#I don't even really know how to describe it to people it's just one of the best works of writing ever

[rametarin]

This approach is so tone deaf that I'm facepalming.

They keep acting as if those evil evil boys are being brainwashed by Andrew Tate and Alex Jones because of weird mind-perverting fascism rays shooting out of their smartphones, and that's why they need to mandatorily shine counter-propaganda into their faces while banishing "harmful" figures from the algorithm. It's utterly psychotic. On par with the state trying to banish LGBT themes for fear it'll "turn the kids gay."

Except, ideologically, the people trying to own the pillar of progressivism, are demanding everybody bow to one specific interpretation of how anti-racism, anti-sexism and anti-gender bigotry works, under what pretense, and if you don't conform to that specific model, you're just in favor of concentration camps and white supremacism. To the tune where if you disregard their absolutist vision of privilege theory, class struggle their and other self-masturbatory old wives tools of "analysis" (nothing of the sort), then they declare you to just be a bigot.

The election results do not even show that the country is getting "more right wing." At least, not really. The results show that the very un-liberal people using beliefs and standards rooted in Marxist dialectics and philosophy are trying VERY hard to express dominance over the party and how it drafts legislation on what grounds, and many otherwise liberal, progressive people rejecting that, leaving them without a home.

It's showing that while not being democratically elected so much as appointed and sneaking around democracy in the democratic side, the hard-left are alienating many young men by telling them THEY are the problem, whatever they do, and that they shouldn't get a say or be treated like equals because "their demographic oppresses women." They get shouted down and shut out of any discussions among leftists based on this, purely on the basis of, "YOU'RE PRIVILEGED, NO SPEECH FOR OPPRESSORS. SHUT UP. CONFORM OR GO SIT WITH THE REPUBLICANS."

Not only does it drive young men away from the left, it leaves them feeling like maybe the only place for actual anti-discrimination is the right wing. How do I know? SURPRISE SURPRISE, THEY'VE BEEN DOING THIS BULLSHIT SINCE THE 80S, BY MY WATCH!

And then they have the audacity to twist and spin these figures this way to make it seem like maybe American boys are just going "HRMM THIS FASCISM THING SURE SOUNDS GREAT I LOVE WHITE SUPREMACY AND HATE MINORITIES."

This gap they could conceivably be falling through, which is a fraction of the size they're describing it as, is a gap of their own making, specifically to poison the well of just whom and why they have opposition. And full impunity to characterize those whom disagree with them.

And this is why Trump&Co. continues to win, and why the liberals will eventually kick these hard-leftists out of their avenues to affect the party. They're revisionists and biased, borderline liars, deliberately cooking the figures trying to make their echo chamber fantasies about Nazis growing like fungus on every surface, every wall, in every corner.

I couldn't have said it better myself.

[spanishskulduggery]

What word or words do you wish we had in English? For example, I love estadounidense. It’s so much easier than saying “person from the United States”.

estadounidense is such a good example lol - the closest thing we have in English, that is totally informal, is calling it "USian"

I think there are a handful of words that I've come across where you can't totally translate because it's like... a visceral feeling you only understand if you know the culture?

mala leche is a big one; I can never quite describe it to people, but when you get more used to the culture you see mala leche and part of you makes that noise like you just touched something really hot and immediately withdraw, that's the gut reaction to how bad the vibe is haha

Also the verb madrugar is hard to get quite right; because it means "to get up early", but this can also be something more like "to get up so early the sun hasn't come out yet"

I think estrenar is another one that's a little more difficult to translate or I wish there were a better way to explain it; the closest you can get is "to debut" (and same idea for acting, "to debut" or "to star"), or "to show off (for the first time)" like with clothes

...And this one is probably more relevant for Spanish-speaking countries or countries with stricter naming policies, but tocayo/a I wish had a better translation in English

The equivalent is "namesake", but tocayo/a can mean "someone with the same name as you" - so it could be "someone you were named after" like a relative or a saint, like you had a grandparent named Robert and now you're Robbie or Roberta, that's a tocayo/a even if it's a genderswapped version (which they also did for saints like John turns to Juan or Juana) - but it could also just be like "yeah there are three girls named Ashley in my class" or "my name is Maria and so is hers" etc. and that's also tocayo/a

-

There are also some words that just don't have the same meaning anymore, ones that make sense in some languages but not English

The idea of tutear "to speak informally with someone" literally "to tú someone" is hard to express in English where in general we address everyone the same, but in older English it was "to thou" someone because we used to have more emphasis on classes and social standing - something that makes total sense in many Asian countries, or countries that use a more formal or informal register, but something very much lost in some English-speaking countries

[theculturedmarxist]

>Would a party that declares independence from the culture war even be possible?

I think so. We have to remember that the "culture war" is itself just a proxy for the class war being waged against working people.

For example, in my state a few years ago there was a bunch of bullshit over the "bathroom bill." Dem-controlled Charlotte passed a bill saying that people can use the bathroom of their presented gender, and then Rep-controlled Raleigh countermanded it with a bill of their own saying the opposite. There was a lot of gnashing of teeth over the assault on trans rights and so on, but all of this was in service of covering up what the bill was really about. The second half of the bill not dealing with bathrooms dealt with preventing municipalities from setting minimum wages, safety requirements, and other such things for contract workers.

Another example is this recent shit out of Florida and other places attacking what books school libraries are allowed to have on their shelves, generally having to do with LGBTQ&c content. It's really such nonsense, because how many children are actually being "exposed to" that kind of thing from their school libraries to begin with? But recently I saw an article that tallied up the amount schools have spent having to fight these regulations or the evangelical groups suing them into the billions of dollars. Once again the trans issue is just a cover for reactionaries to attack working people, this time by draining public schools of resources and covering them in acrimony.

Remember also that this "culture war" is happening in a more or less vacuum of working class material interests. Both parties use it as a scapegoat to prevent having to offer working people anything. In either case, if a voter isn't offered something positive to vote for, they'll at least vote against something negative. The average person probably doesn't know a trans person or deal with them in such a substantial way to really have to think about them at all, but when used as a means to threaten their child, either in the sense of "you don't want some DEMOCRAT to trans your beautiful girl into an ugly MAN do you?" or "you don't want some REPUBLICAN to KILL your beautiful trans child do you?" then it becomes a serious issue.

For the most part I really don't think the average person gives much of a shit. Returning to my state's circumstances, right now much of the Western portion is still devastated by hurricane Helene. If a trans person showed up on the remains of someone's doorstep, home destroyed, no power, no heat, no water, no food, with clothes and food and water for them and their children, do you think they're going to turn their nose up? Maybe a few, but I think most people would kiss the feet of the person that kept their children from starving.

And I think that's what we see pretty regularly—people are more concerned with having their material needs met over the ideological source of having those needs met. The average American voter isn't represented by either party because neither one materially meets any of their needs and they have no interest in trying to. In fact, I think if you described the ideal socialist program to the average American they would unequivocally support it.

To provide one such example, when the Amazon Union had its first organizational success after several failures, the union rep was interviewed and talked about what made this time succeed after all the other times failed. Basically he said that the union DID for the workers in the lead up to the vote, providing them with food and weed in addition to their ideological aspirations.

Contrast to the interview with the worker from (iirc) a failed unionization attempt at an auto plant in Kentucky. Ideologically she backed the union 100%. She wanted the union, thought it would be a tremendous help to herself and the other workers there, yet she voted against it. Essentially what she said was "I wanted the union, but I have cancer and the employer threatened to cut our healthcare if we unionized, and that would kill me."

And that's the major stumbling block for the socialist movement in the US right now is that it lacks the ability to materially provide what it ideologically aspires towards. It isn't a defect in theory or lack of zeal, it's just materially unable to. So in spite of a lot of theoretical support for socialism and its ideals, that support hasn't translated into success for the movement, in large part because even when socialists are successful at the polls, the political system as a whole is designed to make translating that success into the sort of material changes which would threaten to unseat the bourgeois parties.

One such example is that the socialists actually did win in Nevada a few years ago. Socialists within the Democratic Party managed to unseat the bourgeois party representatives, and the party responded by basically robbing and starving them of resources, and all the experienced bureaucrats the party's representatives rely on to function all quit. The result was that last year all the elected socialists got unseated in turn by Democrat regulars because they weren't able to parlay their electoral success into actual material gains.

In my opinion the threat of actual material improvements for the working class and what that would entail is what freaked the Democrats out so badly about Bernie Sanders. As much as they squealed and cried about Trump, Sanders actually terrified them. It wasn't his label as a socialist, because to Americans the "Socialist" label is meaningless, just a stand in for whatever scary Bad Thing. What horrified them was a socialist politician getting within spitting distance of having the power to actually provide people with material improvements to their lives. The Democrats aren't afraid to promise or "fight for" a $15 minimum wage or "access to health care," but they are deeply terrified of someone actually providing it.

And I think that is shown both historically with groups like the Black Panthers and the violent reaction generated by their childhood lunch programs, but more recently with the success of the Amazon Union.

The real impediment to socialist political success is that political success itself is insufficient to materialize concrete gains for the people that vote for them, and getting bogged down in "culture war" superficialities exacerbates that. That isn't to say that trans people or their needs should be abandoned, but rather that they need to be a) put in the proper context and b) can't be combated on bourgeois terms.

In 2020 and 2024 both, the Democrats offered trans people nothing except the threadbare hope that by voting for them, they'd be spared the worst predations of the Republicans. The proper socialist position would be that merely being spared from harm isn't enough. Trans people suffer particularly from poverty for example, so merely keeping their circumstances from worsening is insufficient, but that they needs must be improved.

In the current calculus of the American political system, this is theoretically appealing to the average voter. As long as helping trans people doesn't come at their own expense, Americans would generally support such a thing. The problem is whether explicitly known or not, voting for a socialist proposing such a thing would be a losing proposition even if they won. I frequently hear people that they intellectually support third party candidates for example, but "they can't win." Even if a socialist were able to win election to legislature, they would be hamstrung by the fact that they're an enemy of "both sides" with a material interest in seeing them ejected in short order. There are some exceptions like Sawant or Sanders, but that's the general rule.

What I think this means is that at this stage there's an overemphasis on winning political power and trying to beat the bourgeois parties at their own game. I think the social and political organization of the working class is too immature for that at this stage. Rather we must develop the sort of ecosystem of material benefit and support which solves people's problems outside of a hostile electoral system. This doesn't mean electoral politics should be abandoned completely, but rather than winning elections as an end in itself must be de-emphasized.

Returning to the problem of trans poverty for example. I think what would enhance a socialist party's success would be starting a program of partnership with amenable unions to secure trans people positions within them and their industries. This would solve multiple problems at once by providing this theoretical union with members that have incentives to participate and support it, if only out of their own self interest. They'd be indebted to the party for the assistance and if not ideologically converted at least incentivized to support the party in turn. Ideally this would also help the union and the party foster a mutually supportive relationship which would further the goals of both.

The point being, as long as socialist orgs are focused primarily on political contests they can't win, the development of broader working class organization is going to remain retarded. All the small, disparate working class elements existing in the US have to start developing networks of mutual aid and coordination, pooling their resources to in order to provide actual material support to workers outside of whatever crumbs they're able to wrest from the bourgeois state, because otherwise we're resigning ourselves to a Sisyphean political struggle we're unlikely to win.

[dreamwreaver]

Vox getting frustrated over the fact Alastor is getting too close to the princess.

Zestial hearing rumours of Alastor's involvement with Charlie's flight of fancy.

Lucifer thinking that Alastor was dating his daughter, only to be blatantly relieved to find out it was Vaggie she was dating.

Mimzy getting verbally booted out of the hotel by Alastor, who used to clean up after her and been her friend since they were alive, only because she brought danger to the hotel and before she leaves, says to have fun with "his little princess".

Angel half-jokingly remarks about Alastor and Charlie running away from their responsibilities which is a line often commonly used for a couple eloping.

Rosie, upon first meeting Charlie, says she's much too young for him, clearly kidding around about him finding a new date for her to formally meet.

So many hints, so many jokes, so many references to Charlie and Alastor's relationship... What does it all mean?? This is literally what foreshadowing a couple looks like, if this were any other show, of course.

Let's also add in the fact that he breaks his own rule of rather breaking his own bones to avoid being touched by people without prior consent for her specifically, is one of the go to people to make her laugh with a pun (the lowest form of humor depending on who you ask), made himself completely comfortable on her bed when she was at her lowest and CONTINUED to stay there even after she left thereby putting his scent all over the damn thing, refused to take her soul when we all know it was something Charlie would willingly give if it meant saving her friends and people from the exterminations, and quite possibly my favorite; the deer mating noises he makes around just her.

Or one of my favorite scenes in the entire show;

Take a moment and really look at this. Alastor's gaze remains directly locked on Charlie, who reciprocates. But as he leans an arm on the back of her chair, far less in her personal space than he normally is, she grows incredibly bashful. Now, nervousness is a fine reaction, but notice the body language. She sticks her hands between her thighs and and closes her knees around them. Now I don't know about you, but consider for a moment how deliberate every action in animation is. Are there not better ways to convey the emotion she's displaying that DONT look like she's been caught having naughty thoughts about the radio demon by said demon himself?

I would love to show this scene to a non hazbin fan and ask them how they interpret this. There's a new charlastor challenge for my fellow shippers. Show someone that gif and ask them how they interpret it.

And if we delve into the meta lore there's even more. Viv has gone on record with a doodle explaining that Alastor and Charlie's shared sense of humor is the lonely island song "Mona Lisa", and that there are precisely three named characters who like pineapple on their pizza: Charlie, Alastor, and Lilith. Far be it from me to tell Viv how to run her show, but let's also look at helluva boss; a love story between a royal of hell and a creature of lower status. One who has found a way to seize some measure of power and eke out their own path. A lower class being who had a terrible father and lost his mother whom he was the closest to. Someone who hates being in chains, and is so desperate to break free of them and yet finds only emptiness when he realizes he does give a shit about this royal he tried to convince himself he didn't care about.

Am I describing Blitz, or Alastor?

All I'm saying is, it wouldn't be out of her narrative style if it was endgame. And even if it isn't in a traditional sense, all current narrative beats indicate that Charlie is going to become Alastor's person, his exception to all of his rules, and the person who as someone so successfully dodged a straight answer about, "who he'd do absolutely anything for"

[coolwitchaunt]

"Suddenly my eyes were held in glad and incredulous surprise. Along the pavement toward me there came floating a goddess. There is really no other word for it. The perfect features, the crisply curling golden hair, the tall exquisitely shaped body. And she walked like a goddess, without effort, seeming to swim nearer and nearer. A glorious, an incredible, a breath-taking girl!In my intense excitement something had to go. What went was the currant loaf. It slipped from my clutches. I made a dive after it and lost my stick, which clattered to the pavement, and I slipped and nearly fell myself. It was the strong arm of the goddess that caught and held me. I began to stammer: "Th-thanks awfully, I'm f-f-frightfully sorry." She had retrieved the currant loaf and handed it to me together with the stick. And then she smiled kindly and said cheerfully: "Don't mention it. No trouble, I assure you," and the magic died completely before the flat, competent voice. A nice, healthy-looking, well set-up girl; no more. I fell to reflecting what would have happened if the gods had given Helen of Troy exactly those flat accents. How strange that a girl could trouble your inmost soul so long as she kept her mouth shut, and that the moment she spoke the glamour could vanish as though it had never been. I had known the reverse happen, though. I had seen a little sad monkey-faced woman whom no one would turn to look at twice. Then she had opened her mouth and suddenly enchantment had lived and bloomed and Cleopatra had cast her spell anew. Joanna had drawn up at the curb beside me without my noticing her arrival. She asked if there was anything the matter."Nothing," I said, pulling myself together. "I was reflecting on Helen of Troy and others." "What a funny place to do it," said Joanna. "You looked most odd, standing there clasping currant bread to your breast with your mouth wide open." "I've had a shock," I said. "I had been transplanted to Ilium and back again." I added, indicating a retreating back that was swimming gracefully away: "Do you know who that is?" Peering after the girl Joanna said that it was Elsie Holland, the Symmington's nursery governess. "Is that what struck you all of a heap?" she asked. "She's good- looking, but a bit of a wet fish." "I know," I said. "Just a nice kind girl. And I'd been thinking her Aphrodite." Joanna opened the door of the car and I got in. "It's funny, isn't it?" she said. "Some people have lots of looks and absolutely no S. A. That girl hasn't. It seems such a pity." I said that if she was a nursery governess it was probably just as well." -The Moving Finger, Agatha Christie (1942) I read this book when I was in single-digit ages and my notion of what attracted people to each other was quite tentative. I remember finding this passage interesting because it talked about attraction both as distinct from looks and as distinct from "true love/love at first sight/magical soulmate bullshit" (which were how most books I was reading at that age seemed to describe attraction) but as a combination of things that even the people affected couldn't entirely articulate.

talking about flters and real beauty vs fake beauty and cultural standards etc always makes me think about all the victorian and edwardian novels i read, where the things that people thought about beauty were recorded at length. recently ive been reading a lot of Thomas Hardy (best known for Tess of the D’Urbervilles and Jude the Obscure) and there’s so much discussion of the beauty of people, particularly love interests, both men and women. and these writers, and their eras, and the culture of the eras, was of course obsessed with beauty and youth and also artificial beauty (being the eras of the really transformative corsets, not to mention some of the earliest industrialized or modernized beauty products or processes), as all human societies are to a greater or lesser extent in their own ways, but the thing that sticks out to me in reading these books is how beauty is not the singular or even the most important aspect of a person’s overall attraction. if someone has a beautiful face or figure, it is mentioned, but never to the obsessive, fixated extent that physical beauty is isolated from and elevated over all other features in modern american/western culture. there are plenty of protagonists or love interests in these books who are described as not young, or not remarkable, or not pretty, or even ugly or frightening, but nevertheless compellingly sexy and attractive, or simply interesting, or worthy in some way. 

its weird that the cultural consciousness has become seemingly ignorant of non-physical attraction. like that anon that was in my inbox talking about how they were “normal looking’ and therefore “needed” filters in order to “compete” with attractive people. it’s a weirdly mercenary and capitalist view of the social economy, first of all, which absolutely is not zero-sum no matter how badly the social networks want to convince us that it is. but there was never a single mention from that person about their ability to charm or entertain or attract using anything except a fake photo of themselves. wild. im fuckin worried about them! im worried about every young person how has brain worms

when i was about 4 and starting to become aware of how much adults were obsessed with my appearance because i was dainty and blonde and could do a passable shirley temple imitation, my parents gave me a very serious lecture about what physical beauty actually meant: i didn’t work for it (yet, i mean i do a lot of work now as an adult), it was given to me genetically. and someday, maybe sooner or more suddenly than anyone could predict, it would be gone. if accident, illness, or hardship didnt get me, old age eventually would. so with that being a certainty, i had better build a life and a personality on something other than my looks. and i said, ok. every day i get older im more grateful for that advice and the fact i decided to take it to heart instead of trying to gamble on Being Hot for long enough to get job security. which is also a valid career choice but it’s a risky one. always better to have a fallback just in case.

Keep reading

[liquidorcard]

HEY Y'ALL IT'S MIKAILER WITH AN "ER" WHY IS THAT SO HARD TO GRASP!?

---

Did I get your attention, Mikaila? I hope so, let's see.

Mikaila, I don't like you. You've done shit that's soured my opinion of you. I'm acknowledging that now to get that out of the way. I'm not here to be two-faced about this or blow smoke up your ass.

But as one idiot who stayed in a toxic relationship to another-- I'm not making fun of you because I think I'm better. I know. Being in a relationship like that brings out some ugly shit. You resent and fear people will never forgive you. You don't know if you will forgive yourself. I'm not making fun of you because I think I'm better than you.

And it feels kinda good, being treated badly? In a weird way? When you're used to it? When you feel you kind of deserve it? It did for me too. My abuser did some fucked up shit to me. I don't know how to describe to you the strange feelings I'm left with now. Sometimes I think I finally hate her, sometimes, as pathetic as it makes me feel, I still miss her. It's a rot in you that never really goes away, but you learn to live with it. I understand that agony. I understand that anger of how fucking unfair it is.

You know my opinion of Lily. You're not going to trust me that I'm not saying all this just to get you two to break up to hurt her. Fair. Very fair, not going to pretend like it's not. But if Lily loves you, nothing I'm about to say should be an issue. She should want what's best for you, right?

Here's the rub Mikaila, it's been a few years now. I know you want out of your situation at home, but it doesn't seem like Lily's going to be able to help you with that at this point. I'm sure Lily's given you plenty of reasons as to why, and it's time to listen to her.

If you're heart's set on coming to Canada, your best bet is getting a job here. Or even, going to school. Art degrees (Here in Canada) aren't as expensive, provided you go to the right school. Even taking out a student loan for just one year to figure your shit out. I know you're in quite a bit of debt right now and don't want to get into more, but. You gotta do what you gotta do.

Here's the college I went to. Yes, your work is sufficient to potentially get admitted. Believe it or not, art school's get that illustration is a learned skill. Artists start from all different levels:

Look through the admissions requirements to see if you have the academic records to be admitted. If not, you could also consider upgrading through online classes aswell.

Again though, your best bet is to try to find employment. The cost of living isn't great here right now, but it isn't great anywhere. I doubt you'll be able to find cheaper rent in America.

Once you're here or wherever you end up, away from the chaos of your home, you might find it a lot easier to get your head around, establishing some better independence and becoming a citizen by yourself. It's a shitty process, but not as bad as the one you guys have in the States. We stan an immigrant here.

You need to look out for you, Mikaila. It's not selfish. It's not a matter of whether you "really deserve it or not." Nobody's going to save you. You're emotionally spent because of your parents, You're emotionally spent because of Lily. And it feels kind of nice how much Lily needs you. But you can't help her until you help yourself - and again, if we're all wrong and Lily really loves you, she shouldn't have a problem with you finding your way.

My own mother once told me I was "born sad." I've never not hated myself. I ate up any little bit of love and validation no matter how many bitter, razor pills that came with it too. That's just how it is for some of us.

But you know what Mikaila? Fuck em. Fuck all of them. Fuck everything. Fuck me, Mikaila. You've got one life. One body. One you. Whatever you think of her, someone's gotta fight for that poor bitch. Why not you fight for you?

Everyone's a stinky meat bag stripped down, Mikaila. Everyone's made a fool in the wake of the shit people like you and I have been through. Not everyone's going to be able to forgive everything, but everyone's not wholly past forgiveness.

I'm no better than you Mikaila. Nobody is. Some of us just get to know the worst sides of ourselves better than others.

I don't like some of the things you've done, girl. But I see you. I get it. Tell us all to eat shit. Fix your life. Don't rely on Lily to make you feel whole or to save you. To make you feel worthy. No person can do that. She could be the reincarnation of Mary Mother of God herself, and you couldn't expect that from her. Be your own advocate. If your relationship isn't toxic, it can survive you becoming a more whole you.

This asshole is rooting for you. Give me an excuse to undoomer "Mikailer." My girl needs a win.

[alexanderwales]

I finished rewatching Death Note. I always forget how short anime is, with episodes that aren't much more than 20 minutes when you skip the intro/outro.

I hadn't remembered how much of a sniveling wreck LIght was at the end of the show. There's something about the ending that makes it feel like it was written and directed by a different person, not that Light wasn't always a little weird and pathetic, and not that the show didn't consistently go out of its way to let us know what a piece of shit he was (particularly his absolute lack of loyalty or empathy to anyone, even aside from the megalomania). But he takes the loss like a loser, snot dripping from his nose, voice cracking, begging, and it's so pathetic that I almost felt a little sorry for him.

I've always found the Death Note to be a very interesting prompt, one of those hooks that's so good I'd want to watch it even if it was bad. But in writing something like Death Note, the author has to make decisions about what to show and what not to show, and also make decisions about how they're going to portray the public at large.

There are two big things that stand out for me.

One is that we never get someone arguing against Kira. We get people who are actively trying to hunt him down, but they're mostly not stopping to say "this is why what he's doing is wrong" except a few lines about how he has a childish sense of justice, which is never expounded upon. Kira, on the other hand, we hear a lot from, not just the megalomaniac stuff, but the notion that criminals must be punished, that this is what people desire in their hearts. I get the strong sense that L does not actually care and just views this as an interesting puzzle for him to solve, but for everyone else it's largely left as an exercise to the viewer, and even then, there are moments when some of our task force members come dangerously close to endorsement.

To the extent the show has an answer, it's that (to quote Kanye West) no one man should have all that power, or that Kira has crossed a lot of lines, but no one argues in favor of rehabilitation or clemency or just fundamental humanity. Kira seems to largely be killing prisoners, who have already been sentenced, and are wards of the state, and he says "this is what people want deep down, they will give you the politically correct answer but they actually want the criminal class to be obliterate", which ... there's no character who actually voices any opposition to through the whole series. And I find that weird, because yes, the show has its own answers in terms of how it plays out, but in a show filled with people possessed of immense conviction, most of the people in opposition to Kira are just intellectuals who don't actually give a shit about the ideological question.

(The one big moment when it comes to a head, IMO, is when Soichiro Yagami refuses to write Mello's name entirely because of his principled objection to killing someone. I thought this was great, and I wish the show had more of it.)

The other big thing is that we don't really get a viewpoint of the criminals, with a few exceptions. One is the is Yotsuba group, who are killing people with the Death Note, and the second is the (somehow still functional) mafia that Mello hangs out with. There's also one other scene somewhere after L's death where we see a criminal begging with the police not to have his name written down, and that's about it.

The naive view here is that the show really does believe in Criminals as being a part The Other, a different sort of human being who walk among us. The criminal class are described as rotten and evil, they're shown as grotesque and with exaggerated features or bestial characteristics, and they're generally leering and impulsive. There is no consideration of their humanity.

There's a more nuanced take here, which is that we have a criminal as one of our main cast, Light Yagami, along with everyone else who takes on the Kira mantle. So what is the show saying about criminality through how it portrays them? And here ... I don't know. I kind of don't think that it views them as criminals in the same way? When we look at the ways that Light kills, I genuinely do think that the show thinks that this is different from the way that a capital-C Criminals kill. It's reactionary rather than criminal in and of itself, a response to the injustices of the world rather than being in the same class as those injustices. Light is narratively exempted, and Misa is to. Which isn't to say that I think the show thinks highly of Light, it clearly doesn't, especially in its ending, but I almost think that in the end it Others him too (and also has Teru Mikami drawn in particularly 'evil' style, like a creepy deviant gremlin).

So I enjoyed the rewatch, but there are things that sit a little oddly with me as far as the central themes go. There's probably some discourse I should read that's come out since I first watched it in ... 2010 or whenever, but I think I'll give that a skip.

[donnerpartyofone]

Because this happened to me more than once today in different scenarios, and because I don't wish to start multiple conversations about it with people I don't really know, I will just say right now: When I am describing persistent personal problems, please don't contradict me, even if your instinct is that denying what I said is the nice thing to do. I'm not looking for compliments. I'm not secretly hoping someone will argue with me. I'm also not, like, a child with low self-esteem who just hasn't learned some important lesson yet. When I describe my experience of life, I'm speaking as a middle-aged adult with decades of observation and trial and error. I know what I can and cannot do and I generally post here in order to say, "This is who I am, this is how things are for me, this is what literally happens," because there aren't very many places for me to do that. But it happens a lot that I say something that sounds "negative" or whatever, and various people cannot control the urge to correct me with something nicer-sounding. I know it is meant well, usually, but the only effect of this is to make me feel like I'm not allowed to talk about my life here, without immediately having it reinforced that no one understands or believes things I say. This is incredibly frustrating and alienating for me, and I think I have been abundantly, elaborately clear on this point on this blog. So that's all I want to say on the subject, if I'm saying "I have these deficiencies or difficulties," please repress the urge to tell me I don't. Try saying, "That sounds tough, I'm sorry you're dealing with that," or alternatively try saying nothing at all, which is a potentially more compassionate, respectful response when you're really not the expert on somebody else. I don't want to get into a discussion about this with anybody; if you happen to feel like you have something to apologize for, the best thing to do is just stop the behavior. If this seems insane to you, that's OK with me, just take it as a measure of how strongly I feel about this. If you pursue this with me in any way I'm going to block you, even if I actually think you're probably nice. I just can't take the friction and my only alternative is to just express myself less and less and less, which I do not prefer. Now I have this post I can reblog whenever someone is not getting the memo, and I've gotten it off my chest for now, and I hope I can relax enough to get at least a little bit of sleep. I have a big day coming up, even if I'd rather have no day at all at the moment.

[after-the-end-times]

This is a really fascinating response! Mainly because the characters in my head feel so different than how they're described here...and considering you're their author, I'm not sure how or why I've interpreted them so differently lol

Because, one) I don't see Rae as a villain at all, in any capacity and two) I'm not sure I agree that Alice would've been a sweeter, "less annoying", and more sympathetic main character.

To me, Rae is someone who is literally just fighting to survive in insurmountable and inconceivable conditions. First against the cancer that's literally about to kill her, and then later in a kingdom that's so harsh and cruel that no one who lives there knows an ounce of kindness.

Of course, she's going to be angry that she, at such a incredibly young age, is going to die before she ever even got a chance to live.

Of course, she's going to be angry because she feels alone in her slow death, forgotten and left behind by her friends and family.

And, of course, she'll take whatever bit of hope she can that might allow her to live just another day, if not hopefully for a long and fulfilling life.

But anger doesn't make her evil. Wanting to live doesn't make her cruel. None of her actions are because she wants or likes to see others suffer. Every action she makes is completely understandable and, most often, the only actions she can make to just continue living another week, another day, and, sometimes literally, just another moment

The characters who consider her evil do so because the society and kingdom that they live in is just so horrifically cruel and controlling. They see someone who's just trying to survive however she can (while often playing by their rules and sometimes playing by the genre's rules) as cheating and is thus a villain. They feel that if they're beaten down, terrified of breathing wrong, and so completely unhappy all day everyday, then everyone else should be too. But that doesn't make them evil either. They too, are just trying to survive to the next day.

And it's amazing how often, while I was reading, I thought about how this book mimics our world right now. Especially now, with our election results. But being angry that trump and his ilk won doesn't make anyone a villain. It doesn't make anyone who rebels against the coming tyranny, evil. We need to be angry to make the world better. It's the only way we'll stomp out his evil and his control. If people aren't angry, they'll become passive and trodden down and let him destroy our country out of fear of saying anything. Anger, however, will allow us to rise up for good, for hope, for change.

We need anger to survive

And as for Alice as the main character, I just think Rae makes for a much more interesting main character. Rae being someone who has already been fighting for her life against her own self, going on to fight for her life against outside forces of true evil.

The entire story feels very much like a wish fulfillment story for anyone who's fought the, sometimes futile and unwinnable, fight against their own body. And none of that feels villainous to me.

I remember reading in one of your blog entries (years ago??) that in the new book you were writing, the main character's *sister* had cancer. Does that mean that Alice was originally the main character of Long Live Evil? Was she going to go into the book to save Rae, instead of Rae going in to save herself?

How extremely kind of you to remember!

No, that was actually a YA murder mystery that I wrote while ill, revised while recovering, and sent out into the world where it died on submission. (Which means we sent it out to about 12 editors and the editor either said no, or said yes and took it to acquisitions - a group of people at the publisher including sales and marketing - and acquisitions said no.)

One editor told me she really wanted and really tried to buy it. Another person who worked in publishing (and has since changed jobs, or I wouldn’t share this) said the response at her acquisitions was - if you like this writer, find the next her (implications about health and youth were made).

I was terrified my agent was going to ditch me too, but she said ‘We’ll sell that one day, for now let’s write the next thing.’

I remember another writer telling me she missed my work that wasn’t a tie-in, and I felt ashamed to tell her it wasn’t that I wasn’t writing other things - it was that I couldn’t publish them.

The tie-ins meanwhile were paying the bills (they still are tbh!) and I was and remain so grateful for them. But I also really loved writing them - especially my Sabrina tie-ins, you don’t forget the first, and it reminded me I want to write horror and poly one day - and how they got me to love and sympathise with so many fandoms.

I see the burnout of caregivers all around me, and I wanted to write the story of one. But maybe I also wanted to take a step back from cancer. I didn’t think I did, at the time. I had a whole lot of things I tried writing before Long Live Evil, and I think some of them were really good. One of my critique partners gave me a lipstick with the same name as someone in the murder mystery. There was a romance novel another critique partner said was her favourite thing I’d ever written. But none had someone with cancer at the heart of the story.

And even though Rae isn’t much like me, maybe I had to start there. You can’t make real magic using someone else’s liver. Maybe I had to wait to be brave enough to use my own liver.

I do get requests for advice on how to cope with rejection of your writing, and I always worried I didn’t have anything else to say, but I suppose my example says - if you can, (and I know it’s hard, you feel so terrible at writing and so useless) (and you love the work you’ve done so much and you don’t see a way forward to loving the next thing) (but still, if you possibly can) write the next thing.

Even if the first thing sells, you’ll want the next thing one day. Writing the next thing is more writing practise, so it’ll make you better. Write the next thing.

Ultimately I’m really glad Long Live Evil was my comeback book. I think it needed to be. It took the time it took.

But maybe it was a shade of that past book (where the heroine’s sister with cancer was six, so not much like any of the Time of Iron characters) that made me think of the YA version of this book, which I always had in my mind as something I was intentionally hewing away from - a more straightforward book, a book that might have sold better - in which shy reader Alice was the hero. She’s the one with the suggestive hero name - Alice through the looking glass - the heroine looks, and the more projectable-upon personality. She’d get called annoying less often (though still some, because she’s a girl), partly because she is (with love, Rae knows I’m right) a genuinely less annoying person. Much kinder, much sweeter, and much better at in-depth reading! Her sister being in trouble would’ve been a backstory, a catalyst point, and - you’re totally right - a great motivation for her to get the Flower. Saving a family member is a much more sympathetic and heroic motivation than saving yourself and one I do love (the Hunger Games, Labyrinth, Mahy’s the Changeover, and I write it a lot!). I think Snarky While Tragically Dying Rae would’ve been a pretty popular side character, too. I think it would’ve been a good book! Just not mine.

I love your question because I love thinking about POV, and all the decisions that are the building blocks of a story. To me, the Alice centric Time of Iron is a version that exists. As are several versions of the Lia centric Time of Iron. And versions centring other characters exist to me, too. (Eric, absolutely.)

Speaking of POV musing, I think Rahela the wicked stepsister featured more in the musical than the book. If the Time of Iron series ever became a TV show (and at this point in time I think I’d rather a movie because it wouldn’t… get cancelled…) and I got to write it (don’t know why I would…) I would start with the beginnings for three characters about to go on a journey to somewhere strange to them: Key in the Cauldron, Rae in the hospital, and Vasilisa in the icelands. There are so many possibilities! And I really wanted the sense that there were so many possibilities, too.

But I wanted the chronically ill one to be the centre of the story, and for it to be her villain origin story, and to ask a lot of questions (hence a lot of villains!) about who gets villainised and why. And I thought hers, to my mind, would be the most fun of all the possible stories.

So that’s the one I made. But Long Live Evil has a lot of origins. Thank you for remembering one of them! I don’t think I would’ve dared tell the story, if things hadn’t worked out for me (so far, fingers crossed).

And I also tell it to be clear my publisher was taking a RISK with me and Long Live Evil, and I really appreciate that, and I’m so happy it’s worked out for them (again so far, early days, fingers crossed, etc).

I hope some writers - whether in the process of submission, rejection or making the choices that are the building blocks of story - find this helpful, and some readers find it interesting.

Let this be one of the universes in which your story is told.

[babacontainsmultitudes]

RIP Will Campos the only person who was murdered this episode.

[aethersea]

it is funny though how kids' shows are so so so careful about death, no one's ever killed except MAYYYYBE the big bad, all those random side characters are fine, here have a quick shot of them before we leave just so you know they really did survive that 50-foot drop into a stormy sea,

and meanwhile kids' books nearly all agree that it's not an adventure until it has a body count.

[orcboxer]

Sometimes I wonder if there will ever be a game quite like Disco Elysium ever again.

[the-moogle-of-your-nightmares]

one thing i really deeply wish is that i'd had access as a kid to the plural community and information that are more easily available today, instead of my first experience with plural community which both took it seriously and was nonjudgmental having been 10's era tul/pa.info lmao

[icewindandboringhorror]

There's always a slight yearning in the back of my mind wishing I had been born in the right place, time, family situation, income level, etc. to have just lived in one single house for my entire life. Imagine being born in a place that still suits you, even through all of your personal evolutions and etc. The idea of deep familiarity with an area because you've lived and explored it for 40+ years, being encased in a web of memories and connections. Being able to clean out your old childhood bedroom and find personal artifacts, to dig in the yard and remember. I know those lives can still be plenty imperfect, but there's just something so seemingly solid and stable and Grounding about it that I sometimes wish I could have.. (At least from my outside perspective as someone who's moved around a bit geographically and even within the same area, never lives in the same house/ apartment /etc. for more than a few years usually.) Like... having a place that is printed upon, fully your own, rather than chronically a visitor, every thought of a space always tempered with the notion that one day soon you'll have to pack it all up again, etc. There's something peaceful about the permanence.

[themthistles]

i think that while micro labels can seem useful and affirming ultimately they're isolating and kind of an obstacle to your understanding of self. that's because you can never find a word specific enough. there will never be a label or two labels or even ten, twenty of them to perfectly capture and describe all of your thoughts, feelings, experiences, preferences, needs, interests, identities, etc. because you learn more and more about yourself every day and then you change and your wants and needs change with you. having to hop between labels, fearing that you don't 'fit' into a label anymore (both in your own and others eyes), worrying how soon your current label will wear out, questioning if you'll ever fully fit a single one. all that causes a lot of uncertainty and anxiety which could be avoided by just picking a more general thing and molding it according to what it means to YOU. because words will always mean different things to different people, you will never be understood immediately and maybe never completely by anyone but yourself and that's fine

[keeps-ache]

buttered noodles 💫💛🍜