#and I'm expected to talk baby

[digiweed]

Acceptance and respect of everyone sounds great but the problem with leftist groups irl especially anarchist lead groups of is it will eventually lead to you a place where it's considered "not cool" or "not okay" to say "magic isn't real" as to not offend the Wiccan. And then they expect to like. End capitalism.

[wavesoutbeingtossed]

I know you don't like discussing the muses but i love your takes and perspectives and i had to ask you about this. after listening to ttpd, did you have the impression that she really loved matty more than any of her exes/previous relationships?. And listening to the whole album as a whole would you call it the ''matty album'' or do you think there are more prominent themes in there than their period together?. (hope this doesn't bother you, feel free to delete if you don't feel like answering it)

hey anon! You're right, I don't really like to get into the muses as I don't really think there's anything to add to the conversation at this point, and ultimately I don't think it matters.

That being said, and with the caveat that I am not Taylor and I do not know Taylor so I cannot speak to her thoughts and can only make relatively educated guesses based on being an avid consumer of her work and a student of the human condition (lol), no I do not think Taylor loved Matty more than anyone else. I think there was maybe a brief period in the thick of things where she *thought* she did because she was not thinking clearly and was in full-on denial, but to me the message that is loud and clear in the album (and more or less explicitly stated in the epilogue) is that it was not any kind of real love affair. It was certainly infatuation and lust and the promise of something more, and there may have been some love as well, but he was in no way the love of her life by any measure.

I would call it a "Matty album" insofar as they're about events in which he was present, sure. But I feel it much more as a Taylor album, if that makes sense, even though I know that's a cop out because every album is to a degree. I can't explain it well, but I don't see TTPD as a Matty (or Joe) album in the way that I would maybe say Red is a "Jake" album or 1989 may be a "Harry" album or even Lover being a "Joe" album whatever, because even if they don't figure in all the songs, that kind of heartbreak permeates so much of the material.

The thing about TTPD and the Matty situation is that the Matty situation is really a Joe situation (which in some ways is actually partially a Jake situation). I always say I hate treating Taylor like a character so I hate speaking about her and her work in this way, but you don't get the Matty situation without the Joe situation precipitating it. It's @taylortruther's now-infamous donut vs. hole analogy. The reason Taylor makes the choices she does with Matty is directly tied to what happened with Joe that made her feel she needed to. Which is not to say Taylor isn't responsible for her own actions or doesn't have agency in her own life, but I mean it in that the situation in which she found herself with Joe, and the pain it caused, is what made the alternative so comforting and perhaps even necessary in her mind. It's why it makes it so hard to "paternity test" the album, because the stories are inherently intertwined and you don't get the former without the latter.

The major "theme" of the album to me is the loss of a very specific, very personal dream, and the way in which she lost it, and the way in which grieving that loss drove her to make the choices she did. We're all talking very delicately about it because it's a sensitive topic, but it's late on Friday and few people are going to see this, so I'm going to say it: it's the give you my wild, give you a child of it all. The yearning she expresses both overtly and sub-textually for having a family in the album is palpable in a very iykyk kind of way, and it's the realization that those plans are not going to come to fruition in the way she had once imagined that drives a lot of the pain she experiences, and makes her jump at the chance to find that again with someone else.

I started a draft post about the theme of womanhood and motherhood on TTPD three months ago that I never finished because I ran out of time and ran out of steam, but it was the most striking thing to me on the album, not because I didn't know that she wanted those things because that's been obvious for years (definitely since Lover, and again, peace put it all on the table), but because the vulnerability she expressed about it on the album is incredibly moving, and it's so generous of her to trust listeners with those feelings and experiences.

Again, it's the thirtysomething of it all.

She is in relationship A which she at one point believes is forever, one which she at one point believes is going to lead to marriage and children. She is so committed to that dream that she either ignores or tries to fix serious issues that may otherwise lead others to think the two people in the relationship are incompatible, both because she loves the person deeply and because she feels that this is meant to be the way she achieves that dream. She gives it her everything, and it still dies a slow, painful, onerous death, and she feels like it may take her along with it. The dream of getting married and presumably having a family gets taken off the table: how we don't know and will likely never know because that is private between the parties involved. All that matters in the context of the album is that those plans never come to fruition and never would.

Then you have relationship B, an old flame who knows just enough buttons to push both to trigger and to flatter. A person who she presumably trusts with very sensitive, personal information as her life slowly crumbles, and this person is telling her all the things she wants to hear because he knows about what is happening in relationship A because she's told him. Person in relationship B doesn't get an "in" with her and sell her this dream unless what happens in relationship A precedes it. It's not a grand love affair for the ages, it's not a mutual decision on building their own dream together. It's Person B learning about what is happening with Person A and saying "I can do that!" even if he can't or doesn't. The dream he sells her is a rental car; it's not his own, he's just borrowing it from someone else and selling it back to her.

And the reason she falls for it is because it is what she aches for the most in her personal life, and she is grappling with it disintegrating, so she (unfortunately for her) falls for the easy way out, and in turn sells herself a story about how this must be fated, and this must be meant to be, because this person wants all the same things she does and she didn't even have to bargain for it! Well, yes, because she fed him the dream in the first place. (Like a mark falling for a sleeper cell spy.) It's too good to be true because it isn't true. IMO Person B doesn't come running out of the gate with the marriage/baby/dream life promises unless he knows that is what she most desires. But what's left unsaid out of all of it is that: those dreams were her dreams because they were her dreams with Person A. It was a whole life they had together, and a whole life they had planned for in some fashion, and a whole life that has to be dismantled in the aftermath.

So all this to say, yes, on the surface, Matty is a "main character" on the album, but truly he's a side character to Taylor as the narrator and person experiencing it and Joe as the ghost bit-player-who-haunts-every-scene. (Again, I hate referring to real people as characters, it gives me the absolute ick, but in this case it's the only way to answer the question.) I jokingly call it the Matty album for shorthand or when I want to say something out of pocket, but really, it's a disservice to the album to say that because it's not a muse album as in it's about the romance (like, say, Red often is), it's about a soul-crushing heartbreak that goes beyond it. The romance is the symptom, not the cause.

The loss of youth is tied in with all this: she's not 22 anymore. She isn't even 32 anymore. She had a very specific idea of what her life was going to look like at this point and had planned for that life, and it goes up in smoke. But again, to bring the womanhood into it all: there is, unfortunately, a deadline for these things. You're with someone for over half a decade you think is going to be your life partner and father of your children and and then he's not. You spent half a decade building this relationship for it to crumble, but now you're in your mid-30s and you don't necessarily have another half-decade to build that trust and faith in someone else before being ready to start a family. And maybe you're scared that anyone else who may become your partner will need that much time to build that trust and faith, because that's kind of all you've ever know in relationships. But lo and behold, someone comes into your life you once had feelings for and maybe now do again and is offering you everything you want and thought you'd have by this point in your life right now. It feels like an elixir that as we find out is actually poison.

That youth is not just the chance for motherhood, but it's also the hopes and idealism and belief in the future that often gradually erodes as we age. But for Taylor as well, it's also tied into the trauma of what she went through particularly in 2016, which kicks off a lot of things on the album as well (her retreat, her relationship with Joe, the pivoting in her career, etc.). That event caused a pretty clear before/after in her life (like a few other events, I suspect), and another major theme in the album is her finally grappling with the full weight of that. They're all different branches of the same tree of the story of TTPD and her life.

I could talk about this stuff forever, but I'm going to stop here because it's long enough and I should save stuff for one of the dozens of drafts I have half-baked lol. But this is just something I needed to get off my chest perhaps.

[cuoredimuschio]

okay, but where's my steddie AU where steve wants to learn to play guitar to impress a girl he's infatuated with and he remembers that munson kid was always hanging up posters for his weird band at school, so he hikes out to eddie's usual dealing spot behind the track and asks (with far less groveling than he really should have) if eddie will teach him how to play, and obviously eddie says no because why would he want to help king steve, but of course, steve offers to pay him, $20 a week, and well, that's the kind of get-the-hell-out-of-this-shithole-town cash eddie really can't afford to refuse, so fine, he'll teach steve to play and they'll spend inordinate amounts of time together tucked away in eddie's room and they'll start to see that they have more in common than they thought and that they kind of had each other all wrong, and eddie will put his hand over steve's to help him get the placement for a tricky chord and it totally won't awaken anything in either of them?? where is it??

edit: i started writing it

[d1sc01nf3rn0]

I'm seeing a lot of people with neurodivergency, specially under the autism spectrum say that "Laios is annoying, never shuts up, is insensitive, and I can't stand him"; and the irony is not lost on me lmao.

[shannonsketches]

An underrated detail I really like about super's manga in describing Vegeta's growth without saying anything is that he stands much closer to everyone. Not just the Z-fighters, but anyone he considers an ally. Throughout Z he's kind of famous for standing on the outside of the group and facing away from everyone, usually with his chin down and his arms crossed (very cold, very standoffish, very guarded, 10/10). In super even when his arms are crossed, his body language is more open. He tends to be Part of the group, he generally faces everyone else, he contributes to casual conversation, and he's much more comfortable overall -- not just with the people that he knows well by now, but with everyone.

I like to read it as Vegeta trusting himself again, after his extremely high fall off his pedestal, and having rebuilt his confidence. Not the performative confidence that he has to prove to anyone else, but the genuine confidence he had way back in the Saiyan saga, when he had very little reason to be anything but. Except now he can also afford to be gentle, because instead of his company consisting of those who would pick his bones if he failed, he has had several very intense moments of proof that failing is not a death sentence here. There is always someone coming to help -- whether it's a fighter on the front lines stepping in to buy him a few more minutes, or a support player with a backup plan -- there's someone coming to help.

He's been repeatedly exposed to compassion as something other than a strategy. He's learned how to feel valuable as both a fighter and a support, himself, and it's made him more confident and comfortable in every other aspect of his life.

[essektheylyss]

We are going to get THE INSIDE OF THE BEACON ANIMATED.

This is all I've ever DREAMED since I heard that description leave Matthew Mercer's mouth.

[screwpinecaprice]

Got a freeform connverse ko-fi request, baby!

I mean, the request was them doing something cute as a couple, but almost same thing.

Thank you for the tip and request, Alphasun! 😁

[nyan-bynary]

Do you ever think about how serious young satoru looks and acts and talks and how even in his teenage years he holds himself like how he thinks an adult would, and then you see him as an adult being silly and filling every awkward silence with his voice and sprawling in exaggerated ways and you realize, this isn't what he's like normally,,, he does it so the kids don't feel like they have to act all serious and grown up, so they can have at least some of their childhood in comfort, so they can feel safe being themselves around him even if it means them calling him an idiot sometimes, he ALLOWS himself to be perceived like that for their sake

[banditblvd]

Trying out this whole "animation" thing, it's kind of a small niche community though so idk

[rxj-the-punk]

Never in my wildest dreams did i imagine Team Star in normal clothes being the best part of the DLC, but here we are.

[ikolit]

I just started isat so I'm not sure how much this is accurate but Odile doesn't feel old like a middle aged person to me, based on the dialogue and the jokes she feels so very 27-30 in an majorly early 20s group

[ihamtmus]

I SAW MY NEPHEW FOR THE FIRST TIME TODAY 😍😍🥹🥹😭🥹😭😍😍💗💗🥹💖🥹🥰😍💖🥰💕

[vanderspeiglemd]

I will not respond to the bad take I will not respond to the bad take I will no-

But here's the thing, in no narrative sense does it work out how utterly stupid they make Harry. Disabled caricature rainman thing yeah believe me I get that but truly think about it, how the fuck do you get a scientist on his planet, entrusted to travel lightyears on an extremely important mission but also doesn't know a single thing? His people came here for thousands of years but he knows nothing about humans? He doesn't know their emotions could influence him? He doesn't know very basic things? This assumption is such lazy ass writing, I didn't want to create a solid backstory so I hand wave any question as uh he's stupid haha.

And I'll keep harping on it but creative choices don't exist in a vacuum, being culturally uneducated or emotionally stunted does not make you a fucking child. Narratively, even if you take away that it entirely retcons s1, Harry basically being 'born' the second he landed on earth is nonsense, he had a life, personality, expertise before he came here. His former life would be built on by his experiences and lend to his learning on earth not completely erased so he's just somehow a cruel, oblivious stereotype.

[hollowflight-propaganda]

certain wof fans when they see a child character: wtf is this???? I want to set it on fire and then kick it's corpse into a ravine, never to be seen again >:)

me: WHAT IS WRONG WITH YOU?????????

[bisexualmaedhros]

i feel like the afab trans people* who believe in "male/female" socialization are the same people who talk about how eeeeevery afab person has like trauma from being told to "act more ladylike." i'm not saying that never happens, but it annoys me when people paint it as this universal fixture of being an afab child.

i do not remember a single time in my childhood where i felt pressured to be more feminine. like, i did already enjoy "feminine" things, but i also sat however i wanted and played in the mud with the boys, that kind of thing, and all the people around me were totally cool with it.

i know that unfortunately my experience isn't universal, but that's kind of my point- you can't act like an assigned sex dictates everything about how someone was raised. you can't act like it gives every afab person some secret unique knowledge on misogyny. some of the most misogynistic people i can think of are cis women! when i was a kid and thought i was a cis girl, i held misogynistic beliefs even while calling myself a feminist, and obviously that's common.

like, i'm sure all this seems pretty rudimentary and it certainly feels like it as i say it. but my god, the number of transmascs i see online acting like they're incapable of misogyny makes me feel like i'm losing it sometimes. and i don't often post about it because i don't want to sound like i'm white knighting or anything; i don't want to sound like i'm going "haha wow those guys are crazy, good thing i'm one of the good ones ;-)" and i don't know if this post will come off like that but i hope it won't because that truly isn't my intention.

my intention really is just like... idk if i somehow have afab followers who think like this, please god examine it. every time you accuse trans women of "dividing the community" or whatever, you're closing yourself off from learning something indispensable. but more importantly, you are actively choosing to make yourself someone women cannot trust. the most valuable lessons i have learned when it comes to feminism and untangling internalized misogyny have been from trans women. so many people who were afab seem to think we have a uniquely pure understanding of misogyny, that everyone else can never understand it as well as we can. that is not true at all. i know for a fact you have met cis girls who were misogynistic as fuck. remember that.

*note: when i say "afab trans people" here i'm not "reducing you to your agab" as many people claim. your agab is directly relevant to the post. i mean this genuinely: please learn to move through your gut instinct of guilt/defensiveness. it's only human, but it will not serve you well in the path to self improvement. acknowledge that it's there, and then learn to listen and consider the things that trigger it anyway. that's the only way you'll actually improve in any meaningful way.

[eternalflashh]

nahida, irminsul, and representations of cognition throughout: an analysis

As the god of wisdom, it is probably intuitive that Lesser Lord Kusanali is depicted as someone omniscient, uber wise, indomitable in logic and without flaw of reasoning. More often than not, though, throughout the archon quest and story quests, we have been shown some of her shortcomings, from her lack of knowledge in certain aspects, and her susceptibility to certain forms of trickery. In this brief analysis we discuss aspects of human cognition and learning, and compare them to aspects from the story, providing evidence for the contrary—that, perhaps, there is no better representation of wisdom in the challenging nature of Teyvat than a god like her.

(Note: I do not claim to be any sort of expert in the topics I discuss here; this is merely a subjective analysis based on what I've learned of cognitive psychology and observed in canon. And, as with everything else I do, I did this simply because I was bored and I like overthinking things. Read at your own discretion.)

To me, Nahida, Irminsul, and Sumeru's stories are almost like this… super well crafted personification of working human intelligence itself. On a larger, fantastical scale, of course.

We know that the Irminsul is Teyvat’s repository of information—basically the brain. We know that Nahida is a branch of Irminsul, a part of that brain. And, well, this “brain” is actually represented in ways that are almost quite realistic, in many senses.

For starters: one of the most important functions of the brain is that it acquires information—that it learns. It accumulates knowledge, and while neurons do break down (and are not easily replaced, if ever), information is actually quite robust and does not “disappear” easily, besides the natural decay of time. There have been cases where people have lost part of their brains to accidents, yet retain their memories and even cognitive functions intact—the brain is actually far more malleable than one may think.

And in fact, you don’t “unlearn” things. You can’t “remove” things from your mind as easily as you imagine it—most of the time, when you “unlearn” or “extinguish” something, you really are just learning a new association that counters the old one. This new association takes time to develop, and spontaneous recovery often occurs—it takes time to “unlearn” something, or to “relearn” concepts. In life, we often have to correct our false preconceptions (not just in science!) and adapt to an ever-changing world—this constant process of unlearning and relearning and correcting is, essentially, what makes us “wiser”—the more we know, the more we understand. It is a constant growth of the mind. 

Nahida, then, being the deity of wisdom who rules over all knowledge, is a form of being where regular learning processes in cognition are essentially amplified: there is no normal degradation of “memory” (as things are stored in Irminsul reliably); there is no loss of information, and yet Nahida is still able to learn new concepts and understand how they relate to the old ones, revise her understanding based on most recent evidence or events. Basically, she learns quicker than mortals with minimal risk of decay; she is a god, this element of hers (arguably) understandably exists. 

But we also know: Irminsul itself is not perfect. We know that memories of Irminsul have, indeed, been deleted or altered. Of course this could easily be chalked up to the fantasy aspect outside of the analogy, but this could still be explained in terms of regular brain anomalies. Deleted memories could be analogous to memory loss in a sense (anterograde amnesia, cf. retrograde amnesia), while altered memories are, in fact, pretty common in real life—perhaps even more so than memory loss, for various reasons pertaining to heuristics, bias, and preconceptions—even though we tend to not realize it at all, unlike the glaring effects of memory loss.

Putting aside the why’s and how’s for now, memory loss is typically more noticeable than altered memory, but either way, the brain can actually accommodate for memory losses/alterations by bending to fit the “narrative” they previously had. The brain doesn’t like inconsistencies and gaps—it will try to explain something in the most coherent way possible with whatever available facts, which is actually a helpful adaptation to have in case we cannot obtain every piece of data we need. (The phenomenon is most common in terms of visual gaps, but is also prevalent with other senses and also with memory. For more, look up constancy bias.) Though, of course, in the case of memory loss or alteration, this isn’t necessarily a good thing. But in fact, this is what Irminsul does—it restructures itself accordingly with what facts are available, constructing a “coherent” narrative that, as we know, is false.

From this, we’ll be branching out to two points. The first is that Nahida’s existence aligns with this analogy in the sense that the removal of knowledge from Irminsul (of which she is an avatar of) is representative of the “weakening” or “shrinking” of the brain. As mentioned previously, this is not in the physical sense, for the case of the brain—but because Nahida is the physical representation of the abstract brain, then it makes sense that she shrunk during the eradication of forbidden knowledge. She lost all that knowledge gained—it would have mean her “growth” and “learning” has essentially reverted, hence she returns to a “younger” form of who she once was (see Nahida’s 2nd SQ) (though in act 5 of the AQ, it was Rukkhadevata splicing a branch off Irminsul itself, the image still stands that what’s left of the knowledge once forbidden knowledge has been taken away is not much). 

Now what, exactly, forbidden knowledge is, we don’t know yet, but how it affects the brain would not be so much of a mystery—there are pieces of insightful or revolutionary findings that can influence plenty of one’s beliefs, or the way one sees and interprets the world, which would then change the way one process information and generates new thoughts in turn. For example, imagine that one day you wake up with the existence of “blue” gone from your mind. Nothing is blue to you—things that you would once call blue will look greenish-yellow to you, even the feeling of “blue” will simply be called “depressed”, or something else, but nothing in the world will be blue to you. That simple “removal” can change a lot of things from how you perceive to how you describe, which is why the effects of removing forbidden knowledge can take a huge toll, or at least a huge change, on Irminsul—hence the big metaphorical brain, hence Rukkhadevata, hence Nahida.

And second, what happened to “Irminsul” being perfect? We cannot call Irminsul a repository of “perfect” knowledge, i.e., that every information it contains is true to the core, because we know the information stored in Irminsul is faulty and malleable. In fact, Irminsul being “perfect” is with respect to its functionality as a brain, as a system. Theoretically, when exposed to true information, a perfect brain should contain only true information. But we know there are forces beyond Teyvat, ones that Irminsul inherently can’t capture/perceive (e.g. the twins). It’s like us not being able to understand a dolphin’s cries, or the color vision of a shrimp, or anything beyond three-dimensional vision—this is inherently the nature of Irminsul itself to not capture that information (with exceptions I'll come to later). Irminsul is still an essentially “perfect” functioning brain, but inherently not designed to capture that beyond its scope. Which then would make sense why it can be altered or robbed of memories in such a way that it would not “break”—it can self-regenerate, it can still function brilliantly. It thinks it functioning perfectly fine means it’s still intact, when in fact, it has been contaminated with false information without it even realizing.

Back again: this is very much like the brain, like human cognition. Because rational humans make judgment based on the available facts, this becomes a problem when your facts are wrong. Usually, with humans, there is a degree of confidence to which you would know whether what you know is right—but if you have a “perfect” brain like Nahida theoretically does, or at least a very highly functioning one, you would have little reason to question your brain. And that, is in fact, her pitfall.

As we've seen from Nahida's second story quest, because she doesn’t have all the facts, she has to make do with what she knows. And she still does that sufficiently, as her godly capabilities should allow. But she also makes decisions that quite mirror her old ones: wanting to eradicate the remnants of forbidden knowledge herself, willing to lose her power and revert her own evolution in favor of apep’s health. One would not make the same decisions if they’ve learned the catastrophic price for it—Nahida is, alas, uninformed now, so she proceeds to make the same mistakes. If it weren’t for the traveler, Nahida would have so easily fallen into the same rabbit hole again; this is what happens when you “erase” memories, or revert time—you are only bound to repeat old mistakes. 

Here I’d also like to briefly mention that because the traveler did not have a good justification for stopping Nahida (they couldn’t, after all), it’s likely that Nahida would not “learn” why this was a bad idea, if not out of sole trust. As in, without the traveler’s continuous intervention, it is highly likely she would fall into this pitfall of her old mistakes one day… or would she?

Aside from her and Irminsul’s story being a very nicely fitting metaphor to the brain, she actually also represents cognitive strategies very well in her speech & personality, which solidifies in the metaphor very neatly. One major thing I'd like to point out is her constant use of analogy—which may sound like a gimmick or just a random personality trait. But in fact, in cognitive research, analogical reasoning has been shown to be a robust predictor of effective learning and success. So the fact that she often spits out seemingly random analogies out of nowhere isn’t just a random trait, but rather, a sign that she is constantly abstracting commonalities between distinct phenomena and learning about them effectively (in contrast to rote memorization). 

This is, in fact, an incredibly important thing—as you might’ve already realized—because it combats the dependence on memorization, which we’ve seen is a problem given the inherent state of Irminsul and malleable memory! And we’ve seen these analogies play a very important factor in the progression of the AQs and SQs, like when she transcribed the truth about Scaramouche/Wanderer in form of a fairytale to preserve it from being lost to the void, or how forbidden knowledge was altered into a different form—the oozing stuff in the Chasm. This is such an important aspect of Nahida’s character because it shows that she understands that the power of transformation or abstraction transcends that of simple mass erasure, and can be used as a manner of preservation. Quite literally, the power of analogy was used to show Nahida’s expertise not only through merely being knowledgeable, but also through creativity, just as its role is in the world.

And most importantly, it does imply that she realizes the shortcomings of her “brain” aka Irminsul. (I hypothesize it’s either an effect of her memory loss (memloss on a wide scale, like retrograde amnesia, would show “loss” effects instead of adaptation, like the symptoms Nahida exhibited) or Dottore’s intervention of telling her about false skies, that makes her realize how much she doesn’t know.) Perhaps this, even, is what Rukkhadevata meant when she said “you will be a better archon than I”, because she already has ways of overcoming these past cognitive flaws as well. This—this realization that your brain can be functioning perfectly and still be flawed, exactly because of its perfect nature—this is the invisible yet solid distinction between being knowledgeable and being wise. And this is why Nahida is the god of wisdom, rather than just a library that contains every information in the world.

In sum: Irminsul and Nahida is a really nice representation, whether intentional or just by pure coincidence and overreach on my part, of a "perfect" functioning brain in a world of unreliable information, and Nahida's ability to abstract hidden symbols to preserve truths addresses this issue quite admirably. All of this nicely manifests in Nahida through little quirks that may be overlooked, but (I suspect) may be very significant to her character and the development of the future plot. Thank you I am Done