I do really love it when women write graphic and fucked up things. I feel like so often people react to fucked up fiction with “of course a disgusting man would write this 🙄” and it often carries an unspoken (honestly sometimes spoken) message of “a woman’s PURE and DELICATE and FEMININE mind could NEVER think of something this VILE”. Thank you women in fucked up fiction 🫡
okay this is a list of exclusively bangers, not even counting the fact that WE HEXED THE MOON is on here which obviously makes me feel joyous. but kushiel's dart fuckin RULES as did on sundays she picked flowers and patricia wants to cuddle. 10/10 no notes
like many people have said this better than me but no it IS odd that we've come to think of potatoes as so quintessentially european that their presence in historical fantasy where they're anachronistic doesn't jar. and yes people are trying to have the trappings of post-colonial europe without engaging w the icky colonialism part and yes people are neglecting to imagine what a european cuisine without potatoes would be like.
im fully in favour of 'let people have fun w their fantasy world' but is considering how the potatoes got there in the absence of colonialism not a fun exercise? maybe every year the dragon riders go on a great transatlantic potato pilgrimage
if you put potatoes in your medieval european style fantasy world people will by and large not find it jarring and accept it as a normal fantasy trope
if you put, say, black people in your medieval european style fantasy world a whole demographic of people will get very angry and accuse you of breaking their immersion
this is in spite of the fact that black people were a lot more common in medieval europe than potatoes.
and EVEN WHEN things were more muted/neutral, the neutrality was OFFSET by ACCENT COLORS and HIGH CONTRAST between the wood tones and everything ELSE
ALSO AMERICAN COLONIAL INTERIORS POPPED OFF, Y'ALL (IN TERMS OF COLOR/COZINESS)
PEOPLE USED WHITEWASH AND COLORFUL TRIM OR EVEN JUST COLORFUL FURNITURE IF THEY COULD AFFORD TO DO SO
AND DON'T GET ME STARTED ON FRENCH AND BRITISH AND AMERICAN WALLPAPERS
"ELIZABETH" YOU CRY, "WHY ARE YOU BEING SO EXTRA THIS MORNING?! IT'S MONDAY"
Because, my friend, my war on GREIGE will NEVER end.
Historic interiors were filled with LIFE and LIGHT and COLOR. ALWAYS HAVE BEEN.
Part of the reason we don't see a lot of textile art is because, frankly, textiles tend to degrade over time - especially ones that had utility! And yes, pigments and weaving and dying all boosted the expense of things, when we were finally reliably block-printing fabrics and broad reams of paper, it was no longer just the wealthy who could afford pretty patterns!
In the Americas, a far wider variety of pigments also became available because of the abundance of... well, a shitton of flora and minerals, some of which weren't as common in Europe.
WHY THE HIGHLIGHTER COLORS? you ask.
CANDLES.
Those colors reflect candlelight and natural sunlight REALLY WELL.
Humans LOVE bright colors, it's NOT just a thing for kids. We live in a brilliant, vibrant, multifaceted world. We ALWAYS have.
(STOP MAKING YOUR HISTORIC SIMS 4 BUILDS BE BLAND. STOP IT.)
I usually tell my students that “close reading” means looking at what is actually on the page, reading the text itself, rather than some idea “behind the text.” It means noticing things in the writing, things in the writing that stand out. To give you some idea of what this means, I’ve made up a list of five sorts of things that a close reading might typically notice: (1) unusual vocabulary, words that surprise either because they are unfamiliar or because they seem to belong to a different context; (2) words that seem unnecessarily repeated, as if the word keeps insisting on being written; (3) images or metaphors, especially ones that are used repeatedly and are somewhat surprising given the context; (4) what is in italics or parentheses; and (5) footnotes that seem too long. This list is far from complete—in fact, no complete list is possible—but the list is meant to begin to give you an idea of what sorts of things we notice when we’re doing close reading.
What all five of my examples have in common is that they are minor elements in the text; they are not main ideas. In fact, your usual practice of reading which focuses on main ideas would dismiss them all as marginal or trivial. Another thing they have in common is that, although they are minor, they are nonetheless conspicuous, eye-catching: they are either surprising or repeated, set off from the text or too long. Close reading pays attention to elements in the text which, although marginal, are nonetheless emphatic, prominent—elements in the text which ought to be quietly subordinate to the main idea, but which textually call attention to themselves.
Most of you have been educated to ignore such elements. You have been taught to seek out and identify the main ideas, dismissing the trivial as you go. This has had to be trained into you: read to a young child sometime, you will notice she has the annoying habit of interrupting the flow of the story to draw attention to some minor thing. Close reading resembles the interruptions of that child. It is a method of undoing the training that keeps us to the straight and narrow path of main ideas. It is a way of learning not to disregard those features of the text that attract our attention, but are not principal ideas.
Jane Gallop, “The Ethics of Close Reading: Close Encounters,” Journal of Curriculum Theorizing, Vol.16, No.3 (Fall 2000), pg.7-8 (x)
“Haha remember when murder-hornets were gonna be a thing? What a nothingburger.”
Yes, because the Washington state government activated like a sleeper-cell and ruthlessly, systematically hunted them down and annihilated them.
“Y2K came to nothing amirite?”
Yes because an army of software engineers working around the clock, losing sleep, and busting ass till the last minute prevented it from happening.
“Remember the hole in the ozone layer?”
You mean the one that was fixed through rigorous world wide government action?
One of the root problems of our society is a refusal or inability by media to articulate that all those “it’s gonna be an apocalypse” disasters were not disasters because we collectively did something about them.
The good news is this is actually quite correctable. I maintain my firm belief that we as humans are capable of solving almost all of our problems, when we decide to do so.
And I still think that’s going to happen. I don’t know when or how, but I do know that abandoning hope won’t help bring it about.
And I refuse to let the cynics own a chunk of my heart.
I WONDER WHY HEALTHCARE DATA IS SO LIMITED. HEY HAS ANYONE EVER THOUGHT ABOUT WHY WE DON'T HAVE COMPLETELY OPEN PLATFORMS FOR HEALTH DATA. AND WHY IT'S A BAD IDEA TO HAVE WRITE PRIVILEGES VIA SOME WEB INTERFACE TO MEDICAL RECORDS. HAS ANYONE EVER WONDERED.
You know, I'm glad Epic put so much time into making mychart extremely secure, even with all the health systems who configure them like a drunk monkey. it would be a shame if
hmm hey what do we think 'read local passwords' does
feed healthcare data to openclaw openclaw safe for 2FA codes and passwords in plaintext nothing bad will happen to your passwords and 2FA ccodes if you feed them to openclaww
What many users may not know about MyChart providedby EpicSystems is that MyChart providedby EpicSystems is actually kind of like a local instance that your healthcare org runs, not a "Sign in once and see everything" type of deal (unless you have Care Everywhere, and then it maybe can be. But it Depends.)
Why is that you might ask. Well you see. There are many Rules and Laws and Regulations about the use and exchange of personal healthcare data.
Which is why of course this guy, seeing a well-thought-out and tested technical position, decided "what if i get all of them at once and also the 2FA codes and stored them ALL in the same place with no encryption whatsoever"
GIVE OPENCLAW ACCESS TO YOUR ENTIRE FUCKING EMAIL AND MEDICAL RECORDS NOTHING BAD WILL HAPPEN IF YOU FEED YOUR ENTIRE BROWSER CACHE NAD PASSWORD KEY STORE INTO OPE NCLAW
As a woman who is both gender non-conforming and who is planning a pregnancy in the near future AND who works with children, I am very invested in the conversation about the confines of femininity, the complexities of motherhood and the fascistic expectation of women to have children. I also often find it deeply frustrating.
I do not think it should need to be said, but unfortunately it absolutely is, that nobody should ever be forced to become pregnant, be a parent or carry a pregnancy to term. Ever. This requires both complete and total abortion rights & access but also the dismantling of the gendered expectation of women to want and need children. Remaining child free should not only be possible for women, it should also be normal and completely accepted. Anything else is oppressive.
However, I am deeply bothered by how many people who share these views talk about children. I have come across many posts describing children in cruel and dehumanizing ways, emphasizing how gross and terrible children are and how much of a burden they are to their parents. This, I think is also wrong.
Children are a particularly vulnerable population. They often have very little rights and autonomy and are at the whims of adults around them, which makes then particularly vulnerable to abuse. Children are real, fully realized people who have very specific needs and considerations. Constantly discussing how disgusting and terrible children are, means attacking people who have no power and cannot defend themselves, legally or otherwise. These views cannot be separated from calls to remove children from public life, like parks and transportation, the practice of which is both dehumanizing and oppressive. This goes hand in hand with the gendered oppression of women who are unfortunately still often the primary caregivers of children. Forcing children out of the public sphere means forcing mothers out of it too. And the right to not have children needs to go hand in hand with the right to have children. Women need abortion rights and access but they also need the right and access to give birth for free. They need robust childcare and child & family friendly infrastructure. Otherwise the only people who can afford to have children are wealthy elites.
The rights of women to not have children and the rights of children and mothers go hand in hand. They are not contradictory. Being a parent is a complex relationship, one wrought with a long history of violence and oppression of children and women. It is not easy to navigate, and nobody should be expected to do it. Simultaneously, the people who do decide to do it deserve help and support, not scorn or mockery. And most of all, children, all children, even the annoying, dirty and screaming ones deserve a safe loving world that sees their full humanity, respects their perspectives and their bodily autonomy. We are all a part of creating that world for them. Society should be about being good to each other, and that includes children too.
salut! je veux juste partager: aujourd’hui, c’est world donkey day! j’espère que notre roi des ânes pirlouit est content avec sa fête :) et bien sûr j’espère que vous allez bien et que vous profitez du printemps!
(et désolé pour mon français, c’est ma deuxième langue et je suis rusty mdr)
Merci du message 😊 Grâce à toi Pirlouit s’est vu offrir des morceaux de banane !
In honour of World Donkey Day, here are some translated excerpts from the French book "The Donkey and the Bee" by Gilles Lapouge, which is, as its name suggests, a comparative study of these two noble animals:
« We must acknowledge that the donkey and the bee occupy two very distant, if not incompatible, philosophical positions. They do not share the same Weltanschauung at all. The donkey is tempted by anarchy—a gentle, mischievous anarchy. He is no revolutionary, oh no! He accepts servitude, beatings, fatigue, and nonsense, and pretends to obey his masters when in truth he does as he pleases. He can get indignant, and rebel, but his rebellion is solitary. The donkey hates all ideologies. […] He even scorns reform. Things are what they are—that is his creed. No one is more alien to Marxist preaching than he. He has always refrained from participating in class warfare because he knows he has already lost. […] Moreover, he does not like theory. He is too subtle to adhere to a system, a doctrine […].
What I like about the donkey is that he possesses two opposing virtues: infinite docility and an iron will. This is the mark of a mysterious nature. He is at once badly behaved, intelligent—very intelligent—cunning, loyal, tender, and devoted; suspicious, proud, heroic, capricious, disdainful, and modest. Uncompromising and resigned at the same time. He is grey and nonchalant. […]
As a musician, the donkey is no good. He cannot compete with the bee. He does try, though. As soon as he has a free moment, he plays a few notes, but these notes are off-key. To all ears around him, the donkey’s braying is torture, but the donkey does not let his critics get him down. Everyone scolds him. Five minutes later, he once again blows his horrible trumpet. […]
Human time [is] of no concern to the donkey. He lives within it, like everyone else, but [he disdains] our calendars. The cat, too, pretends to share our hours, but if you look into its eyes—that distant gaze—you’ll understand that the cat dwells elsewhere, far away. It has left its body on the sofa, out of courtesy and to keep up appearances, as evidence and as an alibi, but it has silently slipped out of its skin and is purring in other dwellings, in other compartments of time.
[…] I like these comparisons between the cat and the donkey. Sometimes I wonder if, instead of limiting this essay of comparative zoology to the donkey and the bee, I shouldn’t have broadened its scope and enlisted the cat in my troupe. But on the other hand, the similarities between the cat and the donkey are contradicted by a few massive differences: the cat is a sublime silence while the donkey is a thunderous silence; the cat is, moreover, supple as a cat while the donkey is stiff as a donkey. I might add that the donkey and the bee are already giving me a hard time; adding the cat to this endeavour would be epistemologically justified but philosophically exhausting. »
Guy who never feels like his problems are “bad enough” to be taken seriously: what if I hurt the character so horrifically that everyone around them could not possibly deny the severity of their pain even if the character themself tries to downplay it.
[id: an emoji grinning and rubbing it's hands together captioned: when the media got making the audience feel complicit in the violence of the narrative /end id]
It's done! I am so freaking thrilled with how this came out. It was immensely fun taking the old poster and trying to figure out a balance between the old art and a modern take on fire management, as well as how to make it my own while retaining as much of the original style and color as possible. And I'm not normally one to stick my whole logo on my illustrations, but I wanted to match the original poster which as the USFS logo there, so!
Shout out to @vaspider for helping me puzzle out better wording for the bottom chunk of the poster.
You can get prints and shirts with this design in my Printful shop! If there's another product you'd like to see it on, let me know!
Some more thoughts and ramblings about this piece below the cut, including a side-by-side with the original poster.
The Death Rides poster was produced in 1933 by the US Forest Service, but I've sadly never seen the specific artist named anywhere. It reflects the pretty typical attitude of the time that fire=bad, that it leads to death as a negative thing. It's also one of the most popular pre-Smokey Bear fire prevention posters. This thing is EVERYWHERE, especially in wildland fire circles. It's on posters, shirts, even a few logos.
I have never seen a GOOD reproduction of the thing. I feel like there's got to be a good quality one sitting around somewhere, but it sure doesn't seem to have made its way onto the internet. They're all grainy with strange color splotches, but that's never seemed to effect its popularity.
I do really love the concept of the original poster, and the simple phrasing that drives home the clear message. For my redo, I wanted to keep the overall look and feel, and the simple, clear message, but changing it to match modern understandings of fire and its place in the cycle of life in forests. I set out with the following goals:
Show fire as a part of the natural cycle that helps keep landscapes healthy.
Make the horse less distressed looking.
Remove the gendered language from the messaging.
Keep as much of the original posing, composition, and colors as possible.
Showing the renewal cycle was the trickiest part, because the composition really didn't leave a lot of room to show the regrowth portion. I think I came up with a good balance, though, by having the forest very overgrown, dark, and unhealthy, then having the strong dividing diagonal/arrow of fire bringing light into that dark overgrowth, and the open, regrowing portion behind the smoke and flames. I also had the regrowth coming from the horse's hooves so that the horse is more of an active piece of the story, rather than being forced through the whole affair.
The regrowing plants in the background are fire poppies and fireweed, as well as a few distant aspen saplings, all of which are some of the first plants to come back after wildfires move through. Death also got a fire poppy as the clasp of their cloak.
For the phrasing, I came up with "Death Renews the Forest" almost immediately, but I had more trouble with the bottom portion. I wanted the phrase to not be gendered anymore, so switched it to "we." Initially I thought about something like "When we are educated in its use." But I wasn't a big fan of "use." While the poster does feature Death doing an intentional prescribed burn, I also wanted the phrasing to apply to letting naturally lightning caused fires burn. So less "use" and more embracing fire overall. This is especially true given that in the US we have, unfortunately, gone back to a full suppression strategy as of 2026 thanks to an executive order from the orange menace. So, despite decades of research showing how much harm that causes, we've been ordered to start doing it again. Which, to me, just makes this redo of the poster even more relevant right now.
Spider helped me puzzle out some other phrasing ideas, and I really liked this final one. I think it is balanced really well with the top portion of the text, and the overall message of the poster.
So yes! Had a lot of fun with this. I probably will do some more redos of other famous prevention posters at some point, but I'm not sure when or which ones.
