Huh!

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@wrongjohnsilver
Huh!

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really hilarious and unsexy when hetero romantasy authors refer to love interests as males and females. you sound like david attenborough narrating a special documentary on two turtles humping in the mud
i don't care if he's the king of the fae. if that man called me a desirable female i'd have him gelded
Deep down, this is one of the things I like about the sidhe in the story I'm writing.
The reason the sidhe are always seen as oddly androgynous is because they are literally the stuff of dreams. Dreams aren't gendered. They're much more interested in being beautiful, than in being male or female.
And this is also why, despite appearances, they are deeply, deeply inhuman.
βThe Militarization of the Police Department β Deadly Farce,β an original painting by Richard Williams fromΒ βThe 20 Dumbest People, Events, and Things of 2014β³ in Mad magazine #531, published by DC Comics, February 2015.
Hereβs the original, for comparison. And hereβs a bit more about the artist and why he created the piece above for MAD Magazine.
Richard Williams on Norman Rockwell:
βFor most people, he was the painter of βAmerica,ββ he added. βBut even he said his vision was what he wanted βAmericaβ to be. It was a mythical βAmerica,β a place where all people were decent, honest and full of good will. His work was full of gentle humor that made you feel a little better; even if you knew it wasnβt really trueβ¦ you just wished it was. My parody of Rockwellβs painting simply says, βThat myth is dead.ββ
I think itβs relevant to add that even Norman Rockwell chose to leave his cushy job at the Saturday Evening Post because he wanted to make artwork that was more radical. The Post had rules that wouldnβt allow him to do artwork depicting black people as anything other than servants. The job paid really well and that was a huge reason he continued on. But he wanted change that and so he moved to Look magazine.
A lot of people know about the very first piece he did when he left the post which was the The Problem We All Live With which depicts Ruby Bridges walking to school under federal protection.
But I donβt think enough people know about Murder in Mississippi which depicts three real civil rights activists who were murdered by the Ku Klux Klan and sherriffs. The magazine ran the sketch instead of the finished piece because they felt it had a more striking statement to accompany the article. Norman Rockwell would finish that version after publication which is here
Rockwellβs legacy is sanitized because he decided to maintain his job at the Post for so long despite his frustrations with not being able to express himself. The civil rights movement was just his final straw to change what he could with the little time he had left. Look magazine received a lot of hate for Rockwell painting these as well.
Another favorite piece of mine is The Right to Know which depicts an integrated populace questioning their government. In 1968, the year of Vietnam and the year the Fair Housing Act only just got signed in months prior:
But I think itβs important to include the caption Rockwell originally wrote for the piece as well. I think it represents how a 74 year old Rockwell felt about the America he believed in and the people in it:
We are the governed, but we govern too. Assume our love of country, for it is only the simplest of self-love. Worry little about our strength, for we have our history to show for it. And because we are strong, there are others who have hope. But watch us more closely from now on, for those of us who stand here mean to watch those we put in the seats of power. And listen to us, you who lead, for we are listening harder for the truth that you have not always offered us. Your voice must be ours, and ours speaks of cities that are not safe, and of wars we do not want, of poor in a land of plenty, and of a world that will not take the shape our arms would give it. We are not fierce, and the truth will not frighten us. Trust us, for we have given you our trust. We are the governed, remember, but we govern too.
Regarding Norman Rockwell, I also want to shout out βNew Kids in the Neighborhood (Moving Day)β in 1967:
Also for LOOK magazine, but leaning on his themes of youth and suburban life. Expressing both hope for the curiosity and open-mindedness of children, and the bitter recognition of the suspicion of adults towards racial integration (see the face peeking out of the window in background). Itβs notable that this is what he wanted America to be, too. He hoped for a better future.
I think that MAD Magazine artwork is really good and really poignant, and itβs also interesting to put it in conversation with Norman Rockwellβs own political evolution in his art as well.

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Happy Easter. You should have killed me when you had the chance, I promise you will not get another.Β
There's so many horror games about having to try to weed out and deal with inhuman imposters, but I want one where the script is flipped. You are something inhuman, you are an imposter, and if you want to survive you have to blend into a world that is trying to hunt you down and destroy you. You aren't human, but you must masquerade as one and infiltrate their world, or you will die.
I actually think we need to start inverting more Horror premises/tropes.
Like "You have to venture into the scary insane asylum!" VS "You're a patient who was admitted by force to an asylum, and you are very clearly in real danger, but everyone is pretending that you're just deluded, and are essentially leaving you to die because they don't really see you as a person."
I feel like there's a lot of Horror tropes built off of the fear of the other, when in reality it's actually often the other who is in danger. Maybe we could start recognising that more.
Interesting how the first half of the post has picked up popularity while the second part, which perhaps clarifies the idea of the original post, hasn't.
It's been interesting to see what media people are recommending based on the first post alone. A lot of recommendations for games/franchises like World of Darkness, Carrion, Kill All Humans, Among Us, etc. It's interesting because these are games that put you into the shoes of the violent other that has to infiltrate, without actually challenging the idea that the other is a threat. They actually parrot the ideas of the other as violent.
Funnily enough, the people recommending the comedy game Octodad understand the post much better than most of the people recommending horror media. A few mentions of Am I Nima, which isn't finished yet but does look like it could be what I am describing, so brownie points to the people recommending that.
But everyone saying stuff like "This is just being Trans/Autistic/Etc" really gets it, like really really gets it. Horror always communicates the fears and anxieties of the people who create it, this post was basically: "What if instead of communicating the fear of the other, we communicated the fears of the others, which are actually vastly more legitimate than the dominant groups fear of the other. We should recognise that it is overwhelmingly the others who are the ones who actually suffer and die, all for the perceived "saftey" and "comfort" of the dominant group."
This idea is about transphobia, it is about ableism, about anti-imigrant rhetoric and white supremacy, about queerphobia, it's about all of it. It is horror from the perspective of minority groups. It is the twisting of a trope built upon reactionary fears and narratives in order to critique them, it is a direct allegory for all those experiences you are describing.
Overall, it's just interesting to see who gets it and who doesn't.
Fran Bow would be an interesting look on the second part. On the one hand, it gets silly and surreal, but on the other it's the story of a girl in an asylum dealing with things that aren't really acknowledged by the staff. Kafka explores this in detail, and we can see it in the movies Brazil and District 9 as well.
Also, you can find tropes of this kind of horror (first and second part) throughout the SCP Foundation. Plenty of stories are not about trying to contain the Big Evil Nasty, but the arbitrary nature of containment for itself.
In fact, that was a theme in my SCP-001 WJS Proposal ("Normalcy"). What is deemed normal is, ultimately, whatever you choose it to be, and I try to look at what that means from both sides of the issue: what it's like to be the odd one out, and what it's like to be the one choosing what's normal. There are horrors where no matter what you choose, you're denied. This is the horror of whatever you happen to choose, it's correct. Why do you dare deny normalcy to anyone?
The SCP Foundation's 'top-secret' archives, declassified for your enjoyment.
Reading sports headlines while pretending sports doesn't exist suggests a fascinating world of magic and whimsy.
terrible news everyone
perhaps i judged too quickly
@elfpractice289
Just down from space...
Via Paul Byrne at Bluesky: "Taken after their translunar injection burn, there are aurorae at top right and lower left, and zodiacal light at lower right."
Alt text: "That's us."
(ETA: here's the image's home, with EXIF data, at the NASA image site: https://images.nasa.gov/details/art002e000192)
Credit: NASA/Reid Wiseman
tree grafting techniques
Modern day sorcery

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Waiting for things to be just right, or even better, before acting to get what you need, will destroy you.
just peekin in to make sure y'all are appreciating Polar Bear Sunday
"Alice Through The Looking Glass" at Guildford Castle in England
Bothers me when the distinction between Witch and Wizard is drawn according to gender. The Witch/Wizard distinction is one of class. Wizards live in towers and have cursed artifacts. Witches live in shacks and have crooked teeth.
Both witches and wizards can be evil, of course. But when a witch is evil they turn you into a frog. When a wizard is evil they try to tear a hole in reality or raise an undead army. You don't see witches doing that shit because they're working class.
The witch is looked down upon because they are competition to the hierarchical work of wizardry; they present an alternative to state monopoly on magic.
Absolutely. Witches perform folk magic--you'd never catch a wizard getting overly preoccupied with practical magic like soothing ulcers or curing the flu, but witches are always brewing up stuff for those kinds of reasons.
Magic is like programming. When it's seen as practical and tedious, it's "women's work." When it's seen as academic and intellectual, you get a huge salary and an audience with the king.

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New Cerberus just dropped.
Now THATβS a pet named Spot.