#Transcend Censorship

[lucyoccupy]

Navigating the insurance and legal systems with a brain injury: Tips for self-represented plaintiffs

#Me: Please summarize this entire thread and start it out with a fun ROSES ARE RED, VIOLETS ARE BLUE intro poem #ChatGPT: Sure, here’s a summary of the thread in the form of a fun intro poem: Roses are red, violets are blue, Let me summarize this thread for you! A plaintiff with a brain injury, Hired a lawyer, but oh so miserably. The attorney cheated and lied, Leaving the plaintiff…

[genshinnrambles]

[4.0]: A Theory On Rhinedottir, Alchemy, and the Meaning of Sin

“One thought may end all calamity, and there will always be thoughts that may transcend time.” -The Meaning of Aeons “Separate the dust in the flames with joy, and extract the exquisite from the crude. For all in the universe comes from a single source, and all things may be derived from a single thought.” -Cinnabar Spindle

I’ve been wanting to do some Rhinedottir speculations for a while. With the new Ancient Colors world quest in Fontaine, I think now is a good time to propose a theory about this mysterious member of the Hexenzirkel, her approach to alchemy, and the reason she is a “sinner,” especially within the context of one of the Archon Quest’s central questions: what does it mean to be “born with sin”?

SPOILERS: Up to Act II of the Fontaine AQ (just Primordial Sea stuff), and Ancient Colors.

Although Rhinedottir is never mentioned by name in Ancient Colors, all of the signs of her are there: Mamere’s identity as an artist, Elynas’ otherworldliness and similarities to Durin, and the differences between the Melusine’s perception of the world and our perception of it (or their aesthetics, which we will touch on later). Ancient Colors is trying to remind us of Dragonspine and, if you were playing during this time, Shadows Amidst Snowstorms, and I believe it is doing so because it is key to the secret of the Primordial Sea and the prophecy of Fontaine.

We’ve heard Rhinedottir’s perspective only twice so far, and that was in the Windblume festival from this last year and in Cinnabar Spindle’s lore. Though we still don’t know much about her, she does identify herself as a “mother” of many children, and that she is raising the only son she has left. This, of course, is Albedo. 

We also know that she is considered a "sinner" at the center of the Cataclysm who unleashed "an army of shadowy monsters" onto Teyvat, but we have very little grasp of what exactly is meant by "sinner," and what if any consequences this label has had on her since then. Although every Hexenzirkel witch will undoubtedly be very important to uncovering the truth of Teyvat, Rhinedottir presents a particularly interesting case as the only one whose activities may have caused cataclysmic destruction, as opposed to Alice's general mischief and strange sense of humor.

It’s almost nothing to go off of, but I hope to demonstrate in this speculative theory that it’s more than enough to arrive at some answers.

Psychoanalysis 101, Round 2 

To better explain what Durin, Elynas, and Rhinedottir’s other children are, we need to use an analogy rooted in Freud’s psychoanalytic theory of dream interpretation. This is a super TL;DR version of it and way oversimplified, but if you’re interested I wrote a more detailed theory about the significance of dreams in Genshin that has a full explanation of it there. (Also, it should be said that these were just Freud’s theories, please do not take any of the following as an accurate description of the human psyche and how it works. We are just having some fun for the sake of media analysis.)

Freud thought that dreams are the mind’s means of expressing unfulfilled wishes, and that the psychological purpose of dreaming is to “fulfill” those wishes. In A General Introduction to Psychoanalysis, he gives an example of this through a little girl’s dream where she was sailing on a lake: this dream was born out of an unfulfilled wish in her waking life, where she had to stop sailing on the lake despite wishing to continue. Hence, “I wish to sail on the lake” becomes “I am sailing on the lake” through the dream.

Further, Freud thought these unfulfilled wishes are “forgotten” in our unconscious mind when we are awake, censored by the ego to protect our conscious mind, but that at night this censorship is weakened. This is what allows a dream to occur while we sleep. 

These unfulfilled wishes are often more complicated than a childish wish to keep sailing on a lake. Think about it this way: a wish is, at its core, a thought in our head, or a desire. What do we do with the thoughts we don’t like, the ones that are unbecoming of us or are unacceptable to fulfill? 

We deny them. 

Specifically, we repress them into the unconscious, where they are forgotten. Thing is, even if we temporarily forget these thoughts, they won’t just disappear from existence - they fester in the unconscious, waiting to be expressed. The dream, therefore, is the unfulfilled wish/repressed thought’s attempt to cross the boundary from the unconscious mind into the conscious mind - to be acknowledged, or indeed remembered.

“Unfulfilled Wishes”

Making sense so far? If so, try to think of Teyvat like this: everything that is visible, everything above ground that the light touches and that can be perceived is like the ego and conscious mind. All of these things are what you’re aware of, things that you “know” and can make sense of, things that you understand, things that fit into rules and laws and order.

Now, think of everything in Genshin that is “unseen” and “unknown”: the Abyss, the spaces underground, forbidden knowledge, things that are “not from this world,” from beyond the firmament…these are like things from the unconscious mind, the repressed thoughts that we deny in ourselves because they may reveal a truth we are unwilling to face. These things are comparatively chaotic in nature, things we’d rather avoid, or things that we wish to forget.

We know that Elynas’ and Durin’s bodies are composed of matter that’s foreign to Teyvat, and that this is a major reason why they are incompatible with Teyvat and cause its destruction. This would make them more similar to a repressed thought, something that we don’t understand or know, and attempting to understand it destabilizes our sense of self, our “truth.” It follows that their home, the Abyss, is most similar to our unconscious mind, and Teyvat is most similar to our conscious mind.

Elynas: Before I was born, I floated in the cosmic darkness. It was cold there, and lonely. I was so sad, then, and I would often cry.

So, as their mother, who or what is Rhinedottir in this analogy? Well, we can be a lot more specific than calling her a “sinner.” In fact, she’s a dreamer, and alchemy is the medium through which she “dreams”:

This was a story from long ago...  Unborn life, unfulfilled wishes,  Tragic dreams at the edge of the universal darkness that could never come true, Indwell my body, and descend unto this world.  Then, my lovely children,  Like rainwater flowing into creeks, and plants growing towards the sun,  Go unto a lovely place, and display your own beauty there with pride.  This is a memory, a memory that a child named Durin had of his mother… "Thank you, Mother, thank you."  "You gave me wings to soar and a mighty form."  "Mother, I wish to go to a land of lovely songs,"  "I will tell them about you, Mother, and about everyone else."  "I shall tell them that the place where I was born is beautiful." -Festering Desire

Rhinedottir’s children, then, are like thoughts or ideas that she is bringing to life, or “making conscious,” by moving them from the Abyss to Teyvat. It may even be the reason why the sword from The Chalk Prince and the Dragon is called Festering Desire in the first place - it’s a reference to the idea of repressed thoughts, wishes, and desires festering in the unconscious.

Should the analogy hold true, it provides some insight into what her intentions may have been in creating her Abyssal dragons. But before that, we need to take a little detour into Enkanomiya and brush up on some lore.

Denouement of Sin

Eboshi: However, the heavenly order seemed to not wish for those who remembered all this to remain on the earth. We searched and searched for a road of return, but there was none to be found.

Remember these hologram-looking dudes? They are the Shades of Tokoyo, also known as Sinshades. They are described as afterimages of the former citizens of Byakuyakoku preserved by Istaroth’s favor, specifically those citizens’ most powerful emotions, and they are only visible during Evernight:

Eboshi: Due to the phenomenon known as Sinshades, the “past,” “history,” and “truth” of Enkanomiya would endure even if left to their own devices. Eboshi: As such, great effort was expended, not that we might remember, but that we might “forget.” Lady Sangonomiya was of this view.

Like a dream, Sinshades only appear at night, and they are a kind of embodiment of history or “truth” that Watatsumi Island has chosen to forget, representing the thoughts and emotions of those who once lived in Enkanomiya. Using Freud’s theory of dream interpretation as a framework, Enkanomiya then functions as Watatsumi Island’s unconscious mind. 

Put another way, if all Sinshades are the result of strong emotions preserved in time through Istaroth’s favor, then those emotions are like thoughts, and that would make the Sinshade a “physical” form or expression of those thoughts. So, when we call the afterimages the “Sins of Tokoyo,” we are in effect calling them the “Dreams of Tokoyo,” because they are the thoughts and emotions of Enkanomiya given form, and that’s what dreams do: they convey thoughts and feelings through a series of images. 

Through the Sinshades, we see an implicit association with the concepts of dreaming and sinning in Genshin’s worldbuilding, and through them we understand that they are not so different from one another.

A Brief Note on Aesthetics

Jakob: Look at your feet. Blood, flowing like a river, fertilizing the very dust of the earth with their filthy fat.

It may have struck you how various Melusine perceive reality in a way that greatly differs from the things we see, as if at times their perception was “flipped,” if not somewhat strange. By the end of Ancient Colors, it’s clear that this is due to the Melusine being born of Elynas, who is not from this world. A similar phenomenon can be seen in both Durin and Elynas, the former imagining itself dancing with the people of Mondstadt before it “woke up” from this dream to Dvalin’s fangs in its neck, and the latter realizing that the things that it finds fun are destructive and harmful to the people of this world.

This is a part of the commentary present in several world quests and commissions in Fontaine that deal with “aesthetics,” or one’s own sense of beauty. Aesthetics are principles that differ on both large and small social scales, varying between groups of people and between individuals (see Salsa’s and Ubu’s aesthetic disagreement), and they can change throughout time as values change. In other words, they are informed by perspectives.

For example, think of what we know so far about the Primordial Sea. Neuvillette wonders how the Primordial Sea could be capable of giving life and then “suddenly reversing itself” so that it instead “devours life,” but this is just his judgment of what the sea does, and ultimately his perspective. Many others view the properties of the Primordial Sea differently from him: to them, the prophecy is comforting because it signals a “return,” or a “homecoming.” To take it a step further, Neuvillette may be making an assumption by stating that the sea has reversed itself. Perhaps this is just how the sea is, perhaps this is its “truth.”

Verenata: The "truth" will not be limited or constrained by the eyes and perspectives of the viewer, and won't be distorted by what is in their heart. It objectively exists, and it just is...like the white sand, like the bones of seastars, like the waves that crash and pound...those are "truth."

Now, imagine that you are staring at a 3D object from a 90 degree angle. If I ask you to describe the object from where you're standing, you'll be able to accurately tell me about what roughly half of the object looks like, but you won't be able to accurately describe the other half of it without help from someone standing on the other side of the object.

But how can you be sure there even is another side of the object, or that it's any different from the one you see now? From your perspective, what is already visible to you may seem sufficient to describe the object in its entirety. In other words, your perspective becomes your "truth."

It is only through considering additional perspectives that we broaden our own understanding of reality and expand on our "truth." However, broadening our perspective is usually not a comfortable experience, as is typical when we engage with ideas that differ from our own. Part of expanding our "truth" requires us to shatter our current understanding, pick up the pieces, and reassemble them into a shape that makes space for these other ideas and their "truth."

For example, when we confront Jakob at Elynas' heart, he describes the rushing currents beneath our feet as Elynas' blood. To the player, who has been swimming around in that for a couple of hours by that point, this idea is macabre and horrifying. However, when we consider Jakob’s perspective, his “truth,” it also expands our understanding of Elynas as a being that is somewhere between dead and alive, sleeping if you will, and that he is more than capable of waking up from his slumber with the appropriate stimulus. Another example is Canotila, who saw the wasteland in Rene's Book of Esoteric Revelations as a peaceful forest. When we consider Canotila's "truth," her aesthetic sense doesn't change the way we see the wasteland, but it does show us something equally important: the way that we experience the wasteland is not the only way it can be experienced.

If we return to the other ever-present metaphor of alchemy as a form of painting, we can see that Rhinedottir’s aesthetic sense greatly differs from what is acceptable and compatible with Teyvat. But, just like Mamere, she paints regardless of whether her paintings are understood by a greater audience. In time, Teyvat's "aesthetics" may change again, and perhaps her "art" will be received differently when that time comes.

Concluding Thoughts

(A pool full of Water from the Primordial Sea. Countless sins were born of it…)

So, that is why I think Rhinedottir was deemed a sinner. She sinned by “dreaming” up these chaotic life forms that were not from this world, bringing them into being through the Art of Khemia, and telling those chaotic life forms that they were beautiful, too, that the ordered and lawful world of Teyvat just needed to realize how beautiful they were. Maybe Rhinedottir was dreaming of a new world, one where her children’s wishes could be fulfilled, where they could exist with everyone, and maybe creating that world required the destruction of this one. You could also think of her as someone who has introduced “external variables” into Teyvat, which, hmmm..:

“...No matter how many times I derive it, the result remains the same, though this result is not expected... Unlike the world depicted in these ancient texts, there will be no more new civilizations born... Unless we consider introducing "variables" from outside the system... If it was that sort of power, there might be a chance…” -Enigmatic Page I, Book of Esoteric Revelations

In this way, her “children” (thoughts) were all “born with sin,” or are born from sin (dreams). If Rhinedottir is a dreamer, then alchemy is the way that she dreams: it allows her to give forms to these thoughts. And if you buy that, then there are some serious implications to consider from this whole notion of Fontainians being “born with sin,” and just what exactly the Primordial Sea might be. Definitely something to think about while we wait for 4.1. 

One last point that is more of an aside than anything else: Rhinedottir’s only remaining child is Albedo, but through this lens we see that he is not just the culmination of the Primordial Human Project, the creation of a human through the power of alchemy, but also the only known example of Rhinedottir’s “ideas” that coexists with Teyvat as it is now. As for her known extant grandchildren, they have integrated with Fontainian society and don’t seem to cause them any trouble. I wonder if she knew something like that could happen?

But…that’s just my take on it so far. What do you think?

(also, fun fact: there is a parallel storyline to this one unfolding in Honkai Star Rail right now as it relates to being deemed a “sinner” for creating life, and another parallel storyline in Honkai Impact 3rd about creation and rebirth and “returning home to the sea” and I just love when Hoyoverse connects their games like that) 

EDIT (9/8/2023): Touched this up a bit and made some grammatical corrections. Thesis is the same, some added support and re-phrasing was done to better convey it.

Sources

A General Introduction to Psychoanalysis by Sigmund Freud

[labbaik-ya-hussain-as]

21,480,525 people marked Arbaeen in Karbala and yet the mainstream media is silent. Why?

‎Understanding the media's deafening silence and censorship of the Arbaeen Pilgrimage.

‎Typically, one of the primary factors that captures media attention is the scale of participation in public events. The larger the crowd, the greater the news coverage. But this principle seems to vanish when it comes to the annual Arbaeen pilgrimage - arguably the world’s largest peaceful gathering, with over 20 million participants.

‎If today's world comes to know the wonders of Arbaeen and its impacts, then you will see the people entering Islam in throngs, embracing the Shia School of Thought.

‎وَرَأَيۡتَ ٱلنَّاسَ يَدۡخُلُونَ فِي دِينِ ٱللَّهِ أَفۡوَاجࣰا

‎'And you see the people entering into the religion of Allah in multitudes'

‎[Surah Nasr - verse 2]

‎This might be one of the reasons why news about Arbaeen is so conspicuously censored.

‎Consider the contrast:

‎when protests or demonstrations involving a mere few hundred or thousand of people occur in global cities, news outlets are quick to provide extensive coverage. Reporters and journalists rush to cover events as varied as animal conservation efforts or minor local demonstrations.

Yet, when millions of pilgrims from across different faiths and nationalities converge for Arbaeen in Karbala, to commemorate the martyrdom of an infallible Imam (AS) and to reflect on his principles of justice, sacrifice, and coexistence, the mainstream media is eerily absent.

Why is it that a small protest in London or Paris makes headlines, but the world’s largest human gathering - where women, men, and children walk peacefully together - is largely ignored?

‎Arbaeen is more than just a religious pilgrimage. It’s a great spiritual journey, a form of jihad (struggle), and a powerful social movement centered around the legacy of an infallible Imam. There is a complete, divinely guided human figure at the core of this gathering. This unparalleled historical phenomenon is precisely why the news surrounding Arbaeen is often suppressed, especially in Western media.

In today’s world, dominated by consumerism and Western secularism, there is a growing crisis of spirituality and justice. As more people from diverse cultures and faiths seek balance and meaning in their lives, many are turning to Islam. This trend is causing increasing concern among non-Muslim governments, particularly in the West, where Islamophobic campaigns attempt to paint the entire Muslim community with the brush of extremism.

These same campaigns tend to spotlight radical ideologies, such as those of takfiri groups - movements often funded and fuelled by Western interests - and use them to generalise and distort the image of Islam as a whole.

‎In this context, Arbaeen emerges as a powerful counter-narrative. It showcases the true values of Islam: peace, sacrifice, justice, and co-existence. The millions who walk side by side during Arbaeen reflect the very opposite of the divisive images propagated by Islamophobia, demonstrating a message of unity and shared humanity that transcends all boundaries.

[hra-official]

Greetings and hail!

...so this is Hercynia. It's a lot prettier here than the stories of the Crisis that I've been told make it out to be, but I suppose corporate censorship has its upsides if it allowed you enough peace and quiet to rebuild and flourish like this.

Ah, shit, where are my manners - this is callsign Angel speaking, please forgive my rudeness. For legal reasons I should probably disclose that I'm a member of MSMC 796th detachment "Heaven's Fury", but I'm not here on any business. Quite the opposite, actually - I needed some time away from those HA bootlickers idiots, and what better way to spite them than by heading here for a spell.

I'll admit I'm not as educated as I'd like to be on Hercynian history - I grew up on Pyxis (one of Carina's moons; it's a ways from here, and IPS-N folks don't talk much about you), and I completely understand why y'all might be reticent to remind the galaxy that you still exist, especially after what HA did to y'all. (I apologize for continually bringing it up - I'm not really sure how to talk about it tactfully, or if that's even possible.)

I guess what I'm asking here is, well... tell me about Hercynia. What is used to be pre-Crisis, what it is now, what you hope it will become in the future. Something more than the same old horror story that I keep hearing from my coworkers and corporate propaganda. (If I'm allowed to know, that is - I completely understand if that's not the case and I'm overstepping boundaries.)

Yours among the stars,

MC Phoenix “Angel” Michaelis-Landers, MSMC-796-3

What Hercynia was before first contact is still an open question: what we know is what we have gleamed by old artifact and osteomemetics stashed in the deepest recesses of the earth, and every so foten new ones are discovered which futher call into question what we thought. Even what little we have learned paints a fascinating picture: the Egregorians of old did not conceive of themselves as we do; to them there was no rigid distinction between person and non-person, between "civilization" and "nature". Overminds like Endeavor were not their chiefs, but "spiritual" leaders whose guidance transcended factional distinctions. I put "spiritual" in quotes because no sources from that time describe religious beliefs like any seen today or in any other part of the known galaxy; it is unclear if they would have even understood the concept of "worship". I'm not going to touch on what contemporary Hercynians of either species think of that in relation to our current modality of existence: it is a hotly debated topic; but I'd like to reassure you and anyone else reading that it is precisely that: a debate.

As for now... well, it's a strange new world: we went from being alone and tightly held together by pur collective fight, to suddendly not needing to fear for our lives but also needing to contend with knowing and being known by the rest of humanity.

For some, this is the best time to be alive, for others this new contact feels like a sort of cultural agoraphobia, but either way, we're all anchoring ourselves by finding a way to contribute to rebuilding now that we are finally able to.

Some, like me and my colleagues at HRA, are most concerned with finding a way for our people to prosper from the newly opened contact with the rest of civilization, and work tirelessly to find an opportunity to prosper in anythign we have.

Some yet are taking to the stars, out of wonderlust, curiosity, or in a few cases because they've been fighting so long they just don't feel at home doing anything else, and so decided that they might as well help their famileis and friends by sending back their earnings as mercenaries.

In conclusion, this is as bittersweet a time to live on Hercynia as there has ever been a time to live anywhere. We did it, after all, in spite of all the people that didn't. Despite the many difficulties and tribulation still ahead of us, it's hard to be sad.

[raven-at-the-writing-desk]

Theory on World Dynamic & Blot Pt. 1 (No Beta, apologies in advance for any and all confusion you may have when reading this. Please delete this is you don't feel comfortable with this):

One of the things I didn't get at first was why the Seven were considered role-models in TWST---I couldn't pinpoint how society would openly idolize people for actions that are openly admitted as wrong in a unanimous sense yet not have someone openly question/challenge this. The Seven are historical figures. Some of the dialogue we do get hints at imperfection that are more close to D!Villains the audience is more familiar with. Assuming Earth is meant to be referring to our Earth (in which it is taken in it's entirety without altercations), I think TWST is meant to have similar core parts that reflect our real-world. History-context-wise, it would make more sense that royal/governing figures(Queen of Hearts, Scar, & Jafar) would be recorded---even considered an example to TWST's present day royalty/governing system on do's and don'ts---and respected as seen by the description on the statues (being able to govern over (what I will assume is) a massive population and having the nation surviving---even thriving---are (objectively) ideal feats to be remembered by and put as positive example in the grand scheme of things). If this is true, then it would also make sense for the Seven to coexist with their respective protagonist(s), making RSA possible but also making the dynamic not as black-and-white as simplification will allow. . .Yana didn't need to write an explanation w/worldbuilding cuz she played it smart and just used what she already had---existing reference called real life.

(Note: I know that this ask opens with “part 1”, but I never received any part 2s or other follow-ups after that DX)

I think I get what you’re trying to communicate? (Correct me if I’m wrong!) So I believe this Anon is saying that 1) both the Disney villains and heroes exist in Twisted Wonderland as historical figures, 2) the alternate tellings of their histories can coexist, and 3) like in real life, history can be twisted depending on the narrative/teller and, in hindsight, actions that are considered dubious can be viewed by future generations as morally correct or righteous. (If that’s the case, I expressed similar thoughts in this post.)

There instances in which the original stories they come from diverge or coexist with other versions which are also treated as true. For example, Kalim tells a tale about a princess (Jasmine) who happily married a thief (Aladdin), transcending the social norms of their time. There is also another tale that the Sorcerer of the Sands (Jafar) revealed that someone (Aladdin) had deceived a princess (Jasmine) about their social status, and that he saved the kingdom by revealing the lie. Somehow, the original story became multiple stories, all of which stand on their own.

We must recall that there are often positive spins put on the tales we know of to be the truth; suddenly Jafar is no longer plotting to overthrow the Sultan, but is a loyal advisor who dutifully served his country, Ursula’s deals are justified because the fault lied with her clients for not paying up, etc. This is also true of real life, where, depending on the person you ask or the history textbook you reference, certain events and details may be glossed over or even completely rewritten. This may be due to censorship or a deliberate attempt to control the narrative and what information is taught to and carried over to students (and into the future). Lilia even makes a passing comment about this in episode 7, saying that history can be “changed” over time.

This is likely how and why the Great Seven are worshipped as they are; history has been “twisted” from the (presumably what Yuu views in their dreams), which just goes to show that good is closer to evil (and vice versa) than expected, thus blurring the lines between the two and creating a grey area. This is very much in line with TWST’s philosophy—that there is more to something than meets the eye, and that being truly “evil” or truly “good” doesn’t exist.

[girl4music]

“Similar innuendos—originally devised as a marketing ploy, perhaps—would eventually become part of the larger theme of redemption and love. As one critic observed: “As the series progressed, the sly jokes and innuendo turned into loving glances and a physical closeness that was increasingly intimate in nature, beyond the kinds of interactions one sees between ‘just friends’”

Yes, well, you can thank Lucy and Renee for that because they realized themselves that the “wink wink nudge nudge” approach wasn’t WLW representation and they sought to put that right by lessening all of that and instead focused more so on the deep friendship and a relationship that was beyond words and beyond what was subtext. That said so much more. They’re the ones that wanted to make their relationship a larger part of what the show was all about. Not Liz Friedman.

And they could do it because they had the authority to. Which makes a huge difference compared to TV shows today where the actors don’t have any authority at all.

You want to be thanking straight white men and women for the epic love story ‘Xena: Warrior Princess’ became because they’re the ones that knew what to do with it.

I’m not saying Liz Friedman wasn’t on board with all of that. She was. But she was not who “initiated” all of it. She wasn’t the catalyst and she wasn’t the enforcer.

It’s Lucy, Renee, Steven and R.J. that were. These are the people that wanted to make something out of Xena and Gabrielle’s loving relationship beyond “wink wink nudge nudge”. Beyond simple subtext. That made what they had between them the narrative of the entire show and gave it more of a ‘redemptive love’ kind of storyline so Xena was effectively the feminine version of Jesus.

All of this “Transcendent Love” is because of them.

And obviously Rob Tapert who approved this change. Who agreed with wanting to make the Xena and Gabrielle relationship more than cheesy pandering. The whole show could have been just that. Just “wink wink nudge nudge” and “were they/weren’t they” the whole way through. But I can tell you one thing,… if it was, I wouldn’t be saying all this now. I’d have discarded and dumped it in the trash along with all the rest years ago.

I wouldn’t be sat here defending the creators and explaining why it wasn’t queer-baiting right now.

I wouldn’t be anywhere near as passionate as I am. I would have put it in the same category as ���Supergirl’ or ‘ONCE’ or ‘Rizzoli and Isles’ and said it’s not worth it because it will never follow through on the love story.

I’m not because that’s not the truth and Lucy, Renee, Steven, R.J. and Rob the ones who made sure of it. You can’t watch half of the episodes in this show without realizing that they were absolutely 100% serious with it. No, they couldn’t confirm them explicitly in text. They couldn’t show them kissing or having sex. They couldn’t make it official. It doesn’t even matter about any of that because they intended it to be interpreted as romance.

They were on the side of the X&G fans and the shippers regardless of what they couldn’t actually do or show.

And that is what makes all of the difference. Always.

Getting around forced censorship

VS

intentionally exploitative queer-baiting

So yeah, they needed symbolism, they needed metaphors, they needed poor excuses for them to kiss.

They needed all of that because that was THE ONLY WAY they could actually represent anything properly.

And as I’ve said countless times already … a kiss via water transfer to reinvigorate the protagonist is far more romantically charged than a kiss just to be a kiss.

It’s much more thematically powerful and beautiful. If that’s what it took for them to get a kiss by the censors, then I was perfectly happy with that choice. It was fine. It doesn’t take away from or negate the love between them. Not at all. That actually sounds exactly right for Xena and Gabrielle where love was all about sacrifice.

You see when you look at the context of something - especially historical context - then things aren’t as bad as you think they are because this was how it had to be.

Then go watch an episode of ‘Supergirl’, ‘ONCE’ or ‘Rizzoli and Isles’ and tell me that you can say the same.

Or like any TV show with two lead female protagonists that aren’t immediately canonized as a romantic ship.

Tell me that you can say the same. You can’t. And the reason why you can’t was because it was a different time and place. Censorship wasn’t an issue anymore.

And guess who you have to thank for that being true.

XENA! The entire creators/cast/crew of XENA because they refused to back down on what they really wanted and I will sit on social media and defend them always.

I will not let anybody refer to Xena as “queer-baiting”. There’s plenty of TV shows that deserve that stamp.

Xena isn’t one of them.

[superchat]

hi! i've seen you post about it a lot, could you explain nerdy girl overdose? something about anime girl doing drugs is appealing and i feel like you can explain it better than a wikipedia article

Uhm hi!!! needy girl overdose is a management game. you play as the faceless boyfriend of ame, who wants to be a streamer. the gameplay is basically deciding what activities ame should do. she has a new idea for a stream, she could really grow her view count with it. or how about a date night, shes really stressed and could use some time with you. how about the hospital? shes been falling into a dark place lately and might hurt herself. you have to balance these things and see where it takes you. theres so many endings possible that can be 30 minutes or like 2+hrs(?) each, lots of replayability

One big appeal is the overall loveletter to the internet that the game is. the localization is spot on and full of references and jokes and subcultures that is very hard to capture if you havent been around through them (very early one youll see is a RANDY YOUR STICKS reference). it goes into the parasocial relationship the develops in online spaces, having an identity or persona that seen by others. wanting to be seen and loved, how your persona can grow, and these interactions can turn toxic if left unmanaged

Another part of the game is that its very deep into the menhera subculture. its got a lot of emphasis on mental health and dealing with mental issues. ame gets depressed, or goes manic, or abuses her medication, or SH's. theres some. really really good letters she has on some of these things.

The game can get dark, not because it tries to, but just because these things are so intertwined and connected that you kind of have to have it, if you want to be as genuine as you can be. theres not really a central Point to the game, its mostly just. a loveletter to the internet, for all its goods and bads. from the sense of community and belonging that transcends physical bounds, to the destruction and toxity and abuse it can enable for the self and others, the game kind of embraces it all

Switch version has some censorship (drugs are macarons now lol, idk what other changes there are) but its there if you want accessibility to play it, its on steam too, if you're interested, id say pls check it out if you're up for it :3

this should go without saying but this game is not meant to enable self harm or abuse. as i understand, menhera is not so much about getting worse, but using imagery of dark themes with a cuter look as a way of helping to get out of bad habits. like using poison as an antidote, and thats what this game does for me a lot. the darker art and themes helps me vent in a way and holds me off from doing things. take care of yourself! be kind to yourself! dont be mean to your body. its doing the best it can.

[tosahobi-if]

hi! i just found this if and I'm just wondering what does muhyeop and murim mean?

sure! this is about to get long (lol) but i'll try to do it as clearly as i can. as succinctly as possible, muhyeop is a historical korean fantasy genre featuring martial artists, and murim refers to the martial arts society/world within the story. some people like to use the terms interchangeably.

muhyeop is considered an offshoot of a genre that was popularized in china (that's why the story is set in china!) and is heavily influenced by authors like wolong sheng and gu long. you might've heard of terms like wuxia (lit, martial heroes) which focuses on the adventures of martial artists and xianxia (immortal heroes) a more fantastical take on the genre that includes principles from philosophies, customs, and religions like taoism, buddhism, and traditional practices. muhyeop is in the same family as those genres.

it's very, very popular and there's an interesting history behind it. some scholars argue the genre served as a mouthpiece when direct political protest was banned (which led to censorship of published books in korean and taiwan). they have a little historical basis to them, but it's a broad term. like how "fantasy" as a genre in the western world can mean anything from modern-day star power warriors to Ye Olde Knights Slaying Dragons.

a lot of common tropes include examples of immortality achieved through personal cultivation and/or martial might, good vs evil, chivalry, sword fighting (duh), and transcendence of mortality. there are four main generations of the muhyeop genre (a first-gen muhyeop author founded one of the largest webnovel publishing sites in korea!) and each gen expanded on set tropes and established new ideas/principles.

murim or wulin refers to the martial arts society that appears in muhyeop stories and is based on the actual martial arts society that was believed to have existed during the dynasties. the clans and families that are featured in the story also have historical significance, but ofc since people weren't actually using internal fantasy powers to achieve feats like immortality and super-strength, they just co-exist with their irl counterparts.

if this is your introduction to it i'm super happy to have explained it a little, and i hope it sparked your interest! there are thousands of incredible series and media out there, and i hope you check some of them out!

[unguidedgentleman]

The Orwellian Nightmare: How Modern Media Contributes to the New World Order**

George Orwell's works, particularly "1984" and "Animal Farm," have become almost prophetic in describing the potential dangers of unchecked governmental power and the erasure of individual freedoms. Today, his cautionary tales resonate more than ever as the convergence of media, technology, and governance increasingly resembles the dystopian visions he warned us about. The pervasive influence of contemporary media may not just mirror Orwell's warnings but exacerbate a push towards a one-world totalitarian government.

In "Animal Farm," Orwell illustrates how propaganda can manipulate and control a population. The pigs on the farm, who gradually assume totalitarian control, use constant propaganda to justify their actions and maintain power. In the current era, traditional media and social platforms have a similar power. News outlets often present information in a manner designed to generate specific emotional responses, leading to polarized populations that are more easily manipulated.

The line between news and propaganda has blurred, making it challenging for individuals to discern objective truths from manipulative narratives. The omnipresent nature of media ensures that particular ideologies reach mass audiences swiftly, influencing public opinion and shaping societal norms. When critical analysis is replaced with echo chambers and bias confirmation, societies drift closer to the totalitarian control described in Orwell’s works.

Orwell's "1984" introduces us to Big Brother, the omnipresent surveillance state that monitors every facet of individual life. Today, tech giants like Google, Facebook, and Amazon collect vast amounts of data on every user. While marketed as tools for convenience and connectivity, these technologies also enable unprecedented levels of surveillance.

Every click, search, and location is logged, creating detailed profiles that can be used for targeted advertising, but also potentially for social control. Governments can and do access these troves of data, ostensibly for national security purposes. The merging of government oversight with corporate data collection creates a surveillance state far more sophisticated and intrusive than Orwell could have anticipated. This relentless monitoring facilitates control over populations, ensuring compliance and limiting dissent.

In Orwell's dystopian world, the past is constantly rewritten to serve the present narrative. This manipulation of history is complemented by stringent censorship. Today, the control of information is often more subtle but no less effective. Algorithms on social media platforms can suppress or promote content, subtly shaping what information is seen and what is hidden. Governments and corporations can collaborate to remove or censor undesirable information, often under the guise of combatting "fake news" or protecting public safety.

Moreover, the rise of "cancel culture" acts as a societal enforcement mechanism, where individuals are ostracized and silenced for expressing contrarian views. This peer-enforced censorship ensures that only a narrow range of acceptable opinions is publicly shared, pushing societies towards homogenized thought and Orwellian conformity.

Orwell’s warnings about power coalescing into an omnipotent state resonate with contemporary movements toward global governance. Organizations like the United Nations and the World Economic Forum are increasingly influential in shaping international policy, transcending national sovereignty. While global cooperation can address transnational issues like climate change and pandemics, it also risks concentrating power in unaccountable bureaucratic entities.

When media, technology, and governance intertwine at a global level, the risk of creating a one-world totalitarian government becomes palpable. Centralized control over information, coupled with global surveillance networks, could lead to a scenario where dissent is virtually impossible, echoing the most terrifying aspects of Orwell's dystopias.

Orwell's texts are not just stories but warnings. It is time we recognize and react to the signs of creeping totalitarianism in modern media and governance. The balance between security and freedom, between global cooperation and local autonomy, must be vigilantly maintained. Individuals must demand transparency, accountability, and the protection of individual liberties in the face of ever-expanding state and corporate power.

The Orwellian nightmare need not become our reality, but avoiding it requires awareness, critical thinking, and active resistance to the seductive allure of total control. By understanding the parallels between Orwell’s world and our own, we can strive to safeguard the freedoms that are easily lost but so difficult to reclaim.

[lucyoccupy]

Best Practices to Transcend Censorship on LinkedIn and Twitter Today

Let’s Ask AI about social media and censorship… Maybe some of us left standing can collaborate with LinkedIn learning to ensure compliance with First Amendment of the Constitution of these United State of America.  Connections in other countries might be re-inspired by Freedom of Speech in America   1. Censorship is the act of suppressing information or ideas that are considered objectionable or…

[whitehotharlots]

The bowdlerization of Roald Dahl

Here’s the full story. Lap it up. Bathe in it. This is your victory. You have earned it. Don’t be shy in showing off your achievements.

I warned against this, multiple times. The kindest responses I received were indifference or accusations of paranoia. The worst response was being wished away to live among the other Wrongthought Damned. For some--a group who now wield near-absolute authority over all aspects of culture--suggesting that, perhaps, it’s not a great idea to embrace proactive censorship in the name of social justice... well, I would have been better off had I said that slavery was fake or Hitler had some good ideas.

This isn’t going to stop. They will come for anything and everything, including the works you consider sacred. Your protestations, if you’re naive or foolish enough to make them, will be futile. 

I’m tempted to dig into this further, but I fear doing so would only dignify the phenomenon. At heart, this is nothing more than a rank hatred of humanity and its cultures, a belief that meaning can exist without context, that the values of Right Now are not only impeccable but that they transcend all time and space. Effectively, the purveyors of this movement cannot conceive of a world beyond their own heads, which means they find no value--none at all--in any work of art.

And, because our institutions are uniformly run by self-serving, ignorant cowards, there will be no stopping them.

[queenvhagar]

let's play a game: list at least 5 alternative fantasy series (past or present) to watch instead of hotd.

To people who want an exploration of sociopolitics concerning the realities of life under the control of a fascist empire and those who rebel against its pursuit of ultimate power, a show that explores gray characters with complex motivations and isn't afraid to reveal some ugly truth about humanity, I recommend Andor (you do not need any prior Star Wars experience, nor do I necessarily recommend anything outside of the first two trilogies of movies, and definitely not any of the other Disney shows or movies) (seriously this show takes the audience seriously and doesn't treat you like you're dumb which is extremely rare nowadays) (it also boasts Andy Serkis in live action in maybe my favorite role of his - he is an underrated powerhouse of an actor).

To fans of drama and comedy combined who want a story of empowerment, love, friendship, and fighting your inner demons personified as real life monsters you have to defeat, all set in the late 90s and early 00s, I recommend Buffy the Vampire Slayer (its creator is problematic for a plethora of reasons but the art that the team of creatives put together from his idea is worth experiencing, in my opinion) (I actually have a tattoo related to this show).

To all the sapphics who can read the subtext that persists through TV censorship and have a soft spot for 90s television, Xena Warrior Princess will give you an amazing queer love story (officially recognized in the writing subtextually and by the actresses themselves).

To all the shippers who wish the plot was fluffy and fit to make happy endings, I'm classifying Bridgerton as a fantasy series for its historical inaccuracies and colorblind casting (great if you love it, but it's not real history, just fantasy of what things might have been if they were different) (this fits a more historical fantasy vibe and is fairly lighthearted).

And for people interesting in having their brain chemistry altered forever for likely the worse, who want to witness the gayest most profound pairing of two people that managed to transcend the writing of the show despite constant attempts to minimize it or shut it down and mid-2000s homophobia so strong that it circles right back around to being gay, in an overall story of generational trauma, family, and love, a show that will cause you to have psychic damage whenever you hear a certain Kansas song play on the radio, I do not recommend Supernatural.

[giuseppebonaccorso]

Shostakovich's violin concertos are an absolute marvel of musical brilliance, showcasing his unparalleled talent and revolutionary ideas. From the moment the first note is played, it is clear that these concertos are a testament to his unique style and innovative approach to composition.

The style of Shostakovich's violin concertos is characterized by a perfect blend of traditional classical elements and his own avant-garde tendencies. He effortlessly weaves together melodic lines and intricate harmonies, creating a tapestry of sound that is both captivating and thought-provoking. His use of dissonance and unconventional harmonic progressions adds a layer of complexity to the music, challenging the listener to delve deeper into the emotions and narratives conveyed by the violin.

But it is not just the style of these concertos that sets them apart; it is the harmony that truly captivates the audience. Shostakovich's harmonic language is daring and groundbreaking, pushing the boundaries of what was considered acceptable in his time. He fearlessly experiments with dissonant chords, creating moments of tension and release that are as thrilling as they are beautiful. The harmonic progression in his concertos is unpredictable and unexpected, keeping the listener on the edge of their seat, never quite knowing where the music will take them next.

What truly sets Shostakovich's violin concertos apart, however, are the revolutionary musical ideas that he explores. In a time of political turmoil and censorship, Shostakovich used his music as a means of expressing his discontent and challenging the status quo. He infused his compositions with themes of struggle, oppression, and resilience, creating a powerful narrative that resonates with listeners to this day. His ability to convey deep emotions through his music is unparalleled, as he crafts melodies that evoke a wide range of feelings, from melancholy and despair to hope and triumph.

Shostakovich's violin concertos are a testament to his genius and unwavering commitment to pushing the boundaries of what is possible in music. They showcase his unique style, daring harmony, and revolutionary musical ideas, leaving a lasting impact on all those who have the privilege of listening to them. It is through his music that Shostakovich's legacy lives on, inspiring generations of musicians and reminding us of the power of art to transcend political and social barriers.

[strathshepard]

Trailer for Lina Soualem's Bye Bye Tiberias, 2024, via The Gentlewoman:

If you only see one documentary in the cinema this year, see Bye Bye Tiberias — Lina Soualem’s family portrait of four generations of Palestinian women.

Q. Explain the film’s title for us, Lina.

A. It’s the story of the women in my family who have been evicted from Tiberias, the city on a lake where my mother used to swim when she was young. The title speaks to the realities of exile: after you’re forced to leave a place, you can go back, but the roots have been cut.

Q. Your mother is the actor Hiam Abbass, of Succession. How was it to direct her?

A. I’m used to seeing her in fictional contexts. Bringing a camera and asking her to be herself was an uneasy experience at first. It took us a while to find our balance — and for me to transcend the mother/daughter relationship and address her as a woman.

Q. You’ve used such clever devices to that end — having her act out scenes from her early life inside her former drama school and so on.

A. The challenge was to let the intimacy emerge. I found it moving to see her go back to a time or place with her sisters — women who are themselves very loving, particularly in the way they constantly tease each other. It’s not the Succession family, put it that way.

Q. You finished the film last September. How has it been to tour it, given what’s happened since?

A. I’ve felt both fear and guilt at times, but I’m also conscious that the film has put me in dialogue with many people during a time of censorship and dehumanisation. It was important to me that Palestinians should be seen and perceived, not only in the presence of death, but in the fullness of life.

[demoncore164]

TOOL

Poster designed by: @demoncore164

Tool is an American rock band from Los Angeles. Formed in 1990, the group consists of vocalist Maynard James Keenan, guitarist Adam Jones, drummer Danny Carey and bassist Justin Chancellor, the latter of whom replaced founding member Paul D'Amour in 1995. Tool has won four Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries.

Due to Tool's incorporation of visual arts and very long and complex releases, the band is generally described as a style-transcending act and part of progressive rock, psychedelic rock, and art rock. The relationship between the band and today's music industry is ambivalent, at times marked by censorship, and the band's insistence on privacy.

Discography

Undertow (1993)

Ænima (1996)

Lateralus (2001)

10,000 Days (2006)

Fear Inoculum (2019)

[freaxs-blog]

Today marks the 10th anniversary of the passing of the legendary Ray Manzarek. Born on February 12, 1939, in Chicago, Ray's upbringing was steeped in a rich musical environment. From an early age, he showed immense talent as a pianist and organist, drawing inspiration from jazz, blues, and classical music.

Ray's path took a momentous turn when he crossed paths with Jim Morrison in 1965. Together, they formed one of the most iconic rock bands of all time, The Doors. Ray's mastery of the keyboard and his ability to create mesmerizing melodies perfectly complemented Jim's poetic lyrics and charismatic presence. The Doors' unique sound became a defining force in the psychedelic rock movement of the '60s.

Their musical success knew no bounds, with hits like "Light My Fire," "Riders on the Storm," and "Break on Through (To the Other Side)". The enigmatic blend of Ray's hypnotic organ playing and Jim's profound lyrics created an ethereal and introspective experience for listeners.

Tragedy struck in 1971 when Jim Morrison passed away, but Ray's passion for music endured. He continued to pursue a solo career and collaborated with numerous artists, embracing different genres and experimenting with his sound. His post-Doors albums like "The Golden Scarab" and "Carmina Burana" showcased his versatility and creativity as a musician.

Ray was classically trained and earned a degree in cinematography before diving headfirst into the world of rock music? His diverse background undoubtedly contributed to the Doors' distinctive style and their ability to push artistic boundaries.

"Light My Fire," is one of the Doors' most iconic songs. Released in 1967, this timeless masterpiece carries a deeper meaning beyond its catchy melody. It explores themes of liberation, desire, and the transcendence of boundaries. "Light My Fire" became a symbol of the counterculture movement, resonating with an entire generation.

The Doors' appearance on The Ed Sullivan Show in 1967 became a controversial moment in television history. The producers wanted them to change the line "girl, we couldn't get much higher" due to its drug-related connotations. However, the band stood their ground and performed the song as originally intended, marking a rebellious act against censorship.

Today, we pay tribute to Ray Manzarek, a visionary musician whose influence continues to ripple through the decades. His legacy is forever etched in the annals of rock history, and his contributions to the world of music are immeasurable. Rest in peace, Ray, and thank you for the endless inspiration you've provided.

#RememberingRayManzarek #TheDoors #MusicalLegend #LightMyFire #PsychedelicRock #Legacy #InfiniteInspiration