#for once. not even in discussions over their fucking oppression

[lesbiansanemi]

Gay trans men be normal about women challenge. Especially trans women and lesbians

[theygender]

Washington Post: Trump and allies planning militarized mass deportations, detention camps - February 21 2024

I really think people have forgotten just how bad things were under the Trump Administration. Literally every day there was news about some service being cut or someone terrible appointed somewhere they shouldn't be or what have you. He constantly flirted with WW3 and military dictatorship. It was such a blur of badness that there aren't big standouts for people to point to to make him "the XYZ president." it was everything. all the time. Why do we not remember this.

[mogai-sunflowers]

this will be a bit of a long post but i ask that you please please read the full thing if you want to know more about Sudan- i feel like not enough people ACTUALLY know what's going on in Sudan. a lot of people have a vague idea that a 'war' and genocide is going on, but it's important to know the specifics as well.

there is extremely little coverage of Sudan from non-Sudanese sources, and even those that DO cover it often paint it as a war between two different generals for power over a country- and to a certain extent, without context, that IS what's happening. for those unaware, the two 'warring factions' in Sudan are the official Sudanese military- the SAF (Sudanese Armed Forces) and the RSF (Rapid Support Forces).

in April 2019, during the Sudanese Revolution, Islamist dictator Omar al-Bashir was deposed by the SAF in response to a mass wave of revolutionary organizing, protests, and sit-ins. Immediately after, the TMC (Transitionary Military Council) was established, with SAF general inspector Abdel Fattah al-Burhan being appointed as the chairman. for a brief time, protestors engaged in negotiations with Burhan, and many believed that he was being ernest in his promises of a true civilian democratic government- but it soon became clear to protestors that he was not actually taking their demands seriously, so demonstrations once again intensified. on June 3, 2019, it was under Burhan's command that the Khartoum Massacre was committed, killing 118 protestors while they were participating in a sit-in at the military headquarters in Khartoum.

as the next few months went by, agreements came about to dissolve the TMC and form a Transitional Sovereignty Council based on a draft of a constitutional declaration. it was supposed to be that a military official would be the chairman for 21 months, then transitioning to a civilian chairman for the next 18 months- but Burhan staged a coup in October of 2021, and dissolved the council and effectively turned the Sudanese government back into a military junta, which was the cause of further protesting.

i want to emphasize the crimes and horrors of the SAF because they are often forgotten in these discussions due to the absolute atrocities committed by the RSF. there is no good guy here- both the SAF and the RSF are vying for dictatorial power. so let's talk about the RSF.

headed by genocidal war criminal Mohamed Hamdan Dagalo, known more widely as "Hemedti", the RSF formed around 2014 due to reorginization of the Janjaweed militias- which were the militias that formed across the Darfuri regions of southwestern Sudan to suppress demonstrations against Bashir's oppressive and racist regime which carried out the first genocide of Massalit and other ethnically non-Arab peoples across Darfur in the early 2000s. so to be succinct- the RSF has direct roots in dictatorial suppression of Sudanis protesting against ethnic cleansing, genocide, and oppression.

for around a decade, the RSF and SAF were different factions of the Sudanese military- both have their roots and a pattern of supporting dictatorial violence and anti-Black genocide. and, on April 15, 2023, these two dictatorial Arab-colonialist powers began fighting out of the blue. fighting has been most intense around Khartoum, the central state and capital city of Sudan, where now an estimated 35% of its residents have been forced to flee, with the rest trapped in the middle of an active war zone.

the RSF has been actively continuing the genocide of non-Arab Darfuri Sudanis that its predecessor the Janjaweed committed 20 years prior. they have been consistently launching attacks against Massalit villages in Darfur and El Geneina. Recently, they have completely ethnically cleansed several Massalit villages, killing hundreds in each one of them. in addition, they are committing so many other war crimes, like sexual violence, blocking access to humanitarian aid, occupying civilian homes and kicking the residents out, along with blatant ethnic cleansing campaigns, mass murder, and targeting of civilians.

but don't think that this is a 'civil war' as many are calling it. a civil war is an internal dispute, but this is far from that. both the SAF and the RSF are supported by external powers, namely the UAE, Saudi Arabia, and Russia, who all provide funding to these groups IN EXCHANGE FOR SUDANESE RESOURCES LIKE GOLD AND OIL. this is, ultimately, not just some random war between two different military groups- it is a war funded by and for foreign colonial powers who have a vested interest in colonizing Sudan for its resources. as an example- the UAE's- and especially Dubai's- infamous gold and jewelry industry, is only made possible by the fact that the UAE illegally smuggles 80% of Sudan's gold- they fund this by sending weapons AND SOLDIERS to the RSF. Several of the gold mines in Sudan are owned and operated by the Russian government.

all of this, both the 'internal' AND the external, colonial aspects of this war and genocide, has led to the world's current WORST humanitarian crisis. not only do LOW estimates place the total murdered in the past year at 150,000, but out of Sudan's population of nearly 47 million, over half (25 million) are in severe need of humanitarian aid, and of those 25 million, over half are children. fighting between the RSF and SAF has lead to severe blockage of aid, and the UN's initial proposed budget of $1.5 billion in April of 2023 has not only not increased to accommodate the severe worsening of the crisis, but ALSO has not even been funded 20%.

2.5 MILLION PEOPLE ARE EXPECTED TO STARVE TO DEATH IN SUDAN BY THIS FUCKING SEPTEMBER. THAT IS LESS THAN 2 MONTHS AWAY.

additionally, due to both western colonization and the Sudanese governments' deliberate cutting of internet access across the entirety of Sudan, there is a huge lack of the proper infrastructure for generating awareness and spreading videos and info from on the ground in Sudan. this means that not only are people unable to effectively crowdfund support to leave, but they are also barred from accessing social media to spread awareness, and they're unable to contact loved ones outside of Sudan most of the time.

also, Sudan is HUGE- in order for displaced people to escape fighting, they usually have to walk, on foot, for hundreds of miles, often across literal deserts, with extremely little access to water. there has also been a surge of internally displaced people dying due to illness and scorpion stings in displacement camps. 70% of Sudan's hospitals have stopped functioning entirely. and even if they DO make it to a neighboring country, most of the options there are just as bad, if not worse- Egypt is extremely anti-Black, and doesn't allow work permits to most Black refugees, meaning they are relegated to being houseless and jobless if they go to Egypt- and westward in Chad, there is also crisis with food and resources, so the government of Chad quite literally can not materially support anymore Sudanese refugees. In South Sudan, there is also conflict, war, and crisis, and in Ethiopia, where the genocide is taking place in Tigray, the government is extremely hostile to Sudanese refugees. there are currently more than 6,000 Sudanese refugees stranded in the forests because of the hostilities they faced while in UNHCR camps.

and everyday that we're not doing something, this genocide, war, and humanitarian crisis is getting worse. doing something starts with being educated. i urge y'all to look more into this, don't just take what i'm saying and roll with it- truly learn and listen to Sudanese activists on this. i highly recommend following these accounts on Instagram:

@/red_maat , @/bsonblast , @/sudansolidaritycollective, @/forsudaneseliberation, @/darfurwomenaction, @/liberatesudan, @/zzeirra, @/yousraelbagir, @/modathirzainalabdeen, @/sdn.world, @/nasalsudan, @/sudanuntold, @/kandakamagazine, and @/almigdadhassan0

IF ANYTHING I'VE SAID IS INACCURATE, PLEASE LET ME KNOW!

i'd like to spread this post for some education. could you reblog this @decolonize-the-left @incorrectmadrigalfamilyquotes @homoidiotic @heritageposts @el-shab-hussein

@fairuzfan @palipunk @silicacid @sissa-arrows @apollos-olives @

@northgazaupdates @our-queer-experience @intersexfairy @genderqueerdykes

[imperatorrrrr]

I can’t sleep. I have work in less than eight hours, but I can’t sleep.

Nothing is determined yet. There’s still a path to victory for Harris.

But.

If Harris loses, I want everyone to remember that multiple things can be true at once.

- there is vast amounts of voter suppression and gerrymandering in this country. the electoral college is doing exactly what it was designed to do. oppressing the vote.

- there is a misogyny problem not only in this country but in the world. Harris is a woman. it matters.

- there is a racism problem not only in this country but in the world. Harris is a black and South Asian woman. it matters.

- the Democrats abandoned their base to appeal to and appease Republicans and it failed

- all of the gains in Georgia were lost because no one built on all that grassroots organizing that took place in 2020 and leading up to the last election

- the genocide in Palestine is a major issue and the way the Democrats chose to handle it hurt them.

- it is so incredibly telling that Missouri voted to overturn an abortion ban, increasing the minimum wage, and voted down a raise for law enforcement, but didn’t vote for Harris.

- leftist policies got votes.

- the Democrats had eight years to figure out how to defeat Trump, four of which they spent in power, and they didn’t do that. Instead they moved even more right.

- it is not the fault of Arab Americans and Muslims who didn’t vote for Harris because her administration is actively killing their families.

- the Republicans saw where their party was headed and matched them and followed them. the Democrats, meanwhile, tried to move the party even more right, and prioritized Republican outreach. the Democrats turned their backs on their own base.

- voting for Jill Stein is a horrible decision because her VP pick is a transphobe and is anti-abortion and she was endorsed by the fucking KKK. people are right to be mad at folks that voted for Stein because she isn’t an actual good candidate.

- we must discuss how the decline in literacy in this country has aided in the increase of support for Trump.

- look to the Democratic candidate and the Democratic machine to see what they messed up. because they messed up a lot. and they were warned at least a year in advance of how things would go.

- think about the rejuvenation this country felt when Biden stepped down and Harris was announced. think about the Walz pick. the “weird” campaign. and then think about how instead of running with this new excitement that was felt Harris went on tour with Cheney.

- bringing out Clinton and Obama to lecture Arab Americans whose families are being killed by weapons being sent from the United States instead of sitting down and listening to an entire voting bloc

- and still the amount of people voting for Trump is absolutely terrifying and sickening

multiple. things. can. be. true. at. once.

but again, there’s still votes to count. it really isn’t over.

and please remember.

the world will be here tomorrow. so should your resolve.

[adickaboutspoons]

So there's several posts going around lately that seem to be dancing around the same proposition - that being that Ed is violence-averse altogether, rather than specifically killing-averse. While it's important to always keep the fact that Ed is no more violent than any other character on the show (and a good deal less violent than some), and that his use of violence is extremely considered and not the result of uncontrolled rages, denying that he would, has, and does commit acts of violence, and willingly, and sometimes even enjoys it, is just demonstrably wrong and elides a significant part of his character. When Ed is discussing "packing it all in" with Stede in 1x4, the reasons he give have nothing to do with being weary of or uncomfortable with the expectation of violence demanded by his position as a pirate, but because he's bored because "it's not a challenge anymore" because people don't fight back once they see Blackbeard's flag. He "loves a good maim." He genuinely has a blast with Jack and all his Jackassery. He gleefully spoke about mugging a guy for a dinghy. He thought the Knife Parade was a fun game until Fang told him his experience was not universal. He hands over a big fuck-off knife with the treasure he gives to the urchins, so clearly doesn't have a problem with using violence to defend what's yours. When he says to Stede "I'm not sure I want to go back to the old days of getting drunk all day and biting heads off turtles and making some poor bloke eat his toes for a laugh" that's not the same thing as saying he's forsaking his piratically violent ways and doesn't want to use violence ever again. The specific mention of all-day drunkenness and turtles calls back to the kind of shenanigans he got up to while Jack was around - and thus is a rejection of that kind of mindless violence for violence's sake; a prospect we had already witnessed him expressing discomfort with when Jack brought up what a wild man Ed used to be at brekkie. After all, part of the "most fun [he's] had in ages, years... maybe ever" has involved showing Stede how to "use a little oomph" and flirtatiously swordfight (both moments included in Stede's "what does it feel like to fall in love" mental montage) - violence as a means to procure a desired outcome, and with as little actual bloodshed or permanent injury as possible, but by no means not none. The show is so careful to never condemn the use of violence wholesale - like, at no point is the message a facile "violence is never the answer". It condemns certain types of violence, usually specifically those enacted large-scale by oppressive, colonialist social structures, but also cruelty for cruelty's sake. Outside of that, though, violence is a tool, and thus is only as "good" or "useful" as the task to which it is being applied. Ed is a master craftsman - he will use the tools at his disposal deftly, and, yes sometimes take joy or pride in his work. And that's not a bad thing, nor does it make him a bad person.

[ceilidhtransing]

I feel like so much shitty discourse could be avoided if people more consciously bore in mind the fact that Mainstream Society and The Queer Community are, you know, meaningfully different spaces that often have different social phenomena and different issues.

Random example, there'll be a discussion about femininity often being prized over masculinity, especially transmasculinity, in some queer spaces. And there'll be a bunch of transmasculine people talking about being made to feel unwelcome once they came out, feeling pressured to identify as nonbinary rather than as a binary man as that receive less hostility, being increasingly isolated and othered once they started T, feeling pressured to act more feminine and GNC, being told that their presence as a man makes others in the space uncomfortable, etc.

And then inevitably someone will respond with something like “OP what fucking planet are you on. You're fucking insane if you think femininity is prized over masculinity in society. And the idea that nonbinary people have privilege over binary trans people - what is this fucking enbyphobic bullshit? God, some people are so stuck in an echo chamber of terminally online tumblr queers with their invented problems that they've forgotten what it's like in the real world.”

But was the discussion about wider mainstream society? Or was it very particularly about the queer community and issues that these people have faced specifically within that community?

The queer community is a subculture (arguably many subcultures but let's try to keep it simple), and it's totally, utterly standard for subcultures to - even deliberately, as an act of pushback - value different things from the mainstream culture. Aesthetics thought of as “weird” or “[insert slur here]” by the mainstream can be highly prized in the queer community. Identities that are all thought of as equally “fucked-up” and “cringe” by the mainstream can find themselves organised into some weird hierarchy of validity and oppressed-ness within the community. Politics which are considered extremely fringe and radical by the mainstream can be considered the default norm, even a necessity, in the queer community. Gender expressions that are seen as the most basic “normal” thing ever in the mainstream can be devalued by the queer community for “not looking queer enough” or “being straight-passing”. And none of this is a contradiction because this is pretty much how subcultures operate! They assert different values and cultural norms from the culture they exist within and that's partly what makes them subcultures.

So if someone's pointing out “I face this issue specifically when I'm interacting with queer spaces”, it doesn't do the conversation any good to assume that they're talking about mainstream society and attack them for “being deluded about how the real world works” or “inventing fake problems to sound more oppressed” or something. (And the inverse - someone pointing out “I face this issue when I'm interacting with the mainstream” and someone else responding with “I don't know what you're talking about; I never face that issue at all [in my exclusively queer friend group and support network]” - is far rarer, but it does still happen, and it's just as unhealthy for the discussion. Probably the most common example of this I can think of is when cis gay and lesbian people discuss homophobia they've faced, for instance to do with their gender expression, and someone goes “but that doesn't happen, because actually cis gays are a privileged group and I've never seen anyone attack their presentations” - yes, because the frame of reference you're using is the queer community, where being gay is pretty much the expected default, and you're forgetting that in mainstream society, even cisgender gays and lesbians are by no means “a privileged group” that experiences no oppression ever.)

People need to be able to discuss issues in the specific social contexts they're talking about without it being basically guaranteed that someone will misinterpret them and start jumping down their throat in anger at something that wasn't even said or implied. It is so bad for the community when people seemingly can't fathom that the dynamics at play might be different within queer spaces versus out in mainstream society and it leads to so much pointless toxicity and aggressive misunderstanding.

[utilitycaster]

To your point this isn't about breaking thrones: either in cooldown or the episode itself, Matt called the beings Ashton was interacting with 'elemental lords and ladies', iirc. There is no sidestepping this issue, which is why fans who can't tolerate criticism of the character resort to these false accusations, or single out a handful of hateful comments the character gets over the legitimate critiques. It's become so transparent to me -- thank you for continuing to point it out, honestly.

Right, like these are also immortal, eternal, immensely powerful beings! They're different from the gods but again, if the issue is a power differential, then why are titans exempt?

One also has to acknowledge that Ashton told the entire Accord they served the weak and then when Ka'Mort said the weak would be "remade" he was like "yeah sounds great". I even at an earlier point said that Ashton isn't hypocritical, they're just prioritizing their own pain, which they've largely misplaced on the gods when it was in fact largely due to multiple shitty mortals, most of whom were either also seeking the power of the titans (the Hishari) or at least doing business with the Ruby Vanguard (Jiana), or as far as we know totally secular (Greymoore Asylum...where they ended up because of the Hishari).

I also said this in the tags but like. If you are an internet stranger and you're like "well I relate to this character so if you don't like them I am sad" it's like, why the fuck do you think you're inherently likeable? Like yeah actually if you agree with that statement and don't see any issue with it, I think you're someone who at the very best is worryingly susceptible to indoctrination by fascists, and that's not someone I want to be around! If you genuinely are like "oh, no, this person can't be an asshole because they are dressed like a Good Person, per punk lace code" you are like, cartoonishly stupid, literally, like I bet I could lure you into running into a wall if I painted a train tunnel on it! If you say such disingenuous things as "why are people so afraid of change" when the issue isn't that things will change (once again. I have to point out. that there's fucking aliens from the moon showing up and I haven't seen anyone take issue with that provided they're, well, coming in peace) that just tells me that either you're deliberately manipulative or you're extremely easy to manipulate yourself by any charismatic leader who says "why won't you do what I say? Why does change scare you?"

If you think you're entitled to my approval not just of you but because of your blorbo based on identity that's a massive point against you, in my book, actually. Like why should I like you? You seem needy and annoying. I think you deserve all human rights and should live comfortable freely without fear of violence or discrimination but you sound like a self-absorbed dick who's exhausting to be around and I don't want to feed your shitty ego! You're not being nice to me or taking my concerns seriously or showing me you're fun or caring or even interesting and worth befriending; you're just reciting a list of your blorbos and your oppressed identities at me as if you think you can pressure me into putting up with your whiny ass. And yeah, if you can't articulate why it's totally okay if the strong will survive and the weak will be remade, you're not going to contribute to this discussion in any meaningful way, because that's the point of contention.

[funnyscienceman]

Ok but like WHYY did ubisoft have to insist with the one game a year thing. Why couldnt they let syndicate cook in the oven more. Why do they have THREE queer men in the same game and not do ANYTHING with them!!!

Like yes, yes, i get it, i get wanting to for once make a story in a fun setting where you dont have to think about real life prejudice and hardships and bigotry and just have characters be silly, i love that too. I do! And id be all for that if doing it just didnt waste a potentially banger study of the characters and the setting ;-;

Like god i go back and forth on this constantly. I already love syndicate as it is, i think it's fun and neat and the happy gaming vibes about it is core to its identity, it's just that simultaneous to that, three queer men in the same game!!!

like GOD im still miffed that there are only, like, two or three fics about this, and so far i havent found any discussion or anything of it, but oh my god how different all three of them are from each other. You could do so much just with having any of them in the same room — and they are often enough in the same room (jacob and either ned or roth at a time), but nothing's really done there!

we have roth who sees fcking nothing wrong with getting kids hurt, because he doesnt actually care about anyone or anything, he's just some fucking joker wannabe that yeah, sure, probably has some anger and resentment at society because he's a gay man in his 40s or 50s by now, but jesus fucking christ retaliation against homophobia does not equal rampant needless unproductive violence roth!!!

then we have ned, who — i mean he doesnt ever give his opinion on whether kids deserve any respect or anything but considering in every other department he's pretty much just Some Guy, it'd be fair to assume he also has the extremely average stance of 'dont fcking kill kids and dont blow up buildings for no good reason??' in the grand scheme of the templar-assassin stuff he has just about as much relevance as roth: roth was just the boss of the blighters, ned just finances the fryes by virtue of them working for him. He probably doesnt even know about it, and tbh i dont even know if he'd care??? But like i imagine roth doesnt care in the way of 'as long as you dont get in my way, it's all set dressing,' ned i imagine would be smth like 'are yall fckin serious? are you kidding me rn? i have to skirt around transphobes on a daily basis, now youre telling me there's a secret society on top of that with even worse ideas?? What the fuck???'

like uh, not caring about it as in 'I cant deal with this rn i need a nap'

HE'S JUST AN EXTREMELY REGULAR PERSON (besides the crime lord stuff) IS WHAT IM GETTING AT.

then there's jacob, who's the youngest out of these guys btw, fckin 21 good god he should be at the club not trying to disassemble systemic oppression— ANYWAY

(ned is 27-28 over the course of the game, btw; we dont actually have a solid timeline for anything, just the year, so tbh jacob could've also been 20 and not 21 yet during the game. both he and ned have late birthdays, just a month apart)

so, yknow, being extremely early 20-somethings, both frye twins just take a train to london completely on impulse and dive headfirst into undoing the templars that've had an iron grip over the city for basically as long as they've been alive, yknow, as you do; and throughout the game jacob has to deal with goddamn daddy issues and fighting with his sister and insecurity and trying to be an assassin — and that's a lot for a guy to handle!! Especially one who's still just a couple years out of being a teenager! That's a fucking lot and if the devs are right, then he hasnt even realized that he's bi yet! Not until roth fucking kisses him while jacob's got a knife in his throat for the aforementioned indiscriminate, unproductive violence!

i mean, granted, yeah there were gay undertones during sequence 8, but i have to admit my bias here because i honest to god cannot take those missions seriously. Roth fucking preaches this and that about freedom and whatnot and then im plopped into the mission and it's the most rule-heavy shit ive ever seen in my short life as an assassin's creed player. Like what the hell, those missions were atrocious. Apprently i need to detonate the bombs a specific way, i cant just shoot them from a distance, i have to hold a button crouching down right next to the bombs, and then run the hell away! I have to avoid THIS and THAT while kidnapping xyz! Like there's freddy's apprehend missions and then there's THIS.

at least with ned's missions all you have to do is get the shit and go… i'm still salty that ubisoft cut his questline because they fucking insist on releasing a game a year >:((

my battery's dying. All these guys are different flavors of queer on top of just being pretty different and pretty similar in various ways, and there's just… barely anything about it. Ned especially, since he's just a quest giver whose screentime totals to, like, 2-5 minutes. I just wish they really did more with the setting; not just the queerness and these three specifically, but like, evie, henry, the class conflict — like there are shreds of it, seeds, but there's not much before you kill starrick and credits roll :((

idk. im just gonna refresh ao3 again cjemddjekjx

[teethoftheeditor3]

I was gonna start this with "I wanna talk to you about" but quickly realized its more like this:

I'm gonna talk and you can't stop me.

Anyway, I want to talk about a book I've been reading. I've already discussed a number of my thoughts on Youjo Senki, a book with a much larger following in Tumblr than I ever expected. I think that book is actually pretty fun. The apparent idolization of 20th century Germany is... concerning and it kinda feels like it was written by that kid in highschool that claims to be a history buff but only knows WW2 military history. That said, it is a book that goes into the logistics of war and is chock full of flawed characters. Even Tanya herself, or rather especially Tanya. But this isn't a post about Tanya, or rather it's a comparison with Youjo Senki as a reference frame. I want to talk about a little something called...

86

Eighty-Six is similarly a light novel with a war setting, however it's set is a purely original world sci-fi setting compared to the alternate history / urban fantasy setting of Youjo Senki. The story is very complicated to summarize to a point where the one thing I want to talk about is. Essentially:

The story is set in the Magnolia Republic, the fact that it's a republic is interesting in the setting but not that relevant to this little rant. The neighboring empire declared war on all of it's neighbors and began waging an autonomous war that drove the Republic to the brink of extinction, crushed to the 85 sectors of the capital city. During this, the dominant ethnicity in Magnolia declared all other ethnicities to be little more than "pigs in human skin" as a way to deny their citizenship, seize their property and conscript them to serve in the military as front line soldiers. These peoples, the 'Colorata' as they are referred to in the story as a generalization of not Alba, are forced into internment camps or serve 5 year military service to get their citizenship back, all outside the 85 sectors, the de-facto 86th sector making them "the 86". I'm not gonna pretend the racism plot is not sloppily handled, oh boy is it extremely messy and I definitely think it could have and should have been handled better, but once again, not the point of this rant so I will leave that extremely loaded minefield for another day. This military service is piloting these mecha spider tanks which are pretty fuckin rad but also are flimsily constructed and handle poorly. Inside the 85 sectors, these are referred to as "unmanned drones" because if the pilots aren't considered human, then there are no casualties in the war.

Okay, summary out of the way. Let's do this. (Btw, I'm not fully through book one yet, but I had to talk about this.)

Our main characters are split in two, an ace squad of "Processors" (86 Pilots) led by Shin aka Undertaker, and Lena, their Alba 'handler' with her heart... mostly in the right place unlike most of the upper brass of the military. I'm again not going to dig into too much, please go read it yourself it's very good, but there is one bit I want to talk about that made me go 'holy shit' and it is a spoiler so fair warning. The scene comes after a pivotal moment in Lena's character arc that forces her to confront her own biases and realize some of her own shortcomings, while also showing the uncompromising divide that exists between the her and the 86 that she can't overcome just by being friendly with them. In fact, it showed how her efforts were at best in vain and at worst actively harmful to everyone involved. She realizes for the first time the true extent of the damages done, and in a way this is the first time where the plot point about racism becomes more nuanced in how it relates to the oppression of marginalized people and how it takes immeasurably more effort to make things right than it does to fuck them up in the first place. After all of this, and then a few more slightly horrifying revelations for good measure, Lena and Shin are speaking over comms when Shin says:

"You're going to lose this war, Major."

Now, I think Asato Asato has a tendency to overexplain some of her really good bits and this is one of them. Shin explicitly uses the words "You're gonna lose this war," despite being a soldier of the republic, if not on paper because of the aforementioned dehumanization. Asato Asato specifically calls attention to this wording, and while I think it could have hit harder if she didn't, I'm in a way glad she did because people that may not think too deeply about it will at least know the gravity of this line. While Shin is not in any way a representative for the 86, this line delivers a perspective that seems to be held by a lot of the Colorata. In no uncertain terms is he telling her that he has no allegiance to the Republic, he is not on her side. Sentiments of this sort are shown to exist in a lot of their squad, and in a way became the catalyst for Lena's character growth, but how this line is delivered, and when it's delivered adds so much to it that is hard to put into words. This one line perfectly highlights the difference in perspective between the 86 Processors and the people and military of the Republic.

It also brought to mind Youjo Senki when I read it, not because Tanya doesn't also have good lines, but because it shows how the two books talk about war drastically differently. Youjo Senki is, at it's core, a book that has a one track perspective on war, awe. There is some talk about how war is bad and the conditions are miserable, but it is mostly covered by Tanya being inhumanly good at war. The Empire in Youjo Senki is highly nationalistic and is supposed to command respect and awe for it's military and strategic might. But 86. Eighty-Six at it's core is about the human cost of war, in more ways than I'm explaining here because spoilers. The Magnolia Republic is a mess. And worst of all it's a mess in ways that are sometimes frighteningly similar to the real world. There's the rampant discrimination, wealth inequality, there's about to be a food crisis, a lack of funding, and that's just the start. Basically everything is sucks, but the powers that be are hellbent on putting up the illusion of utopia, and most of the citizens believe it. And that's saying nothing of the autonomous war drones that seemingly have no programming of international wartime law or the concept of sparing civilians. The war in 86 is shown to be hell, yet the people living through it are given humanizing character moments which makes the awful shit they have to deal with seem that much worse. It helps that the cast is more than just one person, but each of the cast of 86 feel so much more human than Tanya... although her characterization is intentional too.

Long story short, I think 86 Eighty-Six is very good, and I recommend it. I loved this moment and wanted to talk about it, and I really said like nothing. Is it perfect? No, but the only book that's perfect is... well I haven't made up my mind. Like with Youjo Senki, my opinion is open to change and whatnot, and I definitely should read more of both so I have a more informed opinion but my backlog of books is endless and I picked these up preowned at my local comic shop.

I would love to hear your thoughts on this, and also Id love to hear about how the anime handled this scene. I never really got into the show, but it's been on my reading list for a while.

[toasted-valentine]

Ghost Story Good Enough Analysis

Ghost Story Musical has two main couples, Joey and Anthony, and Józef and Hao. The song Good Enough is the backstory to Joey and Anthony's relationship, and within this you can see the major cracks in their relationship and why it is failing when the story starts.

Before I begin this analysis, I would like to define a few terms.

Infantilization: "Infantilization is when an adult is being treated like a child, even though nothing about their mental, physical, social, or intellectual wellbeing requires such treatment."

Fetishization: "Fetishization can be thought of as the act of making someone an object of sexual desire based on some aspect of their identity."

White Supremacy Culture: "White Supremacy Culture is a form of racism centered upon the belief that white people are superior to people of other racial backgrounds and that whites should politically, economically, and socially dominate non-whites."

Internalize Racism: “Internalized racism is a form of internalized oppression, defined by sociologist Karen D. Pyke as the "internalization of racial oppression by the racially subordinated."”

I will be organizing the lyrics by color, Anthony is green, Joey is blue, when they sing together it is orange, and when I am unsure who it is singing then it will be in pink.

(ANTHONY and JOEY, in a bar that is really just their apartment. Younger and hungrier. ANTHONY perches by the edge of the stage, looking into the dance floor like he is going to fall off in a second. JOEY leans on the bar with affected casualness, but after he shifts a little to sip his drink, he carefully repositions himself exactly back to where he was. Neither of them are dancing.)

ANTHONY:

TRY NOT TO WISH THAT I’D JUST STAYED HOME IN BED

Anthony is not a social person, presumably he was dragged out to a gay bar by friends, and really isn’t interested in being there. He’s trying to have a good time and force himself to be happy so it won’t disturb the people around him, this is a negative personality trait that can be seen within Wolf In Sheep Country. From the beginning he has struggled with setting boundaries and openly speaking about his discomforts. This behavior will only escalate and make his relationship with Joey crumble.

TRY TO IGNORE GUYS TALKING OVER MY HEAD

This line is either about Anthony’s friends ignoring him and not really taking him into consideration, or other gay men at the bar not really considering his feelings at all and just fetishizing him being asian.

CHOKE DOWN A CHASER, PRETENDING TO TEXT

Once again, Anthony is keeping his own personal issues pushed down instead of openly discussing them, just drinking and pretending not to be dying a little on the inside.

MAKE SURE MY LOCK SCREEN CROPS OUT MY EX

This could add potential context, Anthony most likely is fresh out of a relationship, and is trying to find a guy to fuck and then forget or his friends made him go out to try and help him forget about the break up. Either way, it’s another instance of Anthony being avoidant rather than dealing with what is going on within his life. The fact he crops his Lock Screen instead of changing it is also a show of it, sweep it under the rug instead of making any actual change.

JOEY:

TRY NOT TO FREEZE AGAINST A FOREST OF EYES

Joey is a transgender man, and like many trans people he experiences social dysphoria. He is deeply aware of how people are perceiving him, and is terrified of people staring at him and seeing his feminine “flaws”.

PULL DOWN MY JEANS TO TRY AND BREAK UP MY THIGHS

Joey is trying to make himself appear more masculine, covering the fact he most likely has a bit more curve to his body fat distribution and that he lacks masculine genitalia. It’s that fear of someone seeing through him and seeing that he’s trans.

TRY NOT TO SPEAK SO MY VOICE DOESN’T CRACK

Many trans men who are early on hormones or pre t struggle with their voice cracking, Joey is avoiding speaking so no one hears the fact he’s not the ideal of white masculinity, no matter how much he looks the part.

IGNORE HOW THEY TITTER WHEN I TURN MY BACK

Joey believes that everyone can tell he is trans and are judging him for it, that when he turns his back every man in that room is staring and scrutinizing him.

ANTHONY/JOEY:

BUT THIS WILL BE GOOD

Joey and Anthony are trying to stay positive and hopeful, they want to have something come out of that night, and are both telling themselves that something other than discomfort will be pulled out of the mess.

JOEY:

DESIRE LIGHTS ME UP LIKE A CHRISTMAS TREE

It’s notable that Joey is the one who gets to say this line, often times trans men are desexualized due to the male gaze and the idea they can’t openly desire sexual contact, so him openly divulging the fact he is there for a one night stand is a nice touch.

ANTHONY/JOEY:

THIS WILL BE GOOD

Again, more reassurances to themselves that they aren’t going to walk out alone that night. This lyric is a motif that gets brought up throughout the song in various ways.

ANTHONY:

BUT EVERY HEATED GLANCE I CATCH AT MISSES ME

Anthony is trying to find a hook up, but so far no one has shown much interest in him, and it’s getting under his skin. He wants sex, he wants someone to be a rebound after his break up, and is feeling deeply insecure about the fact no one has shown interest so far.

ANTHONY/JOEY:

THIS WILL BE GOOD, AS GOOD AS I CAN DO 'CAUSE BOTTOM-FEEDERS ARE STILL FISH IN THE SEA JUST LOOK, I'LL BE GOOD GOOD ENOUGH FOR YOU

The previous line of reassurance is flipped on its head in this, going from a positive affirmation that they aren’t going to be left behind, to one of self doubt. Both men are deeply flawed, believe themselves barely enough for anyone at all, and are willing to settle for anyone because they believe anyone who dates them are settling for “good enough.”

ANTHONY:

I SEE THIS ALL-AMERICAN BOY BY THE BAR HIS SHIRT'S STILL ON, DOES HE KNOW WHERE WE ARE?

Anthony finally takes notice of Joey, and sees just how out of place he is. Joey is dressed like he’d call someone a slur in a bass pro shop, meanwhile he’s in a bar full of guys that all look like they’d make someone burst into flames with how well they’d be able to roast an outfit.

LEANING LIKE HE'S LOOKING FOR HIS PICKET FENCE HE'S NODDING TO THE MUSIC BUT HIS SHOULDERS ARE TENSE

In this we can see Anthony’s attraction to Joey is due to his ideal American boy look, Joey may be uncomfortable, but all Anthony can see is the white ideal he has been chasing and wants Joey for himself due to this.

I'M ALWAYS SOMEONE'S PORCELAIN DOLL OR HIS BRITTLE DREAM OF BAMBOO I CAN BE THE BOY YOU NEED IF YOU SNAP ME RIGHT IN TWO

Anthony reflects on how men have often times fetishized him due to his Chinese background, infantilizing him and feminizing him due to it, and wants someone who can just be rough with him and won’t treat him like a fragile China doll.

AND WHO ARE YOU, ALL CORN-SILK HAIR AND MAPLE TREE, DON'T YOU KNOW WHAT I THINK I KNOW YOU WANT FROM ME?

In this line we can see Anthony being hypocritical, along with a flash of internalized racism. He’s fetishizing Joey’s white and western traits, idealizing him as some sort of perfect model of what he should be, and assuming Joey only wants him so he can be having sex with an Asian guy.

I SWEAR I'M STILL GOOD THE LAST BRUISED PEACH AT THE BOTTOM OF THE BIN I’M STILL GOOD SINCE WHEN IS NOT BEING CHOSEN A SIN? I'M GOOD, AS GOOD AS ANY OF YOU ‘CAUSE THE RUNT OF THE LITTER TRIES HARDEST TO WIN I SWEAR I'LL BE GOOD GOOD ENOUGH FOR YOU

Both men are still on the train of thought thinking they’re just good enough, not really being able to have the level of self confidence and love to take pride in themselves, but still wanting to live in a world where they can be enough for someone.

JOEY:

DON'T SNIFF THE BAIT IF YOU'RE NOT GONNA BITE IT'S GETTING LATE, IT'S BEEN A LONG NIGHT I DON’T WANT TO BE YOUR “ONLY EXCEPTION” OR TREATED LIKE A BACHELORETTE I CAN REEL YOU IN WITH A PRIMED PERCEPTION BUT I HAVEN'T MASTERED HOOK-AND-SINKER YET

Joey is used to men fetishizing him for his transness, not seeing him as a man due to it, and having to fight tooth and claw to be taken seriously as a man. He’s worried Anthony is going to do the same, but still wants to sleep with him. He’s also struggling with the fact he hasn’t really gotten to the point here he can feel comfortable openly propositioning someone for sex, so it hoping Anthony will take the first big step.

AND WHO ARE YOU, WITH PRETTY EYES, SOFT INGENUE, DON'T YOU KNOW WHO I THINK YOU THINK YOU'RE TALKING TO?

In this line it is Joey who is being the hypocrite, he is feminizing and infantilizing Anthony, and the vocabulary he uses in particular is something to take note of. Anthony is Chinese, and Joey specifically calls out Antony’s eyes as “pretty”, and follows it up with “soft ingenue.” While there is nothing inherently wrong with finding a partner’s eyes pretty, the context of him calling Anthony an ingenue changes the meaning.

An ingenue is a young girl who is inexperienced, fills the role of the innocent, and in media is often taken advantage of by someone more mature. Joey is feminizing Anthony by doing this, presuming him inexperienced and an easy target, and going entirely based on the fact Anthony is Asian. Joey is a white man who is feminizing a Chinese man for is own sexual gratification and being deeply hypocritical all the while.

Joey also believes that Anthony doesn’t realize he is trans, so is just waiting for the moment it comes out and Anthony doesn’t want him anymore.

I SWEAR I'M STILL GOOD THE CRUSHED UP CHIPS IN THE BOTTOM OF THE BAG I'M STILL GOOD I COULD HAVE A DATE, BUT I'M JUST GOING STAG I'M GOOD, AS GOOD AS ANY OF YOU THE KID WHO'S IT ALWAYS WANTS TO PLAY TAG I SWEAR I’LL BE GOOD GOOD ENOUGH FOR YOU

Continuing to play into the insecurities both have, but desire for one enough.

JOEY:

GOD, YOU'RE FLAWLESS

There is a tendency for, white men especially, to sexualize people of POC descent as the ideal standard of sexual beauty. Specifically those of East Asian descent, which ties back to ideas of orientalism and the male gaze. Joey calling Anthony flawless is him falling into the same “porcelain doll” trap that Anthony pointed out earlier, not seeing Anthony as his own person, instead something to be used for his own pleasure.

ANTHONY:

GOD, YOU'RE STUNNING

Anthony is fetishizing Joey’s western traits, seeing him as more attractive due to his whiteness, and finds him the most attractive man there due to Joey fitting perfectly into western ideals of manhood.

JOEY/ANTHONY:

YOUR LOVE COULD MAKE ME PERFECT, TOO

These two are codependent as all hell, they want to use each other to make up for their own perceived flaws, and think if they can have one another it’ll “fix” what’s wrong in their lives. It’s an unhealthy mindset that’ll come later to bite them in the ass in There’s A House, when neither of them want to discuss what’s wrong in their relationship, and instead choose to hide behind the idea of having a perfect relationship.

ANTHONY:

MY HAIR WOULD BE BLONDER-

Based on this line we can assume that Anthony has dark brown or black hair, a trait that is typical of East Asian men, and that Joey is blonde. Anthony wants to be whiter, he wants to fit into the mold of perfect white man, but can’t no matter how hard he tries because that’s just not how is body is made. He wants what Joey has, wants to be that strong white male archetype.

JOEY:

MY VOICE WOULD BE LOWER-

Joey, in this instance, is envious of Anthony’s (presumably) status as a cisgender man. He wants to have Anthony’s lower voice, the ability to pass as a man with no effort, to have what he doesn’t. He’s envious of Anthony.

JOEY/ANTHONY:

I’LL WAKE UP JUST AS HOT AS YOU

Again, both are fetishizing one another and envious, desperately wanting the traits that they admire, unable to see their own positive ones in the haze of self hatred and internalized racism and transphobia.

AND I WON’T HAVE ANY REASON NOT TO DANCE IN THE LIGHT

They think that they can be more confident if they “fix” the parts of themself they don’t like, for Anthony it would be the fact he is a visibly Asian man, and for Joey it would be his transness. They don’t really understand that it’s more their own self esteem rather than something inherently wrong with their own bodies that is causing their awful feelings, and are trying to take each other for the night to hide away those feelings.

JOEY:

I KNOW YOU'LL REGRET THIS-

Joey thinks that Anthony will regret sleeping with a transgender man, most likely having had it happen to him in the past, so is just bracing himself for it.

ANTHONY:

YOU'LL REGRET THIS

Anthony most likely has had white men regret having sex with him due to his race, and is just waiting for Joey to turn around and not want him anymore.

JOEY/ANTHONY:

BUT I'LL GET YOU FOR TONIGHT

Joey and Anthony both see each other as conquests, as ways of taking hold of their own insecurities, and see being able to have sex with one another as a victory over the parts of themselves they hate. A sort of “if he fucks me, then I’m still enough, in spite of all that’s wrong with me.”

For Joey it is being able to sleep with a cis man and be chosen as a sexual partner, being picked out of all the men in that bar, and it being his own self assurance that he’s enough.

With Anthony it is a white man wanting him, him seeing it as a victory over his own heritage, and a victory over the system of oppression that makes him feel lesser than his white peers. If he can fuck a white man, one that is the beacon of white centric masculine rhetoric, then he’s won something in that moment.

This is in stark contrast to how Hao and Józef speak of sex and their desire for one another, in the demos Hao is the one who speaks openly about it, but when he does it is purely out of adoration and love for Józef. They have such a fulfilling relationship that Hao is able to notice the moment Józef starts acting too rough and not himself, because he’s used to Józef being a very loving partner, both in their everyday life and in their sexual relationship. During Hao’s pondering of love during I Breath In, You Breath Out, he makes direct note that sex is nothing but a chore without love.

Joey and Anthony don’t have sex out of love, they do it out of a fucked up sense of obligation and competition.

BUT I SWEAR YOU'RE STILL GOOD SO NO NEED TO LOOK FOR BRUISES THAT I COULDN'T SEE

The earlier line about light comes back here, because they are having sex in what we can assume is a dark room, they cannot actually see one another. Due to this darkness, there is no risk of being able to see each other’s “flaws”, and metaphorically they are idealizing one another instead of being able to love the real person in front of them.

YEAH, YOU'RE STILL GOOD BECAUSE I MIGHT DISCOVER YOU'RE BETTER THAN ME YOU'RE GOOD, BUT MAYBE IF YOU ARE THEN YOU CAN TEACH ME TO BE STILL GOOD GOOD ENOUGH FOR YOU

Both men are absolutely terrified that if they see each other in the light, in a vulnerable state, then they’ll realize they can do better. They’re also scared of seeing each other and only seeing what they lack, which they are already doing. They want each other as a broken way to patch up the holes in their hearts and insecurities, not because they actually want to love one another.

The song Good Enough, at its core, is about fetishization, internalized transphobia, internalized racism, insecurity, and only being able to see a partner in the ways they are better than you instead of loving them as a whole.

[respectthepetty]

In Short (Short Film Appreciation Post)

Because I'm loving the discussion about the lack of queer diversity in western mainstream media, I want to encourage y'all to support your local queer film festivals. They showcase international queer feature-length films and a wide variety of short films from marginalized voices.

To motivate you, let me present two shorts films:

Up first

F^¢k 'Em R!ght B@¢k

I watched this twelve minute short film last year as part of the screening committee I sit on, and I'm pleased it's finally available, for a fee, on several streaming platforms.

After a night of partying, Sammy's boss demands he take a random drug test, so he must avoid and outwit her to keep his job.

This is Sammy.

He doesn't smoke weed.

But he unknowingly ate weed butter when offered a delicious cake from a random guy he slept with.

This is his boss.

He catches wind of her planning to give him a random drug test, so since the system is fucking Sammy over, he plans to fuck it right back by taking two days of leave to figure out how to get out of it.

He tries everything to get the weed out of his system. EVERYTHING!

Even his best friend suggests using her pee instead.

Basically, Sammy is stressed, pressed, and systemically oppressed.

Yet with the help of modern technology, he realizes he can finesse his way out of this.

So looking like a million, he shows up for work the next day.

But in order to find out how he fucks the system, you gotta watch the short.

And let me tell you, the reason is beautiful.

The short features real-life queer rapper Ddm Ddm

But it also touches on workers' rights and community support.

In Short, it's hilarious, realistic, and all-around amazing.

Up next,

How Not to Date While Trans

Director, writer, and main character Nyala Moon shares a humorous take on dating while trans. This 13-minute short film is free on YouTube, but Moon currently has another short making the festival rounds called "Dilating for Maximum Results" and it's just as hilarious.

This heartfelt yet cutting comedy follows the dating life of Andie, a black trans woman, and the problematic men she meets along the way.

Moon's short is comedy gold, and a great part of it is due to her blunt depiction of being a trans woman.

In the short, she plays Andie, who is a transformer, which she explains is an insult to trans women, but she is trying to reclaim it.

She has a three-date rule before she tells a guy she is trans: coffee, dinner date, then the third date must be public in case he freaks out when she tells him.

But the second date is usually the hardest since she has to subtly quiz the guys without outing herself. It's like a game show, but the men don't know they are on it, and she stays safe!

But even when guys make it to the third date, there is still the chance they will run.

So the short discusses not only dating but random hookups.

Will she attempt the tried and true "nail and bail" or is she open for something more?

To find out, you have to watch it!

In Short, it shows all the ways trans women must navigate dating while also making sure Andie gets laid.

Once again, support your local queer film festival and watch some great films!

[checkoutmybookshelf]

And the Familiar was a Sourdough Starter

This is actually not a book I picked up, it was a book a friend who is very into baking loaned me. And let me just tell you, it was a DELIGHT from start to finish. There were baked goods, an aggressive sourdough starter, and so, so many gingerbread cookies. There were also excellent questions about what it is to be a hero, the limitations and failures of authority, and under what precise circumstances climbing up a garderobe becomes a viable option (spoiler alert: it's when there are literally no other options). Let's talk A Wizard's Guide to Defensive Baking.

There will Be SPOILERS below the break! Be warned!

Fourteen-year-old Mona is a baker first and foremost. If she sometimes can save overworked dough with magic or make a like of gingerbread men can-can, well thats just a thing she can do. She is a baker. Until, of course, a dead body shows up on the kitchen floor.

Dead bodies showing up randomly is just never, ever a good thing.

Its even less a good thing when a bougie, dickheaded wizard from the castle decides you did it, and because a whole lot of people at a whole lot of levels failed catastrophically in their job, you end up in the position of having to climb a garderrobe to galvanize a weak leader into not doing a magical racism. And then because EVEN MORE PEOPLE FAILED TO DO THEIR JOBS, you at 14 are the last wizard left to defend the city (which is currently sans army) against a bunch of mercenary raiders. Oh, and your magic is entirely bread-based.

I, much like Mona was, would have been royally pissed that I had to be a city-saving hero at 14 because the system and a bunch of key individuals failed that hard and it somehow got left to me. And that is possibly one of the best parts of this book, is that discussion that heroes rarely feel heroic, and then asks WHY. And the answer is almost always some variation on "because a bunch of other adults fucked up." And that sucks, and it's hard, and it's unfair, and all of that is acknowledged in story. But Mona still has to step up and BE that hero.

Thankfully, however, the book at least acknowledges that the 14-year-old should never have to make the sacrifice play. Knackering Molly, a deadass (pun fully intended) horse necromancer who was heavily implied to have been forcibly employed by and subsequently deeply traumatized by the army in her youth, steps up to make the sacrifice play to save the city that did her so dirty. And she does it not because it's heroic or even because it's the right thing to do, no. She does it because if she doesn't, then another wizard kid--of whom she is rather fond--would have to. It's not fair that Molly has to take that hit either, but she was a grown-ass adult who was capable of making that choice, and I love that she did it for Mona. If Mona hadn't been in the picture, I think Molly would have let the city fall without a second thought. And that might even have been the right choice.

Wrapped up in Mona's hard lesson in adults fucking up is a hard lesson about the fact that authority can be weak and corrupt, and it can and will use state actors (the "all cops are bad" energy of a couple of scenes in this book is legendary) to oppress and murder people without power or authority. It encourages questioning and holding authority figures accountable. And once the fight is over, it acknowledges that being given a butt-ton of awards and recognition doesn't make any of it ok. Mona is still angry at the Duchess after all is said and done, and that is very much framed as perfectly understandable and acceptable.

Now, while the politics and power brokering and coming into an adult understanding of how systems of authority work are really excellent parts of this book, they're not the only excellent bits. We have got to talk about the magic system.

People who hate soft magic systems should leave now, because the magic system in this book is softer than raw dough. There is no Sandersonian breath counting here. But I have always thought that magic systems shouldn't get in the way of a good story, and I like a good soft magic system. This one also goes back to basics with what they call sympathetic magic--basically, if you have a bit if a thing, you can command the rest of the thing (you might recognize this as thaumaturgy).

This works beautifully for baking magic, because you can do a LOT of this with dough. And Mona does, from little magics like saving overworked dough or stopping biscuits from burning to full on bad gingerbread men who sabotage the enemy and GIANT BREAD GOLEMS. Seriously, the magic and the baking works together with a natural synergy that just happens effortlessly. The gingerbread men are sassy and wonderful.

But of course I would be remiss if I didn't mention Bob the Sourdough Starter. Bob is...an accident, more or less, from when Mona panicked that she had killed her aunt's sourdough starter and threw magic at it. Bob was the result. Bob eats flour, sugar, odds and ends of baking, and the odd dead fish when nobody's looking. He also has definite opinions about people. Mona is the center of his world, and Spindle and Aunt Tabitha are acceptable. Uncle Albert gets growled at, and when Mona yeets Bob at the Spring Green Man during his attempted assassination of her, Bob burns the Spring Green Man like acid. Needless to say, when the city is besieged, they yeet chunks of Bob at the oncoming hordes and it is...disturbingly effective.

In this house, we stan Bob. From a safe distance and with a haddock I hand, if at all possible.

Overall, this book was a delight to read, and I'm a little sad I have to return it to one of my book buddies. Mona was a treat as a protagonist, the supporting cast was colorful and fun, and the stakes were realistically high. I highly recommend this treat of a book.

[okay-letsdothisonelasttime]

I'm back on that hunger games bullshit. Cause you know, the world is turning into a dystopion nightmare before our eyes, so why not consume media that showcases the hell on earth we are barrelling toward. And as always I have some (many) thoughts.

(This is long, but I needed to get it out of my head - sorry in advance if anyone does actually read it)

Gale is the worst - we all know this. He's manipulative, petty, short sighted and insecure. A great representation of fragile masculinity. But I'm only now coming to realise a lot of my dislike of the third book was largely ignited by his increased role in the narrative. Don't get me wrong there was a good potion of it that stemmed from being a (privilaged) adolescents at the time and thus unable to fully comprehend and empathise with the themes being discussed. But even at that age he was so unpalatable (and still is) that having to hear about him and his shitty behaviour throughout the story really undermined the complexity of the narrative (at least for me. Shitty unnecessary love triangle with a terrible man = loss of interest).

The third book is so much more interesting to me now (excluding fucking gale) that I have (experience with) comprehensive knowledge of mental health struggles (i.e. ptsd, depression, anxiety, panic disorders etc.). The way that finnick, katniss, haymitch, Johanna and of course peeta (and really all of the tributes) struggle with their truma, particularly in the third book, is very interesting, if horrifying, to read about. Especially when you consider the time during which this was written. Like yes mental health was being discussed more freely and with less stigma. But it wasn't the same open conversations we are having now, over a decade later.

There's so many small details from the books that I had completely forgotten about. Details that subtlety weave into the narrative and really intensify the characters, themes and political systems being represented. Things that make the capitol and their power that much more terrifying. Ideas that anchor the distopian themes more to reality and reflect the growing injustice and corruption in our own world back at the reader.

The books do a better job of representing katniss and peeta's age then I remember. Yes they have grown up with hardship, poverty, oppression and are therefore justifiably tougher and more comprehending then your average (privilaged) teen. But both show a level of naivety (for lack of a better word) throughout the books, particularly catching fire, that is a fundamental buy product and nessisary reminder of the fact that these are 16 to 17 year old kids. Forced into being the face, voice and engine of a revolutionary war.

While I once resented certain character deaths at the end of the series and questioned the motives and decisions made by individuals. I have come to realise (with age and experience) that it was so much more important for the story that it's wasn't contorted into some kind of palatable "happy ending" for fan service. The story would have never worked as a whole if it wasn't being brutally honest about the cost of change. Not just in the indicriminant loss of life (it could be your mum, your neighbour, your bully in school - just like it could be the unnamed character or your favourite protagonist). But the tax it can take on the mind, body, spirit and morality of the people who are fighting for it. Standing up for your rights, for your friends and families safety, for the quality of life of hundreds of unnamed people who you have never met will take a toll. And standing up against the oppression of yourself and or others will never be easy. And there's every chance you might walk away from that fight and no longer recognise yourself when you look in the mirror.

Anyway I'm sure there's so much more, but in conclusion 'the hunger games' aged like fine wine for the most part.

And while i understand why there was so much push back against it for the last little while. A young white women being represented as the savour of the oppressed because she was a figure head (at least for a large part) for the movement, while many grass roots organisations do the actual fighting on the ground. [Please see edit to add below for corrections]

I think overall there's a lot of political issues the book discusses well, which have remained topical and relevant enough that it still has a place in the current day. (Particulalrly with the distopian shithole amaerica is tuning into as we speak).

EDIT TO ADD: it has come to my addention that Kitniss was infact written into the books as a POC, likely either Native American or Melungeon. Something I didn't know, but makes a hell of a lot of sense, and I think is far more powerful when you consider her role in the series. However this does bring the white washing of her role in the movies to the forefront and opens up the issues of racial prejudice and lack of equal oppunity in hollywood. How visual media can very easily corrupt and alter our comprehension of literature. And why represention is so incredibly vital.

Because the reality is that, for me, having Katniss' role payed by a white women in the films completely steam roled and mentally erased the nuance of her characterisation as a POC women in the books. As I'm sure it did for a lot of young white teenagers. Which in turn emboldened a lot of (priviaged and white) people to participate in proformative activism. And subsequently led to the backlash that I wrote about above.

Thank you to @bluestrawberrys for bring the above issue to my attention so I could make the nessisary correction.

[qweerhet]

frequently, it's Exhausting being at an intersection where i have experienced both "sanist and racist Reddit Atheism lateral violence" and "anti-atheistic and racist Liberated Religion lateral violence" because of the simple fact that both camps are deathly committed to arguing that the other camp does not, in fact, exist in any meaningful way and only exists as singular rude people in individual leftist spaces.

like i truly do not enjoy how this makes me sound like an Enlightened Centrist, but quite frankly i have been in a variety of left-leaning spaces over the course of my life, and there are left-leaning spaces which are run by members of one particular religion (or even, occasionally, have power systems that privilege two, possibly three religions working in conjunction) who use systemic power within that space and use it to oppress atheists and agnostics within that space. and there are also left-leaning spaces which are run by atheists that use systemic power within that space to oppress minority religions, primarily along the axes of sanism and racism, and therefore all non-consensus-reality experiences regardless of religious status.

and like, in both cases, i've experienced institutions being utilized to enforce that oppression--the institution of the church + equivalents in the case of the religious oppression, obvs, and in the case of weaponized atheism, the mental institution and the carceral system (which are so interrelated it feels rather redundant to refer to them separately in this context tbh).

and i think it's extremely unwise to build your entire comprehension of religion + privilege + systems of power from your leftist bubbles, tbh, because that's how you get shit like "christianity is the only religion that has any problems" on the Liberated Religious side, and "anyone who has an experience outside of consensus reality is an agent of oppression" on the other side. like, hyperfocusing on your experience within left-leaning bubbles is to exclude yourself from a more holistic understanding of how religious institutions + systems of power operate worldwide, and how those systems of power are reproduced on smaller scales and within interpersonal relationships.

like, that's all awfully broad, i acknowledge, but it's difficult to get into specifics without missing the forest for the trees once again. when you're tweeting like "and where are these evil anti-atheist members of minority religions who oppress you? are they in the room with us now? you're just mad about being called antisemitic" you're Missing The Forest For The Trees in that, like, "religion" doesn't mean one specific thing and "atheism" doesn't mean one specific thing (they're both extremely general terms for extremely broad concepts that have varying relationships with the concepts of culture + consensus reality + history depending on the context they're being used in!) and maybe atheist jews are also mad at you for erasing the negative experiences atheist jews have in religious jewish spaces when you say that. and sure maybe your social context is primarily made up of dealing with antisemitic shit from white supremacist atheist leftists who utilize power structures to paint targets on the jewish members of your social bubble when religion comes up at all, but also, like, there is absolutely a social context where pretty much every discussion of religion is centered around an institutionally powerful theocracy attacking atheists and leftists utilizing that power structure to oppress atheist leftists within their social bubble.

like--again, i fucking hate how much this makes me sound like an Enlightened Centrist, and on a personal note, i do feel like there is a moral pressure to pick a side, but i really don't think there's "sides" to pick at the end of the day. i think atheist social bubbles, particularly in america, are incredibly vulnerable to hegemonic ideals of sanism and racism, and i think lefty religious social bubbles are incredibly vulnerable to hegemonic ideals of "subtle" conservatism engrained in religious institutions and racism, and i think all of these things are really fucking easy for groups to begin enforcing violently when the groups in question are both violently oppressed and under constant attack from the institutions in power in their particular areas of the world. like, it's so easy to fall back on hegemonic failsafes to protect one's own, and i think the core of this perceived divide is that these groups have high rates of people defensively and publicly participating in oppressive hegemonies to attempt to garner some form of protection from the constant oppression they face, and forming high-control social groupings based around this phenomenon.

[hauntedjpegcollection]

extra bandages

wc: 3305 au: valorant au ch: xavier, benji

The call connects and for a minute there’s noise—a trio of girls talking, laughing, static crackling as the cell phone is moved around, foot steps as she walks away somewhere into her terribly small apartment, the noise is wistful and beautiful and makes Xavier’s heart redouble with hurt and almost bitter resentment—and then Emily’s breathless, excited voice.

“Hi! Xavier, hey. Almost missed your call, sorry.”

It’s Saturday and she’s in college and nothing else exists for her but class and lectures and books, so it makes sense. He wishes she had missed the call, he thinks it would be easier. Xavier can imagine her with her friends, dressed down in clothes passed from their eldest sister, hair freshly dyed black maybe and curling the way all of their hair does. Young with the entire world in front of her, a little drunk off whiskey poured in tea cups while she and her room mates sit around a laptop and play music. Gossip, discuss class, ruminate over love. Nothing pressing, no concerns.

Xavier runs his hand down his face, sitting at the edge of his bed. His hair smells like gunsmoke, even after a shower. He thinks he says hello.

“Thanks, by the way,” she ends a sentence, after a healthy chatter about her classes. He doesn’t understand a single thing about them, their confusing curriculum or the times of day her lectures start and end. He’d been bad in school as a teenager and college had never been an option for him. He looks at his fingers as she talks, notices blood welling up under a nail he’d bitten savagely. It looks strangely black and rotten.

“For?”

“Oh, please,” Emily snorts. Her voice sounds different over the phone. “Mom’s as bad at lying as you are. I know you paid for my books.” Xavier’s shaky thumb moves over the big red MUTE button, so she doesn’t have to hear his raspy inhale. His hand covers his forehead, elbows to his knees. The laminate flooring beneath him is blurry, but he refuses to blink. “Xavier? You still there?”

“Yes,” he manages, in a voice he thinks is rather convincing. He mutes again quickly to clear his throat and swipe a hand back through his hair. The little black dot of blood disappears there. Xavier smiles, sitting there in his bedroom, alone. He can feel it stretch cartoonish and fake. He needs it there to put some sort of inflection into his voice, otherwise she’ll know. And Emily can never know. None of them can. “Why the fuck are they so expensive, huh?”

His little sister laughs, the sound making his heart wrench.

“Are you visiting any time soon?”

Xavier closes his eyes.

—

The cadence of warfare is so ingrained in Xavier that he can tell when it’s nearing it’s brutal, ugly end without even needing a signal. The gunshots are far less, the air becomes oppressive no matter the weather, the dust finally settles. It’s something in his bones. Something innate and instinctual; a hound understanding that the hunt is over, standing at the cusp of a hill and wondering why his master didn’t let him get the rabbit.

He leans against a crumbling plaster wall inside what was once an office building, smearing blood from his shoulder. It is stark red against the contrast, garish and hilariously fake looking. A knife had gotten him, nothing deeper than superficial, but those were always the sort of wounds that bled the worst. He’d not been paying attention, not been on his best behavior. Xavier swipes a gloved hand through sweaty hair, breathing hard.

It was rare to find respite before extract. This hardly counted, but what else was there? He was blessedly alone, and the flickering lights above him danced near hypnotically in his war weary eyes. Xavier huffs a laugh through his nose. He isn’t sure what’s funny, if anything is at all. For a moment, he isn’t even there, but slightly above himself. Staring down at a sweaty, dirty soldier.

Xavier’s comm crackles to life on his shoulder. He reaches for it, ready to respond to the evac signal.

Instead, “We got one.”

The blood on his shoulder has made his tactical gear tacky and stiff. Xavier folds a hand over the shallow wound, his vision darkening at the edges. A dreadful feeling wells inside him. A premonition that he can’t name. The world tilts on it’s axis and everything slides left, everything goes tinny in his ears and his mouth dries, tongue awkward and fat in his mouth. Xavier’s chest constricts, his veins thin, sweat drips off his chin.

“Enemy combatant is medical.”

His boots skid on the ground, kicking up crumbling plaster and spent bullet shells as he runs.

—

“Corporal.”

The kid standing watch is a teenager, maybe twenty if you fucking squint. For a disorientating moment, Xavier is reminded of his sister—not that these two girls look alike. But there’s brief memory of Emily’s birthday; he’d bought her a stack of journals from a local store and she’d acted like it was the best gift she’d ever received, even next to the fancy watch her then boyfriend had bought her. The girl standing in front of him is trembling slightly, with dilated pupils and sweat slicked blond hair. A muscle in her jaw jumps as Xavier steps forward.

“We’re waiting on Sergeant,” she mumbles. There’s a look of shame on her face as Xavier presses past her—clear orders must have been to stop anyone from disrupting—then a weary relief as she’s patted softly on the shoulder. What was her name? Xavier doesn’t know Stiles’s crew as well as he should.

All other thoughts of teenage mercenaries and his sisters and his bloody shoulder disappear once Xavier is in the room. It had been an office at one point, but the desk is turned over. Computer parts strewn about. There’s a splatter of blood on the floor, dark but fresh. A wire hangs from the ceiling, dangling lonely and surreal.

Sweat pools under Xavier’s arms, down his back. He feels sick and cold, his stomach trembling, his hands numb as he steps further into the room. Wilson’s broad back hides his prey, meaty hands on his hips. He’s outlined like a monster from a storybook; harsh and dark and terrifying, a blocky silhouette in black fatigues, rifle slung over his shoulder. Something that exists purely to hurt.

Wilson scares Xavier.

But he is far more scared of stepping up beside him and finding who the blood belongs to.

When Xavier blinks, sweat drips into his eyes. He has to remove a glove and rub the heel of his palm against an eye. Please, God, he thinks for the first time in a long time. Please, please. Please. Pleasepleasepleaseplease.

“Fuck you come from?” Wilson turns to stare at him, a look of surprise mingling with disgust.

And it isn’t Benji.

The man on his knees is wheezing, a broken nose bubbling blood down his chin and onto the ground. He isn’t Benji. He’s—like the girl in the doorway—young. A mop of brown hair, messy and grimy, skin tanned by a clear love for the sun. His eyes are a dark, pretty blue as he glances up to Xavier; fear is making them skittish, bouncing everywhere. He’s crying. Paths of tears clean blood on his face. His lower lip trembles. He isn’t Benji.

“This is a medic.” Xavier’s voice is toneless as he gestures toward the boy. There’s a small red cross on the chest of his otherwise gray uniform.

“I can see that,” Wilson drawls lazily.

“I want to go home.” His voice wavers, wet and thick. His broken nose makes him drop the ‘t’s. I wan’na go home. Hope flickers in his eyes as he looks at Xavier. “Please—”

“Yeah, yeah.” Wilson slaps his gloved hand across the back of the kids head, sending him falling forward. His hands scramble across the ground—his pistol lays disarmed in the corner of the room. Xavier watches the young medic slowly pull himself back to his knees, a fresh wave of tears mingling with the thick drip of his bloody nose.

“Don’t do that.” Xavier’s voice is quiet. He watches a tear slip over bruised skin, catch on the corner of the boys mouth.

“I don’t know anything—” I don’know any’hing. “Please.”

The smell of blood is so strong, Xavier’s mouth feels coated with it. He’s broken his nose a fair amount of times—it’s a big target, Lark laughs, sitting on the edge of a gurney, holding up gauze pads. Benny frets with a butterfly stitch, a useless endeavor. Xavier’s face burns, but he grins, the blood dripping off his chin and into his hands. Oh, shit, it bleeds so much, man. It’s not Benji. It’s not him. Just a kid. Just some kid. Emily and her school books. Pressure wells up inside Xavier’s skull, a pounding feeling at his temple. I wan’na go home, please, I don’know any’hing, please.

Wilson hits the medic again.

I’m so bloody stupid. Makes sense, doesn’t it? Don’t be a sore winner. Please, I don’—Please, I wan’na go home—You could have been wired this whole time—please—

Xavier’s jaw clicks.

Have you got the extra bandages I gave you?

Please.

Wilson’s heavy body falls as Xavier’s fist catches him in the side of the head. He lands bodily on his elbow, howling in pain, rifle skittering across the floor. Absolutely nothing registers within Xavier as he falls to a knee and catches Wilson by the neck of his tac vest. It almost feels routine to punch him again—it doesn’t really feel like anything at all. His fist connects with a heavy cracking sound. Once, twice, a third time striking a cheekbone. Wilson’s howling turns guttural and vicious.

A sharp pain in his side makes Xavier stutter—but like a well oiled machine, he keeps punching. His knuckles split open, old scars weeping. Wilson digs his knee in harder, viciously, going for a kidney, to try and burst something internal. Kill him. He’s snarling it; kill you, I’ll fucking kill you. Xavier feels empty inside where Wilson is trying to hurt him. The injury can’t register, because there’s nothing of Xavier to injure. He doesn’t really feel at all, not even the pain that’s crawling up his body and making his arm twitch.

Screaming from behind doesn’t stop him. Wilson—highly trained, competent, sadistic—gets a single punch in to Xavier’s face. But it’s a good punch. Connects with his eye; there’s a scar underneath that one, from when he’d cracked his orbital bone. Benji had saved him from his own team mate. Benji had killed for him.

Xavier falls backward, looking at the beige ceiling above him, the wire dangling from a missing tile. The screaming continues—the medic is gone. There’s only blood left, where he’d been kneeling. Xavier blinks at the bottom of Wilson’s boot as it comes speeding toward his face.

But the girl from the door way slams into him, sending him falling sideways. Xavier isn’t sure of what happens next. It doesn’t feel relevant at all. His shoulder throbs, reminding him of the cut—he laughs, loudly, wetly, stupidly. Jesus, he laughs so hard the bruise forming on his side from Wilson’s knee groans and protests. He laughs, thinking of those extra bandages. Of course he still had them.

Of course he did.

—

“Are you out of your fucking mind?”

Sergeant Stiles crashes through the door. Lark—poor fucking Lark—tries to stop her with his hands raised, sputtering apologies that he can’t make. She shoves him aside as if he weighs nothing and Xavier is more stunned that she’s handling a radiant like that, then he is at being screamed at. Being screamed at feels natural. Normal, in this nightmare version of his life he can’t wake up from—Lark hitting his shoulder to the wall, wide eyed and afraid does not feel right.

But Xavier can’t do much more than sit there and stare as Sergeant Stiles snatches him by the hair and wrenches their faces close.

“What were you thinking?” She seethes. Stiles has deep set, brown eyes and a beauty mark at the side of her left eye. She’d learned early to keep her hair short—was a viciously efficient soldier and a Sergeant for a reason. Her grip in his hair feels iron clad, like he’s a puppy scruffed to heel. His throat bobs, but he can’t find an answer. The pain finally has begun registering—in his eye, in his side. Now, at the roots on his scalp.

“I don’t know, sir,” Xavier whispers.

“Injuring one of your own? Letting a prisoner escape?”

“He wasn’t a prisoner.”

“Who says?” Stiles barks. Her fist tightens so hard, he whimpers. The sound is pathetic and small; Xavier feels pathetic and small, like something to be reprimanded and abused. Lark is staring, back flat to the wall, looking at the scene with mortified uncertainty. Something comes back to Stiles then—either Lark’s palpable fear, or the small sound of hurt in the back of Xavier’s throat—because the sergeant releases him and steps back. “Who says?” She repeats it with cold authority, fists at her thighs.

“I said,” Xavier whispers, brushing a hand back through his hair. “I outrank Wilson. He was a medic. Just a medic. He wasn’t armed. Wilson was going to torture him.”

“Wilson’s a fucking freak—”

“You.” Stiles points to Lark, as he threatens to interrupt again. His big, black jacket hangs off one of his shoulders. Disheveled, messy. His face pales. His defense is plain in his expression; but it’s not defense of a corporal. Not even defense of a colleague, a fucking peer mercenary. Lark is defending Xavier in the wrong way—his emotions painful in his pretty, dark eyes. Xavier’s reality is sharpening, his focus clearing. He looks down at his bruised knuckles in shame. “Leave.”

“But—”

“Just go, Lark.”

The young radiant shoots Xavier a wounded look, chin dipping to his chest. But he listens. Slams the door on the way out and makes Stiles face even stormier.

It feels like a long time before she speaks again. Xavier can’t meet her eye, so he continues staring at the scabs forming over his knuckles. He thinks there’s a tooth indent. He wants to feel savagely justified. All he feels is a painful emptiness that won’t go away. Xavier presses a thumb between his knuckles, listening to the creak of his bones, enjoying the warmth of pain blooming on the back of his hand.

“I cannot protect you from that man.”

“I know.”

Xavier doesn’t look up.

“This isn’t the military,” Stiles continues. The fury in her voice is mixed with a terrifying desperation. She isn’t a bad person—that’s what Xavier is thinking, staring at the blood welling on his knuckles. That Stiles isn’t bad. She’s on the wrong side of a very wrong war that they started, but she isn’t bad. “I will tell Lieutenant Tillman to keep you both separated, but I cannot keep a fucking eye on Wilson. He does what we pay him to do.”

“We don’t pay him to torture people.”

“We don’t pay you to be a fucking hero!”

Silence descends once more. Xavier finally looks up at her. Stiles’s fury has drained. Replaced with a weary resignation. Disappointment. Humiliation makes something prickle behind Xavier’s eyes. He blinks rapidly, looks away. He wishes she hadn’t made him get rid of Lark.

“Did you know him? You know—you know he wasn’t whoever you know here. Right? Some ex boyfriend, or something? Doesn’t matter, wasn’t your version of him. You have to remember that shit, Wolffe.”

He wants to ask her if it matters. He was a person. He wanted to go home.

But instead, Xavier nods. He says, “Yes, sir.” And they let him leave.

��

As Benji and Xavier stare at each other, across the hall, he yields to the idea of them being together. He thinks of an even more alternate reality; where Xavier laughs and lopes forward and Benji rolls his eyes and catches him by the waist and Xavier asks, where’s the signal and Benji whistles three times just to indulge him. They smell the gunsmoke on each other and the sweet tang of sweat and Xavier leans down, hunching because of his height, holding Benji’s cheeks and they kiss.

He imagines that without the hallway, without the tactical gear, without the war. He thinks there has to be at least one version where they’re together without the rest of it. Maybe they meet at a college party or maybe they’re neighbors who accidentally run into each other in the elevator all the time. Xavier introduces himself and Benji—who is so like this Benji, but maybe softer—snorts and doesn’t introduce himself at all. He waits a few more times, where Xavier has to impress him with his terrible collection of jokes.

There’s some version of them, not standing in a derelict warehouse hallway, looking at each other like they cannot tell who between them will pretend the other is a stranger first.

Xavier’s comm comes alive. Tillman, his drawling southern accent, “You got an all clear for me, Wolffe?”

Benji stands there. His hair is messy, stringy with sweat. His lower lip trembles, but Xavier thinks that Benji doesn’t notice that tell. That when he’s emotional the smallest part of his expression shakes. Xavier stares at him, at the beautiful pinch of his heavy brows and the elegance of his curved nose. He looks tired. It makes Xavier’s throat narrow. He looks tired.

Xavier lifts a hand to his comm on his shoulder. Presses it.

“All clear here, LT.”

“Atta boy. Round up in five.”

They resume their staring. The silence feels like a heavy, cold hand, pressed against the back of Xavier’s neck. Pushing until it feels like his spine is creaking under the weight of it. He steps forward, looking at the ground. He wants to say something, doesn’t he? Apologize again. Don’t you want it to be real? It was real, it was real when it was happening and it’’s been real the entire time. No one made me go down that alleyway. No one made me kiss you. I wanted to kiss you. It was real for me, wasn’t it real for you?

“Your eye—”

“No.”

It comes out more wounded sounding than he means. Part of Xavier wants to be angry at Benji, but he can’t be. Christ, he can’t, because Benji isn’t wrong. It all looked so bad when one examined it top down, clinical and assessing. And Xavier feels so guilty, because he regrets it. He regrets taking that radianite more than anything, even though it had paid so well on the black market and it had done Emily so good. Xavier hates himself, because he can’t be selfless and think it was worth it. He just feels sorry.

He clears his throat and doesn’t meet Benji’s eye.

“You don’t get to ask,” he says quietly. “If you go out the back left entrance, no one will see you. Just keep low.” When his eyes flicker up, he smiles sadly. “See you, Benji.”

“Xavier—” Benji’s voice cracks a bit. He shoulders his rifle. “Just—Just put some fuckin’ ice on it, yeah? Some ice.”

Later, when Xavier is in his bed, he stares at the ceiling (frozen peas on his left eye) and wonders if Benji can’t help but care. If it’s the nature of a medic to care. Or if—and he thinks its dangerous to let himself think at all, especially this—Benji cares because it’s Xavier. Wouldn’t that be nice.

[tittyinfinity]

I know it's already been said (can't find the post), but just a reminder that once this is all over, you can't expect people who just went through the worst trauma imaginable to be able to get over it and become model citizens immediately. Trauma that bad lasts for generations. We've seen this pattern play out many times from US and UK imperialism – take away the people's resources, ruin their mental and physical health, blame them for the struggles imposed on them, heavily judge & police every action of theirs, and then use that to justify their arrest/murder.

So if you don't have a perfect interaction with a person who is going through/went through/had family go through a genocide, give them some fucking grace. Maybe their politics don't line up with yours. Maybe they have some out-of-date beliefs. Maybe they're angry & irritable; maybe they aren't the nicest to you during a discussion. Still give them some grace. You know why?

A lot of us have had the privilege of being in a place where we can assess our biases & behaviors in order to correct them. They don't even have the time to think about it.

Think about all the old biases you used to have. Would you have grown out of them if you had experienced nothing but trauma, with no outside resources to help you learn about those things?

So if you're white and you find yourself thinking something like "I don't care about this person's oppression because they were homophobic" you need to re-assess that. It's been proven that punishment and ostracization does not help anyone get better. You can't defend other human rights with racism.

Identity politics isn't our first priority. Our first priority is MAKING SURE EVERYONE HAS A RIGHT TO LIFE so that there are even identities to discuss in the first place.