I like when construction workers spray paint their strange sigils on the pavement
Sometimes they summon a cherry picker or crane, other times it wards off backhoes

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JBB: An Artblog!
Mike Driver

@theartofmadeline

❣ Chile in a Photography ❣

Kiana Khansmith
styofa doing anything
Show & Tell

roma★
Not today Justin
let's talk about Bridgerton tea, my ask is open
he wasn't even looking at me and he found me
NASA
cherry valley forever
Today's Document

Origami Around
trying on a metaphor
PUT YOUR BEARD IN MY MOUTH

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@pawthorn
I like when construction workers spray paint their strange sigils on the pavement
Sometimes they summon a cherry picker or crane, other times it wards off backhoes

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brennan has put a lot of care into building a setting where there is no immutable source of evil within the world. it makes the villains rich and diverse. placing the onus of the sundered houses' villainy upon sorcery as a concept is simply flattening the setting at every level. sorcerers aren't evil. at no point is the concept of innate magic considered bad.
sorcerers are just a fact of the setting. they're not evil because they're sorcerers and they're not sorcerers because they're evil. sorcerers exist because of ancient pacts or boons or a chance of biology or simply being born in proximity to magical places, and that's clear in all of the sundered house mythos. i think speculating that the ancient versions of the sundered houses got their magic nefariously is falling into the "some things are Just Evil." we can't assume that because the human sorcerers of modern aramán are engaging in class warfare, their ancestors were wicked.
there are sundered houses who took the heroic position of defying the shapers during the shapers war. the priestly houses are rotten not because sorcerers are rotten but because wealth and resource hoarding and the dismissive carelessness they treat mortal life with is evil. otto einfasen isn't evil because he's an einfasen, he's evil because he took a commoner girl's head off with a hammer. and there's endless nuance to be found here: the einfasens are nominally allied with the protagonists, but it doesn't render them heroic, they're still canonically authoritarians. the royces are complicit in every evil done by the sundered houses for the last 70 years, but they are inexorably tied to the heroes in a positive way and are making active efforts to break away from the evil system.
additionally: assuming that the primordials were bad because they wed the shapers is a big leap. the shapers murdered them. thaisha saw the desecration of tehana's shrine in favor of trozhna as wrong and insulting. if it were one evil covering another, it would not have been impactful to notice the desecration. the primordials might have been a neutral or evil force on the world, we don't actually know, but they are a part of the foundation of the world, so it's more likely that forces of nature are simply a neutral concept.
aramán is a setting where evil consistently is shown to be an active choice. even the shapers. there is no indication that they were just born bad. they chose to come to aramán, kill the primordials and repress the population, turning them into playthings in their sibling squabbles as they bent the world to their will. those are the reasons they are evil, not because they come from Evil Land.
brennan is using a lot of heightened fantasy genre conventions. it speaks to lord of the rings and a song of ice and fire and old fairytales and legends, but this campaign takes ideas about good and evil from classic D&D settings, and fixes them. good and evil are a choice, always. a demon can do good. an angel can do bad. the villainy is complex. there is no evil race or class (in the D&D sense of the word). complaining about the villains shows a lack of understanding of the setting.
you have won a lifetime supply of this
How do you feel?
good!
I CAN SELL THIS AND GET RICH
im drowning in my supply help
Eh it's okay
BAD. VERY BAD
results/other
you would receive the supply once a month
the brand/type will vary so you could
you can sell the things you get/give them away but they will keep coming until you die
I can sell these bad bitches to all the occultists and covens making a killing! I bet the Catholic Church would buy them for $1 a pop. . .
Lifetime supply of toasters??
[excited admech noises]
hey guysss so unfortunately the rumors are true and im leaving the narrative. Buttt the good news is my absence will create such a gaping hole in your lives that it will become a sort of presence itself, and so in a way it will kind of be like i never left! But i am. Leaving just to be clear.
Go in peace. 🌩️
Thaisha "i effortlessly created a new technicolor angel named Kaedra" Lloy there's no one in Araman that will ever be on your level
[id: art of thaisha lloy, speaking with a stormy expression as lightning swirls around her in a stormy sky. end id.]

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Been watching some breakdowns of long-form improv and it's giving me thoughts on backstory in D&D in general and actual play specifically.
In long-form improv, actors are generally figuring out who they are and what they're doing on the spot. But it's not the case of an actor coming out and saying "I'm a twenty-two year old barista from Santa Monica who does historical Mormon re-enactments on the weekend and also has a sick cat named William."
Instead, the other actor walks up to the first and asks for a latte. The first says hot, iced, or tepid. The first actor has accepted the setting and their character (coffee shop, barista) and added a detail to the setting-- maybe tepid is the preferred temp of Mormon re-enactors and that's how we get into that detail. The conversation bounces back and forth and the scene is built.
But the important point is, both actors are adding details about their own character, the other character, and the setting. Improvisors aren't supposed to walk up to their scene partner and say, "Who are you?" That's not collaborative. Actors should give and accept details to build the scene and characters from nothing together.
Of course, in actual play, players generally aren't starting from nothing. There's usually a setting and PCs and NPCs and backstories. But there are a lot of gaps, both before and during the gameplay. You can't fill in every detail of a life in a backstory doc and you can't include every minute of a day at the table.
For me, the best actual players are doing strong improv work to fill those gaps. These player build the details of their characters collaboratively. Their relationships with other characters--both PCs and NPCs-- feels real because they speak these details about each other and the world into existence.
This isn't to say these players don't have a clear backstory or knowledge of the setting to begin with. Strong understanding of character and setting facilitates good improv (see Luis Carraro's Adventuring Academy.) Between these players and the DM, there's competency with the setting and understanding of characters such that they aren't worried about stepping on each other's toes. If a player who understands the setting adds a detail to the world, the DM can justify it. If a player who's paying attention to other characters adds a detail about another PC, that PC's player can justify it.
Listening, trusting, and building together.
Conversations outside the table are helpful for this, but they're generally building groundwork for improvisation. Without the leaps taken during gameplay to speak vital details to existence, relationships can feel flat and artificial. It's the difference between believing two characters have a rich history together vs. simply accepting it because they said so.
The more I learn about improv, the more I find it strange that the TTRPG and actual play communities don't engage with improv techniques and viewing lenses more regularly. If we aren't educated in some basic understanding of improv, we're missing a large portion about what makes these games and stories work.
reblog this and tell me your favorite album written and performed by a woman?
oh i’m sorry would you rather me beat an alive horse?
''what if you regret it'' then you will expirience regret - a normal and unavoidable part of the human expirience.

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for real tho it feels exhausting that ive seen this whole "woman should be allowed to abstain from X beauty standard" -> "i perform X beauty standard, am i evil? do you think im evil? please forgive me i came up with a dozen excuses 🥺" since like 2015 (and i know its been going on longer than that) like girl thats not the poiiiiint
look me in the eyes. repeat after me. "i face societal pressure to perform this beauty standard. i should not face that pressure. i conform to this standard. i am rewarded for performing to this standard. i need to respect women who do not perform this standard. this is not about whether or not i am a sinner for wearing makeup."
Something that annoys me is the constant whining about "more queer spaces, more queer communities" but then they're immediately like "yeah! And we need ones that don't cost money or require a purchase!"
Girl that's exactly why they close down after a year. You NEED money to keep these places open. There's no magic Gay Money Pot with endless cash to keep these places open. It requires YOU to put your money where your values are!!
Like there was a queer coffee shop in my city. Owned and operated by a bunch of LGBT people. Not a cishet on the schedule. Tons of young people raved about it.
And it made it about 2 years before shutting down completely. Because all those young people who begged for a place exactly like this would just show up, not buy a single thing, and leave. You cannot build a community without putting your money into it. This isn't about capitalism, this is just reality. You can't open a restaurant where no one buys your food. You can't have a gay bar that only serves 5% of the population and actively excludes everyone else. This is what I mean when I say people confuse "community" and "friend group." You're not obligated to spend money when hanging out with your friend group. But if you want a lasting community centered space, you need to open up that wallet.
As always, I'm so here for Aabria and her attention to the world, both the small details and the larger implications, how grounded her character is in its histories and realities, using that character knowledge to put things together and move things forward so swiftly elegantly, cutting through confusion and argument.
"Wasn't Thjazi called Shadow?"
Tossing the Iron nail to Julien.
Quickly cutting through all the noise to reveal the truth.
While playing Thaisha, Aabria is so conscious of the world and Thaisha's worldview. As a woman whose religious culture has been persecuted nearly to extinction. As a person from a race that every other race of Aramán was happy to leave in subjugation; the suffering of the Rungjani was a fair price for their comfort.
You can viscerally feel this in her gentle but clear acknowledgement of Bolaire, her tone when she asked him why he was so angry.
"What exactly do you find to be foolishness, Bolaire?"
The calm, despite the fact that, when it comes down to it, he is angry that the actions Thjazi set in motion blew up his comfortable life. The same actions that liberated the Runjani afterlife. He doesn't think "a couple hundred" Rungjani souls are worth it.
"So you're not angry, you're afraid."
It reminded me of when Aranessa was breaking down and overwhelmed because her life was blown up and she has to make hard decisions to move forward. Thaisha used the same gentle, but firm tone then.
"You always had to make a choice and the world was always chaos. It's just touching you now."
There's such weight and truth behind the way Aabria carries Thaisha. I look forward to her Soldier table, but I feel for what the rest of the tables will be losing without her presence.
me packing every pair of underwear i own for a 3 day trip: but like what if i accidentally pee my pants EVERY DAY while i’m there??
Why the State Needs to Be at the Table
The question of who is responsible for feeding people — and how — is back on the table. Nourish Scotland has been making the most rigorous case for public restaurants in the UK (and increasingly beyond i) — and Abigail McCall has helped bring that work into wider food-systems conversations, engaging many of us thinking about public restaurants as part of the food infrastructure we need. Their argument is straightforward: food needs public infrastructure, just as transport, healthcare, and education do. We build hospitals because the market alone does not guarantee health. We build schools because access to education cannot depend on what families can afford. We build public libraries, public parks, public transit. Why not public restaurants? Food is as essential as any of these — more so, arguably, since we need it three times a day. And yet we largely leave its provision to market forces that have consistently failed to make healthy, sustainable, delicious food accessible and affordable to everyone.
[...]
If you prefer to frame it in terms of efficiency rather than rights: unhealthy diets cost billions in healthcare spending every year. Malnourished children learn less and earn less. And though this argument strikes me as overly productivist, I’ll leave it here anyway: workers who cannot afford a decent lunch are less productive. And market forces have not aligned profit with population wellbeing when it comes to food. The food industry has been extraordinarily effective at making ultraprocessed, nutrient-poor food cheap, convenient, and omnipresent. Making nutritious, sustainable food affordable has been far less of a priority. That’s not a moral failure of the market — it’s how markets work. Public restaurants are one tool in a much larger set of policies to improve food environments — alongside front-of-package labeling, taxes on ultraprocessed foods, subsidies for fresh produce, stronger school feeding programs. All of this can work together, with public restaurants anchoring a procurement system that sources from smallholder farmers and supports an agroecological transition. What public restaurants add is a physical space where good food is not a privilege.
20 June 2026

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I worry a little bit that people who refuse to learn about ai as a part of their anti ai position are going to be extremely unprepared to understand what’s actually scary about it and already have their digital literacy at risk tbh
not that I am some genius in this regard but if you follow ai developments even slightly you might change the things you are most worried about. do people know the extent to which ai is already eating itself and how meaningless this is making swaths of the internet. do people know that there are plenty of random mid-sized companies today buying their employees’ likenesses to create digital clones and using these to make hundreds of videos. I am so much more worried about labor and surveillance and abuse than people becoming lazy about writing emails. and idk man I sort of like and respect people who are willfully ignorant about it as a way of minimizing its force in their lives and I am in some ways jealous but also when I see posts that basically still boil down to “chatgpt will never fool me” I am like 😭😭😭 for one thing not the only thing to be concerned about, for another thing I am really sorry but I don’t think you’re right
Opinion: I don't think it's crazy that Vaelus didn't consider what could've happened to Occtis before she broke the stone