this and helped in the effort, with no regard to the collateral damage she would cause with the summoning: bonus points for the part where Leviathan is hostile to humanity and threatens to eat every living being if Noctis fails! She had even less regard to the damage Niflheim would cause in their attempt to kill the gods even though she was first-hand witness to them sacking Insomnia. Waking and defeating Titan deprived Lestallum of the meteor they derived power from. Waking Leviathan destroyed Altissia. Luna’s refusal to leave Insomnia when told to by Regis led to her being used as bait and taking the whole of the Kingsglaive out of Insomnia in time for their Face Heel Turn and Insomnia being destroyed. Everything else leads to the eventual World of Ruin where people also die.

All because she killed herself prematurely from the covenants and didn’t hold back the longer nights as she promised to the public’s face and on her honor as Oracle she would do. Her dying words in Chapter 9 were her being completely satisfied with her fate because “[her] prayers were answered, [her] calling fulfilled”, even though the calling requires that she dies and she should’ve known better than anyone that her death, even if it was for Noctis’s ascension, would endanger the rest of the world for 10 years and helped the Starscourge spread. But instead of fighting for her own life to stem the plague for as long as possible, she let herself die under the belief that "Noct can handle this" to give him the chance to be the revered King of Light. She also didn’t make a single appearance on the world of the living in her spirit form during those ten years until Noctis needed help with a piddly imitation of the Magic Wall, only then does she come down in her ghost form with seemingly all of her power intact, and summons five of The Six as if Noctis can’t easily do it himself.

But Ravus is the lapdog? Luna’s the one with her “ends justify the means” behavior and what looks like general neglect for actual human beings.

Anyway, Ravus stabs Caligo in the back and kills him, and that move only makes sense in light of the idea that Caligo was manhandling Luna as seen in the Dawn trailer. Ravus was 16 when Tenebrae was overrun, and there’s no reason to believe he was magically immune to institutional abuse, so there’s a high chance that he was abused by the Empire too, held resentment of that, and waited for the time he’d be able to retaliate with no repercussions. Gentiana as a goddess is 1000000% more on the hook about letting Luna be beaten than Ravus is, since he saw his mother die in front of him while Regis ran away. Regis had the power of the Ring and could have used elemancy to put out that fire, or void magic to banish Glauca and his MT army, didn’t do that, but he totally spares enough magic during the treaty signing to toss around Thunder spells straight from his hand, cast barriers, and summon some Royal Arms straight at Iedolas, and that’s bad enough. Gentiana who’s been the Fleuret family attendant since Luna was born and also is Shiva who can freeze people with her fingertip had even less excuse to let that fire rage, to let Sylva die protecting her son, and to stand by and allow her ward(s) to get thrown around by some random Imperial soldier.

#freezedive #ffxv critical #ffxv criticism #lunafreya critical #gentiana critical #regis critical #lunafreya nox fleuret #ravus nox fleuret #regis lucis caelum #ravus deserved better #long read

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ifishouldvanish · 5 years

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Editing tips, I guess?

Hey uhhhhh, so I've gotten lots of new followers over the past few weeks and wanted to do some kind of thank you?? Also, I have seen a fair share of "omg HOW" in the tags on my edits (which??? always make my day?? my week??? my life????)

Anyway, I thought I'd share some of my ~techniques with y'all? So here goes:

(lmao this got really fuckin long so cuuuuuut)

1. Make EVERYTHING a Smart Object

Okay, maybe not EVERYTHING, but seriously. Do it. It will save ur editing life. You ever shrink something down and then an hour later change your mind and decide you want it bigger? If you're not using a smart object, it’ll get blurry when you scale it back up and you’ll be fuCKED!

To make a layer/group a smart object, just right click on it in the layers panel and select "convert to smart object". This makes Photoshop store the layer's original data in a separate space for safe keeping (an embedded .psb file, to be exact) -- so you can shrink it and enlarge it as many times as you want without any lossiness.

As soon as I paste/place a screencap, texture, or whatever into my document, the first thing I always, ALWAYS do is convert it to a smart object!!

Why, you might ask?? Continue to item No.2 :)))

2. Harness the POWER of Smart Objects!!

The reason I am obsessed with Smart Objects is because I am obsessed with making any edits as non-destructive as possible. If you use “Image > Adjustments > Levels/Selective Color/etc” on a regular layer, that’s a destructive edit. Same goes for any Filters (such as blur/sharpen) and transforms (Warp, distort, perspective). You lose the original data that was there and the only way it can be undone is with ctrl+z. Might not seem like a huge deal at first, but if you keep chugging along for an hour and decide, “hmm, maybe i went too hard on that levels adjustment after all...” your only options are deleting the layer and starting over, or uh... hoping it’s still in your history panel.

However, it's really easy to avoid destructive edits when you use smart objects!! Because all those adjustments, filters, and transforms become “Smart Filters”. Smart Filters have all the non-destructive advantages of performing these adjustments via adjustment layers, but have the added bonus of ONLY effecting the layer they’ve been applied to, instead of cascading down and effecting all the layers beneath. (Which can be a good thing sometimes, but that’s a whole other topic)

Smart filters are attached to their ‘parent layers’, and can be hidden, deleted, or modified (by double-clicking their names) at any time:

Can I hear a wahoo???

Other cool things about Smart Objects:

You can copy a Smart Filter with all its settings to another layer by alt+click+dragging it over

You can change the order in which Smart Filters are applied by clicking and dragging them around

You can edit a smart object independently/in a sort of 'isolated' mode by double-clicking on its thumbnail!! I like to use this for edits that are specific to a given screencap-- like cutting out the background and any initial adjustments, like levels and selective coloring. Once you’re done editing the contents of the smart object, hit ctrl+s and it will automatically update in the main document!

But really, the biggest thing for me here is psychological. I know I’m much more willing to try things and experiment when I know that I can easily go back and tweaks things at any time. Otherwise, I’d stick with adjustments I don’t really like all that much simply because it would take too much time/effort to redo them.

3. Don't even THINK ABOUT using the eraser tool or I will STOMP YOU to death with my hooves!!

Use a layer mask instead. Please I am begging you. It all comes back to making your edits as non-destructive as possible. If you erase something, it's gone forever. When you mask something, you can make changes to which parts are visible/not visible as often as you want.

For the newbies or the otherwise unacquainted, a mask is a greyscale ‘map’ attached to a layer (or layer group) that controls its opacity. Black areas give the layer 0% opacity, white areas will give it 100% opacity, and you can use shades of grey to achieve partial transparency. You ‘draw’ on these layers with the your trusty brush and paint bucket tools.

You can create a mask by selecting a layer and then clicking the little mask icon at the bottom of the layers panel (it’s the one with the little circle inside the box). Draw black on the parts you want to hide, and if you erase too much on accident? Just paint back over it with white!

I love masks, and sometimes i will throw an already masked layer inside a layer group and apply a second mask to said group. This way I have two masks that can be edited independently from each other. Like layer mask-ception.

So anyway, yes. Eraser tool? Don’t know her.

4. Try using channels to create masks!

This is a technique that works REALLY well for cutting out complex shapes, such as wispy hair (or feathers!) -- provided there's strong contrast between the subject and the background, and the background isn't too busy.

This is also a fantastic method for capturing alpha transparency. For example: If you have a neato paint stroke/splatter/watercolor texture you want to use as a mask, but has a solid background that’s getting in the way of things. This method will capture all the semi-opaque areas flawlessly!!

While editing your image (which you had better have made into a Smart Object!!!) do the following:

Switch from the "layers" panel to the "Channels" panel.

Toggle through the R, G, and B channels, and decide which one has the most contrast for the areas you are trying to mask.

Ctrl+Click that channel's thumbnail. This will create a selection marquee.

Switch back to the layers panel

Click on the target layer/group (the one you are trying to mask)

Click the mask icon at the bottom of the panel (the one with the circle inside a box)

Release the selection and invert the mask if necessary

If you're using this method to cut out a subject from its background, you probably won't want alpha transparency. In this case, select the mask thumbnail and use a levels adjustment on the mask itself to bump the contrast until you have more of a cutout effect!

It sounds like a lot of steps, but it’s really simple! So I made this handy GIF: (click to view from beginning)

Sometimes you won’t want to use this method for the entire image, but just a specific part. For example, if you’ve cut out a character with some other method (magic wand, manual brushwork), but are having a hard time with their hair in particular. Use this method to create the selection, but instead of converting the whole selection into a mask, use the brush tool to apply the mask only where you need it! You can invert the selection itself with shift+ctrl+i.

5. Outlining text

The font I used here is Salomé, which is actually a solid typeface with no outlined version. But you can make virtually any font into an outlined version if you so desire!

There's two possible methods here, actually:

The Easy Way:

Add a stroke layer effect to the text layer (by selecting the layer, clicking the little “fx” button at the bottom of the layers panel, and choosing “Stroke...”)

As far as settings go, aligning the stroke to the inside usually yields the best result/maintains the integrity of the letterforms.

Make the color of the text itself match the background.

If necessary, use the lighten/darken blend modes to create the illusion of transparency.

If you need true transparency (which I didn't until I decided I wanted to apply a gradient over the text), you'll have to try something else-- The Also Easy But Less Than Ideal Way:

Right click the text layer in the layers panel and select "convert to shape".

Now you can edit the fill/stroke the same way you would any other vector shape.

Again, you’ll want to set the stroke alignment to ‘inside’. For vector shapes, those settings are a little hidden. You’ll wanna open up that little dropdown in the toolbar with the line in it, and click “More Options”.

This is semi-destructive, so if you're working with a lot of text you might have to edit later, consider duplicating and hiding those text layers first so you'll have a 'backup' of it.

And while I’m on the topic of text...

6. Try breaking up your text layers!

I know a lot of people like to draw a neat little text box to put their text in, and then they center it all nice and neat and probably use a small font size to make it subtle and stuff... and that’s cool. Everyone’s got their different styles and things they like to emphasize in their edits and there’s absolutely merit to that sort of thing (case and point: the bulk of my dear @herzdieb’s work), but. Listen.

I love typography. I love a good typeface. The stroke widths, the letterforms, the ligatures, the serifs... I get like, horny on main for a good typeface. I like to make the text on my edits BIG, so that those details can shine. I also like doing interesting things with the text. Jumbling words/letters around, distorting them, deconstructing them and just... letting the text really ~interact with the rest of the composition instead of just kinda politely floating on top of it.

I’m not saying you have to do that kinda stuff. Or that I think neat little floaty text boxes are boring, or lazy, or whatever. It’s just... personally, I get really inspired by type. Fun type treatments are one of those things I LIVE FOR, something of a ~signature of mine, and I encourage everyone to just... try it? To use text as more of an integral Design Element and less of a... idk. A caption?

So if you have a quote, or even just a word... put each word (or letter) on its own text layer. And then: make ‘em different sizes. Make the words so big they don’t fit on the canvas. Rotate each one at a fun angle. Scatter them around. Go nuts. Use masks to chop parts of the letterforms off. Make ‘em overlap. Just have at it. Or, as the kids these days are saying: go absolutely fuckin feral.

If that really just isn’t your style, or doesn’t work/make sense for the edit you’re doing, fine. Delete all the layers and just do a text box or whatever. But. I’m tellin u.

Give it a try.

At least once.

Just... a lil taste.

7. Understand the difference between lighten/darken vs screen/multiply

For a while in my photoshoppin' youth, my understanding of these blend modes basically amounted to "darken makes things darker, and multiply makes things really darker", and vice versa for lighten/screen. But there's an important difference between how these blend modes work, and if you understand them, you can use them more... strategically? I guess?

Darken and Lighten are kinda misnomers tbh, because they technically don't really darken or lighten anything. What they actually do is make it so that only the areas of the layer that are darker or lighter than the content of the layers beneath them are visible. This produces some pretty nifty layering effects that you can't achieve with screen and multiply.

Here’s an example: (if you’re reading this on a phone with the brightness dimmed down you probably won’t be able to see the differences)

Without any the texture applied, you can really see the noise/graininess of Crowley’s jacket in the screencap. You can also see the ‘seam’ where Crowley fades into the background-- the jacket is a green-ish black, while the background it’s fading into is more of a purple-black.

With the texture set to ‘Screen’, the whole image becomes lighter across the board. Crowley’s jacket gets lighter, and so does Aziraphale’s jacket and the pink cloud thing. This does little to nothing to obscure the poor image quality and disguise that ‘seam’.

But with the ‘Lighten’ blend mode, ONLY the dark parts of the image appear lightened, and not only do they appear lightened, but they get kinda equalized. Notice how the patchy jpeg artifacts on Crowley’s jacket disappear, how that color seam smooths out, and how the brightness of Aziraphale’s jacket and the pink cloud doesn’t change at all.

This isn’t to say that lighten/darken are better and that you shouldn’t use screen/multiply. They each have their uses. But most often, I find myself using lighten/darken because the way they work is honestly really helpful? And just cool af?

8. Masking individual frames on gifs

If you ever feel like torturing yourself by making a gif that has frame-by-frame masking, my advice is don't try to mask each frame from scratch. You'll get patchy/wobbly results from the masks being slightly different on each frame.

Instead, mask the first frame, then alt+click and drag that mask onto the next frame. Make any minor adjustments to the new mask as needed, and repeat for each frame. This saves time and more importantly, keeps the masking consistent on areas with little to no movement, which makes a HUGE difference in how smooth the final product will be.

If you look at the edges of the animation, they’re nice and steady and consistent. It’s only the parts that have a lot of movement (like the back of his neck) where you can see any ‘ghosting’/wobbly-ness happening.

Sometimes the mask will move when I copy it to the next frame. Like, for the whole document. It gets nudged 20 pixels down or to the left or s/t every time. I have yet to figure out why, but I’m betting it has something to do with shooting myself in the foot with the frame 1 propagation settings at some point during editing?? ANYWAY, when this happens, just unlock the mask from its layer (click the little chain icon between their thumbnails) and move it back into place.

In these cases, I also like to pick a spot with a hard edge (such as the shoulder in the above gif) as a reference point of where it needs to be moved to. It kinda sucks having to do this for every frame, but you already signed up for some suckage when u decided to mask every frame of a gif, so I mean... 👀

9. Don't be afraid/too intimidated to do manips as needed!

Manips can be tricky if you're really striving for realism. There's light sources and color grading and perspectives to reconcile!! But when you're doing an artsy Edit with a capital E, odds are those kinds of discrepancies will be thoroughly camouflaged by all the levels, black and white, etc adjustments you're doing!

Something I run into often is, "I like this screencap, but the top of their head/hair is chopped off :(" But if I go back through all the screencaps from the scene, there's usually another frame where the camera is planned/zoomed out enough that I can steal the rest of their head/limb from it! And since it's from the same scene/shot, the lighting and color grading should already be a perfect match!

A super simple example:

So I wanted to use this picture of David and Michael for this edit, but 1) They’re standing on the wrong sides for their characters, and 2) part of David’s arm is covered up by Michael’s.

Of course, the easiest course of action would be to just mirror the photo so they’re on the correct sides, but 1) mirroring faces tends to yield wonky results, and 2) that still wouldn’t give me a perfect, free-standing cutout of Crowley to place wherever I want in my composition (as opposed to being forced to awkwardly position him off the edge of the canvas to hide the fact that the other arm is missing)

Fortunately, it only took all of like, two (2) minutes to draw a crude selection around his good arm, copy and paste it into a new layer, flip it around, and add any necessary masking to get the shape right.

My point here isn’t to teach y’all how to do manips, or to pass this off as an impressive example of one. Because it’s really, REALLY not. My point here is to demonstrate that even something as tiny and simple as this can really open up your options for what you can actually do with an edit/composition.

So next time you’re feeling limited/inconvenienced by the crop of a screencap, just... you know. Consider whether or not it’s worth attempting a quick and dirty manip to fix it.

Another Example:

Sometimes you’re torn between two screencaps. You like one element from Screencap A but also want some other element from Screencap B. What to do? Just frankenstein ‘em together. Layer one on top of the other, get them lined up, and mask out the necessary parts.

It’s easy to get hung up on stuff like “Uh... should Crowley’s shoulder be doing that?” but let me assure you that like... the people looking at the final product are none the wiser to your butcherwork and will not notice. Especially if you’re going to add a bunch of contrast and color adjustments later on. (in fact, sometimes I’ll apply those adjustments first so I’m not distracted by any discrepancies that are going to come out in the wash anyway)

“I dunno... 🤔🤔 doesn’t seem anatomically correct... 🤔🤔🤔🤔” thought no one.

Point is... point is... dolphins you can get away with a LOT more than you think you can. Don’t let the desire to make these kinds of manips perfect get in the way of just... making them good enough. The bar isn’t that high, I promise.

10. Know what inspires you

What types of edits get you EXCITED? What kind of work do you see on your dash and go, "oh, I'm reblobbin' THAT!!1!"

I know for herzdieb, she's all about emotional pieces. She likes matching words/lyrics/poetry to on-screen moments and punching you in the feels with both. She hears a song, or reads a poem, and the lightbulbs go off for her, and she does her thing.

As for myself, I just live for the aesthetics of an edit. The colors, the fonts, the composition. I almost never know what text/screencaps I'm going to use when I start an edit. I just see a font I like, or a color palette, or a texture, and think, "I wanna use that!"

And once you know what inspires you, collect that inspo! I hoard textures and fonts. I have them organized into neat lil folders. When I wanna make an edit, that’s where I start. I just browse through them all until one or two start calling my name. Herzdieb collects songs and quotes and poems. Maybe your thing is color palettes, or aesthetic-y photos. Or whatever.

The point here is make the kinda stuff you like/want to see. Not the kinda stuff everyone else is making or the kinda stuff you notice gets the most notes.

11. Be able to let go of things that aren't working

I often begin an edit with a rough idea of the style, colors, or layout I'm going for. And I almost always end up doing... something totally different.

So don't get too fixated on what your initial ideas are. Be open to experimenting and just let the edit be what it wants to be. If something looks nice, do it. If it doesn't, don't try to force it just because, "well, I was inspired by this piece that did xyz and I wanna try it too".

When you see a certain effect that inspires you, just keep it in mind as a possible solution for the next time you make something-- don't make it into a benchmark, or some imaginary 'goal' you have to meet for This Edit You Are Working On Right This Moment. In fact, sometimes the elements I end up ditching are the very ones I started with, that initially sparked my inspiration. And that's okay. Inspiration can be a moving target, and if your vision for something changes, let it.

You wanna know what inspo reference I was looking at when I started that “Temptation Accomplished” edit?

Fucking this: https://search.muz.li/YTdiNjkwN2Rh

You might be thinking, “how the fUCK was that the inspiration??!! Your edit looks nothing like that at all!” ...and you would be 100% correct, and that is 100% my point. I spent a good hour or two trying to incorporate that cutout text layering effect before finally accepting the fact that it just wasn’t working for the edit I was making. And it wasn’t until then that it actually started to come together.

12. Be patient, and take the time to explore all your options!

I’m not gonna lie, y’all. I spend hours on my edits. I usually complete them over the course of 2-3 days/sittings. I rarely have a plan. 99% of the time I'm just throwing things at the wall and seeing what sticks. When I get stuck (when, not if), it helps to step away from it and come back later with a fresh perspective/set of eyes.

Every single edit I've posted, I have at some point felt like giving up on because I thought it looked like garbage (and not just because I was being self-deprecating/doubting myself, but because at those points, they simply weren't finished/something about the composition just wasn't working for me)

Work through those moments, and if necessary, take a break/sleep on it. It's always after I've exhausted my early ideas that the really good ones start to come to mind!

Here’s how the character poster edits I did progressed:

In Classic Me™ Fashion, I literally started off with just... textures I liked, and a font that I liked. Now, there were obviously a lot more ‘steps’ involved in both designs, but hopefully at the very least this gives a sense of how things get from point A to point B.

So uh... thanks 4 comin 2 my TED talk. I hope u learned at least one (1) cool new thing or maybe just feel vaguely inspired by this rambling mess?

#idk what to tag this...#photoshop #i guess?#tutorial #maybe?#w/e

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sushiniece59-blog · 4 years

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Profile Zaz Amsterdam

Regularly Asked Questions Concerning Motorized Home Window Coverings

#toc background: #f9f9f9;border: 1px solid #aaa;display: table;margin-bottom: 1em;padding: 1em;width: 350px; .toctitle font-weight: 700;text-align: center;

Content

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Blinds Ca Cordless 1" Mini Blind.

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rivetgoth · 5 years

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Lol yes specific recs are good idk where to start

You either came to the wrong or right person. This is a lot. HONESTLY, one of the cool things about Skinny Puppy is literally all of their albums are very very different and they have a huge range of styles and a million ways you can get into them from all sorts of directions. They have a very long history and extensive discography and endless connections and collaborations and associations so you can come at them from a million angles.

Here’s a list of the main albums chronologically. The band’s lineup has changed a little due to band members leaving or dying but Ogre and cEvin have always been members. For more specific recommendations I’m also including their arguably most popular song from each album (veteran fans might wanna dispute me on some of ‘em cuz I think there are a few toss ups but I tried my best to pick the most iconic) if you just want that basic of an overview, although I definitely recommend delving deeper.

Remission (1984) - Their very first album on a label. Sounds like synthpop with baby Ogre vocals (Ogre doesn’t learn to sing until the 90s and just sings in a way where he screams and tears his vocal chords up). Kind of simpler music, sounds a lot like Cabaret Voltaire. Not as uniquely experimental yet maybe. Really dancey and fun a lot of the time. Ogre, cEvin, and Bill Leeb as musicians. Song suggestion: Smothered Hope

Bites (1985) - Their first full length album. Kinda an evolved version of Remission’s goth synth electronic stuff but still definitely experimental and cool new sounds being thrown around. Ogre, cEvin, and Bill Leeb as musicians again. Tom Ellard from Severed Heads and Edward Ka-Spel from Legendary Pink Dots (who forms The Tear Garden with cEvin) contribute. Song suggestion: Assimilate

Mind: The Perpetual Intercourse (1986) - Their first full length album after the lineup changes and Dwayne Goettel replaces Bill Leeb, who goes off to form Front Line Assembly. Dwayne adds another layer of complex experimental sound and noise to the band. More experimental and abrasive in sound. A little less dancey maybe. Song suggestion: Dig It

Cleanse Fold and Manipulate (1987) - Their second album with the Ogre/cEvin/Duck lineup. Evolution of the M:TPI sound. I definitely group these two together in my mind, they overlap a lot with the directions of the experimental electronic noises they’re going in. Song suggestion: Deep Down Trauma Hounds

VIVIsectVI (1988) - Slight change in direction, this album sounds much more chaotic, abrasive, and experimental imo. Darker album for sure with more ambient tracks and harsher sounds. Same lineup as before. Heavy focus on any vivisection, war, and other social inequality. Song suggestion: Testure

Rabies (1989) - Industrial metal. Al Jourgensen from Ministry joined the lineup because Ogre wanted to male bond with him. It has a ton of electric guitar and screaming. Way angrier and more aggressive music. Song suggestion: Warlock

Too Dark Park (1990) - Really intense, noise-heavy, complex experimental stuff. Al Jourgensen is gone and we revert back to something along the VIVIsectVI trajectory but way more intense with a ton of layers to the sound. Lots of themes of environmental degradation. Ogre/cEv/Dwayne lineup. Song suggestion: Spasmolytic

Last Rights (1992) - Too Dark Park x2. Even more experimental and abrasive and harsh; really dark content, really sad, lots of personal themes surrounding Ogre’s battle with drug addiction. Song suggestion: Killing Game

The Process (1996) - 90s industrial rock-y. Simpler in sound than the complex noise layers in TDP/LR era, with less chaotic experimental sound and more rock noise like guitars. Ogre is doing some early singing and more untreated vocals. This is the last album with Ogre/cEv/Dwayne as the lineup, and Dwayne passes before the album is even released. Song suggestion: Death

Greater Wrong of the Right (2004) - First album with the new (current) lineup where Dwayne Goettel is replaced by Mark Walk. Ogre has learned to sing in a way that doesn’t damage his voice; the music is more electronic and dancey than before, has obvious overlap in sound from the band ohGr that formed between The Process and GWOTR, less heavy noise and more focus on slightly cleaner electronic sound. Song suggestion: Pro-Test

Mythmaker (2007) - Same lineup as before; very fast paced album, with a lot of vocal distortion and treatment to Ogre’s new singing vocals. Very electronic, very dancey. Song suggestion: politikiL

HanDover (2011) - A little more noise based, with interesting recurring sounds and some more experimental noises. Very melodic electronic music. This album always feels very dreamlike to me. Song suggestion: Cullorblind

Weapon (2013) - Some people consider this sort of a throwback album, the music is a little more abrasive and “messy” than the last few albums while still retaining a lot of the more recent cleaner electronic sounds and staples from the previous few albums. They actually cover a song off of Bites and give it a new revamped version. Song suggestion: illisiT

I don’t think I could ever order these from most to least favorite or anything, but I will say that Greater Wrong of the Right tends to stand out as my top favorite... I really truly absolutely love it all though.

Aside from these albums, there’s three live albums (Ain’t It Dead Yet? in ‘87, Doomsday in 2000, andBootlegged, Broke, and In Solvent Seas from 2010), there’s Back & Forth which was their original debut demo EP from 1984, and there’s the subsequent Back & Forth series which includes lots of demos and outtakes and stuff. There’s also Puppy Gristle, which was a collaboration Skinny Puppy did with Genesis P-Orridge of Throbbing Gristle, and it’s just a really long experimental jam session. There’s also Remix Dystemper which is a remix album from 1998. These are all also really good, but I would probably recommend their main albums first :]

As you can see, the industrial community is super close knit and every band has a ton of overlap and if you just start with one band it’s really easy to get swept up in all the others!!

Cabaret Voltaire is a great band to check out if you wanna hear one of Skinny Puppy’s big inspirations.

Throbbing Gristle is an inevitable inspiration since they straight up invented industrial music and they ended up collaborating like I just mentioned too

Severed Heads is also great to hear their inspiration and the music from one of their collaborators

Legendary Pink Dots as well, and you can listen to Tear Garden to hear Ka-Spel’s collaborations with cEvin Key.

cEvin also has solo music, as well as music with Hilt, PlatEAU, and Download. Phil Western collaborated with him in these a lot, and Dwayne Geottel, before both of their deaths.

Dwayne also has a few solo songs released as aDuck.

Ogre is the frontman of ohGr alongside Mark Walk, which has five albums out since 2001 and is fucking fantastic. They just released a new album last year in June and it’s so good.

He also collaborated with Al Jourgensen from Ministry and helped write some of their music for the album Mind is a Terrible Thing to Taste, and he does the vocals on “Get Down” from the Revolting Cocks and “Show Me Your Spine” for PTP (two of Al’s other projects).

AND he collaborated with Martin Atkins and does a few songs for the band Pigface and together they released the album Bedside Toxicology as RX.

Ogre and Bill Leeb were in a short-lived project together called Muteual Mortuary. Also, Bill Leeb’s band Front Line Assembly is really good.

Ogre has done a lot of one-off collaborations and projects, like writing “Ode to Groovie” for the In Defense of Animals compilation album, a Madonna cover for a Madonna compilation album, working with KMFDM on their albums Symbols and Adios, Paul Barker on his Fix This!!! album, and with Bill Rieflin as The Petty Tyrants.

He’s also done music for the Descent II OST, remixes for John Carpenter, and since he’s been in some musicals he’s also featured on the Repo! the Genetic Opera, Devil’s Carnival, and Alleluia: The Devil’s Carnival soundtracks.

Dave Rave Ogilvie (their sound engineer/producer until 2004) mixed Carly Rae Jepsen’s “Call Me Maybe.”

Yeah :) Good luck :)

#ythaenagor

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violetsmoak · 5 years

Text

Tabula Rasa [2/?]

AO3 Link: https://archiveofourown.org/works/20183281/chapters/47822500

Blanket Disclaimer:

Summary: Tim and Jason have known they are soulmates for years, though neither has said anything about it. Tim thinks Jason doesn’t know, and is just trying to live with it. Jason thinks Tim knows but doesn’t care, which is fine with him, he thinks the soulmate thing is a crock anyway. But one night, a minor mishap forces them to confront the issue head-on, leading to a series of events no one could have predicted.

Rating: PG-13 (rating may change later)

JayTimBingo Prompts This Chapter: #bright vivid colours #danger #enemies to lovers #soulmate aversion #soulmark tattoo

First Chapter

Beta Reader: I’ll get back to you on that.

________________________________________________________________

Tim is exhausted.

It’s not the semi-permanent fatigue he’s been living with ever since becoming a vigilante, the ‘constantly tired about something’ background noise of his life. It’s more of an utter doneness with everything.

His head is pulsing like someone took an icepick to his left eye and punched through to his brain stem, and he’s got a bit of fever. Damian’s cat bit him in the early hours of dawn when he stopped by the Cave to drop off some intel. It’s taking his antibiotics longer to kick in than he’d like.

He’s been in meetings since seven this morning discussing the next year’s budget, sitting across the boardroom from the old guard of shareholders and Bruce. Bruce, who’s been attending more of these meetings in the past month with the implied goal of scrutinizing every move Tim makes. He spent hours today grilling Tim on every judgment call, made him argue for every cent of allocated funds and second-guessed projects months in the making.

And then the board members—even those who disliked Bruce—joined in and it was like a fucking ambush.

Tim didn’t even have someone in his corner to give him five minutes of breathing room, and he’s never missed Tam so much as at that moment. But she asked to transfer to a different department not long after the whole faking her father’s death thing. Tim doesn’t want to call her in for matters he should be able to handle himself.

Kon’s canceled their plans to hang out this weekend because he forgot his and Cassie’s anniversary. It was meant to be a videogame and junk food fueled marathon, and Tim had been looking forward to it for two weeks now. It’s the third time this month they’ve had to call rain check.

Though to be fair the last two instances were because I got dragged into something Bat related and time-sensitive.

At this point, all he wants it to get home, eat a whole pizza himself and sleep for at least eight hours. He’s even picking out toppings as he heads for his car in the employee parking lot.

So, of course, that’s when the notification system on his phone chimes. Patched into the GCPD frequencies, he’s informed that Killer Croc is rampaging in the University District.

And at City Hall?

Crash!

And apparently now in the WE Building.

“What the hell?”

The lingering staff members scream and flee to their offices, barricading themselves in as the growling, pebble-skinned thing bursts out of the nearby stairwell.

Okay, that’s not Killer Croc, but it looks a heck of a lot like him. Maybe shorter.

The elevator bell dings, opening on an empty car, drawing the snarling man-shaped beast’s attention. It makes an immediate run for Tim, who backs into the elevator and glances upward; there’s a cage across the ceiling to block access to the ceiling panels, the spaced between the metal lats wide enough to reach his fingers through.

He bends and jumps up, swearing at the bite of metal as he grabs hold of the grille, just as the creature barrels into the elevator. Tim uses the momentum to plow his knee into the creature’s jaw.

Its head snaps backward, blood spraying as it bites down on its tongue, but it doesn’t pass out as Tim had hoped. Right as it’s gearing up to take another run at Tim, there’s thwip! sound and two darts lodge themselves in its throat from somewhere outside.

The croc-person goes rigid and passes out. A moment later, Bruce strolls down the hallway toward him as casually as if he’s heading to dinner. He folds a compact knockout dark gun back into his breast pocket. Luckily for them, all of the doors remain shut tight and there are no windows for the other employees to see any of this.

“What did you hit him with?” Tim wants to know.

“Carfentanil,” Bruce replies, stepping over the unconscious body and reaching for the thumbprint scanner at the bottom of the elevator panel. “Lucius will see to that one.”

He engages the override to skip every floor on the way down to the sub-basement.

“What’s going on?”

“Based on Batgirl’s intel, some idealistic grad student wanting to change the world. She believed the best way to kick-start the proletarian revolution was to mix Waylon Jones’ DNA with a version of Langstrom’s prototype serums, test it out on the homeless and then release them in various locations considered to be bourgeoisie strongholds of Gotham.”

Tim blinks at that. “Eat the rich?”

“Somehow I doubt that’s what Rousseau meant.”

The elevator vibrates as it speeds downward, and Bruce considers Tim out of the corner of his eye. “How long has it been since you slept?”

Twenty-three hours.

“I’m fine, B.”

“You were nodding off during the presentation by Powers Tech.”

“Because Warrick Powers is a pedantic drone that’s rehashing all of the same proposals he made last month. Even you were playing Candy Crush on your phone for half of it.”

Bruce’s expression doesn’t change. “Anyone going out tonight has to be at their best. Killer Croc is a challenge on a good day, but Oracle’s saying there have been a dozen sightings of these hybrids—”

“All the more reason you need me out there,” Tim cuts him off. As the door to the elevator opens, he strides away before Bruce can offer reason he doesn’t want Tim going out tonight. He’s been questioned enough today at work, he refuses to be called out on his night job.

Things go from weird to complicated to unbelievable within hours. As it turns out, Killer Croc is involved…but he’s working with them for once. Red Hood’s voice comes over the comms early on to caution everyone not to go after him unless he makes a move on a civilian.

“Arsenal vouches for him,” he insists, and things are so crazy no one has time to argue with him. Everyone separates into their various zones, though corralling the croc-man-bat hybrids often has them overlapping with one another.

It takes all night.

By the time the last of the test-subjects has been subdued, ready for transport to a treatment facility, dawn is just peeking over the edges of the buildings. Tim’s body aches like one big bruise. He’s got something bigger than a cat bite that needs treatment, and if his head hurt before, now it’s like his brain is bubbling out of his skull.

Everyone has checked in, which is a relief, but everyone sounds like they’ve been put through the wringer. Those that Tim can see look even worse.

Batman is on the ground, conversing with Commissioner Gordon, and from the way he’s standing, it’s clear he’s taken some damage to his ribs. On a rooftop in the distance, Tim can see Robin with his arms crossed, cape in ruins and shoulders hunched inward. He doesn’t have to see the kid’s face to know he’s scowling. Beside him, Red Hood is laughing, helmet missing and body armor ratty and torn. Tim taps his visor to magnify his vision. Hood’s entire left arm-sleeve is gone, along with the gauntlet, and he’s bleeding from a wound above his bicep.

But he doesn’t seem bothered by it. He even reaches out to ruffle Robin’s hair, then easily dodges the knife the kid swipes at him. There’s a flicker of relief that flits through Tim to see him unharmed.

Despite their past, despite the fact Jason avoids him, Tim still tries to stay hopeful about the whole thing. It’s possible things will get better and they can be friends one day, or at least tolerate each other in the way Jason and Damian do. He could handle that.

“Well that was fun,” Steph groans, dropping down beside Tim on his chosen rooftop. “I need to sleep for the next six weeks, though.”

“What are you, a groundhog?” Duke quips, alighting on the other side of him.

“If it gets me out of midterms, hell yes. Just…not the same day over and over thing.”

“I don’t understand,” Cass sighs. “Either of you.”

The usual post-Arkham-level emergency banter starts up, all snarky jokes and witty rejoinders and Tim’s just…not in the mood.

“I’ve got a final sweep to do before turning in,” he mutters. He doesn’t care if anyone hears him as he hops over the edge of the building and grapples away. There’s some chatter and questions in his ear, but he ignores it.

His adrenaline from the night’s activities is dropping, and the exhaustion he was experiencing earlier in the day is hitting him like a Mac truck. He doesn’t even want the pizza anymore, just the sleep.

There’s a dreamlike quality to the way he sways through the air like he’s not actually present in the moment. Perhaps he’ll skip the last leg of patrol too, tonight. And he can write the incident report up tomorrow, and—

Right as he hits the highest arc of his swing, there’s a snap and sudden give to his line.

It should be an automatic thing, hauling out his redundant grapple gun and fixing it to a new anchor point. This is all about timing, a practiced movement all of them trained for before Bruce even let them out of the cave.

And yet.

It’s as if time slows for just a moment.

As if he has all the time in the world to contemplate the intricacies of each separate action, the pull of his muscles and movements of his fingers. Or even the ramifications of simply letting himself fall.

For that one moment, Tim isn’t Red Robin or Tim Drake-Wayne or any number of things he’s supposed to be, he’s just. There. Existing in a void of sound and sensation, adrenaline blocking it all out, weightless and empty.

Floating.

A sudden desperate wish hits him to freeze everything like this, at this high-point forever. To stay forever frozen in the peace of a not-quite-flight.

Gravity pulls at him then, making his stomach flip, and he reaches for the redundant grapple, even as he realizes he’s too slow. The air rushes past him, the ground rises to meet him and he’s still drawing out the line, and it will be too late—

As he’s about to hit to point of no return, something clasps around his arm and yanks. Someone wrenches Tim up and forward, a hand grasping his whole forearm in a vicelike grip and it’s reflex for his fingers to clasp around it. Warmth tingles in his fingers and radiates the entirety of his arm, like laying his hand on his own personal sun. As they swing through the air, Tim’s eyes fall upon the literal lifeline that saved him.

The first thing he sees is a swirl of red and gold, the familiar winding knotwork pattern of his soulmark.

Except it’s not his.

Jason’s left arm and shoulder are bare, the mark blossoming seemingly out of nowhere halfway up his forearm. But Tim recognizes the uneven streak of hastily applied cover-up from wrist to elbow-crease—because it turns out, Jason covers his mark at all times as Bruce does.

The warmth in Tim’s hand and arm grow, stretching tendrils of heat through his body, but it burns the most where he and Jason touch. Steph once described the sensation as a lock and key interlinking, and he finally understands because there is a very physical click inside him, like tumblers slamming into place.

It’s distantly familiar, and he wonders if he might have experienced this before, but couldn’t focus on it due to being bleeding out at the time. The way their marks reach and wind about each other now, Tim doesn’t believe there’s any way for it to be ignored anymore.

His heart flutters at the idea.

Then Jason is swinging them to the nearest rooftop and abruptly lets Tim go, snatching his hand back the instant his boots hit the gravel. Tim stumbles forward, barely stopping himself from tumbling to his knees from the momentum.

He skids around to face Jason, who is already turning away, shielding the mark. When he faces Tim again, the colors recede once more beneath the spray cover-up.

“Geeze, Replacement. You gettin’ enough sleep?” he asks lightly, mouth crooked. “You almost let yourself become pavement art.”

Tim blinks, still a little lost in his head.

“I mean, I’m sure you could have engaged those tacky wings of yours before the worst happened, but cuttin’ it kind of close, don’t ya think?”

Tim’s not really thinking anything. His eyes are on Jason’s arm, where the colors of his mark have already slipped away. Because Jason is putting a very conspicuous space between them. And asking something inane, as if he’s trying to distract him.

Which he shouldn’t be doing.

He saw the mark. He would have felt what Tim felt. It should be a shock, he should be confused or angry or surprised—

Tim freezes in realization.

“You’re not surprised,” he says, the words somehow disconnected from his mouth.

“Surprised about what?”

Tim bristles at Jason’s feigned ignorance now, indignation rekindling some of his spark. “Seriously? You’re just going to—you’re really going to pretend we both didn’t see that? That we both don’t know…?”

“I think that fight rattled you,” Jason says, slow and placating. “How many times did you get hit in the head tonight?”

“You didn’t even flinch!” Tim snaps, taking a step forward. “If you hadn’t known, it would have surprised you! You might have dropped me, or yelled, or…”

Jason is backing away now, not even trying to disguise his intention and Tim darts forward, hand snatching to grab hold of Jason’s wrist. Incredible gold and deep scarlet bands of color creep up his left arm, threading along the capillaries of his skin, connecting the freckles and scars across his bare arm. There’s a corresponding warmth in Tim’s right wrist and arm.

Before either design can fully manifest, though, Jason snatches his hand back and punches Tim in the chest.

“I’m not a fan of handsy guys,” he says, though his joke is lost in the ice of his tone.

Tim barely reacts to the blow, because he’s had worse from Jason, and right now, he’s honestly too furious to register it.

“You knew the whole time, didn’t you?” he accuses.

“Knew what—?”

“Don’t! Don’t lie! You’ve known—you had to have known ever since the day we met, at the Tower!” There is no argument this time, only a head-on gaze. “And you never said anything.”

“Well, it’s not like you did either,” Jason defends, discomfort coloring each word.

And there’s the confirmation; it’s more of a blow to the gut than Jason’s punch. It’s an aching, gnawing hurt, and Tim tries to tamp it down, tries to focus more on the simmering rage that is welling up alongside it.

“Because I didn’t think yours had activated,” he manages to get out. “At the time I didn’t think you were capable of…I thought if I said anything, you’d…you hated me then, and—” Comprehension smacks into him. “That’s why you didn’t bring it up, isn’t it? And then the other night, when I said all that. About soulmates. You knew what I thought about it, and that’s why you didn’t say anything.”

Jason coughs, backing away again. “Okay, glad we cleared that up.”

“If you’d said something—if you’d even acknowledged it, maybe—”

“‘Maybe’ what?” Jason challenges. “We’d magically be on track for a house and picket fence and adopting our own passel of neglected orphans?”

“Wait!”

“Yeah, no, I’m over this—”

“Jason, don’t—” He reaches out once more, hand clamping down on his shoulder and in his madness, he’s forgotten everything he knows about Jason and personal space. It all comes back in a rush when he’s suddenly staring down the barrel of a gun.

“I said I’m done,” Jason growls, and Tim swallows reflexively.

Slowly, carefully, he takes a step back.

Jason doesn’t move right away, simply stares at him, then the gun in his hand, which he lowers after a breath.

The tension doesn’t leave his shoulders though.

“This whole soulmate thing is some bullshit,” Jason snarls at last. “I hope you’ve got another option on the other arm, Drake, because I ain’t it. And I want shit-all to do with you. Follow me, and I’ll shoot you.”

He leaps from the building, and a beat later Tim watches him swing away between the skyscrapers.

It takes a while to remember how to breathe, more because of the crushed glass sensation in his throat than of any fear Jason would have shot him.

The rejection isn’t unexpected.

Honestly, it’s like a door being closed on something he hoped for even when he tried not to. There’s a finality to it that should be cathartic even.

It doesn’t hurt any less.

Well. At least now I know for sure.

Really, it’s a relief. He knew Jason didn’t like him, but he kept fooling himself with hope and occasional daydreams. And now he can’t anymore, and that’s that. It isn’t like losing Robin or no one believing him about Bruce or butting heads with Ra’s; those had workarounds. This, though, soulmates…it’s not something that can be learned or memorized or forced into being.

Time to move on.

Because Tim doesn’t get to be happy.

Body on autopilot, he returns to the Nest and sees to any obvious wounds. He concentrates on careful stitching, and then on meticulously writing up his report on the night’s events. No need to mention his argument with Jason. Tonight’s going to take his strongest sleeping pills and painkiller, he decides, the kind that will keep him from dreaming.

He considers not setting an alarm for the next morning—surely he deserves a day off, doesn’t he? Considering everything that’s happened today?

No. That would make it too easy to dwell on this, to mope. Work will keep him busy.

And he has to stay busy.

He’s meticulous about following his routine for the next few days. Immersing himself in new product designs, revising by-laws, defending more of his decisions from Bruce’s nitpicking, volunteering down at the Neon Knights shelters. He visits the remaining Titans, spends time with old school friends in Gotham and goes through the motions with his family. Outwardly it’s working but it all seems…hollow. It doesn’t sit right. Something is missing and he knows exactly what it is but can’t do anything about it.

With every fake smile and encounter with the paparazzi, always being the reliable one and having to think and plan everything through to the tiniest detail. It’s exhausting as ever.

And by night, he throws himself into every fight that comes his way.

He very deliberately avoids looking for Jason.

And it’s fine.

Really.

But at the oddest moments of the day, either at work or diving into the middle of a brawl, he remembers that crystalline moment, just after his line missed. When he was just…floating.

Tim knows that’s not a good sign, knows that he isn’t in the best headspace right now. He thinks of reaching out to Dick, the way he always does when it gets bad. He wants to tell him everything that’s going on with his day and night work, wants to admit the truth about his soulmate—

Then he remembers Dick is on his honeymoon and he doesn’t want to bother him and Barbara over this. So he heads to the manor because Alfred is always a willing ear and wise counsel. And Bruce might be making his life misery at work, but he can always be counted on to have some cases that could benefit from a second pair of eyes.

Except when he gets there, Damian informs him that Alfred is driving Bruce to some political fundraiser.

“It seems you made a wasted trip, Drake. Perhaps next time call ahead and spare yourself the trouble,” he drawls from his seat at Bruce’s desk where he’s sketching, Titus curled at his feet. The dog lifts his head and wags his tail when he sees Tim, but otherwise doesn’t move. “I’d show you to the door, but that would require me to care.”

“Always a pleasure, demon boy,” Tim sighs and sets off down the hall. He decides to take a nap in his old room; at least here the place isn’t as empty as his apartment. Damian might not be the best company, but he’s another human being within his vicinity.

Sort of.

As it turns out, Cass is still home. He can hear her laughing at something in the family room, followed by Steph’s familiar guffaws. As he passes by, he sees that they’re curled up together on the couch, arguing over the Netflix selection.

Steph catches sight of him and calls out. “Hey! When did you get here, Former Boy Wonder?”

“Uh, ten minutes ago,” he replies, leaning against the doorframe. It hits him immediately that he’s just interrupted a date night, so he doesn’t make a move to enter.

However, Cass’s all-seeing eyes rove over him and she purses her lips.

“Come and sit,” she tells him. “We have Krispy Kreme.”

“And Cass bought ketchup chips at her layover in Montreal.”

Normally the lure of donuts and chips would have him vault across the room and settle on the couch, but tonight the idea of food makes his stomach rebel.

“I might just go get some coffee,” he replies, trying to back away.

“Do that later,” Cass orders. “Stay for a bit.”

“I don’t want to interrupt anything…”

“You’re not interrupting anything,” Steph rolls her eyes. “Except our weekly argument about what we should watch. Besides, we haven’t seen you since the croc-mutants thing.”

“How’s your head?” Tim asks, giving a mental sigh of defeat and shuffling into the room. Steph sustained a pretty bad concussion that day.

“Still having dizzy spells and can’t move too fast,” she replies. “The ushe.”

Tim doesn’t take a seat on the couch, though, instead sitting on the floor in front of the coffee table and dutifully taking a handful of chips. They don’t taste like anything.

Cass is frowning at him. “You okay?”

“Just tired,” Tim says, forcing what he hopes is a comforting smile. It’s not a lie, not really, but he doesn’t intend to tell her exactly what’s making him tired.

Cass accepts it, though she continues to eye him with concern. He does his best to distract her by suggesting a film he knows both of them hate, forcing another round of arguments about viewing choices.

They really don’t seem to mind him being there, and for a little while, everything’s alright. They throw popcorn at each other and complain about Bruce’s uptightness and gossip about their respective villain drama and mock each other for failing at their New Years Resolutions after only three weeks.

Eventually the girls become engrossed in the movie. Of course, it’s one of the token soulmate plotlines that he immediately skips over on the rare nights he has time to watch television. And Tim becomes more and more conscious of how Steph and Cass lean into one another. Cass’s fingers run through Steph’s hair and Steph hides her face in Cass’s neck when a truly cringe-worthy sappy scene comes up.

They look so…content.

Happy.

At peace.

I’m never going to have that, Tim realizes and it’s this that makes his stomach twist, want to throw up and scream and cry.

Because he’s always been alone, but there’s always been that lingering hope that one day he wouldn’t be. That even if it wasn’t a romantic soulmate relationship, he’d still have someone.

Everyone he has loved has left him behind; even the one person in the world who was never supposed to.

“What would you have done?” he finds himself asking, staring at the screen where the male and female lead are mired in their stereotypical big-misunderstanding-fueled fight. They hurl words at each other that they obviously don’t mean but were clearly written to be devastating.

Cass and Steph look up, both somewhat startled by his question.

“What would we have done for what?” Steph wonders.

“If Cass had hated you. Or if Steph had hated you.”

Both their faces go blank. Cass’s mouth turns downward as if she is puzzling out a difficult question, while Steph shudders. “I can’t even imagine it.”

“Me neither,” Cass adds.

Tim hums, having expected that answer even if it doesn’t help him.

“Hey—what are you so worried about?” Steph asks, nudging his shoulder with her foot. “It’s a big world. It’s not your fault or the end of the world that your soulmate died.”

Tim’s hand strays to his wrist. He’s covered it up around anyone in the Family since he woke up and learned that Jason Todd had almost killed him. As far as Steph or anyone in the family is concerned, he no longer has a mark.

“You can still have fulfilling relationships,” Steph goes on. “You know, if you get over your secretive and control-freak ways and your tendency to eat Hawaiian pizza.”

Tim snorts. “Says the girl who would eat waffles every meal of the day.”

“Hey, that’s a valid meal choice—do you realize how many different types of savory waffles are out there?”

“No wonder you’re beginning to spill out of your uniform,” Damian’s voice disdains from the doorway. Titus lopes at the boy’s heels. “You and Cain have been colonizing the couch for three hours now. I intend to play Inquisition without your hovering, so leave.”

“You mean you intend to spend three hours on character creation before getting stuck in the Hinterlands for the next week and finally throwing the controller at the screen in frustration and not touching the game again for another month?” Tim asks.

“If I want your input, Drake, I’ll—” Damian considers. “I’ll never want your input. Now shut up and stay out of it. Brown, I demand you all vacate the room immediately or I will force you to.”

“Rude.”

“Eleven televisions on this floor,” Cass adds. “One in your room, even.”

“This one has the best resolution for gaming. You go to one of the other ones. You’re not doing anything important in here.”

“There’s nothing more important than Netflix and chill with the boo,” Steph replies. She’s playing with her phone and then chuckles, angling it so Cass can see, earning a bright laugh in return.

Damian looks disgusted. “I sincerely hope when I meet my soulmate, I am not so ridiculous about it as you two, or Grayson.”

“We are not ridiculous,” Cass replies. “We are normal.”

There’s immeasurable pleasure in that word; Tim knows it’s not often she gets to use it in relation to herself. Once again he thinks himself a complete tool for being jealous of her and Steph.

“Hopefully I will take after Father,” Damian continues, sitting in the armchair across from them.

“Emotionally stunted and anal-retentive?” Steph suggests, earning snorts of laughter from everyone but the blood scion of Wayne.

“In terms of soulmates,” Damian emphasizes; Tim notices he didn’t bother correcting Steph’s assessment of Bruce. “I will not make a total fool over the person I have been assigned.”

“First of all, soulmates aren’t assigned,” Steph says, “and second, B is totally foolish over Selina. Why else does she never get sent to jail? And what do you call Alfred putting up with his bull after all these years?”

“Tt. Perhaps you have a point.” Damian seems to reconsider, before glancing at Tim with a frown. “I suppose in this, you’ve had some luck, Drake.”

That brings him up short, both the implied compliment and the sentiment behind it. “…How?”

“Your soulmate is dead.”

There’s a beat of stunned silence in the room.

“Damian!” Steph cries, sitting up and dislodging Cass’s fingers to stare at him in horror. “You can’t say stuff like that!”

“Why not? It’s true.”

Now would be the time to correct everyone. Tim doesn’t bother.

“That’s not—I meant you shouldn’t wish your soulmate was dead, especially since you haven’t even met them yet.”

“I hope I never do,” Damian insists. “Look at Drake—his soulmate cannot be exploited as a weakness by some clever criminal. He will never have to lie about his identity if the individual turns out to have questionable morals—consider how long Father was forced to hide his identity from Catwoman. And Drake is now free to pursue or avoid any relationship he wishes, without having to worry it will be interrupted by the untimely arrival of a soulmate.” His expression smooths a little, becoming more thoughtful than petulant. “He is free in a way none of us are.”

Cass tilts her head to one side. “That is oddly…insightful of you.”

“And really kind of depressing,” Steph groans.

“And my cue to leave,” Tim says, standing. He forces an easy tone. “If Damian starts envying me, the Apocalypse must be about to start. I should get an early start to patrol just in case.”

“No, Tim! Stay—see what you did, Damian? Apologize.”

“That’s not happening.”

“It’s fine,” Tim dismisses, already leaving the room. “I’ll see you guys later.”

“Be careful,” Cass cautions, her tone somehow knowing.

Tim flees before she decides to really focus on him, but not before Steph can hurry out after him.

“Hey, ignore what he said,” his ex-girlfriend says, looking both worried and intent at the same time. “He’s never had a soulmate, so he doesn’t understand how serious it is to say something like that.”

“No…it’s actually fine,” Tim assures her.

In fact, far from being insulted by Damian’s words, Tim finds himself latching on to them and the logic they represent. The last thing he wants to be is that cautionary tale, like the kid people pity who shuts down his whole life because their crush didn’t like them back.

“Are you sure?” Steph asks. “Because Cass is right, you don’t look okay tonight.”

“I really am just tired,” he insists once again. “I think I’ll skip patrol tonight. Get some sleep.”

She lets out a relieved puff of breath. “Well, that’s something at least.”

“Enjoy your movie—or your impending war with Damian over rights to the family room. Whatever.”

“Oh, he’s in for it if he tries,” Steph smiles a truly fiendish smile, similar to the one she turns on criminals before she breaks their jaw. “Night, Tim.”

“Night.”

He continues on his way to his room, while Steph turns back to the family room. She pauses though, and says, “I was thinking…if she did? Hate me, I mean?”

Tim turns his head to acknowledge her.

“I’d probably still stick around nearby,” Steph says; she rubs at her shoulder, clearly discomfited by the idea. “Just to make sure she was happy, I guess? It’d give me peace of mind, even if I couldn’t be with her. You know?”

Tim’s carefully maintained façade of functionality wavers a little. His eyes soften a bit and he offers Steph a small smile. “I do. Good thing you’ll never have to worry about that, right?”

“Yeah…”

They exchange bittersweet smiles for a moment. Tim bets she’s remembering the day it became clear she and Tim wouldn’t ever be anything more than friends. Then Steph disappears into the family room.

Tim strolls down the corridor to his quarters, frowning with a new resolve. He doesn’t have it in him to stick around and make sure Jason is alright and happy; he can’t even think about the situation without the growing lump in his throat slicing into him.

So, it’s best to focus on filling his life with other pursuits.

From that point on, he renews his goal to immerse himself in work.

WE by day and Red Robin by night. He loads up case after case, reasoning his way through elaborate mental games with villains and rogues, and sends in work for his correspondence courses at Ivy University.

He exists on coffee and sleeping pills and four hours of sleep a night, but he’s too exhausted to fixate, and that’s the important part.

⁂⁂⁂

Next Chapter

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<3 Violet

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wedontcareaboutyourbinary · 6 years

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1) I don't really have any opinion on MeToo other than nice if it works but as far as I know it's a binary issue with the whole oppression aspect. It's my friend who's into that stuff and wants to punish evil-doers and all that jazz while she can. So when these random guys targeted me and started following me around and do the occasional butt grab and weird panting in my ear while looming over me she sees this as a prime opportunity to implement her newfound power. But based on the

2) “compliments” they were panting into my ear and that nonbinary isn’t really a thing and I go around tits present and I presume they were straight so even if they didn’t tell me they thought I was a woman I assume they were aiming all this to a woman in their minds. So it’d be misdirected misogyny or something like that. Kind of when people think I’m a foreigner because I was given an exotic name but it’s not actual xenophobia because I’m not a foreigner. But anyway it’d be co-opting

3) women’s experiences because misogyny is meant for them. If they would’ve somehow guessed I’m nonbinary then I could’ve said it’s transphobia or whatever the word is for nonbinary people or maybe exorsexism if I had corrected them and as nonbinary isn’t a thing they probably wouldn’t have believed that. But as they probably thought I was a woman it had a misogynist intent and a non-woman can’t experience misogyny even when I was harassed it wasn’t about me and I can’t make women’s

4) issues my issues. So if it gets reported everybody will view it as misogyny and I end up leeching on women’s work to end harassment towards them unless I correct it by outing myself. I mean if a man is mistaken as a woman and harassed based on that they can’t say it was meant for them so why should I be allowed some special treatment just because I happen to look like a woman to everybody? It’s my problem I should solve by myself and not use it to make issues that aren’t about me literally

5) about me. There are lots of actual women who get harassed without me barging in to mess it up for them just because I pass as a woman and could go on forever wondering is all harassment I ever face really about people aiming it to me as a “woman” or me as a person they don’t like or respect. Statistics say it’s the former but I’m not going to stick around to ask when people start groping me so I aim to respect women and stay in my lane and stay out of their business both good and bad.

There is a lot to unpack here, but I’m going to start with the part that I at least can find vaguely humorous: you have here sent an ask saying that an issue is binary, to a blog whose URL is literally ‘we don’t care about your binary’.

Oppressive binaries are generally false ones constructed to condense the oppressive structure into a nice straightforward us vs them situation. This is useful for the oppressors, not least because it makes everyone who doesn’t actually fit the Designated Oppressed Group question their own experiences no end, and it splinters various marginalised groups because they don’t see the common roots to their marginalisation.

The binary is false. Gender is not a binary. Neither, shockingly, is gendered oppression. And I pointed out yesterday that there are several systems interlocking within the realm of gender-related oppression.

The idea that gendered oppression is a binary issue relies either on subsuming everything bad that happens to non-cis people under misogyny (and a lot of it does overlap, not least because of ‘misdirected misogyny’ and the fact that, thanks to the oppressive group doing their best to model ‘them’ as a single cohesive group, anyone who isn’t a cis man is likely to get boxed into ‘woman’ at some point, but misogyny does not explain everything that trans, NB and genderqueer people face!), or denying that anyone who isn’t a woman could ever be oppressed for something related to gender.

That, as Lune pointed out yesterday, is gender reductionism. It focuses on a specific identitarian distinction (between ‘man’ and ‘woman’) without any actual regard for the lived experiences of non-cis people. As such, it is not a functional model for explaining the marginalisation of non-cis people.

Of course, how much of that I can really explain to you I do have to question, given your statement that ‘nonbinary isn’t really a thing’.

Please think about who you sent this to and why you worded it that way, anon. What is prompting you to ask a group of people who consider themselves nonbinary for advice, when you apparently don’t even believe that ‘nonbinary’ is a thing someone can be? Hell, what’s prompting you to identify with the label if you don’t believe it exists?

I’d wager that someone else’s words are coming out of your mouth there. Do think about why you’re letting those words do that. Why are you holding onto that version of the world? What’s it offering you apart from invalidation, dismissal and erasure?

but it’s not actual xenophobia because I’m not a foreigner

You know, I’d be inclined to say it is? It’s a negative reaction to something perceived as being From Elsewhere, so the people having the reaction are definitely, you know, xenophobic? Even if they happen to be wrong about the thing being From Elsewhere?

And if this is meant to be a parallel to your experiences of misdirected misogyny: you’re pulling a complicated mental runaround here that would imply that bigotry is not real when directed at you because you’re not the Target Group, and that said bigotry is directed at you because you are mistakenly assumed to be the Target Group.

Taken together? Those two things would suggest that the people who harassed you, even though they presumably harassed you because they assumed you were a woman, aren’t actually misogynistic, because it can’t be misogyny if it happens to you.

Does that make sense to you? Does that sound like a sensible way to model oppressive systems? Because to me it does not.

If they would’ve somehow guessed I’m nonbinary then I could’ve said it’s transphobia or whatever the word is for nonbinary people or maybe exorsexism if I had corrected them and as nonbinary isn’t a thing they probably wouldn’t have believed that.

I mean… it was transantagonistic anyway because they assumed your gender based on cissexist criteria? Oppressive systems overlap! I’m going to have to repeat that a great many times, I suspect!

And again with the ‘nonbinary isn’t a thing’. What is it, to you, anon? And whose definition are you actually working off?

I can’t make women’s issues my issues

… more than one group of people can have the same issue? Oppression is not as binary as a lot of analysis would make it.

(And I know we love the binary analysis because it makes things so simple and easy to understand, and if we try to analyse things in a less binary way things get incredibly complicated. But if our theory is not complicated, it will be wrong. And that is worse.)

You’re talking about a kind of harassment that serves to reinforce power. Misogynistic social structures are a major power dynamic where that kind of harassment is used to reinforce that power, but it is not by any means the only one.

Again: yes, absolutely, be aware of who’s being disproportionately affected, be aware of why you’re being targeted, none of that is bad practice exactly, but this is about an incident in which you, you specifically, were harassed, correct?

Whose experience is that if not yours, anon? Who is actually the target of this harassment that was directed at you if not you?

I’m also going to point you to the last point described in this post, the Mistaken Identity Argument. Please have a read through of that post, and take a good long hard think about what it might imply about NB people as a group and their experiences that you’re so willing to deny your own experiences this way.

(Exclusionary rhetoric is often recycled. Yes, that post is from a ways back in the anti-ace discourse, comparing it to the exclusion of bi people. The underlying principles will likely hold true across a great many other cases. And you really are repeating the Mistaken Identity Argument damn near word for word here.)

So if it gets reported everybody will view it as misogyny and I end up leeching on women’s work to end harassment towards them unless I correct it by outing myself.

This is honestly a fascinating (if disturbing) thing to read, because… well, surely, if your experience is misdirected misogyny, and gets reported and understood to be a misogynistic attack, then it being reported will in fact help women work towards ending harassment motivated by misogyny? How is it ‘leeching’ when it’s helping women get where they want to get?

The only explanation that’s actually occurring to me is that you think it would somehow be inappropriate for the success of one group to have beneficial effects for another group (in this example, it’d be somehow inappropriate for efforts to reduce harassment towards women to also reduce harassment directed at you). Which… what even. Curb cutter effect, for one, and for two, oppression overlaps. That is the way of things in this bastard society.

I mean if a man is mistaken as a woman and harassed based on that they can’t say it was meant for them so why should I be allowed some special treatment just because I happen to look like a woman to everybody?

It would be an attack motivated by misogyny directed at someone who is not a woman. It would be harassment, and the man in question would be well within their right to be upset and distressed over being harassed.

I’m not sure what this was meant to clarify. Yes, the man is not necessarily an intended target of misogyny. But if they got taken for a woman and harassed over it, then it’s still that man who has been harassed. It might not have been ‘meant for them’ in the sense that they’re not actually a woman, but someone decided that they were an appropriate target and harassed them because of it. It’s still wrong even if it’s ‘misdirected’ misogyny. That goes under the same principles that any other case of non-women being on the receiving end of misogyny-motivated harassment would.

(Also: you realise that there are men in the world who go through harassment for exactly the same reason you did? There are trans men who haven’t, can’t or won’t transition in a way that gets them read consistently as men?)

There are lots of actual women who get harassed without me barging in to mess it up for them

And how, precisely, are you messing things up for them? Are you forwarding any kind of argument or politics that contradicts the aim of ‘reduce misogynistic harassment’? Sure, having to contend with an understanding of oppression that isn’t binary means more headwork, but if we don’t do that headwork, we’re going to be working from a bunch of faulty premises. Unless you’re also going to start arguing that non-cis people don’t experience any kind of independent oppression, that shouldn’t be all that controversial a statement.

Statistics say it’s the former

I’m not going to argue with you about why you think you’re being targeted, but my inner scientist will never shut up if I don’t address this: of course the bloody statistics say you’re being targeted for being read as a women when most of them don’t even account for the existence of nonbinary people.

How many official documents have you come across that have options beyond ‘man’ and ‘woman’? Society is exorsexist, folks! And outside the realm of assorted alphabet soup communities, most statistics won’t go any further than the official documents.

So like. Yeah, women are disproportionately chosen as targets of harassment. But let’s not get too wrapped up in what statistics that don’t even acknowledge the existence of NB people say about our experiences, mmkay?

Now, for the record: please understand that what you’ve plated up here displays a great deal of exorsexism. There’s the blatant ‘nonbinary isn’t a thing’, for starters. Quite frankly, there’s fuck all we can do to explain exorsexism or anything else to you if that’s the stage you’re operating at. I can go on all I like about how NB people specifically face forced invisibility and denial of identity, how this serves to splinter marginalised communities and play them off against each other, how modelling gendered oppression as being about man vs woman disservices NB people specifically, but if you can still find it in you to respond to that with ‘nonbinary isn’t a thing’, then… what the fuck are you expecting from us?

Then there’s your incredibly binary-centred understanding of oppression. This blog spends a lot of time on the subject of how binary-centric privilege politics fail NB people, and here you are, just… plating up more of the same. Why? What are you expecting us to say in response to this anyway?

Further: other NB people in the world have experienced harassment. A fair few of us have experienced it while closeted and pretending to be women, or just straight up being misgendered as women. When you say that misogynistic harassment couldn’t possibly matter when it happens to you because you’re not a woman? You’re telling one hell of a lot of other NB people that you don’t think we’re allowed to be angry or upset about the harassment that happened to us, because that also happened while we were being misgendered as women.

And I’m going to get very serious for a moment here: what you’re doing - distancing what happened from yourself, giving every excuse you can think of as to why it wasn’t actually bad, why it didn’t actually matter - is classic trauma survivor mentality.

It’s a survival tactic, it’s the kind of thing that keeps us alive when we have nowhere else to go. When you’re making it about your experience of having a certain marginalised identity the way you’ve done, it has splash damage. It’s a mental framework designed to endure, not to improve.

I don’t know if that’s what going on with you. I don’t know a great deal at all about your situation. I can’t do more than offer ideas.

And based on the fact that basically everything I’ve said here is the same stuff I said yesterday, at greater length, I can only assume that you’re not hugely open to taking in those ideas at present. That’s for you to deal with in your own time, you’re the only person who can live your life. I don’t know what you’re expecting us to offer you when you can’t even do us the courtesy of believing that maybe we do in fact exist as NB people.

So I’m going to return to yesterday’s questions that you never answered: do you honestly believe that it’s okay that you were harassed because it was by mistake? Do you honestly think that your harasser should get away with doing what they did because they did it making incorrect assumptions about you?

I’m not asking for some defeatist blather as to why you aren’t allowed to have an opinion on your own life and experiences because someone else was transantagonistic and exorsexist on top of being misogynistic and misgendered you. I’m asking do you honestly believe that what happened was okay and should be dismissed?

- Cade

#harassment cw #exorsexism cw #transantagonism cw #anonymous #answers #long post

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rpbetter · 3 years

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As a female I get tired of seeing psa post about /It's important to treat female muses with respect/ or /Female muses deserve better treatment!!/ it's this constant thing I get slapped in the face by mutuals who reblogs that once in a blue moon, but ignore male muses or treat them like shit. I'm sorry to come off as sexist, I wish people would look out for male muses too and those who are gay since they get the short end of the stick and not appreciated. Don't get me wrong it's important to respect all muses regardless of their gender, but these post are coming off as quite feminist and Tumblr is known for being a man hater. I feel really bad for saying all of this.. I'm sorry for this rant, RPbetter. I just need to let it off my chest.

It's all good, Anon! I did tell y'all you could do exactly this!

I know, as in, I can actually feel the hackles of the RPC rising preemptively, this is going to rub people the very, very wrong way...so, I'm asking you to at least try to put that on hold and consider some things about this as a different view from what you've experienced before you get angry with Anon or myself.

Because I think the issue with this, and all PSA's that are especially full of delineation like these are, is that it isn't going to be everyone's experience in the RPC.

We tend to feel like the RPC is our little corner, or for some of you, vast empire. Sometimes, an overlap of both - our little area we have cultivated with our mutuals, our preferred resource blogs, all the blogs that branch off from us and the larger RPC specific fandom community we're a part of. I mean, I know my fandom is huge, my highly cultivated homestead within it is tiny.

I also interact with people from equally huge RPC fandoms. So, between the two, I see some major differences. The differences in some of the minuscule RPC corners I have people in can be even more extreme.

Example?

I have a mutual who is open to crossovers and spends time in three bigger fandoms with their muse. The muse is highly desirable in the fandom they come from, had no issue adapting and being desirable in the second big one, but in the third, it was quite different. Same approach that worked out wonderfully everywhere else did not work in this third fandom because the muse...is female in a male and gay ship predominant fandom. So, while this mutual never experienced trouble getting/keeping interaction and respectful treatment of their muse/themselves everywhere else, they suddenly got slapped with it there. It's often a problem of specific fandoms and their material.

Another example?

Myself.

My main muse is everything that the more hateful PSA's of this sort say is the desirable muse that unfairly gets all the attention and respect: extremely well-known main character, conventionally attractive, male, white, young, and the way he presents in canon, you can play with HCs about him being not being cishet pretty easily. Highly shippable muse that can be made even more so without messing with canon much, if at all.

So, you'd think that I would never have any trouble getting interactions, ships that I want, plots I want, and good treatment of my muse (I mean by other muns, other muns not being total assholes about my muse, what happens between muses, when it isn't directly due to the mun's attitude, is different), right? I don't.

Don't get me wrong, I have the interactions I want, they're perfect. I have the writing partners I always wanted, the best ships, stunning plots, but that's entirely because I am OC and crossover friendly. I'm open to accepting writing partners based purely on the writing. My own fandom does not like my muse, outside of one specific version anyway, the canon ship is not supported, the popular fanon ship is likely to get you a callout in the RPC.

In my fandom, the female muses do get more respect and attention for the most part. It's one of those fandoms pretty into...well, fandom as an act of activism. That's not to say, before anyone loses it on me, that creating or picking up a female muse is doing it for woke points. Just that there is a rather open prerogative in my fandom to create/choose muses based on the idea of "representation" and "fixing canon." If you have one that is like mine, you're automatically assumed to be a lot of really shitty things. Getting called a school shooter, love that for me.

The whole "respect female muses or die" take isn't necessary there, it's the take. Doesn't stop it from coming around weekly, though, so I do feel you on this, Anon.

Furthermore, I'd personally prefer it if we'd all consider getting back to the take of just respecting muse choices and writing, period. People are always going to have preferences, in one place it might align with your own, in another it doesn't. That's perfectly alright and does not mean anything horrible about those people unless they're actively being horrible with it!

Preferring female muses doesn't mean you're a radfem, preferring (or just having even one) a f/m ship does not mean this or that you're homophobic either, nor does it make a bi/pan muse suddenly heterosexual and "bad representation/you're just saying they're bi and that's gross." Just means those are the ships that developed.

Preferring male muses doesn't mean you're "part of the problem" or "taking the easy way," and having or preferring a queer ship does not mean you're a "nasty fujoshi." It also doesn't invalidate what someone has established about their muse's sexuality, a bi/pan muse isn't Gay Now because their primary ship is m/m.

And that's to say nothing of how weird, and often at least mildly offensive, all of this is to both muns and muses that are not on the gender binary. You should probably consider that before you keep implying to a mun that the muse they've established as not cis is exactly that.

Or, that writing a female muse might be impossible for some muns for more reasons than just preference, a thing that is valid enough on its own. A decent number of muns in the RPC are also not cis, this may be the only safe place for them to drop being gendered as they were assigned at birth, it might even trigger dysphoria for them to write a female muse. I know that I am incredibly uncomfortable writing female muses. It's a little ridiculous to keep dropping the implication to outright demand that everyone needs to do their part in filling the female muse quota in the RPC or they're misogynists and/or phobes.

My experience, and I am not alone in it, has been getting plenty of shit for having male muses only, always assumed to be cisgender and often heterosexual. Plenty of shit for not writing the canon as cishet, too...and plenty more for my main ships being with female characters because they're the ones that worked out and stuck around.

No one is lying when they say that there are places where their male muses and queer ships are not looked on positively.

The thing is, I also witness female muses being treated like shit, yes!

And I will say, that treatment is so much worse if the muse is also an OC, has a canon f/m ship they'd like to write or just to write a ship with a canon if they're an OC, or they're certain types of female muses. Because the demands do not stop at being female. You also have to write a Strong Female Character to be of interest, and she had better be available to shipping and smut while not presenting as too sexually open. It's become an impossible obstacle course.

I see it on the dash, I see absolutely valid complaints, and the majority of my friends write female muses. I'm very aware of the problems they've faced, bias against them does exist!

Example of this?

Writing partners who have both male and female muses experiencing, repeatedly, their male muses being picked over the female muses, and their emotionally softer or less sexually available female muses being chosen dead last. The writing is great, these muses are well-done and interesting, easy to interact with, but they'll get told on the blogs for the male muses that they're only interested in them, the other mun having missed that this is the same mun behind both muses.

And it always comes down to wanting to ship m/m. Even when the muse is established as being heterosexual, they'll just keep trying to push it into happening with their male muse. If your male muse is heterosexual, that is like a violent act against the whole RPC.

So, that's also absolutely not a lie either, it does happen, it is a problem. It's valid to be upset about this!

In my opinion and experience, these are both significant problems predicated upon the same, overall issues:

not respecting choices and preferences equally

performative activism in fictional communities

requiring personal information as justification in order to respect choices/preferences as valid and not problematic

not being interested in writing for its own sake and characters for their own sake, but rather, what they say about oneself/in validation and display of one's ideals and/or personhood

not understanding that just because a character is x, y, or z does not, actually, make them interesting or a good character, let alone to everyone

So, I really think the answer here isn't saying that there is a single problem with muse gender across the board, everywhere and without variables, and demanding that people "respect," a thing that actually translates into "you must accept all of x as writing partners no matter your interest in them or viability, as writing partners" all of any one type of muse. I think that's just weirdly pressuring and remaining at a distance from the incredibly simple answer of accepting that people have preferences that do not always benefit you, that you might even find offensive, but that's a right they have.

It's okay if you're not interested in the conventionally attractive, canon male muse, even if someone has HC'ed him as queer. It's okay if you're not interested in the Strong Woman female OC, even if someone has given her other labels of significance. It's okay if you're not interested in someone's well-developed, well-written female OC or canon, someone's male OC or canon, or someone's proudly genderless creature. (Again, don't come at me folks, I literally call myself that, it's a joke based on the way people who do not ascribe to the gender binary can be treated/viewed by others who do, thanks!)

Your likes and dislikes are okay! Even if they're "not inclusive," yes. So long as you're not being a fucking bigot, you're alright. It isn't anyone's job here to be correct the ills of reality in their fiction, let's just all start focusing less on the fine details and more on respecting each other regardless of whether individual preferences benefit us or not.

Forcing people to interact based on guilting or shaming them is the opposite of the answer. Always. And just because it is one extreme in your RPC area does not mean it's like this in everyone else's. I'm genuinely sorry that anyone has experienced negative things based on such ridiculous factors, but please, be sure you're not turning around and doing the same shit to someone else.

Going to repeat:

Forcing people to interact based on guilting or shaming them is the opposite of the answer. Always.

#answered #anonymous #vent ask #female muses #rp problems #rp advice

0 notes

theonyxpath · 6 years

Link

…And he says he has a mission for you and your valiant pioneer friends. In less than two wags of their tails, you are all ready to follow the cryptic map the stranger has given you, and off for adventure!

That could be how a session of Fetch Quest starts. Story-wise.

Part of the fun, and part of what we’ll be exploring, with Fetch Quest is how the card game connects with the TTRPG. You can play it as a straight-up card game, you can add in your own characters as the pioneers going on the quests, you can role-play the challenges as well as solve them mechanically with the card game rules, and we’re looking at how a card set of missions could be transformed into a TTRPG adventure.

What I’m saying is, if the Kickstarter goes well, we have some ideas to explore.

In any case, the Kickstarter starts at 2pm Eastern US time Tuesday the 22nd – which is tomorrow as I write this. Here’s one of the videos we created to give more details about Fetch Quest:

As always, I have no idea if this one will do well, or even fund. You’d think after thirty of them I’d get blase, but I’m not. It’s still exciting and I always can’t tell if what we’re doing will be interesting enough and exciting enough to get folks pledging. We’ve all worked to make this one fun to follow, and Jaunty James Bell has proven to be an engaging “Kickstarter Concierge” as he titles himself, so it should be pretty cool. See ya there, good dogs!

Changeling: The Lost 2nd Edition illustration by Michael Gaydos

Meanwhile, we posted a short Onyx Pathcast last Friday announcing that the team feel so confident and excited about the response to the first three episodes that they will now be doing it weekly! So make sure to subscribe to PodBean or whatever podcast service you use, and get ready for your weekly dose of insider info about Onyx Path and our projects, game design, gaming in general, professional wrestling, and general good-natured repartee.

And here is the link and their third visual treatment by our old friend and first edition Trinity developer Charlie Bates:

https://onyxpathcast.podbean.com/e/special-episode-one-youre-doing-great-kid/

We had a lot of fun doing this shorter special edition Onyx Pathcast, and yes, I said we as I joined Dixie and Matthew and basically pretended to weasel them into going weekly. Now, what you hear there is not what happened in real life as they all came to me with the weekly idea, but we thought we’d go broad and I’d be sort of a cross between an evil Stan Lee and P.T. Barnum. Hope it’s as much fun to listen to as it was to perform!

This week’s episode will be their interview with Impish Ian Watson, and these are some of the things they cover:

Ian talks about his history with the Trinity Continuum pitch, through the CCP merger, and into the creation of Onyx Path – Ian’s love for the Trinity line goes back to 1997.

We talk about rabbit holes and why we love what we love.

The dynamics of the Trinity Continuum design team, and how awesome Danielle Lauzon is.

How the Storypath System came to be and how we reframe Storypath between TrinityStorypath and They Came From.

Reexamining how we do the development process, and how we are trying new things for Aberrant.

Ian talks about his Community Manager role.

What’s exciting about this new version of Trinity – Aegis! Anima! (Maybe) – Trinity as a pop culture toolbox.

We answer some forum questions (did yours get answered? Listen to find out!)

We talk about fonts! Fonts are cool!

Aberrant‘s diversity.

Ian’s contributions to Vampire: Bloodlines.

So, just chock full of great conversation, and going live on Friday.

Scion Origin art by Gregor Pedrycz

And here are some quick notes that came out of our Monday Meeting today:

Our sales partner Indie Press Revolution (IPR) is starting their month-long sale of Chronicles of Darkness Prestige Kickstarter Editions today! http://www.indiepressrevolution.com/xcart/Onyx-Path-Publishing/

We often talk about our forums, comments sections, and Facebook and Twitter presence, and here are two more places you can connect with other Onyx Path fans: our Reddit areas: non-WW games: https://reddit.com/r/OnyxPathRPG/ and WW games: https://reddit.com/r/WhiteWolfRPG and here’s a link to our new Facebook community page: https://www.facebook.com/groups/419273928504341/

Just to let folks know, since the various Kickstarter communities may not actually overlap all that much, we have shipped the Deluxe Changeling: The Dreaming last month, are looking good to start shipping the Prince’s Gambit casual Vampire: The Masquerade card game this month, and should be shipping Deluxe V20 Beckett’s Jyhad Diary next month. Phew!

And along those lines, we’re going to be sending the Backer PDFs out for Cavaliers of Mars this week! Here’s the gorgeous cover:

So, wrapping this up, I also took to heart your comments about pruning the Blurbs! section of this blog, and while I still want to consolidate the Amazon epub section, I think you’ll already find it a lot less bloated. We are also looking into the suggestion that we set up tabs featuring our various sales partners as a fixed place to locate them, and I’ll be able to only “blurb” new stuff.

Thanks for all your help. With all that we are doing, it can sometimes be an important task to find the best way to communicate all the great things that are happening with our…

Many Worlds, One Path!

BLURBS!

KICKSTARTER:

Fetch Quest, the adventure card game set in the Realms of Pugmire is going live tomorrow Tuesday, May 22 at 2pm Eastern US time! That’s 2pm, not noon like most of our other Kickstarters!

ELECTRONIC GAMING:

As we find ways to enable our community to more easily play our games, the Onyx Dice Rolling App is now live! Our dev team has been doing updates since we launched based on the excellent use-case comments by our community, and this thing is both rolling and rocking!

Here are the links for the Apple and Android versions:

http://theappstore.site/app/1296692067/onyx-dice

https://play.google.com/store/apps/details?id=com.onyxpathpublishing.onyxdice&hl=en

Three different screenshots, above.

ON AMAZON AND BARNES & NOBLE:

You can now read our fiction from the comfort and convenience of your Kindle (from Amazon) and Nook (from Barnes & Noble).

Our latest offering is the Mage 20 Cookbook, now in a convenient Kindle ebook version! https://www.amazon.com/Mage-Cookbook-World-Darkness-Enlightened-ebook/dp/B07C71BRDC/

Nook version is coming soon!

If you enjoy these or any other of our books, please help us by writing reviews on the site of the sales venue you bought it from. Reviews really, really help us with getting folks interested in our amazing fiction!

Our selection includes these fiction books:

Vampire: The Masquerade: The Endless Ages Anthology (Kindle, Nook)

Werewolf: The Apocalypse: Rites of Renown: When Will You Rage II (Kindle, Nook)

Mage: The Ascension: Truth Beyond Paradox (Kindle, Nook)

Chronicles of Darkness: The God-Machine Chronicle Anthology (Kindle, Nook)

Mummy: The Curse: Curse of the Blue Nile (Kindle, Nook)

Beast: The Primordial: The Primordial Feast Anthology (Kindle, Nook)

Vampire: The Masquerade: Of Predators and Prey: The Hunters Hunted II Anthology (Kindle, Nook)

Werewolf: The Apocalypse: The Poison Tree (Kindle, Nook)

Werewolf: The Apocalypse: Songs of the Sun and Moon: Tales of the Changing Breeds (Kindle, Nook)

Vampire: The Requiem: The Strix Chronicle Anthology (Kindle, Nook)

Werewolf: The Forsaken: The Idigam Chronicle Anthology (Kindle, Nook)

Mage: The Awakening: The Fallen World Chronicle Anthology (Kindle, Nook)

Vampire: The Masquerade: The Beast Within Anthology (Kindle, Nook)

Werewolf: The Apocalypse: W20 Cookbook (Kindle, Nook)

Exalted: Tales from the Age of Sorrows (Kindle, Nook)

Chronicles of Darkness: Tales of the Dark Eras (Kindle, Nook)

Promethean: The Created: The Firestorm Chronicle Anthology (Kindle, Nook)

Demon: The Descent: Demon: Interface (Kindle, Nook)

Scarred Lands: Death in the Walled Warren (Kindle, Nook)

V20 Dark Ages: Cainite Conspiracies (Kindle, Nook)

Chronicles of Darkness: Strangeness in the Proportion (Kindle, Nook)

Vampire: The Requiem: Silent Knife (Kindle, Nook)

Mummy: The Curse: Dawn of Heresies (Kindle, Nook)

And here are the Champions of the Scarred Lands fiction anthology and the Huntsmen Chronicles anthology for Changeling: The Lost 2nd Edition!

OUR SALES PARTNERS:

We’re working with Studio2 to get Pugmire out into stores, as well as to individuals through their online store. You can pick up the traditionally printed main book, the Screen, and the official Pugmire dice through our friends there!

https://studio2publishing.com/search?q=pugmire

Looking for our Deluxe or Prestige Edition books? Try this link! http://www.indiepressrevolution.com/xcart/Onyx-Path-Publishing/

Here’s the link to the press release we put out about how Onyx Path is now selling through Indie Press Revolution: http://theonyxpath.com/press-release-onyx-path-limited-editions-now-available-through-indie-press-revolution/

And you can now order Pugmire: the book, the screen, and the dice! http://www.indiepressrevolution.com/xcart/manufacturers.php?manufacturerid=296

DRIVETHRURPG.COM:

For the first time since it was originally published, we now have the Champions of the Scarred Lands fiction anthology as a physical book, available as a PoD on DTRPG and going live this Wednesday!

Pan’s Guide to New Pioneers has found its way through the wilderness to arrive in PDF and physical book PoD versions on DTRPG! http://www.drivethrurpg.com/product/239620/Pans-Guide-for-New-Pioneers

Pan’s Guide for New Pioneers

When a devastating flood hits Pugmire, all manner of bad dogs, opportunistic rats, and manipulative cats take advantage of the kingdom. Good dogs try to turn the tide, but searching the dangerous wilderness for a way to heal the land is no easy task. If only there existed brave dogs to lay down the way for other intrepid pioneers…

It is time for a new group of heroes to set out on a chaotic and risky adventure! Armed with a guide prepared by the daring dog Pan Dachshund, fabulous treasure and great recognition await them. All these pioneers need do is explore the wilds, discover the key to Pugmire’s salvation, and return in one piece!

Pan’s Guide for New Pioneers includes:

A full Pugmire adventure, aimed at people brand new to roleplaying games and experienced players alike!

Rules laid out and explained for every encounter and challenge in the adventure.

Snippets of Pan’s journal presented for enjoyable reading or integration into the game.

Ready-made characters so a game of Pugmire can commence as soon as you open this book.

Hyperlinks to video footage for those who prefer to follow along in different mediums.

CONVENTIONS!

Matthew Dawkins, Steffie de Vaan, and Mighty Matt McElroy will be at the UK Games Expo next week running games and talking shop with fans and retailers.

Prep is also underway for Gen Con 2018 in August, which takes place in Indianapolis, IN. In addition to our booth presence, be sure to check out the games and panels in the Gen Con Event Schedule.

From Fast Eddy Webb, we have these:

Eddy will be speaking at Broadleaf Writers Conference (September 22-23) in Decatur, GA. He’ll be there to talk about writing for interactive fiction, and hanging out with other writers who have far more illustrious careers. http://broadleafwriters.com/3rd-annual-broadleaf-writers-conference/3rd-annual-broadleaf-writers-conference-speakers/

Eddy will also be a featured guest at Save Against Fear (October 12-14) in Harrisburg, PA. He’ll be running some Pugmire games, be available for autographs, and will sometimes accept free drinks. http://www.thebodhanagroup.org/about-the-convention

If you are going and want to meet up, let us know!

And now, the new project status updates!

DEVELOPMENT STATUS FROM FAST EDDY WEBB (projects in bold have changed status since last week):

First Draft (The first phase of a project that is about the work being done by writers, not dev prep)

M20 Book of the Fallen (Mage: the Ascension 20th Anniversary Edition)

C20 Novel (Jackie Cassada) (Changeling: the Dreaming 20th Anniversary Edition)

M20 The Technocracy Reloaded (Mage: the Ascension 20th Anniversary Edition)

M20 Victorian Mage (Mage: the Ascension 20th Anniversary Edition)

CofD Dark Eras 2 (Chronicles of Darkness)

C20 Players’ Guide (Changeling: the Dreaming 20th Anniversary Edition)

Wr20 Book of Oblivion (Wraith: The Oblivion 20th Anniversary Edition)

Aeon Aexpansion (Trinity Continuum: Aeon)

In Media Res (Trinity Continuum: Core)

Trinity Continuum: Aberrant core (Trinity Continuum: Aberrant)

Lunars: Fangs at the Gate (Exalted 3rd Edition)

Tales of Excellent Cats (Monarchies of Mau)

Dog and Cat Ready Made Characters (Monarchies of Mau)

Adventures for Curious Cats (Monarchies of Mau)

Redlines

Deviant: The Renegades (Deviant: The Renegades)

Spilled Blood (Vampire: The Requiem 2nd Edition)

Night Horrors: Shunned by the Moon (Werewolf: The Forsaken 2nd Edition)

Second Draft

WoD Ghost Hunters (World of Darkness)

Tales of Good Dogs – Pugmire Fiction Anthology (Pugmire)

CofD Contagion Chronicle (Chronicles of Darkness)

Dystopia Rising: Evolution (Dystopia Rising: Evolution)

Development

Signs of Sorcery (Mage: the Awakening Second Edition)

Hunter: the Vigil 2e core (Hunter: the Vigil 2nd Edition)

Fetch Quest (Pugmire)

They Came From Beneath the Sea! Rulebook (TCFBtS!)

Guide to the Night (Vampire: The Requiem 2nd Edition)

WW Manuscript Approval:

Editing:

M20 Gods and Monsters (Mage: the Ascension 20th Anniversary Edition)

Night Horrors: The Tormented (Promethean: The Created 2nd Edition)

Post-Editing Development:

Scion: Hero (Scion 2nd Edition)

Trinity Continuum Core Rulebook (The Trinity Continuum)

Trinity Continuum: Aeon Rulebook (The Trinity Continuum)

Ex Novel 2 (Aaron Rosenberg) (Exalted 3rd Edition)

Exalted 3rd Novel by Matt Forbeck (Exalted 3rd Edition)

GtS Geist 2e core (Geist: the Sin-Eaters Second Edition)

Indexing:

ART DIRECTION FROM MIRTHFUL MIKE:

In Art Direction

Ex3 Monthly Stuff

Scion Hero – Last art notes and contracts being sent.

Trinity Continuum – Yep… workin on it.

Geist 2e

The Realm

M20 Gods and Monsters

Ex3 Dragon Blooded – Wave 2 art in progress

Monarchies of Mau– Artwork in progress.

Marketing Stuff

In Layout

Wraith 20 Screen – I’ll pull this together while doing errata. I got the list from Dansky of what tables to pull… just want to make sure they are right.

Fetch Quest – KS stuff all done for tomorrow.

EX3 Dragon Blooded – firming up layout and backgrounds while waiting for new art.

Proofing

Scion Origin – PDF almost ready for in-Onyx review.

Boggans – Waiting for WW approval.

Monarchies of Mau – Filling in XXs and prepping alpha PDF.

Changeling: the Lost 2

Wr20 Guide for Newly Departed – Art in Progress… book pretty much layed out.

At Press

Beckett Screen – At shipper.

Scarred Land PGs & Wise and the Wicked PF & 5e – Shipping from fulfillment shipper. PDF and PoD physical book versions on sale at DTRPG.

Prince’s Gambit – At fulfillment shipper, prepping for KS ship-out.

V20 Beckett’s Jyhad Diary– Set to arrive at fulfillment shipper this week.

Scion Dice – At fulfillment shipper.

Wraith 20 – Errata being input.

SL Champions of the Scarred Lands Anthology PoD – PoD on sale this week at DTRPG.

Cavaliers of Mars – Backer PDF out to backers this week.

TODAY’S REASON TO CELEBRATE: Tomorrow is Mighty Matt McElroy’s birthday! We could not have built up Onyx Path all these years without Matt, so please celebrate with us that dark and stormy night he was born!

#Onyx Path Publishing

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janglebangle614 · 7 years

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Trollhunters AU (Sorta) - Travis

Hey y'all, want another version of 'the Boyle kids get mixed up with the trolls of Arcadia'? No? Too bad! This one involves Travis (age 15 here) exclusively - two years prior to Jim finding the amulet of Daylight, Travis followed a troll i into the market via horngazel entrance. The circumstances are undecided, but the only reason he wasn't immediately mind-wiped, kicked out or straight up killed was because his status as a werewolf (monsters are better than humans, yes?) He was allowed access to Trollmarket on the condition that nobody else learn about its existence, family included

ANYWAY

“I need one thing from you, Blinky.”

The historian looked away from his books entirely, a rarity for him which Travis appreciated. “Speak freely, young Travis.”

“Keep Jim and Tobias away from me as long as you can. I may not have to keep trollmarket secret from them anymore, but I still have my own secrets and my pack to consider. If you need my help with something on the surface, I’ll do it covertly, and without the Trollhunter’s help.”

Travis supposed he couldn’t blame Blinky for this happening, even with the very large blade of Daylight being pointed directly between his eyes by a surprisingly steady hand. After all, the smallish troll had kept distance between him and the Trollhunter (and his friend) for a good two months. Jim coming to Trollmarket without Blinky’s, and therefore his, knowledge was hardly the historian’s fault.

Still, he figured he had a right to be annoyed by Jim acting like he had any more right to be in Blinky’s library that he did. As if Travis was the intruder. Ha! He hadn’t been considered an intruder in a year and a half! Even Vendel seemed to have warmed up to him. Being a fellow monster likely helped.

“Who are you, and how did you get into Trollmarket?” Jim demanded. Travis bit back a snarl. Animalistic sounds wouldn’t help. The Trollhunter might assume he was a changeling. Where would he be then? Sure, some of the trolls he came in regular contact with might back him up, but that would still leave the fact that, before Jim, humans hadn’t ever been in Trollmarket. He looked relatively human unless you looked at the tiny details. Questions would have to be answered. Questions he didn’t want to be faced with.

“With a horngazel, just like you, Jim Lake. I appreciate the sword in my face, by the way. Quite the VIP treatment you have going here.”

Jim didn’t lower the sword. “Are you a changeling? Who are you?”

Travis stared back without wavering. “My name is Travis and no, I’m not a changeling. And before you start acting even more high and mighty, I’ve been coming to Trollmarket long before Merlin’s amulet chose you to bear it. Ask Blinky if you don’t believe me. He kept me secret from you at my request, though I’m surprised you don’t recognize me. I’m in your class, for Moon’s sake.”

Jim squinted, like he was trying to focus past the big red sign that claimed Travis was an intruder. His eyes widened. Ah there it was. Recognition. Finally. The sword was lowered just enough.

“Travis?”

He rolled his eyes. “No, I’m Rubeus Hagrid. ‘Yer a wizard, Jim.” He scoffed. “I’m glad I’m no longer on your hit list. Now would you mind telling me why you’ve come? I’ll be sure to pass the message on to Blinky.”

“I came here to talk to him. Toby and I went to the museum last night following the goblins. We found them, and Killahead bridge.”

Travis’ eyes widened, it now being his turn to be shocked. “That’s impossible. Killahead is gone, it was destroyed and scattered around the world! How in Moon’s name-”

“I don’t know! We snuck into the museum and the museum lady turned into a troll with huge weird swords and she chased us! She tried to kill us but I made her fall on a goblin and they attacked her but I swear I saw Killahead. It was in the closed exhibit!”

“Wait wait wait. Hold on. Back up a bit. The curator turned into a troll? Are you sure? Maybe it was a trick of the light?” Hearing it come out of his mouth Travis knew that was likely the dumbest thing he’d ever suggested. Jim seemed to think so as well, judging by the frustrated and disbelieving look on his face.

“No it wasn’t the lighting! She was pink! And her eyes glowed and-!”

He didn't need to hear any more. Grabbing the Trollhunter’s hand, Travis dragged him out of the library in search of the historian.

“What are you-!

“You were right to come for Blinky. If you’re right about the bridge and the curator, Troll Market could be facing serious trouble.” Weaving through the crowds of grumbling trolls, Travis wished he could transform right now, but he needed to keep his secret. No matter how good of a Trollhunter Jim was turning out to be, he couldn’t be trusted yet. “Come on, I think I know where he is.”

They found Blinky, ARRRGH and - oh Stars, of course it couldn’t be easy - Toby in the pub. The short human was trying and failing to tell the millenia-old trolls what had happened at the museum. Hopefully Jim would do a better job - an easy feat judging by the baffled looks on both trolls’ stony faces.

He grabbed their attention from the ginger with a shout. “Blinkous! We have a situation!” Unfortunately and predictably, Toby turned to see the pair skid to a halt as well. Wonderful.

In a rare lack of coordination, Travis tripped, sending himself and Jim by extension crashing to the floor. He was grateful that Jim’s armor had disappeared during their mad dash, otherwise he’d have been crushed by a suit of armor as well as the gangly Trollhunter.

Multiple voices overlapped as confusion and worry filled the air like smoke.

“Jim! Who’s this guy? Is he a changeling?”

“Ah, Master Jim I see you’ve met young Travis-”

“I have so many questions-”

“What about the bridge dude-?”

Travis groaned at the ache in his ears. These people were louder than his siblings - which was quite the accomplishment, truly. “Will you all shut up?” He snapped. His ears twitched with his annoyance. He hoped the humans hadn’t noticed. “Jim, tell Blinky about the bridge, since Toby was clearly doing a terrible job.”

“Hey!”

“Stop. Toby, I’m not a changeling. I’m told you have photo evidence. Show them. Blinky, I haven’t said anything, so please keep your yap shut on the matter.” The historian looked slightly affronted at the choice of words, but said nothing. The boy’s status as a monster would be dealt with at a later date, since the preferred never was now thrown out the window.

Jim went into a far more detailed explanation of the events than he’d given Travis, including the fact that Daylight’s flaming blade apparently did nothing to hurt the curator. Everything seemed to be adding up pretty well to point towards serious trouble, even with Toby’s less-than-exemplary photographic skills.

@merigreenleaf @fanaticfangirl2602

#my writing #fanfic #fanfiction #lovely little au #lol #trollhunters #my oc #Travis Boyle #i'm ridiculous

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topmixtrends · 7 years

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THE REPORTERS WHO covered the Beatles’s first press conference in the United States, at JFK Airport on February 7, 1964, had never encountered anything remotely similar — and it showed. They asked the band a string of inane questions — about the accents, the hair, the money. Eventually someone asked what their secret was: what did these four lads have that made teenagers around the world scream at the mere sight of them, and spin their records until the needles were worn to a nub? Paul answered honestly: “We don’t know, really.” John cheekily chimed in: “If we knew, we’d form another group and be managers.”

We can forgive the Beatles for not being able to explain the Beatles — after all, creative types of all kinds have struggled to explain the creative process, and scientists haven’t had much more luck. Even the vocabulary we use is fraught: creativity, insight, talent, genius — these are ill-defined words with overlapping meanings. And yet, we somehow know it when we see it. We admire creativity, of course; but we also want to dissect it, to understand it. Can it be captured in a formula? Is there some magical combination of nature and nurture that produces the Fifth Symphony, or The Last Supper, or the theory of relativity?

Perhaps neuroscience can help. The Runaway Species: How Human Creativity Remakes the World is co-authored by Stanford neuroscientist David Eagleman — you may have seen him on TV, hosting PBS’s The Brain series — and Anthony Brandt, a composer and music professor at Rice University. While they don’t offer a magic formula, Brandt and Eagleman postulate three facets of creativity that might help us understand the nature of creative insight. The first is “bending” — taking existing ideas and materials and bending them into something new. A ballet dancer does this when she literally bends her body into a shape never seen before (the authors cite the late Martha Graham as an example), but so too does an artist when he paints something a little different from what he actually sees (like Claude Monet’s multiple, shimmering takes on Rouen Cathedral). The second is “breaking” — dividing something into its component parts, rearranging them, and throwing away parts if necessary. The invention of digital photography and digital sound recording are two examples — neither would be possible without the recognition that even the most seemingly continuous stimuli can be broken down into discrete “bits” of information. The authors describe the development of the MP3 — a digital audio format in which sounds are further compressed; only the most vital information is preserved (a JPEG does something similar with a photograph). Picasso, one might argue, did something analogous in his cubist portraits, keeping key elements of, say, a face — eyes, nose, mouth — but rearranging them in novel (even shocking) ways. Old rules of portraiture were discarded. The third facet is “blending” — taking two or more good ideas and combining them into an even better idea. An example from our ancient past is the fusing of copper and tin to form bronze — a material much stronger than either ingredient on its own. The blending can be mental rather than physical: novelists and filmmakers blend locations and time periods, and scientists might borrow ideas from one area of research for use in another.

The authors aim to persuade not so much by force of argument as sheer volume of representative cases. We’re confronted with a parade of examples — so many that it’s all a bit dizzying, though the many color images are a help. New topics are introduced and dispatched in no more than a couple of paragraphs. There are, as one might expect, tips for nurturing creativity in the workplace and in the classroom. These seem quite sound, if rather unsurprising — a section in the chapter on creative schooling is titled “Encourage Creative Risk-taking.”

The picture that emerges is one of perpetual tension between the familiar and the novel: if something is too familiar, it’s boring; too unfamiliar, and we dismiss it as crazy or even dangerous. The Beatles, one might argue, found the perfect middle ground — familiar enough to want to sing and dance along; dangerous enough to rattle parents. We also find that the new builds on the old; creativity, after all, doesn’t arise in a vacuum. One might point to Shakespeare: a rudimentary version of Hamlet had existed for centuries as a Scandinavian folk tale, but add a sarcastic gravedigger and a pair of buffoonish courtiers, and you have a play for the ages. And neither Mozart nor Beethoven reinvented the orchestra — they just found new ways to make use of it.

Mind you, not every great idea takes hold; as Brandt and Eagleman remind us, an idea that’s too far “ahead of its time” may simply disappear into the fog of history. Occasionally, with luck, it’s rediscovered. They give the example of Alfred Wegener’s theory of continental drift, first put forward in 1912. It was met with ridicule. A few decades later (sadly, after Wegener’s death) it was accepted as a cornerstone of geological science. Sometimes there are sound reasons for a new idea to be met with skepticism; sometimes it boils down to prejudice, or worse. Some German physicists dismissed Einstein’s theory of relativity as “Jewish science.”

There are a few hiccups along the way. For example, in describing an improvement to Japan’s famous “bullet train,” the authors say that engineer Eiji Nakatsu struggled to make the train quieter: “[T]he flat prow of its locomotive would create ear-shattering noise when moving at high speeds.” Nakatsu, fortunately, was an avid birdwatcher, and solved the problem by modeling the train’s “nose” on the beak of a kingfisher. The authors say that this happened in the 1990s — but Japan has had high-speed rail service on its Tokyo-Osaka corridor since 1964, and those trains were already pretty streamlined; as well, airplanes — and for that matter, bullets — had pretty sharp noses by the ’90s. So it’s not quite clear why a bird was needed for the great moment of insight.

And there’s a small problem with the authors’ treatment of the invention of the marine chronometer back in the 18th century. It was John Harrison, a self-taught clockmaker from Yorkshire, who eventually found a workable design (here the authors cite Dava Sobel’s wonderful book, Longitude). After building a succession of ingenious but bulky clocks (dubbed H-1 through H-3), Harrison finally settled on a much smaller design, known as H-4, which did the trick. The authors write that Harrison’s breakthrough was “to get rid of the pendulum entirely” — but it was already well known that no shipboard clock could use a pendulum; all of Harrison’s timepieces employed a balance wheel and spring (a late 17th-century innovation) rather than a pendulum to regulate the turning of the gears.

Here’s an odder thing: in telling how we gradually adapt to change over time, they write,

When we learn to drive a car, we begin with the small steps: checking the rearview and sideview mirrors, signaling when changing lanes, attending to the traffic around us, watching the speedometer. Later, we can drive with a piping hot coffee in one hand, talking to our spouse and kids, with the radio on and our cellphone ringing, all while speeding along at sixty miles per hour.

I humbly suggest that while we perhaps can do this, we shouldn’t.

A larger issue is the way the authors lump seemingly disparate types of creativity and invention together. They say, for example, that “the final, conclusive mobile phone will never be developed, nor the perfect television show whose appeal doesn’t fade, nor the perfect umbrella, bicycle or pair of shoes.” But isn’t our wish for innovation wildly different in each case? New mobile phone designs seem to appear almost monthly, because there’s money to be made, and more features can always be crammed into them. In contrast, umbrellas, by my estimation, have evolved only imperceptibly in the last 40 years (if it keeps us dry, we’re happy); and while shoe designs reflect changing fashions, their essential properties don’t change much. Bicycles, though a bit more technology-laden, seem to fall in that category as well. TV shows seem quite different. We want each episode to bring something new, and yet to stick within an established framework, but even if a show is successful (The Simpsons is in its 29th year) it surely has a limited lifespan in a way that the umbrella and the shoe do not. A further complication, which the book only briefly addresses, is the question of whether creativity can be objectively measured, or if it is, at least to some extent, a label we bestow on things after-the-fact: a kind of social construct. (Some evidence for the latter view can be found in the way our verdicts evolve over time. There’s a long list of novelties that were initially met with derision, only to be recognized as iconic some years or decades later — think the Eiffel Tower, the Sydney Opera House, The Rite of Spring, and AC/DC’s Back in Black.)

Elkhonon Goldberg’s Creativity: The Human Brain in the Age of Innovation is a markedly different affair. For starters, Goldberg, a neuropsychologist at NYU, goes into much more detail about the actual workings of the human brain. While the ever-confident Brandt and Eagleman keep things moving along like a briskly paced PowerPoint presentation, Goldberg adopts a more scholarly tone; he’s more cautious, more willing to admit that sweeping conclusions may not be warranted. On the issue of whether we can truly nurture creativity, for example, he writes,

[There] will not be a binary “yes or no.” The answer — or rather answers — will have to be more nuanced, taking into account many types of creative accomplishments, their many degrees, and many kinds of creative minds. We will also need better ways of defining and measuring creativity in numerous arenas of human endeavors.

Such caution prevails throughout.

Indeed, the two books are framed quite differently: Brandt and Eagleman believe that humans are driving change, while Goldberg takes it as a given that the world is changing, and that we need to embrace creativity and novelty in order to adapt to it. While Brandt and Eagleman stress the uniqueness of our species, Goldberg explains that at least some nonhuman primates respond to familiarity and novelty in the same way that we do (at least, their brains respond in a similar fashion). And the authors differ starkly on the possibility of computers being creative. Brandt and Eagleman say that “[w]hatever you put in is exactly what you get back out” — but as Goldberg points out, computer algorithms have created art and music “judged by humans as being different and valuable.” Besides, are we humans not in some sense “programmed”? “Since even the most unorthodox creative individual is a product of his time and a beneficiary of the previously accumulated knowledge, insight and tradition,” Goldberg writes, “any creative product generated by that individual, no matter how brilliant, is also in a broad sense derivative.”

As with Brandt and Eagleman’s book, there are a few problems. While Goldberg is clearly in favor of gender equality, his language may trouble some readers. He suggests that the contributions of men and women to creative endeavors “can be addressed constructively and rationally, without hysteria, defensiveness, or the corrosive effects of ‘political correctness.’” A lesser concern is repetition; by my count, we’re introduced to Goldberg’s two dogs — a now-deceased Bullmastiff named Brit, and an English Mastiff puppy, Brutus — at least three times. And the neuroscience is occasionally so dense as to be off-putting, as in: “modulation of the dopaminergic but not noradrenergic systems facilitate performance on lexical tasks which are based on more automatic processing and require the use of well-established semantic relationships.”

Creativity is a fascinating subject, and the human brain — that three-pound lump of exquisitely connected gray matter — is the organ that makes it happen. If you could combine the best of these two books, you’d have an entertaining and scientifically rigorous exploration of that subject.

Dan Falk is a science journalist based in Toronto. His books include The Science of Shakespeare and In Search of Time.

The post The Slippery Search for Creativity appeared first on Los Angeles Review of Books.

from Los Angeles Review of Books http://ift.tt/2oBTEsV

#Los Angeles Review of Books #topmixtrends

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