#Insightful Dog of Wisdom

[verysadpaper]

meet the newest OC, the Insightful Dog of Wisdom, make him say anything! The beauty is, no matter what you make him say, it’s in character!

[antielevator]

WHAT CHESS PIECE REPRESENTS YOU?

Black Rook

You are the Black Rook. As a piece that can move inwards and outwards, you're a master of self-reflection. Being the black piece, you hide an inner beast within you. Perhaps you're one to rush headfirst into trouble, was it for a friend's sake? Or your own? Are you the overprotective type? Did you know your grip was that tight around someone's neck? For all your protectiveness and deliberate planning, you can't wash the blood off your hands that easily.

tagged: @sharpsuite, thank you!!

tagging: @obscurart @moldcursed @punishdsin @alexeatis @mindreid + anyone else who wants to yoink this! @ me so i can see your results

[thespiritualparrot]

Dog Spirituality: Connection Between Canines and the Cosmos

Have you ever gazed into the eyes of your furry friend and felt an inexplicable bond, something deeper than mere companionship? If so, you’re not alone. Many believe that this connection goes beyond the physical realm, tapping into the very essence of “dog spirituality.” In this journey, we’ll explore the spiritual dimensions of our relationship with our four-legged friends and also discover why…

[dorothylarouge]

US Presidents as Dril Tweets

George Washington: another day volunteering at the betsy ross museum. everyone keeps asking me if they can fuck the flag. buddy, they wont even let me fuck it

John Adams: "ah boo hoo hoo i want to post Foul comments to content leaders" Fat Chance, Dimwit. I will annihilate you under bulwark of the Law and God.

Thomas Jefferson: Q: If your post was proven by a counsil of wise men to be racist, or bullshit, would you bar it from the record? A: I do not delete my posts

James Madison: (sniffing a crumpled up one dollar bill i found on the floor of a dog kennel) ah.. thats greenbacks baby

James Monroe: for decades i have traversed the unforgiving mountains and rivers of south america, hoping to catch a glimpse of the fabled "ass downloader"

John Quincy Adams: "This Whole Thing Smacks Of Gender," i holler as i overturn my uncle's barbeque grill and turn the 4th of July into the 4th of Shit

Andrew Jackson: handing Faves over to my enemies is FRAUD !! base, contemptible FRAUD!

Martin Van Buren: Food $200

Data $150

Rent $800

Candles $3,600

Utility $150

someone who is good at the economy please help me budget this. my family is dying

William Henry Harrison: (spends all of 7 seconds skimming some blog posts) yep. just as i knew all along. having pnuamonia is good

John Tyler: fuck "jokes". everything i tweet is real. raw insight without the horse shit. no, i will NOT follow trolls. twitter dot com. i live for this

James K. Polk: thhere is no such thing as charisma, and art is fake. the only metrics by which we must determine the worth of a man are Strength and Wisdom

Zachary Taylor: the doctor reveals my blood pressure is 420 over 69. i hoot & holler outta the building while a bunch of losers tell me that im dying

Millard Fillmore: trying to heal..... please donate to my go fund me... $10 will make me less racist... $100 will make me extremely less racist...thank you...

Franklin Pierce: blocked. blocked. blocked. youre all blocked. none of you are free of sin

James Buchanan: #NationalGirlfriendDay please cherish your gal's.. in honor of us, the single Boys who must sacrifice all companionship to #CarryTheBrand...

Abraham Lincoln: unloading an entire belt of ammo at me with a minigun or some such device will now get you "Blocked"

Andrew Johnson: who the fuck is scraeming "LOG OFF" at my house. show yourself, coward. i will never log off

Ulysses S. Grant: i regret being tasked the emotional burden of maintaining the final bastion of morality and Nice manners in this endless ocean of human SHIT

Rutherford B. Hayes: using the toilet when i hear Our national anthem start to play. i do what i must. i stand tall in complete agony; as shit runs down my leg,

James A. Garfield: too much truth in such little time. feeling the heat cominh down to silence me... signing off........ for now

Chester A. Arthur: i WILL wise the fuck up. i WILL super charge my content for 2017. i WILL get blue check mark

Grover Cleveland: the way i see it, people who come on here and submit content that is not up to par, could possibly be considered the "Villains" of this site

Benjamin Harrison: i help every body, im not racist, i keep myself nice, and when i ask for a single re-tweet in return i am told to fuck off, fuck myself, etc

William McKinley: boy oh boy do i love purchasing large amounnts of Fool's Gold. wait a minute... fools gold fucking sucks. this stuff is no good..!! Fuck !!!

Theodore Roosevelt: IF THE ZOO BANS ME FOR HOLLERING AT THE ANIMALS I WILL FACE GOD AND WALK BACKWARDS INTO HELL

William H. Taft: ah.. the perfect Souffle! cant wait to dig in to t(*EVERY PIPE IN MY HOUSE EXPLODES AT THE SAME TIME, COVERING ME IN SHIT AND BOILING WATER*

Woodrow Wilson: the conflicted supersoldier stares over the horizon as he smokes a cigarette. "war is the most fucked up thing ever." he takes a sip of beer

Warren G. Harding: somebody please Bribe me

Calvin Coolidge: aggressively joyless oaf hhere. painfully obnoxious respect demander checkign in. extremely dim witted frowning man looking for pals

Herbert Hoover: it is really quite astonishing that I have yet to win The Lottery, given how good I am at selecting six numbers and saying them out loud

Franklin D. Roosevelt: ive never heard of this “europe” but it sounds like a big bunch of shit to me

Harry Truman: everybody wants to be the guy to write the tweet that solves racism once and for all because it would look good as hell on a resume

Dwight D. Eisenhower: my "F*&k It!! Let's Go Golfin" t-shirt maintains a tenacious stranglehold on my life. after 1,125 days of Golf my body is twisted, deformed

John F. Kennedy: when you do sutuff like... shoot my jaw clean off of my face with a sniper rifle, it mostly reflects poorly on your self

Lyndon B. Johnson: incredibly handsome , charismatic famous boy credited with ending income inequality after saying that slumlords should be called "dumblords"

Richard Nixon: i attribute the complete failure of my brand to the actions of detractors, oor my “trolls”, as it were, as well as my own constant fuckups

Gerald Ford: shutting computer down until the shitty moods & attitudes can fuck off., if you need me ill be on my other computer, sititng 60° to my right

Jimmy Carter: i warnned you all that bad things would happen if you kept letting your wives wear jeans. AND NOW LOOK! the damn gas prices are up again

Ronald Reagan: spend a lot of time thinking about how sometimes even war criminals can be heroes sometimes... Dont like it? Click the unfollow buttobn

George H.W. Bush: just thought off an idea i believe to be bad ass. lets find the address of the leader of isis, and mail him/ her pieces of our SHIT

Bill Clinton: were at the point now, that when i offer to impregnate my girl followers, people assume my motives are sexual. disgusting, grow the fuck up,

George W. Bush: friday night gathering up together a big pile of things i like to respect (flags, crucifixes ,etc) and just roll around in it ,give kisses,

Barack Obama: my IQ has increased 10 points ever since i stopped tollerating people mucking about, on the time line

Donald Trump: THERAPIST: your problem is, that youre perfect, and everyone is jealous of your good posts, and that makes you rightfully upset.

ME: I agree

Joe Biden: I will shut the fuck up , IF , it will restore the Harmony. I will get on my knees like a dog and make that sacrifice, for the sake of Calm

[baphometsss]

I don't wanna sit here and act like I'm a professional or anything, because I'm not, but as someone who has had to do a lot of work to overcome trauma and reconfigure my brain more or less from the ground up, there's a lot I have to say about Solas's mental state

We know that Solas was essentially used and abused by Mythal for millennia. Even if he wasn't under a geas, he was twisted from his purpose by being made to fight, and then created the Wolf's Fang which was used to make the Titans tranquil and started the Blights. He made those choices himself, but it's important to understand that no choice is ever made in a vacuum. She took advantage of his vulnerability when he was given a body after however long as a spirit semi-existing peacefully in the Fade, and moulded him into a weapon.

He is broken, because Mythal broke him. I'm not incapable of seeing why she did what she did because like I said, no one makes choices in a vacuum and I could write about her for a long time too (in a similar way to how I have had to do myself in my own life in understanding why others abused me). He was so traumatised by everything that happened and he was trauma bonded to Mythal pretty much from the minute he gained a body. Trauma bonds are not about love. He definitely interpreted it that way, as most people do, but that's the weapon abusers use to keep the victim under their control. Abuse abuse abuse show a scrap of love and then abuse some more. If I just take it, I'll get the love/attention I need. I will earn it, because love is suffering, and I have to suffer to earn getting my basic needs met from my family/friends. Mythal, as his creator, was the one who he would've attached to in a similar way to spirit Cole/human Cole.

Trauma bonds are pathological. Mythal made him believe that if he did as she asked, and kept supporting her, then eventually he would gain her favour and they would be able to free all the elves, and he'd be able to live according to his true nature, which is one where he doesn't have to fight. (Remember his personal quest in DAI? He actually kills the rebel mages for corrupting his friend--another Wisdom spirit--into Pride.) In reality, she was just using him. She always kept the bone just out of reach for her lapdog. The line from Rook where they say (paraphrasing here) 'you know, I was actually excited about getting your approval... That's how you do it, isn't it? Keeping giving little scraps of approval to keep someone loyal, and then you turn around and betray them' is so telling too.

Where--or from whom--do you think he learned to do this?

It literally reeks of a pathological trauma bond and honestly, with how isolated, 'grim and fatalistic' Solas is, it is not a surprise that he's so broken.

Solas, essentially, is little more than a lap-dog to Mythal. He followed her like a lost puppy, because especially in his early days, that's kind of what he was. You have to remember that most of the insight we get about Mythal is from Solas's perspective, and he is not a reliable person when it comes to her after so long being repeatedly terrorised and twisted and manipulated. There are several instances where he describes being betrayed by her, and mentions some of the things she did, but he never quite holds her fully accountable and ends up directing his rage elsewhere. (The parallel between Mythal/Solas and the rebel mages/Wisdom is important here.)

This awesome post by @mythalism only reinforces this. He is so messed up in that scene, he is broken, he is holding the Wolf's Fang up, trying to give it to her because it symbolises the burden he has carried for thousands of years trying to avenge her death. He never wanted the Fang, like he never wanted a body. Mythal just stands over him, fully aware of what she did to him, and only getting him to stop because Rook petitioned her successfully, and the reunion with the more benevolent Mythal within Morrigan tempered her anger. She was a goddess, with the unequal power dynamic, right to the end.

As a side note, on the potential romance element between Mythal and Solas, I read an excellent breakdown of it on Reddit a while ago about how out of character it would've been for Solas to keep something like that from a romanced Lavellan, especially in Trespasser when he comes clean about his plan/past. I can't find it now because it was pre-Veilguard release, but it made a lot of sense to me. Solas and Lavellan never have a love scene in DAI because Solas didn't want to 'lay with them under false pretences'. Lying about who you are when sleeping with someone is nonconsensual. You can't consent to sleeping with someone if you don't know their true identity, and someone who knowingly lies about who they are to get into your pants is a sexual predator. For someone who led a slave rebellion (no doubt many of them being sex slaves), and a former spirit of Wisdom, Solas would've been well aware of this. In the unsent letter from Solas to Lavellan he says he came so close to breaking and desperately wanted to stay with them as Solas, with the implication being that that is where he planned to sleep with them once he'd come clean. But because he stops, because he's still unable to forgive himself or release himself from his trauma bond with Mythal, he breaks away, and they never have sex.

Bottom line: Solas would've been honest about it. Especially that. As the Inquisitor says, he can't lie about his heart.

And it's why the Solas/Lavellan romance is so powerful because quote, 'you change everything'. Solas thought he knew what love was, that love was loyalty, devotion, worship, etc. It's not just his plans or worldview that Lavellan changes. Lavellan sees him for who he is, without the mantle of Dread Wolf, and because of that he's able to express his true nature to her, even if he's not being totally honest in Inquisition. Lavellan got much closer to the real him than most, as he says, and changed his understanding of love completely. Unfortunately, he has unfinished business, an unresolved trauma bond, and his crushing sense of duty to the past is what keeps him from taking that final step towards letting go of it entirely. Trick also says Solas doesn't think he deserves love, which tbh is kind of a hallmark trait of people who have survived abuse.

And honestly? Call me a simp but I think he really was trying to get the Inquisitor to stop him. He saw himself being unable to let go because he was so broken and burdened by his guilt, and knew he couldn't save himself--was too proud to admit that he couldn't, because how pathetic does it make him look? And how could he stop now without rendering all the damage he'd wrought pointless? Yet here was someone who had changed him right down to his core, who understood him in a way few people ever had, whom he trusted, whom he loved in a way he hadn't loved anyone else before. It took him 'centuries' to build up rapport with the members of his rebellion. The man doesn't not know how to form attachments without trauma, and suddenly he forms a strong one with someone who loves him completely and without condition. It's a jarring change.

Lavellan says that maybe they're being prideful themselves, refusing to see their own folly. But I think in admitting that they might be wrong, that it might be wishful thinking borne from misguided love to a truly terrible person, they've rendered the point moot. It shows self-awareness, which isn't folly.

If anyone can make Solas understand true love, it's Lavellan. Lavellan loved him when he was being his true self. Lavellan loved him after his betrayal was revealed. Lavellan loved him when his guilty conscience and terrible actions almost destroyed the world. Lavellan loved him because they knew the real him, and knew that his heart and spirit were broken, and knew that their love would endure, that their love would heal him.

And that's exactly where they end up. Healing the past, soothing the Blight, and loving one another completely.

[mademoisellegush]

On the Emperor and *that* scene

so i went and looked at some of the branches of that conversation -he basically reacts by reflecting and amplifying whatever energy the player gives him. Whatever you say, he will not contradict you.

You reject him, violently? He'll show you how right you are, how much of a monster he is. You reject him, preferring to "stick to business"? so does he. You agree to see him as a potential partner? Not a one-night stand, you are "bonded and it is time to consummate love with war".

Something to keep in mind, however (pun intended) is that "to best protect yourself from illithid manipulation, pay attention to its actions, not words."

tldr: i think the emperor is a very neat character.

The first branch is the disgusted rejection - the one where the player calls him a freak. his reaction is to show you how right you are. a mind controlled Stelmane, how the partnership was puppeteering. "you are my puppet", he tells you. "You have no other choice, if I must, I will force you."

he does not force you to do anything, after that. the threat is there, of course, but it's hollow. empty.

should this be taken at face value? can we trust him, even now, that he is telling the truth? it is certain that he mind controlled stelmane, yes. But was he the one who made her ill?

two items put that into question. a) stelmane's portrait, hung up at his desk along all his treasured possessions from before and after he became an illithid (balduran's butter fork, to go with the butter knife. his old sword, a recipe for fiddlehead soup, his dog Rascal's collar. the emperor's outfit, container for brains, chains for his "meals".)

If he's a liar about everything, why does he have a framed picture of Stelmane? He would not have been able to physically go back and set things up in a Knights of the Shield secret hideout while he was stuck inside the Astral Prism in our pocket from the hells, down to the Underdark, unless i'm getting the timeline of this story majorly wrong.

and b) an account of stelmane's illness.

Stelmane's condition got worse *after* Balduran/the Emperor disappeared, captured by Gortash and the cult of the Absolute.

Make of that what you will. Is this an actual testimony, or something he somehow planted there for you to find, despite the logistical difficulties in doing so? You decide.

2. The violent rejection is the only branch where he does not tell you how big the elder brain has grown. I think that is because there is an actual reaction on his end; something vicious that he's unused to feeling. Not the cold, calculating pragmatism he was praising in the player character three lines ago. Compare the first branch to the following two paths:

What i think is: Balduran uses you. The sole thing he cares above all else is his continued survival, any power gained that way is a side benefit to his goal. If you even get the Orphic hammer, even "as leverage," even as you threaten him, he does not "force you" to do anything, as threatened above. Ansur died, yes, but is self defence murder? Neither Ansur nor Balduran deny that Ansur tried to mercy kill Balduran as he slept.

What I also think: you have to succeed at perception check, in the third guardian dream, to figure out that "the hurt runs deeper than they're willing to show you." then, an insight check (something that requires wisdom, what you use to resist, or lean into, the tadpole's hivemind) "beneath the resilient veneer, a touch of fragility. they need comfort." This allows you to hug them, if you desire - something they say "it has been a very long time since someone did that. for [me]".

Make of that what you will.

[thedisabilitybookarchive]

Disability in Non-Fiction #1: Plain Text Edition

A plain text version of this post. Here you will find detailed image descriptions and easier-to-read versions of each book summary. If you think that any image descriptions/summaries need to be updated, please let me know!

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‘How to Live Free in a Dangerous World’- Lawson, Shayla

[ID: A book cover. The background is a pale orange colour. In the centre, a large photograph of a person with brown skin standing in front a desert under a blue sky. They have short braided brown hair swept over their left eye, and have their arms crossed over their chest, with one hand resting on the side of their face. The title “How to Live Free in a Dangerous World” is around them in large orange writing that covers the length of the photo. The subtitle “A Decolonial Memoir” is to the right their head in very small white writing. The author’s name “Shayla Lawson” is below the title, at the bottom of the photograph, in smaller yellow writing. Black text at the bottom of the cover reads, under the author’s name, reads “author of ‘this is major’, a national book critics circle award finalist”. /end]

Summary:

Poet and journalist Shayla Lawson follows their National Book Critics Circle finalist This Is Major with these daring and exquisitely crafted essays, where Lawson journeys across the globe, finds beauty in tumultuous times, and powerfully disrupts the constraints of race, gender, and disability.

With their signature prose, at turns bold, muscular, and luminous, Shayla Lawson travels the world to explore deeper meanings held within love, time, and the self.

Through encounters with a gorgeous gondolier in Venice, an ex-husband in the Netherlands, and a lost love on New Year’s Eve in Mexico City, Lawson’s travels bring unexpected wisdom about life in and out of love. They learn the strength of friendships and the dangers of beauty during a narrow escape in Egypt. They examine Blackness in post-dictatorship Zimbabwe, then take us on a secretive tour of Black freedom movements in Portugal.

Through a deeply insightful journey, Lawson leads readers from a castle in France to a hula hoop competition in Jamaica to a traditional theater in Tokyo to a Prince concert in Minnesota and, finally, to finding liberation on a beach in Bermuda, exploring each location—and their deepest emotions—to the fullest. In the end, they discover how the trials of marriage, grief, and missed connections can lead to self-transformation and unimagined new freedoms.

‘Being Seen’- Sjunneson, Elsa

[ID: A book cover. It is a dark black with faint, grey, writing over it. The writing, from top to bottom, reads: “Elsa Sjunneson” “Being Seen” “One Deafblind Woman’s Fight to End Ableism” All in capitals. The “I” in “Being Seen” is designed to look like an opening of sorts, with a ray of light coming through. /end]

Summary:

A deafblind writer and professor explores how the misrepresentation of disability in books, movies, and TV harms both the disabled community and everyone else.

As a deafblind woman with partial vision in one eye and bilateral hearing aids, Elsa Sjunneson lives at the crossroads of blindness and sight, hearing and deafness—much to the confusion of the world around her. While she cannot see well enough to operate without a guide dog or cane, she can see enough to know when someone is reacting to the visible signs of her blindness and can hear when they’re whispering behind her back. And she certainly knows how wrong our one-size-fits-all definitions of disability can be.

As a media studies professor, she’s also seen the full range of blind and deaf portrayals on film, and here she deconstructs their impact, following common tropes through horror, romance, and everything in between. Part memoir, part cultural criticism, part history of the deafblind experience, Being Seen explores how our cultural concept of disability is more myth than fact, and the damage it does to us all.

‘Disability Pride’- Mattlin, Ben

[ID: A book cover. The background is made of simple, colourful red, cream, white, yellow and teal shapes. Large text reads, from top to bottom: “Disability Pride” in large, black capitals, “Dispatches from a Post-ADA World”in smaller, black capitals, “Ben Mattlin”, in slightly bigger red capitals. /end]

Summary:

An eye-opening portrait of the diverse disability community as it is today and how attitudes, activism, and representation have evolved since the passage of the Americans with Disabilities Act (ADA).

In Disability Pride, disabled journalist Ben Mattlin weaves together interviews and reportage to introduce a cavalcade of individuals, ideas, and events in engaging, fast-paced prose. He traces the generation that came of age after the ADA reshaped America, and how it is influencing the future. He documents how autistic self-advocacy and the neurodiversity movement upended views of those whose brains work differently. He lifts the veil on a thriving disability culture—from social media to high fashion, Hollywood to Broadway—showing how the politics of beauty for those with marginalized body types and facial features is sparking widespread change.

He also explores the movement’s shortcomings, particularly the erasure of nonwhite and LGBTQIA+ people that helped give rise to Disability Justice. He delves into systemic ableism in health care, the right-to-die movement, institutionalization, and the scourge of subminimum-wage labor that some call legalized slavery. And he finds glimmers of hope in how disabled people never give up their fight for parity and fair play.

Beautifully written, without anger or pity, Disability Pride is a revealing account of an often misunderstood movement and identity, an inclusive reexamination of society’s treatment of those it deems different.

‘Crip Kinship’- Kafai, Shayda

[ID: A book cover. The background is light blue, with colourful pictures of butterflies, flowers and a house setting featured in the centre. Lower right centre of the image, a black figure in a long sleeved, billowing dress, holding a curved black walking stick in their right hand. Behind them, a drawing of a room with a table, chair, pink wall with a window, and a blank wall with an orange picture. Text on the book cover, from top to bottom, reads: The title “Crip Kinship” in large black font at the top of the image, The subtitle “The Disability Justice & Art Activism of Sins Invalid” in smaller black capitals, in the upper right corner of the image, The authors name “Shayda Kafai” in medium black capitals in the lower right of the image, partially overlapping the figure in the dress. /end]

Summary:

The remarkable story of Sins Invalid, a performance project that centres queer disability justice.

In recent years, disability activism has come into its own as a vital and necessary means to acknowledge the power and resilience of the disabled community, and to call out ableist culture wherever it appears.

Crip Kinship explores the art activism of Sins Invalid, a San Francisco Bay Area-based performance project, and its radical imaginings of what disabled, queer, trans, and gender-nonconforming bodyminds of colour can do: how they can rewrite oppression, and how they can gift us with transformational lessons for our collective survival.

Grounded in the disability justice framework, Crip Kinship investigates the revolutionary survival teachings that disabled, queer of colour community offers to all our bodyminds. From their focus on crip beauty and sexuality to manifesting digital kinship networks and crip-centric liberated zones, Sins Invalid empowers and moves us toward generating our collective liberation from our bodyminds outward.

‘Sounds Like Home’- Wright, Mary Herring

[ID: A book cover. The background is yellow. A black and white photograph in the centre shows two young black children and a dog in front of a car. The title “Sounds Like Home” is at the tope in large, curvy black writing. The subtitle “Growing Up Black and Deaf in the South” is written in small orange writing, on three black bars on the right side of the cover. The author’s name “Mary Herring Wright” is written in curvy black writing, slightly smaller than the title, at the bottom of the cover. /end]

Summary:

Mary Herring Wright’s memoir adds an important dimension to the current literature in that it is a story by and about an African American deaf child. The author recounts her experiences growing up as a deaf person in Iron Mine, North Carolina, from the 1920s through the 1940s. Her story is unique and historically significant because it provides valuable descriptive information about the faculty and staff of the North Carolina school for Black deaf and blind students from the perspective of a student as well as a student teacher. In addition, this engrossing narrative contains details about the curriculum, which included a week-long Black History celebration where students learned about important Blacks such as Madame Walker, Paul Laurence Dunbar, and George Washington Carver. It also describes the physical facilities as well as the changes in those facilities over the years. In addition, Sounds Like Home occurs over a period of time that covers two major events in American history, the Depression and World War II.

Wright’s account is one of enduring faith, perseverance, and optimism. Her keen observations will serve as a source of inspiration for others who are challenged in their own ways by life’s obstacles.

‘The Right to Maim’- Puar, Jasbir K.

[ID: A book cover. The background is white. A painting stretches from the bottom of the cover to bottom of top quarter. In the upper quarter of the cover, text reads: The author’s name “Jasbir K. Puar” is at the top in black writing. The title “The Right to Maim” is immediately below this in red caps. The subtitle “Debility, Capacity, Disability” is immediately below this in smaller, yellow caps. The painting is immediately below this. The background is a dark cream. It appears to show a humanoid figure climbing a mound. Two other figures appear to be falling off the mound. There are splashes of red paint around the mound and the figure on it. /end]

Summary:

In The Right to Maim Jasbir K. Puar brings her pathbreaking work on the liberal state, sexuality, and biopolitics to bear on our understanding of disability. Drawing on a stunning array of theoretical and methodological frameworks, Puar uses the concept of “debility”—bodily injury and social exclusion brought on by economic and political factors—to disrupt the category of disability. She shows how debility, disability, and capacity together constitute an assemblage that states use to control populations. Puar’s analysis culminates in an interrogation of Israel’s policies toward Palestine, in which she outlines how Israel brings Palestinians into biopolitical being by designating them available for injury. Supplementing its right to kill with what Puar calls the right to maim, the Israeli state relies on liberal frameworks of disability to obscure and enable the mass debilitation of Palestinian bodies. Tracing disability’s interaction with debility and capacity, Puar offers a brilliant rethinking of Foucauldian biopolitics while showing how disability functions at the intersection of imperialism and racialized capital.

‘Uncomfortable Labels’- Dale, Laura Kate

[ID: A book cover. The background is a close photograph of some kind of knitted garment, and its label. The garment is blue. The label is in the centre. Text on the label reads: The title “Uncomfortable Labels” in large black caps The subtitle “My Life as a Gay Autistic Trans Woman” in smaller black caps, lower left of this The author’s name “Laura Kate Dale” at the bottom of the label in black writing. A smaller label attached to the bottom has a single, black capitalised “M” written on it. /end]

Summary:

“So while the assumption when I was born was that I was or would grow up to be a neurotypical heterosexual boy, that whole idea didn’t really pan out long term.”

In this candid, first-of-its-kind memoir, Laura Kate Dale recounts what life is like growing up as a gay trans woman on the autism spectrum. From struggling with sensory processing, managing socially demanding situations and learning social cues and feminine presentation, through to coming out as trans during an autistic meltdown, Laura draws on her personal experiences from life prior to transition and diagnosis, and moving on to the years of self-discovery, to give a unique insight into the nuances of sexuality, gender and autism, and how they intersect.

Charting the ups and downs of being autistic and on the LGBT spectrum with searing honesty and humour, this is an empowering, life-affirming read for anyone who’s felt they don’t fit in.

'Brilliant Imperfections'- Clare, Eli

[ID: A book cover. A photograph of stones can be seen. Over it, a dark box stretching from left to right at the top of the image. Text in the box reads: “Brilliant Imperfection”, in large caps. “Brilliant” is in green, “Imperfection is in white. “Grappling With Cure”, in small, green caps. “Eli Clare”, in white caps. /end]

Summary:

In Brilliant Imperfection Eli Clare uses memoir, history, and critical analysis to explore cure—the deeply held belief that body-minds considered broken need to be fixed.

Cure serves many purposes. It saves lives, manipulates lives, and prioritizes some lives over others. It provides comfort, makes profits, justifies violence, and promises resolution to body-mind loss. Clare grapples with this knot of contradictions, maintaining that neither an anti-cure politics nor a pro-cure worldview can account for the messy, complex relationships we have with our body-minds.

The stories he tells range widely, stretching from disability stereotypes to weight loss surgery, gender transition to skin lightening creams. At each turn, Clare weaves race, disability, sexuality, class, and gender together, insisting on the nonnegotiable value of body-mind difference. Into this mix, he adds environmental politics, thinking about ecosystem loss and restoration as a way of delving more deeply into cure.

Ultimately Brilliant Imperfection reveals cure to be an ideology grounded in the twin notions of normal and natural, slippery and powerful, necessary and damaging all at the same time.

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A short list of 8 non-fiction books featuring and/or discussing disability!

I don't highlight the non-fiction section of the archive enough, so I think this is a perfect opportunity.

A plain text version of this post exists here, featuring more detailed image descriptions of each book cover and easier-to-read versions of every summary.

Books on this list:

‘How to Live Free in a Dangerous World’- Lawson, Shayla

‘Being Seen’- Sjunneson, Elsa

‘Disability Pride’- Mattlin, Ben

‘Crip Kinship’- Kafai, Shayda

‘Sounds Like Home’- Wright, Mary Herring

‘The Right to Maim’- Puar, Jasbir K.

‘Uncomfortable Labels’- Dale, Laura Kate

'Brilliant Imperfections'- Clare, Eli

All of these books and more can be found on the Disability Book Archive.

Happy Disability Pride Month!

[coven-of-genesis]

Common animal meanings in dreams

Interpreting animal symbols in dreams can be subjective, but here are some general associations:

1. Snake: Transformation, healing, or hidden fears.

2. Lion: Strength, courage, or leadership qualities.

3. Birds (especially eagles or owls): Freedom, intuition, or spiritual insight.

4. Cat: Independence, mystery, or sensuality.

5. Dog: Loyalty, friendship, or protection.

6. Butterfly: Change, renewal, or personal growth.

7. Wolf: Instincts, independence, or a desire for freedom.

8. Horse: Power, energy, or a desire for freedom.

9. Fish: Emotional depth, spirituality, or abundance.

10. Elephant: Wisdom, strength, or memory

Remember, these interpretations are general and may not resonate with everyone. Personal feelings and experiences play a significant role in dream symbolism.

[shebeafancyflapjack]

hello hi and omg the Stockholm syndrome with calypso thing. I've never thought of it that way for some reason. woah do you have any other thoughts on that I'd love to hear!!

Hi!

Couple things; so this has been one of my favorite songs long before the saga came out as the demo out on YouTube was pretty much the full version. It's so beautiful and tragic, but I kept assuming that - given the sympathetic vibe of the song - Jorge was going to change this part of the story to make Calypso less of a villain.

Like my assumption was she wouldn't be the one keeping him trapped, it's just the curse of her island and even if she let him go he'd just come back or get hurt. So she's as much of a prisoner as him, basically. But also that it would be clear she didn't SA him as in the Odyssey. It would just be an innocent one sided infatuation that she would keep hoping he'd fall for her over time but wouldn't. So at first I assumed the "I love you" line would be like "I love you as a friend, I would have been alone and gone mad here for years without you, you gave me a bit of peace after all the trauma." Etc.

But then the Wisdom Saga came out...

And Love In Paradise definitely has SA and manipulation vibes. Rather than helping Ody heal in any way, he becomes even worse. Athena says outright "she's kept you trapped out of your control". There's no wriggle room for that. It's not just an innocent love. I would love to have confirmation from Jorge if this Calypso did force herself on him in any way as I think it would clear up things in the fandom.

So with that all in context, I can't hear the line as "I love you as a friend". It doesn't feel earned, we've not glimpsed anything from Calypso that would have Ody respect her that way. So for me it would be more affection born out of captivity and isolation and feeling sorry for your captor, but still wanting to get as far as fuck away from them.

It reminds me a lot of the real life kidnapping of Natasha Kampush whose book describing her ordeal where she was kept trapped underground for eight years is a chilling read. But it is a fascinating insight into what we think of as "Stockholm Syndrome" and how it's not like people imagine where they're brainwashed to be hopelessly devoted to them (and before anyone jumps down my throat, yes I know there's some debate over the name and having it be seen as a mental health condition when it's mostly just human empathy and survival tactic). Natasha's complex feelings towards her abuser and how media tried to romanticise it after her escape reminds me a lot of Odysseus and Calypso. She feared this man, he made her life a misery and treated her worse than a dog - but he was still the only company she had for eight years. There would be times when she felt fleeting moments of normalcy and affection, it's just human nature for that to create a bond. And she would grow sympathy for how messed up he clearly was, probably in much the same way Ody felt sympathy for Calypso being trapped alone.

Yes Calypso is a goddess but she feels the most human out of all the ones who appear in Epic, in the most messy way humans can be.

Hope I've explained that well. 😅

[thesiltverses]

I don’t know who types up the ask answers on this blog but to whoever’s reading this: how do you all feel about being alive and sentient? What keeps you going, what purpose propels you through this chaotic void? What do you think (or hope) waits for you after your inevitable end? What do you think constitutes a life well lived?

I'm going to answer this in the most wayward and stupidly overlong manner possible, because the previous ask had me thinking about puppets, and I was already mid-way through writing up a book recommendation that's semi-relevant to your questions.

Everyone (but especially people who've enjoyed The Silt Verses and all the folks on Tumblr who loved Piranesi by Susanna Clarke) ought to seek out Riddley Walker by Russell Hoban.

Riddley Walker is a wild and woolly story set in post-apocalyptic Kent, where human society has (d)evolved into a Bronze Age collective of hunter-gatherer settlements. Dogs, apparently blaming us for our crimes against the world, have become our predators, hunting us through the trees. Labourers kill themselves unearthing ancient machinery that they cannot possibly understand.

A travelling crowd of thugs led by a Pry Mincer collect taxes and attempt to impose themselves upon those around them with a puppet-show - the closest possible approximation of a TV show - that tells a mangled story of the world's destruction, featuring a Prometheus-esque hero called Eusa who is tempted by the Clevver One into creating the atomic bomb.

Riddley himself, a twelve-year-old folk hero in-the-making surrounded by strange portents, ends up sowing the seeds of rebellion and change by becoming a conduit for the anti-tutelary anarchic madness (one apparently buried in our collective unconscious) of Punch 'n' Judy.

It's a book in love with twisted reinterpretation, the subjectivity of interpretation, buried or forbidden truths coming back to light (the opening quote is a curious allegory about reinvention and cyclical change from the extra-canonical Gospel of Thomas, which is a good joke and mission statement on a couple levels at once) and human beings somehow stumbling into forms of wisdom or insight through clumsy and nonsensical attempts to make sense of a world that is simply beyond them.

It rocks.

The book starts like this:

On my naming day when I come 12 I gone front spear and kilt a wyld boar he parbly the las wyld pig on the Bundel Downs any how there hadnt ben none for a long time befor him nor I aint looking to see none agen. He dint make the groun shake nor nothing like that when he come on to my spear he wernt all that big plus he lookit poorly. He done the reqwyrt he ternt and stood and clattert his teef and made his rush and there we wer then. Him on 1 end of the spear kicking his life out and me on the other end watching him dy. I said, 'Your tern now my tern later.'

Riddley's devolved language - a trick which has been nicked/homaged by many other works, most notably Cloud Atlas and Mad Max: Beyond Thunderdome - is a masterwork choice which may seem offputting or overwhelming at first, but which has its own brutal poetry and cadence to it, and ultimately which makes us slow down as readers and unpick the wit, puns, double-meanings and playful themes buried in line after line.

(Even those first five sentences get us thinking about cyclical change, ritual and myth in opposition to the dissatisfactions of reality, and 'tern' to paradoxically indicate a rebellious change in direction but also an obedient acceptance of inevitable death.)

In one of my favourite passages in literature and a statement of thought that means a lot to me, Riddley has been smoking post-coital weed with Lorna, a 'tel-woman', who unexpectedly declares her belief in a kind of irrational, monstrous Logos that lives in us, wears us like clothes, and drives us onwards for its own purpose:

'You know Riddley theres some thing in us it dont have no name.' I said, 'What thing is that?' She said, 'Its some kynd of thing it aint us but yet its in us. Its lookin out thru our eye hoals...it aint you nor it dont even know your name. Its in us lorn and loan and shelterin how it can.' 'Tremmering it is and feart. It puts us on like we put on our cloes. Some times we dont fit. Some times it cant fynd the arm hoals and it tears us a part. I dont think I took all that much noatis of it when I ben yung. Now Im old I noatise it mor. It dont realy like to put me on no mor. Every morning I can feal how its tiret of me and readying to throw me a way. Iwl tel you some thing Riddley and keap this in memberment. What ever it is we dont come naturel to it.' I said, 'Lorna I dont know what you mean.' She said, 'We aint a naturel part of it. We dint begin when it begun we dint begin where it begun. It ben here befor us nor I dont know what we are to it. May be weare jus only sickness and a feaver to it or boyls on the arse of it I dont know. Now lissen what Im going to tel you Riddley. It thinks us but it dont think like us. It dont think the way we think. Plus like I said befor its afeart.' I said, 'Whats it afeart of?' She said, 'Its afeart of being beartht.'

While Hoban is, I think, deeply humanistic to his bones and even something of a wayward optimist, the notion of human beings as helpless and ignorant vessels, individual carriers - puppets, if you like - for an unknowable and awful inhuman power-in-potentia and life-drive that lacks a true shape or intent beyond its own continued survival (even when that means destroying us or visiting us with agonising atrophy in the process) conjures up the pessimism of Thomas Ligotti, another big influence on our work and a dude who was really into his marionettes-as-metaphor.

Let's go to him now for his opinion on the thing that lives beneath our skin. Thomas?

Through the prophylactic of self-deception, we keep hidden what we do not want to let into our heads, as if we will betray to ourselves a secret too terrible to know… …(that the universe is) a play with no plot and no players that were anything more than portions of a master drive of purposeless self-mutilation. Everything tears away at everything else forever. Nothing knows of its embroilment in a festival of massacres… Nothing can know what is going on.

Curiously, both Ligotti and Riddley Walker have appeared in the music of dark folk band Current 93, whose track In The Heart Of The Wood And What I Found There directly homages the novel and ends with the repeated words,

"All shall be well," she said But not for me

These words, in turn, hearken back to Kafka's* famous reported conversation with Max Brod:

'We are,' he said, 'nihilistic thoughts, suicidal thoughts that rise in God's head.' This reminded me of the worldview of the gnostic: God as an evil demiurge, the world as his original sin. 'Oh no', he said, 'our world is only a bad, fretful whim of God, a bad day.' 'So was there - outside of this world that we know - hope?' He smiled: 'Oh, hope - there is plenty. Infinite hope, just not for us."

So, we walk on.

We carry this thing that's riding on our backs, endlessly bonded to it, feeling its weight more and more with every passing day, unable to turn to look at it. Buried truths come briefly to life, and are hidden from us again. Perhaps they weren't truths at all. We couldn't stand to look the truth directly in the eyes in any case.

If there is hope, it's for the thing that looks out from our eyeholes, which thinks us but cannot think like us. We'll never get to where we're going, and the thing will never be born. There's no hope for it. Perhaps we don't want it to win anyway. It's nothing, and the key to everything.

The Jesus from the Gospel of Thomas says:

'When you see your own likeness, you rejoice. But when you see the visions that formed you and existed before you, which do not perish and which do not become visible - how much then will you be able to bear?'

Kafka, writing to his father, begins by expressing the inexpressibility of his own divine terror:

You asked me why I am afraid of you. I did not know how to answer - partly because of my fear, partly because an explanation would require more than I could make coherent in speech…even in writing, the magnitude of the causes exceeds my memory and my understanding.

Kafka concludes that while he cannot ever truly explain himself, and that the accusations in his letter are neat subjectivities that fail to account for the messiness of reality, perhaps 'something that in my opinion so closely resembles the truth…might comfort us both a little and make it easier for us to live and die.'**

It doesn't bring comfort to Kafka, whose diarised remarks both before and after the 1919 letter make it clear that he views his relationship with the things (people) that birthed him as an endless entrapment that prevents him from attaining any kind of self-actualisation or even comfort, since he cannot escape their influence or remember a time before them:

I was defeated by Father as a small boy and have been prevented since by pride from leaving the battleground, despite enduring defeat over and over again.

It's as if I wasn't fully born yet...as if I was dissolubly bound to these repulsive things (my parents).*** The bond is still attached to my feet, preventing them from walking, from escaping the original formless mush. That's how it is sometimes.

Samuel Beckett returns again and again (aptly) to this pursuit of a state of true humanity and final understanding that is at once fled and unrecoverable, yet to be born, never to be born, never-existed, endlessly to be pursued, pointless to pursue. From the astonishing end sequence of The Unnameable:

alone alone, the others are gone, they have been stilled, their voices stilled, their listening stilled, one by one, at each new-com- ing, another will come, I won’t be the last. I’ll be with the others. I’ll be as gone, in the silence, it won’t be I, it’s not I, I’m not there yet. I’ll go there now. I’ll try and go there now, no use trying, I wait for my turn, my turn to go there, my turn to talk there, my turn to listen there, my turn to wait there for my turn to go, to be as gone, it’s unending, it will be unending, gone where,where do you go from there, you must go somewhere else, wait somewhere else, for your turn to go again

I’m not the first, I won’t be the first, it will best me in the end, it has bested better than me, it will tell me what to do, in order to rise, move, act like a body endowed with despair, that’s how I reason, that’s how I hear myself reasoning, all lies, it’s not me they’re calling, not me they’re talking about, it’s not yet my turn, it’s someone else’s turn, that’s why I can’t stir, that’s why I don’t feel a body on me, I’m not suffering enough yet, it’s not yet my turn, not suffering enough to be able to stir, to have a body, complete with head, to be able to understand, to have eyes to light the way

From Thomas' Jesus:

When you make the two one, and you make the inside as the outside and the outside as the inside and the above as the below, and if male and female become a single unity which lacks 'masculine' and 'feminine' action, when you grow eyes where eyes should be and hands where hands should be and feet where feet should stand and the true image in its proper place, then shall you enter heaven.

Tom's Jesus makes a particularly Gnostic habit of both insisting that the hidden will be revealed and demonstrating the impossibility of attaining a state where the hidden ever can be revealed. Contrary to C.S. Lewis, we will never have faces with which to gaze upon the lost divine and the mysteries that shaped us, and crucially, as Christ puts it, we would not be able to bear the sight of ourselves if we did.

We will never become the thing that's riding on our backs.

Jesus again:

The disciples ask Jesus, 'Tell us how our end shall be.' Jesus says, 'Have you found the beginning yet, you who ask after the end? For at the place where the beginning is, there shall be the end.'

The Unnameable:

I’ll recognise it, in the end I’ll recognise it, the story of the silence that he never left, that I should never have left, that I may never find again, that I may find again, then it will be he, it will be I, it will be the place, the silence, the end, the beginning, the beginning again, how can I say it, that’s all words, they’re all I have, and not many of them, the words fail, the voice fails, so be it

The final passage of The Unnameable, which often is hilariously shorn and misinterpreted as an inspirational quote about how if you don't succeed, try again:

all words, there’s nothing else, you must go on, that’s all I know, they’re going to stop, I know that well, I can feel it, they’re going to abandon me, it will be the silence, for a moment, a good few moments, or it will be mine, the lasting one, that didn’t last, that still lasts, it will be I, you must go on, I can't go on, you must go on. I’ll go on, you must say words, as long as there are any, until they find me, until they say me, strange pain, strange sin, you must go on, perhaps it’s done already, perhaps they have said me already, perhaps they have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence, where I am, I don’t know. I’ll never know, in the silence you don’t know, you must go on, I can’t go on. I’ll go on. †

We bear this thing that's riding on our backs. We'll never get to where we're going, and the thing will never be born. If it was born, it'd be too terrible for us to bear. There's nothing riding on our backs.

It will never speak us into being.

We keep on calling out into the silence, we keep trying to explain or understand the thing that's riding on our backs, searching for a way to birth it before we die. Our words about the thing are crucial, and they're meaningless, and they're all we have, and they're nothing at all. We cannot name it and we cannot express it, but we cannot stop trying, and we will keep turning back to our words about the thing, obsessing over them, tearing them to pieces, putting them back together.

I'm fumbling at something I can't think or say, but fumbling is all we're capable of. There could be beauty and meaning and comfort in the fumbling, but it's also vain, and foolish, and pointless, and we're lying to ourselves about the beauty and the meaning and the comfort, and we're indulging ourselves pointlessly by going on and on about the pointlessness of it. Nothing can know what's going on. We will never get close enough to understand without being destroyed.

Thomas' Jesus again, warning those who seek to reveal what's hidden:

He who is near me is near the fire.

Riddley Walker, reflecting on the Punch puppet's inexplicable desire to cook and eat his own child:

Whyis Punch crookit? Why wil he al ways kill the baby if he can? Parbly I wont ever know its jus on me to think on it.

If you got to the end of this, congratulations: but the above is honestly the most appropriate patchwork of what I believe, what propels me, what I feel.

As for what comes after life, I think it's fairly straightforwardly a nothingness we are tragically incapable of fully knowing or accepting - it's Beckett's unimaginable and unattainable silence, a silence that his characters' voices keep on shattering even as they cry out for it.

-Jon‡

*I can't remember if Kafka makes prominent reference to Czech puppets in his work, which is interesting in its own right given the thematic relevance (the protagonist in The Hunger Artist is perhaps a kind of self-directing puppet show?).

However, Gustav Meyrink - who some unsourced Google quotes suggest was pals with Czech puppeteer Richard Teschner - did write a strange little story, The Man On The Bottle, about an audience watching a 'marionette show' who are too wrapped up in performances and masks to interpret the reality that they're actually watching a human being suffocate to death.

**Thomas Ligotti: "Something had happened. They did not know what it was, but they did know it as that which should not be.

Something would have to be done if they were to live with that which should not be.

This would not (be enough); it would only be the best they could do."

***Beckett's Malone Dies actually kicks off with a related sentiment:" I am in my mother’s room. It’s I who live there now. I don’t know how I got there...In any case I have her room. I sleep in her bed. I piss and shit in her pot. I have taken her place. I must resemble her more and more."

† I don't necessarily align myself in humour with Ligotti on a lot of this stuff but I imagine he would recognise both Beckett's writing and Kafka's frustrations re explaining the causes of his hatred for his father as sublimation: finding artistic and philosophical ways of sketching the inexpressible horror and uncertainty of our existence in order to reckon with it at a remove without destroying ourselves. A higher form of self-deception, but self-deception nevertheless.

‡Muna's more of an anarcho-nihilist, I think.

[robfinancialtip]

Join us for this insightful episode of Wolf Wisdom, where we dive deep into the transformative journey of using the Halo Collar over the past 180 days. In this video, we speak with Kyla, a traveling makeup artist, who shares her unique experience with the Halo Collar and how it has positively impacted her dog's behavior.

Discover how this innovative dog training collar has provided peace of mind while traveling for work. It allows Kyla to maintain professionalism during Zoom calls without worrying about her dog, Hoops. We explore the callback feature, real-time feedback from the Halo app, and how this technology has revolutionized dog training on the go.

Whether you’re a dog owner looking for the best training solutions or a pet lover curious about effective ways to enhance your dog's safety, this video is packed with valuable insights. Learn about the benefits of the Halo Collar and hear firsthand testimonials on how it ensures your furry friend stays safe and well-behaved, even in busy environments.

Don’t miss out on this comprehensive review of the Halo Collar after six months of use—it's a must-watch for anyone considering a reliable solution for their dog’s training needs!

[talonabraxas]

Star Goddess Talon Abraxas

The Star, traditionally represents Isis unveiled, revealing the secret wisdom of the Priestess, who is Isis veiled in light and the Empress veiled in the ripeness of Nature. Her affiliation with the Temperance/Art figure is also suggested, as her optimism involves the fruitful interplay of the the senses, ego-consciousness and intuition as She links the worlds of Spirit and matter.

This Occult link, is also associated with the Egyptian Goddess- Sopdet and/or the Dog Star Sirius, whose helical rising on July 19th marked the Festival of Opet, the annual Egyptian festival that celebrated the fertilization of the Nile Valley. The message here is that of new life with greater understanding and insight where the light of the Soul is allowed to shine through the body as vital flowing Life force.

This card is the healthy counterpart of the next Devil (XV) card, who is the embodiment of incapacity. Harmony, balance, calmness and spiritual peace are the hallmarks of Measurement. This means a happy experience of health and spiritual balance, that is, we treat ourselves well, we love ourselves and therefore live in harmony with our environment. Depending on the background of our question, it may mean healing or recovery. This card is an expression of a state of equilibrium, the creation of which presupposes the balancing and temperamental ability of man. In this life situation, one tries to find a realistic middle ground between his desires and possibilities.

XIV: Temperance, Tarot of the Holy Light, Christine Payne-Towler & Michael Dowers

[grailfinders]

Grailfinders #341: Mary Anning

hey y’all! would you like-a talk-a dino? no? too bad, here’s Mary Anning anyway. she’s an arcane trickster rogue to sell literal rocks to people at a profit (and get a cool dog), plus a primeval druid to summon a lightning-spitting plesiosaur. and i thought jurassic park was taking liberties…

check out her build breakdown below the cut, or her character sheet over here!

next up: shouldn’t he be istanbullos by now?

Ancestry & Background

despite having nautiluses for hair, Mary is still a Human, so she gets +1 Dexterity & Intelligence, as well as proficiency in Nature (old nature sure, but still nature) and the Tough feat for an extra 2 HP per level. she also used to be a sickly child before being nursed to health by a literal bolt of lightning yes that’s a thing that happened so she’s definitely being Rewarded by something. that gives her Insight and Persuasion proficiency, as well as the Skilled background for more proficiency in Mason’s Tools, Athletics, and History.

Ability Scores

your Intelligence should be as high as it can go. we don’t actually need it here, but you were the first person to figure out what an Ichthyosaur is (not a dinosaur) and what coprolites are (not something you want to touch bare-handed). second is Wisdom. half the difficulty of paleontology is finding the damn things. the other half is dodging the rockslides, which is why your Dexterity is also pretty high. this does mean your Charisma is lower than I’d like. you’re a fine saleswoman, but you didn’t get a lot of credit for the work you did. this means your Constitution is middling, and your Strength is as low as it gets. thankfully you can just reanimate the fossils now, so carrying them’s a lot easier.

Class Levels

1. Rogue 1: if we want to find fossils, you need to be damn good with a chisel first. also I’m not making the same mistake I made with Galatea, I’m not going to figure out how to have you wield a hammer in one hand and a chisel in the other officially, sorry. on the plus side, no matter how you use that chisel you can still Sneak Attack with it, adding 1d6 to the damage done as long as you have advantage on the attack or another friend next to them. all fossils are restrained (by rock), so you shouldn’t have any issue getting advantage. you also learn Thieves’ Cant, which is really just Cockney. finally, your Expertise in Nature and History will double your proficiency bonus when you make checks about old animals or natural history. suck it, publications!

also as a rogue you get proficiency in Dexterity and Intelligence saves, as well as Deception, Investigation, Perception, and Sleight of Hand, bc god knows you didn’t have enough skills just yet.

2. Rogue 2: second level rogues get a Cunning Action each turn, letting you dash, disengage, or hide as a bonus action. the early paleontologist gets the bone, as the assuredly real saying goes.

3. Rogue 3: we haven’t picked up all your fossil-hunting gear just yet- we still need some explosives, and a dog. thankfully, we can get both of those from being an Arcane Trickster! now you can cast spells using your Intelligence! okay I guess we actually did need that. anyway, your spell list is pretty restrictive, with only one spell that can be freely picked from the wizard spell list. the rest all have to be enchantment or illusion spells.

but before we talk spells, let’s talk Cantrips! Thunderclap will help remove solid rock, while Mold Earth will dig through loose dirt real fast. you also get Mage Hand which comes with its own Legerdemain, and that’s going to be Tray for this build! just have it do the dog shadow puppet thing to really sell the flavor. the original mage hand lasts a minute and is a floating ghost hand/dog that sticks near you, and you can use your action to move it and have it pick up objects, open doors, grab stuff from containers, or pour out liquids. you know, basic dog tricks. the legerdemain makes your dog a little more special, letting it pickpocket people, pick locks, and turn invisible. those are less doglike, but you can do all of those plus the og stuff as a bonus action now too.

as for your spells, Mage Armor will help you not die, Distort Value will help you sell rocks for enough money to live on, and Illusory Script will help you get out of whatever shitty contract super bunyan tried to force on you.

one last thing- you can use Steady Aim to give yourself advantage as a bonus action, so long as you haven’t moved yet and don’t plan on doing so this turn. the rocks are generally stationary, so it should be fine.

okay, okay, the real last thing- your sneak attack deals 2d6 extra damage now. this is what happens when you can afford the good chisels.

4. Rogue 4: fourth level rogues get their first Ability Score Improvement, so improve that Dexterity while you’re here. yes the rocks don’t move much, but you still have to worry about your AC. in the same “not getting hit” vein, you get Color Spray this level. this one’s just pocket sand. blast it in peoples’ faces and they go blind for a round.

5. Rogue 5: fifth level rogues have an Uncanny Dodge. whenever you’d take damage from an attack, you can use your reaction to take half damage instead. ideally you wouldn’t get hit at all, but it’s not like you can afford platemail. speaking of damage though, your sneak attack deals 3d6 damage now.

6. Rogue 6: sixth level rogues get another round of Expertise, so double down on Perception and Persuasion to find and sell fossils.

7. Rogue 7: seventh level rogues learn Evasion, which means every time you have to make a dexterity save you only take half damage on a failure and no damage on a success. your job consisted of going to rockslide mountain during rockslide season but you didn’t die until breast cancer took you out, there’s clearly something going on there.

also you learn Dragon’s Breath. it’s a secret tool that will help us later. for right now, your sneak attack deals 4d6 damage!

8. Druid 1: at level one, druids also learn Spells, which they use their Wisdom to cast. since we’re mixing spellcasters, you’ll have to check the PHB to figure out how many spell slots you have at any one time.

first, cantrips. Shillelagh lets you turn a club into a magical club that uses your wisdom to hit, so I guess if you really want to use a hammer, now you’ll be slightly better at it. you can also use Druidcraft to figure out the weather for today. I don’t know if rockslides count as “weather” exactly, but it doesn’t hurt to try.

as for your spells, druids can prepare spells from their whole list every day, so I highly recommend checking out whatever suits your fancy. the only spell I think is in-character right now though is Faerie Fire. sadly we can’t make it only work for women, but it’ll make it impossible for anyone hit by it to turn invisible, and attacks against them have advantage.

9. Druid 2: second level druids enter a circle, and the Circle of the Primeval was practically made for you! before we get into that we do need to mention your Wild Shape real fast, though you’re not using it if you’re staying in character- I’ll just say for now you could use it twice per short rest. more importantly, you can use those two per rest charges to summon a Primeval Companion instead! with this, you can summon a medium plesiosaurus that you can order around with your bonus action. it can’t swim just yet, but he’s just getting started! (this is where Dragon’s Breath comes back in, now you can have him shooting lightning right out the gate. or yourself, if you want.)

also, as a Keeper of Old, you can add a d4 to your history checks.

(and I will say now that yes, you could use wild shape charges to summon a Wild Companion if you want Tray to be a real dog, but that would mean he’d have an actual HP bar and I’m just not ready to deal with that.)

10. Druid 3: third level druids learn second level spells! Enhance Ability gives you advantage in one kind of ability check of your choice, while Locate Object can help you locate the nearest fossil. it’s kind of like cheating, but fuck it!

11. Druid 4: fourth level druids get a Wild Shape Improvement, so while plesi can’t swim yet, you can. somehow. also your Dexterity goes up again. also also you can cast Guidance now to give yourself or a friend a d4 to their next skill check, for when you really need to sell this next fossil.

12. Druid 5: fifth level druids learn third level spells! Conjure Animals is your go-to for your noble phantasm, letting you summon a bunch of smaller fossils all at one go, but you can also use Elemental Weapon if you want some electrical attacks for yourself too.

13. Druid 6: now that you’re a proper Prehistoric Conduit, you can cast spells as though they came from your plesiosaur. this means you can cast Dragon’s Breath on him without even having to touch him! given that he’s probably in the thick of battle, that’s most likely for the best. also, if he gets caught up in one of your spells, he gets advantage on his save against its damage and evasion for said spell, regardless of what kind of save it is.

14. Druid 7: seventh level druids get fourth level spells, like… actually there isn’t really any I want. maybe Elemental Bane if you can find a non-spell way to deal lightning damage? otherwise just upcast conjure animals.

15. Druid 8: eighth level druids get another WSI, so now you can fly if you want. also you can use your ASI to start improving your Charisma for better sales pitches.

16. Druid 9: ninth level druids get fifth level spells, and while Plessy doesn’t really talk much he’s probably a lot smarter than most dinosaurs, so I still think Awaken is a good pick for him. this’ll make the animal or plant you use it on sentient permanently, and it will be your friend for up to a month. past that point, how it feels about you is up to it.

17. Druid 10: let’s grab Mending real quick before we go into the level, I imagine your clothes probably get torn up pretty often in this line of work. also you now share a Titanic Bond with your living fossil, making it large enough to ride around on and it can finally swim! as a bonus, once per turn you can try and frighten a creature when you hit it with an attack or spell. everyone’s seen jurassic park by this point, they know not to stand near dinosaurs.

18. Druid 11: as we near the end, you can finally grab sixth level spells like Move Earth. for up to two hours after casting, you can reshape dirt, sand, or clay in a 40’ area that can be moved around, with each change taking ten minutes. also worth noting, this doesn’t work on stone or stone structures, so any rock formations might collapse if you use this too much. Make Sure Nothing You Love Is Under the Rocks.

19. Druid 12: use your last ASI to bump up your Charisma again! with a charisma score like that you could even make a 19th century englishman respect… well, literally anyone who isn’t also a 19th century englishman.

20. Druid 13: for our final level you gain access to seventh level spells, but again there aren’t really any I want. sorry to end it on a sour note, but now you can upcast your animal conjuring and lightning breath, so that’s neat!

Pros & Cons

Pros:

druids have access to some powerful aoe spells, and while we only really use Dragon’s Breath in this build, being able to shoot them out of a large creature means you can make those aoes even bigger, for free, and odds are Plesi’s gonna be just fine on top of all that.

as a rogue, you like having people around you. as a druid, you can make people around you. well, dinosaurs. still, everything goes with sneak attack, so you can pretty much guarantee that extra damage whenever you want.

rogues are always great at skill checks, and you take that to a whole new level. as long as you have anything to sell, your party will never have to worry about their budget. also, while we got a lot of skills for buying and selling, most of them are open-ended enough that they can be used for any skill check you want!

Cons:

it takes a while for this build to reach something I’d call a finished state. while it works fine for most of the game, riding around on a plesiosaurus is kind of the dream, and you can’t do that until level 17.

a lot of your spell list is spent on utility spells, and while they aren’t necessarily bad, it’s hard to think of when you’d really want the ability to dig for two hours over say, a fireball. they don’t even break rock, so good luck getting to actual fossils with Mold Earth.

both druid and rogue are pretty greedy classes- they both want you to focus on them as much as possible. because of this, we get neither a big sneak attack bonus nor druid’s busted capstone ability, which is rough. it’s not the end of the world since you’d probably never see any capstone ability used in regular D&D anyway, but still.

[blueboyluca]

Lately I've been feeling a huge need for emotionally intelligent, empathetic and thoughtful content about dog training and care. I feel very fragile at the moment and this sort of thing, while also kind of painful in a way, has been helping me be forgiving to myself and understanding to the dogs in my life. I can't get my thoughts straight to write out anything in detail, but I can share the resources themselves.

This episode was soothing. Christina is a beautiful and gentle speaker and her insights are incredibly valuable. I appreciate her desire to stay out of the limelight, but I do wish I had regular access to her thoughts so it's a bit of a shame she doesn't do social media or anything like that.

Choice quote: "Oftentimes I want to raise my hand and be like, can we evaluate this carceral mindset? And I get looks and I think, cool, not the time, not the place. This is not the space, like, shift gears, let it go, try something else."

This post was a really useful reflection tool. I don't identify as a crossover trainer, since I never trained dogs before, but I still relate because I was raised in a punishment first society regardless of dogs. Even as someone who came to dog training committed to R+ from the outset, it still takes rewiring and relearning and reconfiguring to not default to punishment.

Choice quote: "We humans believe that anger is an appropriate response to being wronged. I agree. There is a lot in this world to be enraged about. The problem is directing that rage at dogs and other beings we control. We are encouraged to believe that dogs are morally wronging us, and that appropriate responses are anger and punishment."

I found so much value in this two-part podcast from Animal Training Academy with Michele Pouliot. She had so much wisdom about how to effectively help people and change minds. And sometimes that means being frustrated.

Choice quote: "When we start working with a dog that's never had positive reinforcement training before, you're right, what's the first thing we do? We build a reinforcement history so that dog trusts us, enjoys being around us, and as soon as we have that relationship we can ask more of them... just because a person called you and made the appointment doesn't mean you have a relationship yet... It's the same as training the dog, you have to build the history."

I'd love to find some more media like these. I've been downloading a bunch of new dog books again, but so far none of them are quite scratching the itch I've got. I wish I could read something like The Secret History of Kindness again, that was one of those rare books that had a profound impact on me.

[askgildaseniors]

Welcome to Wolf Wisdom! In this episode, host Matthew dives deep into the world of dog technology with a special focus on the revolutionary Halo GPS Dog Collar. Joined by Justin Butz from Halo Collar, we explore why this advanced collar is a game changer for pet owners.

👀 Topics Covered: ✅What sets the Halo GPS Dog Collar apart from other dog collars ✅How the collar's feedback system guides your dog home with features like the dog whistle ✅Customizable features to fit your pet's needs, including hidden features and pet card tracking ✅Real user experiences and feedback from the dog park ✅Indoor and outdoor applications of the Halo Collar and Halo Collar Beacon ✅Dog protection and dog training insights with the Halo Collar

🐶 Special Mentions: ✅Best GPS Dog Collar options and why the Halo Collar stands out ✅How the GPS dog fence and dog tracker functionalities work ✅Protect your dog with the Halo Collar Fence and GPS dog collar fence ✅Specific use cases for different breeds like Labradors and Golden Retrievers ✅Training your puppy with the Halo Collar’s advanced features

🔔 Don't miss out! If you're considering a GPS dog collar or a GPS fence dog collar, the Halo Collar might be the perfect fit for your furry friend. Click the link below for more information and check out user reviews on the Halo Collar 3.

[valenteal]

One of the things I adore about Bungo Stray dogs is how it challenges our ideas about what a “main character” is. Atsushi is undeniably the protagonist, the story begins when his hero’s journey begins and follows it. It somehow manages to fit the hero’s journey perfectly and challenge it at the the same time by simply expanding the scope of the audience’s perspective. Atsushi is the protagonist and we watch every part of his hero’s journey unfold, but we also get immense insight into the mentor/shapeshifter’s backstory and plots.

It’s like if the Harry Potter books followed both Harry and Dumbledore from the beginning, with flashbacks to Dumbledore’s past. If that happened Harry would become, in the reader’s eyes, a piece on Dumbledore’s chessboard because we would see all his machinations from the beginning. That’s exactly what happens in BSD with Dazai. Instead of us seeing Atsushi as the main character who everything revolves around we see Dazai as the mastermind who shapes all the events of the story around Atsushi. Instead of seeing Dazai as a mysterious mentor figure with a dark past shrouded in mystery that gives Dazai wisdom of experience we see him as a flawed person with dubious morals who is trying to be good but doesn’t know how, someone who’s been hurt terribly and hurt others even worse. In turn, Atsushi’s character appears more naive and pathetic, his accomplishments and growth don’t seem like his so much as Dazai’s. He behaved exactly as Dazai anticipated because Dazai manipulated him and the situation for that to happen. It makes Atsushi a tool for Dazai, makes his accomplishments Dazai’s. But if the story was told to us omitting all of Dazai’s behind the scenes manipulations Atsushi would feel like any other protagonist. Dazai would feel like Dumbledore, helping from the shadows rather than pulling strings from them.

Anyway, I’m a lit nerd if you can’t tell and I think Asagiri is a genius.