As A Non-American, It Feels Like That While Not Voting Is Probably Not The Right Move, This Conversation

VERIFIED AS REAL

gofundme.com

Donate to HELP Muhammad evacuate his family out of GAZA, organized by Layla Ashoor

Muhammads words Hello, my name is Muhammad Munir. I’m a Palestinian from … Layla Ashoor needs your support for HELP Muhammad evacuate his

PLEASE READ AND REBLOG🇵🇸

HELP Muhammad evacuate his family out of GAZA

Been doing this a lot lately too!

Brb replacing "I should" with "I have the option/opportunity to" in my internal monologue re: beating myself up over shit that needs doing. Let's see if that works.

A question I get asked a lot while working at a public library is "how do you deal with homeless people?"

And the answer is, we don't.

The unhoused people who come here seeking refuge 99% of the time understand that they will be kicked out if they misbehave.

The people you have to watch out for are Jessica, who only came because the kid she didn't want had to visit for a homework assignment and she just *needs* to yell at her child for asking to borrow two books or stay an extra five minutes, or Michael, who came in to look at porn on our computers for whatever fucking reason, or Karen who just wanted to come by to throw a fit that the particular book she wanted was checked out and harrass our staff about our collection being too limited.

99% of the time, the people we need to ban are middle to upper-middle class white people while the homeless and mentally ill/disabled people mind their own damn business and are honestly some of the best patrons we have.

I know I've been posting more about politics lately, and it's caused me to lose a chunk of followers.

But I'm a queer person with a degree in political science and its an election year. I'm old friends with several of my city council members. I've been to trainings on how to run elections. I spent my college years working for nonprofits (and being the world's worst canvasser). I'm close with more than one person who works for unions, and I have family members who work for government agencies.

I think about politics in a very pragmatic "I know how the sausage is made" kind of way. We're in a vice press, and there's only one way to release the pressure.

The revolution ain't coming. There is no one to save us but us.

So yeah, I'm going to be pissed if your answer is "let them tighten the vice -- there's no way out of the vice, it doesn't matter if they loosen or tighten it."

There's a difference, and anyone telling you otherwise is likely a psyop or someone who fell for a psyop. This literally happened before, and it's happening again.

Stop falling for it.

So she’s essentially just spellcarving like Falst does but with lightning

Heyy, sorry if I'm missing something very obvious but I don't fully understand what Tess is doing on page 4.18. Is she carving a stone spell into the ceiling with her lightning to get VoidErin to fall to the ground? Because in that case I thought she'd have to use a stone lacrima. Or is she just carving a lightning spell and using it to magnetize Erin to the ground, and the sound effect's color being a blend of lightning and stone is because both magics are at play simultaneously?

The breakdown is as follows:

Step 1: Shape lightning into runes for a Sealing spell.

Step 2: shoot that shit at the ceiling

Void Dragon has already started releasing his hold on Erin at this point, convinced by Tess's argument that he needs her to stop Erin's uncontrolled magic and she won't do it if he doesn't bail. The magic isn't knocking Erin over, he's falling because the Dragon isn't holding him up anymore.

Step 3: Spell brands itself into the rock. No stone magic is required for this, although it would have made things easier for Tess - she's essentially using the lightning to break the rock in extremely precise patterns to spell the runes.

Sealing spells repel all forms of elemental energy, so this breaks the loop on Erin's uncontrolled channeling.

Like genuinely. It’s always ideal of course if you can know who you are and what you’re after at a younger age, but if you’re not going to figure that all out in high school, which you probably won’t, your twenties are the PERFECT time to be truly beginning your life. Who the hell is calling people who might have just moved out of their parents’ house a couple years ago “old”?

legitimately the deluge of messaging women/girls are subjected to all their lives about how their teens and twenties are their "best years" is heinous psychic terrorism on a mass scale. not a coincidence that women are primed to believe that they're going to be "past their prime" and deteriorating like fucking spoiled milk right at a point in their lives at which they're likely to be only just beginning to truly come into their own

😬😬😬

Hi! I'm a big fan of your work. Thanks for taking the time to read this.

 I'm an artist who's been working on a story with a close writer friend of mine since the pandemic. Together we've outlined a webcomic that we're both very excited and passionate about, and it's been a great experience. Late last year we started actually making the comic itself, and a little less than a year later we're 37 pages in. 

I wanted to ask you how you're able to somehow push out three high-quality pages every week? I work full time, and most days I'm too drained when I get home to immediately start working on the comic. Plus all the other stuff I have to take care of to be a functional adult. I'm not even that slow of an artist, but it just doesn't feel like there's enough hours in the day. At my current rate, I get about one page done per week. I'm 24 now, I don't want to be in my 50s still working on this story. Do you have any advice for increasing your output as an artist without completely overwhelming yourself?

Sorry for the wordy question. There's a reason I'm the artist and not the writer.

Oof, that's a tough one!

I mean, to start with, a fundamental difference in our schedules is I don't work full time. Everything I do for a living is very self-scheduled, and I can work far in advance to meet the deadlines I set and take entire days or even weeks off when I need them. Back when I was in college, dealing with outside schedule requirements, I definitely wouldn't have been able to keep up everything I do now.

That said, there are still methods to streamline and speed up the artistic process. I don't know the details of your methods, but I'd recommend sketching and storyboarding larger numbers of pages at a time and finalizing them at a more leisurely pace, rather than taking one page of comic at a time from a total blank to a finalized, polished version. The storyboard can be very basic; many of mine are little more than color-coded scribbles showing the characters and text boxes showing their dialogue. It's just enough to be readable to me so I can go in and edit it for pacing and timing, but it looks like absolute chickenscratch to anyone else. On the production side, that makes it much more feasible for me to work on multiple pages at a time, since I don't need to finish polishing one page before I can start boarding another.

This method can be expanded into a bit of a factory production line, allowing for a two-pronged approach of progress - one for finalizing older pages, the other farther along for storyboarding new ones. And once you have multiple pages done at a time, you can schedule them well in advance, which takes a lot of deadline pressure off and can make it less mentally daunting to work on. This also diversifies the space of things you can work on, depending on your headspace and energy levels - which is a useful option to have when you're wiped from outside responsibilities.

Tech bros who think digital is forever and that uploading your consciousness to a computer is immortality crack me up. Like bro, you'd be "immortal" on the computer for like a year until your own company sends out some software update that makes you incompatible and whoops, there goes TechBro.soul into the great Recycling Bin in the sky