So seems like I’m getting some hate around here. To pre-empt any further cowardly posts/asks followed by blocks:
Thank you, have a good day.
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So seems like I’m getting some hate around here. To pre-empt any further cowardly posts/asks followed by blocks:
Thank you, have a good day.

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That post about death note being "everyone's first anime" (untrue statement) made me curious and now I want to gather data for science
Can you reblog this and tell me where are you from and what was your starter anime?
USA, Noir
Kill La Kill
Usa, and in terms of completing an anime start to finish fuck me its death note
Bebop.
Spy X Family!
USA, and I think it was Kiki's Delivery Service.
USA, probably Pokemon (original run), though first anime I remember seeing start to finish was probably Escaflowne.
One hot and cool writing tip that I wish more people knew is... you don't have to write out people's accents phonetically. You just don't. You are not Dickens. You are (hopefully) not Rowling. There are so many other ways you can make someone's speech feel authentic to their background, or just make it clear that they're speaking in a certain accent, not limited to:
literally just saying 'he spoke with a Welsh accent'; sure, it's a bit blunt, but it gets the job done in a pinch. "He's completely drunk," he said, his southern drawl lingering on the final syllable as if to highlight the extent of the offence. Y'know, something of that ilk, but not as shit.
learning the specific vocabulary and syntax that someone with that accent might use. Sticking with the Welsh theme, because it's objectively the best accent*, there's a bunch of things that differentiate a colloquial South Walean accent, outside of our famed tendency to elongate a vowel to the point of death. The way we use prepositions (where to by is he?), the vocabulary borrowed from Welsh - saying that someone daft is twp, or something small is dwty - can easily signpost our speech as being from that specific area, without needing to type something like "'e's absolutely 'angin', man, pissed as a faaht 'e is!" Something less jarring, such as "He's absolutely hanging, he is." is just as clear. A character who says "Do you want a cuppa?" is coded or located very differently to one who says "You'll have a cup of tea, so you will."
ditto if there are specific ways that someone from a certain area might refer to a well-known concept. Regional words for mother and father, for example, or words that are class-specific; your character who calls his parents 'mater and pater' is likely inhabiting a different socioeconomic strata than your character who calls them 'mam and dad'. See if there's a colloquial way of saying 'yes' and 'no'; a lot can be signposted if your character says 'nah' rather than 'no', or 'aye' rather than 'yes'. A character saying 'couch' is inherently coded differently to one who says 'sofa'.
The reasons that writing accents phonetically is Generally Ill-Advised, In My Opinion are as follows:
quite simply, you're probably not being as clear in conveying the sounds of the accent as you think you are. Taking JK Rowling's work as the best possible example of this, her attempts at writing a Cockney accent phonetically come across like someone is chewing a mouthful of cheese curds and struggling to contain them. There's no consistency, no proper understanding of how to transcribe syllables into writing in a way that coherently conveys the accent she's trying to portray. I mean this so seriously, but what the flying fuck is: 'Well, 'e 'ad these 'ead pains and 'e was def'nitley nervous. Depressed maybe.' It's a crime, is what it is.
it's just plain hard to read. Trying to wade through sentences full of apostrophes and elision, parsing what's actually being said, gets tiresome. It asks the reader to do work that you're actively making harder for them. And that's not always a bad thing! Making readers Put Some Fucking Effort In can be very fruitful! But do you really want them to be struggling to understand every single thing that your Character B is saying for 350 pages?
which leads me onto the last point, and the most important in my mind: writing out accents like this always, always affects accents that are already in some way Othered. They're either racialised or working class, or associated with certain local regions that have negative stereotypes - think the deep South of the US, or the Welsh Valleys. They're never the 'default'. And this raises thorny questions about what the default is, what the standardised accent is, the accents that do and do not merit differentiation from the norm. You're relegating Character B to being hard to read because he's from, idk, Sunderland. You've decided that he isn't speaking 'properly', and therefore the reader needs to understand that other people think he's speaking weirdly. That, to me, is the principle issue. Because returning to JK Rowling (a sentence I hoped never to type), the only characters who speak like this in her work are working class, or they're from other countries. They're never from, you know, Surrey. Wonder why that is. And it's easy to be glib about it, but I do think it reifies class and regional boundaries in a way that's ultimately harmful.
This isn't to say that there's never a place for eye dialect in writing - Trainspotting (edit to respond to some legitimate comments in the reblogs: I bring up Trainspotting because it's written in Scots and Scottish English, not just Scots, but I agree that this isn't the best example as the Scots portions are not part of this conversation in the same way; consider Their Eyes Were Watching God by Zora Neale Hurston as a better example, and apologies for the confusion!) wouldn't be what it is without it, and there's definitely a different conversation to be had when it's your own accent and you're making a deliberate point about identity by differentiating through eye dialect - but I think that the blanket assumption of 'oh shit, my character is from Ireland, I'd better type that out phonetically!' can actually be both damaging to your writing and to your character representation, and I think that instead doing the work to really understand the vocabulary, speech patterns and unique aspects of a language or dialect always makes a work feel more authentic and lived-in.
To wit, less of this shite:
There’s mony a slip, an’ I’m no losin’ sight o’ any o’ my suspectit pairsons, juist yet awhile. (One of the Lord Peter Wimsey novels by the very English Dorothy L. Sayers, if you were wondering, and yes, that's supposed to be a Scottish accent; I'd not be bringing it up if it were a Scottish author writing in Scots)
and more of this:
"Are we straight so?"
"Aye, we're straight," said Jim.
"Straight as a rush, so we are." (Jamie O'Neill, Irish, from At Swim, Two Boys)
*objective determination made via a sample size of one: me, in an elaborate hat.
Personally I’d argue that a degree of phonetic writing is fine so long as you don’t go overboard with it.
Like without seeing the girl in the pic here, just by reading the dialogue you can tell she’s got a southern sort of accent without having to expressly state it in the narration.
Whereas I would argue that everything about that accursed screenshot is a crime, and the elements that connote her speech as 'Southern' to me are the use of 'hun', the syntax of 'we even got' and the reference to sweet tea. I cannot believe that I am arguing about the relative merits of eye dialect by analysing the speech patterns of a screenshot of personalised 3D fap bait, but that's Tumblr for you, innit.
I mean it’s a fake screenshot thrown together in photoshop years ago to test the general visual viability of a more traditional VN style setup/layout, but that’s really beside the point here (though I do take the confusion as a bit of a compliment as the experiment seems to have somewhat worked). As for the why, it’s because I was reminded I had it on mobile and could be used as a visual example.
Back on topic though, I’d locked in on your first bullet point and…not took issue with, but more a light disagreement with the phonetic argument in that doing away totally with phonetic accents in writing is an option, but also that it really depends on the quality of the writer. As you so keenly pointed out from the cringe 3D fap bait of a (fake) screenshot, peppering in things that would allude to a regional accent could/would work, though I would argue that while effective, it’s not AS effective for giving the reader an idea of how a character sounds. You could have a character talk about sweet tea and such, as you pointed out, but that doesn’t necessarily equate to a southern accent. Writing out a phonetic accent could help push that, especially if the character in question is the odd one out—for example, someone from the south living up in, say, New York where their accent would noticeably stand out.
Ultimately I’d argue that while you have very good points, it’s best on a case by case basis. Exceptions to every rule, as it were.
One hot and cool writing tip that I wish more people knew is... you don't have to write out people's accents phonetically. You just don't. You are not Dickens. You are (hopefully) not Rowling. There are so many other ways you can make someone's speech feel authentic to their background, or just make it clear that they're speaking in a certain accent, not limited to:
literally just saying 'he spoke with a Welsh accent'; sure, it's a bit blunt, but it gets the job done in a pinch. "He's completely drunk," he said, his southern drawl lingering on the final syllable as if to highlight the extent of the offence. Y'know, something of that ilk, but not as shit.
learning the specific vocabulary and syntax that someone with that accent might use. Sticking with the Welsh theme, because it's objectively the best accent*, there's a bunch of things that differentiate a colloquial South Walean accent, outside of our famed tendency to elongate a vowel to the point of death. The way we use prepositions (where to by is he?), the vocabulary borrowed from Welsh - saying that someone daft is twp, or something small is dwty - can easily signpost our speech as being from that specific area, without needing to type something like "'e's absolutely 'angin', man, pissed as a faaht 'e is!" Something less jarring, such as "He's absolutely hanging, he is." is just as clear. A character who says "Do you want a cuppa?" is coded or located very differently to one who says "You'll have a cup of tea, so you will."
ditto if there are specific ways that someone from a certain area might refer to a well-known concept. Regional words for mother and father, for example, or words that are class-specific; your character who calls his parents 'mater and pater' is likely inhabiting a different socioeconomic strata than your character who calls them 'mam and dad'. See if there's a colloquial way of saying 'yes' and 'no'; a lot can be signposted if your character says 'nah' rather than 'no', or 'aye' rather than 'yes'. A character saying 'couch' is inherently coded differently to one who says 'sofa'.
The reasons that writing accents phonetically is Generally Ill-Advised, In My Opinion are as follows:
quite simply, you're probably not being as clear in conveying the sounds of the accent as you think you are. Taking JK Rowling's work as the best possible example of this, her attempts at writing a Cockney accent phonetically come across like someone is chewing a mouthful of cheese curds and struggling to contain them. There's no consistency, no proper understanding of how to transcribe syllables into writing in a way that coherently conveys the accent she's trying to portray. I mean this so seriously, but what the flying fuck is: 'Well, 'e 'ad these 'ead pains and 'e was def'nitley nervous. Depressed maybe.' It's a crime, is what it is.
it's just plain hard to read. Trying to wade through sentences full of apostrophes and elision, parsing what's actually being said, gets tiresome. It asks the reader to do work that you're actively making harder for them. And that's not always a bad thing! Making readers Put Some Fucking Effort In can be very fruitful! But do you really want them to be struggling to understand every single thing that your Character B is saying for 350 pages?
which leads me onto the last point, and the most important in my mind: writing out accents like this always, always affects accents that are already in some way Othered. They're either racialised or working class, or associated with certain local regions that have negative stereotypes - think the deep South of the US, or the Welsh Valleys. They're never the 'default'. And this raises thorny questions about what the default is, what the standardised accent is, the accents that do and do not merit differentiation from the norm. You're relegating Character B to being hard to read because he's from, idk, Sunderland. You've decided that he isn't speaking 'properly', and therefore the reader needs to understand that other people think he's speaking weirdly. That, to me, is the principle issue. Because returning to JK Rowling (a sentence I hoped never to type), the only characters who speak like this in her work are working class, or they're from other countries. They're never from, you know, Surrey. Wonder why that is. And it's easy to be glib about it, but I do think it reifies class and regional boundaries in a way that's ultimately harmful.
This isn't to say that there's never a place for eye dialect in writing - Trainspotting (edit to respond to some legitimate comments in the reblogs: I bring up Trainspotting because it's written in Scots and Scottish English, not just Scots, but I agree that this isn't the best example as the Scots portions are not part of this conversation in the same way; consider Their Eyes Were Watching God by Zora Neale Hurston as a better example, and apologies for the confusion!) wouldn't be what it is without it, and there's definitely a different conversation to be had when it's your own accent and you're making a deliberate point about identity by differentiating through eye dialect - but I think that the blanket assumption of 'oh shit, my character is from Ireland, I'd better type that out phonetically!' can actually be both damaging to your writing and to your character representation, and I think that instead doing the work to really understand the vocabulary, speech patterns and unique aspects of a language or dialect always makes a work feel more authentic and lived-in.
To wit, less of this shite:
There’s mony a slip, an’ I’m no losin’ sight o’ any o’ my suspectit pairsons, juist yet awhile. (One of the Lord Peter Wimsey novels by the very English Dorothy L. Sayers, if you were wondering, and yes, that's supposed to be a Scottish accent; I'd not be bringing it up if it were a Scottish author writing in Scots)
and more of this:
"Are we straight so?"
"Aye, we're straight," said Jim.
"Straight as a rush, so we are." (Jamie O'Neill, Irish, from At Swim, Two Boys)
*objective determination made via a sample size of one: me, in an elaborate hat.
Personally I’d argue that a degree of phonetic writing is fine so long as you don’t go overboard with it.
Like without seeing the girl in the pic here, just by reading the dialogue you can tell she’s got a southern sort of accent without having to expressly state it in the narration.
Genuinely what is the deal with people reacting to thought experiments with feeling like they're being lied to. Like if something presents with evidence that you might hold inconsistent beliefs, it must not be an issue with your beliefs themselves, the other person must be an evil trickster for pointing it out
people often intend something deceitful with "play my thought experiment game!". i would have to see an actual example, but there is usually a confidence trick of some sort in them.
The one that prompted this post is this one:
But I've also seen this pattern come up with the "lying to protect your friend from an ax murderer" and trolley problem variations. I've seen it for other problems too, but they're not coming to mind right now
where is the feeling lied to reaction
The most up voted comment is this:
This is a deliberate misrepresentation of the problem. The blue one is mountain dew voltage that becomes poisonous if more than 50% of people drink the strawberry fanta. Obligatory joke about mountain dew voltage being poisonous anyways. This is specifically misrepresented to remove the moral/ethical dilemma from the red button and erase the point of the problem, that being whether or not potentially contributing to the death of everyone who willingly risked their life by sucking at game theory or trying to save people who suck at game theory is worth saving yourself, and whether or not you would be at fault for the blue group's deaths if you did contribute to a red vote over 50%
Oh, they want to be applauded.
Anyhow, a thought experiment can be (a) used to try to force someone to take a socially disadvantageous position, or (b) reapplied to some other domain to get leverage based on the answer, where explaining why it doesn't apply isn't trivial.
Philosophers don't necessarily mean to do this, but for a political operative, the second maneuver could be something like, "Oh, so you decided to pull the lever in the trolley problem? If you don't agree to let all of your organs be harvested/support mandatory organ harvesting, then you're being inconsistent," and building out the ideological objection to that is intellectual labor and is not trivial.
“Oh, so you decided to pull the lever in the trolley problem? If you don't agree to let all of your organs be harvested/support mandatory organ harvesting, then you're being inconsistent,"
IMO the appropriate response to that, the “I’mma use your choice as a way to guilt you via inconsistency into supporting something you wouldn’t normally support” kinda thing, is a swift, hard slap across the face for being a weasel’y little cunt.

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[The Complete Monument Mythos]
I rewatched M4NTICOR3's The Monument Mythos S1-2, The Nixonverse, Season 3, and The Modern Day recently. I was struck with the idea of remaking my favorite bits as comic panels. This took me only 2 weeks to put together. If you'd like a better look at these please look at my previous posts, as these are just collages of what I made.
Thanks to everyone for liking, and thanks to M4NTICOR3 for creating such a fascinating world. Now it's time to get back to work on other things!
Toodle-oo!
Saber again
People love natives in such a superficial way. People wanna stand with natives when we’re talking about the trees, and the land. People wanna stand with natives when we talk about philosophies of love and togetherness. But as soon as it’s time to talk about political side of being native. About dismantling a system built on the genocide of our people. About how we need a new system that isn’t built upon capital gain and benefitting white bodies. About putting up a fight. About how the colonial state we reside in is a disgusting imperial plague on this land. Suddenly y’all don’t wanna talk native.
"They spent hundreds of years trying to assimilate my ancestors, trying to create indians like me, who could blend in, but now they don’t want me either. They can’t make up their minds.
They want buckskin and face paint, drumming, songs in languages they can’t understand recorded for them but with English subtitles, of course. They want educated, well spoken, but not too smart. Christian, well behaved, never question. They want to learn the history of the people, but not the ones that are here now, waving signs in their faces, asking them for clean drinking water, asking them why their women are going missing, asking them why their land is being ruined.
They want fantastical stories of Indians that used to roam this land. They want my culture behind glass in a museum.
But they don’t want me." -Shelby Lisk
i have a suggestion
Cool, how do the logistics work?
Example questions:
-What native people are affected?
-What to do if there is historical overlap of territory/land (ex: Two groups of native people have historical claim to the area, who gets it?)
-What to be reasonably done about the people already living on the land being given back?
—If they are to move, where to? Who will be paying for them to uproot and move somewhere else? If no compensation is offered, how will the decision be enforced and who will be in charge of said enforcement?
-What of post-colonial infrastructure on returned territory (buildings, roads, electric and gas, etc.)? Is that ceded to the native population regaining the land or does it belong to the people that constructed said infrastructure? If it is to be ceded, how will compensation be offered and by who?
Important logistical questions, I think.
Knew that!
Always is.

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This is indie survival horror game, Silver Pines, a love letter to classic survival horror, with a Twin Peaks-esque small town America setting!
Demo out now on Steam!
50 min gameplay video
what I mean: "sexual intercourse" is as much a social construct as "romantic courtship," and you discover this very quickly as a queer person if you try to talk to able bodied straight cis people who literally think the only thing that counts as Actual Sex is penis-in-vagina penetration, like they call oral "foreplay" it's so dire. various people have a lot of vested interest in cleanly defining "sex" vs "not sex" for a whole slew of reasons (ex. censorship dodging and enforcing, conferring the social clout of virginity and prowess, finding and closing loopholes about premarital sex, deciding what relationships "count" as serious partnerships, ligating what is general assault vs sexual assault vs Something That's Definitely Probably Fine And Not Sexual At All, Actually, etc.), and it's really not something you can just fall back on as obvious common sense that people are dumb for questioning.
what I say: sex isn't real and you can't have it
Since fish aren't real and sex isn't real, can we therefore take the next (obvious logical) step of defining sex as a fish?
There’s a joke about fish and Lent somewhere here.
yeah
Aaaand how are all the people in the food industry pipeline getting compensated for their labor? Do you even know how much that would BE?
Or is this more a “say something people agree with and don’t actually ever consider the logistics” kinda thing?
I have a suggestion.
And you trust the government to not abuse that tax?
No, I never deny the possibility of the government trying to misuse policies. Ever. I always assume it to be an inevitably to be prepared for—hence why I also believe that important policies like this still need to be pushed for. The government can abuse virtually any power given and often will, so that means that we cannot judge the efficacy of laws based solely on that factor given the certain nature of it all. That only gives us further incentive to simultaneously combat government corruption when possible whilst trying to pass legislation to improve in other aspects, as well.
Government corruption can effectively be used to shut down any argument—and I understand why—but mentioning it just to dismiss policies would get us nowhere. No change would be made to anything for the most part. Instead of letting other important parts of our world erode because of unethical practices, we need to use our awareness of malfeasance to do something about it without letting it whittle down our willpower to improve other conditions.
TL;DR: Government malpractice is a very real, serious issue, but to acknowledge it whilst giving up on trying to increase reforms or accountability to combat it is equally redundant and discourages positive change as a whole. We can focus on addressing multiple problems without neglecting the other.
“Multiple problems” is putting it mildly. OP (and people in the notes) is/are suggesting putting the whole food pipeline, from field to table, under the control of the government, paid for supposedly by the rich 1%. The whole thing, top to bottom, would be a bureaucratic and logistical nightmare. It’s not just grocery stores, it’s ANY food—fast food, restaurants, gas station snacks, farmer’s markets, etc. do you have any idea how much regulation and control would go into maintaining and managing that? And that’s even assuming that total government control over food would even allow for businesses to stay afloat. Why offer variety when it’s cheaper and easier to just give everyone the same thing? And how would you maintain the governmental stranglehold on the industry? What would stop people going “no I’m not selling my business to the government fuck you” and continuing as usual? Can’t have government control of the food industry when you have people not wanting to play ball, so you either gotta run them outta business, take them over, or destroy it.
And this isn’t even touching on all the inevitable corruption and backroom deals that would happen. This whole idea, this whole concept, is fucked, start to finish, because the thought that people like OP put into it begins and ends with “we want free stuff” without any actual thought on how to go about it or what sort of inevitable problems can, would, or might arise from it.
yeah
Aaaand how are all the people in the food industry pipeline getting compensated for their labor? Do you even know how much that would BE?
Or is this more a “say something people agree with and don’t actually ever consider the logistics” kinda thing?
I have a suggestion.
And you trust the government to not abuse that tax?
kit doodle!

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Charles Robinson
Evening party 🥂 Also recorded the timelapse for this one, under the cut :3
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