If I disappear from here suddenly, it's because of stupid new social media age verification laws and my refusal to trust Tumblr with my ID
occasionally subtle
Cosmic Funnies

JBB: An Artblog!
d e v o n
cherry valley forever
trying on a metaphor
$LAYYYTER

if i look back, i am lost

titsay
Alisa U Zemlji Chuda

Kiana Khansmith

Not today Justin
NASA

izzy's playlists!
he wasn't even looking at me and he found me

blake kathryn
Sweet Seals For You, Always

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@halfeatenmoon
If I disappear from here suddenly, it's because of stupid new social media age verification laws and my refusal to trust Tumblr with my ID

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I was thinking of a pride art challenge people could do with their OCs, because I thought it'd be cute! A queer/trans artist with their creations.
but then I realised that same challenge would be infinitely more funny with folks who have atypical or horror OCs
“The old magic persists thanks to it’s unfathomable power.”
No, the old magic persists because the new magic can’t run the legacy spells I need to do my job, and keeps trying to install spirits I don’t want or need onto my orb.
Look, if the new magic didn't have a personality construct that kept trying to tell me which spells to use, maybe I wouldn't still be using the old magic.
Yes it had a deep blood cost, but at least it was a one time sacrifice and not this monthly bloodletting nonsense new age magic has
The old magic is robust enough to survive a decade of use and it's compatible with every wand, staff, scroll, and charm in our collection.
The new magic stops working after three days and every spell uses proprietary runes.
Our preferences, as an archiving institution, should be pretty clear.
You try to get guidance for the new magic and the king's sorcerers maybe will answer you in a few days with an unhelpful suggestion to buy the newest orb.
You need guidance for the old magic and a dozen retired middle-aged wizards will pop up to explain it to you rune by rune if necessary.
The old magic is open-source while the new magic requires an annual subscription with a 4-figure license fee. The convenience of a well-designed MUI (magic user interface) isn’t worth that
So, are you dating somebody or not?
For many transfeminists, the issue of body image is where our needs for comfort and safety directly collide with our feminist politics. Many of us feel so uncomfortable and ashamed of our appearances that we opt to remain in the closet or endure electrolysis, hormone therapy and surgical interventions to modify our bodies in congruence with our identity as women. These procedures are costly, painful and time-consuming and can lead to the permanent loss of fertility and other serious complications such as an increased risk of cancer*. Why would anyone opt for such a seemingly inhumane practice? While we might like to believe that the need to match our bodies to our gender identity to be innate or essential, we cannot in honesty neglect social and political factors contributing to our personal decisions. One such factor is society's enforcement of dichotomous gender roles. Because our identities are constructed within the social environment into which we are born, one could argue that the discontinuity between one's gender identity and physical sex is problematic only because society is actively maintaining a dichotomous gender system. If one's gender were an insignificant factor in society, the need for trans people to modify their bodies to fit into the dichotomy of genders may very well decrease, although probably not completely. However, such reasoning should not be used to hold back trans persons from making decisions regarding their bodies. Trans women are extremely vulnerable to violence, abuse and discrimination as they are, and should not be made to feel guilty for doing whatever it takes for them to feel safe and comfortable. Transfeminism challenges us to consider ways in which social and political factors influence our decisions, but ultimately demands that society respect whatever decisions we each make regarding our own bodies and gender expression. It is not contradictory to fight against the institutional enforcement of rigid gender roles while simultaneously advocating for individuals' rights to choose how they live in order to feel safe and comfortable. Nor is it contradictory to provide peer support to each other so that we can build healthy self-esteem while embracing individuals' decisions to modify their bodies if they choose to do so. We can each challenge society's arbitrary assumptions about gender and sex without becoming dogmatic. None of us should be expected to reject every oppressive factor in our lives at the same time; it would burn us out and drive us crazy. Sum of our small rebellions combined will destabilize the normative gender system as we know it. Various forms of feminisms, queer activism, transfeminism, and other progressive movements all attack different portions of the common target, which is the heterosexist patriarchy.
from The Transfeminist Manifesto (2001) by Emi Koyama. This quote is from the section "Body Image/Consciousness as a Feminist Issue"
*note: I'm not sure what exactly is being stated to increase risk of cancer here; estrogenizing HRT does technically increase the risk of breast cancer, but as I understand it that is relative to a cis perisex man's risk, so for most people it only increases the risk to what it would be for cis perisex women.

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you will never beat the biphobia allegations until you radically accept bisexuals who are stereotypical. you must accept the sluts, the polyamorous, the girls with straight boyfriends, the questioning, the confused, the ones who want to be another couple's unicorn, the ones who are in a phase and will eventually identify differently, and even the ones you suspect aren't truly bisexual but just want attention. take people at their word when they tell you who they are. let them live and express their identity as they see fit. happy bi visibility day
Also how many types of people do the stereotypes cover. I mean. By the time you list all the top ten most Insufferable Bisexuals you’ve listed a whole village of perfectly normal people
sometimes the question isn't "is this character a good person or a bad one" in like an absolute sense it's "are this character's actions in accordance with the themes of the show or in opposition to them"
i know what you think this is about but no i was reading old fan essays about revolutionary girl utena last night
i mean it does also apply to the other thing though
fox you gotta tell m which RGU character. Is it Nanami
*sigh* fine, fine, i'll be the new doctor who showrunner. bring me two twinks, britain's tallest woman, and 1000 pounds worth of alumininamian foil
on the alberta oil sands
If you want to understand the Alberta oil sands — and everyone should, at least a little, because they are among the strangest industrial artifacts in the Western hemisphere and the standard coverage of them is almost uniformly wrong — you have to start with the fact that what's in the ground is not oil. Oil, proper oil, the stuff Saudi Arabia and Texas and the North Sea have been pumping for a century and a quarter, comes out of the ground as a liquid. You drill a hole, pressure differentials do most of the work, and what comes up is roughly pourable. This is not what's in northeastern Alberta. What's in northeastern Alberta is bitumen, which is oil that has been sitting around for a hundred million years getting its light ends biodegraded out of it by bacteria, and what's left is a substance with the consistency, at room temperature, of cold molasses or peanut butter. You cannot pump it. You cannot drill it. If you cut a chunk of oil-sand out of the formation and put it on your desk it will sit there, looking like a dark sticky brick, being the least ambitious hydrocarbon in the history of hydrocarbons.
So the entire industry is, at a physical level, a workaround for the fact that the thing they're extracting is an embarrassment to the concept of petroleum.
There are two workarounds and they both cost a lot of energy. If the deposit is close to the surface — and only about a fifth of the reserves are — you can dig it. This means you strip off the boreal forest and the peat underneath it (the "overburden," in the terminology, which is one of those words like "collateral damage" or "surplus population" that you can tell was invented to not describe something) and you run the biggest trucks and shovels in the world, actually the biggest, 400-ton dump trucks that cost five million dollars each and tires that cost the price of a house, and you mine it like coal. The oil-sand goes into crushers and then into giant hot-water tumblers that separate the bitumen from the sand the way you'd separate wet paint from gravel, with a lot of help from caustic soda and even more help from steam. The water goes into tailings ponds, which are not ponds, they are lakes, they are visible from low earth orbit, and they are full of a mixture of fine clays and residual bitumen and a lot of other chemistry that is at best dubious and at worst a slow-motion environmental catastrophe nobody in Alberta can figure out how to clean up and which, by provincial law, the operators are supposed to eventually reclaim — a promise whose timeline keeps sliding to the right and whose financial reserves, if you actually cost them out, would bankrupt most of the companies that made them. That's the mining side.
The other eighty percent of the reserves are too deep to mine. For those you use SAGD, steam-assisted gravity drainage, which works like this: you drill two horizontal wells, one stacked a few meters above the other, you blast the upper one full of high-pressure steam until the bitumen down there gets hot enough to actually flow, and then you collect the flowable bitumen out of the lower well. You are, essentially, cooking the ground. To do this you need ungodly amounts of natural gas, because steam doesn't make itself, and the natural gas is piped in from elsewhere in the province, which is why the oil sands are sometimes described (accurately) as a process for converting natural gas, which is a reasonably clean fuel, into synthetic crude, which is not, at a thermodynamic efficiency that would make a nineteenth-century millwright wince.
The net energy math on this is — fine. It works. You put one unit of energy in, you get three or four out, that's the rough ratio, less than conventional oil's old ten-to-one but more than enough to make money at any oil price north of roughly fifty dollars a barrel, which the global oil price has been north of most of the time since about 2004. So it gets done. And once you've gotten the bitumen out of the ground — whether by digging or by cooking — you still can't ship it, because at pipeline temperature it's still too thick to flow, so you cut it with condensate (a light hydrocarbon imported specifically for this purpose, sometimes from the US Gulf, shipped north, used as a thinner) until it's a mix called dilbit, diluted bitumen, which is what actually goes down the pipe. About a third of every barrel of dilbit leaving Alberta is diluent. You are paying to ship the thinner.
This is, I want to stress, the normal operation of the industry. None of this is scandal. This is the regular Tuesday.
The scale of it is the part people don't absorb, because the numbers are all in units nobody has intuitions for. Canadian oil sands production is running around 3.5 million barrels a day as of 2025, which is more than every OPEC producer except Saudi Arabia and Iraq, which is almost half of all oil produced in Canada, which accounts for most of the difference between Canada being an oil-exporting country and Canada being a quiet resource backwater with a per-capita income that looks more like Ireland's. The industry is about thirty percent of Alberta's GDP. It is the entire reason Alberta's per-capita GDP is what it is. Until the Trans Mountain pipeline expansion came online in May 2024 — after twelve years of construction, at a cost of 34 billion Canadian dollars, after the federal government had to buy the project from Kinder Morgan because no private company could eat the political risk — basically all of it went to the United States, which meant Canadian producers had exactly one customer and priced accordingly, at whatever discount to WTI the American refiners felt like imposing. This was annoying to Canada in the way that having a single customer is always annoying to a supplier, and it's the thing the pipeline was supposed to fix, and fixing it is already looking like it wasn't as much of a fix as promised because production keeps growing faster than egress capacity can keep up.
Okay. That's the industrial situation. Here's the part that actually matters.
Fort McMurray is not a city in any sense that the word normally carries. It is a town of maybe 75,000 permanent residents, up near the 57th parallel, surrounded by boreal forest and muskeg, to which is attached — and the word "attached" is wrong, the word needs to be something more like "grafted" or "hosting" — a second population of roughly 35,000 workers who live in what are called camps. The camps are the actual operational engine of the industry. A camp is a cluster of prefab dormitory buildings attached to a cafeteria and a gym and maybe a movie room, plopped down in the bush near a mine or a SAGD plant, with capacity for anywhere from a few hundred to several thousand workers. Workers fly in from everywhere in Canada — Newfoundland, Cape Breton, New Brunswick, whatever backwater the post-industrial labor market has stranded them in — on two-week-on two-week-off rotations, work twelve-hour shifts, live in a room the size of a cell, and fly home to spend two weeks with their families before coming back. The term of art is "shadow population." The official census counts them separately.
And this arrangement is not incidental to how the industry works. It is the industry. You cannot run a facility the size of Syncrude's Mildred Lake mine with a labor force of people who live in the nearest city and commute to work. There is no nearest city. The nearest city is eight hundred kilometers away. You have to import the workforce, and because you have to import the workforce, you have to house them, and because you have to house them cheaply, you put them in camps, and because the camps are miserable, you pay the workers a lot of money, and because you pay the workers a lot of money, they put up with the camps, and the whole system is stable as long as the oil price is high enough to subsidize the discomfort premium. It is an entire industrial operation structured around the fact that nobody would voluntarily live where the bitumen is, and so the industry has to buy the labor's tolerance of not-living-there, over and over, shift after shift, for however many decades the deposit lasts.
Which brings me to Kate Beaton.
Beaton is from Mabou, Cape Breton, which is one of those Canadian places that the twentieth century was mostly unkind to. Cape Breton had coal, and Cape Breton had steel, and Cape Breton had fishing, and Cape Breton lost all three of these industries in the space of about forty years, and what it has now is diminished. The island's culture, which is Gaelic-inflected and absurdly musical and which has produced a shocking amount of art per capita, has as one of its load-bearing assumptions the idea that you will probably have to leave to make a living, and that this leaving will be sad but necessary, and that everyone you know will do it too, and that it's been going on since the Highland Clearances, and will go on after you. This is the Cape Breton structure of feeling. It predates the oil sands by about two hundred years. The oil sands are just the current destination.
So when Beaton graduated from Mount Allison in 2005 with an arts degree and a pile of student loans, she did what her cousins and the boys from her high school had already been doing for a decade, which was get on a plane to Alberta. She went to the camps. She worked tool cribs, she worked supply offices, she worked at Syncrude's Long Lake and at Shell's Albian Sands and at a couple of the smaller operators whose names I can't remember off the top of my head, and she kept a notebook, and eventually — many years later, after she'd become internet-famous for Hark! A Vagrant, which is a different story — she turned the notebook into a graphic memoir called Ducks, published in 2022 by Drawn & Quarterly, which won pretty much every prize available to graphic novels and landed on Obama's list that year, and which is, I think, the single best book anyone has written about what the oil sands actually are, which is a very specific kind of social machine.
The book is called Ducks because in 2008, while Beaton was there, 1,600 migratory ducks landed on a Syncrude tailings pond and died in it, which became briefly a global news story and got Syncrude fined three million dollars, which is roughly the kind of money Syncrude made every forty-five minutes that year. The ducks were the visible atrocity. The book is about the invisible one.
The invisible one is that the ratio of men to women in the camps was, depending on which camp and which shift, somewhere between 30-to-1 and 50-to-1. Beaton spent two years as one of the maybe two or three women at any given installation surrounded by several hundred men who were working twelve-hour shifts, living in single-occupancy dorms a hundred meters from hers, drinking heavily when off-shift because there was nothing else to do, doing cocaine at a rate that surprised even her, isolated from their wives and girlfriends and mothers and daughters, and — this is the part the book builds very patiently and very devastatingly — slowly losing the ability to behave like the people they used to be when they were still at home. The book is not a condemnation of the men. It is explicitly not that. The book's most painful move is that it keeps humanizing them, keeps showing how they're also trapped, also miserable, also being used up by the same machine, even as they do the things they do to her. Which, without getting into the specifics — read the book — include the full range of what several hundred isolated men will do to two women when the HR function is a phone number in Calgary that nobody is going to call.
And the thing Beaton sees, the thing she sets up with complete economy and then lets the rest of the book bear out, is that the machine is designed to produce exactly this. It's not a bug. The camp structure produces isolated men away from their social networks in exchange for money. Isolated men away from their social networks, given enough money and enough boredom, will do predictable things, and those predictable things are accepted by the operators as part of the cost of doing business, the way a mine accepts that a certain number of miners will get silicosis. It's a function of the design. Nobody up the chain at Suncor or Syncrude or Shell wants the women in the camps to be harassed. It's just that preventing the harassment would require reorganizing the entire labor-rotation structure of the industry, which would raise the cost per barrel, which would make the operation uncompetitive, and so the harassment is priced in as an externality. The women are told they have a bad attitude. The men are told to knock it off. The rotation continues. The oil flows.
What makes Ducks extraordinary, and what makes it a book about the oil sands rather than a book about harassment — though it is also that — is that Beaton also sees the men. She sees the welders from Cape Breton she grew up around, except here they're trapped in a way she recognizes because she's trapped in the same way, a way her dad would recognize from his own generation going to Boston or Toronto, a way her grandfather would recognize from the mines. The Maritime out-migration has been happening long enough that it has a folk repertoire, a whole tradition of songs about leaving, and the men in the camps are inside that tradition whether they know it or not. Some of them are actively dying inside it — there's a running count in the book, not emphasized, just there in the margin, of young men who die on the highway between Fort McMurray and Edmonton, or who kill themselves in their dorms, or who disappear. The mortality of the rotation is ambient. It's baked in. Nobody makes a particular fuss because making a particular fuss isn't what anyone there has the cultural equipment to do.
And the thing I keep coming back to, reading that book, is how precisely it maps onto earlier Canadian industrial extractions. Cape Breton exported its own men to its own mines in the 1890s and they died of black lung. Newfoundland exported its men to the Banks and they died drowning. The cod collapsed in 1992 and those men went to Fort Mac. There is a temporal rhyme here that Beaton doesn't belabor but that sits underneath the whole book: this is what Canadian industrial history is, a series of extractive operations that consume the bodies and social networks of men from places the previous extractive operation already hollowed out. The oil sands are just the current iteration. When the oil sands go — and they will go, either because the world stops buying the product or because the bitumen that's economically recoverable runs out or because a carbon regime finally prices the externalities — whatever comes next will be staffed by the grandsons of the men who died at Fort McKay, who were themselves the grandsons of the men who died at Glace Bay. Same as it ever was.
The industry knows all this, by the way. None of it is secret. The oil companies have sociologists on retainer. The turnover statistics are studied. The mental health crisis in the camps is a line item, it has a budget, there are contractors whose entire business is running crisis-response services for a workforce they know is coming apart. The 2016 wildfire — which evacuated 88,000 people from Fort McMurray in the largest wildfire evacuation in Canadian history, which burned down 2,400 homes, which briefly shut down most of the industry — revealed in passing that the regional municipality's shadow population was around 40,000 people at that moment, people who lived here but didn't live here, who were uncounted in most of the news coverage because they weren't from there, they were from somewhere else, and they all went back to their somewhere elses during the evacuation and some of them simply never came back. The 2018 post-fire census found the shadow population down fifteen percent. The oil didn't care. The oil kept flowing. The rotations restarted.
And the Indigenous piece, which I've been circling without saying directly, is that all of this is happening on land that belongs, by every reasonable reading of treaty and prior occupation, to the Athabasca Chipewyan and the Mikisew Cree and the Fort McKay First Nation and the Métis communities of the region, who have been variously co-opted, partnered-with, sued-into-submission, paid-off, or simply bulldozed over, depending on the decade and the specific negotiation. Some of the bands have significant ownership stakes in the operations now, which is a development the 1970s activist version of this story did not predict. Some are still in active litigation over water quality and cancer clusters downstream on the Athabasca River. Both things are true. The oil sands produce billionaires and elders dying of bile duct cancer and they produce them in the same watershed and if you want a tidy story about which is the real one you'll have to write it yourself because the ground doesn't offer one.
Beaton's book ends, more or less, with her going home to Cape Breton, having paid off her loans. She is permanently changed. She does not know if she is changed in a way she can live with. The book came out fourteen years after she left the camps and you can feel in it the time it took her to process what she'd seen, which tracks — it takes that long, usually, to figure out what a thing was, and sometimes you never figure it out, you just get old enough to stop being wrecked by it. She is one of the very few people who went through those camps and came out with the specific combination of linguistic ability and patience and moral seriousness to write about them. The others — the welders and the mechanics and the engineers and the heavy-equipment operators — mostly did not. They went home. They drank. They worked the next rotation. They raised kids who, statistically, also went to Alberta, because the Maritime economy did not improve. The book is as much about them as it is about her, and the fact that their version of the book doesn't exist, and won't, is part of what the book is finally about.
There is a thing you learn if you read enough industrial history, which is that the machine doesn't need you to understand it in order to keep running. Understanding the oil sands does not stop them. Beaton writing Ducks did not stop them. The 1,600 ducks in the tailings pond did not stop them. The 88,000-person wildfire evacuation did not stop them. The carbon math does not stop them. The Chipewyan cancer clusters have not stopped them. The only thing that will eventually stop them is the price, and the price is set in a market that does not weight any of the inputs I have just listed, and so the bitumen will keep coming out of the ground until it doesn't, and the men will keep flying in, and the women who work among them will keep being what they have to be to survive the rotation, and somewhere a Cape Breton teenager is right now considering her options and thinking about student loans.
Same as it ever was.

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Sketchin my peenids for this transmasc zine I’m submitting to, do you think tumblr will let me post it?
We fixin to find out
Really pushing Tumblrs buttons by posting the finished version
7 thousand people have seen an artistic rendering of my benis
Today I learned that someone I know has a skeleton arm tattooed all the way up her arm where her bones would be. Because when she broke her wrist and they were pulling on her arm to reset it, she thought "this must be what Ianthe Tridentarius felt like." So she just. Got Ianthe's bone arm tattooed on her flesh arm.
Waiting for the bus simulator
bus due in 5 mins
bus due in 4 mins
bus due in 3 mins
bus due in 2 mins
bus due in 1 mins
bus due in 0 mins
Whoops we forgot to send the bus again
bus due in 30 mins
glad to see this is resonating with the bus taker fandom

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Rocky on the trip back to Erid registering that Grace has defaulted to using he/him for him for sexism reasons and that they don't actually have to go by he/him. xe does some research on the human computer and spends several weeks cycling through different pronoun sets. starts switching so frequently Grace becomes convinced sie has started being difficult on purpose. after a while Grace is like omg will you just pick one and stick with it. Rocky is like okay i have decided. rock/rocks. rockself. Grace like well i can't argue with that.
#see the hill that I will die on is that if Andy weir was cooler rockey would use either they them or xe xir#you’re telling me cool middle school teacher Ryland grace is unfamiliar with the concept of fun new genders#absolutely not. his students have taught him about singular they them and neopronouns
Grace trying to explain to Rocky that they can be whatever they want to be and presenting a whole list of different pronoun options and Rocky (who has no concept of gender) being like 'why would I care about any of this'
Rocky: which pronouns does Grace use question?
Grace: he/him
Rocky: okay. Rocky will use he/him too
Grace: okay but I feel like defaulting to he/him promotes a patriarchal kind of mindset and we should be more thoughtful about it
Rocky: okay so use the other standard pronouns
Grace: she/her?
Rocky: yeah
Grace: okay but that feels weird too
Rocky: why weird question
Grace:
Grace, later, lying awake: I never considered that Rocky might wanna be a she... Am I a bad person?
Rocky: Grace mix it up suggestion
Grace: I guess I could
Rocky: Rocky he/she/they/it
Grace: I don't know if you can use it
Rocky: why not question
Grace: it's just considered dehumanising?
Rocky:
Rocky, being a little shit: I choose it/its
Rocky: this conversation boring, let's go back to Grace tones
Grace: okay so you won't pick a pronoun but I have to pick a tonal inflection?
Rocky: my thing more important statement
Grace: okay fine can't you just your tones for me?
Rocky: but Grace not qualified engineer
Grace: well is there a schoolteacher tone?
Rocky: uhh no
Rocky: schoolteacher not
Rocky: schoolteacher not prestige profession statement
Grace:
Grace: WOW.
Grace: is there not like a default tone to use when you don't know all this stuff about a person?
Rocky: yes but very rude to use for close friend statement
Grace: wait hold up 🤔 you think of me as a close friend?
Rocky: yes maybe Grace shut up now
Grace several years into their voyage, finally getting good enough at understanding Eridian to clock when Rocky has switched back to using the Neutral Tone for him, thereby implying that they are no longer friends: HEY??
Grace, in the middle of a big argument: did you just. dead person inflection me?
Rocky: uh-huh
Grace: does that mean what I think it means
Rocky: it means what it means statement
Grace: come ON
alt zine coming out tomorrow!!!!
ive been working rly hard on this, it would mean a whole whole bunch to me if u guys would check it out when it comes out <3
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here is a free link to the first issue of filth magazine! it's 34 pages long, and features a poem by my boyfriend!
it is an alternative magazine, and it is about sincerity.
tw for discussions of suicidal ideation (my own, and that of others) and sexual assault (solely my own)
please enjoy. feel free to download and distribute in any way you like. if you would like to write a feature for a future issue, please dm me!
no sense in being dishonest, I worked very hard on this and am very proud of it, I would love it if a lot of ppl tried it out, checked it out, and maybe interacted with this post a bit lolz :)