#have not seen the phrase too often and sometimes forget it exists

[in1-nutshell]

hello how are yo?

"Wouldn't Fearless be considered an Iron Apprentice? Just a question."In IDW

Hello!

By the literal definition, an older cybertronian taking in someone to teach, train and care of, Fearless would be considered an Iron Apprentice.

[r0-boat]

I had a dream about this so I'm going to write some headcans about it

Reader forgetting all their memories headcannons Whb Kings

Cw: angst, hurt very little comfort,no NSFW but get suggestive because of certain people >.>, Demons trying their best, Don't worry You get some comedic relief!

Intro:

Sometimes the kings forget and are reminded how sensitive and fragile humans really are. Weather be from an angel attack or them rough housing a little too much around you. It is not unusual for you to accidentally be in the crossfire. Or whroughhousing, devils sometimes need to hold back in order to protect you from angels.

However, to these Kings who constantly love to show their power like proud peacocks with grenade launchers, They never knew this day was coming when they would look in horror at your lymph body on the ground, your head spilling blood. They're so glad that Lucifer is on their side.

But something is wrong... Lucifer healed you. But once you woke up you had this horrid and confused look on your face. The way their heart simultaneously stopped when you uttered the phrase "Who are you?"

Satan

Satan is not good with fear, to someone who wears his anger freely on his sleeve he's not good with someone who is very very frightened with his frequent angry outbursts that often turn very violent. He was lucky to have met you in a very specific situation to have you get used to as rage and be friends with him, And perhaps something more.

Poor Satan, his violent outbursts are just scaring you more So he tries so desperately to hide it. His entire body shaking because looking at you just fills in with more rage. He tries to assure you that it's not at you. But from the way he's yelling Your human brain interprets it differently Even when you don't want to.

He tries to show you around Gehenna But it seems like the only thing on your mind is The fact that hell exists and you are there.

He feels so useless watching Sitri calm you down and try to explain who are you and why are you here...Sitri can feel the quickening heartbeat of anxiety from his king and tries to make you see him in a different light. Satan is on the verge of tearing apart a building in rage because it hurts to control something that's essentially 100% a part of who he is when before you accepted him with open arms.

He feels like a monster, a feeling that he has never felt being around you and it hurts. He loves you so much and seeing your eyes filled with fear knowing that he caused it hurts him. Even now he's surprised that you come up to him when he's digging his nails into his pillow drowning in his own thoughts. Despite everything you've seen you still somehow feel and need to be close to him. You tell him that He's going too fast and You want to trust them despite... Everything because what your heart tells you doesn't lie, He just has to take it slow and give you some time.

Mammon

From what Lucifer tells him objects also help to recover one's memory. So that's what he does. Mammon has a storage 'closet' where he has little keepsakes all with stories of what he did with you and what time. His chest swells with pride as you look at his golden palace and hallways. "This isn't the first time you've seen these, master." He says with a smile as you hiss at him not to call you that.

He lets you go through the closet one by one every time you pick up or look at an item he tells a story, whether it's the two of you going out shopping or the time he finished constructing his pool that he let you name. There's something oddly calming about re-remembering his precious memories with you. That's why he has this room because every memory of you with him is precious So precious that he must materialize it and keep it. Because if he has anything to learn from a certain devil friend of his is that memories are far too fickle to not keep in physical form.

Mammon is a demon who always looks toward the future. Even now, when he is sharing with you all these memories and trying to help you regain those memories, back He's already looking toward a future solution, perhaps a photo album. It is an idea that he has not used yet, but maybe he could finally have an excuse to use those expensive cameras he has lying around collecting dust.

When he visits he always brings gifts and they are always gifts from places the two of you have either visited in the past or something that is from your memory. Perhaps chocolates from an extremely expensive chocolate store that he has brought you to.

Or maybe he shall bring you to dinner once again at an expensive restaurant he has taken you before. The Kings criticize that he is just using this as an opportunity to spoil you more than instead of actually helping. As much as he finds that insulting because he cares for you so much so that he gave his whole being and life to you but he can't deny that they're not completely wrong.

Leviathan

Leviathan is not okay.... Especially when the first 5 minute interaction you had with him ever since your memories have been wiped was him shaking you and demanding you to get your memories back all the while insulting you on how weak You are before rushing off back to Hades. So your opinion of him is sour. But his subordinate name Foras tells you that surprisingly your first meeting was far worse than this. Leviathan is under the impression that you forgotten him forever and you could never recover your memories. So it's useless to even try.

As much as you don't want to see him his subordinates urge you with begging and pleading and puppy dog eyes to please see him. You only agreed because of how nice they are. Leviathan has locked himself in his room ever since that little outburst in Paradise Lost. When he hears your hesitant voice he pauses before letting you in.

Instead of insulting you are grabbing you partially instead he walks for it to you and talks softly he sounds... Hurt. "Am I truly that forgettable to you?" You don't know why your heart softens to that perhaps it was the fact that deep inside you did feel something for him or maybe it was how kicked he looks right now, His eyes or red from crying? You smiling hold your hand over your heart and tell him the truth "I do feel a fondness for you."

If Lilith or God leave him a second chance to start your meeting all over again He'd taken it. Levi is a lot softer now for some reason that phrase very hauntingly vague yet reassuring. Maybe it's because you're speaking from the heart maybe it's because the fact that something inside you could never forget him.

He gently takes a hold of your wrists and guides your hands to cup his face or intertwine his fingers with yours as he softly asks if You felt something in your heart? Sadly no matter how much he tries In this softer more vulnerable state I don't think you could ever remember him because of most of your memories are quite negative. Just give him this... Just let him be soft and hold you as he asks how your heart feels when he does these things.

Beelzebub

It is what it is! As he introduces himself as Beelzebub to you. You forgot everything? Bro he forgets everything All the time same! It's hard not to get along with Beelzebub even if you have no memory of him He's very adamant that you know him and the two of you are besties.

He brings you to places that he's already brought you before some places he remembers vaguely others not so much. He does have a better time remembering actions or notable places better than words. So he often repeats himself. He's repeated himself so much to you that even now with your memories fuzzy or forgotten what he says to you feels so familiar. His eyes widen when he hears that under your breath because it means he must be doing something good.

The next time he swings by the castle because Bael Heard about your state and is worried sick. Beel sighs and his smile drops A smile that was performative as he speaks to his best friend from the heart.

"ya know... I'm usually always the forgetful one so I never knew how What it was like to be forgotten..." Bael felt something for his friend as he puts a hand on his shoulder. He couldn't help but rub a little salt in the wound "It hurts doesn't it?" Beel could only nod.

Even though devils can't lie, Beel feels like keeping up a smile with you is lying. But he can't stop doing it because it makes you feel calmer to know that everything is okay. You don't need to know that pain he's going through, of just realizing someone he deeply cared about just forgot everything about him, and not knowing if this was permanent or not.

Lucifer

He fixed you up. physically you were good as new... So why are your memories still broken?? He doesn't understand human psychology. Another reminder that he doesn't know everything. Another reminder that he is in hell for his pride. He can't have another incident like this again because of his incompetence.

He can't help but be happy with how many visitors you get. As much as he doesn't like how much competition he has, he can't help but be fond of how much love you get. Though he does probably have to limit visitors since he's pretty sure causing stress on a human is not good for them mentally.

He's with you 24/7 asking you little questions here and there You trust him the most because... You think he's your doctor? He was the first person you saw when you woke up and he has this aura of professionalism and mystique. It was really hard to grasp around the fact that you were in hell and everything you ever learned in the Bible was correct (somewhat) it's really hard to hate Lucifer as a concept when the man is standing right there next to you reading a book human psychology that looked about 50 years old and sipping tea like an English nobleman from the Victorian era as well as him being your doctor. If he was there to hurt you he would have done so already.

You call him Dr. Morningstar as you point out that that book might be a little too outdated. His eyes waiting for a second when you mention his 'last name' He brings the teacup up to his lips tied his smile as he corrects you to just call him Lucifer. And averts his attention to the fact that how could a book about psychology be so outdated when it's produced to not so long ago.

Turns out that not even humans know about their own psychology it's hard to say pitiful that is knowing that he knows nothing. He asks you if you would like to go to the human world to do some book shopping. You don't know why you nodded your head. As you knew that your family is dead and you have no family. But by the time you were there till the time you left you couldn't help that nagging feeling that you were forgetting somebody, somebody important. Lucifer asked about the sad and conflicted look on your face. You just shake your head and tell him "it's nothing."

Belphegor

Belphegor dreams of the past all the time, they're not pleasant dreams but they're better than nightmares. So he thinks that a good way to recover your memories is to sleep He knows that sleep at least makes you feel good and is good for the mind and the soul.

He is not very cultured on Western media, since he prefers anime and manga but he knows that those guys in the west always hold those... What are they called? *Snaps his fingers twice* before Beleth chimes in with the answer "slumber parties?"it's also a good way to get to know you more.

Even though he is just as worried about you and if you'll ever retain your memories ever again as much as the other kings but it's a waste of energy to worry about it and freak out. He'd rather just still get to know you if you recover your memories or not.

And to be frank if his genius calculation of rolling a bullshit d20 on you sleeping is correct and he probably doesn't even need to do anything except have fun nights binge watching anime or reading manga with you.

Occasionally he's still ask the question here or there. Honestly the one who is most worried is Beleth. He is relaxed but not as lax as his king. Because he knows that His king does care for you because he was there when Belphegor try to fight passing out because he knew if he woke up he wouldn't know if you were alive or dead.

Asmodeus

He washed for this event!🎉 It's because he'd rather have everyone caring for you then sucking his dick. He won't be so merciful next time (half joking)

Oh you It seemed like you forgot your memory? Well he knows a little bit more about human psychology then the doctor in front of him. And he does blatantly incompetently say that humans tend to remember unforgettable and 'traumatic experiences' More vividly then regular memories. Give him one night and you'll remember everything. (Half joking) No one found that funny.

He's so adamant that sex solves this issue!! All the other kings are basically either ignoring him or telling him the idea sucks ass. He does like it how your eyes always gaze over at him in such curiosity. You're so cute!!! With your mind wipe clean You're practically a virgin. With those wide little eyes filled with such life and innocence. Just looking at you makes him hard.

He didn't even try to stifle the laugh and smile on his face as he proudly shows you his proof that you know him with the plethora of pictures of his cock inside you or sleeping, or miscellaneous photos from either his subordinates when they hang out with you or the other kings as well as photos you have sent of yourself, that he saved in a special folder called 'fap material❤️' it's the only folder on his phone and He dodges the question every time you ask him about the folder name.

In the end he has the last laugh. literally he's on the floor wheezing, coughing and laughing. When the Kings found out that the memory start to flood back after you had sex with another devil.

[asha-mage]

WoT Meta: Feudalism, Class, And The Politics of The Wheel of Time

One of my long standing personal annoyances with the fantasy genre is that it often falls into the trap of simplifying feudal class systems, stripping out the interesting parts and the nuance to make something that’s either a lot more cardboard cut-out, or has our modern ideas about class imposed onto it.

Ironically the principal exception is also the series that set the bar for me. As is so often the case, Robert Jordan’s Wheel of Time is unique in how much it works to understand and convey a realistic approach to power, politics, government, rulership, and the world in general–colored neither by cynicism or idealism. How Jordan works the feudal system into his world building is no exception–weaving in the weaknesses, the strengths, and the banal realities of what it means to have a Lord or Lady, a sovereign Queen or King, and to exist in a state held together by interpersonal relationships between them–while still conveying themes and ideas that are, at their heart, relevant to our modern world.

So, I thought I’d talk a little bit about how he does that.

Defining the Structure

First, since we’re talking about feudal class systems, let's define what that means– what classes actually existed, how they related to each other, and how that is represented in Jordan’s world. 

But before that, a quick disclaimer. To avoid getting too deep into the historical weeds, I am going to be making some pretty wide generalizations. The phrases ‘most often’, ‘usually’, and ‘in general’ are going to be doing a lot of heavy lifting. While the strata I’m describing is broadly true across the majority medieval and early Renaissance feudal states these things were obviously heavily influenced by the culture, religion, geography, and economics of their country–all of which varied widely and could shift dramatically over a surprisingly small amount of time (sometimes less than a single generation). Almost nothing I am going to say is universally applicable to all feudal states, but all states will have large swathes of it true for them, and it will be widely applicable. The other thing I would ask you to keep in mind is that a lot of our conceptions of class have been heavily changed by industrialization. It’s impossible to overstate how completely the steam engine altered the landscape of socio-politics the world over, in ways both good and bad. This is already one of those things that Jordan is incredibly good at remembering, and that most fantasy authors are very good at forgetting. 

The disparity between your average medieval monarch’s standard of living and their peasants was pretty wide, but it was nothing compared to the distance between your average minimum wage worker and any billionaire; the monarch and the peasant had far more in common with each other than you or I do with Jeff Bezos or Mike Zuckerberg. The disparity between most people’s local country lord and their peasants was even smaller. It was only when the steam engine made the mass production of consumer goods possible that the wealth gap started to become a chasm–and that was in fact one of the forces that lead to the end of the feudal system and the collapse of many (though by no means all) of the ruling monarchies in Europe. I bring this up because the idea of a class system not predicated on the accumulation of capital seems pretty alien to our modern sensibilities, but it was the norm for most of history. Descent and birth mattered far more than the riches you could acquire–and the act of accumulating wealth was itself often seen as something vulgar and in many countries actively sinful. So with that in mind, what exactly were the classes of feudalism, and how do they connect to the Wheel of Time?

The Monarch and their immediate family unsurprisingly occupied the top of the societal pyramid (at least, in feudal states that had a monarch and royal family- which wasn’t all of them). The Monarch was head of the government and was responsible for administering the nation: collecting taxes, seeing them spent, enforcing law, defending the country’s borders and vassals in the event of war, etc. Contrary to popular belief, relatively few monarchs had absolute power during the medieval period. But how much power the monarch did have varied widely- some monarchs were little more than figureheads, others were able to centralize enough power on themselves to dictate the majority of state business- and that balance could shift back and forth over a single generation, or even a single reign depending on the competence of the monarch. 

The royal family usually held power in relation to their monarch, but also at the monarch’s discretion. The more power a monarch had, the more likely they were to delegate it to trusted family members in order to aid with the administration of the realm. This was in both official and unofficial capacities: princes were often required to do military service as a right of passage, and to act as diplomats or officials, and princesses (especially those married into foreign powers) were often used as spies for their home state, or played roles in managing court affairs and business on behalf of the ruler.

Beneath the monarch and their family you get the noble aristocracy, and I could write a whole separate essay just on the delineations and strata within this group, but suffice to say the aristocracy covers individuals and families with a wide range of power and wealth. Again, starting from that country lord whose power and wealth in the grand scheme of things is not much bigger than his peasants, all the way to people as powerful, or sometimes more powerful, than the monarch. 

Nobles in a feudal system ruled over sections of land (the size and quality usually related sharply to their power) setting taxes, enforcing laws, providing protection to the peasants, hearing petitions, etc. within their domains. These nobles were sometimes independent, but more often would swear fealty to more powerful nobles (or monarchs) in exchange for greater protection and membership in a nation state. Doing so meant agreeing to pay taxes, obey (and enforce) the laws of the kingdom, and to provide soldiers to their liege in the event of war. The amount of actual power and autonomy nobles had varied pretty widely, and the general rule of thumb is that the more powerful the monarch is, the less power and autonomy the nobles have, and vice versa. Nobles generally were expected to be well educated (or at least to be able to pretend they were) and usually provided the pool from which important government officials were drawn–generals, council members, envoys, etc–with some kingdoms having laws that prevented anyone not of noble descent from occupying these positions.

Beneath the nobles you get the wealthy financial class–major merchants, bankers, and the heads of large trade guilds. Those Marx referred to generally as the bourgeoisie because they either own means of production or manage capital. In a feudal system this class tended to have a good bit of soft power, since their fortunes could buy them access to circles of the powerful, but very little institutional power, since the accumulation and pursuit of riches, if anything, was seen to have negative moral worth. An underlying presumption of greediness was attached to this class, and with it the sense that they should be kept out of direct power.

That was possible, in part, because there weren't that many means of production to actually own, or that much capital to manage, in a pre-industrial society. Most goods were produced without the aid of equipment that required significant capital investment (a weaver owned their own loom, a blacksmith owned their own tools, etc), and most citizens did not have enough wealth to make use of banking services. This is the class of merchants who owned, but generally didn’t directly operate, multiple trading ships or caravans, guild leaders for craftsfolk who required large scale equipment to do their work (copper and iron foundries for the making of bells, for example), and bankers who mainly served the nobility and other wealthy individuals through the loaning and borrowing of money. This usually (but not always) represented the ceiling of what those not born aristocrats could achieve in society.

After that you get middling merchants, master craftsfolk and specialty artisans, in particular of luxury goods. Merchants in this class usually still directly manage their expeditions and operations, while the craftsfolk and artisans are those with specialty skill sets that can not be easily replicated without a lifetime of training. Master silversmiths, dressmakers, lacquer workers, hairdressers, and clockmakers are all found in this class. How much social clout individuals in this class have usually relates strongly to how much value is placed on their skill or product by their society (think how the Seanchan have an insatiable appetite for lacquer work and how Seanchan nobles make several Ebou Dari lacquer workers very rich) as well as the actual quality of the product. But even an unskilled artisan is still probably comfortable (as Thom says, even a bad clockmaker is still a wealthy man). Apprenticeships, where children are taught these crafts, are thus highly desired by those in lower classes,as it guaranteed at least some level of financial security in life.

Bellow that class you find minor merchants (single ship or wagon types), the owners of small businesses (inns, taverns, millers etc), some educated posts (clerks, scribes, accountants, tutors) and most craftsfolk (blacksmiths, carpenters, bootmakers, etc). These are people who can usually support themselves and their families through their own labor, or who, in the words of Jin Di, ‘work with their hands’. Most of those who occupy this class are found in cities and larger towns, where the flow of trade allows so many non-food producers to congregate and still (mostly) make ends meet. This is why there is only one inn, one miller, one blacksmith (with a single apprentice) in places like Emond’s Field: most smaller villages can not sustain more than a handful of non-food producers. This is also where you start to get the possibility of serious financial instability; in times of chaos it is people at this tier (and below) that are the first to be forced into poverty, flight, or other desperate actions to survive.

Finally, there is the group often collectively called ‘peasants’ (though that term is also sometimes used to mean anyone not noble born). Farmers, manual laborers, peddlers, fishers- anyone who is unlikely to be able to support more than themselves with their labor, and often had to depend on the combined labor of their spouse and families to get by. Servants also generally fit into this tier socially, but it’s important to understand that a servant in say, a palace, is going to be significantly better paid and respected than a maid in a merchant's house. This class is the largest, making up the majority of the population in a given country, and with a majority of its own number being food-producers specifically. Without the aid of the steam engine, most of a country’s populace needs to be producing food, and a great deal of it, in order to remain a functional nation. Most of the population as a result live in smaller spread out agrarian communities, loosely organized around single towns and villages. Since these communities will almost always lack access to certain goods or amenities (Emond’s Field has a bootmaker, but no candlemaker, for example) they depend on smalltime traders, called peddlers, to provide them with everyday things, who might travel from town to town with no more than a single wagon, or even just a large pack.

The only groups lower than peasants on the social hierarchy are beggars, the destitute, and (in societies that practice slavery) slaves. People who can not (or are not allowed to) support themselves, and instead must either eke out a day to day existence from scraps, or must be supported by others. Slaves can perform labor of any kind, but they are regarded legally as a means of production rather than a laborer, and the value is awarded to their owner instead. 

It’s also worth noting that slavery has varied wildly across history in how exactly it was carried out and ran the gamut from the trans-Atlantic chattel slavery to more caste or punitive-based slavery systems where slaves could achieve freedom, social mobility, or even some degree of power within their societies. But those realities (as with servants) had more to do with who their owners were than the slave’s own merit, and the majority of slaves (who are almost always seen as less than a freedman even when they are doing the same work) were performing the same common labor as the ‘peasant’ class, and so viewed as inferior.

Viewing The Wheel of Time Through This Lens

So what does all this have to do with Robert Jordan’s Wheel of Time? A lot actually, especially compared to his contemporaries in fantasy writing. Whereas most fantasy taking place in feudal systems succumbs to the urge to simplify matters (sometimes as far down to their only being two classes, ‘peasant’ and ‘royalty’) Jordan much more closely models real feudalism in his world. 

The majority of the nations we encounter are feudal monarchies, and a majority of each of their populations are agrarian farming communities overseen by a local lord or other official. How large a nation’s other classes are is directly tied to how prosperous the kingdom is, which is strongly connected to how much food and how many goods the kingdom can produce on the available land within it. This in turn, is tightly interdependent on how stable the kingdom is and how effective its government is.

Andor is the prime example: a very large, very prosperous kingdom, which is both self-sufficient in feeding itself via its large swathes of farmland (so much so that they can afford to feed Cairhien through selling their surplus almost certainly at next to no profit) and rich in mineral wealth from mines in the west. It is capable of supporting several fairly large cities even on its outskirts, as well as the very well-developed and cosmopolitan Caemlyn as its capital. This allows Andor to maintain a pretty robust class of educated workers, craftsfolk, artisans, etc, which in turn furthers the realm’s prosperity. At the top of things, the Queen presides over the entire realm with largely centralized power to set laws and taxes. Beneath her are the ‘great houses’–the only Houses in Andor besides the royal house who are strong enough that other nobles ‘follow where they lead’ making them the equivalent of Duchesses and Dukes, with any minor nobles not sworn directly to the Queen being sworn to these ten.

And that ties into something very important about the feudal system and the impact it had on our world and the impact it has on Jordan's. To quote Youtuber Jack Rackham, feudalism is what those in the science biz would call an unstable equilibrium. The monarch and their vassals are constantly in conflict with each other; the vassals desiring more power and autonomy, as the monarch works to centralize power on themselves. In feudalism there isn’t really a state army. Instead the monarch and the nobles all have personal armies, and while the monarch’s might be stronger than anyone else’s army, it’s never going to be stronger than everybody else’s. 

To maintain peace and stability in this situation everyone has to essentially play Game of Thrones (or as Jordan called it years before Martin wrote GoT, Daes Dae’mar) using political maneuvering, alliances, and scheming in order to pursue their goals without the swords coming out, and depending on the relative skill of those involved, this can go on for centuries at a time….or break apart completely over the course of a single bad summer, and plunge the country into civil war.

Cairhien is a great example of this problem. After losing the Aiel War and being left in ruins, the monarch who ultimately secured the throne of Cairhien, Galldrian Riatin, started from a place of profound weakness. He inherited a bankrupt, war torn and starving country, parts of which were still actively on fire at the time. As Thom discusses in the Great Hunt, Galddrian's failure to resettle the farmers displaced by the war left Cairhien dependent on foreign powers to feed the populace (the grain exports from Tear and Andor) and in order to prevent riots in his own capital, Galldrian choose bread and circuses to keep the people pacified rather then trying to substantially improve their situation. Meanwhile, the nobles, with no effective check on them, began to flex their power, seeing how much strength they could take away from each other and the King, further limiting the throne’s options in how to deal with the crisis, and forcing the King to compete with his most powerful vassals in order to just stay on the throne. This state of affairs ultimately resulted, unsurprisingly, in one of Galladrin’s schemes backfiring, him ending up dead, and the country plunging into civil war, every aristocrat fighting to replace him and more concerned with securing their own power then with restoring the country that was now fully plunged into ruin.

When Dyelin is supporting Elayne in the Andoran Succession, it is this outcome (or one very much like it) that she is attempting to prevent. She says as much outright to Elayne in Knife of Dreams–a direct succession is more stable, and should only be prevented in a situation where the Daughter Heir is unfit–through either incompetence or malice–to become Queen. On the flip side, Arymilla and her lot are trying to push their own agendas, using the war as an excuse to further enrich their Houses or empower themselves and their allies. Rhavin’s machinations had very neatly destabilized Andor, emboldening nobles such as Arymilla (who normally would never dream of putting forward a serious claim for the throne) by making them believe Morgase and Trakand were weak and thus easy to take advantage of. 

We also see this conflict crop up as a central reason Murandy and Altara are in their current state as well. Both are countries where their noble classes have almost complete autonomy, and the monarch is a figurehead without significantly more power than their vassals (Tylin can only keep order in Ebou Dar and its immediate surrounding area, and from what she says her father started with an even worse deal,with parts of the capital more under the control of his vassals than him). Their main unifying force is that they wish to avoid invasion and domination by another larger power (Andor for Murandy, Illian and Amadica for Altara) and the threat of that is the only thing capable of bringing either country into anything close to unity.

Meanwhile a lack of centralization has its trade offs; people enjoy more relative freedoms and social mobility (both depend heavily on trade, which means more wealth flowing into their countries but not necessarily accumulating at the top, due to the lack of stability), and Altara specifically has a very robust ‘middle class’ (or as near as you can get pre-industrialization) of middling to minor merchants, business and craftsfolk, etc. Mat’s time in Ebou Dar (and his friendship with Satelle Anan) gets into a lot of this. Think of the many many guilds that call Altara home, and how the husband of an inn owner can do a successful enough business fishing that he comes to own several crafts by his own merit. 

On the flip side both countries have problems with violence and lawlessness due to the lack of any enforced uniformity in terms of justice. You might ride a day and end up in land ruled by a Lord or Lady with a completely different idea of what constitutes, say, a capital offense, than the Lord or Lady you were under yesterday. This is also probably why Altara has such an ingrained culture of duels to resolve disputes, among both nobles and common folk. Why appeal to a higher authority when that authority can barely keep the streets clean? Instead you and the person you are in conflict with, on anything from the last cup of wine to who cheated who in a business deal, can just settle it with your knives and not have to bother with a hearing or a petition. It’s not like you could trust it anyways; as Mat informs us, most of the magistrates in Altara do the bidding of whoever is paying their bribes.

But neither Altara nor Murandy represents the extreme of how much power and autonomy nobles can manage to wrangle for themselves. That honor goes to Tear, where the nobles have done away with the monarch entirely to instead establish what amounts to an aristocratic confederacy. Their ruling council (The High Lords of Tear) share power roughly equally among themselves, and rule via compromise and consensus. This approach also has its tradeoffs: unlike Murandy and Altara, Tear is still able to effectively administer the realm and create uniformity even without a monarch, and they are able to be remarkably flexible in terms of their politics and foreign policy, maintaining trade relationships even with bitter enemies like Tar Valon or Illian.  On the flipside, the interests of individual nobles are able to shape policy and law to a much greater extent, with no monarch to play arbiter or hold them accountable. This is the source of many of the social problems in Tear: a higher sense of justice, good, or even just plain fairness all take a back seat to the whims and interest of nobles. Tear is the only country where Jordan goes out of his way, repeatedly, to point out wealth inequality and injustice. They are present in other countries, but Jordan drives home that it is much worse in Tear, and much more obscene. 

This is at least in part because there is no one to serve as a check to the nobles, not even each other. A monarch is (at least in theory) beholden to the country as a whole, but each High Lord is beholden only to their specific people, house and interests, and there is no force present that can even attempt to keep the ambitions and desires of the High Lords from dictating everything. So while Satelle Anan's husband can work his way up from a single fishing boat to the owner of multiple vessels, most fisherman and farmers in Tear scrape by on subsistence, as taxes are used to siphon off their wealth and enrich the High Lords. While in Andor ‘even the Queen most obey the law she makes or there is no law’ (to quote Morgase), Tairen Lords can commit murder, rape, or theft without any expectation of consequences, because the law dosen’t treat those acts as crimes when done to their ‘lessers’, and any chance someone might get their own justice back (as they would in Altara) is quashed, since the common folk are not even allowed to own weapons in Tear. As we’re told in the Dragon Reborn, when an innkeeper is troubled by a Lord cheating at dice in the common room, the Civil Watch will do nothing about it and citizens in Tear are banned from owning weapons so there is nothing he can do about it. The best that can be hoped for is that he will ‘get bored and go away’.

On the opposite end, you have the very very centralized Seanchan Empire as a counter example to Tear, so centralized it’s almost (though not quite) managed to transcend feudalism. In Seanchan the aristocratic class has largely been neutered by the monarchy, their ambitions and plots kept in check by a secret police (the Seekers of Truth) and their private armies dwarfed by a state army that is rigorously kept and maintained. It’s likely that the levies of the noble houses, if they all united together, would still be enough to topple the Empress, but the Crystal Throne expends a great deal of effort to ensure that doesn't happen,playing the nobles against each other and taking advantage of natural divisions in order to keep them from uniting.

Again, this has pros and cons. The Seanchan Empire is unquestionably prosperous; able to support a ridiculous food surplus and the accompanying flow of wealth throughout its society, and it has a level of equity in its legal administration that we don’t see anywhere else in Randland. Mat spots the heads of at least two Seanchan nobles decorating the gates over Ebou Dar when he enters, their crimes being rape and theft, which is a far cry from the consequence-free lives of the Tairen nobles. Meanwhile a vast state-sponsored bureaucracy works to oversee the distribution of resources and effective governance in the Empress’s name. No one, Tuon tells us proudly, has to beg or go hungry in the Empire. But that is not without cost. 

Because for all its prosperity, Seanchan society is also incredibly rigid and controlling. One of the guiding philosophies of the Seanchan is ‘the pattern has a place for everything and everything’s place should be obvious on sight’. The classes are more distinct and more regimented than anywhere else we see in Randland. The freedoms and rights of everyone from High Lords to common folk are curtailed–and what you can say or do is sharply limited by both social convention and law. The Throne (and its proxies) are also permitted to deprive you of those rights on nothing more than suspicion. To paraphrase Egeanin from TSR: Disobeying a Seeker (and presumably any other proxy of the Empress) is a crime. Flight from a Seeker is a crime. Failure to cooperate fully with a Seeker is a crime. A Seeker could order a suspected criminal to go fetch the rope for their own binding, and the suspected criminal would be expected to do it–and likely would because failure to do anything else would make them a criminal anyway, whatever their guilt or innocence in any other matter.

Meanwhile that food surplus and the resulting wealth of the Empire is built on its imperialism and its caste-based slavery system, and both of those are inherently unsustainable engines. What social mobility there is, is tied to the Empire’s constant cycle of expand, consolidate, assimilate, repeat–Egeanin raises that very point early on, that the Corenne would mean ‘new names given and the chance to rise high’. But that cycle also creates an endless slew of problems and burning resentments, as conquered populations resist assimilation, the resistance explodes into violence that the Seanchan must constantly deal with–the ‘near constant rebellions since the Conquest finished’ that Mat mentions when musing on how the Seanchan army has stayed sharp.

The Seanchan also practice a form of punitive and caste-based slavery for non-channelers, and chattel slavery for channelers. As with the real-life Ottoman Empire, some da’covale enjoy incredible power and privilege in their society, but they (the Deathwatch Guard, the so’jhin, the Seekers) are the exception, not the rule. The majority of the slaves we encounter are nameless servants, laborers, or damane. While non-channelers have some enshrined legal protections in how they can be treated by their masters and society as a whole, we are told that emancipation is incredibly rare, and the slave status is inherited from parent to child as well as used as a legal punishment–which of course would have the natural effect of discouraging most da’covale from reproducing by choice until after (or if) they are emancipated–so the primary source for most of the laborers and servants in Seanchan society is going to be either people who are being punished or who choose to sell themselves into slavery rather then beg or face other desperate circumstances. 

This keeps the enslaved population in proportion with the rest of society only because of the Empire’s imperialism- that same cycle of expand, consolidate, assimilate, repeat, has the side effect of breeding instability, which breeds desperation and thus provides a wide pool to draw on of both those willing to go into slavery to avoid starvation, and those who are being punished with slavery for wronging the state in some manner. It’s likely the only reason the Empire’s production can keep pace with its constant war efforts: conquered nations (and subdued rebellions) eventually yield up not just the necessary resources, but also the necessary laborers to cultivate them in the name of the state, and if that engine stalls for any sustained length of time (like say a three hundred year peace enforced by a treaty), it would mean a labor collapse the likes of which the Empire has never seen before.

A note on damane here: the damane system is undoubtedly one of chattel slavery, where human beings are deprived of basic rights and person hood under the law for the enrichment of those that claim ownership over them. Like in real life this state of affairs is maintained by a set of ingrained cultural prejudices, carefully constructed lies, and simple ignorance of the truly horrific state of affairs that the masses enjoy. The longevity of channelers insulates the damane from some of the problems of how slavery can be unsustainable, but in the long run it also suffers from the same structural problem: when the endless expansion stops, so too will the flow of new damane, and the resulting cratering of power the Empire will face will put it in jeopardy like nothing has before. There is also the problem that, as with real life chattel slavery, if any one piece of the combination of ignorance, lies, and prejudice starts to fall apart, an abolition movement becomes inevitable–and several characters are setting the stage for just that via the careful spreading of the truth about the sul’dam. Even if the Seanchan successfully put down an abolition movement, doing so will profoundly weaken them in a way that will necessitate fundamental transformation, or ensure collapse.

How Jordan Depicts The Relationships Between Classes

As someone who is very conscious in how he depicts class in his works, it makes sense that Jordan frequently focuses on characters interacting through the barriers of their various classes in different ways. New Spring in particular is a gold mine for this kind of insight.

Take, for example, Moiraine and Siuan’s visit to the master seamstress. A lesser writer would not think more deeply on the matter than ‘Moiraine is nobly born so obviously she’s going to be snobby and demanding, while down-to-earth Siuan is likely to be build a natural rapport and have better relationship her fellow commoner, the seamstress Tamore Alkohima’. But Jordan correctly writes it as the reverse: Tamore Alkohima might not be nobly born, but she is not really a peasant either–rather she belongs to that class of speciality artisans, who via the value placed on her labor and skill, is able to live quite comfortably. Moiraine is much more adept at maneuvering this kind of possibly fraught relationship than Siuan is. Yes, she is at the top of the social structure (all the more so since becoming Aes Sedai) but that does not release her from a need to observe formalities and courtesies with someone who, afterall, is doing something for Moiraine that she can not do for herself, even with the Power. If Moiraine wants the services of a master dressmaker, the finest in Tar Valon, she must show respect for both Tamore Alkohima and her craft, which means submitting to her artistic decisions, as well as paying whatever price, without complaint.

Siuan, who comes from the poor Maule district in Tear, is not used to navigating this kind of situation. Most of those she has dealt with before coming to the Tower were either her equals or only slightly above her in terms of class. She tries to treat Tamore Alkohima initially like she most likely treated vendors in the Maule where everyone is concerned with price, since so many are constantly on the edge of poverty, and she wants to know exactly what she is buying and have complete say over the final product, which is the practical mentality of someone to whom those factors had a huge impact on her survival. Coin wasted on fish a day from going bad, or netting that isn’t the right kind, might have meant the difference between eating that week or not, for a young Siuan and her father. 

Yet this this reads as an insult to Tamore Alkohima, who takes it as being treated with mockery, and leads to Moiraine needing to step in to try and smooth things over, and explain to Siuan-

“Listen to me, Siuan and do not argue.” she whispered in a rush. “We must not keep Tamore waiting long. Do not ask after prices: she will tell us after we make our selections. Nothing you buy here will be cheap, but the dresses Tamore sews for you will make you look Aes Sedai as much as the shawl does. And it is Tamore, not Mistress Alkohima. You must observe the properties or she will believe you are mocking her. But try thinking of her as a sister who stands just a little above you. A touch of deference is necessary. Just a touch, but she will tell you what to wear as much as she asks.” “And will the bloody shoe maker tell us what kind of slippers to buy and charge us enough to buy fifty new sets of nets?” “No.” Moiraine said impatiently. Tamore was only arching one eyebrow but her face may as well have been a thunderhead. The meaning of that eyebrow was clear as the finest crystal. They had already made the seamstress wait too long, and there was going to be a price for it. And that scowl! She hurried on, whispering as fast as she could. “The shoemaker will make us what we want and we will bargain the price with him, but not too hard if we want his best work. The same with the glovemaker, the stockingmaker, the shiftmaker, and all the rest. Just be glad neither of us needs a hairdresser. The best hairdressers are true tyrants, and nearly as bad as perfumers.”

-New Spring, Chapter 13: Business in the City.

Navigating the relationship between characters of a different class is something a of a running theme throughout New Spring–from Moiraine’s dealing with the discretion of her banker (‘Another woman who knew well her place in the world’ as Moiraine puts it), to having to meet with peasants during her search for the Dragon Reborn (and bungling several of those interactions), to wading through the roughest criminal parts of Chachin in search of an inn, and frequently needing to resort to the Power to avoid or resolve conflict. Moiraine’s ability to handle these situations is tightly tied to her experience with the people involved prior to her time as a Novice, but all hold up and give color to the class system Jordan presents. It also serves as set up so that when Moraine breaks the properties with a different seamstress near the end of the book, it can be a sign of the rising tension and the complex machinations she and Siuan find themselves in.

Notably, Moiraine and Siuan’s relative skill with working with people is strongly related to their backgrounds: the more Moiraine encounters people outside her lived experience as a noble daughter in Cairhien, the more she struggles to navigate those situations while Siuan is much more effective at dealing with the soldiers during the name-taking sequence (who are drawn mostly from the same class as her–common laborers, farmers, etc), and the people in Chachin, where she secures an lodging and local contacts to help in the search with relative ease.

Trying to navigate these waters is also something that frequently trips up characters in the main series as well, especially with the Two Rivers folk who are, ultimately, from a relatively classless society that does not subscribe to feudal norms (more on that below). All of them react to both moving through a society that does follow those norms, and later, being incorporated into its power structures in different, frequently disastrous ways.

Rand, who is not used to the complicated balance between vassal and monarch (which is all the more complicated as he is constantly adding more and more realms under his banner) finds imposing his will and leading the aristocrats who swear fealty to him incredibly difficult. While his reforms are undoubtedly good for the common folk and the general welfare of the nations he takes over, he is most often left to enforce them with threats and violence, which ultimately fuel resistance, rebellion, and more opposition to him throughout the nations he rules, and has down-the-line bad ripple effects on how he treats others, both noble and not, who disagree with him. 

Rand also struggles even with those who sincerely wish to serve and aid him in this context: he is awkward with servants, distant with the soldiers and warriors who swear their lives to him, and even struggles with many of his advisors and allies. Part of that is distrust that plagues him in general, but a big element to it is also his own outsider perspective. The Aiel frequently complain that Rand tries to lead them like a King, but that’s because they assume a wetlander King always leads by edict and command. Yet Rand’s efforts to do that with the Westland nations he takes over almost always backfire or have lasting consequences. Rand is frequently trying to frequently play act at what he thinks a King is and does–and when he succeeds it’s almost always a result of Moiraine or Elayne’s advice on the subject, not his own instincts or preconceptions.

Perrin, meanwhile, is unable to hide his contempt for aristocracy and those that willingly follow them, which leads to him both being frequently derelict in his duties as a Lord, and not treating his followers with a great deal of respect. Nynaeve has a similar problem, where she often tries to ‘instill backbone’ into those lower in the class system then her, then comes to regret it when that backbone ends up turned on her, and her leadership rejected or her position disrespected by those she had encouraged to reject leadership or not show respect to people in higher positions.

Interestingly, it’s Mat that most effectively manages to navigate various inter-class relationships, and who via the Band of the Red Hand builds a pretty equitable, merit-based army. He does this by following a simple rule: treating people how they wish to be treated. He accepts deference when it’s offered, but never demands it. He pushes back on the notion he’s a Lord often, but only makes it a serious bone with people who hold the aristocracy in contempt. He’s earnest in his dealings, fair minded, and good at reading social situations to adapt to how folks expect him to act, and when he breaches those expectations it’s usually a deliberate tactical choice. 

This lets him maintain strong friendships with people of all backgrounds and classes– from Princes like Beslan to horse thieves like Chel Vanin. More importantly, it makes everyone under his command feel included, respected, and valued for what they are. Mat has Strong Ideas About Class (and about most things really), but he’s the only Two Rivers character who doesn't seem to be working from an assumption that everyone else ought to live by his ideals. He thinks anyone that buys into the feudal system is mad, but he doesn't actually let that impact how he treats anyone–probably from the knowledge that they think he’s just as mad.

Getting Creative With the Structure

The other thing I want to dig into is the ways in which Jordan, via his understanding of the feudal system, is able to play with it in creative and interesting ways that match his world. Succession is the big one; who rules after the current monarch dies is a massively important matter since it determines the flow of power in a country from one leader to the next. The reason so many European monarchies had primogeniture (eldest child inherits all titles) succession is not because everyone just hated second children, it’s because primogeniture is remarkably stable. Being able to point to the eldest child of the monarch and say them, that one, and their younger sibling if they're not around, and so on is very good for the transition of power, since it establishes a framework that is both easy to understand and very very hard to subvert. Pretty much the only way, historically, to subvert a primogeniture succession is for either the heir’s blood relationship to the monarch or the legitimacy of their parent’s marriage to be called into question.

And yet despite that, few of the countries in Jordan's world actually use primogeniture succession. Andor does, as do some of the Borderlands, but the majority of  monarchies in Randland use elective succession, where the monarch is elected from among the aristocratic class by some kind of deliberative body. This is the way things are in Tarabon, Arad Doman,Ghealdan, Illian, and Malkier, who all elect the monarchs (or diarchs in the case of Tarabon- where two rulers, the Panarch and the King, share power) via either special council or some other assembly of aristocrats. 

There are three countries where we don’t know the succession type (Arafel, Murandy, and Amadicia) but also one we know for sure doesn't use primogeniture succession: Cairhien. We know this because Moiraine’s claim to the Sun Throne as a member of House Damodred is seen as as legitimate enough for the White Tower to view putting her on the Sun Throne as a viable possibility, despite the fact that she has two older sisters whose claims would be considered superior to her own under primogeniture succession. We never find out for sure in the books what the succession law actually is (the country never stabilizes for a long enough period that it becomes important), but if I had to guess I would guess that it’s designated,where the monarch chooses their successor prior to their death, and that the civil war that followed the Aiel War was the result of both Laman and his designated heir(s) dying at the Bloodsnows (we are told by Moiraine that Laman and both his brothers are killed; likely one of them was the next in line).

One country that we know for sure uses designated succession is Seanchan, where the prospective heir is still chosen from among the children of the Empress, but they are made to compete with each other (usually via murder and plotting) for the monarch’s favor, the ‘best’ being then chosen to become the heir. This very closely models how the Ottoman Empire did succession (state sanctioned fratricide) and while it has the potential to ensure competence (by certain metrics, anyways) it also sows the seeds of potential instability by ensuring that the monarch is surrounded by a whole lot of people with bad will to them and feelings of being cheated or snubbed in the succession, or else out for vengeance for their favored and felled candidate. Of course, from the Seanchan’s point of view this is a feature not a bug: if you can’t win a civil war or prevent yourself from being assassinated, then you shouldn’t have the throne anyways.

Succession is far from the only way that Jordan plays with the feudal structure either. Population is something else that is very present in the world building, even though it’s only drawn attention to a handful of times. In our world, the global population steadily and consistently rose throughout the middle ages and the Renaissance (with only small dips for things like the plague and the Mongol Invasion), then exploded with the Industrial Revolution and has seen been on a meteoric climb year over year (something that may just now be stabilizing into an equilibrium again, only time will tell). This is one of the pressures that led to the collapse of feudalism in the real world, as a growing aristocratic class was confronted with finite land and titles, while at the same time the growing (and increasingly powerful) wealthy financial class of various countries were beginning to challenge the traditions and laws that kept them out of direct power. If you’ve ever read a Jane Austen novel (or really anything from the Georgian/Regency/Victorian eras) this tension is on display. The aristocratic class had never been as secure as people think, but the potential to fall into poverty and ruin had never been a greater threat, which had ripple effects for the stability of a nation, and in particular a monarch who derived much of their power from the fealty of their now-destabilized vassals.

In Jordan’s world however, we are told as early as The Great Hunt that the global population is steadily falling, and has been since the Hundred Years’ War (at least). No kingdom is able to actually control all the territory it has on a map, the size of armies have in particular shrunk consistently (to the point where it’s repeatedly commented on that the armies Rand puts together, some of no more than a few thousand, are larger than any ‘since Artur Hawkwing's day’), large swathes of land lay ungoverned and even more uninhabited or settled. Entire kingdoms have collapsed due to the inability of their increasingly small populations to hold together. This is the fate of many of the kingdoms Ingtar talks about in the Great Hunt: Almoth, Gabon, Hardan, Moredo, Caralain, to name just a few. They came apart due to a combination of ineffective leadership, low population, and a lack of strong neighbors willing or able to extend their power and stability over the area.

All of this means that there is actually more land than there are aristocrats to govern it; so much so that in places like Baerlon power is held by a crown-appointed governor because no noble house has been able to effectively entrench in the area. This has several interesting effects on the society and politics of Randland: people in general are far more aware of the fragility of the nation state as a idea then they would be otherwise, and institutions (even the intractable and mysterious White Tower) are not viewed by even their biggest partisans as invulnerable or perpetual. Even the most powerful leaders are aware, gazing out constantly, as they do, at the ruins of the hundreds of kingdoms that have risen and fallen since the Breaking of the World (itself nothing more, to their understanding, then the death of the ultimate kingdom) that there are no guarantees, no promises that it all won’t fall apart. 

This conflict reflects on different characters in different ways, drawing out selfishness and cowardice from some, courage and strength from others. This is a factor in Andor’s surprisingly egalitarian social climate: Elayne and Morgase both boast that Andorans are able to speak their minds freely to their leaders about the state of things, and be listened to, and even the most selfish of leaders like Elenia Sarand are painfully aware that they stand on a tower built from ‘the bricks of the common folk’, and make a concentrated effort to ensure their followers feel included and heard. Conversely it also reflects on the extremely regimented culture of the Borderlands, were dereliction of duty can mean not just the loss of your life, but the loss of a village, a town, a city, to Trolloc raids (another pressure likely responsible for slow and steady decline of the global population). 

The Borderlanders value duty, honor, and responsibility above all else, because those are the cornerstones holding their various nations together against both the march of time and the Blight. All classes place a high value on the social contract; the idea that everyone must fulfill their duty to keep society safe is a lot less abstract when the stakes are made obvious every winter through monsters raiding your towns. This is most obvious in both Hurin and Ingtar’s behavior throughout The Great Hunt: Hurin (and the rest of the non-noble class) lean on the assurance that the noble class will be responsible for the greater scale problems and issues in order to endure otherwise unendurable realities, and that Rand, Ingtar, Aglemar, Lan (all of whom he believes to be nobly born) have been raised with the necessary training and tools to take charge and lead others through impossible situations and are giving over their entire lives in service to the people. In exchange Hurin pays in respect, obedience, and (presumably) taxes. This frees Hurin up to focus on the things that are decidedly within his ken: tracking, thief taking, sword breaking, etc, trusting that Ingtar, and later Rand, will take care of everything else.

When Hurin comes up against the feudal system in Cairhien, where the failures of everyone involved have lead to a culture of endless backstabbing and scheming, forced deference, entitlement, and mutual contempt between the parties, he at first attempts to show the Cairhienin ‘proper’ behavior through example, in the hopes of drawing out some shame in them. But upon realizing that no one in Cairhien truly believes in the system any longer after it has failed the country so thoroughly (hence the willingness of vassals to betray their masters, and nobles to abandon their oaths–something unthinkable in the Borderlands) he reverts to his more normal shows of deference to Rand and Ingtar, abandoning excessive courtesy in favor of true fealty.

Ingtar (and later Rand) feel the reverse side of this: the pressure to be the one with the answers, to hold it all together, to be as much icon and object as living person, a figure who people can believe in and draw strength from when they have none of their own remaining, and knowing at the same time that their choices will decide the fates and lives of others. It’s no mistake that Rand first meets Hurin and begins this arc in the remains of Hardan, one of those swept-away nations that Ingtar talks about having been left nothing more than ‘the greatest stone quarry for a hundred miles’. The stakes of what can happen if they fail in this duty are made painfully clear from the start, and for Rand the stakes will only grow ever higher throughout the course of the series, as number of those ‘under his charge’ slides to become ‘a nation’ then ‘several nations’ and finally ‘all the world’. And that leads into one of the problems at the heart of Rand’s character arc.

This emphasis on the feudal contract and duty helps the Borderlands survive the impossible, but almost all of them (with the exception of Saldaea) practice cultures of emotional repression and control,spurning displays of emotion as a lack of self-control, and viewing it as weakness to address the pains and psychological traumas of their day to day lives. ‘Duty is heavier than a mountain, death lighter than a feather’, ‘There will be time to sleep when you’re dead’, ‘You can care for the living or mourn the dead, you cannot do both’: all common sayings in the Borderlands. On the one hand, all of these emphasize the importance of fulfilling your duty and obligations…but on the other, all also  implicitly imply the only true release from the sorrows and wounds taken in the course of that duty is death. It is this, in part, that breaks Ingtar: the belief that only the Borderlands truly understand the existential threat, and that he and those like him are suffering and dying for ‘soft southlanders’ whose kingdoms are destined to go to ruin anyways. It’s also why he reveals his suffering to Rand only after he has decided to die in a last stand–he is putting down the mountain of his trauma at last. This is also one of those moments in the books that is a particular building block on the road to Rand’s own problems with not expressing his feelings or being willing to work through his trauma, that will swing back around to endanger the same world he is duty-bound to protect.

I also suspect strongly that this is the source of the otherwise baffling Saldean practice of….what we will call dedicated emotional release. One of the core cultural Saldean traits (and something that is constantly tripping up Perrin in his interactions with Faile) is that Saldeans are the only Borderlanders to reject the notion that showing emotion is weakness. In fact, Saldeans in general believe that shows of anger, passion, sorrow, ardor–you name it–are a sign of both strength and respect. Your feelings are strong and they matter, and being willing to inflict them on another person is not a burden or a betrayal of duty, it’s knowing that they will be strong enough to bear whatever you are feeling. I would hesitate to call even the Saldaens well-adjusted (I don’t know that there is a way to be well-adjusted in a society at constant war), but I do think there is merit to their apparent belief in catharsis, and their resistance to emotional repression as a sign of strength. Of course, that doesn't make their culture naturally better at communication (as Faile and Perrin’s relationship problems prove) but I do think it plays a part in why Bashere is such a good influence on Rand, helping push him away from a lot of the stoic restraint Rand has internalized from Lan, Ingtar, Moiraine, et al.

It also demonstrates that a functioning feudal society is not dependent on absolute emotional repression, or perfect obedience.  Only mutual respect and trust between the parties are necessary–trust that the noble (or monarch) will do their best in the execution of their duties, and trust that the common folk in society will in turn fulfill their roles to the best of their ability. Faile’s effectiveness as Perrin’s co-leader/second in command is never hindered or even implied to be hindered by her temperament or her refusal to hide/repress her emotions. She is arguably the one who is doing most of the actual work of governing the Two Rivers after she and Perrin are acclaimed their lord and lady: seeing to public works projects, settling disputes, maintaining relationships with various official groups of their subjects.

The prologue from Lord of Chaos (a favorite scene of mine of the books) where Faile is holding public audience while Perrin is off sulking ‘again’ is a great great example of this; Faile is the quintessential Borderland noble heir, raised all her life in the skills necessary to run a feudal domain, and those skills are on prime display as she holds court. But that is not hindered by her willingness to show her true feelings, from contempt of those she thinks are wasting her time, to compassion and empathy to the Wisdoms who come to her for reassurance about the weather. This is one of those things that Perrin has to learn from her over the course of the series–that simply burying his emotions for fear they might hurt others is not a healthy way to go about life, and it isn’t necessary to rule or lead either. His prejudices about what constitutes a ‘good’ Lord (Lan, Agelmar, Ingtar) and a ‘bad’ one (literally everyone else) are blinding him, showing his lack of understanding of the system that his people are adopting, and his role in it.

Which is a nice dovetail with my next bit–

Outsiders And the Non-Feudal State

Another way Jordan effectively depicts the Feudal system is by having groups who decidedly do not practice it be prominent throughout the series–which is again accurate to real life history, where feudalism was the mode of government for much of (but by no means all) of Medieval and Renaissance Europe, but even in Europe their were always societies doing their own thing, and outside of it, different systems of government flourished in response to their environments and cultures; some with parallels to Feudalism, many completely distinct.

The obvious here are the Aiel who draw on several different non-feudal societies (the Scottish Highland Clans, the Iroquois Confederation, the Mongols, and the Zulu to name just a few) and the Seafolk (whose are a combination of the Maori and the Republic of Piracy of all things), but also firmly in these categories are groups like the communities in the Black Hills, Almoth Plain, and the Two Rivers.

Even though it’s an agrarian farming community made up primarily of small villages, the Two Rivers is not a feudal state or system. We tend to forget this because it looks a lot like our notion of a classic medieval European village, which our biases inherently equate to feudal, but Jordan is very good at remembering this is not the case, and that the Two Rivers folk are just as much outsiders to these systems as the Aiel, or the Seafolk. 

Consider how often the refrain of ‘don’t even know they’re part of the Kingdom of Andor’ is repeated in regards to the Two Rivers, and how much the knowledge of Our Heroes about how things like Kingdoms, courts, war, etc, are little more than fairy tales to the likes of those Two Rivers, while even places unaffected directly by things like the Trakand Succession or the Aiel War are still strongly culturally, economically, and politically impacted. 

Instead of deriving power and justice from a noble or even a code of law, power is maintained by two distinct groups of village elders (The Village Council and the Women’s Circle) who are awarded seats based on their standing within the community. These groups provide the day-to-day ordering of business and resolving of conflicts, aiding those in need and doing what they can for problems that impact the entire community. The Wisdom serves as the community physician, spiritual advisor, and judge (in a role that resembles what we know of pre-Christian celtic druids), and the Women’s Circle manages most social ceremonies from marriages to betrothals to funerals, as well as presiding over criminal trials (insofar as they even have them). The Mayor manages the village economics, maintaining relationships and arbitrating deals with outsider merchants and peddlers, collecting and spending public funds (through a volunteer collection when necessary, which is how we’re told the new sick house was built and presumably was how the village paid for things like fireworks and gleeman for public festivals), while the Council oversees civil matters like property disputes. 

On the surface this seems like an ideal community: idyllic, agrarian, decentralized, where everyone cares more about good food and good company and good harvests than matters of power, politics, or wealth, and without the need for any broader power-structure beyond the local town leaders. It’s the kind of place that luddites Tolkien and Thomas Jefferson envisioned as a utopia (and indeed the Two Rivers it the most Tolkien-y place in Randland after the Ogier stedding, of which we see relatively little), but I think Jordan does an excellent job of not romanticizing this way of life the way Tolkien often did. Because while the Two Rivers has many virtues and a great deal to recommend it, it also has many flaws.

The people in the Two Rivers are largely narrow minded and bigoted, especially to outsiders; The day after Moiraine saves the lives of the entire village from a Trolloc attack, a mob turns up to try and burn her out, driven by their own xenophobia and fear of that which they don’t understand. Their society is also heavily repressed and regressive in its sex norms and gender relations: the personal lives of everyone are considered public business, and anyone living in a fashion the Women’s Circle deems unsuitable (such as widower and single father Tam al’Thor) is subject to intense pressure to ‘correct’ their ways (remarry and find a mother for Rand). There is also no uniformity in terms of law or government, no codified legal code, and no real public infrastructure (largely the result of the region’s lack of taxes). This is made possible by the geographic isolation and food stability–two factors that insulate the Two Rivers from many of the problems that cause the formation or joining of a nation state. It’s only after the repeated emergence of problems that their existing systems can not handle (Trolloc raids, martial law under the White Cloaks, the Endless Summer, etc) that the Two Rivers folk begin adopting feudalism, and even then it’s not an instantaneous process, as everyone involved must navigate not just how they are going to adopt this alien form of government, but how they are going to make it match to their culture and history as well.

This plays neatly with the societies that, very pointedly, do not adopt feudalism over the course of the series. The Aiel reject the notion entirely, thinking it as barbaric and backward as the Westerlanders think their culture is–and Jordan is very good at showing neither as really right. The Aiel as a society have many strengths the fandom likes to focus on (a commitment to community care, a strong sense of collective responsibility, a flexible social order that is more capable of accounting for non-traditional platonic and romantic relationships, as well as a general lack of repressive sex norms) but this comes at a serious cost as well. The Aiel broadly share the Borderlander’s response of emotional suppression as a way of dealing with the violence of their daily life, as well as serious problems with institutionalized violence, xenophobia, and a lack of respect for individual rights and agency. Of these, the xenophobia is probably the most outright destructive, and is one of the major factors Rand has to account for when leading the Aiel into Cairhien, as well a huge motivating factor in the Shaido going renegade, and many Aiel breaking clan to join them–and even before Rand’s arrival it manifested as killing all outsiders who entered their land, except for Cairhienin, whom they sold as slaves in Shara.

And yet, despite these problems Jordan never really suggests that the Aiel would be better off as town-or-castle dwelling society, and several characters (most notably the Maidens) explicitly reject the idea that they should abandon their culture, values, and history as a response to the revelations at Rhuidean. Charting a unique course forward for the Aiel is one of the most persistent problems that weighs on the Wise Ones throughout the second half of the series, and Aviendha in particular. Unlike many of the feudal states faced with Tarmon Gai’don, the Aiel when confronted with the end of days and the sure knowledge of the destruction of their way of life are mostly disinterested in ignoring, running from, or rejecting that revelation (those that do, defect to the Shaido). Their unique government and cultural structure gives them the necessary flexibility to pivot quickly to facing the reality of the Last Battle, and to focus on both helping the world defeat the Shadow, and what will become of them afterwards. This ironically, leaves them in one of the best positions post-series, as the keepers of the Dragon’s Peace, which will allow them to hold on to many of their core cultural values even as they make the transition to a new way of life, without having to succumb to the pressures to either assimilate into Westlands, or return to their xenophobic isolationism.

The Seafolk provide the other contrast, being a maritime society where the majority of the people spend their time shipboard. Their culture is one of strong self-discipline and control, where rank, experience, and rules are valued heavily, agreements are considered the next thing to sacred, and material prosperity is valued. Though we don’t spend quite as much time with them as the Aiel, we get a good sense of their culture throughout the mid-series. They share the Aiel’s contempt for the feudal ��shorebound’, but don’t share their xenophobia, instead maintaining strong trade relationships with every nation on navigable water, though outside of the context of those trade relationships, they are at best frosty to non-Seafolk. 

They are not society without problems–the implication of their strong anti-corruption and anti-nepotism policies is that it’s a serious issue in their culture, and their lack of a centralized power structure outside of their handful of island homes means that they suffer a similar problem to the likes of Murandy and Altara, where life on one ship might be radically different then life on another, in terms of the justice or treatment you might face, especially as an outsider. But the trade off is that they have more social mobility then basically any other society we see in Randland. Even the Aiel tend to have strongly entrenched and managed circles of power, with little mobility not managed by the Wise Ones or the chiefs. But anyone can rise high in Sea Folk society, to become a leader in their clan, or even Mistress of the Ships or Master of the Blades– and they can fall just as easily, for shows of incompetence, or failures to execute their duties. 

They are also another society who is able to adapt to circumstances of Tamon Gai’don relatively painlessly, having a very effective plan in place to deal with the fallout and realities of the Last Battle. The execution gets tripped up frequently by various factors, but again, I don’t think it’s a mistake that they are one of the groups that comes out the other side of the Last Battle in a strong position, especially given the need that will now exist to move supplies and personnel for rebuilding post-Last Battle. The Seafolk have already begun working out embassies in every nation on navigable water, an important step to modernizing national relationships.

How does all this relate to feudalism and class? It’s Jordan digging into a fundamental truth about the world and people–at no point in our own history have we ever found a truly ‘perfect’ model for society. That’s something he’s constantly trying to show with feudalism–it is neither an ideal nor an abomination, it just is. Conversely, the Two Rivers, Aiel, Seafolk, and Ogier (who I don’t get into to much here for space, but who also have their own big problems with suffrage and independence, and their virtues in terms of environmental stability and social harmony) all exist in largely classes societies, but that doesn't exempt them from having problems or make them a utopia, and it certainly doesn't make them lesser or backwards either–Jordan expends a lot of energy to show them as complex, nuanced and flawed, in the same way he does for his pseudo-Europe.

Conclusion

To restate my premise: one of Jordan’s profound gifts as a writer is his capacity to set aside his own biases and write anything from his villains to his world with an honest, empathetic cast that defies simplification. Feudalism and monarchy more generally have a bad rep in our society, for good reasons. But I think either whitewashing or vilifying the feudal system is a mistake, which Jordan’s writing naturally reflects. Jordan is good at asking complicating questions of simple premises. He presents you with the Kingdom of Andor, prosperous and vast and under the rule of a regal much loved Queen and he asks ‘where does its wealth come from? How does it maintain law and order? How does the Queen exert influence and maintain her rule even in far-flung corners of the realm? How did she come to power in the first place and does that have an impact on the politics surrounding her current reign?’. And he does this with every country, every corner of his world–shining interesting lights on familiar tropes, and exploring the humanity of these grand ideas in a way that feels very real as a result.

The question of, is this an inherently just system is never really raised because it’s a simplifying question, not a complicating one. Whatever you answer–yes or no–does not add to the depiction of these systems or the people within them, it takes away. You make someone flat–be it a glorious just revolutionary opposing a cackling wicked King, or a virtuous and dutiful King suppressing dangerous radical dissidents, and you make the world flatter as a result. 

I often think about how, when I began studying European history, I was shocked to learn that the majority of the royalists who rose up against the Jacobins were provincial peasants, marching against what they perceived to be disgruntled, greedy academic and financial elites. These were, after all, the same people that the Jacobins’ revolution claimed to serve and be doing the will of. Many of the French aristocrats were undeniably corrupt, indolent, and detached from their subjects, but when you look closer at the motives of many of the Jacobins you discover that motives were frequently more complex then history tends to remember or their propaganda tried to claim, and many were bitterly divided against each other on matters of tactics, or ideals, or simple personality difference. The simple version of the French Revolution assigns all the blame to the likes of Robespierre going mad with power, and losing sight of the revolutions’ higher ideals, but the truth was the Jacobins could never properly agree on many of their supposed core ideals, and Robespierre, while powerful, was still one voice in a Republic–and every person executed by guillotine was decreed guilty by a majority vote.

This is the sort of nuance lost so often in fantasy stories, but not in Jordan’s books. The story could be simpler–Morgase could just be a just and good high Queen archetype who is driven by love of her people, but Jordan depicts her from the beginning as human–with virtues and flaws, doing the best she can in the word she has found herself. Trying to be a just and good Queen and often succeeding, and sometimes falling short of the mark. The Tairen and Cairhienin nobility could just all be greedy, corrupt, out-of-touch monsters who cannot care for anything beyond their own pleasures–but for every Laman, Weairamon, or Colavaere, you have Dobraine, Moiraine, or Darlin. And that is one of the core tenets of Jordan’s storytelling: that there is no system wholly without merit or completely without flaw, and no group of people is ever wholly good or evil.

By taking this approach, Jordan’s story feels real. None of his characters or world come across like caricature or parody. The heinous acts are sharper and more distinct, the heroic choices more earned and powerful. Nothing is assumed–not the divine right of kings, or the glorious virtue of the common man. This, combined with a willingness to draw on the real complex histories of our own world, and work through how the unique quirks of fantasy impact them, is what renders The Wheel Of Time such a standout as a fantasy series, past even more classic seminal examples of the genre, and why its themes of class, duty, power, and politics resonate with its modern audiences.

[im-not-using-a-main-for-this]

I genuinely don’t understand why people still try to argue and say the A in LGBTQIA+ can “stand for ally too :3”

No

No it can’t

Every other letter in the acronym is an identity that fits under the queer label, by saying A is for ally you are saying that non-queer people are queer

Here’s that logic applied to something not comparable but it’s good enough to get across how illogical this is:

It’s like if someone said “I support my autistic friend so I’m now also autistic”

I’ve literally seen someone say that they’ve met non-queer people more queer then some queer folk, implying that queer people are less deserving of their own label then fucking Joe who goes to drag shows on his days off

Which would be fucked up with any of the letters but with A?

A stands for multiple queer identities that often get shoved off as “not queer”, so implying that it should stand for ally too is just plain fucking insulting

I’ve also seen people take offense at the “don’t give them a gold star” thing which yeah, we should be appreciative of our allies, it’s kind of a dick move to tear down someone for genuinely trying just because “they could do more”

It was in fact a really big step for Barbara the school librarian to use they/them pronouns for a student

But I’ve seen people take that objection of the phrase and go “actually A should mean ally, give them their due credits”

They could be the queerest non-queer to ever exist that doesn’t mean they should be in the fucking acronyn

And maybe in twenty years I’ll be the old exclusionary fuckhead being an asshole on the internet, but until then im an aroace teen who doesn’t want my identity erased

Im also now realizing that I have no idea how old the post that pissed me off was, I forget how the tumblr thing works sometimes so it’s completely possible that im just being angry in my own little corner

I also can’t find the post because tumblr is weird

[dailycharacteroption]

Expulsionist (Inquisitor Archetype)

(art by Fernanda Suarez on Artstation)

 I love the archetypes of Pathfinder. I really do. Certainly it wasn’t the first ttrpg system to do specializations or alternate power sets for the same core class, but it was the first system to do it to that extent, with a massive amount of options even back when it was just the 1e Advanced Player’s Guide, and it only grew from there over the 10 year lifespan of the system. (In fact, some would argue that it grew too much, using phrases like “rules bloat”, but I don’t pay them much mind).

However, one problem that I will concede is that with 10 years of writing, occasionally you get some archetypes for the same class that cover the exact same ground conceptually.

We’ve talked about this before, and while we can’t really confirm it because Paizo isn’t really in the habit of doing tell-all AMA’s on their creative process, but the reasons this happens varies on a case by case basis, ranging from them legitimately forgetting that said previous option exists, to trying to do the concept better the second time around, and so on.

Which brings us to today’s entry, the Expulsionist inquisitor, a master of kicking possessing spirits out of mortal bodies and the material plane in general… much like the Exorcist inquisitor.

That being said, there are subtle differences in the two that are worth consideration. The exorcist is more concerned with getting the spirits out and protecting the inquisitor themselves from possession, while the expulsionist is more concerned with laying the dead to rest, having a knack not just for driving them out of living vessels, but also understanding the needs of haunts and undead, and how best to track them to where they rejuvenate and help them let go.

Heck, they even have zero overlap in modified or replaced abilities, allowing you to take both if you wish, though unless you’re playing in a game with a heavy focus on fiendish or deathly possessions, that may be too much specialization.

In any case, as we will soon see, the expulsionist is a powerful ally against spiritual foes both possessing mortals and existing independently, and is typically seen in most faiths that have a vested interest in helping the dead pass on and protecting the souls of mortals from subjugation by fiends.

 Rather than tap into a domain, these inquisitors instead learn to channel energy the way clerics do. However, they only use it to harm the undead and fiendish outsiders, learning to do the latter as well. Furthermore, they eventually learn to channel this energy into a possessed creature with a touch, damaging the possessor and potentially forcing them out.

Additionally, they learn plenty of lore about haunts and the spectral dead to both spot and identify their needs, as well as how to notice when someone is possessed, enchanted, or otherwise magically forced to behave differently.

They also learn how to read the changes in their channeled energy to see glimpses of the history of a ghost, haunt, or other rejuvenating undead, gaining insight into how to put them to rest permanently.

Whether they are facing the undead or fiends, these expulsionists can add channeled energy to their arsenal of powers against them, trading out the domain, which probably doesn’t factor that hard into most builds anyway. Their ability to force possessing foes out also provides an answer for one of the oldest types of puzzle fights in the game: how to get the ghoulie out without killing the host. It’s also unobtrusive enough that even if the game doesn’t feature such foes often, it can still be used in other games. In a horror campaign, however, they can really shine, or even be paired with the exorcist archetype for even more ways to expel evil spirits.

 In a setting where both exorcists and expulsionists exist, and are sometimes both at once, consider what that means. On the one hand, exorcists modify the nature of their judgements to cast down their enemies, focusing more on freeing a mortal and expelling the wicked. They choose that over multiple layers of condemnation of their enemies. Meanwhile, an expulsionist chooses to forgo their granted domain, giving up on a special connection to an aspect their deity favors to protect mortals and destroy evil spirits. Both of those decisions have significance, and it is up to the inquisitor in question to decide what that means.

  Eager to prove herself but unfamiliar with the outside world, the novice expulsionist Bethari accidentally caused a ruckus when she tried to exorcize a wizard’s poppet familiar. When she later catches the scent of a foul demon possessing a local leader, however, she fears that nobody will believe her, leading her to turn to the party for aid.

 Out in the wilds, there is often no one to help when a fiend with a passion for the ‘personal’ touch comes a calling. This is why roving priests are an important part of life in the savannah, such as the gnoll Lucarg, who visits village after village in a wide circuit tending to their needs, and occasionally expelling foul spirits.

 The ghost of Raymond Ligos is as cunning and vicious as the murderer was in life, capable of even greater deeds of sadism even without a body. After killing the last expulsionist who came to send him on, the city has truly run out of options, hiring the party to clear the courthouse of this menace.

[moonlover357]

Was I born to be this lost and confused?

Happiness never lasts long. A phrase that always rings an alarm in my head everytime I find myself smiling and believing this moment is permanent

Life loves playing trickery and games. For you see yourself, the curve of your lips upwards, serotonin over flooding your senses, unable to control your laughter, and genuinely can be seen having a great time. One you wish to permanently be coiled up in this happy bubble, completely forgetting that negative emotions even existed out there, wondering why you were even depressed in the first place, and even to the point of thinking you had even healed yourself from the cages of all what made you sad and miserable.

Then you wake up, as though it was some dream. Some lovely dream. Reality dawns on you to make you realize perhaps you were in a happy realm after all. As the creases come back, the puffy eyes a familiar shade of red, your face lifeless and you find yourself falling into the routine of your emotions.

Unconsciously, you see people having fun compared to you and you wonder if you are the problem. Misinterpreted expressions from everyone, the awkward body language, and you discover swiftly how you are back in your shell. You were to exposed to the outside world that you had to retreat for shelter.

How often do you find yourself listening to music that matches your mood? How often do you find yourself just wanting to drown into your emotions and never wanting to leave? Sometimes we find comfort in things that seem depressing in contrast to upbeat and lively things. Perhaps it's a way of finding something that can explain your emotions in ways words couldn't. You allow yourself to feel, because it was better than having to pretend all the time you were fine.

At least in public it was an easy secret to hide from the light and everyone's judgement. To show that you weren't on the verge of a breakdown and how people will make assumptions of your own feelings because of the sake of being empathetic or critical. With thoughts on how embarrassing it is to be vulnerable in public, you keep your tears to yourself.

In the comfort of the eyes of everyone, you can ugly cry, not caring for being charming and pleasing to the eyes, or having to stiffle your cries to make someone uncomfortable when you just need... Company.

Why on earth is it so hard to be just happy? For a lifetime?

We often seek for a shoulder to cry on, one where we can pour out all our worries and emotions. For as to free ourselves from the burden we carry alone in the darkest hours. But who exactly are we to share our thoughts? When others might go through something tougher in their lives or not wanting to disturb others with your dilemmas and being labelled as too sensitive.

Such an abusive word when it comes to human feelings.

Taking routes to find your way out, at the end of the day, it is just you... and to cry your heart out.

Not all emotions last forever, including happiness.

[merge-conflict]

Asking you a bunch for the fic writer asks (since I'm on lunch and I'm not sure when I'll be back)

3, 14, 17, 22, 23, 25 plz :>

ty for the ask!! I love answering so many questions >:3 questions here

3. how you feel about your current WIP

good! I always have several WIP but I'm thinking of the most recent one I'm working on where goro is going to do a little impromptu strip tease for valentine while she's internally making the dialup noise. extremely satisfying, even when they're disgustingly sweet and horny to each other.

14. where do you get your inspiration?

mostly just idle thoughts, which is to say I don't always know what my inspiration is until after I've done it and re-watched/re-read some piece of media and go oh.

most frequently it's from books that I've read. the ancillary justice series, the elemental logic books, the locked tomb, a memory called empire. sometimes from a drama tv series like ozark, killing eve, or mad men. not usually one for one, but the intense emotional beats will be there! if it's a book it's generally scifi/fantasy, if it's tv it's usually some kind of insane work drama.

17. talk about your writing and editing process

heh. I supposed I do some outlining, but that outline usually only exists in my head. if I do write down an outline it's generally for a chapter, and usually it's the first iteration which means I don't follow it at all for the final product. I think I've been asked this question twice so for this one I'll talk about oneshots (or serial oneshots like ffor). usually it's something like:

get a flash of action or dialog for a scene that want to expand

write 5-6 paragraphs of waaaaay too much exposition to figure out the location, time, and characters present. all of that musing on background motivations, setting of a boring scene, pondering what everyone is up to before the interesting bit starts happening. I write it all down or I'm liable to forget it.

cut those paragraphs entirely once the initial work is done (to another file so I can reference as needed), efficiently covering all the relevant bits of story or scene making in 1/5 of the original space

write some awkward waaaaaay too "character lifted their hand. they rubbed at their chin. they moved their hand to character b's shoulder. they said words."

take several stabs at the initial premise, deleting none, but scrolling down the page and working from a different pov or slightly different setting

ad-hoc workhorse sentences while drafting, and then deliberately change those sentences to something that flows a little more and elides unnecessary explanation

whenever I get stuck leave myself a little note in place of a phrase or sentence like

[aimed those big gray pleading eyes at him]

[mocking her with the tone.]

fill in all those gaps later at later review, when my brain is less stuck in a hole about how to word these kinds of things which is less important than just capturing their energy

once the structure of the story is there, figure out what the main takeaway and recurring motif is and read through to figure out how to emphasize it and cut out extraneous details

review review review for grammar and punchiness and readability. cut my darlings which do not add to the central theme.

post it and instantly see 3-4 obvious issues that I need to fix

22. do you ever worry about public reaction to what you’re writing? how do you get past that?

yes. all the time. usually about trans and related queer identity stuff– I've never gotten any push back but I often hold myself to some harsh internal review worrying about whether something could be seen as "too much" or "bad rep" regardless of how I personally consider respectability politics. so far I think my stuff has been too niche for anyone to be offended but I'm sure if I wandered outside of my beautiful curated tumblr ecosystem I could find the hostile commentary I hear in my head.

so far I've done okay just probing at the edges of what I want to do and slowly creeping out past that. I'd like to be more blasé about it but i'm still working my way there. pretty sure i'm given a pass by being less obvious with an enby character who still goes by her agab pronouns so it's easy for folks to ignore. whatever. can't think about it too much.

23. pick three keywords that describe your writing

playful, sharp, indulgent

25. besides writing, what are your other hobbies?

answered this one already I think, but currently my other hobbies are wip pending better circumstances. knitting, bird and bug watching, baguette baking I think are some of the ones I've mentioned before (too lazy to check). I extremely need to pick up at least *some* sort of tactile handicraft soon. :3

[47crayons]

so, you want to write a musician?

about me: i play viola and have experience in symphony orchestras, string orchestras, string quartets (+ a few other small ensembles), and solo performances. i've done some light composition, and have friends/family who play other instruments. while my musical history is extensive, by no means do i know everything or speak for everyone.

this guide will focus on classical music/how to portray classical musicians and things that aren't as easily researched.

quick overview of instruments in a typical symphony orchestra

upper strings (violin, viola), lower strings (cello, (double) bass; i've seen viola included here too, but it's more commonly classified as upper strings)

strings also technically includes harp and piano

woodwinds (flute, oboe, clarinet, bassoon)

depending on instrumentation, they may also have piccolo, english horn, bass clarinet, contrabassoon

saxophones are not traditionally in symphony orchestras due to it being a relative newer instrument! but this is changing because more contemporary composes are including sax parts

brass (trumpet, trombone, bass trombone, tuba, euphonium)

percussion (depends heavily on instrumentation, but common instruments are bass drum, timpani, snare, crash cymbal, xylophone, marimba)

some things you should research

where the hands are supposed to go!! i'd recommend you look at pictures of professionals in orchestra settings (ny phil, cso, berlin phil are all top tier). some musicians *coughs at yoyo ma* have less than perfect posture when they're performing solos (for the same reasons famous authors can break "rules")

necessary equipment including reeds, rockstops, different kinds of sticks/mallets, rosin, mouth pieces for whatever instrument you're writing

common misconceptions

loose/photocopied sheet music is not aesthetic—it's annoying and impossible to keep organized. folders and binders are fairly common especially when managing multiple ensembles.

original copies are often expensive and required to perform a piece (legally) for profit or otherwise (though i know a few people who have bent this rule)

not all performers are good composers (i myself have very little formal music theory training), but many composers have performance histories.

not all musicians can sing.

perfect pitch is both a blessing and a curse. notes can be slightly lower/higher but in tune with the context of the piece, which drives people with perfect pitch insane.

having perfect pitch does not guarantee someone will be a prodigy, and people don't need perfect pitch to be a talented musician.

drama in ensembles does exist, but it rarely gets in the way of rehearsal. same thing goes for good friends: if your characters have even a shred of common sense, they aren't going to be talking/messing around during rehearsal.

instruments (especially good ones) are extremely expensive. people very rarely store instruments on the wall or other displays for fear of falling.

instruments are very picky and require tuning every time. every time! it doesn't take long anyway. temperature and humidity can and will make instruments go out of tune or damage your instrument if not properly stored.

some people listen exclusively to classical music, but in my experience, that's definitely not the majority

like with anything, most musicians struggle with self doubt at one point or another.

musician culture

getting excited when we hear a piece we recognize

getting frustrated because we can't remember the name of the piece (after all, no lyrics to search)

being horrified when a non-musician actor is playing a musician. yes, we notice. yes, it's obvious.

if people are joking, it's likely to be about: violas (a quick search for "viola jokes" will tell you all you need to know) or trumpets (a reputation for being overly loud, playing and not)

putting stickers (places they toured, their orchestra, or just purely decorative) on cases is common, but not for everyone. same goes for pictures (of family, past concerts, or anything) on the inside.

scrambling for a pencil when the conductor says to mark something. pencils are a musicians best friend :D

asking (and forgetting) how to split double stops/two parts at the same time. sometimes one stand partner will play the top while the other plays the bottom, and sometimes this is split stand by stand.

this has NEVER resulted in a sexual top/bottom joke. please just. don't. also no g string jokes. it's just unrealistic.

awaiting the obligatory "it's one week before our concert, and you sound like this?!" lecture

not talking about music 100% of the time!!! they have lives outside of music (most of them, at least /j). especially to close friends, music is probably not going to be a conversation topic unless something is out of the ordinary (high stress, something funny from rehearsal, etc.)

bragging/talking about how often they practice is generally not welcomed. great, but other people don't need to hear it!

stages are hot and bright. there's no way a performer can see someone in the audience with the possible exception of the first row.

practicing

three words for you: love. hate. relationship.

slow practice (like really slow lots of people recommend half speed; good for focusing on the right notes, tone, phrasing, smooth transitions)

metronome practice (while playing, it's not annoying at all! it's helpful and requires a lot of focus; when NOT playing, it's annoying and loud because it needs to be heard over the playing)

drone practice (having a machine/website/another person play one note in the background; good for tuning and scales)

and too many more for me to detail

auditions

ensembles may have entrance auditions to determine who gets in and seating auditions to determine placement within the section.

adrenaline does not make us play better; it just makes us make mistakes. and then thinking about those mistakes causes more mistakes.

some instruments, especially those with less repertoire, have common excerpts that come up frequently (i can think of one in particular that i've played for three separate auditions this year).

stopping/starting over is not recommended ever, but if you do, it has to be 10x better. most audition judges aren't looking for perfection!! they want to see how your character can keep going after messing up.

sight reading (being given new music, having ~30 seconds to look at it, being asked to play) is never perfect. i don't care how talented your character is; if they think they nailed it, they aren't experienced enough to see all the phrasing/dynamics that they didn't incorporate. no one gets sight reading perfect!!!

perhaps most importantly, musicians are not all the same! they enjoy it for a number of different reasons and have diverse and interesting lives outside of music!!! more information about specific instrument groups under the cut :)

strings

callouses. with the exception of pianists, most string players (and especially professional ones) have callouses where they press down/pluck the strings. i also have one on my right thumb where i hold my bow. cellists and bassists might have them on their left thumb from playing higher notes in thumb position.

hickeys are also fairly common, though only some people get them. upper strings will get these by under their left jaw. cellists may have one from the wooden body resting on their sternum. some people (including hilary hahn and many many others) use a cloth for comfort and to prevent hickeys.

few people want a hickey, but it might suit a character who is constantly trying to prove themselves.

our fingers do not "glide" anywhere. you can get cuts/"string-burns" from pressing down too hard when shifting. cuts like those are the only reason someone's fingers will bleed, and it's rarer than you think.

upper strings are more prone to back/neck problems from the way they hold their instruments on one side. see also: shoulder pain.

finger cramps happen. they aren't too common, but most if not all strings have experienced at least one.

pianos require tuning every few years or else the chords will be out of tune. few pianists can tune their own instrument because of how complicated it is.

piano parts/accompaniments will have so. many. pages. a page turner may sit on the right of the pianist to turn the page.

woodwinds & brass

spit. so much spit. some instruments clean afterwards with a cloth; others have a spit valve which is as gross as it sounds.

proper embouchure, or how a musician uses the muscles in their face/lips, is tiring, and people actually get strong cheek muscles. they can also easily turn red, but it varies based on a person's facial complexion. see also: good lung capacity.

flute and piccolo are not dainty. piccolo requires as much air as a tuba. an old teacher of mine almost passed out playing piccolo when she was in college.

flutes and piccolos are high, but often not shrill depending on the level of the ensemble.

reeds last a few weeks (less if your character plays for hours a day) and can be expensive to buy.

keys and valves can get sticky especially on older instruments which can result in the wrong note or bad tone.

saxes, clarinets, flutes are more likely to "honk" on low notes.

oboes are more likely to feel "wispy" on high notes.

articulation comes from the tongue, especially for brass instruments, and conductors may ask for "tah" "pah" or "wah" sounds depending on the style of the piece.

percussion

callouses from the friction between hands and sticks/mallets.

there are so many types of sticks and mallets!!! make sure to take a look at what materials are good for what instruments/sounds.

cymbals, triangle, and bass drum are not easy to play, even though they look simple.

percussionists with the exception of timpani may play more than one instrument during a piece, and they're constantly moving around in the back during their rests.

percussion instruments are too expensive for most people to have everything they ever play. practice pads are very common in place of these instruments.

ability to play one instrument doesn't translate to different instruments. for example, many percussionists don't have experience playing set/drum set.

some of the things detailed here are heavily glossed over, so if you have any questions, i'd always be happy to talk about it with you; i may not have answers, but i will try to help as best i can!!!

since you read this far, have my favorite viola joke.

what's the difference between a violist and a large pizza?

a large pizza can feed a family of four :)

tagging some people who showed interest: @writing-is-a-martial-art @ashen-crest @kg-willie @owilder

[westmoor]

the hart

(«- the fox. «- the hare)

(3.6k, shifter!jaskier, geraskier. some angst, some anxiety, some whump and violence - and healing.)

Destiny had favoured him, or so he’d thought.

Jaskier had been a different creature then. For the creature he is now, the world has little mercy.

Whatever courage youth had given him, darting down secret alleys on daring quests in the streets of Oxenfurt, skittering past the guards of his childhood estate to chase whatever whims the night presented, it’s all gone now.

Driven out by the dying light of day, vacant darkness with its tendrils crawling closer, growing longer, lean and frail. Grasping until they find him, take and remake him, warping his body to this shape he doesn’t recognize. And at last, plunging his world into one of twisting nightmares, undulating breaths hot and heaving through the grass, and the shadowed beasts stalking, searching, as the last remnants of his fortitude slips away under his feet.

Silence, he thinks, is the only mercy spared for creatures like him.

Beyond the concert of the dawn chorus, the lyric of a nightingale at dusk, the mourning of wolves calling their distant brethren as the season grows colder, there’s another world of sound. Imperceptible to all but those that live in frequent danger, that hold their breath and press their bellies to the ground in fields and meadows, straining their ears for a sign to flee.

Sudden fluttering of wagtails and startled sparrows. Squirrels hoarsely chattering above. Watchful rabbits drumming in the thicket, ordering their children underground.

He tries to wield it, to wrap himself in it. If he stays in this voiceless creature long enough, breathes quietly enough, perhaps the savagery that trails the luscious scent of prey in his tracks will go on by, and forget about him altogether.

Perhaps if he is good enough, hides deep enough - perhaps he can forget, too. Forget about foxes and hares and men with infections in their hearts, about whichever sickness has taken hold in him.

Or perhaps his luck runs out, like it so often does for those whose lives are favoured more by chance than destiny. Then, well, that is just a different sort of silence.

But for Jaskier, when chance fails him and he finds himself outwitted and caught in the jaws of that ultimate mercy, silence doesn’t come.

Instead, what finds him is a threadbare cloak, a smouldering campfire, a red mare, and the steady hands of a witcher.

--

They make it back to the little clearing he had run from, Jaskier’s cloth-wound body bundled in Geralt’s arm like something precious.

As shock begins to lose its grip on his mind, peeling back the layer of numbness he’s been afforded, the pain comes seeping back. With every step and jostle, something rattles in his chest. His joints move, but they move wrong.

He doesn’t know if bones this brittle are made to heal, or if this is just a body built for breaking. The icy wet that trickles through his coat is almost a distraction.

It hurts so much. It should hurt more.

He doesn’t even have a voice to whimper in.

It’s not until he’s lowered gently to the ground that he realises where they are, recognizes the low-hanging branches and the saddlebags piled haphazardly where he’d last seen Geralt standing. Recognizes too the wave that now, his panic bled out into the musty leaves somewhere on the forest floor behind them, feels more like shame. Thought battles instinct in his frayed mind and he knows he cannot run, but he cannot stay, and -

And had he been an excess burden in Geralt’s life before, then now, surely -

For eyes as wide as his, meant to discern between friend and foe at a league, any feature this close might as well be cruel. The details of his face are unclear as Geralt leans over him.

But he does know movement. Feels the fingertip that strokes the divot in his forehead. Geralt speaks, but the tone is clearer than the words, and it isn’t harsh. While passing over dirtied fur, easing down his ears, the other hand moves into the space between them and makes a sign.

Just like that, Jaskier’s world grows small again.

Slowly, the phantoms crouching at his vision’s edge recede, forced back beyond the shadows of the trees, kept at bay by scant firelight. Mighty trunks stand sentinel, barring their return.

Gone is the endless sky and the swift death that soars there. Gone too are the open fields and the dangers that prowl them, pointed snouts pressed to the ground, wetting their tongues at the scent of his injury.

He only knows what moves within this temporary refuge - tonight in the forest, tomorrow in the field - and the rounded silhouettes of those that could, but would not harm him.

There is no grand reckoning. No speech or lofty monologue, no words to twist or tones to ring false. Geralt doesn’t beg for forgiveness, makes no excuses, but he talks - low and smooth, for as long as Jaskier is awake to hear it.

The words will have faded from memory by dawn, but their essence remains - the solemn promise made that night, heard by none but the tall pines, a red mare, and himself. The one wrapped around him like a cloak, applied in layers of soothing honeyed balm over claw marks and wounds before it is spoken into existence: That no new hurt will find him here.

It’s a tedious process, but Geralt is right: his body does heal. Though the first week or so is spent under a dim fog brought by his witcher’s hand, it requires a restraint he never knew he had to hold out until his flesh starts to knit together.

Once his bones grow strong enough not to snap under the pressure as they twist in their fastenings, he finds the gap between one form and the other, and wills it open.

The transformation, though not always voluntary, had always come easy. This does not. It feels like fitting an old key, like forcing a lock that’s threatening to rust shut, throwing his weight against it in the hopes that the bar gives before the hinge.

He takes his first breath in the ribcage of a man like one saved from drowning. It burns and strains, and he is dizzy with the sudden height - but relief floods him like a tidal pool, and drowns out every other sensation.

When he looks up, Geralt is there, holding his clothes and lute, the things he’d left behind when they became too much to carry.

That becomes a pattern.

I am healed, he tells himself, and tells himself until he believes it, once his shoulder bends and deep breaths come painlessly. He believes it when he sings the songs of great grey beasts and their mountain brothers, terrible monsters and greater heroes, piecing together their stories bit by bit.

I will be healed, he decides, and tries to forget the songs about moorhens’ clucking and black little paws through the dew. Putting those pieces together not because they fit, but because they must, and tries to lose the ones left over.

But more often than not, Geralt is there and he picks them up, one by one, and hands them back in all the right order.

“You weren’t a hare when we met,” Geralt states one evening, in a moment of relative quiet - as quiet as their evenings are, one tuning his lute and the other sharpening the hunting knife he’d just tried to give Jaskier a lesson in wielding.

As if conjured by the mention of its name, Jaskier’s heart sets to beating. Although many unsaid things had become topics of conversation lately, neither had tried putting words to that. He suppresses the nervous shudder that crawls along his neck.

“I’m not a hare now either,” he says, and though it’s phrased in jest, it’s a reminder more than anything else: That he is not prey, and he will not run.

Geralt dismisses it with a grunt, and Jaskier knows that wasn’t what he had meant. There was a question in that statement, one of the dozens he himself had pondered over years, though he’s not sure which one exactly. Luckily, they all have the same answer.

“I don’t know,” he says, and the pressure at the back of his throat and how the words in his head refuse to conform into sentences tells him whatever comes next will be a ramble. While he’s never had trouble speaking frankly, honesty is harder. !I don’t know when or why or… how. Not how it started, even. I don’t remember a time when I wasn’t - or when I didn’t - whatever I am.”

He’s aware that he’s stopped playing. Looking at his hands still poised over the strings, he wills the stream to slow, and tries to find solid ground to stand on. Geralt, bless him, gives him time.

“I believe it changed, though,” he continues once the whirling pool in his stomach has settled, when he’s less at risk of going under. “When we were in Rinde - perhaps later? I felt as though I’d come apart. Like a music box shattered on the floor and put back together, looking just like it had before, but the melody not playing the same.”

“In Rinde,” Geralt repeats, frown deepening with something akin to guilt. “Do you think the djinn, or Yen…?”

Jaskier has thought about it. Still thinks about it, when it all comes seeping through a bedroom window, when the sweet beckoning of the wind outside becomes curses. When it raps at the glass and taunts him for hiding his face in borrowed blankets or warm skin of a stranger, laughing at his cowardice. He remembers going out of tune, dissonant thrumming at his core at the disturbance of foreign magic.

“Yes,” he says.

But he also remembers Geralt’s gaze falling on another, losing the weight of it and coming unmoored. A beautiful sorceress, soft arms wrapped around rough, hushed voices ringing in unison. Seasons shifting and roads turning under his feet as he followed that to which he had tethered his dreams and aspirations. He remembers the scent of smoke and hunt and howl, and laying claim to a home, to a heart that wasn’t offered.

“But I think it was me, too,” he finishes. “I think the djinn - or Yennefer - or something may have pulled my pegs loose, so to speak. But the shape I took, that was mine.”

He’s always found it curious - if sometimes unfortunate - how words not intended to be spoken aloud but come by their own volition often seem to manifest more strongly than those initially planned. How much harder they are to ignore.

Curious, too, how a thing once named becomes tangible and must, at least in concept, adhere to the rules and limitations of the real world. How it can be touched and held, put away and taken out, turned over until it stops hurting.

The nights grow long in the wilderness, and the passing of summer shortens the days. And while he is no longer driven to bolt from his skin in fits that feel like madness, the whispers of the dark still tinge the air he breathes with the sweetness of rock-rose and blackberry. There are nights when it becomes inevitable, when he knows before the sun has set that the carefully balanced scales of temptation and trepidation will tip, and he will spend the hours of darkness trapped within this animal that cannot sing.

But even then, there is respite.

An index finger easing the tension of his furred head, careful strokes to coax his ears from their rigid stance, from turning at any sound real or imagined. Palms coming settling over his temples, roughened fingertips on bare skin, providing solid walls against all that feels too vast to comprehend, and reducing his world to just what can be held between two hands.

If the drumming of rabbits is his signal of peril, the signal of peace becomes the rhythm of a slow and steady heart, beating faithfully in the chest just beneath his ear.

It’s there, in the secluded space between their bodies where he draws circles to match the caresses over the small of his back, that he finds the courage to unearth the fragments of what he once was, mismatched bones and unmoored thoughts and instincts all he has been unable to lose, and starts to mold them back together into something recognizable.

As the thing that has sprouted and grown lush from the ruins of what was between them matures and turns vibrant, so do the leaves.

Autumn brings abundance the likes of which he has barely known. Roadsides overflow with wildberries to rival the richest vineyards of Toussaint. Cider sweet as honey pours in every tavern in their way, pressed apples picked from branches hung so low to the ground they must've sighed with relief at the loss of their burden.

Yet no sun-warmed apple cider shines as golden, nor has any Toussaint wine rendered him as drunk as his lover’s eyes or lips on his. At his side, in his arms, Jaskier finds the hollow indentations of a former self still vacant, still waiting. And the corresponding edges, worn smooth like river rocks over time, fall into place with such ease he wonders how they ever came apart at all.

There, safe under Geralt’s gentle touch, the wild may call all it wants.

--

Another forest’s edge, another contract, another waning moon.

Jaskier stokes the fire, tending to the warding light, wondering idly whether flames ignited by a Witcher’s sign hold more power than those lit by mere mortals. He likes to think they do. If he leans into it, he can easily convince himself of Geralt’s grounding presence remaining long after his footsteps are lost in the undergrowth. Behind him, Roach grazes in a patch of clovers, her calm tempering even the most skittish of his natures.

It is still, stiller than it has been for a while. The slight gale that picked up at the setting sun has dwindled to a breeze. He thought about unpacking his lute near an hour ago, but wouldn’t risk disturbing the sanctity of the evening, its melody would feel too far out of place in the arrangement of grasshoppers and midnight warblers.

Even to his human senses, animals of bush and green play in concert - from the whip of a falcon’s wings to the complaints of adolescent woodgrouse reluctant to leave their natal clutch - unknowingly orchestrated, and all of them distant. None, no matter their place in nature's hierarchy, dare test their mettle against the ever-present sense of death and danger that shrouds the dwelling of a witcher.

They stir and fuss, some waking while others settle down to sleep, until they don’t.

Jaskier’s buried instincts know it before his waking mind does, the urgent shift in pace and tune, discordant notes of prey’s first warning.

He listens intently.

It must be large, or voracious, or both. Seldom does a simple beast inspire such disquiet, word of its advances sending ripples of caution to every ear that knows to harken.

Be quick, they say, or be quiet.

Though he can’t make out the movements of the thing itself, the tell-tale cries and rattles of other creatures point its path. A bird takes wing, then another, each one closer and all too close to their camp.

Roach stands frozen, nostrils flared. He thinks he can hear it now. Smell the stench of its breath if he tries, make out its shape in there amongst the trees, moving with far too much stealth for anything that size. Too large for a cat, too quiet for a bear.

It closes in, so near now that a crouch, a leap, might take it into their midst.

Jaskier holds his breath. There is nothing else to do. Not as a fox, or a hare, or a man. Nothing to do but wait.

Whether real or supplied by imagination, he hears it scuff at the ground, draw a deep lungful of scent down into its massive body. And then it moves - away, back into the woods.

For a moment, he welcomes the silence, rushing elation that fortune has yet to claim his debts. But realization doesn’t follow far behind.

No wild thing would come upon a witcher by accident. None could miss the scent of one, and none should come so close to it before changing their mind, unless...

The lone hunter, whatever its goals, has picked a fresher trail: Geralt’s.

It’s ill-advised. More so, it’s stupid. The knife feels foreign in his hand.

He’s not such a fool that he thinks he can fight it, or that the blade or his ability to wield it would make any difference at all. But he must do something, needs to try. If only he can warn Geralt, call out in time and let him know before the beast can pounce…

But it moves fast, and his eyes are slaves to the light, inadequate under the ceiling of leaves and branches. Soon, he hardly knows if he follows it at all.

Every fiber of his being wills against abandoning this last shred of defense, but he knows he has no choice, not if he is to make it.

The knife lands with a thump, the soft ground cushioning its fall. For the first time in a long time, by his own volition, Jaskier shuts his eyes and folds his frame in on itself, opening them to a world tall and vast and all too sharp.

Speed is on his side. This is a body made for running, and run it does. By whatever force his kind is blessed, by fate or chance or both, nothing stands in his way. Though moments wasted on doubt comes at a price, and though he covers ground thrice as fast, he can’t gain it all back.

His vision is wide. The white of Geralt’s head, back turned as he brings his weight down to end the last of the ghouls, lights it like a beacon.

And the ragged shape, hulking even where it’s coiled to spring, attention locked to Geralt’s undefended back with an intensity that swears violence. Canine eyes do not glow, but in that moment, in his world of ash and shadow, Jaskier swears the werewolf’s eyes shine red.

And a hare’s cry, no matter his haste, no matter how shrill, holds no power to them.

He sees everything at once.

Glints of teeth under snarling lips as it jumps. The flash of the witcher’s blade as it swings too high, going clear of the werewolf’s head.

Its jaws lock at his side, tearing through armour and sinew into muscle, grating against bone. Jaskier has never heard a sound like this. Not from man, or from beast. Not from Geralt. It's sheer anguish turned vocal.

Something in him breaks, then.

Like an old joint, once healed wrong and calcified, cracking open to swing freely. It hurts at first. The snap, burning white-hot and blinding. And then: Euphoria.

His body regresses to the confines of a man, and beyond. The change is too fast to feel, too fast to track.

A new form, new instincts bursting through before he knows how to tame them. Fear gives way to fury. By the time he knows he is moving, he has already moved.

It takes no thought at all to lower his head. To align his skull and spine. Leap from his spot.

The impact ought to hurt, but it doesn’t. There’s an audible crack as something breaks, but not from him. Neither is the inhuman yowl that follows, sound reverberating through the forest.

The smell of blood fills his lungs. He doesn’t balk at it.

His face runs warm, runs wet. Twisting to free himself of frantic limbs and mottled fur, he shakes his antlers to strike again. This time, he finds the wolf yielding, limping back just shy of his sharpened crown. When it flees, he thinks to follow, to make up for every night and every hour spent in terror, driven underground by lesser beasts than this.

But Geralt’s scream still echoes in him, the sound of it a weight he cannot bear, couldn’t move under had he tried.

In the moment it takes to hesitate, doubt rears its head. Face awash and prongs painted red with the blood of another living thing, he feels about as far from the self he has learned to accept as one can come. To anyone else, he must look monstrous.

But when he turns, Geralt isn’t looking at him with disgust. Not with scorn, either. Or pity, or any other thing Jaskier had thought he’d face if he spoke the truth of his nature all those years ago.

Geralt raises the arm at his uninjured side. Had Jaskier been smaller, and softer, he would’ve slipped under it, curled up in the hollow at his witcher’s throat and stayed there, felt his heart beat and his chest rise until morning came to see them hale.

Instead, Geralt steadies himself with a hand on his neck and draws close. Giving more of his balance Jaskier than perhaps he means to, but no more than Jaskier can hold, his breaths so deep they might as well be sobs.

There are words to be had. Answers to be found. Leagues to walk, and promises to keep.

Soon enough, winter winds will sweep down across the continent, summons ringing from empty halls in far northern mountains, and they will answer.

But for now, Jaskier is home.

For now, the witcher leans his forehead against that of his hart - or fox, or hare, or bard - knowing that neither will follow that path alone.

At the edge of the woods and throughout the field beyond, rabbits cease their drumming, and the first few songbirds wake to herald the dawn.

--

Sorry for showing up half-assed four months late?

Tag list: @llamasdumpsterfire @stinastar​ @elliestormfound​ @justjess94​ @fontegagrilledcheese​ @dani-dandelino​ @honeysuckletook​ @underwaterattribute @ahhhhhhdonna @biitumen @cinary @saphiramalbec @lilbanili @sulkyshengshou @blooodymoon @dapandapod @kuripon @samstree

@tsukuyomi-selene and @herostag asked to be tagged for this one in particular, I think?

[a-dragons-journal]

Hi! I was scrolling through the otherkin tag (as one does) and saw on an ask you answered that you hated DNIs and didn’t want to go into it on that ask. So I’m curious now- why do you hate DNIs? I don’t have a DNI, and I’m not out to try and change your mind. I’ve just never seen anyone say outright that they didn’t like DNIs, so I’d really like to hear your thoughts. Thanks!

I ended up indeed going into it later, because people kept sending in asks about it, so this tag exists now, but in summary:

- I don't necessarily hate the existence of DNIs, because they can be a useful tool in certain circumstances, but I hate that they're starting to become an expectation/requirement and that it's now considered "creepy/suspicious" in a growing number of communities to not have one. It should not be an obligation to basically list your political stances, discourse opinions, and triggers - you know, things you can be attacked for/people can use to hurt you - in any circumstance, least of all on the Internet where anyone can see it.

- For that matter, putting a list of things that can hurt you in public where anyone can see it and know exactly how to target you if they want to hurt/harass you is a bad idea, whether it's a social requirement or not. Full stop. Unless you are in a relatively small group where you know the intentions of the people there (and often not even then!), it is not a good idea to tell people how to effectively hurt you on the Internet.

- I hate it when people put "[x bigoted group] DNI" at the bottom of actual discussion-type content posts (as opposed to, like, aesthetics and stuff), such as people putting "TERFs DNI" at the bottom of posts about feminism, because a) if you're worried about your post appealing to that group, maybe you should reexamine your post's content, b) I've seen firsthand more than once that those groups, TERFs especially, will purposely put "[x] DNI" at the bottom of their crypto-rhetoric posts in order to turn people's critical thinking skills off and make them more likely to accept the crypto rhetoric (foot-in-the-door tactic), and c) even if it's not intentionally malicious like the last point, it still makes it so the OP's post is suddenly immune to criticism, because "hey this comes off a little transphobic" can be met with "how dare you call me a transphobe?? I said 'TERFs DNI' right there!!1!", which, again, has to do with the whole "turning people's critical thinking skills off" problem.

- On a similar note, I hate this recent trend toward performative activism and "racists/transphobes/homophobes/etc. DNI!1!" feels like another permutation of that; I don’t like people demanding/expecting me to announce all my political opinions right out the gate. It should be my decision whether or not I want to share sensitive information about myself (and if you’re scoffing at the idea of a political opinion being “sensitive information” - if it can get you, again, harassed and attacked by a complete stranger, it’s sensitive information).

- People seem to forget that people can, will, and do lie on their DNIs and bios. Predators will lie about being "under 18” in order to make minors they’re interacting with feel safe and let their guard down. TERFs will lie about “transphobes DNI!” to ensure their crypto rhetoric spreads and gets a foot in the door of trans-supporting people’s thought processes. All “it’s to let the people affected by [bigotry] know I’m safe,” which is something I hear sometimes, really means is that the bigot in question only has to put up a DNI to make the people they’re planning to target lower their guard. There is nothing guaranteeing that someone actually believes what their DNI implies they believe. It’s an illusion of safety that just doesn’t - and, really, can’t - exist on the internet, by the internet’s nature. And people thinking they’re safer than they really are is what gets people hurt because they stopped being careful. I’m not saying people need to (or should) live in fear, but relying on DNIs is not a sustainable solution, imho.

- I hate people using DNIs/BYFs as an alternative to blocklists because it often becomes essentially them forcing other people to curate their internet experience for them, and then getting mad (or hurt) when that doesn't work out for reasons that should be obvious. Especially when you take it to the extreme of trying to regulate anyone who reblogs your posts, which I have seen sometimes - you can't seriously expect people to check the OP of every single person whose post they reblog to make sure they agree with your opinions on fandom discourse; that's untenable and it can only lead to people getting hurt. You are the only person who is - and the only person who can be - responsible for your internet experience. Curate your own space.

- as a minor point, "standard DNI criteria" is becoming a popular phrase and it's frankly a useless phrase because there's no such thing. Beyond "racists/homophobes/transphobes" there's literally no telling what a given person includes in what's "standard" - pro- or anti-ship? SFW agereg/petreg blogs? DDLG? Steven Universe fans? inclusionists or exclusionists? There is no "standard." (But then, I feel like how common that phrase is becoming says something about exactly how performative and empty the trend of DNIs is as a whole at this point in time.)

- also as a minor point, I am frankly just not a fan of how often DNIs put things like "Steven Universe fan" and "neonazi" right next to each other like they're the same level of bad. I recognize consciously that this is not the intention, but it sure does come off that way sometimes. It reminds me a bit too much of those callout posts that have six pages about the person's bad opinions on anime or whatever and only then go "oh yeah and also they sexually abused, threatened, and sent their friends to harass a minor and we have screenshot evidence of all of that. anyway here's three more pages about why their art is bad because they drew a 16-year-old in a crop top one time".

And, let me be very clear here: I do not hate people who have DNIs, nor do I want to act like they're never useful. They are, sometimes! But I do feel they're being misused and they're starting to become an expectation and that's a huge problem, for the same reason that people trying to force everyone to put their age/basic personal information in their bios is a problem - it's a safety concern. I am honestly convinced that at this point, in most circumstances, DNIs are doing more harm than good.

If you want to use a DNI, that's up to you, and it's not like I'm gonna harass people about it ('s why I started that "dni critical" tag, so people could who don't want to read this stuff could avoid it) - but I want people to at least understand the risks they're taking depending on how they go about it. If it's useful to you, then good, I'm genuinely glad! It just concerns me how it's being treated by the larger Internet right now.

(And, of course, that's all just my personal subjective opinion - take what you like, leave what you don't. You're more than welcome to disagree with me; this is not a make-or-break argument for me, just one I have strong feelings about xD)

[autumnslance]

About Plagiarism

I left a long, planned essay on Twitter tonight. I will copy the meat of it here for y’all, as recently a friend was copied (a rarer ship in the fandom, so very noticeable by the writer and their regular beta reader) and it seems we need a Talk, kids. Links and screenshots and my rambling underway.

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Apparently we need to discuss what is and isn’t plagiarism. Especially in FanFic where we're interacting with the same characters, settings, ideas. Let’s start with the dictionary and continue the thread from there (I like the word origin/history personally):

Definition of plagiarize

transitive verb  : to steal and pass off (the ideas or words of another) as one's own : use (another's production) without crediting the source

intransitive verb : to commit literary theft : present as new and original an idea or product derived from an existing source

The Kidnapping Roots of Plagiarize

If schools wish to impress upon their students how serious an offense plagiarism is, they might start with an explanation of the word’s history. Plagiarize (and plagiarism) comes from the Latin plagiarius “kidnapper.” This word, derived from the Latin plaga (“a net used by hunters to catch game”), extended its meaning in Latin to include a person who stole the words, rather than the children, of another. When plagiarius first entered English in the form plagiary, it kept its original reference to kidnapping, a sense that is now quite obsolete.

“Ideas” is fuzzy in the Merriam-Webster definition. There are story archetypes that exist in many forms. Joseph Campbell’s Monomyth/Hero's Journey outlines many famous stories. And it's popular to say that “Avatar” is “Dances with Wolves” is “Pocahontas” is “The Last Samurai” etc.

But note how while those films have similar plotlines--”Military Guy falls for Native woman, learns to appreciate her Culture, stands up to Evil Bosses”--none of them execute those ideas in the same way. Sully’s story is different from Dunbar’s not just cuz one’s a Science Fiction epic and the other a Western. Disney's “Pocahontas” Very Loosely takes history and uses the same story beats. The Last Samurai uses the Meiji era Westernization. Same ideas, different executions, even beyond settings.

None of these are plagiarizing each other though the ideas are similar. They’re told in their own ways, own language; both in the genres they belong to (Western, Pseudo-History, SciFi, Animated) and how characters interact with each other and settings. Original dialogues (variable quality).

We also see this in books as similar novel plots get published in waves so we end up with bunches of post-apocalypse teen revolutionaries or various vampires or lots of young wizard stories all at once. Sometimes ideas just happen like this; multiple discovery, simultaneous invention, concurrent inspiration, cognitive emergence are all phrases I’ve seen for it. So it happens in original content as well, and legality gets fuzzy (Also why you don't send authors your fanfic ideas).

In existing properties, this gets trickier but even “Elementary”’s Holmes and Watson are nothing like the BBC’s “Sherlock” characters. Who are nothing like other versions of the Detective and his Doctor pal over the decades in various media properties.

FanFic's in a similar position where like Sherlock Holmes we play with the same characters, setting, and storyarcs but give our own spin to them. People can and will have similar ideas about plots. Trick is to use your own words. Take the characters and make the story your own.

I have a good example courtesy of @raelly-writing​. We both ship Wolcred. We both wrote soft post-Paglth’an scenes with Thancred and our WoLs. Both features the couples helping each other undress, examining injuries, bathing, bantering. My fic was written soon after 5.5 part 1 came out. Dara’s is much more recent. Yet at no point reading hers did I feel she was copying my words. The PoVs differ. Our characters focus on different things. Mine has a mini-arc concerning the Nutkin.

The links for comparison’s sake (and maybe leave kudos/comments if so inclined please and thanks). Note while the scenes are very similar no phrases are written in the same way. Mine: https://archiveofourown.org/works/25417882/chapters/76059467 Dara’s: https://archiveofourown.org/works/26067565/chapters/81832915

Dara and I both hang out in certain Discords and I know conversations about Thancred and WoL caring for each other post-battle has come up in those channels and we've both participated. It’s a stock FanFic scene to boot. Cuz it's soft and feels warm and snuggly.

I HAVE been copied before, back in WoW. My case is pretty clear cut so here are the images of my old RP Haven profile (1st, old RP website) and the plagiarist’s RSP (2nd, an in game mod to share descriptions and basic info). 

This was a decade ago on Shadow Council and I think the character deleted so any Availa’s in WoW now aren’t the same person. I left the names to point out what changed. Just the names and a word or 2 to make sense for the class changes as well. Otherwise lifted directly from my RP profile.

The funny part is how the person got caught. Literally walked into our weekly RP Guild meeting that I was running and asked to join. Folks noticed right away the similar backstory; after all there may have been more Outland-born Azerothians. My initial excitement at a character I could weave into our story turned to gut-twisting rage and grief as I recognized my own exact words though. Words I’d carefully crafted and constantly iterated on to improve over time (before and after this incident, until the site died).

When caught they tried to claim their significant other had leveled the character for them and made up the backstory based on Skyrim. If you know WoW’s Outland story and Skyrim’s plot you know how ridiculous that is. Also tried to lie about other drama I knew about thanks to roommate's characters but hey. I had to be blunt that I’d shared the info with Haven mods and other guild officers Alliance and Horde. That we would not “laugh about this” one day though lucky this was “just” RP not original or academic work. Cuz if it'd been monetized or academic I would've raked them through the coals.

I felt violated. Hurt. Had anxiety attacks. They took MY WORDS and tried to claim them as theirs. Have another character born in Outland trained by Draenei; Awesome! Our characters have an instant connect in similarities and differences of that experience. Don’t steal my characters wholesale!

Then the audacity of trying to come into my guild as if no one would notice. ShC wasn’t a large server by then, still active but not nearly Wyrmrest Accord or Moon Guard big. My character was well known due to my writing and RP. Speaking of how easy it is to get caught in specific spaces...A case of a self-published novelist getting noticed for plagiarizing fanfic was discovered recently (explicit erotica examples through the thread).

One way they got noticed was how much content they put out in only a year, lifted from fandom. The examples in Kokom’s threads show how the material was altered but still recognizable. In some cases, just the names are changed as in my experience. In other passages more has changed but you can still see the bones of the original fic poking through in the descriptions and character interactions, even with adjustments made.

Similar ideas happen. Similar plots exist. Same 'ships with friends are fun! In FanFic we’re working with the same material. It’s possible to write a similar scene differently. To make that scene and characters your own. All we’re asking is not to copy others' words. Others' characters. Others' specific phrases and descriptions used to bring those words, those characters, to life. Use your own. In the end you’ll be happier.

I get wanting to have what the perceived “popular people” have. I get seeing concepts others succeed with and wanting some of that too. We all get a bit jealous now and then for various reasons. Sometimes we don't even realize it, consciously. But do it in your own way. Maybe check to see if you’re getting a bit too close to the “inspiration” you admired, maybe reread often. Don’t hurt your fellow creatives. If you do and get caught don’t try to double down. Have the grace to be abashed at least and work to do better. Eventually you WILL get caught. All it takes is once to throw all else you've done into question. Ao3 doesn’t take kindly to plagiarists. Nor do a lot of fan communities focused on writing and RP. Getting back that trust is hard. The internet doesn’t forget easily, for good or ill.

[faunusrights]

yeah, all i got is this belly button lint: a happy huntresses short fic

wrote this real quick because i love thinking about the random crap fiona has in her Inventory(tm). also i just like thinking about these clowns in general, so,

=

"Okay, so, what's actually in your Semblance right now?" Joanna asks one day in third year, when Fiona and May have sneaked away to Robyn's dorm to lose at cards and help edit her new batch of flyers promoting union creation in the workplace. Fiona had given a couple a look and accepted them as good enough, but May is weirdly exacting about her standards and is currently trying to convince Robyn to nudge the text headers over by ten pixels to the right. That's why, as she's sat on the floor and wrapped up in the drama of watching Robyn try and slowly fail to ignore May's insistent pleas for her to boot up her editor, Fiona's caught just a little bit off-guard by the question.

"My Semblance?" she asks, and Joanna nods all serious-like from her place on the bunk above Robyn. Joanna often looks very serious, because she suffers from what Robyn calls resting thoughtful bitch face, so sometimes it's hard to gauge how actually serious about something she really is. "I mean, it's probably a mess in there right now."

"I keep forgetting you actually use it like storage space," Robyn adds cheerfully, having now progressed onto shoving May away from her laptop computer every time she tries to creep closer. "Since most Semblances are, y'know, combat-only things or like... special occasions, I guess. And yet here you are, telling people you really don't need a bag for all your groceries!"

It is fun to flex on all the people struggling to carry like six bags to their car or their home, and Fiona preens. "Yeah, it's nice. I mostly keep things in it that I'd wanna have in an emergency, but it's been a while since I last sorted through it, so, who knows what garbage I've put in there."

"Tell me Robyn's braincell is in there too," May says imploringly, still trying to slide an arm around Robyn to get at the keyboard, but Fiona just shakes her head. She can't and won't be blamed for that particular disappearance any time soon. Instead, she rubs her hands together, scrunching up her face as she tests the edges of the Semblance. It's a funny thing, a Semblance like this--she never really has to think about it, but it's always just in reach, like this extra weight in her chest that she can totally forget about. It's strange to think about, so she often just doesn't.

"Okay," she starts, and she goes for the biggest item she can sense, which is an easy one to explain. In her hands materialises an acoustic guitar, worn and scuffed with age, and this attracts to attention of every girl in the room. "Well, this one's easy. This is my guitar, and honestly? If I ever leave it behind in the meatspace and don't pick it up on my way out the door, know that you've just seen my evil clone and you have to kill her."

Joanna blinks, and Robyn seems caught between asking about the guitar, the evil clone, and also the fact that Fiona insists on referring to the physical world as the meatspace. So, she does as Robyn does best, and settles on an expletive. "Shit! You play?"

"Been playing since I was... like seven? Something like that." Fiona shrugs, because she really can't be sure; her first vague memory of even seeing this guitar was a long time ago, her uncle telling her it used to belong to her grandmother who'd never managed to learn a damn thing on it. So, Fiona had taken up practice, if only because it was something for a little lowlands Mantellian Faunus to do during the long, cold polar nights and the endless sunshine of the midnight sun. "But, yeah, this is always on me in some form or another."

"You should've played it whilst we were on watch our last mission," May says, with a certain scowl that Fiona knows is 100% directed at their team leader, who is currently off doing... some sort of bullshit with their partner, no doubt. Gods, this team is a nightmare. "All those hours trying to stay awake so we could stare into nothing..."

"Sorry," Fiona says, and she means it. She'd intended to, but, well, she'd sort of chickened out. The echo in the mountains is kind of insane. "Next time?"

May nods, but Joanna cuts off whatever she's about to say next by waving her hands through the air like she can physically dissipate the conversation. "Okay, okay, cool, but now I gotta else you got hiding in there."

Re-compressing her guitar--and oh, is Fiona thankful that dematerialising and rematerialising it doesn't leave it out of tune--Fiona has a mental root around. "Uh, okay, so, we've got--"

In no particular order, she starts pulling things out: a pair of thick gloves for the brutal Solitas chill, an extra pair of socks (hugely understated by most, but never by Fiona), a ushanka that Robyn instantly cheers for, and a couple of jackets ranging from light windbreakers to thick furred jackets that feel like she's wearing a mattress around her ribs. Her Scroll and wallet are in there too, naturally, as are her keys and some extra ammunition, and she pulls out a load of old train tickets with a grimace. "Hm. I was meant to throw these away years ago."

"You're basically carrying around a wardrobe in there, then?" May asks in a way that'd maybe be a little teasing if she didn't look about as jealous as she sounds, but it becomes a thoughtful expression when Fiona shakes her head again.

"Bold of you to think I haven't got a whole pantry in here too," she says, and now Joanna looks very interested. "Check this out."

The first thing she pulls out is a gallon jug of clean water--endlessly fucking useful, she's found, especially when you're in some situation where you can't sit on your ass for an hour waiting for the water purification tablets to do their job--before pulling out a whole host of Atlesian MREs that she keeps around just in case shit really does hit the fan. Atlas rations are... not good, in a phrase, but she's owed them her life more than once, so, whatever.

"What dates are on those?" May quickly interrupts with a critical eye, trying to make out the printed numbers on the snow-patterned packets, and Fiona tosses her one if only to distract May's hands from trying to puzzle out Robyn's password when Robyn isn't directly paying attention.

"Things don't really degrade in my Semblance," Fiona admits. "I've tested it before on stuff with a short shelf-life, like cheese and milk, and honestly I can leave it in there for months and have it come out just as fresh as when it went in. Something to do with a sort of... internal stasis, I guess." Then, she adds, "One thing in my Semblance is a goldfish in a bowl, but he's part of a practical theory I'm running, so I can't materialise him for another fifteen years or so."

"That sounds very normal," Joanna says, and Fiona is glad she agrees as she barrels right over the inherent sarcasm.

As May agonises over finding the date, though, Fiona continues to unveil her pantry--there's plenty of snacks, like dried fruit and nuts and energy bars and chocolate, and when she reveals she carries extra for every member of her team and then some (then some in this instance being Robyn and Joanna, not that she'll admit it), Robyn looks delighted. "That's so sweet! Look at you, making sure nobody goes hungry. You're one in a million."

That's cute and very gay, but Fiona has a lot of stuff to be working through and so she keeps on going--there's a flask of coffee that, thanks to the maybe-stasis, is eternally hot, a bottle of dark Mantellian ale she keeps as, uh, moral support, and she blushes when she pulls out half an uneaten tuna sandwich. "I wondered where that went. Whoops."

May looks up from the MRE for a second, and then does a double-take as she takes in the sight of the very limp and sad-looking sandwich, made courtesy of the Atlas Academy cafeteria. "Wait! Isn't that the sandwich you accused me of stealing last month?!"

"Anyway!" Fiona says with a forced grin, quickly making it disappear back into the void where it can safely continue not existing. "I think the final thing in here is... wait."

She blinks, and suddenly in her hands are at least a hundred little booklets entitled The Pocket Guide to Communist Outreach, scattering right over the floor. Robyn yelps, and then reaches down the side of her bunk to pick them up. "Oh shit! I forgot I asked you to hold onto these! I thought we ran out, nice."

Joanna's face is in her hands, and May sighs long and hard before tossing the MRE back to Fiona with a distinctly pained expression.

"It goes out of date in a month," she notes with distaste, and Fiona just sucks it up without a word. She'll be thankful for it when they end up down a dark cave with no backup, but Fiona figures she'll sit on that one for a bit before being able to make the greatest told you so call in history. She can wait.

"So," she says, watching as May takes advantage of Robyn's momentary distraction to try and access her computer again. "I guess... do you wanna hear me play a song?"

Joanna watches as her partner leans too far over the side of the bunk, yelping as she nearly slams her head directly into the hard vinyl of the floor, and she grimaces. "Please do."

Grinning, Fiona finds her guitar again--somewhere buried, she mentally notes, beside the gallon of water but under the coats--and she slings the broad strap about her shoulders before settling it on her lap, crossing her legs tightly beneath herself before finding her place on the fretboard. After having not played since being back home, it relaxes her more than she'd ever realised it did. It helps to be surrounded by friends, though. Helps to be with family.

"I don't take requests," she adds, flatly, and Robyn laughs from her place on the floor before music fills the dorm, soft and deep and achingly familiar of a place far, far below.

But she's okay with calling this place home, too.

[alatismeni-theitsa]

(1/2) I know this is some controversial topic and that you sometimes cover US politics, but what do you think the american left needs to improve to reach to more people and be taken more seriously?; It's unbelievable that in the very 2021, apolitical folk are still fallin into the whole "the leftist are a bunch of crazies" narrative, we may do some pushback the last three years against conservative politics.

(2/2)  But it's still not enough; on your personal opinion, what fundamental core value needs to be changed to engage to these apolitical people and that leftist want politics to improve the quality of life of the population without being labeled as a "petulant, whiney children" There's some greek-flavored advice that we can apply to our discourse? Thanks in advance :)

========================== END OF ASK ======================

Ooooo… Great question! And by “great” I mean “Do you want me to go down in flames and get cut a thousand times with pitchforks??” xD But it’s very interesting so I will answer it! And you will be subjected to an essay of 3.200 words 😘💅 (I want to be meticulous, don’t come at me)

Please assume the tone is light and conversational. I am not in a very serious or dramatic mood, and I don’t want to estrange any group by assuming the role of an all knowing tutor or someone who always has the high moral ground. This is just 1am blabbering.

I am not against leftists. On the contrary, I know their side so well that I think I have a solid opinion on its flaws. (I have friends who are left- okay I’ll stop xD) Needless to say, the right side also has flaws and the two sides often share flaws. But right now, we are only talking about the leftists. And of course, #notallleftists xD I recognize that leftists are ordinary and diverse people with empathy and capability of critical thinking and problem-solving (Did I mention I have friends who ar--) Jokes aside, I think my following is quite left leaning and I am not bashing them here. I am criticizing the movement as a whole and trying to see where it can be improved.

***** Anyways, I will generalize the bad traits for the sake of everyone’s time, it’s what I am saying! So, when I say “they” I will probably mean “some” or “the bad apples” etc.  *****

To begin, US leftists don’t want to, but they are accidentally imperialist xD Unfortunately, they don't know much about other countries, and they don’t usually have knowledge of countries they are talking about if they don’t have an immediate connection to them. Not knowing things is fine, but when people on this site are like “ugh Americans” this points to an ignorance and a sort of entitlement that doesn’t occur this often in other countries. My internet cycle is overwhelmingly leftist and yet I continue seeing willingness for ignorance all around - and when I check it’s not by conservatives.

Leftists think their (social and not) politics apply to every country and culture, that people in different countries classify themselves as they do in the US. And when people from those countries talk about their problems, there is always an American that wants to give input based on American politics, and without knowing the situation in this other country they want to talk about. Ironically, the last one is a behavior of conservative politicians. Conservative politicians and citizens sometimes think it’s fine to intervene in other countries for “the greater good”. Well, leftists do the same but on the internet. It stalls conversation and makes it messy and force foreigners to apply to American standards.

Because leftists don't understand social differences between countries, they project their own politics, and that can make them seem obsessed with skin color and blind to cultural diversity. They act like only Americans or certain countries have every lived through colonialism and suffered slaughter and slavery. (Because they don’t feel the need to study and learn further.) To an American that might not be the case, but when Americans converse with foreigners about foreign issues, they seem to have a blind spot.

They act as if only white, cis, straight people can be perpetrators of imperialism. Booyyy I have news xD Yes, of course white, cis, straight people can be perpetrators of imperialism, but the attitude that they are the first to blame, always, it’s faulted. I have many experiences, but let’s start with a very simple one, of an Indian American young woman who thought only a lota can clean you with water in the toilet, and that Europeans haven’t heard of bidets or any other means of cleanliness (or that they have the bathtub RIGHT THERE xD) One of the highlights was a Black woman insisting “Medusa was Black because my grandma told me” despite what Greeks were telling her.

Another thing that stuck with me was the case of a Greek who wanted to write about the people who happen to be a minority in the US (you would call them poc I guess). Many people from those countries were enthusiastic about the project and aided the writer as much as they could, sharing culture and realizing how many things in common they had. But it was from same populations in the US that the writer found people who blamed them for daring to write something outside of their culture. (To explain, most US Americans were fine, but only in the US were some who were hostile). Or, I have seen Chinese Americans being offended by a certain thing (I think it was something about fashion) saying “this is an offense to Chinese culture” meanwhile Chinese people from everywhere else in the world (99% of Chinese, I’d say) said “I don’t understand… this is fine!”

Many US American poc categorize all light skinned Caucasians of the world as White Americans and the rest are the “cultured” Black or Brown people. US Americans are now learning that Slavic cultures exist and it’s… something else to watch leftists realizing light skinned people can have great embroidery and they are not actually stealing Mexican traditional clothing xD (reference to an obscure “calling out” comment on tik tok).

I don’t specifically target US poc here, I am just mentioning that everyone conveniently forgets them as if they are untouchable and never said anything ignorant, while they are as active on social media causes as other Americans. In fact, if most poc are aligned to a side, that would be the Left. They are a very big part of the progressive movement – and that’s why I am giving so much space here for them – but then it seems they can’t have a share of the “bad” things of the leftist movement, only the good. Which is humanly impossible, to be always correct.

That’s one of the problems of leftism, that in a way pardons certain minorities and by doing that it not only lets the problematic bubbles grow but also infantilizes those minorities because it passes the message that “they can never do anything wrong”. While background matters when having an opinion, I see that skin-color goes ridiculously above opinion on these matters, which is not very egalitarian. When I argue with a person, the last thing I see is the person’s skin color. When someone says “ancient Greeks were actually a Black nation ad then they became White” I don’t care how this person looks like. No matter your skin color, you must take responsibility for the misinformation you are spreading. I won’t assume that because someone is a poc that they can’t study and learn more about the matter of discussion.

So… the “issue” doesn’t come from being white, cis, straight etc but from being raised as a US American. I don’t imply by any means that being a US American is bad. The last thing I want to do here is enforce guilt. (If you are feeling guilty already I must be mistaken in my wording so I am sorry for that). I am talking about certain beliefs that come with raised as a US American. Similarly, many beliefs a Greek can have are because of their environment. Everyone is affected by their background in one way or another. 

American leftists believe that even the piss poor British farmers benefited from colonialism – and still benefit perhaps on a systemic scale. So, with the same logic, even the lowest layers of the US American society benefit from imperialism and war crimes overseas. (Truth is the quality of living in the US is great and extremely progressive compared to most of the world, because of the US’ politics. I had analyzed this in a previous post). But American leftists never mention that when it comes to THEIR case, because it doesn’t give them an advantage.

To tie it up with how American leftists see the world, there is youtuber I like, who is a US American woc and one time she said “My country is bombing Brown people” in an annoyed tone and it just sounded so offensive I closed the video. It’s obvious the youtuber doesn’t support the bombing, but it was just the phrasing which left a bitter taste in my mouth the whole day. It was the fact that 1) she could make a statement in an annoyed/joking tone 2) people in those countries don’t identify as “Brown” outside the US (and you are talking about them now) 3) your country is indeed bombing them so maybe at least categorize them as they wish?? They have a certain ethnicity, so mention that and stop categorizing them like dog breeds! They already have the bombs, do you want them to hear Americans categorize them like that?

Moreover, many US leftists think they care about other countries while, in actuality, they don’t. They just want to make other countries have the exact progressive US politics - because that’s the only “correct” political system they know. That shows even in kind of superficial matters. In a movie about Greek mythology, they will make sure there is an American Arab, an American Black person, an American East Asian person etc (which would be a cast that would reflect American diversity, not Mediterranean) and are hesitant to cast Greeks or ask Greeks how the portrayal of the story and figures could be better and respecting.

Another thing, they take everything too personally. They think success and failure of a movement is highly dependent on them as an individual. It’s difficult for them to approach a harsh past or present situation in a levelheaded manner because they don’t realize this situation has been universal. So, they feel a special kind of guilt and that makes them over apologetic but also overzealous (like a righteous self-flogging zealot) and that is what drives people away. They combine that behavior with ignorance about the rest of the world, and you can see why a non-US American might want to keep their distance.

I had some Americans apologizing to me because their ancestors did something to Greeks and just… don’t. I know you have the best intentions, but it makes everyone – even me – feel bad. There is no need for apologizing because 1) you and your family did nothing wrong 2) it was centuries ago 3) this bad shit happens/happened literally everywhere. You might as well apologize for your people knowing how to cook. It’s FINE, really, it’s FINE. For instance, do you think I have a grudge on YOUR people running a slave trade six centuries ago while there was dozen active slavetrades in the area, and while Greeks of the Byzantine empire probably bought slaves some decades before they were sold to slavery themselves? Do you see what a mess this is? Not only it doesn’t fix anything, but you also put unnecessary weight on yourself, as an individual. It’s fine to be aware and trying to fix past mistakes - if it’s possible - but there is a certain delicate process that must be followed. Not… whatever this is.

To continue on the extreme individualism, leftists think it's the end of the world if they have done or said something controversial (and that's also because they have cultivated a culture where any small transgression is a potential danger to the whole society :p aka "the left eats itself"). Around them people feel they must tread on eggshells just in case they phrase a thing wrong or post something that could be linked to a person the Left doesn't like.

The left is also on the extremes, so I have to put 1000 disclaimers every time I say something. (I guarantee that the example with the Chinese people will be translated by some Americans like “Theitsa promotes Asian hate!!”) Do you know who doesn't annoy me if I don't put 1000 disclaimers? Certainly not Conservatives. I had more harassment from leftists than I had from actual nazis, even though my blog is not conservative or (god forbid!!) supportive of nazism or any type of supremacy. Even nazis completely understand my beliefs before they send hate. (It might be odd but I never had one not understanding my point xD) But the leftists who sent hate misinterpret stuff, or they don’t bother reading actual posts. The funny thing is that I usually agree with these progressives in 99% of issues but they don’t care asking or learning, they just decide our morals are opposite. I mean they don’t have to like me, but many leftists don’t even read the basics.

On top of that, leftists rarely want to have a conversation with a conservative. I don't say go and AGREE with a conservative, I say just talk. (see? I feel the need to clarify here because many leftists might say “Theitsa wants us to go and AGREE with conservatives! Does Theitsa want us to become nazis and homophobes???”) How does one feel they have to be sooo righteous and then cauterize every member of society who disagrees with them? Why do leftists rarely want to have a conversation? Some people were ready to attack me for referencing a meme which referenced Steven Crowder, as if that shows I am his supporter 😩 (Guilty by association is strong on the leftist side and it’s very reminiscent of authoritarian tactics, another thing that needs to be improved, to my opinion.)

I don’t support Crowder (I know Crowder has done awful stuff) but I shouldn’t be scared to admit I like the “change my mind” episodes. (Flash news, leftists, you might like a part from a person’s work and not 100% support that person!) I like the episodes because both sides are heard, the conversation is civil (for the most part xD) and I can see the thought process of the two speakers as they explain their worries and what solutions are out there.

Most of all, in those episodes I see how BOTH sides CARE about the SAME problems, it’s just the perspectives that differ. And those conversations highlight the issues the left hasn’t studied very well, so it helps the leftists understand what they need to learn in order to better society. But where the “immaturity“ of the leftist side can show is in the unwillingness to approach the “opponent“ as a human just like them.

(They might instead prefer to call Mexicans white supremacists and claim that “whiteness” has no color because quite a few poc voted Republican, as some leftist news sources have stated)

What is more, is it just my idea or conservatives understand leftists better than leftists understand conservatives? Of course both sides jokes about the other one but I am talking about the serious talks. Leftists just describe conservatives as horrible people who want all minorities to perish and we must not talk to them while, surprisingly, the conservatives are the ones who stereotype less the opposite side. (I am talking about the normal, moderate people). From what I have seen, most simple people who are conservatives DON’T want the US’ ethnic and sexual minorities to perish. They are worried about problems they don’t have a good understanding about. And the only way to make them understand it’s to… talk to them, show them what good the left to offer.

Some leftists think conversation is “emotional labor” but 1) that applies to actual labor as in… jobs, so stop invalidating doctors, nurses, teachers etc, 2) yeah, sorry, sometimes things get difficult and you have to explain your side. (As non US-Americans endlessly have to do for US-Americans). That was, is and will be life until the sun swallows us all. You can’t be THAT militant on social media with 100 posts per day and remembering 50 different campaigns about social issues but the moment someone genuinely asks you for directions on your side you shut them off with “why do you demand labor from me? Do your own research” (hint: most likely they have done their research, but they are stuck, and you don’t help them like this).

If you are very tired and don’t want to explain (as it is your right) you can be polite about it and not blame the individual about their circumstances when they are trying to learn. If you DO want to explain but you get tired, be more organized. Have posts and F.A.Q.s ready, or send them to someone else (a friend, a blog, a youtube channel, an article, whatever). Instead of leftists arguing their positions, sometimes they are like “Do more research and realize I am right.” Yyyeah the other person is not gonna do that – especially because you haven’t pointed them anywhere or supported your position with arguments. Moreover, leftists can have the attitude of “I stand for PROGRESS, how can I ever be wrong??” Weeell things are not black and white and me, you, everyone has the potential to not have a not that beneficial to society position at some issues no matter where we stand on the political compass.

For the “petty whiny children” thing, I believe a lot of people might think that because the youth is usually making noise about progressive issues on social media. It’s true that oftentimes in social media discussions their emotions get the best of them (it’s happened to everyone) but combined with the lack of life experience they may have about the world, the argument sounds silly. (I heard one leftist university student say that the US shouldn’t have borders because borders are bad but then they realized they don’t want people to come and go as they please in the US, so she said there should be SNIPERS in the borders to shot everyone who tries to get in…….)

And, as I mentioned, the leftists are very quick to cancel and attack for the slightest transgression so people prefer to deal with the conservatives who can, at least, take a slight misstep, than meddling with people who are going to cancel them for doing or not doing a small, insignificant, but not ‘woke enough’ thing. Leftists are constantly checking each other to see if they are doing better and better (even in silly issues) and that can be intimidating to someone who is new to politics.

Some leftists get REALLY turned on by righteousness (Frollo villain style) and instead of trying to unite the society, they aim to divide it further. They don’t want to create bridges but burn them and find themselves on the “right side“ of morals.

And, last but not least, they don’t realize leftist propaganda is a thing. Malicious people are EVERYWHERE and they don’t just magically avoid the left. Leftists are not automatically super virtuous people. There are some manipulators and bullies around, so one has to be cautious even with leftist sources. (Cross-examine stuff, always. You might have the best intentions but accidentally share something nonfactual because you trusted a source).

Ok that was all, I think. To anyone who comments, PLEASE keep the tones down, have a conversation, take it slow, remember it doesn’t help us being hateful towards each other. (And causing serious friction wasn’t the purpose of this post). Oh, and if you need a clarification on something I said, before gossiping with your friends about how awful I am, do me the courtesy of first asking me what I meant xD

[blackwoolncrown]

The defining feature of conversation is the expectation of a response. It would just be a monologue without one. In person, or on the phone, those responses come astoundingly quickly: After one person has spoken, the other replies in an average of just 200 milliseconds.

In recent decades, written communication has caught up—or at least come as close as it’s likely to get to mimicking the speed of regular conversation (until they implant thought-to-text microchips in our brains). It takes more than 200 milliseconds to compose a text, but it’s not called “instant” messaging for nothing: There is an understanding that any message you send can be replied to more or less immediately.

But there is also an understanding that you don’t have to reply to any message you receive immediately. As much as these communication tools are designed to be instant, they are also easily ignored. And ignore them we do. Texts go unanswered for hours or days, emails sit in inboxes for so long that “Sorry for the delayed response” has gone from earnest apology to punchline.

People don’t need fancy technology to ignore each other, of course: It takes just as little effort to avoid responding to a letter, or a voicemail, or not to answer the door when the Girl Scouts come knocking. As Naomi Baron, a linguist at American University who studies language and technology, puts it, “We’ve dissed people in lots of formats before.” But what’s different now, she says, is that “media that are in principle asynchronous increasingly function as if they are synchronous.”

The result is the sense that everyone could get back to you immediately, if they wanted to—and the anxiety that follows when they don’t. But the paradox of this age of communication is that this anxiety is the price of convenience. People are happy to make the trade to gain the ability to respond whenever they feel like it.

While you may know, rationally, that there are plenty of good reasons for someone not to respond to a text or an email—they’re busy, they haven’t seen the message yet, they’re thinking about what they want to say—it doesn’t always feel that way in a society where everyone seems to be on their smartphone all the time. A Pew survey found that 90 percent of cellphone owners “frequently” carry their phone with them, and 76 percent say they turn their phone off “rarely” or “never.” In one small 2015 study, young adults checked their phones an average of 85 times a day. Combine that with the increasing social acceptability of using your smartphone when you’re with other people, and it’s reasonable to expect that it probably doesn’t take that long for a recipient to see any given message.

“You create for people an environment where they feel as though they could be responded to instantaneously, and then people don’t do that. And that just has anxiety all over it,” says Sherry Turkle, the director of the Initiative on Technology and Self at the Massachusetts Institute of Technology.

It’s anxiety-inducing because written communication is now designed to mimic conversation—but only when it comes to timing. It allows for a fast back-and-forth dialogue, but without any of the additional context of body language, facial expression, and intonation. It’s harder, for example, to tell that someone found your word choice off-putting, and thus to correct it in real-time, or try to explain yourself better. When someone’s in front of you, “you do get to see the shadow of your words across someone else’s face,” Turkle says.

In last month’s viral New Yorker short story “Cat Person,” a young woman embarks on a failed romantic relationship with a man she meets at the movie theater where she works. They only go on one date in the story; they get to know each other primarily over text. When the affair ends messily, it reveals not only how the bubble of romantic expectations can be popped by reality’s needle, but also how weak digital communication is as a scaffolding on which to build an understanding of another person.

In an interview, the story’s author, Kristen Roupenian, said the piece was inspired by “the strange and flimsy evidence we use to judge the contextless people we meet outside our existing social networks, whether online or off.” Indeed, even for the people we already know, we increasingly rely on contextless forms of communication. This puts an unusually large burden on the words themselves (and maybe some emojis) to convey what is meant. And each message, and each pause in between messages, takes on outsize importance.

“Text messages become marks on rocks to be analyzed and sweated over,” Turkle says.

It’s not always easy to figure out what someone meant to convey by using a certain emoji, or by waiting three days to text you back. Different people have different ideas about how long it’s appropriate to wait to respond. As Deborah Tannen, a linguist at Georgetown University, wrote in The Atlantic, the signals that are sent by how people communicate online—the “metamessages” that accompany the literal messages—can easily be misinterpreted:

Human beings are always in the business of making meaning and interpreting meaning. Because there are options to choose from when sending a message, like which platform to use and how to use it, we see meaning in the choice that was made. But because the technologies, and the conventions for using them, are so new and are changing so fast, even close friends and relatives have differing ideas about how they should be used. And because metamessages are implied rather than stated, they can be misinterpreted or missed entirely.

This metamessage opacity spawns thousands of other text messages a year, as people enlist their friends to help interpret exactly what their romantic interest meant by a certain turn of phrase, or whether a week-long radio silence means they’re being ghosted. (The New Yorker parodied this collaborative textual analysis in a video in which a group of women gather, war-room style, to answer the question “Was It a Date?”)

Features intended to add clarity—like read receipts or the little bubble with the ellipses in iMessage that tells you when someone is typing (which is apparently called the “typing awareness indicator”)—often just cause more anxiety, by offering definitive evidence for when someone is ignoring you or started to reply only to put it off longer.

* * *

But just because people know how stressful it can be to wait for a reply to what they thought would be an instant message doesn’t mean they won’t ignore others’ messages in turn.

Sometimes people don’t respond as a way of deliberately signaling they’re annoyed, or that they don’t want to continue a relationship. Turkle says sometimes taking a long time to write back is a way of establishing dominance in a relationship, by making yourself look simply too busy and important to reply.

But oftentimes, people are just trying to manage the quantity of messages and notifications they receive. In 2015, the average American was receiving 88 business emails per day, according to the market research firm Radicati, but only sending 34 business emails per day. Because���who has the time to respond to 88 emails a day? Maybe someone isn’t responding because they’ve realized the interruption of a notification negatively affects their productivity, so they’re ignoring their phone to get some work done.

I find myself ignoring or procrastinating even important messages, and ones I want and intend to respond to. I had to create a bright red “Needs Response” email label to battle my own “delayed response” problem. I regularly read texts, think “I’ll respond to that later,” and then completely forget about it.  Working memory—the brain’s mental to-do list—can only hold so much at once, and when notifications get crammed in with shopping lists and work tasks, sometimes it springs a leak.

“A lot of the time what’s happening is people have five conversations going on, and they just can’t really be intimate and present with five different people,” Turkle says. “So they kind of do a triage, they prioritize, they forget. Your brain is not a perfect instrument for processing texts. But it will be interpreted as though it really was a conversation, and so you can hurt people.”

* * *

Still, even though instant written communication can be overwhelming and anxiety-inducing, people prefer it. Americans spend more time texting than talking on the phone, and texting is the most frequent form of communication for Americans under 50.

While texting is popular worldwide, Baron, of American University, thinks that a strong preference for communication that can be easily ignored is a particularly American attitude. “Americans have far fewer manners in general in their communication than a lot of other societies,” she says. “The second issue is a real feeling of empowerment. I think we have become a version of power freaks, not just control freaks.”

In a survey Baron conducted in 2007 and 2008 of students in several countries including the United States, the things that people said they liked most about their phones were often related to control. One American woman said her favorite thing was “Constant communication when I want it (can also shut it off when I don’t).”

“What I have seen in this country, and I don’t know if it’s a national trait, is people wait until they think they have the perfect thing to say, as though relationships can be managed by writing the perfect thing,” Turkle says. “And I think that is something we pay a very high cost for.”

In Baron’s survey, people also mentioned feeling controlled by their phones—bemoaning how dependent they were on the devices, and how the constant connectivity made them feel obligated to respond.

But texts and emails don’t create as big of an obligation as phone calls, or a face-to-face conversation. When young adults are interviewed about why they don’t like making phone calls, they cite a distaste for how “invasive” they are, and a reluctance to place that burden on someone else. Written instant messages create a smokescreen of plausible deniability if someone doesn’t feel like responding, which can be relieving for the hider, and frustrating for the seeker.

More than anything, what the age of instant communication has enabled is the ability to deal with conversation on our own terms. We can respond right away, we can put it off for two days, or never get around to it at all. We can manage several different conversations at once. “Sorry, I was out with friends,” we might say, as an excuse for not texting someone back. Or, “Sorry, I just need to text this person back real quick,” we might say while out with friends.

As these things become normal, it creates an environment where we are only comfortable asking for slivers of people’s distracted time, lest they ever obligate us to give them our full and undivided attention.

[thewritewolf]

Well-Worn Note

Summary: When Adrien hears about a drive to give back to the heroes of Paris, he writes a heartfelt note telling Ladybug how much she is appreciated.

Years later, he finds that same note again in an unlikely place.

This fic has two reasons for existing! The first is that it celebrates the one year anniversary of my favorite server on Discord being created, and I have truly grown to love and appreciate it. Not to mention all the friends I've made through it!

The second reason - and what provided the specific inspiration for this story - comes from this post by @lnc2​. 

Enjoy!

Read on Ao3

Adrien’s fingers wandered aimlessly among the keys of his piano. Sometimes he did it to think, to let his mind drift in a trance, but most of the time he just needed a reprieve from his thoughts altogether. To let himself be completely immersed in the music as it unfolded in front of him, changing from moment to moment.

The music was a great escape. It was hard to hold onto frustration and anger when he was at the piano. Adrien suddenly froze and groaned. At least, it was a great escape as long as his mind didn’t circle back to what he was trying to get away from in the first place. Thoroughly back in the present, he walked over to his computer to look for another distraction.

Naturally, his first stop was the Ladyblog. He was only two articles down when he saw her announcement for a special event for Heroes Day. There was going to be a drop off box where the grateful citizens of Paris can send gifts and notes to their favorite heroes. Alya had apparently already gotten Ladybug’s permission and Adrien wondered when that had happened.

“Yeah it was like two or three akumas ago.” Adrien started before noticing Plagg, who continued talking with a smirk and a satisfied swish of his tail. “You were running out of time, but she had lots of it so she hung around to answer questions by the adoring public.” Plagg took a bite out of his cheese. “Guess that was when.”

“Huh…” Adrien said, the gears in his head already turning.

“What’s up? Already looking forward to all that cheese you’ll be getting?”

Adrien scrunched up his forehead. “Why would I be getting cheese?”

“Well what else are they going to send you? Cheese is obviously the best call.” Plagg tossed his wedge into the air and caught it with his mouth. The kwami floated off the desk.

“There’s loads better stuff than that! Like-” Adrien’s eyes widened. “Wait. This is a great opportunity!”

“What are you on about, kid?”

Adrien turned around in his seat to look at Plagg. “I could send Ladybug a present through the drop off!”

“...Kid you know her. You could just give her something next time you’re on patrol or something. Heck, you’ve done that before!”

“Yeah, but this is a chance to give her stuff she’d never accept from Chat Noir,” Adrien said, turning back to his desk. He pulled out a sheet of paper and a pen and started writing.

The gifts he could figure out later - maybe a flower or some jewelry or clothes - but the critical thing was getting his emotions onto paper. Several crumbled up failures later and he was carefully finishing his masterpiece. If that didn’t make her feel loved, nothing would.

“Well, don’t forget to sign it I guess,” Plagg reminded, sounding bored.

Adrien shook his head as he folded up the paper. “It’ll stay anonymous.”

“Huh? What’s the point then? I thought you were trying to get her to fall for you or whatever?”

“No. I just… I want her to know she’s appreciated and, well…” Adrien rubbed the back of his neck. “If I don’t sign it, it’ll be like if all of Paris sent her the letter, you know?”

“Not really, but whatever floats your boat, kid.”

By that time the following day, Adrien had picked out a few presents - a rose with a ribbon, a charm bracelet, and a few other things besides. Storing them and the note in a box, he wrapped it and dropped it off with Alya as soon as he could.

------------

Years passed and before he knew it, Adrien and all his friends were graduating from school. It was a strange new world they were heading into - Nino had gotten a great opportunity to follow his dreams of being a DJ in Nice. Likewise, Alya had landed an internship as a journalist there. By the end of the summer, both of them would be moving out of Paris.

But not everything was changing. There were still akumas, which meant that Adrien needed to stay close at hand to keep Paris safe. At least he’d be in good company - Marinette had been accepted to a Parisian university where she could pursue her ambitions of becoming a great designer. Not that she wasn’t already, Adrien thought with a smile.

Their last summer together was bittersweet. Friends had come and gone over the years, but those four had stayed the best of friends for that entire time. Now it seemed to be coming to an end, even as they all tried to find their way in the world. Who knew when the whole gang would come together again?

Maybe it was helping Marinette move today that had gotten him thinking about it so much. Which was itself a nostalgic trip as they helped pack away mementos of their times together. How often had Adrien come over after school to play Ultimate Mecha Strike with Marinette? The movie nights all four of them had spent there?

Things got quieter when Alya and Marinette left to buy more boxes - even Marinette had underestimated just how much stuff she had to pack. Nino and Adrien joked around like usual, but there was a somberness under it all that they just couldn’t shake no matter how hard they tried to keep things lighthearted.

Adrien almost welcomed it when Nino fumbled one of the boxes and took their minds off of it. At least he would have if the box hadn’t torn open and disgorged its contents onto the floor.

“Dang, dude,” Nino said as he stared at the mess he’d made. “M’s gonna kill me for sure if this stuff got busted.”

“Don’t sweat it, man.” Adrien put a comforting hand on Nino’s shoulder. “See if you can scrap up another box somewhere. I’ll pick all this stuff up and get it ready.”

Nino tipped his cap at him. “Thanks bro. You’re a real everyday Chat Noir!”

Adrien rolled his eyes at the phrase. After he’d thrown that party for Marinette and made his little speech, everyone had started using it.

“No problem. Take your time, though,” Adrien added as he sat down on the floor. “Looks like I’m going to be here a while.”

“Right on.”

Something didn’t seem quite right when he got to work sorting through the stuff. It must’ve been one of the boxes that Marinette had already packed by the time they got there, since he didn’t recognize any of it at all.

Well, that wasn’t entirely true. All of them stirred up memories - old sketchbooks that were filled and forgotten. Scraps of fabric from pieces that Adrien remembered her finishing years ago. An old black umbrella.

“She still has this?” Adrien murmured to himself in awe. He laid it back down reverently - if it weren’t for that umbrella, the two of them might not have been friends, after all.

That was when he saw it. At first, he thought it was just another notebook, but there was something poking out of the bottom of it that caught his eye. Curious, he reached for the book.

The final date was from three years ago, but he could tell from the wear on the spine that it had been opened and closed many, many times. He flipped open the book and the faint scent of a rose reached his nose. The book naturally opened up to a page that had a pressed rose tied with a ribbon on it. That must have been what was poking out of the bottom. Taking the flower, he spun it between his fingers and watched the ribbon dance around it. There was something oddly familiar about it, but he couldn’t quite figure out what it was.

Something fell out of the book and drew his attention away from the preserved rose. It was a folded piece of paper. As he picked it up, he could feel from the softness of the paper that it had been unfolded and refolded many, many times.

Following in Marinette’s footsteps, he unfolded it once more.

At first, he could only cringe at it. Whoever had wrote it clearly had a crush on Marinette, but some sense of curiosity had gotten the better of him and he needed to keep reading. As he continued, there was a nagging suspicion at the back of his mind that he’d seen this letter somewhere before. But that couldn’t be right, could it? Unless he-

His eyes widened. Unless he was the one who wrote it! But that made even less sense - he couldn’t remember ever writing Marinette a note where he thanked her for ‘saving the day more times than he cared to count’ nor where he called her ‘an inspiration to all of them’. Granted, he’d probably said stuff like that to her over the years but-

Then it hit him like a clap of thunder. The rose and its ribbon only confirmed it for him. As clear as day, he could remember writing this very letter years ago, but it wasn’t for Marinette - it was for Ladybug!

It all made sense. No one could figure out why Marinette had declined going to that school in London she’d really liked. Most of them had assumed it was just because she would miss Paris too much. But she could hardly fight akumas while she was in London, could she?

The door opens and Adrien looks up to see Marinette standing there like a figure from a dream.

She glances down to see the letter in one hand and the rose in the other. A blush spreads across her face, but he barely notices as he stands up. She is stammering something, but he can’t hear it over the pounding of his heart in his ears.

Her bright blue eyes look up at him as he finally crosses the distance between them. He drops the note, forgotten immediately once again so he can cup her cheek with one hand. The rest of the world falls away as well as he whispers to her, quiet and sure:

“...My lady?”

[brief-candle]

ᴄᴏᴍᴇ ʟɪᴛᴛʟᴇ ᴄʜɪʟᴅʀᴇɴ - Sakamaki brothers

request summary: songfic of “come little children” with parental maid reader and yandere sakamakis. karlheinz is an asshole, like usual, and stuff happens.

series: diabolik lovers.

notes: yandere (meant to be platonic but idk if i succeeded), heavily implied violence.

⊱ ────── {.⋅ ♫ ⋅.} ───── ⊰

"Come little children,

I'll take thee away

into a land of enchantment."

There was no land of enchantment on this green Earth. Not for the Sakamaki brothers; such a thing had never existed for the entirety of their long existence. This had been a fact that they'd had to face from an early age. There was no land of enchantment that their mothers' nor father would let them escape to, and the latter would not let them do so for as long as he drew breath.

Or not, considering they were vampires and all, but you get the gist.

Even so, that didn't stop them listening to her stories that she spun, the songs that drifted from her lips like a cool breeze on a stifling summer's day. Even Kanato, who was ever so difficult to please and temperamental as a day's long, seemed to ease into a calm, placid state of being whenever she made the slightest of noises. Ayato wouldn't interrupt, Subaru wouldn't fly into a white-hot rage and Shuu would even pay attention. It was as if each word was akin to the Holy Grail, from the way that no one could pry their attention from her as she started to speak.

No matter how much they aged or how horrible they became, they would still go at her beck and call to listen to her. They would still beg for her lullabies before she left for other duties, and sometimes in between. And no matter when or where they asked, she would always comply.

It was perhaps the only time that the boys were docile.

"Come little children,

the time's come to play

here in my garden of shadows."

Even with their father, on the very rare occasions that he visited, they were hardly docile. Barely even scraping polite, with acid words and sneering faces. Apart from Reiji, ever the model son, determined to leave the others hiding in his shadow of prestige. Always polite, pristine and perfect. She marvelled at it, really, and would often remark that he was one-upping her, the actual servant. It was never his intent to one-up her, though he one-upped everyone, really, so it was hard to make an exception to her.

The boys' father did not expect to see those he brought up broken to act so cordially with another, not making a move to harm nor threaten her in the slightest. She did not look uncomfortable in the slightest, either. It was a surprise, really, considering how they acted with everyone else around them. To think that they would treat some low-ranked, rather weak demon with a higher level of respect than the literal king of demons was certainly not to be expected by any means.

Though, in a way, it was a pleasant surprise. Not that Karlheinz finds many surprises unpleasant. In fact, he can hardy tell the difference; if he finds something unpleasant than he'll either fix it or throw it away. Fortunately for her, he did not find this unpleasant.

Unfortunately, he found it intriguing.

"Follow sweet children,

I'll show thee the way

through all the pain and sorrows."

With intrigue naturally came experimentation. He had a hypothesis to test, and would observe the results accordingly. It took little planning (Karlheinz has little reason for thoroughly planning every little thing) until he put everything into action. And he did so swiftly, with little time wasted.

They hadn't noticed at first; she could guess how they'd react, and so covered up the evidence of what he'd done immediately. However he noticed just as quickly as she'd hid them, and so made it much more obvious. Evidence appeared in places she could not hide, and so had to wear them on display to those who cared for her most.

It went about as well as one could expect, really, with Subaru's temper flaring most of all. All of their tempers rose, really, though the youngest's was the most volatile and obvious through his destruction of the house. Kanato became eerily silent, perhaps more eerie than he usually was; Ayato shared many of Subaru's traits of anger, though without as much as the destructive nature; Reiji and Shuu were difficult to read, with both of them going silent and putting on a neutrally silent (though Shuu was normally of very few words) facade; Laito tried to keep up his cheery and playful act, though his voice subconsciously lost the lilt that it often had.

"Weep not, poor children,

life is this way,

murdering beauty and passion."

When they stood, obviously heading to leave the room, she stopped them at once. For once her words didn't seem to hold weight with these boys, and so she had to physically block them from doing something they may have regretted. No matter how much they asked- demanded- her to move, she did not move a muscle. She did not forget her place as a servant to their family, however she would not allow them to get themselves hurt. However she didn't phrase it that way, lest it only breed more anger and fury; as she was bound to obey their father above all, she could not allow him to be hurt. Though they certainly weren't the happiest with that, they had little choice but to listen, as it was obvious that she would not move until they had all calmed down.

If their reason had left them, then she would step back in to provide such a voice. As she often had done, when their mothers had not. She did not blame them, with what had been inflicted upon them, however she often stepped in for them when they shirked all motherly duties. And such a thing happened much more frequently than she was fond of thinking about. 

But there was no way that they could step in now to act as mothers. Unless they had a way of bringing themselves back from ancient graves. And even then, Cordelia had no chance of returning. Not in this moment.

Not that such a thing was necessarily a bad thing, really, but a little help would have been appreciated. Especially when the silence was this thick, this heavy and ominous, rolling in like fog that showed no signs of clearing up anytime soon.

That said, she managed to get them all to sit down once more, even if they were disgruntled with the mere thought of being that close with one another. It was a sad sight to see, considering how they could have easily been so close. However there was no point in dwelling on such a thing.

"Hush now, dear children,

it must be this way,

too weary of life and deceptions."

They were at breaking point to just rush out and find their father. It was visible, from their tense postures and impatient faces. They were easier to read for her than they thought they were. If it wasn't for the situation at hand, she was sure that she'd have found it rather amusing. But this was not a time for amusements, or playing games or acting like children. She knew that as well as they did.

And so, instead of trying to reason with them when she knew such a thing was futile, she began to hum instead. They would not listen to her words on the subject; they would listen to no one's words on the subject. For they were certain that they knew best. Not to mention their obvious anger, which would make them even more unreasonable than their rash behaviour already made them.

So instead, perhaps a distraction would prove more useful. It would delay the- most likely messy- resolution of this situation, and would also give them a chance to letter their anger simmer into something more manageable. Something that would let their heads clear more easily, and let them make proper judgement that isn't drove by blind rage.

"Rest now, my children,

for soon we'll away

into the calm and the quiet."

Vampires don't need sleep. This is a rather well-known fact amongst those which are aware of their existence. That isn't to say that they don't sleep, however, and the maid's lullabies often lulled them into a sleepy state. Often it was unintentional, considering they'd ask her sometimes in the middle of the night, when they are meant to be most active. This time it was not. If they fell asleep then she'd probably have a few more hours in which they could (hopefully) calm down. Or she'd have to try and hold them back to cool off again in a few hours.

She felt bad in a way, having manipulated them in a way for them to sleep. So, as she left the room, she decided to try to make it up to them later in the best way that she could.

It was a lovely sight that she had to leave behind, with the boys resting on each other as they slept. That said, it wasn't as peaceful as it looked with Ayato's snoring. Even as she shut the door and continued down the hall to do other tasks, it never relented.

Barely ten minutes later, they were all on their feet.

"Come little children,

I'll take thee away

into a land of enchantment."

There was no land of enchantment, not in this prison of ground, sea and sky. Not in this cell where they were born and raised. Not while their father continued to mess with anyone whenever he saw fit.

He'd made the mistake, really; he'd brought this whole thing upon himself. If he wanted death so badly, then they saw it fit to deliver. After all, it's what he wanted, no? Their father had seen how much they cared for and appreciated the maid, and took it upon himself to injure her on a whim. To see how they'd all react as he looked upon them like one would an insect.

No matter what they'd had to endure at his hands, they had never directly lashed out upon him before. After all, he was anything but forgiving. Breaking a vase landed you in the middle of the ocean, so the risks were definitely quite high, to say the least. But that didn't bother them. At least not in this moment of white-hot rage that disallowed them from thinking properly.

Besides, if they were to die then there wouldn't be reason to harm her anymore, would there?

It was unlikely that they'd die, considering that their purpose had not yet been fulfilled. However it brought some twisted sense of comfort to them, so that they could fight their all with no regrets.

"Come little children,

the time's come to play

here in my garden of shadows."