#ascension 2021

[mothwingedmyths]

Also this has been in my head since that part and I could NOT GET IT OUT:

Oh my god is that a reference to the 2017 indie game Rain World created by Videocult

[fakeplasticmusic]

Yeah You (Thinkin Bout You) - King Sis

[gw666]

[songoftrillium]

Werewolf: the Apocalypse 5th Edition and the Anti-Indigeneity in the Gaming Industry

reosted with permission from J.F. Sambrano

Dagot’ee!

Shii J.F. Sambrano gonsēē. My nations are Chiricahua Apache (Ndeh) through my maternal grandmother and Cora Indian (Náayarite) through my maternal grandfather.  I am a mixed race Indigenous person, and through my father my heritage is English and Scottish. I am currently residing and doing work in my community on the lands of Lummi Nation. I use both gender non-binary and masculine pronouns, but prefer the former. I have several published works in the TTRPG industry, and am probably most known for my contributions to Mage: the Ascension 20th Edition, Werewolf: the Apocalypse 20th Edition, and the Transformers Roleplaying Game, as well as being part of the Essence 20 development team. Further, I also work in higher education at an Indian college, both advising and teaching Indigenous students across the United States. My passion is education, and I believe that we all learn through play, and that TTRPGs are a valuable source of learning, especially on personal, cultural, and social levels. This has always been what has drawn me to TTRPGs since I started playing M.E.R.P. with my brother in 1996 (and before that HeroQuest), through to my “graduation” into more story-driven games such as those presented in the Storyteller System, until now, where I author and produce my own roleplaying games.

I was also part of the First Team (in-joke intentional) hired by White Wolf Studios/Paradox Interactive via Hunters Entertainment to develop and author Werewolf: the Apocalypse 5th Edition. After several months of work, Paradox Interactive chose to go in another direction in early 2021 (I believe it was either March or April) and in fall of that year, it was announced that Werewolf would instead be taken in house, with Justin Achilli as the Brand Creative Lead and primary author of the book. Going forward I will be describing my experience while I worked with Paradox Interactive, primarily through Karim Muammar, White Wolf’s Brand Editor, as well as the developmental editor for Werewolf. Although I worked in a team, both with hired authors and in-house representatives at Hunters Entertainment, I will not be speaking for the experience of others, except when specifically noting unanimous consensuses, and specific interactions (which will go unnamed) that are particularly relevant. My hope is that by highlighting some of the anti-Indigenous attitudes that are central to the foundational members and leaders of the White Wolf brand, that I can provide opportunities for growth and healing within the World of Darkness TTRPG community, but also in the broader gaming community, where these behaviors and attitudes are rampant. I also want the community to have a better understanding of what this experience is like internally, and the challenges that Indigenous creators, as well as other marginalized creators, are met with when they try to make positive change within nerd and geek communities clinging to inherited white supremacist values, even if they don’t realize they are doing so.

What I do not want to be doing in this article is creating fuel for edition wars.  I believe that both legacy and Werewolf 5th are rife with anti-Indigenous attitudes, and appalling amounts of appropriation. Both versions deserve criticism, I am not defending one over the other, I am only sharing what my experience was like working on the 5th edition of the book. Further, please understand that I was originally going to wait until I had read the final copy of the book, because I wanted to know how much of my work was used (based on previews I already know some was, just not the extent) and whether or not they decided to credit me for that work, and how I was going to be credited.  My belief is that I likely will not be, but I am genuinely uncertain.  Knowing how they handled that would have reframed how I addressed this. But more importantly, I want it to be very clear that even before Paradox ultimately pulled the plug on the Hunters team, I was preparing to exit working on the project based on the experience I will describe below. Not only did I find it frustrating, and personally disparaging, but I ultimately decided I was uncomfortable with my name being attached to the product based on the direction they wanted to go. So while I wanted to know whether or not I would be credited, because it would teach me something about their internal practices, I do not want or need the credit.

Finally, the reason that I decided to speak about this now instead of after having a chance to inspect the final product, was because my personal experience dealing with anti-Indigeneity coming from Paradox was just that: personal.  But since then I have witnessed a throughline of hateful and xenophobic attitudes wielded against Indigenous people across the globe, and we do not deserve this treatment.  I was outraged over the events that led to the segregation of the Latin American fanbase, which culminated from bottom-up criticism about how poorly their people and countries were being defined through World of Darkness products, and ended up with the firing of their Latin American Brand Ambassador, Alessa Torres, because she chose to stand with her community in those criticisms.  I was further appalled when the likeness of Tāme Wairere Iti was shoehorned into the Werewolf book, a blatant example of cultural theft: not only in stealing the literal physical identity of an Indigenous person, but also his sacred tā moko.  When Paradox Interactive issued an apology for this, it felt incredibly hollow to me in the wake of these events, the hateful attitudes I had personally witnessed coming from the top.

Whether from North America, Mexico, Brazil, Argentina, or Peru, or across the globe in New Zealand, not only do Indigenous people deserve better treatment from such a major company, but their Indigenous and Latino fanbases, who have twisted and worked themselves through difficult representation for decades at this point, deserve better.  Apologies are not enough, especially when they come with next to no real change.

Werewolf: the Apocalypse in Context

At the time that White Wolf Publishing began to produce its World of Darkness line, the TTRPG industry was dominated by white men, both as producers, developers, and authors, as well as the main characters in their settings. White Wolf's World of Darkness made an impact at the time, by defying these Eurocentric, patriarchal presentations, first by defaulting to feminine pronouns throughout Vampire: the Masquerade, and then by focusing on Indigenous representation and values in Werewolf: the Apocalypse, and as a young Indigenous nerd, it had a positive impact on me, as I know it has on some other Indigenous people who became fans of the World of Darkness at the time. This was because before opening the pages of Werewolf: the Apocalypse, I had never seen heroes that I could play who looked like me and my culture. It was off, and often offensive, but it was my first experience in which I could directly play a hero who shared my heritage--and I also had more than one option through two different Tribes to do so. This might sound a little like I was cheering for table scraps, but again, at the time, table scraps was more than I had ever seen before.

Werewolf: the Apocalypse 1st Edition was originally published in 1992 via then White Wolf Publishing (not to be confused with Paradox Interactive's White Wolf). From its inception, the premise was interwoven with what its then-authors believed to be Indigenous praxis and representation.  Like many pop-culture presentations of Indigeneity from this time period (see Fern Gully, Dances With Wolves, Disney’s Pocahontas, or in TTRPGs, the NAN from Shadowrun) it was rife with problematic and even offensive stereotyping. The most obvious examples thereof are within the two "Pure Tribes" Uktena, and W****** who I will henceforth refer to as Older and Younger Brother. However, Indigenous inspiration was at the core of the game's spiritual premise as well, where animism and "Totems" are central to the setting and gameplay. The way these concepts are presented is trivializing and dehumanizing, but it is important to acknowledge that the appropriation present in Werewolf: the Apocalypse goes a lot deeper than the two Brother Tribes (even the term "Tribe" was meant to invoke a vision of Indigeneity compared to the previous setting in the line's use of "Clan"). Additionally, there is art throughout every generation of these gaming books that represents humans, wolves, and human-wolf hybrid forms wearing Indigenous regalia, including sacred items such as headdresses, or engaged in sacred rituals such as the Sun Dance. The list of problematic representations goes deep, and my examples only scratch the surface, but it is also important for me to note the positive impact that this had, particularly in the 90's.

Even though the primary contributors to these narratives were non-Indigenous authors, or in one case, a Pretendian, and another, a culturally disconnected author, by the time the Revised (or Third Edition) era of the books came around, White Wolf Publishing was actively engaged in cultural consultation.  While I do not believe cultural consultation makes a big difference on its own, it matters that the attempt was made, to a degree: while these efforts fall short of what needs to be seen in cultural representation, this was still ahead of most other gaming companies at this time.

Hired by Hunters Entertainment

In February of 2020 I was approached by one of the co-owners of Hunters Entertainment to be one of the primary authors for Werewolf: 5th Edition due to my work on other World of Darkness projects, and let's be honest, because I was capable of bringing a much needed Indigenous perspective to a gameline that was rooted in Indigeneity and rotting with appropriation and racist stereotypes. I was overall receptive to the invitation, largely because I was very passionate about the World of Darkness setting overall, and Werewolf in particular, due to the impact that 90's representation had on me when I was a younger gamer. I also felt hopeful that with a really hard rewrite of Indigenous aspects of the game that I could shift a lot of really painful aspects of the game into something that was a net positive for Indigenous representation. I will tell you now, more than anything, I was excited to rewrite the Younger Brother Tribe, because when separated from racist authors, their message is very empowering and real to my lived experience.

That said, I did not agree to join the project without first asking for reassurances. I said that I was not willing to write negative Native stereotypes. I would not use appropriative language, or generally engage in appropriative writing (which meant at minimum that the names of the Pure Tribes would need to change), and most importantly, that I would not not engage in writing that contributed to erasure. While the person who recruited me to work on the project was eager to work with me, he acknowledged that he was not sure he could get everything I wanted to see approved, but also promised to fight for everything I suggested as hard as he could. Additionally, he shared with me that the original setting pitch for W5 involved all of Younger Brother being slaughtered en masse in a massacre. I made it clear that this was exactly the kind of thing that I would not write.  I cannot remember if this was something he suggested to be changed before or after I was invited onto the project, but with some pushback it was changed.  However, I point this out because I want you, the reader, to understand how eager Paradox Interactive was to start with mass genocide and erasure as a foundation to the setting.  All that said, I cannot stress enough that I have had nothing but positive experiences with Hunters Entertainment, and none of the following concerns fall upon them.

The Sword of Heimdall

The first encounter the Hunters Entertainment team as a whole had with problematic guidelines for the W5 draft was the direction that Paradox Interactive wanted to go with the Sword of Heimdall. At the time, the suggestions from Paradox and Karim Muammar were that the Sword of Heimdall was going to represent the new major villain of the Werewolf setting, and that they were to also represent the far-right, fascist direction that Werewolf society so often turned toward. They were meant to be representative of how far the new concept of Hauglosk could take entire communities. However, the Sword of Heimdall was discussed interchangeably with the Get of Fenris as a whole, and more than once Muammar seemed to suggest that every member of this Tribe was guilty of the same attitudes espoused in previous editions from the Sword of Heimdall. Now let's not beat around the bush: the Sword of Heimdall are literal Nazis. They believe directly in white supremacy and don't shy from it. They wanted to cleanse impure elements from the Get of Fenris, including BIPOC people, other non-white ethnicities, women, neurodivergent Garou, and other disabled Garou.

The writing team found this approach problematic for several reasons. The first, and most obvious, was that the direction seemed to want to turn one of the most popular Tribes into a horrific stereotype of its most abhorrent faction. Whether or not Muammar’s goal was to turn them into villains, we could not imagine a world where fans of previous editions would get their hands on this book, and not look for a way to play one of their previous favorite groups, thus creating the issue of making a guide to playing Nazi. Even beyond that, it’s not as if historically there were not players who used the tools of the setting to play Black Spiral Dancers, why wouldn’t this draw people who actually wanted to role-play through these toxic, harmful politics? Further, and while this is less important, it left a bad taste in my mouth, the justification for this major shift in Werewolf lore seemed to change over each pass. At first, Muammar suggested that all Fenrir were Nazis/SoH.  Then, when he was provided with evidence that it was a small faction that was eliminated in the early 2000’s, he started to shift toward the idea that we should not follow the lore. Finally, when every single member of the writer’s team flatly refused to provide what would essentially be “a player’s guide to being a Nazi werewolf” the writing was on the wall about the end of our involvement with this product. More than once, he suggested that we were cowardly social justice warriors for being unwilling to work with this concept, even though there were several attempts to write a heroic version of the Fenrir that were focused on undoing these ills of the past.

Indigenous Erasure in Werewolf: 5th Edition

While the entire Hunters Entertainment writing team was handling the major, glaring issue of Paradox’s fervor to include a major Nazi element in Werewolf, I was personally dealing with the problematic approach to the Indigenous issues in the setting. The largest problem, for me, was in addressing Younger Brother’s issues, the history of non-Indigenous writers creating horrifically racist stereotypes, and what was valuable in the Tribal identity that should be saved and recentered. However, my attempts to do so were thwarted with every approach. I rewrote this Tribe four times, and offered three different versions of it to try to earn approval for a final write-up, but each time there was a lot of negativity directed towards my attempts and all them boiled down to this: Muammar felt that having two Tribes (both Younger and Older Brother) representing the “Indigenous population” was too many, and wanted them to only be focused on Older Brother, and that Younger Brother’s connection to a central, Indigenous identity, was undesirable because “other sources wrote them as having Siberian and European connections” and that future writing on this Tribe would require a lot of sensitivity…suggesting that one, Muammar wasn’t interested in doing the work to handle that level of sensitivity, and further, that he wasn’t interested in including me in future work, since I was involved with doing that at the time.

I want to take a moment to remind you that the work that was put into recovering Younger Brother started with “Let’s Kill Them Off” and at this point, through a combination of convincing and pleading, had been walked back to “They can live, but now they’re not connected to being Indigenous anymore” which is just representative genocide of a different variety. “Kill the Indian in him, and save the man.” It was also explicitly something I said I would not write about going into this project. Ultimately, my efforts did not get much further than this, with some specific exceptions I will cite below.

Karim Muammar’s Anti-Indigenous Positions

Muammar consistently and repeatedly communicated to the team in ways that were condescending and dismissive of our collective accomplishments and capabilities, but from my perspective, no one suffered as much significant derision as I did while discussing the changes I wanted to make to Younger and Older Brother in order to make their representation empowering and exciting.

In the pulled quote from the previous paragraph, I want to point out to you that Muammar, who had the title of Lead Editor on this project, refused to capitalize Native American. Further, he would often redline my work with edits to decapitalize my own uses of Native American, as well as the word Indigenous when referring to Indigenous peoples. While there are plenty of people who might want to argue about this, I will point out that both the AP style guide as well as the Chicago style guide (the one which I am most familiar with in my academic historical work) both call for Indigenous to be capitalized when referring to a people. Further, I challenge anyone to defend the consistent decapitalization of Native American. More importantly, the reason that these are standards in respected style guides, is because the English language has been used historically to oppress and erase ethnic identities, including Indigenous identities. By transforming adjectives into proper nouns, we are declaring that Indigenous and Native aren’t descriptors that can be applied to animals, plants, and soil, but real lived identities and culture groups.

When I was explaining to the Paradox team (which was mostly just Muammar) why it was important to change the names of these two Tribes from the appropriative (and offensive) ones used in the past, Muammar pushed back by defending the previously used Younger Brother name, even after reading my extensive research and explanation about how this would harm Indigenous communities and fans.

While doing so, he also decided that it was appropriate to refer to this entirely Native American tribe by the word “savages” a slur that has been specifically used to dehumanize Native Americans, and then mocked my rewrite that focused on presenting them as stewards of the land using Indigenous methodologies and praxes, instead of the “savage” racist stereotypes they were presented as in previous editions. Further, as in the above quote, even after it was communicated that the use of this term was problematic, he kept doubling-down to use it to refer to the Tribe.

Even though I worked hard to redefine Younger Brother through Indigenous theory, such as place-based theory, relational theory, and communal theory, Muammar either refused to recognize this work, dismissing it as simple, or else simply could not understand the importance of these changes. Either way, the choice is that he didn’t want them to change, or couldn’t comprehend why the change was important because of how entrenched in white supremacist thinking he is. Further, after the massive effort that I put forward to attempt to educate him and the rest of the Paradox team on these issues, the insistence on using offensive terms and belittling my work felt intentional. So let’s talk about the work I did that was above and beyond my job description: free cultural consulting work.

“Sensitivity” and Consultation

I have seen several misunderstandings of my role working on this project going around, so I want to make something very clear. I was hired to work on this project as an author, and nothing else. I was not ever hired to be a cultural consultant. I do not do cultural consulting work. While I feel that there are many creators and companies who hire cultural consultants with the best intentions in mind, their responses often fall short of what is needed, as no one is ever obligated to actually follow the advice of cultural consultants. Further, I think there are also many companies who choose to hire cultural consultants only to say “we did this minimal step, and that is enough” in order to ward off naysayers.

However, anyone who hires me gets some level of cultural consulting for free, because it comes out in my writing–in both what I won’t write and what I choose to center my writing around. In the case of Werewolf 5th Edition, however, it was far more involved than this. I came with a plethora of “I will not write X” because I knew the setting was so problematic.  A short list of my demands besides not being willing to write Indigenous erasure, was that we needed to change the names of the Pure Tribes (and the term Pure Tribe itself), we needed to change the word Totem to Patron, and also the Patrons of the Pure Tribes. We needed to move away from the term Metis for obvious reasons, and we needed to move away from the term Skin Dancers. I also specifically noted that there was a lot of cultural theft happening from the beginning of Werewolf until now that I wanted to address. The only way these issues were going to be addressed was to convince Paradox they were actual issues on the level of PR concerns, because nothing else was likely going to be considered. So in order to achieve this, I put in weeks worth of research, writing, and meetings with top level administrators with Hunters Entertainment so that they could bring this information to Paradox.  I never documented my hours, but I would guess that I did approximately 80-100 hours of what I could only describe as cultural consultation work for free that was outside the contract work I was hired for. Let’s be clear: I did this willingly because I was passionate about the positive changes I wanted to see in this product, because I believed that Werewolf’s historic ills could be turned toward non-toxic representation.

Besides my actual words, such as naming the Ghost Council, and arguably the name Gale Stalkers came from a combination of names I pitched to Paradox after Winter’s Teeth was denied, and several sentences and paragraphs that I have seen so far that appear so close to what I originally wrote that you could imagine they were just edited versions, my largest contribution toward the final version of Werewolf: 5th Edition was this work. The only reason the offensive, appropriated names were changed were because of hours of my work to convince them it needed to happen. The reason that the Gale Stalkers aren’t just dead and gone: again, I pushed against this. The reason that Skin Dancers, Totem, and Metis will not appear as canonical titles? I pushed against their unwillingness to alter these things (see Karim’s defense of Wen**** Tribe name above).

Further, and this is the biggest reason I decided to write this article before seeing the final version of the book, I want to mention that I was also included in discussions with Hunters Entertainment to potentially be part of the art direction team, especially to oversee depictions of Indigenous characters, regalia, and art, to ensure that it would be represented either respectfully or not at all. I decided I needed to speak as soon as possible after the artistic portrayal of Tāme Iti appeared in the Glass Walkers preview without his permission. There are many arguments surrounding this issue and I am not going to address everything, but ultimately, I can tell you that had I remained as part of the art direction team, and saw that, I would have questioned it immediately. Even if I didn’t recognize Tāme Iti immediately, I would have asked what the source was on the depiction of moko in that piece, because I am aware that this is a sacred form of art–and I had already discussed wanting to make sure things like Crinos in headdresses didn’t appear in the book (as had often happened in previous editions, particularly on a certain white-skinned character whose name rhymes with Steals-the-Past).

As time working on this project went on, and I went through rounds and rounds of trying to convince Muammar and Paradox that it was important to not steal Indigenous identities, art, and stories, and that a greater effort needed to be put in powerful and empowering Indigenous representation, and I constantly ran into refusals and criticisms that were clearly hateful toward Indigenous identities and peoples, not to mention the push to represent Nazism as a major part of the game setting, I grew increasingly frustrated and restless with feeling like I was trying to work on a challenging project while also defending my right to exist as the person I am at every turn. Eventually I turned to another Indigenous TTRPG and game creator to ask for advice, and after a long and difficult discussion, I came to the conclusion that I was going to talk to the Hunters administration team and tell them that if Muammar kept using slurs and other anti-Indigenous language and attitudes, I was going to need to step off of this project, because it was harmful to me on a personal level. In furtherance of this point, I have been avoiding doing any contract work at all where I can tell that I am wanted for my specific cultural perspective ever since, because this situation was so harrowing for me.

Unfortunately, before I could have this conversation, after one final draft of Younger Brother and Bone Gnawers (which had its own issues, but that is not the point of this discussion), before we received any other specific feedback, the Hunters Entertainment administrators announced to the writing team that Paradox had decided to take the book in-house, and would no longer need our services.

The main point I would like to leave you with, besides these few specific quotes (out of dozens and dozens) that Muammar made that were anti-Indigenous, is that there is often a big call to have more BIPOC voices in various entertainment industries, so that both our stories, perspectives, and unique views on how the universe and life works, can be included; so that an industry that is historically, harmfully Eurocentric, might turn toward new, healthier, and inclusive directions. And I agree with this call for change, but I implore you to consider the conditions that BIPOC creators often have to work under: doing cultural/identity work and consultation for free as part of being present, being subject to vicious refusals of our experiences and perspectives, and straight-up having slurs lodged against our work. I want to see these changes in the industries we love, including the gaming industry, but currently the people who are in charge, who have the most power, are severely hostile to our work and our perspectives. This is why, for example, works like Coyote & Crow were done with an almost entirely Indigenous group of creators, and led by Indigenous creators, because trying to work for and with this ugly, hateful, and xenophobic group of people is so often exhausting, both mentally and spiritually, and because no good changes end up being made.

I am glad the harmful, appropriative terms were removed from the setting. I am glad I was part of the fight to make that real. I am not so glad that I was treated with hostility and racism by Muammar for the effort and love I put into this work, and I am not so glad that I will certainly be reviled by one of the two communities I did this work for–the gaming community, and certainly the people in power in this industry–and I am also not so glad that I didn’t have the opportunity to properly acknowledge how much of Werewolf’s base themes and setting are twisted and tied-up in Indigenous appropriation without giving the proper acknowledgments.

More than anything, I hope that this story will help you, the fans, realize that there is a lot of darkness in these communities, and they won’t change unless you hold their feet to the fire.

Ánaagodzįįhł

J.F. Sambrano

[cinamun]

Girl if you don't.... *cough* This was one to remember. I guess Wayne was right, she definitely isn't going to forget her date. Wayne caught the train back to San Sequoia while Lucia walked the short distance back to her condo in the sky with another silver medal under her belt.

(Find part one of this date here)

As it stands, Lucia has good compatibility with Jon and really enjoyed their time at the fairgrounds. She did feel he wasn't as open as he could have been. After all, she only learned two out of three traits. She loves that he loves a sense of humor, is financially stable and very easy on the eyes.

She has amazing compatibility with both Jaylen and Wayne (as such, they're locked in a dead heat), however Wayne was her only romantic date out of the three. She's got a strong attraction to Wayne (obvi) but she loves Jaylen's laugh, his interests and the fact that he knew she loved roses. She's hesitant about the gold fronts, though. What's underneath those things anyway? As for Wayne, the jealous streak is a bit worrisome. Jealous of what?

Time will tell.

[lj-lephemstar]

Scratchin' Melodii - Progress Checkup (Apr. 2024)

Hey guys! Just giving another progress checkup. Been working on a lot of stuff lately for Scratchin' Melodii! Keep in mind, since I won't be doing anymore demos, the stuff I talk about in these won't be released until the full game is released. 

Here's what I've been working on:

Redone Nami.WAV animations (Halfway Done!)  You already saw some of these in the 2023 demo!

Redone Stir & Mix animations (Done!)  I've been reanimating/cleaning up some of the animations in the levels that were animated earlier in development, as many of them are either off-model to how I currently draw the characters now or just aren't consistent with the quality of my more recent work.

Lucid Mode (Getting there!) Remember that experimental "Ascension" or "3D Mode" from the 2021 and 2022 demos? Well, I've finally got it working again with the new rhythm system. It's called "Lucid Mode" now. (Unless I change my mind again!) The most difficult part so far has been programming what happens when you fall out of it, but after a long week I think I've pretty much got it under control now. I'll show a preview of this mode when I think it's presentable!

??? (Act 2 Rival Battle 3) (Being Animated & Storyboarded)  Believe it or not, this will be my first time fully storyboarding a level's animations! I usually just kinda jump in with whatever I have planned in my mind, but I thought a more organized process would be worth a try this time.

Optimization Progress I've been learning some more optimization tricks, most recently with the beans in Sidechain Fever, of which I've managed to pretty much double performance! They look the same, but don't be fooled; their textures are handled differently now!

And other stuff that I can't talk about yet!

Now, with all these awesome things in the works, you're probably craving a look at some of it! Well, I don't feel like it. So here's a background model of a barbecue grill with placeholder materials.

A local of Uptown JamWell was asked about their thoughts on this barbecue grill. They stated: "If we're being real here, you could probably cook banana burgers on this barbecue."

Thanks for reading!

-LJ

[mostlysignssomeportents]

Social Security is class war, not intergenerational conflict

Today, Tor.com published my latest short story, "The Canadian Miracle," set in the world of my forthcoming (Nov 14) novel, The Lost Cause. I am serializing this one on my podcast! Here's part one.

The very instant the Social Security Act was passed in 1935, American conservatives (in both parties) began lobbying to destroy it. After all, a reserve army of forelock-tugging plebs and family retainers won't voluntarily assemble themselves – they need to be goaded into it by the threat of slowly starving to death in their dotage.

They're at it again (again). The oligarch-thinktank industrial complex has unleashed a torrent of scare stories about Social Security's imminent insolvency, rehearsing the same shopworn doom predictions that they've been repeating since the Nixonite billionaire cabinet member Peter G Peterson created a "foundation" to peddle his disinformation in 2008:

https://en.wikipedia.org/wiki/I.O.U.S.A.

Peterson's go-to tactic is convincing young people that all the Social Security money they're paying into the system will be gobbled up by already-wealthy old people, leaving nothing behind for them. Conservatives have been peddling this ditty since the 1930s, and they're still at it – in the pages of the New York Times, no less:

https://www.nytimes.com/2023/10/26/opinion/social-security-medicare-aging.html

The Times has become a veritable mouthpiece for this nonsense, publishing misleading and nonsensical charts and data to support the idea that millennials are losing a generational war to boomers, who will leave the cupboard bare:

https://www.nytimes.com/2023/10/27/opinion/aging-medicare-social-security.html

As Robert Kuttner writes for The American Prospect, this latest rhetorical assault on Social Security is timed to coincide with the ascension of the GOP House's new Speaker, Mike Johnson, who makes no secret of his intention to destroy Social Security:

https://prospect.org/economy/2023-10-31-debunking-latest-attack-social-security/

The GOP says it wants to destroy Social Security for two reasons: first, to promote "choice" by letting us provide for our own retirement by flushing even more of our savings into the rigged casino that is the stock market; and second, because America doesn't have enough dollars to feed and house the elderly.

But for the New York Times' audience, they've figured out how to launder this far-right nonsense through the language of social justice. Rather than condemning the impecunious olds for their moral failing to lay the correct bets in the stock market, Social Security's opponents paint the elderly as a gerontocratic elite, flush with cash that rightfully belongs to the young.

To support this conclusion, they throw around statistics about how house-rich the Boomers are, and how much consumption they can afford. But as Kuttner points out, the Boomers' real-estate wealth comes not from aggressive house-flipping, but from merely owning a place to live. America's housing bubble means that younger people can't afford this basic human necessity, but the answer to that isn't making old people homeless – it's providing a lot more housing, and banning housing speculation:

https://pluralistic.net/2021/06/06/the-rents-too-damned-high/

It's true that older people are doing a lot of consumption spending – but the bulk of that spending isn't on cruises to Alaska to see the melting glaciers, it's on health care. Old people aren't luxuriating in their joint replacements and coronary bypasses. Calling this "consumption" is deliberately misleading.

But as Kuttner points out, there's another, more important point to be made about inequality in America – the most significant wealth gap in America is between workers and owners, not young people and old people. The "average" Boomer's net worth factors in the wealth of Warren Buffett and Donald Trump. Older renters are more rent-burdened and precarious than younger renters, and most older Americans have little to no retirement savings:

https://www.forbes.com/sites/teresaghilarducci/2023/10/28/the-new-york-times-greedy-geezer-myth/

Less than one percent of Social Security benefits go to millionaires – that's because the one percent constitute one percent of the population. It's right there in the name. The one percent are politically and economically important, but that's because they are low in numbers. Giving Social Security benefits to everyone over 65 will not result in a significant outlay to the ultra-wealthy, because there aren't many ultra-wealthy people in America. The problem of inequality isn't the expanding pool of rich people, it's the explosion of wealth for a contracting pool of rich people.

If conservatives were serious about limiting the grip of these "undeserving" Social Security recipients on our economy and its politics, they'd advocate for interitance taxes (which effectively don't exist in America), not the abolition of Social Security. The problem of wealth in America is that it is establishing permanent dynasties which are incompatible with social mobility. In other words, we have created a new hereditary aristocracy – and its corollary, a new hereditary peasantry:

https://pluralistic.net/2021/06/19/dynastic-wealth/#caste

Hereditary aristocracies are poisonous for lots of reasons, but one of the most pressing problems they present is political destabilization. American belief in democracy, the rule of law, and a national identity is q function of Americans' perception of fairness. If you think that your kids can't ever have a better life than you, if you think that the cops will lock you up for a crime for which a rich person would escape justice, then why obey the law? Why vote? Why not cheat and steal? Why not burn it all down?

The wealthy put a lot of energy into distracting us from this question. Just lately, they've cooked up a gigantic panic over a nonexistent wave of retail theft:

https://www.techdirt.com/2023/10/31/the-retail-theft-surge-that-isnt-report-says-crime-is-being-exaggerated-to-cover-up-other-retail-issues/

Meanwhile, the very real, non-imaginary, accelerating, multi-billion-dollar plague of wage theft is conspicuously missing from the public discourse, despite a total that dwarfs all retail theft in America by an order of magnitude:

https://fair.org/home/wage-theft-is-built-into-the-business-models-of-many-industries/

America does have a property crime crisis, but it's a crisis of wage-theft, not shoplifting. Likewise, America does have a retirement crisis: it's a crisis of inequality, not intergenerational conflict.

Social Security has been under sustained assault since its inception, and that's in large part due to a massive blunder on the part of FDR. Roosevelt believed that people would be more protective of Social Security if they thought it was funded by their taxes: "we bought it, it's ours." But – as FDR well knew – that's not how government spending works.

The US government can't run out of US dollars. The US government doesn't get its dollars for spending from your taxes. The US government spends money into existence and taxes it out of existence:

https://pluralistic.net/2020/12/14/situation-normal/#mmt

A moment's thought will reveal that it has to be this way. The US government (and its fiscal agents, chartered banks) are the only source of dollars. How can the US tax dollars away from earners unless it has first spent those dollars into the economy?

The point of taxation isn't to fund programs, it's to reduce the private sector's spending power so that there are things for sale to the public sector. If we only spent money into the economy but didn't take any out of the economy, the private sector would have so many dollars to spend that any time the government tried to buy something, there'd be a bidding war that would result in massive price spikes.

When a government runs a "balanced budget," that means that it has taxed as much out of the economy as it put into the economy at the start of the year. When a government runs a "surplus," that means it's left less money in the economy at the end of the year than there was at the beginning of the year. This is fine if the economy has contracted overall, but if the economy stayed constant or grew, that means there are fewer dollars chasing more goods and services, which leads to deflation and all kinds of toxic outcomes, like borrowing more bank-created money, which makes the finance sector richer and the real economy poorer.

Of course, most governments run "deficits" – which is another way of saying that they leave more dollars in the economy at the end of the year than there was at the start of the year, or, put another way, a deficit probably means that your economy got bigger, so it needed more dollars.

None of this means that governments can spend without limit. But it does mean that governments can buy anything that's for sale in their own currency. There are a lot of goods for sale in US dollars, both goods that are produced domestically and goods from abroad (this is why it's such a big deal that most of the world's oil is priced in dollars).

Governments do have to worry about getting into bidding wars with the private sector. To do that, governments come up with ways of reducing the private sector's spending power. One way to do that is taxes – just taking money away from us at the end of the year and annihilating it. Another way is to ration goods – think of WWII, or the direct economic interventions during the covid lockdowns. A third way is to sell bonds, which is just a roundabout way of getting us to promise not to spend some of our dollars for a while, in return for a smaller number of dollars in interest payments:

https://pluralistic.net/2021/04/08/howard-dino/#payfors

FDR knew all of this, but he still told the American people that their taxes were funding Social Security, thinking that this would protect the program. This backfired terribly. Today, Democrats have embraced the myth that taxes fund spending and join with their Republican counterparts in insisting that all spending must be accompanied by either taxes or cuts (AKA "payfors").

These Democrats voluntarily put their own policymaking powers in chains, refusing to take any action on behalf of the American people unless they can sell a tax increase or a budget cut. They insist that we can't have nice things until we make billionaires poor – which is the same as saying that we can't have nice things, period.

There are damned good reasons to make billionaires poor. The legitimacy of the American system is incompatible with the perception that wealth and power are fixed by birth, and that the rich and powerful don't have to play by the rules.

The capture of America's institutions – legislatures, courts, regulators – by the rich and powerful is a ghastly situation, and to reverse it, we'll need all the help we can get. Every hour that Americans spend worrying about their how they'll pay their rent, their medical bills, or their student loans is an hour lost to the fight against oligarchy and corruption.

In other words, it's not true that we can't have nice things until we get rid of billionaires – rather, we can't get rid of billionaires until we have nice things.

This is the premise of my next novel, The Lost Cause, which comes out on November 14; it's set in a world where care and solidarity have unleashed millions of people on the project of maintaining the habitability of our planet amidst the polycrisis:

https://us.macmillan.com/books/9781250865939/the-lost-cause

It's a fundamentally hopeful book, and it's already won praise from Naomi Klein, Rebecca Solnit, Bill McKibben and Kim Stanley Robinson. I wrote it while thinking through and researching these issues. Conservatives want us to think that we can't do better than this, that – to quote Margaret Thatcher – "there is no alternative." Replacing that narrative is critical to the kinds of mass mobilizations that our very survival depends on.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/11/intergenerational-warfare/#five-pound-blocks-of-cheese

This Saturday (Nov 4), I'm keynoting the Hackaday Supercon in Pasadena, CA.

[kuwdora]

Witcher Recs - Villains & Bad Guys Edition, part 1

Please enjoy these 23 fic recs featuring Emhyr, Dijkstra, Radovid, Vilgefortz, and the Wild Hunt. I tried to indicate what witcher canon is predominant but sometimes people blend the canons. I'm a voracious reader when my brain lets me read, and I read so many different things. I have many tastes! I haven't done a witcher recs post since 2022 and I have 18 billion more recs in the pipeline that I had collected since like 2021.

With any luck and squeeful motivation I'll share more villain recs in the future.

These recs feature mostly rarepairs. I'm still experimenting with formatting these recs on tumblr, let me know what y'all think on that front. Hope you enjoy the fic!

This got pretty long so I'm putting it under a cut.

Emhyr

Prickly Urchin by @seventfics. Game canon. Dijkstra/Emhyr. 2200w. Pre-relationship and tagged ‘Shady Rich Parties with Questionable Ends.’ Based the prompt ‘cursed’ and Dijkstra meets a prickly Duny. Few people still alive can say they've met the emperor before his ascension to the Nilfgaardian throne. A young Count Sigismund Dijkstra is one of them. It's just that neither of them knew.

A great little AU/missing scene, tackles the premise of these two meeting shortly after the Law of Surprise in a great way.

the sweetest flower by @witch-and-her-witcher. Ambigious canon. Emhyr/Yennefer. 700w. Explicit. Oral sex, cunnilingus, power dynamics. Satisfaction comes when Emhyr relinquishes power.

The way Cee opened up my brain with this ficlet made me gorge myself on everything in the Emhyr/Yen tag after I first read this. The possibilities of this pairing, whew. This ficlet sdlfjasldfkjasldfkjasl.

Quills by @bittydragon. Game canon. Emhyr/Geralt. 7500w. Teen. PTSD, Flashbacks, nonsexual touch. Emhyr can feel the quills and claws growing from underneath his skin again. It’s only a matter of time before they burst out—so it’s lucky that a witcher has ended up in his rooms.

There’s so much great Emhyr/Geralt fic out there, and I’m such a fan of this one because of Geralt managing to soothe Emhyr during an anxiety attack.

Animal Symbiosis by @seventfics. Game canon. Emhyr/Dandelion. 3400w. Teen. Soul bond, Fake/pretend relationship. An emperor and a bard accidentally tie their souls together.

I can’t get enough of where sevent’s ideas take me. This pairing sounds wild on the surface and it is but I am so fucking compelled by the dynamic, esp when it’s been an accidental bonding.

Wild Hunt

Schneeweißblind by jo_writes_fic. Game canon. Emhyr/Eredin. 2200w. Explicit. Temperature play, political sex, unsafe sex. Pre-TW3. Eredin’s been coming to Emhyr’s temporary court in Vizima for several months now, about once a fortnight. At first it was to weasel information out of Emhyr, to try and find Cirilla, but the elf quickly learned that Emhyr knew less than the king of the wild hunt himself about his daughter’s whereabouts. And once he realized that, their meetings turned into the pretence of a tentative political alliance to cover up the carnal truth of what really happens when Eredin deigns to visit. Ice magic and masochist Emhyr.

My brain whited out from how brilliant this fic is and I think it changed my brain for the hornier.

Plaything by @eatingcroutons. Game canon. Geralt/Wild Hunt. 100 words. Explicit. Rape. Voyeurism. Eredin and his Riders enjoy making use of Geralt in their down time.

😈😈😈

Outplayed by zemyr. Game canon. Geralt/Wild Hunt. 100 words. Explicit. Rape, size difference. Remix of crou’s Plaything.

🔥🔥🔥 This drabble lives rent free in my brain.

Commander’s Discretion by @witch-and-her-witcher. Game canon. Eredin/Geralt. 100 words. Explicit. Anal fingering. Eredin has a soft spot for pretty, lethal things under his possession.

😳 Cee still making me go wild with this drabble.

Radovid

Spymasters and secrets by @dancingwiththefae. Show canon. Radovid. Radovid/Dijkstra. 3400w. Explicit. BDSM, daddy kink, impact play. Radovid always pushed and pushed Dijkstra. Sometimes he needed to be put in his place.

Faye serving up a heaping mess of with this messy messy Radovid with Dijkstra. I could have put this in the Dijkstra section but ahhhh I wanted it here with the Radovid fic. 🔥

Villains Aren’t Born, They’re Made by ALJordan. Game canon. Radovid/OC, Radovid & Philippa. Mother/son relationship. A storm counts omens as Radovid hunts Philippa Eilhart to stand trial for treason.

The worldbuilding with the OC and vibes and characterizations in this fic are outstanding.

The Shade of Your Eyes by @kuwdora. Game canon Radovid & Philippa. Post game, canon AU. Body horror, existentialism, magical theory as torture. He remembers the weight of the crown that used to sit upon his head but he doesn’t remember his own name. Anger and resentment curdles because he cannot recall his mother’s face or the last food he ate before he died but he knows the source his ire. It originates from the woman who chortles when she sits at the table. Her laugh stokes the rage in his disembodied soul.

Philippa tortures Radovid’s soul. Radovid POV. I couldn’t help but play around with the darkfic idea for Phil getting some revenge.

Don't worry I have a whole other stack of Philippa fic to rec later.

Dijkstra

You Seem To Enjoy The Feeling by galactic_roses. Game canon. Dijkstra/Gaunter. 2800w. Explicit. Dijkstra has made a deal with a merchant of sorts in exchange for something he values above all else: information. However, the price he has to pay is not quite what he was expecting, and now he has to face the consequences of his words. Sharing a body, smut, body horror, some more tags,

My favorite tag from the author: dijkstra is an adult he can enter into a sus contract with a sort of demon man if he wants to. This is like the most galaxy brained rare pair idea and can’t stop thinking about it when I consider rare pairs that changed my brain.

Diagram: Master’s Weapon Repair Kit by butt_muncher_seven. Game canon. Dijkstra/Geralt. D/s, PWP, 2500w. Djikstra knew men the way Geralt knew monsters; how to kill them, how to hunt them, what their motivations were, what they were going to do next. And in Geralt he saw a man about to do something incredibly rash and self-destructive. A normal man would've gone home, drunk himself stupid and got in a fist fight with the nearest person he could beat. Maybe he'd recover, maybe he'd burn his life down around him, because the chaos of such upheaval was worse than the certainty of reprisals, of consequences. It was the kind of thing a skilled spymaster knew how to counteract proactively. For a less valuable player he had less personal means of redress, but for Geralt… Geralt required a personal touch.

This Dijkstra fic is my everything and I fling the link to anyone I can because it’s so fucking good.

Hostages by @limerental. Isengrim/Dijkstra. Book canon. 26k. Mature. Rescue missions, fairy tale elements. When Isengrim Faoiltiarna's commando is taken captive by the Aen Elle, Sigismund Dijkstra must play unlikely hero in order to come to his rescue.

Lim’s written so much great Isengrim/Dijkstra that I want to rec it all but if you are a fan of some plot and amazing storytelling, hostages is a great gateway. Click to see Dijkstra’s feelings for Isengrim as he mounts a rescue for his old elven husband.

He Comes With Gifts by @bittylildragon. Game canon. Dijkstra/Geralt. 4800w. Explicit. Slice of Life, King Dijkstra, snarky Geralt, PTSD and more. A little slice of life with King Dijkstra and his sometimes-resident witcher boyfriend.

I live for bratty snarky Geralt and Dijkstra putting him in his place. It’s fucking delicious and hot.

Bath by GilliganGoodfellow. Dijkstra and Bart. 1200w. Mature. Fluff and humor, slice of life. Dijkstra gets a relatively good idea of how his evening is going to go when, while descending into the basement to check on his troll, he slips on the ladder.

I can’t help but love anything with Bart and Dijkstra and this is so cute and lovely.

Bloody little beast by @gleaming_silence. Game canon. 100 words. Gen. Domestic Gruff. Dijkstra with a kitten. Even after Geralt broke his other leg, daily life goes on for Sigi Reuven and Novigrad’s underworld never sleeps.

This fic was written for me so I love it. Cutest drabble for a Novigrad crime lord.

Degradation for degradation by @limerental. Book canon. 1700w. Explicit. Geralt/Dijkstra. Humiliation, facials. Over a decade later, Dijkstra finally has the opportunity to repay the humiliation Geralt subjected him to in the wake of the Thanned coup. He doesn't expect both of them to like it so much.

I can’t get enough of this Geralt and Dijkstra dynamic. Eating it up with a spoon and always wanting more.

Vilgefortz

The Need For Love, Revolting by ptork66. Show canon. Rience/Vilgefortz. 2200w. Explicit. Dubcon, posessive sex, choking, drugging, bdsm. Vilgefortz wants to consume Rience like Rience’s fire consumes the air.

🔥🔥🔥 Fucked up fic for a fucked up pairing. All the kuwdos from me.

the mirror man by seasofglass. Show canon. Rience/Vilgefortz, 12,000w. Mature. Canon divergence, d/s, manipulation. When a mysterious benefactor frees Rience from prison after the fall of Cintra, he decides to play along in his dangerous game and try to further gain Vilgefortz' favor. Little did he know that playing with fire was the fastest way to also get burned by it.

This is a messy intense look at Rience getting swept up in Vilgefortz’ plans. The shaving scene drives me up the wall in the best way. I love me posessive fuckedupness in this pairing.

Yours, lock and key by zemyr. Ambiguous canon. 100w. Explicit. Rience/Vilgefortz. Master/Servant, magical sex toys. prompt: possessiveness kink deluxe while fucking.

Zemyr’s fic melts my brain in the best way, and the drabbles are 100 words of hotness.

Staves by @sassaffrassa. Show canon. Geralt/Vilgefortz. 100w. Explicit. Object insertion. inappropriate use of vilgefortz's magical staff.

😈 This drabble gets me cackling.

Ouroboros by @kuwdora. Show/book canon blend. Geralt/Vilgefortz. 20,000w. Explicit. Show/book canon blending, fanon continental art history, illusions, sexual fantasy, dubcon, masturbation, d/s, body worship. Geralt turns Vilgefortz proposition down at Thanedd. Vilgefortz makes a Geralt painting and masturbates to it and it spirals into an elaborate sexual fantasy.

Okay this is the fic that ate my brain while writing it last summer. It has layers of book and show references, literary inversions and way too many metaphors.

You know that tumblr post "you're so obsessed with imagery and symbolism, you stupid homo"? That's this me with this fic, lmao.

So come for 20k of Vilgefortz wanking to the Geralt fantasy in his head. Warning that the fic seemed to have driven the 8 people who managed to read and finish it and sounded insane after reading so take it with a horny grain of salt.

Previously on Kuwdora's Witcher Recs:

Istredd Recs

❤️❤️❤️

[xiaoaetherposts]

New event, but it's XiaoTher 💚💛

Genshin Impact "Alchemical Ascension" Event

Xiao's birthday message to Aether (2021)

Twitter(X): @xiaoaetherposts

[thewisecheerio]

Elden Ring is anti-war propaganda that is directly relevant to things happening in the world right now.

All the spoilers. All of them. And additional content warning for discussions of genocide and war, and mentions of the Israeli–Palestinian conflict.

Also big thank you to @starofancunin for asking a really good question about Queen Marika's motivations, which helped me better structure some of this post.

So in the base game, we knew that God Queen Marika committed a bunch of atrocities against other races. We thought this was just a bid for control in the base game, because lords war--even in our world--over things like power and territory and resources and racism. That was a perfectly fine motivation from a story perspective. But there were a lot of lingering questions about why she wanted that power in the first place.

What we learned in the DLC is wild. At some point in your wanderings, you come across where Marika is from. And you learn that the people she started her war against--the Hornsent--were killing her people first in really awful, gruesome ways. Her genocide seems to have followed another genocide.

Art by Halima Aziz. Follow here: https://www.instagram.com/palestinianartist/

So the order of events seems to be something like this:

1) The original sin Hornsent genocide Shamans (Marika's people) in the form of Jar rituals.

2) Marika's first choice Marika, tired of death, decides to seize control to stop this and sets off to become powerful enough to do so.

3) Marika's ascension She becomes a god and returns home to take control.

4) Death of the Shamans While she was away, all of the Shamans--all of her people--have been killed, kidnapped, or gruesomely tortured. The game tells us no one is left in her home town when she gets back.

5) Marika's second choice She decides on revenge instead.

6) The war of revenge begins Marika starts a war against the Hornsent, and brainwashes (at least some of) her children into soldiers to help her carry it out.

7) The war's sphere of violence grows The war doesn't end once Marika (or rather, her child on her behalf) has decimated the Hornsent. She starts decimating a bunch of other nonhumans (e.g. misbegotten) most likely in a bid to maintain control and "order" (that word you keep using, Marika...I do not think it means what you think it means). Because of course people are rebelling against what she's doing. And if they rebel, they need to be quelled, right? They're disrupting law and order and must be put down. It doesn't matter whether their dissent is a direct response to her violence; it's disorderly and must be controlled, of course.

8) Marika reverses course A long time later, Marika comes to eventually regret what she's done, likely due to the fact that her own children are either in the act of rebelling (see Ranni, Rykard, Mohg, Melina, Miquella) or are outright killed (Godwyn). The part of her personality that was always about healing--the part of her that bathed her (empty) village in gold healing light as a passionate tribute--reasserts control. So she forms a 4D chess plan to try to overthrow her own order. This is the base game's story in which the PC is tasked with stopping this nonsense on her behalf, since she can't do it herself for Plot Reasons.

9) The PC sets out to stop a new cycle of violence Either after or during that storyline (depending on player timing), the PC is sent to the realm Marika came from to learn all the history in 1-7 and stop another threat from repeating her mistakes (even if the big bad is probably, maybe, technically well-intended).

"When Family is the Only Shelter", painted during the assault on Gaza in 2021, by Malak Mattar. Follow here: https://www.instagram.com/malakmattarart/

So at the end of the day, Elden Ring criticizes the idea that genocide (or just plain war) as a "solution" to a past genocide isn't going to work, but rather will just perpetuate a cycle of blood. Marika's people had something absolutely fucked up happen to them, yes. But genociding them back didn't bring her people back. In fact, it directly led to a bunch more violence against (what became) her (new) people and other previously uninvolved races.

Someone characterized Elden Ring's cycle as "An endless trail of old women weeping over the bodies of their dead children", and yes. It's a good statement about the game, but also about cycles of violence. We know Marika wept over her murdered village. Subsequent to that, we meet Grandam in Belurat weeping over her people. And finally we see Marika weeping over her dead child in the base game.

Vincent van Gogh's "Weeping Woman", 1883

I am immediately reminded of parallels to how Israel is reacting to Palestine. The story was written before the most recent events, so I don't think that's intentional; rather, I think it's just that war follows the same old predictable patterns.

I hear a lot of people suggest that Israel is wholly in the right in the most recent assaults because they were "attacked first" (and sure, they were, if we arbitrarily start counting from 2023), and that therefore their retaliatory genocide is okay. The point, though, is that it's not an actual solution and probably much more complicated than that. Genociding back someone who attacked you (even multiple times) isn't actually a solution in our world, just like it's not a solution to Marika's problems. Such violence doesn't bring their lost children back, and it doesn't lead itself towards a true peace (or "true order" in Golden Order lingo). If anything, it breeds more bad blood and more violence--and we see that play out in the DLC where one of the surviving Hornsent literally sets out to get revenge again, starting a 3rd cycle of violence.

In fact, the long-standing oppression of an underclass of people followed by a vengeful genocide is more likely to make them rebel with violence than to join you--as we have seen play out both in the game and in Palestine's relationship to Israel. Would people actually be attracted to Hamas's violence were there not decades of discriminatory policies against Palestine? It's worth asking. After all, most people are not violent by nature, but by circumstance.

Art by Hadil, follow here: https://www.instagram.com/hoist_thecolors/

The PC's job in Elden Ring is literally to try to find a solution, in the form of 1 of 6 endings. And I find it fascinating that the default ending where you do nothing but seize power in your own name is called the "Age of Fracture" and hints that nothing has really changed except that you're in charge now. The world is still fractured. No one is unified. Violence is still going to happen under your (lazy) watch, because you predicated your reign on violence--just like Marika. It suggests that if you don't actually come up with a creative solution to the problem to ensure everyone is treated like humans (or sentient beings anyway), then the PC themself is also perpetuating the same cycle of violence in the name of power or "order". It directly criticizes revenge substituted for restorative justice as a means to peace.

No, I do not know the solution to Palestine and Israel, because I am not some brilliant political scholar. Nor did I know what the "best" ending would be for Elden Ring. Breaking the cycle of violence is *incredibly challenging*, and I'm not the scholar to do it. I'm just some gamer seeing parallels in this magnificent work of fiction to our world, and think its criticisms are timely, relevant, and well-constructed.

[twnpkdinhighschool]

Ascension (2021)

[wikimb]

Devil Trigger 3.0 for Michael!

A 3rd attempt at designing his DT since 2021 when I made Michael (or rather revived and remade/fleshed out his character from a DMC fanfiction written in 2019...).

I could explain in length the ideas behind this DT, why such a theme, why so... tall. The ramble includes serious explanation of the origins of demonic powers he has as well. If you like to read about it then just check what's under the cut.

Below you have some drawings of his face and also his brother's (name's Gabriel) reaction to his DT form. Michael was more scared of Gabriel's reaction than he actually was and the relief he felt was quite overwhelming.

More in depth below. It includes links to the 2 older versions of his DT for fun comparison.

The theme of his DT is very birdy. The first time I designed his DT it was rather heavily inspired by pre-existing DT designs of our main characters. Nothing wrong with it but it didn't stand out and I also never really vibed with it. It didn't help that I had no experience with any kind of monster design to begin with. I still kinda don't but I can see I got slightly better seeing the 3rd version of his DT. You can check my 1st and 2nd attempts here.

Anyway there are a bit more specific reasons why it's so birdy-looking or angelic-looking (and not just because of his name). Michael was born a human in a family, which was never exposed to anything demon-related. They didn't know demons existed (to a degree... when it comes to his father but I think that'd deserve a separate post as his backstory is a bit wild and how it affected Michael in the end).

As a teenager he got lured into a cult and manipulated into abandoning his family eventually. He didn’t know how evil the cult was and didn't even realize they were a cult to begin with.

It was a cult worshipping Mundus with a leader being one his generals. Her name was Lilith and she was great at making Michael feel that she truly cared for him like a mother figure. She manipulated him into believing his family didn't care for him. Sadly, it was all a game and ever since he escaped the cult, he deals with a lot of guilt and regret. He is not sure if they're even still alive... and if they're dead... what if it's his fault?

The cult's purpose was to turn humans into demons, who would serve Mundus. To ensure that they were forced to undergo a ritual stripping them of all of their humanity, their human personality and replace all of that with Mundus overwhelming power. The power, which was great but taking away all of their free will they could have. These people were technically demons at this point. If the ritual failed then it was usually fatal. Thing is, the ritual was a stolen concept from the time when Lilith infiltrated Fortuna's Order of the Sword. In a way she influenced Agnus to come up with such a ritual, then she took the idea and modified it a bit.

Michael's case could be qualified as a failed ritual after, which he should have died but the amount of demonic power he received was not big enough to kill him (because human body would be able not to handle more) but instead keep him alive. And as a result it continued transforming/mutating him into a demon-hybrid like Dante or Vergil, but artificial.

Even if using demoning powers was causing various unpleasant side effects for him but with each use, it hurt less and less. He was reluctant to use his powers actively, fearing that they could make him loose his humanity. He still used the passive abilities such as sensing demon magic.

After certain events he unlocked his Devil Trigger. As a side note I do have 2 ideas for what these moments were but for now I am not sure which one is better.

Anyway, yes, Michael underwent a modified version of Ascension Ceremony! That's why he has such an angelic look, just like the guys from Fortuna. The demonic powers are originating from Mundus but failed to take away his free will, his personality, his humanity, his memories. In other words, he is the same like before - just juiced up with Mundus power (which he is afraid to use anyway). Certainly a result which a Demon Lord would actually hate to find out about as it has a potential to backfire. Not like he has to "worry" about three Sparda descendants already. But if you saw Mundus himself, he also looks rather angelic too. Or at least that "statue form" if that orange weird blob is meant to be really him.

Compared to DTs already seen, he is quite massive. I think it can be simply a feature of Mundus power, in which Devil Trigger state makes one much larger than in human form. Mundus is a titan-sized demon himself, while Sparda was shown to be rather human sized. Heh, maybe if Michael had Sin Devil Trigger form then he could be Mundus-sized.

Though, Michael has the ability to go Berserk (but it's not controlled by his will and it triggers under strong distress), which enhances his power in human form and in DT form. It manifests as blue fire instead of orange fire. Maybe Berserk DT can get this big maybe. Could wrestle demons like Goliath then xD

[defining-skyology]

Finding the Light. (Defining Megabird #1)

I've mentioned the term 'loremoth' quite a lot, but haven't really elaborated on my definition of it. Within Sky's in-game social community, being a 'moth', or a new player, is a visually traceable status, showing on their backs and of their clothes, showing by the lack of seasons they've experienced and glitches they've overcome. But the Lore community is a Space held externally from the game, leading to it not being so much of a visual dogma, but rather more of... An Experience.

Hungry new lore theorists are fueled by their own personal preferences of thumbnails, baits, and key words; pulled in by what they find interesting, and after they devour that magical initial subject, they hopefully will look and then find the next thing.

Each of these sudden lore hooks end up being their Drive to have more, to dig for more, and to understand more. They feel it's become special to them; that they're in on 'the secret' now.

And one of the best topics to make loremoths feel like they're in on an absurdly colossal secret... 

Is the topic of the Megabird.

[[[Continue Reading]]]

In the early crazes of Lore, during the first year of Launch, interest in the Megabird skyrocketed, and when curious Sky players asked others who seemed more involved and invested in theorizing about the story, many users of Lorechat in Skycord would casually reply, "Well it's basically the god of Sky". 

Most murals and concept art depict the Megabird as a giant flowing golden angelic thing, with extravagantly long wings or tails. Sometimes it would be made of feathers, sometimes it would seemingly be shown as made of Creatures of Light. 

Early concept art refers to it as "One", some concepts say "Megabird", while others say "The Megabird", and late-stage concepts begin to refrain from calling it Megabird or 'The Megabird' at all, instead detailing a concept of "The Light" that was still unarguably the same 'character' from before. Post-launch content has never described it as The Megabird.

Despite this, Megabird ended up being heavily personified from 2019 to late 2021 by the community, and fans gobbled up anything about Megabird, especially Megabird as a character; as a god who would interact with the Elders and skykids. Megabird's fanbase grew to the point where it'd be given nicknames; it's most famous moniker being "Megan the Megabird". If only for the sake of having a character to use as a foundation for bountiful headcanon and fanfics, people seemed to cling fanatically to the idea of Megan; to the idea of having a deity. Perhaps there are or aren't some further psychological takeaways from the eagerness of the fanbase to have a 'god of Sky', but let's move on to a different notation for a while, and head back into the game.

Picture posted to Tumblr by lowkey-loki245

For the 4 years that players found themselves in the Descendant's era, creatures of Light have always been seen migrating at all times towards the beacon of Ascension in the Eye of Eden, but this isn't an absolute rule. Creatures often will be found frolicking and soaring wherever they want, far from the main path to Eden. Mantas will take elegant laps around wide open areas, and rarer creatures are either hardly or never seen ascending up into Orbit. 

But water doesn't halt its cycle, and Light shouldn't either. Water rushes down mountains, through valleys, flooding plains and reservoirs, yet not all of the water gets to the Ocean like it should. But though it gets stuck in spots, underground rivers and evaporation ensure the water cycle will always occur. It has to be the same for Light.

The lore community has long since determined that all beings in the world of Sky (so far) all are made of Light. {There can be a post explaining that on another day, because not everybody is so willing to believe this.} This includes: creatures of Light, Ancestors, Descendants, and yes, even dark creatures are made from Light; just warped light, to be exact.

If we're to continue with our comparison to the water cycle, then this means all of those living Beings are made out of {metaphorical} water. Water flows from the Source and descends until it reaches the Main Body of the ocean, and all Light cycles throughout the world until it can get to Orbit again. This cycle of the life energy of Light flowing in and out of a main body is exactly what we need to focus on, and lo and behold, quite a few pieces of concept art confirm this.

The meaning and purpose of some of these concepts have been long forgotten, and don't reflect the lore of the game today in post-launch, but there is one big theme going on here that they still intend to this day; all Beings of Light will eventually journey to rejoin the Megabird.

We talked before about how they slowly transitioned towards using a simple base word to describe the megabird instead of giving it an almost characterizing name, and I believe they had to have done this intentionally. (Well, as intentional as TGC ever gets.)

We can and may still call it 'the Megabird', but from now on we understand that we are referring to 'the Light'. So, why did they depersonalize Megan into a character-less thing? As we ascend through orbit and into the Ocean of Light, the Main Body of our life energy; lore theorists all over the interwebs would still be looking for the character Megabird. "Where is Megabird? Surely it's that constellation above us? Maybe it's the giant gate that sends us towards rebirth? Maybe it just hasn't shown itself?" But as the voice of Aurora calls to us and the warmth of the ultimate Light pulls us in, vaporizing darkness as we come, I just have to ask:

"Isn't that the Megabird that we're entering?"

A pure, deep, limitless orb. We are drawn in by its intensity, and as we get closer to being Absorbed we can see creatures swimming in and out of its surface. In the Sea of Light. All things here in unison, all things belonging to One; each moving speck of Light, a drop of water in an endless pond of pure harmony.

Whenever we enter the Light; when we enter the Megabird, we become dissolved into that sea, and we join One in it's neverending song.

You might notice we're not going to end with any solid Defining going on, and that's because you're supposed to take this in and think about what you make of it. It'll be important for part two.

But we'll have to research further into proving THAT on Thursday, because unfortunately, this post has gotten way too long.

{{{Megabird Part #2 is out! Click here to continue Our journey.}}}

Thank you to the two readers who got this far, and I hope you can all think critically, never perspire, and have a wonderful rest of your week.

[ditto-not-on-discord]

in less than 60 days, It will have been a year since blaseball was suddenly canceled.

TRUST ME, THE OTHER TAGS WILL MAKE SENSE IN A LITTLE WHILE.

Blaseball, in its 2.867 Years of existence, was many things. but the easiest way to describe it is "Good". It had a very incredible fanbase that still kind of mourns the game to this day. the devs had a panel at GDC in 2022. It was nominated for a Nebula Award for Best Game Writing in 2021 and also the "Best Video Game" at The Hugo Awards in 2021. It won the Nuovo Award at the independent games festival in 2021. people could observe the games happening, gamble fake money, and also affect how the story and the characters would develop at certain points. It was a great game, that sadly was canceled because the cost that was needed to run the game was too high for the team at the game band to support, at least according to wikipedia. It being dead is also a major part in proving that there is no justice in the universe because of it not being here, yet SILENT HILL ASCENSION SOMEHOW HASN'T KICKED THE BUCKET YET.

Now for all Silent Hill fans who have blocked that game out of their memory, and for everyone who has no idea what Silent Hill Ascension IS, here is a refresher:

"Released" on October 31st, 2023 (which was already a bad day for me, but I am NOT getting into that), Silent Hill Ascension is an interactive thing (listen its not a tv show, and it isnt a video game. the developers say that its "the best of both", but lets be honest its more of the WORST of both) that is canon to the silent hill franchise.

people can observe the games happening, gamble fake money, and also affect how the story and the characters would develop at certain points. Yes, I know this sounds EXACTLY the same as what I described blaseball as, but thats because I purposefully oversimplified both games a bit. Silent Hill Ascencion has bland writing (so bland people even thought it was AI), all the mechanical depth of a bad mobile game, and all the horrible microtransactions (loot boxes, a season pass, and something else I will get into later) as well. Blaseball, as previously mentioned, was nominated for several story writing awards, had enough mechanical depth that some fans created a SCIENTIFIC COLLECTIVE TO ANALYZE IT, and at the time it died, NEVER had any micro transactions or a fee to enter.

Remember how both games use fake money? In Blaseball, those who were in the 1% of money havers had all their coins distributed to the other players. In Silent Hill Ascension, you can literally just buy so many "Influence Points" that you can manipulate the entire fucking story, and you can hoard them for as long as you fucking want. Also, Something else I want to mention: Literally nobody talks about Silent Hill Ascension because its so bad. hell, and those that do talk about it DON'T have anything good to say. very few people play it, and there are a shit ton of bots that the devs added so it feels like more people are actually watching. Silent Hill Ascension has reached lower lows than blaseball ever did, and is less than half a year old. So why the hell is it still alive, when a game that did its entire stick better is fucking dead. THE ONLY REASON I CAN THINK OF FOR IT BEING ALIVE IS BECAUSE ITS SUPPORTED BY FUCKING KONAMI.

There is no justice in the world.

[justinspoliticalcorner]

Judd Legum at Popular Information:

On July 25, former President Donald Trump named Senator J.D. Vance (R-OH) as his running mate. Vance has only been a U.S. Senator since 2023, and his rapid ascension to the Republican Vice Presidential nominee has prompted renewed scrutiny of his record, particularly his views on women and children.  Notoriously, Vance described Vice President Kamala Harris, now the presumptive Democratic Presidential nominee, as a "childless cat lady" in a July 29, 2021 appearance on Tucker Carlson's Fox News show. Because Harris does not have children, Vance said, she "doesn't really have a stake" in the country. Vance went on to say that people with kids are "happier," "healthier," and "better prepared to actually lead this country." In an October 21, 2021 appearance on the Breitbart News Daily, Vance said that Democrats "next generation of leaders," including "the Kamala Harrises," "don't have kids." As a result, Harris and others "want to take our kids and brainwash them so that their ideas continue to exist in the next generation." 

In a July 24, 2021, speech to the Future of American Political Economy Conference, Vance said Harris and other Democratic leaders where members of the "childless left" who have "no physical commitment to the future of this country." Vance suggested that anyone without children should be excluded from leadership positions. “Why is this just a normal fact of …  life, for the leaders of our country to be people who don’t have a personal and direct stake in it via their own offspring?” Vance asked.  Vance's description of Harris is inaccurate. She has two step children that she has helped raise since they were teens. Their biological mother, Kerstin Emhoff described Harris as a "co-parent" who is "loving, nurturing, fiercely protective and always present."  But Vance's comments do appear to accurately reflect his views of Americans who do not have kids.  In a little-noticed March 21, 2021 tweet, Vance said that the decision not to have children has made many Americans "insane" and turned them into "sociopaths." 

Appearing on the Moment of Truth podcast on September 20, 2021, Vance described journalists as "a group of people who are dealing with their own…psychotic breaks." Journalists, Vance claimed, were told "it's very easy to start a family when you're 45," but, "God says otherwise." Now, journalists in their "late thirties or early forties" have "reached this point where I think they recognize that their lives are miserable and unhappy, but they all feel like they've reached the point of no return." Vance made a similar point in his speech to the Future of American Political Economy Conference, saying many journalists were "unhappy," "miserable," and "angry" because they were "childless adults."  Trump's campaign claims that Vance's remarks are being "taken out of context." Appearing on a podcast on Friday with conservative pundit Megyn Kelly, Vance implausibly claimed that he was not criticizing "people who don't have children." Vance did not apologize for his description of Harris as a "childless cat lady," saying only that it was a "sarcastic comment" and clarifying that he had "nothing against cats." Vance, however, insisted that the substance of his criticism of Harris is "true."    

[...]

Vance says parents should get extra votes

In his speech at the Future of American Political Economy Conference, Vance said parents "should have more of an ability to speak your voice in our democratic republic than people who don’t have kids." Vance said Americans without kids "don’t have as much of an investment in the future of this country" and therefore "shouldn’t get nearly the same voice" as parents. His solution is to "give votes to all children in this country" but "give control over those votes to the parents of those children."

[...]

Vance bashes efforts to make daycare more affordable

Despite his purported support for families, Vance has harshly criticized efforts to make daycare more affordable. He called the concept of universal daycare "class war against normal people." Vance said that "normal Americans" do not want to "shunt their kids into crap daycare so they can enjoy more 'freedom' in the paid labor force." He suggested that parents who send their children to daycare value their jobs more than their children. 

[...]

Vance wants law enforcement to have access to women's medical records to enforce abortion bans

In the wake of the Supreme Court's decision to overturn Roe v. Wade, the Department of Health and Human Services (HHS) proposed a new rule that would prevent state law enforcement from using medical records to enforce abortion bans. The rule "prohibits the disclosure of a patient’s health information as it relates to reproductive health care" to state and local investigators. 

J.D. Vance = natalist sociopathic weirdo unfit to be Vice-President.

[coochellati]

Hey, Jovia ^.^ I’ve been following your blog for a while now and I absolutely ADORE it. Your rants and everything are literally my safe space, I’m just as obsessed with Bruno 🥹🤧

I want to share with you something maybe less typical to your usual head-canons. It’s related to that scene where he ascends to the sky and he says sth like “I’m only going back to where I was supposed to be. I’m simply returning to how I once was”. Do you ever think Bruno might actually be a spiritual person? Not in the religious sense necessarily (but it might explain something, since he’s Italian and most likely a Catholic). But I find that scene quite symbolic to his character - let’s be real, it’s one of the most majestically-portrayed deaths in Jojo (might be biased, right, but can you not be when it’s about him? 🥲). I like to think that he might have some faith - whether in some god or simply the universe. He shows this multiple times in the show, but I think his sense of faith and spirituality shows the most in his optimistic thinking. He sees the light even on a dark path (and, sometimes, he’s the light himself; to others) and tries to be moral, even in his area of “work”. If some kind of faith doesn’t drive him, then what else?

This turned into a long rambling. Anyway, I’m curious to hear your opinion!! Stay safe ✨

Hi!!! Thank you so much for reaching out!! It makes me feel incredibly honored that you think so highly of my blog and consider it a safe space 😭🩷

Ooh!!! This is a good one; I love getting all philosophical over Bruno.

Oh my god his ascension scene is fucking beautiful. I too think it is the most majestically-portrayed death in JoJo’s. Yeah.. okay. im Biased too…. Still though. I can’t think of a more beautiful death. And the SOUNDTRACK. Ascensione is so perfectly composed. It sounds like something Debussy would write. (It’s also in Ab major; my favorite key signature. 😩 Ab major just feels… so emotional.) I don’t listen to it very often though because it makes me burst into tears. 😭 Also the VISUALS. Can you think of a JoJo’s death that’s objectively more beautiful than Bruno’s?

(can you??? CAN YOU??)

I agree with your thoughts! I too believe he’s spiritual. Like you said, I don’t think he follows a specific religion, but it’s shown he believes in fate, which is a higher power, in a way. The idea of fate is highly associated with religion, so the chance of him believing in something is pretty high. You’re right, there’s a chance he could be Catholic, considering that 79.2% of Italians are Catholic (this data is from a Eurobarometer poll from 2021.) But I don’t get Catholic vibes from him… (what even are Catholic vibes?? LOL I don’t know, but Bruno doesn’t have em.) His ability to see light in dark things is also very correlated to religion.

Araki himself is somewhat spiritual, I’ve heard. He went to a protestant school when he was a kid, but he isn’t a Christian now. People speculate he leans more towards Deism now. Since Araki’s beliefs no doubt influence JoJo’s, I believe Bruno approaches religion the same way Araki does. Of course, Bruno is his own character, so he may not follow what Araki believes, but he is Araki’s creation…

So yeah, those are my thoughts! Thanks for sending me this; analyzing this man is my favorite pastime! :)