the “sexy lamp test” but for disabled folks: if you can replace your disabled character with a beloved pet dog that needs an expensive surgery to survive then you have to throw out your manuscript
hello again -- i was reaching out again to get in touch about your 1.0 archive. were you still interested in someone else receiving it to put online? i ask because my roommate and i are shopping for web hosting for online storage and have some other interested folks in building out an archive with us.
Oh. Gosh. I’m so sorry for the extreme delay on that, I’ve been inundated with health problems and then must have forgotten at some point.
I’m uploading the files as I write this, it appears I can DM you so I’ll drop you a link once it’s done.
I passed a flower shop next to a tattoo shop and at first I laughed because I thought it was ironic and then i freaked because IMAGINE YOUR OTP IN A FLORIST/TATTOO ARTIST AU
I cannot BELIEVE a post I made when I was 13 is circulating! And also apparently started this trope? I thought somebody had the idea separately and it blew up that way😭
There are some Naruto/Sasuke blogs that I encounter and I am in agreement with some of their analysis but one of the ideas perpetuated by them is the idea that Sasuke is the feminine counterpart to Naruto' s masculine one or that he has characteristics typical of a "heroine", which I can not agree with.
Let's start with one of the most baffling claims that I have come across -
This conclusion can only arise from a narrow engagement with Japanese media, specifically post-1980s shounen manga or tokusatsu TV shows. To equate the theatrical use of bright colors in Kabuki with modern shounen protagonists’ personalities is a fundamental misunderstanding of both cultural history and artistic tradition.
Kabuki theater, does feature characters adorned in exaggerated makeup and vibrant costumes. However, these visual elements are not tied to personality traits like “loudness” or “rebelliousness.” Instead, they serve as symbolic tools to convey roles, emotions, and social status within the rigid structure of Kabuki performances. The protagonist in Kabuki is often a figure of restraint, dignity, and moral complexity, qualities starkly opposed to the brash, impulsive archetype of modern shounen heroes. Importantly, all Kabuki characters heroes, villains, and supporting roles alike wear bright colors and stylized makeup. This is a theatrical convention, not a character trait.
They are part of a broader theatrical tradition that emphasizes visual storytelling and emotional expression. Meanwhile, the loud, brash shounen hero is a modern invention designed to resonate with younger audiences, not a reflection of Japan’s historical ideals.
"The Ideal Japanese Hero"
The term “ideal Japanese hero” is overly broad and ahistorical. It ignores the evolution of Japanese storytelling across genres and eras. The traits commonly associated with modern shounen protagonists : short tempers, hyperactiveness , or “punkish” behavior are relatively recent developments, emerging in the late 20th century to appeal to adolescent demographics. These characteristics are often criticized within Japan as immature or simplistic, reflecting a deliberate marketing strategy rather than a cultural ideal.
In contrast, seinen and gekiga feature protagonists who embody a far more nuanced conception of masculinity. Characters like Manji from Blade of the Immortal , Musashi from Vagabond, or Thorfinn from Vinland Saga are introspective, morally conflicted, and driven by existential struggles. These figures align more closely with the Byronic hero, a brooding complex antihero than with the loud, hyperactive protagonists of shounen.
Sasuke : Revenge and Restoring Honour
The themes of revenge and the restoration of honor are deeply embedded in classical Japanese literature, so much so that there is an entire genre dedicated to it: Jitsuroku. These stories, often based on historical events, revolve around the pursuit of justice and the restoration of one’s honor through acts of vengeance. The most iconic example of this genre is the tale of the Forty-Seven Ronin, a story that has become a cornerstone of Japanese cultural heritage. It tells the story of a group of samurai who avenge their lord’s death after he is wrongfully framed and forced to commit ritual suicide by a political rival. The themes of loyalty, filial piety, and the moral imperative to restore honor are central to this narrative, and it has inspired countless similar stories throughout Japanese history.
The archetype of the wronged hero seeking vengeance is a recurring motif in Japanese literature. These stories often follow a similar structure: a protagonist is wronged due to political machinations or personal betrayal, resulting in dishonor and often death. The hero then embarks on a quest to avenge the injustice, driven by a sense of duty, loyalty, or filial piety.
One such example is Tales of Jiraiya, a classic Japanese folktale that served as one of the many inspirations for Naruto. In this story, the protagonist, Jiraiya, is a noble warrior who faces betrayal and must navigate a world of political intrigue and personal vendettas.
Sasuke is a textbook example of this archetype. His quest to avenge his family and restore their honor drives much of his character arc, making him a quintessential example of the classical Japanese male protagonist.
Despite being a deuteragonist, Sasuke’s role in Naruto is so compelling that he often challenges Naruto’s position as the protagonist, both within the narrative and in terms of audience reception. During the run of Naruto in Weekly Shounen Jump, Sasuke consistently ranked highly in popularity polls, and even surpassing Naruto to take the #1 position at least once. His character and story arc resonated deeply with Japanese audiences because they embodied the characteristics of a classical Japanese hero: stoic, driven, and principled.
Naruto, while a beloved protagonist, is often critiqued for his naivety and near-childish idealism. His unwavering belief in forgiveness and unity, contrasts with Sasuke’s capacity for ideological introspection. Sasuke makes for a more mature and nuanced counterpart to Naruto, appealing to audiences who appreciate the gravitas of a traditional tragic hero.
Some blogs and fans insist on framing Sasuke as a “heroine,” citing a comment from an anime director ( from early part 1, referencing Naruto wanting to save Sasuke from Orochimaru) who said that Sasuke is the “true heroine” because Naruto “chases” and wants to “rescue” him. This interpretation reduces their relationship to a rather shallow dynamic of pursuer and pursued, ignoring the larger narrative in the relationship( especially considering Sasuke never actually required physical saving despite Naruto’s concerns)
However, you can also easily and equally claim that Naruto fulfills the narrative role traditionally assigned to female love interests in East Asian stories – the emotional crutch that enables the lone ranger’s emotional salvation.
Sasuke embodies that quintessential archetype : Defined by self-imposed isolation, governed by ruthless independence and consumed by a quest for vengeance.
Naruto, meanwhile, assumes the role of the redemptive force, responsible for his emotional healing. His narrative purpose is mirrored across many East Asian romances:
-In Tale of Genji, Murasaki becomes Genji’s emotional compass, she counters his political ruthlessness, while refusing to abandon him.
-In Peony Pavilion, Dun Liniang’s love redeems the scholar Liu Mengmei and her devotion awakens him from his isolation.
-In The White Snake legend, Bai Suzhen’s love humanizes the ascetic Xu Xian, her devotion breaks his monastic detachment.
There are many more examples, but the pattern is clear. In the story itself, Naruto is contrasted to Sakura - the female character who is canonically in love with Sasuke and is expected to take the role of being Sasuke's emotional anchor- laments that she can't influence him through her love, and that role is given to Naruto instead.
In Chinese fan discussions, many have noted how Naruto – as the male protagonist – occupies the role of being Sasuke’s salvation, a narrative position traditionally reserved for female love interests.
Which second male lead tells the male lead, ‘You’re my salvation’ ?!
26K Likes
Naruto’s unwavering devotion to Sasuke frequently becomes a target of mockery, particularly among male fans who identify with him. As I've previously analyzed, this discomfort stems from seeing their self-insert character deviate from traditional masculine ideals by assuming what they perceive as a ‘feminine’ role – the emotional pursuer in the relationship. This cognitive dissonance manifests in two ways: either through hatred toward Sasuke for ‘making Naruto appear gay,’ or insisting that Sasuke should have been female to preserve conventional gender dynamics and avoid perceived emasculation.
Just to be clear, emotional nurturance isn’t gendered, but storytelling traditions have historically framed it that way. I’m not arguing that Naruto should be viewed as Sasuke’s ‘heroine’ instead of the reverse. The more compelling point is how the Naruto-Sasuke relationship also subverts the expectations of a the masculine archetype, and making Naruto an atypical Shounen protagonist.
I do remember JP fans discussing Naruto’s behaviour towards Sasuke and complaining that the way Kishimoto writes him resembles the writing of Shoujo authors.
> It was funny how all the supposedly ‘typical attributes of female manga artists’ perfectly matched Kishimoto’s depictions when someone listed them.
>>Kishimoto is great in a sense, for proving that depiction habits are not gender specific
It's amusing when people cite Japanese fans calling Sasuke “heroine” as proof he supposedly occupies a feminine role. In Japan, “heroine” typically just means the protagonist’s love interest – usually female, yes, but not inherently about performing femininity in the story.
On a related note, the label of "heroine" is a point of contention among the Western fans of Sakura. In Japan, Hinata is referred to as the heroine, including Kishimoto himself, because Naruto ultimately marries her. However, some fans believe that since Sakura is the main female character she should therefore be considered the heroine instead. They also fail to understand that the term "heroine" simply refers to the love interest of the male protagonist, rather than anything else.
Take this Japanese comment on a Final Fantasy VII clip, calling Sephiroth the “heroine.”
Nobody seriously argues Sephiroth plays a feminine role, even though Cloud obsesses over him (antagonistically), once idolized him, admires his looks, and Sephiroth’s beauty keeps getting emphasized. Clearly, it’s just a tongue-in-cheek remark about their homoerotic tension.
The same applies to Sasuke. A lot of these “heroine” comments are playful nods to his narrative function as Naruto’s emotional focus, not some statement about gender roles in the story.
The claim that Sasuke’s status as a bishounen (beautiful, graceful male) makes him the “feminine counterpart” to Naruto’s “masculine” Yang energy is a misapplication of the Yin-Yang analogy. In Naruto, the Yin-Yang dichotomy is explicitly tied to thematic contrasts of darkness/hatred (Yin) and light/love(Yang), not to gendered traits or appearances. Reducing this philosophical framework to superficial characteristics ignores both the manga’s intent and the cultural context.
Kishimoto employs Yin-Yang symbolism to explore moral dualities:
Sasuke as Yin : Associated with darkness, vengeance, and isolation due to his role as an antagonist, not his appearance. .
Naruto as Yang : Embodies light, hope, and connection as the protagonist who seeks to unify the shinobi world, not his brashness.
This contrast is ideological, not aesthetic.
In Taoist philosophy, Yin and Yang are interdependent forces that create balance. Kishimoto uses this duality to frame their narrative roles and never extends the Yin-Yang analogy to their looks or behavior, this is a fan-imposed interpretation.
People who label Sasuke’s beauty, or reserve as “feminine” misunderstand Japanese cultural ideals. In Japan:
-Bishounen aesthetics (youthful beauty, androgyny) are celebrated as markers of sublime masculinity, not femininity. Historical figures like samurai and nobles prized elegance and refinement.
- Stoicism and introspection are hallmarks of classical heroes
You can also easily reverse their assigned roles: Sasuke’s demeanor and strategic ruthlessness , and qualities that drive him to dismantle the Shinobi system are inherently Yang traits: active, decisive, and transformative. Conversely, Naruto’s compassion and loyalty to the village reflect Yin qualities: nurturing, passive, and preservative.
Sasuke and Naruto’s outwards characterization is not unique anyways . Iconic rivalries like Rukawa and Sakuragi (Slam Dunk, another inspiration for Naruto) follow a similar pattern:
- Rukawa : Aloof, refined, popular (akin to Sasuke).
- Sakuragi : Loud, brash, and comedic (akin to Naruto).
These contrasts are narrative tools. Mapping them to Yin-Yang binaries ignores their purpose as simple character foils.
Sasuke's Desirability and Beauty
One of the most persistent and misguided arguments used to frame Sasuke as a “heroine” hinges on his desirability and physical beauty. They claim that because Sasuke is desired by multiple characters and his appearance is frequently emphasized, he must occupy a traditionally “feminine” role akin to a female love interest. This interpretation reflects a profound ignorance of Japanese literary and cultural traditions that celebrate male beauty as a marker of masculine excellence.
Japanese literature has long exalted male beauty, associating it with nobility, power, and otherworldly perfection. The seminal Tale of Genji, centers on Hikaru Genji, a protagonist whose beauty is described as transcendent:
“His appearance tempted men and women alike, as he had smooth white skin and an excellent fashion sense, which increased his fame and popularity.”
Genji’s allure is central to his character, yet it never undermines his masculinity. Instead, his beauty amplifies his status as an aristocratic ideal - charismatic, politically astute, and socially dominant.
It brings me to the next topic:
Bishounen
The term bishounen (美少年, “beautiful youth”) is frequently misrepresented in Western discourse as synonymous with effeminacy. In contemporary usage, bishounen is a fluid aesthetic category that transcends genre and sexuality:
- In shoujo manga: Bishounen are romantic leads
- In shounen/seinen manga: They appear as rivals antagonists , or sometimes even as the protagonists
- In Boys’ Love (BL): While often the central cast, their appeal lies in narrative dynamics, not inherent femininity.
“Comics for younger boys tend to use arrogant bishōnen in the role of the recurring minor rivals readers love to hate, though their effeminate good looks there, they will often appear older... stronger, and thus in fact more masculine than the commonly shorter and less mature protagonists. ”
-Manga: The Complete Guide, Del Rey
Critically, bishounen aesthetics prioritize androgyny - not gender ambiguity. These characters are unmistakably male, blending refined features with traditionally masculine traits (e.g., ambition, combat prowess).
To equate Sasuke’s beauty or desirability with femininity is to impose Western gender binaries onto a narrative rooted in Japanese aesthetics. In Japan, male beauty has never been antithetical to masculinity - it enhances it.
I came across this post and the claims here are completely eregrious
" saying Sasuke is meant to be a typical Japanese ideal of masculinity....... wearing lipstick crazy "
The argument that Sasuke can’t embody Japanese masculinity because Kishimoto drew him wearing lipstick in one illustration is absurd. The image in question depicts Sasuke in theatrical stage makeup, a stylistic choice for a cover art that portrays him as a Kabuki actor. Also, Sasuke’s single illustrated portrayal as a actor does not negate his role as a classical Japanese hero.
"call Sasuke the Japanese ideal of masculinity... funny... meant to be bishounen"
The assertion that Sasuke’s bishounen design disqualifies him as a masculine ideal is complete ignorance. As I have already written before, In Japan:
- Bishounen aesthetics celebrate androgynous beauty as a form of sublime masculinity.
- Historical samurai and nobles prized youthful, refined appearances as markers of nobility and power.
- Modern male idols, actors, and singers cultivate androgynous looks without compromising their perceived masculinity.
The claim that bishounen implies homosexuality or femininity is also not true. In contemporary usage in Japan, Bishounen is a neutral aesthetic term. Sasuke being the conventionally attractive man embodying classical Japanese traits is quite literally the appeal of Sasuke/Sakura. I am not sure why they would be against it.
Masculinity encompasses a spectrum, from Naruto’s boisterousness to Sasuke’s stoicism. Grace, restraint, and beauty are hallmarks of the classical hero, not markers of femininity. To view Sasuke as the “feminine” counterpart is to erase the diversity of Japanese masculinity.
On an end note, I am active in a lot of Chinese fan spaces and the contrast between Sasuke's perception there ( or East Asia in general) with the Anglosphere/Latin America's view of him is rather striking-
Sasuke is seriously has such masculine charm —if I were a woman, I’d totally wanna marry him!
hello! this is probably going to seem very abrupt and out of nowhere but i wanted to ask -- would you be willing to make downloadable / share your FFXIV 1.0 materials to someone willing to take custody of them to make them available to people? i used chrysalis wiki quite a bit back in the day, but i completely understand your financial situation not making its continued access feasible for you. i'd be glad to aid in finding them a home and giving you well-deserved credit if i can.
I’m sure something can be arranged, depending on how much work you’re willing to do for it. The thing is, even the stuff already polished for the site is currently in raw format in an archive of the old site, my health being the primary reason I haven’t done any work towards converting most of it to the new version (which, yes is going down at least for now because I don’t see any sense in paying for that when the new version has basically nothing on it and I can’t see that changing for the next several years at least). That’s already bad enough, but the rest of the data isn’t that easily accessible at all…
Long story short I have scripts and illustrative screenshots (and even video material if that’s necessary - I’m not sure if uploading them to YT did anything to the quality and even if they’re still there but I’ve got the videos too is my main point). I have the various kinds of promo materials they distributed. I have data for much of what was missing from the old site even, such as mob names/distribution and movesets. I think most of the 1.x script (story and NPC chatter both, also leves etc) is in the form of videos and screenshots, since I never managed to make the time to get them fully in text format (meaning the text form does exist for some but not all scripts, and after this long I’m no longer sure where I was in the process exactly). Part of the data is in Japanese. Part of the data is in Japanese…and in the physical guidebook that was released around 1.x launch. That one you’re going to have to obtain yourself if you have any intention of completing the available data, to say nothing of the language skill required.
But yes, I can send all my available digital material as long as someone figures out how to best send it. I’m currently not sure how big a package that would be, but just the already processed material (a portion of which was at Chrysalis already) is over 300 MB, and includes stuff like pictures of almost a thousand NPCs, some 2,4k item pictures (not currently sure if I managed to fully complete the 1.x item section at the site), all the icons the game used, every map nice and clean but also various guides from back then that I was working off of, and a whole fuckton of unsorted miscellaneous text info files such as hamletdef_goldchest, allsaintseveriddles, and statstuff (53 total). Also not counted since they’re a bit harder to access right now (health stuff again! I don’t currently have my archive server hooked up, I’d need to get around to actually plugging it in) is the screenshot and video archives, I’m not even going to make a guess as to how big those are but I know there’s tens of thousands of screenshots in there at the very least. Possibly over 100k of them, I was quite the busy bee at the end trying to make sure I didn’t miss anything, after it became clear I wouldn’t be able to finish while the game was still in service. And then of course there’s the fully processed parts that were actually on the site on top of all that.
If you’re serious about sorting out this stuff for posterity, I truly commend you. Also, figure out how to best get all this to you and I’m game. Just let me know, also about which parts of the data you want.
I would really hate to see all the 1.x data disappear from the internet entirely.
So. Here we are once again.
Remember that whole Ibun No Utaibito thing?
They did another one! Mugen no Utaibito! It is a series of vocal plays written by FFXI writers and performed by professional voice actors. Once more, I don't have any of the actual audio, but I did pick up a script! And after Problems, it's finally here!
DISCLAIMER I'M JUST GOING TO COPY AND PASTE FROM THE OLD POST AND ALSO SLIGHTLY EDIT:
I am not a translator. I am a dumb idiot who relied on machine translation, like a weenie. However, I did heavily babysit it, used a couple different ones, looked up words and phrases and terms to see if it was as correct as I could make it, and occasionally consulted someone who does actually know what they’re doing. Undoubtedly someone else could do a better job than me, as I’m sure there’s plenty of nuance and references I managed to miss in my blind flight. In fact, I encourage it. I hear you can find the original JP scripts on a taisai.
I have also engaged in localization, meaning I have added in the various Accentarus and Mithran trills found in the EN game. As well as occasionally slightly changing dialogue to make it flow better, or to add in a shitty joke or reference. I localized the term "Cardiostery" in the same manner that all the other Windurstian Institutes are named. But I made no broad, sweeping changes by any means. All the original story is still there.
I’ve also tried my best to avoid any typos or errors, but some of them probably made it through. I blame Ulrich, mostly.
... And we're good! Here's links to each of the stories on my blog. You can also find them under the Vana'diel, Mugen no Utaibito, and Utaibito tags on this blog.
Cardiostery Top Confidential
The Girl of the Underworld
Blue Mage Blues
The Hydra Reminiscences -Memories of Heroes-
Thanks to all my friends for being there for me. I flew solo this time, but they deserve a shout-out regardless.
girls with adhd playing long rpgs like "i am overwhelmed by the state of the save file i left off with last time my attention arbitrarily fell onto this game. time to start from scratch."
"yeah i fucking love this game. i've bought it on console and pc, and then the remaster too. i have no idea how it ends, i only get 40% of the way through the main story each time"
Y'shtola's story, "Private Reflections" finally gives us some insight into her family.
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The 12 Daughters of Gleaner Y'rhul Nunh, in birth order:
1 Adebh - Forum Member
2 Sumbla - Labyrinthos Engineer
3 Ranmaia - Navigator (sailor), Talhdi and Raigoh's full sister
4 Shtola - Sorceress, Scion of the Seventh Dawn
5 Talhdi - Painter, Ranmaia and Raigoh's full sister
6 Mallibo (twin) - Scientist Archaeologist, Sons of St Coinach, Shtola's full sister
7 Mihtra (twin) - Arcane Archaeologist, Sons of St Coinach, Shtola's full sister according to this, contradicting previous lore (Summoner trainer)
8 Raigoh - Musician, Ranmaia and Talhdi's full sister
9 Sohnjin - Agora armorshop proprietor, her mother was a sister of Shtola's mother making them "sister and cousin both" (image below)
10 Nazqha - Gleaner and Rhul's apprentice
11 Jhimei - Arcanist Adventurer (Limsan trained)
12 Napa - Student at the Studium, enjoys the Far Eastern hobby of suiseki (actual Japanese art/hobby)
Not long after the events of Endwalker, Y'rhul passed suddenly of contagion while working in Nagxia, Y'nazqha forced to have him cremated there due to the nature of his death, and his ashes spread in the Ruby Sea so he might continue traveling the world via the ocean currents.
His specialty was in literature, and at his direction, Y'nazqha brings her sisters rare books their father had found, pertinent to each woman's interests and work, despite the family being so very scattered physically due to Y'rhul's occupation and the emotional distance between most of them.
We don't get any of the mothers' names in this one, as it's more about the various sisters and how well their oft-distant father knew them.
His gift to Y'shtola alone shows how much he thought of his children, and reaffirms her promise made in Shadowbringers and which she has pursued since.
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Y'rhul did apparently have children with two sisters, given the comment about Y'sohnjin. The twins' difficult births apparently caused frailty in Y'shtola's mother (another reason she was placed with Matoya at age seven). It's not unheard of in reality for men to wed their late wives' sisters, and even if Shtola's mother did live, these are Seekers we're talking about. They don't exactly do monogamy.
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It looks like we'll get to meet another sister on Phaenna in a quest, checking the gamesconsole wiki for their names.
The armor vendor in Sharlayan's Agora:
No wonder we didn't catch the family resemblance. Shtola does say this sister's "an unusual character even among this unusual company." Even in the family meeting, she wears her full plate.
Y'sohnjin being Y'mhitra's cousin, at least, did get teased to us back in EW levequests where she features in a handful that tease the relation:
A Gift of Gloves; Full Plate Armoire Proprietor, Y'sohnjin: "It seems my cousin's advice was literally right on the money: I'm back in the black! As a show of gratitude, I'd like to present her with some fluffy gloves to keep warm while she adventures around researching ancient Allagan civilization."
Y'napa's interest in Suiseki is also another EW levequest pull, though she was never directly mentioned by name:
A Rock After My Own Heart; Gem and Mineral Enthusiast, Tyago Tayuun: "Alas, despite the enchanting beauty of the suiseki which adorn my quarters, the Sharlayan Gem and Mineral Society has but one member: me. No matter─if others cannot appreciate the bounty nature offers, then all the more for me. This time I want a stone that is as a reflection of my own heart. Venture to the northern territories, and bring as many of those forlorn, snowbound rocks as you can carry."
Rocks of a Feather; Gem and Mineral Enthusiast, Tyago Tayuun: "Not once have I considered abandoning my pursuit of suiseki, and at last my labor is rewarded. For you see, the Sharlayan Gem and Mineral Society has gained a new member, thereby doubling its membership in a single day. I must take her under my wing and teach her to find the beauty all around us. I require a mineral that will move the heart─not with exoticism, but with a comforting sense of familiarity. I trust you understand."
It is also very funny to me that this new story follows the proud tradition of Tales stories having to retcon something in them:
Y'mhitra: "Though we were born of different mothers, our veins course with the same father's blood."
Oh my god, fuck all the way off with trying to apply “don’t like don’t read” to your using generative AI on your fanfic, or acting like it’s no different from using a list of prompts or a non-AI prompt generator. People don’t take issue with AI out of squeamishness or because they’re morality police or the other stuff DLDR actually was coined for, we hate it because it plagiarizes other people’s fan works and ruins the environment. And you’re so fucking lazy that you’re using it for a goddamn hobby. “My cathartic creative outlet” idk I think you can find an “outlet” that doesn’t steal from other people and burn the Earth, if you aren’t just a completely selfish loser.
I am going to become the Joker. Time for angry bullet points:
The whole "don't like don't read" attitude--no actually it's completely legitimate for people to criticize you for using the plagiarism machine (which may have been trained on writing by your fellow fan fic authors) to post something that is literally not your work. Don't like? Then actually write something yourself, lazy ass
"Over the past month, I've written over a dozen--" stop. No you fucking didn't. You didn't write shit. You didn't even write one complete fan fic. None of it is yours. You deserve no kudos, no praise, nothing.
"This is a creative outlet"--how the fuck can you say it's a creative outlet when you're not actually creating anything? Like, copy/pasting stock images into MS Paint and then uploading it isn't me getting creative with digital art
"This creative outlet was made possible by this time-saving technology" ok well 1.) skill issue, because we real fan fic authors can have a creative outlet without using the plagiarism machine because, unlike you, we have writing skills 2.) the time you take actually fucking writing the fan fic is supposed to be the fun part, you loser. People using genAI for reading and writing really, truly don't get that people enjoy doing these things. I finished a novel-length fan fic recently, and I wouldn't have wanted a machine to write it for me instead--I actually liked writing it!
I've said it over and over, but people like this are too damn lazy and/or don't have the skills to create anything on their own, but they want the kudos, likes, and praise that they see big name fans get in their fandom, so instead of learning how to do anything, they get AI to do it for them. They're hacks who want to be popular for posting content that isn't theirs. These people should be shunned from fandom spaces and I feel totally fine saying that!
esoteric form of roleplay where instead of actually roleplaying you just make up characters together and discuss in abstract how they'd interact and how their story would go
im aware this is an insane thing to say but i fucking. love characters that are just cockroaches. and i dont mean like. gross i mean they just do not fucking die. they can survive anything. they will outlive EVERYONE because they just will not die no matter what be it because they have a reason or because they literally cannot stop surviving the odds i love it i love it
yesss bitch use your inability to stay dead against your enemiessss... make people afraid of the fact that you somehow keep getting up despite the entire onslaught of horrors i am leaning forward in my seat clapping my hands whooping and cheering
kaledo-art
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