#'first existentialist philosopher'

[rearranging-deck-chairs]

bad wolf soda <3

[thepastisalreadywritten]

“People settle for a level of despair they can tolerate and call it happiness.”

— Søren Kierkegaard (5 May 1813 – 11 November 1855)

[willknightauthor]

What happens in the Dolorian church in Martinaise is a profound bit of worldbuilding. At first Elysium seems like a normal, secular world, and if anything it's surprising how absent religion is from it. Liberalism has become the religion. The only real reminder that Moralism was once a fully functioning world religion is the abandoned and broken church west of the lock.

But learning about the pale point, the history of the churches, it makes sense now. The pale is directly interacting with human thought and society because they are both manifestations of information in the universe, in an evolving dialectic. Dolores Dei pulled information from the future and literally expanded the world by inspiring others with her dream. She was, by the standards of our world, a prophet. The churches, built around nascent points of pale particles, are a social attempt to control the pale through the collective act of ritual dreaming. By dreaming the divine, humanity pushes back the death of the world, for a moment.

By the time the game takes place, that side of Moralism is long dead. The churches have been abandoned and their function forgotten. Moralism has degenerated into liberalism. The Revolution was a moment of mass dreaming, of the future manifesting itself. It was the best hope to push back the Pale, but the MoralIntern crushed it, and restored global stagnancy. Growing entropy is accelerating the consumption of the world by the Pale, and no-one knows what to do because there is no future, only past.

Harry though, depending on how you play him, has the potential to start the reversal of this process, if just in Martinaise. The man who has effectively dedicated himself to a kind of monastic worship of the Pale (unknowingly) is the first one to start the process. (Never give anyone too much credit, even Harry.) But if Harry helps the homeless ravers start a club in the Church, he is effectively helping to start a new ritual community with the same properties as the old Moralist Church, right under the pale point.

If you get Noid to warm up to you, you learn he's a kind of organic existential philosopher. He even discourses with Tiago. He and the others don't just party as a hedonistic act, they maintain partying as a kind of ritual act of life affirmation and contemplation, an attempt to transcend themselves and realize something new and powerful. In short, they are reaching into the future to create something new. It's ridiculous 90s Euro club music, but the way they do it it's as ritually powerful as any church service.

This ties into the more general theme of Disco Elysium, that the human power to dream of a new future and then collectively act to bring it about is a powerful act of creation that pushes back the boundaries of the universe, and is necessary for our species to even survive. To crush the revolution, to crush democracy, is to crush the future. Elysium has killed God, but they haven't gotten to the next stage of becoming gods.

Dolorian humanism ironically does not end up elevating human beings. Only the communards had a chance at elevating humanity to a level of creative consciousness that would allow them to tame the Pale the same way they used to with religion. And the revolutionaries, even though the Moralists never recognized them as such, were likely pulling from the future as much as Dolores Dei. Kras Mazov will never be recognized as an Innocent, but in terms of prophesying and inspiring people with a dream which could push back the Pale, he effectively was.

Now with the revolution at a low point, the world is in a kind of existentialist limbo, lacking the conviction of faith in either the divine or the future. The old is dead, but the new cannot be born. What happens in Martinaise is the beginning of the return of that faith.

[crooked-wasteland]

The Anti-Bojack: Anti-Intellectualism and the Death of Substance

In the blog essay “Staging Philosophy: the relationship between philosophy and drama”, Kristen Gjesdal opines on the home of philosophy. Many today would consider philosophy a relic of a bygone era with names such as Keikegaard, Voltaire, and Neitzsche. Many don’t know, however, of the close relationship philosophy has always held with the arts. Gjesdal mentions Ibsen in the article, discussing how many playwrights of the time were avid students of philosophy and how many philosophers regarded the arts highly. Nietzsche spoke of social leaders, specifically the religious leaders of his day in Beyond Good and Evil when he wrote, “Men, not great enough, nor hard enough, to be entitled as artists to take part in fashioning man.” Frankly denouncing the power and influence held by the religious men which he felt was more appropriately left in the hands of artists. In fact, Nietzche considered art the definition of culture and hence why he says that artists are the ones who should be responsible for shaping society and defining what it means to be “man”. As such, the expressions of art, poetry to cinema, is a definition of man and inherently a philosophy.

Bojack Horseman is an openly philosophical series that plays with existentialist schools of thought. Having liked several tweets endorsing the comparison of her work to that of Raphael Bob-Waksberg, Vivienne Medrano demands her work be valued the same way. From being favorably compared to Bojack Horseman to being praised as the “Anti-Bojack”. Which begs to question, what does that even mean? First let’s discuss the Philosophy behind Bojack Horseman, then compare the tweets Medrano liked and her series to that of Bojack directly, and then study the overlapping themes and why Medrano’s style of writing makes her storytelling a mockery to the art.

Existentialism in particular has been the darling of the theater for about the last 150 years, though generally ridiculed by “proper” society. For a philosopher to be labeled a nihilist or existentialist was often a denouncement of their school of thought, often for their general rejection of fundamental social structures like ethics. In 1942, writer Albert Camus published his essay The Myth of Sisyphus, rebranding traditional existentialist concepts as Absurd philosophy.

Camus begins his work poised with the question of suicide and whether life is worth living at all. He argues that life is inherently meaningless, an idea originating with Kierkegaard, but while the latter sided with finding purpose in constitutions like religion, Camus argues that religion itself is a philosophical suicide. In the Routledge encyclopedia of philosophy by Charles Guignon, he writes of the criticisms levied against existential and absurdist philosophies in a society awash in moralist anti-intellectualism. He opens this section by saying, “Existentialism has been criticized from a number of different angles. One line of criticism holds that the emphasis on individual freedom and the rejection of absolutes in existentialism tends to undermine ethics; by suggesting that everyday life is ‘absurd’ and by denying the existence of fixed, binding principles for evaluating our actions, existentialists promote an ‘anything-goes’ view of freedom that exacerbates the nihilism already present in contemporary life.” Which comes from this negative misreading of nihilism.

In their video Nihilism: Are We Missing the Point, youtuber Michael Burns of Wisecrack tells an anecdote of his time in grad school where he paraphrases his professor as saying, “This idea of the constant misreadings of Nietzsche’s writings on Nihilism leads to, his words, angry seventeen-year-old atheists.” Which tends to be the issue when discussing concepts such as nihilism, existentialism and absurdist philosophy. Nietzsche, the credited father of the school of thought, is often taken out of context or his views distorted by society’s sensibilities. For one, the quote given earlier extends further into a condemnation of religion by saying, “Such men, with their "equality before God," have hitherto swayed the destiny of Europe; until at last a dwarfed, almost ludicrous species has been produced, a gregarious animal, something obliging, sickly, mediocre, the European of the present day.” Which many an angry seventeen-year-old and moralist has seen as an endorsement of the might-is-right philosophy that nihilism is credited with.

To a lesser extent, Camus writes in The Myth, “I must say what counts is not the best living, but the most living”. It feels like it should be rather straightforward then, the concept of the thought. More equals better, and Camus practically says as much when he later writes “Why should it be essential to love rarely in order to love much?” However, if one follows the first quote to its natural conclusion, he continues, “The most living; in the broadest sense, that rule means nothing. It calls for definition.” His wording may come off confusing as the essay is translated and the theories involved are dense, but Camus clarifies that “most” could mean the sheer number of experiences or the depth of the experience. He is not saying one or the other is the correct answer, but that both are equally valid ways to live one’s life. The focus, then, is not on directing anyone how they should live, but in the manner they should do so. He says, “It is not up to me to wonder if this is vulgar or revolting, elegant or deplorable … Suppose that living in this way were not honorable, then true propriety would command me to be dishonorable.”

Camus, and even Nietzsche, argue that truth is the only ultimate value. It throws back the moralist dilemma by arguing that living to a code of ethics or values when one is not truly that sort of person is to live reprehensibly. Better is it to live authentically “without appeal” as Camus says, than it is to live the lie of following the rules.

Thomas Polzler from the University of Graz in Austria wrote a 2014 article titled “Absurdism as Self-Help: Resolving an Essential Inconsistency with Camus’s Early Philosophy”. Personally, I fundamentally and adamantly disagree with his assessment that there is any sort of inconsistency in Camus’s writings. Camus’s books of The Stranger, The Plague, and The Fall are not inherently inconsistent, but depict his philosophy in layers.

Like water painting, Camus starts with a thin veneer of color, a loose and almost detached protagonist in Meursault from The Stranger. He is a man aware of the absurd as an individual, the story maintaining the focus of a man living aware his life means nothing and thus seems to have an almost neurodivergent disinterested in the world beyond himself. What he feels in the moment is all that matters, so when he commits murder out of feeling uncomfortable from the heat of the sun and the painful blinding of the light, he is then juxtaposed with the ethical society he exists simultaneously within and outside of. Meursault is held up as a sociopath for not wishing to see his mother’s body the night before her funeral and smoking by her coffin. Because he does not cry at her passing, he is deemed a danger to society. Because he goes on a date to a comedy picture the day after, he is denounced as a menace. None of which has anything to do with the man he killed. The trial highlights the absurdity of ethical society and how the moralists demand the appearance of values over actually having them.

In fact, the trial of Meursault closely resembles that of Bojack and Sarah Lynn. The end of season 3, Bojack and Sarah Lynn go on a cross-country drug-fuelled bender to apologize to people Bojack has hurt in the past, stopping at the Griffith Observatory where Bojack has a profound revelation. He talks about living in the moment and how neither the past or future really matters at all. What you did and your legacy don’t matter if you cannot exist now. It is this moment that he realizes Sarah Lynn is not responding. It isn't until season 6 that it is shown that Bojack waited before calling the police and thus played a hand in Sarah Lynn's death. He is taken to civil court by Sarah Lynn's mother and step-father and made to pay them a fine for his involvement. However, is it really justice when Sarah Lynn's mother exploited her in the business and never once supported Sarah Lynn for what she wanted and what her dreams were, or even just who she was? Can one argue that it is justice when Sarah Lynn was sexually abused by her step-father throughout her childhood? Yes, Bojack does have responsibility in Sarah Lynn's death, but so do her parents. The absurdity of it all being that in no way could there ever be justice for Sarah Lynn.

Brief mental health sidebar. While I have to expressly disagree with Polzler’s reasoning, I do agree with his conclusion. Philosophy and especially Absurd existentialism are powerful tools in the journey to self improvement. It is both the line from Bojack where Diane says "That's the thing. I don't think I believe in 'deep down'. I kind of think all you are is just the things that you do." And Dr. Wong in Rick and Morty when she says, “You seem to alternate between viewing your own mind as an unstoppable force and as an inescapable curse. And I think it is because the only truly unapproachable concept for you is that it's your mind within your control … You are the master of your universe.”

It may be shocking to know that Medrano was not a fan of Dr. Wong, considering the scene all about telling and not showing Rick’s problems. However, this is after two and a half seasons of witnessing Rick’s shortcomings and Dr. Wong is not telling Rick’s problems, but rather identifying the solution. In both the words of Diane and Dr. Wong, who we are, comes down to the choices we make. There is no moral argument being made with either of these comments. Bojack asked Diane to tell him that he’s actually a good person deep down. That he means to be good, that despite his actions he doesn’t want to hurt anyone and that his bad behavior is the fault of his emotionally unavailable and narcissistic parents. So really, he isn’t a bad person. Whereas Dr. Wong calls out Rick’s behavior as a choice because Rick knows he is making these choices.

The difference between Rick and Bojack is the level of personal awareness and responsibility. Rick knows he has the power to change, but simultaneously so miserable but is so afraid of change that he turns himself into a literal pickle and risks his own death over confronting his own choice to stay the way he is. It is easier for him to justify his lack of trying by simply claiming this is just what it means to be as smart as he is. Whereas Bojack feels helpless. Bojack was not set up for success as a child, his success was never validated by his mother and thus he never valued himself, and every time he tries to change he has no internal fortitude to keep from backsliding at the first sign of defeat. Rick knows everything that is making him miserable is himself. Bojack externalizes his misery and thus also externalizes the solution to his problems, which is why he lets himself return to square one whenever things don’t go his way.

Absurdism is the recognition that life is meaningless and thus we have two choices: Live or die. But these concepts are not so straightforward when discussed. To live, in Camus’s philosophy, is to live authentically to oneself. That may sound like Rick’s situation of accepting things as they are, but that is only true in the case of the individual genuinely wanting to be that way. Authenticity is a dichotomy consisting of both how we behave and how we feel. In the case of Rick he lies, cheats, manipulates, and behaves cruelly towards his family. However, it is implied and later revealed that Rick genuinely cares about his family, but is too afraid of experiencing loss to really let them in. So he’s abusive and insulting, keeping his family at an emotional distance that keeps them around, but never too close, making Rick miserable. He really wants his family, so his feelings are at odds with his behavior. So in reality, him claiming “this is just how things are/who I am” is just as weak an excuse and removes agency over oneself as Bojack saying “It’s because my mother was never there for me.”

The actions both Rick and Bojack partake in are what Camus would call a philosophical suicide. Concisely put, to commit a philosophical suicide is to remove one’s sense of agency in their own life. How can one claim to be living when they have no effect on anything including themselves? You would exist in a void no different than a dreamless sleep. Your actions are meaningless, your thoughts are meaningless, your feelings are meaningless because you are a passenger to the act of living. Everything else has power, everyone else can influence you, so you may as well be nothing. Camus includes religion in this section of his philosophy, as living for something other than yourself is the same as not living at all. And this encompasses Ethics.

There is a massive difference between being kind because you are supposed to, and being kind because you want to. This delves further into living inauthentically and how that mere act alone results in misery. Even if one is to behave in a way deemed “right” without making the choice, they will inevitably become resentful. There is no such thing as faking it until you make it. One has to actively choose and change themselves on a fundamental level to find happiness, and that takes work. Just as Dr. Wong says, “It’s just work. And the bottom line is some people are okay going to work and some people, well some people would rather die.”

Which gets to the main point.

Medrano’s liking of a series of tweets calling Blitzo the Anti-Bojack has both infuriated and confused me. I suppose that I should be embarrassed at the latter since it's obvious both Vivienne and her fans lack basic media literacy. It’s actually rather spectacular just how badly they misrepresent the situation of the characters in the narrative. I can only break this down comment by comment.

For one, Bojack’s entire character is that he doesn’t intentionally hurt others. He has his reasons that fundamentally comes from a weak sense of self associated with a child who never had the emotional support he needed growing up. Those aren’t excuses, those are the reasons. Bojack has an unhealed inner child who wants to be a good guy, but he is so caught up in his self-loathing and resentment that he doesn’t do anything about that inner child. Instead he indulges these immature emotions through self medicating with drugs and alcohol, lashing out, promiscuity, and careless spending. These are the symptoms of the problem, the problem does lie in past trauma. The issue is Bojack doesn’t see the solution as himself, but someone or something else. In my post comparing Bojack and Todd’s relationship to Blitz and Moxxie, I pointed out how Bojack and Blitz treat their “closest friends” exactly the same by verbally abusing them and tearing down their abilities. While not always consciously intentional for Bojack, it is to keep Todd feeling codependent on Bojack and thus never leaving him which is abusive and manipulative. For Blitz, the narrative says it's because he is aware of his behaviour and is intentionally pushing Moxxie to be better, which is abusive and manipulative.

My point herein being that these are the same people. There is no Anti-Bojack happening here. If anything, Blitz is more malicious in his abuse seeing as he appears actively aware and intentional in how he mistreats Moxxie. Bojack is abusive towards Todd, but in a way that is a reflection of Bojack. And the series acknowledges how Bojack's inability to be alone actively harms his other relationships. Not just Todd.

In one way, however, Blitz absolutely is the Anti-Bojack. Blitz externalizes the source of his behavior to a character failing on Moxxie's part. And the series reaffirms and justifies Blitz's abuse as okay.

The other misconception of this post is thinking that an explanation is an excuse. Creative Screenwriting did an interview in 2019 with Raphael Bob-Waksberg’s process and philosophy of writing Bojack Horseman, quoting him for the title of the article, “Characters should be understandable in their vulnerabilities.” What Medrano’s fans fail to do, fundamentally, is understand. Their opinions and twitter orations are so barren of understanding that one must ask if they simply choose to ignore what does not serve their narrative or if they really are just incapable of comprehension.

They see Blitz’s mother’s death as a reason for his attitude more than his behavior. His behavior then necessitates that it needs to be excusable. As such, Blitz cannot actually make mistakes. Things happen by chance rather than a deliberate choice on any of the characters’ behalf. The fire in Oops wasn’t a mistake made by Blitz, if it is anyone’s mistake, it is the no-named imp who lit the candle before getting to the room. Blitz didn’t intend to bump the other performer, he just happened to turn at that moment. His mistake, then, is one that only makes sense on a metanarrative aspect. His mistake was deciding not to confess his feelings to Fizz. Which… no. As novel as the concept of the butterfly effect was in 2015, the fundamental nature of something inconsequential being attributed to a disaster negates blame. No one is going to blame the butterfly for a hurricane. Similarly, Blitz’s decision to not confess has nothing to do with the fire, in fact the fire itself is not even his accident. His contribution begins and ends with accidentally bumping the other imp; a situation that would have been entirely harmless if not for another character’s unrelated decision made off-screen.

Additionally, Blitz is a heinously insufferable individual who has been nothing but insulting and abusive to his “friend” throughout the series. He sexually abuses Moxxie in Harvest Moon by touching his penis against his will. He threatens to rape Moxxie and Millie in Murder Family. Blitz humiliates Moxxie through emasculation by masculinizing Millie over Moxxie, mocking Moxxie’s anatomy through his weight and genital size, and degrading Moxxie’s hobbies and abilities. Often without any prompting whatsoever and for Blitz’s own personal enjoyment. Blitz simply is a malicious individual, and at one point the series seemed to know that. The issue isn’t that Blitz is an awful person, it’s the lack of acknowledging that fact. The fans and Medrano conveniently ignore who this character is and what he has done to justify him instead of seeking to understand him. This is a running theme throughout the show.

I also briefly compared the scene in Oops to Herb and Bojack in this post, but I didn’t focus so much on the characters and more the metanarrative reason why Bojack worked and Helluva Boss didn’t.

Here, let’s look at why Bojack went to see Herb: Because Herb told him to. Unlike the scenario between Fizz and Blitz where they didn’t see each other for fifteen years and then conveniently run into each other and just so happen to be spotted by Crimson and Striker who, for some reason, know all about Fizz and Ozzie being a thing and they just keep Blitz around because … he’s the main character. Sure, one could argue both Crimson and Striker have a personal thing against Blitz, makes you wonder why they didn’t, you know, do anything to him? No torture or revenge of any kind, he’s just there now. Conveniently tied up and kept with Fizz instead of literally anything else they could have done with him. There is no internal logic to the characters as to why things turn out this way. As seen in the Mammon episode, it's a metanarrative compulsion to make sure Blitz is in every episode regardless of whether it makes sense or goes anywhere, or not.

Another sidebar, but the fact that so much of the series is not able to be explained within the narrative and requires an understanding of how Medrano and her team formulate a script is a huge issue. It removes the ability to properly dissect the characters as individual people and necessitates a reading of them that is how Medrano wants the audience to think about them. When it comes to the character dissections, it is effectively impossible to have a complete or coherent reading in regards to the literary philosophy of the Death of the Author. You have no story or character if you remove Medrano. The world as a whole completely falls apart unless you inject it with her metacommentary and narrative intention like one would preserve a corpse through glycerin. There is absolutely no substance here. And the longer she goes on, trying to compile the whole show into a coherent narrative of its own is like building a skeleton with a human ribcage, an ostrich spine, an elephant skull and the lower half of a barbie doll.

Bojack calls Herb after finding out he is dying from cancer, Herb tells Bojack to come visit him. He refuses to talk to Bojack any other way, and Bojack is compelled to go by his guilt, not ego. Herb calling him to his house obliterates Bojack’s ego, this is Herb’s home and he is the one being summoned. This is where Herb has the most power compared to, say, over the phone. This is not only a move of superiority on Herb’s part, but an act of submission on Bojack’s. Herb forces Bojack to come to him. Once again, this is what power dynamics look like. But, despite the resentment and awkward bitterness, he does want to see Bojack.

I don’t know how many times I can articulate this. Herb is the one in control and he is the one who wants to see Bojack and he is the one calling the shots. Not at all comparable to Fizz being kidnapped, forced to interact with Blitz and then wholly reliant on him due to the narrative in order to facilitate this forced reconciliation. Herb and Bojack are people with complex feelings and agendas. Blitz and Fizz are two dolls being smashed together and held in place by the will of a childish god.

Second, the reason Bojack calls Herb is because he feels guilty, not for abandoning Herb but because he betrayed Herb. He told Herb he would stand with him and walk off the show if they tried to fire his friend, but according to Bojack, he was a coward and didn’t keep his word. He feels guilt for that, he regrets it. But when he apologizes to Herb for it, Herb corrects him. It isn’t because Bojack didn’t keep his word, like the horse man thought, it was because he thought the betrayal was more important than their friendship.

He’s a coward, but not for staying on Horsing Around. He’s a coward because he didn’t believe in their friendship. They were together for years and Herb thought that meant something, but Bojack avoiding Herb and never reaching out to him showed how little their friendship meant to him. And it wasn’t because Bojack didn’t care, Herb knows that. And that fact is necessary to understanding the sequence. Bojack didn’t value the friendship because he thought he was valueless. He avoided Herb because he thought Herb would never forgive him, because that is how little Bojack thinks of himself. Him calling Herb is the active display of him still not forgiving himself, so he needs Herb to do it for him. And Herb knows all of this.

“You know what your problem is? You wanna think of yourself as the good guy. Well, I know you better than anyone else and I can tell you that you're not. In fact, you'd probably sleep a lot better at night if you just admitted to yourself that you're a selfish goddamn coward, who takes whatever he wants, and doesn't give a shit about who he hurts. That's you. That's BoJack Horseman."

Bojack has no value in himself, leaving him extremely fragile. So he took what he wanted, he took their relationship and defined it for both of them. He ran away, protecting himself while determining that this is what Herb would want, and left Herb alone and powerless even in his closest friendship. Which is why Herb demands Bojack come to see him, it’s Herb reclaiming his power in the relationship. And all of this only has any meaning if you clearly define the fact that Bojack apologized for the wrong thing.

There’s an alternate universe where Bojack doesn’t go back and apologize at all, and he and Herb rebuild their friendship anew in Herb’s last days and they simply, quietly agree to start over. Because that’s not off the table. Herb still values the telescope. He still values their friendship. Bojack, once again, takes it away. And Herb, a dying man, fights viciously to keep hold of it. Him not forgiving Bojack is not wanting his friend back, if anything, it’s because he desperately wants Bojack back that he won’t forgive him.

The telescope isn’t just a metaphor when it breaks. It's the symbol of their friendship the entire time, and the physical actions taking place over it are a screenshot of what happened. Bojack took their friendship and left with it. But it meant something to Herb, and you would only know that by how he fights over it now. And when it breaks it shows that, because of Bojack and his cowardly need to run away from his problems, their relationship is now, finally, beyond repair. Not because Herb didn’t forgive him. It wasn’t over when Herb didn’t forgive him. The telescope is literally on the shelf the entire time.

Bojack ended it, not Herb.

But just like Bojack, Medrano and her fans believe that forgiveness is the end all of the story. It’s why so many people were not invested in Fizzarolli and Blitz makeup. Because Fizz just forgiving Blitz makes everything they went through meaningless.  It strips the characters and what they went through of depth and nuance in a single moment. It also validates Bojack's general mindset in the belief that one moment can fix a systemic problem. In this case, Medrano isn't the Anti-Bojack, she just is Bojack.

The issue between Herb and Bojack wasn’t the job, or even the time. It was Bojack. And it is the failure of Bojack identifying the part of himself that resulted in this outcome, and not making the choice to do anything different that results in the end of everything. Maybe Herb would never have forgiven the Bojack who left him. But that’s why Bojack needed to be a different Bojack. And he wasn’t.

Wrapping this back around to the start of the essay and how Absurdist philosophy plays into Bojack intrinsically, Herb says exactly that truth to Bojack. That if Bojack was only honest to himself and lived authentically, maybe he would be able to sleep at night. Because being good is less important than being real.

This reminds me of Jean Baptiste Clamence from Camus’s The Fall. A Frenchman in the seedy center of Amsterdam, a city encircled by canals like the rings of hell. He spends his nights in the bar just outside of the red light district, drunk off his ass, it is uncertain if he is actually telling his story to anyone at all. Over the course of four nights, he tells his story of his fall from grace. His self exile to Hell after being unable to cope with his guilt. He tells so many stories of himself, egotistically claiming he has the lost panel of the Ghent Alterpiece in his apartment, the piece titled The Just Judges. 

Even his name is a plea for repentance. John. Baptist. Clemency. He claims to sleep with Judges looming over him. Words endlessly flow from him and he confesses his sins.

It’s when he fesses to witnessing the suicide of a young woman in Paris that he explains why he ran away to Netherlands. He says how she called for help after jumping into the water, but he quickly fled the scene, hearing the splashing below become eerily silent. One could argue that he couldn’t do anything. In the Paris winter, the freezing water of the canal could kill them both, let alone the dangers of trying to save someone who is drowning. The main concern being the victim drowning their savior in a frenzied panic of keeping themselves above the water. It could be said that he did the only thing he could. However, he knows she was aware he was there, so she called out to him specifically when she came to her senses. No one witnessed the incident or knew he was there but her, and no one could fault him for doing nothing.

But he feels the guilt in himself, and thus runs away.

Jean-Baptiste, Bojack and even Diane all have the same mentality. They fetishize their misery and trauma, making themselves important through the loops of suffering they inflict on themselves. Thinking that because the events happened to them, it must mean they are somehow special. That their damage meant something out of all the other people on this planet who suffer. That because they felt alone and responsible, they are a mythical chosen one selected from the masses to do something. They find value in the negative self-image they have, their pain being their purpose.

Because if it didn’t matter, why did it happen to them?

This is where I normally would keep just ripping apart the arguments, but frankly, there isn’t one anymore. For one, the original poster just blatantly lacks any fundamental understanding of Bojack as a series since the entire premise of the show is every season Bojack tries to change.

On a narrative basis, the lack of intentionality on Blitz’s part absolves him from needing forgiveness. Fizzarolli forgiving him holds no weight because Blitz didn’t intentionally set the fire, he didn’t see Fizz in the explosion when he ran away, he didn’t not try to see Fizz in the hospital and then Medrano puts the cherry on top about how Fizz’s life is actually better because of everything that happened. It’s equal parts boring and vile. The conflict is artificial, the resolution is repulsive and contrived. There is no depth to these characters and Medrano actively removes depth, either because she herself lacks the ability to comprehend it or because she knows her fans are incapable of doing so.

Also, let's just not comment on how this line explicitly overshadows Fizz's trauma. Everyone knows you don't end an apology with "but". That negates the whole apology. This is literally "I'm sorry you got hurt and I can never make that up to you, BUT my mom's dead so you don't even know what it's like being me and feeling responsible for that."

While the writers of Bojack sought to make their characters understandable and thus empathetic, they at no point excused or retconned the behavior. The writers on Bojack didn’t do anything to justify their characters, they were not at all focused on controlling how the audience felt about the characters. They were showing that the characters were well rounded, had reasons, why they had those reasons, what core memories made them who they are today. And the audience had the choice in how they responded to the characters. Medrano needs her audience to feel the same way about her characters as she does in order for the story to work, because she has never put forth the effort of actually telling this story.

One does not need the interviews with Bob-Waksberg to understand his cast and their story. Everything a viewer needs to know can be found in the show proper. There are not huge points of context happening just over there, off screen, between episodes and relegated to background details. Everything relevant to these characters and their stories is in the show. That has not and at this point never will be the case for Helluva Boss. So in many ways, yes. Helluva Boss is the anti-Bojack.

That's not a good thing.

[saintarmand]

i'm sure i'm not the first one to notice this but i just identified an ldpdl book i don't remember seeing people talk about before so i had to share. in 1x06, louis seems to be reading jean-paul sartre's la nausée (1938)

i just stared at shots of the scene until i was pretty sure the last letters were -ausée and then i ctrl+f searched that on a bunch of wikipedia pages on french literature until i found a match. i can't believe this dumb shit actually worked—the cover immediately looked familiar. louis's edition isn't exactly the same one pictured here but it's very similar.

wikipedia has this to say about the novel:

Nausea (French: La Nausée) is a philosophical novel by the existentialist philosopher Jean-Paul Sartre, published in 1938. It is Sartre's first novel. The novel takes place in 'Bouville' (homophone of Boue-ville, literally, 'Mud town') a town similar to Le Havre. It comprises the thoughts and subjective experiences—in a personal diary format—of Antoine Roquentin, a melancholic and socially isolated intellectual who is residing in Bouville ostensibly for the purpose of completing a biography on a historical figure. Roquentin's growing alienation and disillusionment coincide with an increasingly intense experience of revulsion, which he calls "the nausea", in which the people and things around him seem to lose all their familiar and recognizable qualities. Sartre's original title for the novel before publication was Melancholia.

sounds like louis all right!

it also says the character "often resigns himself to eavesdropping on other people's conversations and examining their actions from a distance," which is pretty much what louis is doing in this scene.

la nausée being published in 1938 makes it brand new when louis picked it up (lestat's return to rue royale was in 1937.)

i haven't read this (yet) or any sartre at all but i'm sure some of you have so feel free to share anything that comes to mind about it :)

[thelastrenaissance]

Søren Aabye Kierkegaard (5 May 1813) was a Danish theologian, philosopher, poet, social critic, and religious author who is widely considered to be the first existentialist philosopher.

“The most common form of despair is not being who you are.”

Søren Kierkegaard

[brunettedelulu]

💫 How to get into feminist literature ?

☆ From margin to center: feminist theory by bell hooks. She is most well known for her feminist theory that recognizes that social classifications (e.g., race, gender, sexual identity, class, etc.) are interconnected, and that ignoring their intersection creates oppression towards women and change the experience of living as a woman in society. In this beautifully written and carefully argued work, hooks maintains that mainstream feminism's reliance on white, middle-class, and professional spokeswomen obscures the involvement, leadership, and centrality of women of colour and poor women in the movement for women's liberation.

☆ Women race and class by Angela Davis. It contains Marxist feminist analysis of gender, race and class. The third book written by Davis, it covers U.S. history from the slave trade and abolitionism movements to the women's liberation movements which began in the 1960s.

☆ One is not born a woman by Monique Wittig. In her essay One Is Not Born A Woman, Monique Wittig interrogates gender. The essay begins with “A materialist feminist approach to women’s oppression destroys the idea that women are a ‘natural group’: a racial group of a special kind, a group perceived as natural, a group of men considered as materially specific in their bodies.” Wittig tries to highlight the importance of questioning and deconstructing the concept and origin of womanhood using a material perspective. She argues that the idea and classification of women as a natural group is the base of the further oppression women deal with.

☆ The Second Sex (i skipped the first chapter bc biology...) by Simone Beauvoir. The Second Sex (French: Le Deuxième Sexe) is a 1949 book by the French existentialist philosopher Simone de Beauvoir, in which the author discusses the treatment of women in the present society as well as throughout all of history. Beauvoir researched and wrote the book in about 14 months between 1946 and 1949.

(you can fin all of these references on internet, give them a try !! )

[delta-orionis]

Wait so what’s SOMA? You like it a lot apparently

SOMA is a 2015 sci-fi horror game from Frictional Games, the same studio responsible for the Amnesia games.

I think SOMA is ideally experienced blind, but in the least-spoilery terms I can think of: it explores themes of existentialism, transhumanism, consciousness, artificial intelligence, and identity.

The story does a very good job of presenting the player with what basically boil down to existentialist thought experiments. You meet lots of different characters who all have wildly different philosophical opinions and views, and none of them are explicitly stated to be correct; the game encourages the player to come to their own conclusions.

In mildly-spoilery terms: You play as Simon Jarrett, a man who was recently in a car accident that killed his friend and left him with a traumatic brain injury. One day he gets an experimental brain scan to supposedly help aid in his treatment, but after the scan he wakes up in a dark, abandoned underwater research facility that appears to be filled with aggressive robots that believe themselves to be human. The story revolves around Simon learning how he got there, what happened to the facility and its inhabitants, and potentially finding a way out. (This is all stuff that’s revealed in the first hour or so of the game, it gets wilder from there)

That’s my pitch for the game, basically. If that sounds interesting to you I highly recommend giving it a try. If you’re like me and hate horror games, the game also has a Safe Mode which tones down a lot of the scares and makes the gameplay easier. (Some people argue that this basically turns the game into a walking sim, but I personally think the game’s story is well crafted enough to give the game merit even if it’s less scary in safe mode.)

And if you still don’t want to play it yourself, there’s tons of playthroughs on YouTube. I feel like different streamers and YouTubers have different perspectives on the game’s moral dilemmas, and it’s interesting to compare and contrast their opinions.

(I know a lot of my posts have been rain world themed lately, but before that this blog was primarily a soma blog, lol. It’s still one of my favorite games ever. I have two whole sideblogs dedicated to it, even.)

[wheretosearchforsnow]

Destiel in Season 4 and 5 of Supernatural and Death of God

German philosopher Friedrich Nietzsche’s well-known phrase “God is dead,” introducing the idea of the missing God, laid the foundation for one of the most important topics in the 20th century Existentialist Movement. The possibility of God’s non-existence means that everything that is possible to happen can happen, and if everything is allowed, how can man choose? How can man know how to live? If everything is allowed, can we define right from wrong?

Such questions are asked on Supernatural, with the character Castiel first appearing at the end of the first episode in the fourth season, which marked the series’ introduction of Christian mythology as a central them ever since. Castiel, an Angel of the Lord, initially shows complete devotion to God and identifies as servant of heaven:

CASTIEL: We have no choice. DEAN: Of course you have a choice. I mean, come on, what? You’ve never questioned a crap order, huh? What are you both, just a couple of hammers? CASTIEL: Look, even if you can’t understand it, have faith. The plan is just. SAM: How can you even say that? CASTIEL: Because it comes from heaven, that makes it just. - 4.07 It's the Great Pumpkin, Sam Winchester

This argument on the morality behind the act of “purifying a city” or “taking one thousand two hundred fourteen lives” between Castiel and the Winchesters is not dissimilar with Danish theologian Søren Kierkegaard’s discussion on Abraham's sacrifice of Isaac. When Abraham was told that as a result of God's will that he must sacrifice his son Isaac, he was in a kind of either-or. If the message is genuinely from God, then he must sacrifice Isaac and it is the right thing to do; but if the message is not from God, then he would be committing what would be the very worst possible crime judged on the basis of Abraham's own view of human ethics.

The dichotomy here, between Castiel’s and Dean’s rationales, is that while the former believes there is a God and God and religion (in other words, heaven’s plan for earth) are the most important things, and man must do nothing but obey heaven’s command, the latter insists that there is no God and it is for man to take the total burden of responsibility for the world and for himself upon his own shoulders, with no one to give him any sign.

Though the former seems to suggest a lack of agency or necessity for decision making in moral judgement, as the plot unfolds, we see Castiel demonstrate a sense of uncertainty, the very secret he voices in the conversation with Dean in the episode’s epilogue.

CASTIEL: I’m not a… hammer as you say. I have questions, I have doubts. I don’t know what is right and what is wrong anymore, whether you passed or failed here. But in the coming months you will have more decisions to make. I don’t envy the weight that’s on your shoulders, Dean. I truly don’t. - 4.07 It's the Great Pumpkin, Sam Winchester

This mirrors Kierkegaard’s Abraham in his questions on God’s will. Indeed, how is one to know whether the command is from God or not? If an angel speaks to him, how does Abraham know it's not a hallucination? And if God himself speaks, how is Abraham, or Castiel, to know whether this is really God or whether the command is their own inward evil wishes? Nobody but Abraham, or Castiel, can decide and they cannot tell within his life whether he has done the right thing or not.

Perhaps it is this introspective nature in Castiel that draws him close to Dean, the human in his charge, and by implication humanity. Dean, a firm non-believer and what many, including himself, perceive to be as farthest from being servant of God as possible, detests the idea of God even in face of angels walking the earth.

DEAN: God? CASTIEL: Yes. DEAN: God. CASTIEL: Yes! He isn't in heaven. He has to be somewhere. DEAN: Try New Mexico. I hear he's on a tortilla. CASTIEL: No, he's not on any flatbread. DEAN: Listen, Chuckles, even if there is a God, he is either dead—and that's the generous theory— CASTIEL: He is out there, Dean. DEAN: —or he's up and kicking and doesn't give a rat's ass about any of us. CASTIEL glares. DEAN: I mean, look around you, man. The world is in the toilet. We are literally at the end of days here, and he's off somewhere drinking booze out of a coconut. All right? - 5.02 Good God, Y'all

Dean has no intention of trying to prove that God does not exist, as one cannot prove a negative, but the very specific objection to the traditional concept of God above parallels with the simple objection in many existentialists work that is based upon the injustice of the universe. Albert Camus has given this same type of criticism in his novel, "The Plague", in which the priest, Padalu, confesses that he is not able to understand how there can be any justification so that even eternal paradise could cancel out the sufferings here on earth of one innocent child. Why, Deans asks, if God is all powerful, does man have to suffer? If God is merciful, then how can he sentence man, any man at all to eternal damnation?

There is an optimistic side to this. As the repetitive occurrence of the term “free will” on this show suggests, if God exists, man is nothing; but if God does not exist, then man is free to choose what he wants to make himself. But for Castiel to arrive at this destination, it first takes him to undergo a two-season long crisis.

ANNA: What do you want from me, Castiel? CASTIEL: I'm considering disobedience. ANNA nods. ANNA: Good. CASTIEL: No, it isn't. For the first time, I feel... ANNA: It gets worse. Choosing your own course of action is confusing, terrifying. ANNA puts her hand on CASTIEL's shoulder. He looks at it; she drops it. ANNA: That's right. You're too good for my help. I'm just trash. A walking blasphemy. ANNA turns to walk away. CASTIEL: Anna. ANNA stops. CASTIEL: I don't know what to do. Please tell me what to do. ANNA turns back. ANNA: Like the old days? No. I'm sorry. It's time to think for yourself. - 4.16 On the Head of a Pin

If God isn’t out there, then Castiel has nowhere to turn. This dreadful realization may best be articulated through Hazel Barnes’ analogy that as if one would try to judge a Ford car without any Mr. Ford. So long as there is a Mr. Ford or one of his agents, then one has a model, one has a blueprint and one can say that the car which is coming there off the assembly line is a perfect Ford or an imperfect Ford. But without a plan, one cannot judge a car, and without God, there is no plan for Castiel and there is no final point of reference by which he can judge his values, or right or wrong, or declare that he has lived up to his possibilities or not lived up to his possibilities.

Yet despite “choosing your own course of action” being “confusing, terrifying,” Castiel is not in total despair. Dean, the human equivalent of the burden of a self-creative life, provides reference for Castiel on how to live a life as if there were no God. I have concluded thus that in the context of existentialism Castiel seeks Dean and humanity for answers and view them as his destination.

Note: this article is MOSTLY arguments in Hazel Barnes’ Self Encounter 2: The Far Side of Despair.

[whencyclopedia]

Søren Kierkegaard

Søren Kierkegaard (1813-1855) was a Danish philosopher and is considered to be the first existentialist, influencing such notable philosophers as Jean-Paul Sartre (1905-1980) and Martin Heidegger (1889-1976). His works are a reflection of alienation, angst, and absurdity, and include Either/Or (1843), Fear and Trembling (1843), and The Concept of Anxiety (1844).

He was embraced by his fellow existentialists for his belief in the importance of the individual against an apathetic, hostile society. However, unlike other existentialists, his body of philosophical works has a strong theological vein. Denise Despeyroux, in her book The Philosophers, wrote that Søren's life was filled with painful experiences, which colored his works – works that displayed "great dramatic and poetic power. They are filled with parables, aphorisms, fictitious letters and diaries as well pseudonymous and fictitious characters" (110). She added that his struggles with religious questions served as a "potent stimulus" for other writers and thinkers of his generation.

Birth & Education

Søren Kierkegaard was born on 5 May 1813 in Copenhagen, Denmark, to an affluent family as the youngest of seven children. His father, Michael Kierkegaard, was a successful businessman, while his mother, Ane Sørensdatter Lund, had been the one-time maid of Michael's first wife. Søren claimed his father was the most influential figure in his life. Unfortunately, he suffered terribly from anxiety and inner turmoil, and this Søren 'inherited' from his father. Michael was deeply religious, a member of a pietistic form of Lutheranism, and was convinced that because of his past sins – he had once cursed God – none of his children would live past the age of 33, the age of Jesus Christ when he was crucified. Coincidentally, five of Søren's brothers and sisters, as well as his mother Ane, would die before Søren turned 21. Only Søren and his brother Peter survived. To Michael, it was a sign of divine retribution. According to Jeremy Stangroom in his The Great Philosophers, Søren maintained that his childhood was "insane" and "he had come into the world as the result of a crime" (100). Regrettably for Søren, his father passed on his "pessimistic and gloomy religious outlook to his son" (ibid).

Despite a chaotic childhood, his education was "surprisingly normal," attending a distinguished private school – the Borgedydskolen – where he was considered an outsider, "lonely, aloof, and intellectually the superior to his classmates" (ibid). Hoping to become a pastor as his father had suggested, at the age of 17, he entered the University of Copenhagen, where he studied theology, philosophy, and literature. In 1838, while he was attending university, his father died, leaving him with a large inheritance. After graduating in 1840, he began the life of an independent thinker and writer, but it would be a life consumed by inner torment and angst, evident throughout his writings.

Shortly after graduating, he made the mistake of getting engaged to Regine Olson, ten years his junior. He regretted the engagement the moment it was made. One year later, in 1841, he broke off the engagement, believing that his melancholic temperament made him unsuitable for marriage and he considered her to be intellectually incompatible. The affair with Regine had a lasting effect on Søren and would appear in both his journals and other works. Free from an unwanted engagement and with a large inheritance, he was free to begin a career as a writer. Oddly, throughout his life, he only left Copenhagen three times, spending most of his free time walking the streets of the city or attending the theater.

Continue reading...

[nilboxes]

I loved your headcanon of Ratio being a gundam fan. What other media franchises would you think he would geek over and give a 3 hour lecture on why he thinks they're the greatest? (Aventurine and the cats would be his audience) I can definitely see him liking the NieR series with how philosophical they are.

Hello Anon! I'm glad you liked it, I really should watch more Gundam...

He would totally also geek out over the time mechanics in Legacy of Kain series and resonate with the existentialist themes of defeating determinism and being able to control one's own fate. I see him as a Kantian Deontologist though (someone who believes all good actions derive from good intentions in order to be good) so he would be horrified at the actions of the characters and the events that spun from this in the first place, but he'd still appreciate it and talk about it a lot.

I also know he and Aventurine would have a long, long talk about the events of SOMA (very very good game). It's a neat little game that extensively covers what it means to have a "soul" and presents a lot of questions about consciousness, the importance of memories in identity, quality of life, hope after the end etc etc and is an endless trove of thought exercises about stuff he might be pondering on (part of me feels like Ratio is debating between himself to put both him and Aventurine in the divergent universe as a little wish fulfillment for Aventurine to have better outcome in life in some way and for them to meet in another life)

Figure he'd also love Evangelion if he loves Gundam and see a little of himself in Shinji. He'd understand that boy.

And yes, he would also really love Nier. Both Replicant and Automata would really resonate. Nier deals a lot with the crushing weight of meaninglessness of existence, the extent one should pursue one's desires, letting go of what was in order to make room for what could be etc etc. He'd like those things, I feel, very human and very resonant with his own struggle for meaningful pursuits.

(I feel like he'd also like metal gear ngl, but I'm not too well-versed in that, though from what little I've seen it seems a him thing for me hmm he'd like explorations of existentialism mostly)

Imagine both him and Aventurine going through these series/games together in their free time! I like headcanoning that Aventurine struggles with a lot of questions about freedom, and Ratio carefully answers his concerns about them. I write about this a lot in my fics, poor Aven and his struggles, but I like to think by spending time with Ratio like this he begins to get more and more equipped in how to deal with his circumstance.

The cats would also be with them through all these (they'd get mama veri and papaturine to go play horror games with them)

[hopefull-mindset]

Did you accidentally see Odasaku’s last words as Nihilistic instead of Absurdist?

I do plan to write a larger analysis of Odasaku’s character, but I had the realization as to why some see his words as so negative when they were not to me: You do not see living kinder as enough of an answer to the overly sinking feeling of a meaningless life. You try to be too objective, too rational, as to why someone should live, so you’re mad at Odasaku for not saying an answer that doesn’t exist.

The idea that our life is meaningless is not an inherently depressing or negative one to live with, it’s what you choose to do with that mindset that decides it. No matter what branch of Nihilism, Nihilists decide not to engage with life beyond that it is meaningless, so typically they end up stuck where they are and forever feel an overarching, aching loneliness to what they feel as fact.

Although Dazai wasn’t in the most realistic position to be in, his struggle with Nihilism is pretty obvious in his time in the mafia. More specifically, it’s Existential Nihilism he’s trying to combat. He was at his most nihilistic before he met Chuuya, an utterly passive force that refuses to do more than the bare minimum and opts to attempt suicide instead. When he finally joined the Mafia, he tried to find life in the violence and death and why it could matter, but he couldn’t. It was a doomed pursuit from the moment he tried.

Unlike a lot of characters, Dazai is trying to find a rational meaning for why he should live. A Nihilist does not see an Existentialist’s proposition of subjective meaning as enough to justify why they’re still around in an absurd world where they can’t rationalize it as an actual meaning. There is no real truth except what they can be sure of, which is themselves. So he falls back into his most Nihilistic state once again, throws himself into suicidal situations, but keeps living anyway because maybe something would prove him wrong. Eventually.

He doesn’t try anything new or leave the mafia after this expected outcome because nothing other than his own expectations would happen, even in the world of light, nothing would matter. Genuinely, nothing will fill this hole for him in the way he wants it to because his intelligence leaves him trapped in a cage of his own making, worsening his suicidal ideation. When Odasaku confronts him in his dying breaths, he states it as a matter of fact because he’s been in a similar position to him when he was younger, but truly was he able to give him the advice he needed in his last moments, only through him losing this will to live could he understand his ideation to this point. An Odasaku pre-events of Dark Era would not be able to connect with him on this level, so I ask you to please recognize that.

His first few words were so Dazai would be willing to listen to him. It takes much more than to be a friend for him to listen to them. Odasaku does not come from a negative place, he’s stating what Dazai has always been thinking. When Dazai hears those words, he’s not discouraged, he’s thinking that since he understood him in such a specific way, what would Odasaku tell him to do then? He tells him not of what to do about life, an unsolvable case, but about how he could continue living.

Now this is where you need to understand what I meant by Absurdist. Absurdism, to be brief, focuses on the conflict between human beings seeking rationality and the irrational world we live in being meaningless. It concludes that since it is a futile objective to seek, there are three traditional ways to continue this realization that comes from Albert Camus’s The Myth of Sisyphus. The first one is suicide, which is a highly discouraged option since it only has us succumb/surrender to the absurd and doesn’t solve a thing. The second is denial of the absurd through faith in a higher power, which is a way to live of course, but is considered philosophical suicide.

The third and final option is to rebel, the heavily recommended option. Not to disregard the absurd, but to acknowledge it and to keep living despite our inherent meaningless life. Accept that these are our circumstances, but that doesn’t mean you have to give up on trying to live a life you want, be content with, and to be happy. Dazai was unhappy because he was trying to find the fucking Fontaine of Youth, Aka something that doesn’t exist, and fighting an unnecessary war with himself as the only solider.

The only way he can be happy is to not search anymore and to live his life despite it. This doesn’t solve his suicidal ideation, nothing can truly solve this dilemma, but it will make his life easier to live. This is what makes this piece of advice absurdist. It’s not overly positive because that would be ignoring their reality, this is advice Dazai desperately needed to hear. Anything else of a different tone or stance would be missing the mark with someone like Dazai.

Now absurdists don’t need to live by a certain moral code, that was more so about saving Dazai’s humanity so to speak. He associates being good to having humanity. That’s off-topic though, but it’s whatever I’m going to keep going off-topic. Real talk, I needed to quickly mention that even though their relationship is important, I think some of you are over-idealistic about Odasaku or that their relationship was much more intimate than it actually was when Odasaku was alive.

He was much closer to Dazai as Ango was, but that’s looking at it by Dazai standards. Every time Dazai talked about himself, Odasaku was like “in all our years of knowing each other, I’ve never heard him speak about this.” Pshh, I’m done now.

"Listen." Odasaku wrapped his blood-soaked hand around Dazai's. "You told me if you put yourself in a world of violence and bloodshed, you might be able to find a reason to live..."

[..]

"You won't find it,” Odasaku said in almost a whisper. Dazai stared at him. "You should know that. Whether you're on the side that takes lives or the side that saves them, nothing beyond your own expectations will happen. Nothing in this world can fill the hole that is your loneliness. You will wander the darkness for eternity."

[..]

For the first time in his life, Dazai wanted from the bottom of his heart to know something. He asked the man before him:

"Odasaku... What should I do?"

"Be on the side that saves people," Odasaku replied. "If both sides are the same, then choose to become a good person. Save the weak, protect the orphaned. You might not see a great difference between right and wrong, but...saving others is something just a bit more wonderful.”

"How do you know?"

"I know. I know better than anyone else."

(You guys should totally read The Myth of Sisyphus, I think it would help a lot of your understanding of Dazai)

[philosophicalconservatism]

Is essentialism a foundational metaphysics for a conservative worldview?

It is telling that the existentialist philosophers, Jean-Paul Sartre and Simone De Beauvoir, were firmly leftist in their politics.

I find conservatism more compelling within an essentialist framework, personally.

Note To Followers: This is a technical Philosophy question so the explanation gets slightly technical.

By "Conservative" here I believe you mean to refer to a freedom-centered political perspective, so yes I would agree with you. Such a perspective involves timeless abstract principles of individual liberty. Communism/Socialism however with its roots in Marxian Dialectic rejects the idea of timeless ideals. Here, all things are transitional. Subjects (whether individual or collective) seek out their own self realization through a process of continuous discovery. The truth spontaneously emerges. So we can see an affinity between Marxism and Existentialism there. Of course the focus on the individual ego in Existentialism had to eventually give way to a focus upon the collective in European philosophy (first under Structuralism then under Post-Structuralism).

It should be noted that many people during Sartre's time pointed out the contradiction between his Existentialism's (ontological) theme of individual freedom, and the compulsory nature of state Socialism. Sartre would naturally respond to this charge by asserting the complete opposite. He would trot out Marx's notion of Alienation and insist that it was in fact the free market system ("Capitalism" ) that tramples upon human freedom.

But I don't think that indeterminacy and uncertainty are a solid foundation for political freedom, it requires a stable essence.

[charmedreincarnation]

maya what is your favorite philosopher??

Hii thank you for asking. My favorite philosopher is Immanuel Kant. I find his ideas to be particularly powerful and insight-provoking. His thoughts on morality, logic, and metaphysics have been incredibly influential in my own life and thoughts. He provided a framework for understanding things like autonomy, duty, freedom, and enlightenment that I find really inspiring and thought-provoking.

Kant's theories have been transformative for me in terms of how I think about morality and its ethical implications. He proposed that morality should be based on treating people as ends in themselves, not mere means to an end. This has given me a useful framework for making decisions in my own life and understanding how my actions affect others. Additionally, Kant's concepts of transcendental idealism influenced my thinking about how we understand reality and the power of the human mind to interpret life.

But I also adore many others that I’ll list here.

First up on my list is Baruch Spinoza, a 17th century Dutch philosopher. He was an uncompromising rationalist who believed that all phenomena can be explained by reference to their natural causes. He also held that the universe is an infinitely extended substance that can neither be created nor destroyed.

Albert Schweitzer is another of my favorite philosophers. He was a medical missionary and activist who strove to bring kindness and compassion to all of his interactions. He firmly believed that it is everyone's responsibility to make the world a better place and that it must start with taking care of ourselves and each other.

Lastly I have to mention my girl, Simone de Beauvoir. She was a French feminist writer and existentialist who wrote extensively about gender issues. She argued that society creates roles for men and women based on the idea of biological determinism, which is the idea that biology gives us predetermined roles and characteristics in life.

[athousandgateaux]

thoughts and recomendations on simone weil?

Weil is dope as hell. I think it's nearly impossble to read her work without being moved to some degree. She is simply a fantastic writer and first rate thinker. I know people from a variety of different faiths who find her work inspiring, and have a friend who a kind of religious epiphany and conversion after reading her. I'm an atheist and also not a religious scholar, so I don't feel qualified to evaluate the content of that part of her work, but I've definitely found it interesting ans moving to read, and found myself agreeing with a lot of what she has to say. I also think she's a really interesting existentialist philosopher (she was contemporaries with Sartre, Beauvoir, Camus, and Cioran), though that aspect of her work is often overlooked and underdeveloped by people who engage with her. As a political writer, I think her actions are more noteworthy than her words, tbh. Her convictions were certainly admirable, though I think she is sometimes given too much credit for starving herself and playing proletarian.

As far as recommendations go: Gravity & Grace and Waiting for God are both excellent. G&G is based on unfinished notea she never intended to publish and is much more aphoristic, but I enjoy that style. Waiting for God is a more complete work, but still a very beautiful and enjoyable read. I think the concept of decreation is interesting (and Ann Carson has a good book developing it further), but otherwise, I thonk you just need to experience her writing for yourself and come to your own conclusions.

As far as her political works go: "Abolition of Political Parties" is okay, but not really anything more than what you'd get from anarchist writers of the same period, and quite a bit less, I'd argue. The Need for Roots is shit, imo, and kind of reveals that Weil was not really much of a political thinker. Beyond her strong socialist convictions -- which were largely a product of her religious thought, rather than any real political insight -- her actual political positions are largely incoherent and sometimes verge on the fascistic (the "need for roots" is not far off from "blood and soil" imo).

Definitely give her a read, but I'd stick to her religious/existential works over her political ones.

[bootstrapparadoxed]

Writeblr Introduction

[image description: a somewhat foggy/blurry photo of a green valley with a thin strip of a village in the middle and a cloudy, lightly blue sky above]

Author name: Mattie Bukowski, he/him

Country of residence: Poland

Preferred genres: horror, sci-fi, fantasy (in that order) – all preferably mixed with literary, plus literary on its own

Preferred mediums: novel, short story, video essay

Occupation: PhD student (evolutionary biology)

Age: mid-twenties

Hi, my name is Mattie, I write unhinged fiction inspired by my various existential crises and make video essays about whatever I am hyperfixated on in that moment. I’m queer, autistic, and disabled. English is not my native language but at this point I use it more than my native. My debut novel will hopefully come out late this year from a small press.

I want this side-blog to be mostly about writeblr, so my updates on my stories (both WIP and published), interaction with other people, tag games, etc etc - but I will also talk occasionally about video essays (both mine and other people’s), books I’m reading (will mostly be reblogs from my personal blog or links to a website – coming soon) and other random things I think are important.

If you feel like I would be interested in your stories, please feel free to reply to this post or tag me!

Links:

Main WIP

My existing works

Hyper-specific genres and tropes I love

Personal blog

YouTube channel

Full WIP list under the cut:

FrankensteinWIP – novel, working title “Offspring of Unhappy Days”: a literary horror with dark academia vibes and a dark m/m romance; tag line: “When two scientists discover a horrifying truth about consciousness and death, their obsessive devotion to each other pushes them to do the unthinkable.” Comps: “Babel”, “Leech”, “These Violent Delights”, “Call Me By Your Name”

30% drafted, fully outlined, want to finish the full draft and edit this year

Disability and Horror – video essay; explores the relationship between disability portrayal in horror, the ableism of the horror genre, and the way horror media/fiction can reflect or portray experiences of disabled people, albeit accidentally

Fully drafted, partially edited script, planning to release it this year

Hitchhiker's Guide is an Existentialist Masterpiece – video essay; starts off talking about how the works of Douglas Adams can be deeply philosophical and existential and goes into a lot of things, including chance, luck, and free will.

Partially outlined, planning to have it released this year, hopefully around August/September.

Ideas for novels or novellas that are spinning around in my head 24/7:

“eulogy”, a literary dystopia about a woman trying to document the full scope of humanity before the last human dies of old age; started drafting ages ago and dropped

a space horror novella about a space colony living on a planet that wants them dead, and an outcast accidentally stuck on it, with inspiration from one of my most obscure fears – ball lightning

a “soft-boiled, sybir-punk” novel – set in a future dystopian Russia and follows a bizarre conspiracy; comps: “The Author of My Immortal Emailed Me…” video by Sarah Z and Dirk Gently novels

rewrite of my first novel, “before the stardust” – an anti-capitalist space opera about five young people trying to find their place in the universe; started re-drafting a year ago and dropped