#how did this tradition get into our society

[awkwardchick87]

Christmas Bells

Merry Christmas from my table at the @pixelcafe-network! This year we did Christmas gift exchange and I was given @mysteria157 as her secret Santa! There you go lovely! I hope you enjoy this fic and Merry Christmas to you darling!!

Heading overseas to see your long distance boyfriend and spend your first Christmas with him, making your own traditions together!

CW - None! This is SFW WC - 2122 Thank you @trxshpandax for beta reading this for me also!! <3

Hitting the send button on your phone, letting Nanami know you had landed, before closing the screen and walking towards the baggage area, a small smile on your face as you adjusted the carry on bag, a small jingle heard within as the bell you so carefully packed was jostled around. It was your first Christmas in Japan with your boyfriend. Meeting through a Jujutsu society joint excursion between America and Japan, meant to foster unity worldwide for all sorcerers, although there were few outside of Japan, thanks to Tengen. 

Reaching for your bag, a hand quickly shot forward. Turning your head, a familiar mop of blonde hair filled your vision. Your eyes suddenly blurry as you leapt up and into his arms. Burying your face into the crook of his neck as you hugged him. “Nanami! I just sent you a text!” 

His strong arms wrapped around you, lifting you off the ground, “I know, I watched you send it.” His smile is evident in his voice. “I didn’t want to wait in the car, so I came in to meet you.” 

Leaning back, you kissed the tip of his nose, making his face scrunch up, “You really are so sweet! I can’t wait to spend Christmas here.” 

Gently putting you down, he grabbed your luggage with one hand, threading his fingers through your other hand, leading you out of the airport and to the car. Placing your bag in the backseat and opening the passenger door for you. The warm car, a contrast to the cool December air. 

Snow gently fell across Tokyo as Nanami drove you towards his apartment, listening to you talk about the flight and how excited you were to be in Japan for the holidays, hands still intertwined. “So what kinds of things are we going to do? Do we have a real Christmas tree? Bake cookies? Sing carols?” you looked at him excitedly. 

“Real trees are hard to come by here, but I do have a tree set up. I was going to bring you out to look at lights, maybe buy whatever decorations you want for the apartment and tree.” His smile was wide as he watched your eyes light up, bringing the back of your hand up to his lips, pressing a small kiss to it. “As for cookies, can we bake them together?” He asked, hopeful.

Nodding, you looked over at him, “of course! I am an excellent baker! I also have a small surprise for you.” Reaching into your carry on bag, you carefully pulled out the silver bell, a perfect replica of the bell from the Polar Express movie, the small twinkling sound it made was almost soothing, “Its a tradition of mine to put this on the tree..” 

Nanami glanced down at the bell, a smile spreading across his face “Its our tradition now.” 

Small tears formed in your eyes as you nodded at him, smiling before turning again to glance out the window, taking in the sight of Tokyo’s Christmas lights. The trees lining the streets shone brightly as you passed them. More lights decorated the apartments, lamps and storefronts as Nanami drove through the city. Bright white and blue shimmering across the window. Nanami finally pulled into the underground parking of an apartment building, stopping the car and getting out to go around and open your door for you, his hand instantly wrapping around yours again as you walk to the elevator. Pushing the button, you both enter the elevator as he presses the button for his floor. Bringing your hand up to his lips again, kissing the back of it, making you blush slightly. 

Finally reaching his floor, the elevator chimes as the doors open. Pulling you gently down the hallway, taking the keys from his pocket, Nanami unlocks his door, guiding you inside. Looking around, you noticed it was a humble apartment. To the left of the door, there was a simple kitchen. A small island separated the kitchen from the living room with its modern couch and a smaller television. A small hallway to the right of the door had the bathroom and you could see into the bedroom and office space with the doors open.

A simple fake tree in the living room was the only christmas decoration that Nanami had in the entire apartment. 

“This is perfect” you turned to him, reaching up and kissing his cheek before removing your shoes. Nanami helping you with your coat and scarf, hanging them on a row of hooks behind the door. 

“I thought we could go out tomorrow and get decorations for the tree.” He looked down at you, a small smile on his face. 

“I’d love that. And we can get some things for cookies too!” you stepped into the living room of the apartment, plopped down on the couch, yawning. 

“Jet leg?” Nanami asked, sitting beside you, nodding and patting his lap for you to lay down.

“Yeah, I guess so. I am going to take a small nap, and then we can go out, promise.” Laying your head in his lap, you let out another yawn before your eyes fell shut, Nanami running his hands through your hair. 

Your eyes fluttered open the next morning, stretching your arms out, you realized you were in Nanami’s bed. ‘He must have helped me get to bed last night.’ you thought to yourself. The smell of eggs and bacon wafting into the room as you pulled the blankets from yourself. Spotting your bell on the table beside you, Nanami had taken it from your bag and placed it somewhere for you to see, nestling it on top of your scarf. Picking it up, you gave it a quick check, making sure to bring it out with you. 

Making your way to the kitchen, you spot Nanami at the stove, sleeves rolled up to his elbows and a cup of tea already on the island for you. Steam rising from the cup as you pull out a chair to sit at the island, placing the precious bell on the counter, still keeping it on the scarf, making sure it does not roll off the counter. 

 “Good morning love” Nanami placed a plate of breakfast in front of you, leaning down to kiss the top of your head, “Did you sleep ok?”

Nodding, as you let out a small yawn, “I did, thank you. I didn’t realize I was so tired from traveling. When did we move to the bed?” 

“A little after you fell asleep. I wanted you to be comfortable.” Nanami pulled up a chair beside you, passing you a fork and sliding your tea towards you. 

Diving into your breakfast, you smiled. “This is so good!” 

Nanami smiled, pulling out his phone and checking the time, “So when do you want to head out? I think we should get some decorations for the tree at least. It looks a little… bland right now.” He pointed at the tree with his fork. 

Nodding excitedly, “Yes. I just want to shower and get ready and then we can go out.” taking the last few bites of food, you got up from the island, leaning in and pressing a quick kiss to Nanami’s cheek, “Thank you for breakfast and tea. It was perfect. Don't you dare touch the dishes! I will wash them.” you pointed at him with one finger as you made your way to the bathroom to shower, eyes narrowed playfully at him. 

He couldn’t help but let out a small laugh as he stood, grabbing the plates from the island. 

Getting out of the shower, you heard the sink running. Scoffing slightly as you styled your hair and applied a simple makeup look before stepping out of the bathroom, “I said I would wash them.” You pointed between Nanami and the dishes as he laughed at you.

Drying his hands, he walked over to you, “You’re here to spend time with me, you don't need to worry about anything else.” placing his hands on either side of your face, tilting your head up, he pressed a kiss to the tip of your nose and then your forehead, “Now, let's go get some decorations, ok?” His face was bright as he smiled down at you. 

Looking up, you couldn’t help but smile back, nodding. 

Slipping on your shoes and grabbing your coat, Nanami opened the door for you, locking it behind him as you two set out. 

Stopping at the Christmas market first, Nanami parked the car a distance away so you could talk around for a bit, stopping to look at storefronts, refusing to let you pay for anything you found. Grabbing hot cocoa for you both, along with a few treats before he tucked the bags away in the trunk of the car before you set off shopping again. 

Finding a small shop, your face lit up. Excitedly pointing at the TV in the back of the store, playing Polar Express for the shoppers as they browsed the store. You quickly pulled Nanami into the shop, realizing it was a decorations store, specializing in Christmas tree decorations, “Oh wow, this is everything we will need!” You turned towards Nanami, eyes shining brightly with joy. 

“Are you sure? There are a few other shops down the street?” Nanami asked you.

“I’m sure.” you replied, grabbing a small bauble from a hook, admiring the gold and red glitter on it. 

Nanami watched you bounce around the shop, holding a small basket as you filled it with various decorations, a smile on his face, nodding when you turned to ask his opinion on anything you thought he might like for the tree. 

Bringing the basket of decorations to the counter, you watched the shopkeeper ring up the ornaments and Nanami tap his card on the reader, paying for the items, throwing a quick scowl his way as he did his best to ignore you. 

Getting back to the apartment with Nanami, you quickly set the decorations out on the island, beside the bell, left there from the morning, “I think this is more then enough decorations for the tree” you beamed up at him. 

Nanami rounded the island, passing you another cup of tea and nodded, “These will be perfect. Where should we start?” he asked, picking up a small reindeer ornament, holding it up to the tree. 

“Thats as good a start as any!” picking up your own small ornament, you grabbed his hand, guiding him to the tree, placing your own ornament on the tree. 

Soon, the sound of your small giggles and the clinking of ornaments filled the air. Nanami had turned on the TV, changing the channel to a classic fireplace as you both sipped tea and placed your newly bought ornaments on the tree. His height, an obvious advantage to reaching the taller branches while you made sure to direct him, as to not leave any branches bare or any spots overflowing with decorations. 

“Time for the moment of truth” You grabbed one end of the string of lights Nanami had placed on the tree when he assembled it, holding it in the air, ready to plug it in. Crouching down, you pushed the prongs into the plug and stood back. Watching the lights flicker and dance across the tree, lighting the apartment up as the glow shone on Nanami's face. 

“Beautiful.” you heard him whisper. 

Turning your head to look up at him, you saw him looking towards you. The glow of the tree shining in both your eyes. 

A small blush crept up your face as he turned, reaching across the kitchen island, grabbing the bell. The soft chime rang in your ears as he held it out to you, “Its the last ornament, do you want to do the honours?” leaning in, he whispered as he grabbed your palm, placing the bell into it. 

Nodding, wrapping your fingers around the bell, you reached as high as you could on the tree, wrapping the small ribbon around a branch and letting it dangle. The bell rang gently as you watched it sway. 

Turning to look at Nanami, he stepped close to you, wiping a small tear you hadn’t realized you shed, “Happy tears? I hope?” He asked. 

Nodding you wiped your eyes, “Very happy tears.” you replied, wrapping your hands around Nanami as he kissed the top of your head. 

Taking a deep breath, you looked again at the tree. The ornaments were not perfect, and they were slightly mismatched, but it was perfect. Holding Nanami’s hand, you felt him bring it up to his lips, pressing a small kiss to the back of it. “Merry Christmas Darling.”

As always - credit for the dividers goes to the always talented @adornedwithlight <3

[thatonelittleindiekid]

Am I the only person who feels awkward about kissing relatives on the cheeks at Christmas? Like in a polite greeting kind of way.

I do not only have this with Christmas just with people in general.

Also the cringey part is that you always have that 0,3 seconds staring exchange moment with the other person if you are going in for a small kiss or not... like, do you want this? yes? no? Ok hi, oh hiiiii other relative and suddenly I forgot I needed to go somewhere else oh hi dog look at dog let's play with dog dog is cute

THE END.

[bunisher]

might be the aro in me but i think one of the reasons i don’t ship mattfoggy is because i enjoy the idea of platonic intimacy and friendship without romance. i enjoy them as best friends, because their friendship is not any less than romantic love or needs to be. especially for characters like them, i think it’s important that they have friendships that are not inherently romantic. matt, because he has severe abandonment trauma and avoidant attachment, where all of his romances have ended in some form of tragedy. he has trouble feeling comfortable with people, he feels like he has to perform in many aspects, and does not with foggy, at least not anymore. trust is a hard earned thing with him, but it’s not just about trusting with being a hero, but trusting to be himself. in regards to foggy, because he also has his own issues regarding family and not feeling accepted. he needs that friend who provides the motivation, validation, and feeling of being good enough just for being him. his insecurities often come from being underestimated, being awkward, not fitting in, and with matt he can just be. they’re able to have a relationship with each other that has rupture and repair, knowing eventually after time it’s them against conflict and not them against each other. they set the standard for each other in how romantic relationships are. they provide that safe place for love that doesn’t have the weight of being someone’s everything or partner. they’re already partners! they’re best friends. i personally am a little in love with all of my friends, and i am utterly devoted to them. i will be affectionate and supportive and loving and i am not dating them. so yeah i see how stuff could be read romantic, i understand why people enjoy the ship, i get it, i do. but it’s more powerful to me when it’s not. romance is not the end all be all and that’s why i am obsessed with their friendship without it being this stepping stone for romance or there being no other explanation.

[screambirdscreaming]

I used to like saying "gender is a social construct," but I stopped saying that because people didn't tend to react well - they thought that I was saying gender wasn't real, or didn't matter, or could be safely ignored without consequences. Which has always baffled me a bit as an interpretation, honestly, because many things are social constructs - like money, school, and the police - and they certainly have profound effects on your life whether or not you believe in them. And they sure don't go away if you ignore them.

Anyway. What I've taken to saying instead is, "gender is a cultural practice." This gives more of a sense of respect for the significance gender holds to many people. And it also opens the door to another couple layers of analysis.

Gender is cultural. It is not globally or historically homogeneous. It shifts over time, develops differently in different communities, and can be influenced by cross-cultural contact. Like many, many aspects of culture, the current status of gender is dramatically influenced by colonialism. Colonial gender norms are shaped by the hierarchical structure of imperialist society, and enforced onto colonized cultures as part of the project of imperial cultural hedgemony.

Gender is practiced. What constitutes a gender includes affects and behaviors, jobs or areas of work, skillsets, clothing, collective and individual practices of gender affiliation and affirmation. Any or all of these things, in any combination, depending on the gender, the culture, and the practitioner.

Gender encompasses shared cultural archetypes. These can include specific figures - gods and goddesses, mythic or fictional characters, etc - or they can be more abstract or general. The Wise Woman, Robin Hood, the Dyke, the Working Man, the Plucky Heroine, the Effete Gay Man, etc etc. The range of archetypes does not circumscribe a given gender, that is, they're not all there is to gender. But they provide frameworks and reference points by which people relate to gender. They may be guides for ways to inhabit or practice a gender. They may be stereotypes through which the gendered behavior of others is viewed.

Gender as a framework can be changed. Because it is created collectively, by shared acknowledgement and enforcement by members of society. Various movements have made significant shifts in how gender is structured at various times and places. The impact of these shifts has been widely variable - for example, depending on what city I'm in, even within my (fairly culturally homogeneous) home country, the way I am gendered and reacted to changes dramatically. Looping back to point one, we often speak of gender in very broad terms that obscure significant variability which exists on many scales.

Gender is structured recursively. This can be seen in the archetypes mentioned above, which range from extremely general (say, the Mother) to highly specific (the PTA Soccer Mom). Even people who claim to acknowledge only two genders will have many concepts of gendered-ways-of-being within each of them, which they may view and react to VERY differently.

Gender is experienced as an external cultural force. It cannot be opted out of, any more than living in a society can be opted out of. Regardless of the internal experience of gender, the external experience is also present. Operating within the shared cultural understanding of gender, one can aim to express a certain practice of gender - to make legible to other people how it is you interface with gender. This is always somewhat of a two-way process of communication. Other people may or may not perceive what you're going for - and they may or may not respect it. They may try to bring your expressed gender into alignment with a gender they know, or they might parcel you off into your own little box.

Gender is normative. Within the structure of the "cultural mainstream," there are allowable ways to practice gender. Any gendered behavior is considered relative to these standards. What behavior is allowed, rewarded, punished, or shunned is determined relative to what is gender normative for your perceived gender. Failure to have a clearly perceivable gender is also, generally, punished. So is having a perceivable gender which is in itself not normative.

Gender is taught by a combination of narratives, punishments, and encouragements. This teaching process is directed most strongly towards children but continues throughout adulthood. Practice of normatively-gendered behaviors and alignment with 'appropriate' archetypes is affirmed, encouraged, and rewarded. Likewise 'other'- gendered behavior and affinity to archetypes is scolded, punished, or shunned. This teaching process is inherently coercive, as social acceptance/rejection is a powerful force. However it can't be likened to programming, everyone experiences and reacts to it differently. Also, this process teaches the cultural roles and practices of both (normative) genders, even as it attempts to force conformity to only one.

Gender regulates access to certain levers of social power. This one is complicated by the fact that access to levers of social power is also affected by *many* other things, most notably race, class, and citizenship. I am not going to attempt to describe this in any general terms, I'm not equipped for that. I'll give a few examples to explain what I'm talking about though. (1) In a social situation, a man is able to imply authority, which is implicitly backed by his ability to intimidate by yelling, looming, or threatening physical violence. How much authority he is perceived to have in response to this display is a function of his race and class. It is also modified by how strongly he appears to conform to a masculine ideal. Whether or not he will receive social backlash for this behavior (as a separate consideration to how effective it will be) is again a function of race/class/other forms of social standing. (2) In a social situation, a woman is able to invoke moral judgment, and attempt to modify the behavior of others by shame. The strength of her perceived moral authority depends not just on her conformity to ideal womanhood, but especially on if she can invoke certain archetypes - such as an Innocent, a Mother, or better yet a Grandmother. Whether her moral authority is considered a relevant consideration to influence the behavior of others (vs whether she will be belittled or ignored) strongly depends on her relative social standing to those she is addressing, on basis of gender/race/class/other.

[Again, these examples are *not* meant to be exhaustive, nor to pass judgment on employing any social power in any situation. Only to illustrate what "gendered access to social power" might mean. And to illustrate that types of power are not uniform and may play out according to complex factors.]

Gender is not based in physical traits, but physical traits are ascribed gendered value. Earlier, I described gender as practiced, citing almost entirely things a person can do or change. And I firmly believe this is the core of gender as it exists culturally - and not just aspirationally. After the moment when a gender is "assigned" based on infant physical characteristics, they are raised into that gender regardless of the physical traits they go on to develop (in most circumstances, and unless/until they denounce that gender.) The range of physical traits like height, facial shape, body hair, ability to put on muscle mass - is distributed so that there is complete overlap between the range of possible traits for people assigned male and people assigned female. Much is made of slight trends in things that are "more common" for one binary sex or the other, but it's statistically quite minor once you get over selection bias. However, these traits are ascribed gendered connotations, often extremely strongly so. As such, the experience of presented and perceived gender is strongly effected by physical traits. The practice of gender therefore naturally expands to include modification of physical traits. Meanwhile, the social movements to change how gender is constructed can include pushing to decrease or change the gendered association of physical traits - although this does not seem to consistently be a priority.

Gender roles are related to the hypothetical ability to bear children, but more obliquely than is often claimed. It is popular to say that the types of work considered feminine derive from things it is possible to do while pregnant or tending small children. However, research on the broader span of human history does not hold this up. It may be true of the cultures that gave immediate rise to the colonial gender roles we are familiar with - secondary to the fact that childcare was designated as women's work. (Which it does not have to be, even a nursing infant doesn't need to be with the person who feeds it 24 hours a day.) More directly, gender roles have been influenced by structures of social control aiming for reproductive control. In the direct precursors of colonial society, attempts to track paternal lineage led to extreme degrees of social control over women, which we still see reflected in normative gender today. Many struggles for women's liberation have attempted to push back these forms of social control. It is my firm opinion that any attempt to re-emphasize childbearing as a touchstone of womanhood is frankly sick. We are at a time where solidarity in struggle for gender liberation, and for reproductive rights, is crucial. We need to cast off shackles of control in both fights. Trying to tie childbearing back to womanhood hobbles both fights and demeans us all.

Gender is baked deeply enough into our culture that it is unlikely to ever go away. Many people feel strongly about the practice of gender, in one way or another, and would not want it to. However we have the power to change how gender is structured and enforced. We can push open the doors of what is allowable, and reduce the pain of social punishment and isolation. We can dismantle another of the tools of colonial hedgemony and social control. We can change the culture!

[georgescitadel]

I often get the question, “How do you write women?” or “How do you write a dwarf?” Some of that can be resolved by research or talking to people. I had a correspondence with a fan when I was writing the first and second books, long ago, who was a paraplegic, paralyzed from the waist down, and he gave me a lot of valuable insight about how to write Bran and what it would be like. That kind of information from other people, you can never duplicate.

- George R.R. Martin, Ideas At The House (2013)

There are things we all go through, but there are experiences that I haven't had, and when I'm writing about one of those, I try to talk to people who have had that experience. When I first had Bran crippled by his fall from the tower, I had one fan who was paraplegic, and he and I exchanged a number of emails about what it was like to be paraplegic because I could try to imagine that, but I don't actually know it. When I wrote the scene where Sansa has her first period, I talked to a number of women and asked, “What was it like to have your first period? Was it scary? Was it nothing? Was it painful? Tell me about it!” I got about 16 different stories that varied very widely. People who have actually been in combat, I talk to before the combat scenes, and that too varies widely. That's sort of interesting, and, of course, I've read a lot about that. There are some experiences that only women have had in our society, and when I tackle them, I try to consult with women.

- George R.R. Martin, NIFFF Masterclass (2014)

You do have to research the things that can be researched, and sometimes that involves books; sometimes it actually involves talking to people. Those are the trickiest things, if it's a human experience. I'll give you a couple of examples from Game of Thrones. When Bran gets thrown out the window and paralyzed. I'm not paralyzed, I don't have any close friends who are paralyzed, but I wanted to try to get that as accurate as I could, so I did a fair amount of reading about that. I also had a couple of fans who corresponded with me through email about the problems of someone who was paralyzed from the waist down and what it would be like. I also have a scene where Sansa, who is engaged to Joffrey but hasn't flowered yet—hasn't had her first period—so she can't be married by the traditions of Westeros, then has it and is eligible, by medieval standards as well as the standards of Westeros, to be bedded and wedded and bred. Of course, she reacts to that with considerable panic. But I also wanted to know what it is like, and that led to a number of embarrassing conversations with women I knew about: “When did you have your first period? What was it like? Was it painful? Tell me about it!” What I discovered was a wide variety of different stories. It's not always the same thing, so I had to try to make sense of that and do something that had authentic truth to it. Hopefully, I did, but human experience is variable. No matter how much you research, there will be somebody out there who had a different experience, and then they'll write you an annoyed email saying, “You got that all wrong. You don't know anything about that.” Well… okay. But I tried.

- George R.R. Martin, Author Event Series: Featuring Marlon James (2019)

[vermiciousyidreborn]

So people keep assuring me that Palestinians are also indigenous to the southern levant and...well, I admit I'm skeptical of this. Like, I'm NOT advocating expelling them or genocide, etc. Those are all bad, just questioning the notion of indigeneity here. Mostly as a consequentialist. If Palestinians are indigenous to the Levant, that seems to imply other things. Let's think through this.

We're going to set aside the UN notion of indigenous because that's crafted to exclude Jews and often enough this is a statement by people who reject that and consider Jews to be indigenous, they're often saying both groups are. So...I guess that means something like "A group is indigenous to the region where they underwent ethnogenesis" so we'll take that as our definition of indigeneity. Jews are indigenous to the Levant, check. We're good. Arabs are indigenous to Arabia. All makes sense.

So, anyway, what's an ethnic group? From Wikipedia:

An ethnicity or ethnic group is a group of people who identify with each other on the basis of perceived shared attributes that distinguish them from other groups. Those attributes can include a people of a common language, culture, common sets of ancestry, traditions, society, religion, history, or social treatment.[

Ok, so common language, culture, traditions, history, etc.

So European American Protestants are indigenous to North America? Common history (going back to the 1600s!), identify as a group, believe they have a common culture (even if we need to break things up more finely, you can find common cultures, say, New England, or Midwest, wee American Nations), common language (English, which I will posit is part of why there's basically a moral panic about Spanish and has been almost my entire life, in much of the country). Note that an ethnicity "can include" and doesn't need ALL of these things.

So it seems pretty solid that European American Protestants are, at the least, a collection of ethnic groups unique to North America. Which means they did ethnogenesis here. Which means they're indigenous now.

So...let's be clear, to me this is a reductio ad absurdam. OF COURSE white US protestants are not indigenous to North America! But I've yet to see definitions that mark Palestinian Arabs as indigenous to the Levant without also implying that white Americans are indigenous to fucking Ohio (along with the rest of the country).

Especially when you consider that white american protestant as an identity in this sense is older than a distinct Palestinian identity. It just brings us to the eternal questions that the Israeli/Palestinian conflict brings up and that people REALLY don't want to discuss:

When, if ever, does indigeneity expire? Personally, I think it doesn't, and Jews are and will always be indigenous to the Levant, just like the Cherokee Nation is indigenous to the US Southeast, even though they've been displaced. Though I know many "Pro-Palestine" activists implicitly believe indigeneity does expire, at least for Jews, but even if I weren't Jewish, I wouldn't want that precedent set because it would fuck over EVERYONE

When does a colonizer become indigenous to the place they colonized? This is rarely discussed, but lies implicitly behind a lot of things. Again, I want to avoid setting bad precedents, but I don't see how Palestinian Arabs can have hit this threshold and white people in the US haven't, which leads me to reject the idea that colonizers can ever become indigenous, at least while holding onto the identity that did the colonization (White and Arab, respectively, hell, White Christian and Arab Muslim if we want to get more specific).

Now, I don't believe colonizers need to be killed or expelled, I'm generally against violence outside of self-defense, but I do think that the rhetoric we use matters, and I want to interrogate it.

[dailyadventureprompts]

Monsters Reimagined: Yeenoghu, Demon Lord of Insatiable Hunger

It's been some years since I did my overhaul on the lore of the gnolls and how they embody the weird de/humanization that goes on with various monsters over d&d's history. Ever since I've had more than a few folks write in asking about how I would handle the default Gnoll God Yeenoghu, who exists in a similar state of "Kill everything that ever existed" to Orcus and a good portion of the game's other late game threats, thematically flat and not really useful for building stories around.

For a while I've avoided doing this post because I thought it might skew a little too close to my personal philosophy, and risk going from simply being influenced by my views to an outright soapbox. I personally hold that despite being part of our nature hunger is the source of the majority of human cruelty, and if society and cooperation are the tools we developed to best fight against the threat of famine, it is fear of that famine that allows the powerful to control society and secure their positions of privilege.

I've also dealt with disordered eating in a prior period of my life, alternating between neglecting my body's needs and punishing myself for needing in the first place. I'm well acquainted with hunger and the hollowing effect it can have, though I'd never claim to know it so well as someone who went hungry by anything other than choice and self hatred.

Learning to love food again saved saved my life. The joy of eating, of feeling whole and nourished, yes, but there was also the joy of making: of experimenting, improving, providing, being connected to a great tradition of cultivation which has guided our entire species.

If I was going to talk about an evil god of hunger, I was going to have to touch on all of that, and now that it's out in the open I can continue with a more thematic and narrative discussion on the beast of butchery below the cut.

What's wrong: Going by the default lore, there's not much that really separates Yeenoghu from any other chaotic evil mega-boss. He wants to kill everything in vicious ways, and encourages his followers to do the same. He's there so that the evil clerics can have someone to pray to because the objectively good gods are on the party's side and wouldn't help a bunch of cannibalistic slavers.

This is boring, we've done this song and dance before, and the only reason that there are so many demon lords/evil gods/archdevils like this is because the bioessentialism baked into the older editions of the game's lore was also a theological essentialism, and that every group had to have their own gods which perfectly embodied their ethos and there was no crossover whatsoever, themes be damned.

Normally I'd do a whole section about "what can be salvaged" from an old concept, but we're scraping the bottom of the barrel right from the inset. Likewise my trick of combining multiple bits of underwritten d&d mythology to make a sturdier concept isn't going to work as most of d&d's other gods of hunger or famine are similar levels of paper thin.

How do we fix it: I want Yeenoghu to be the opposite of the path I found myself on, a hunger so great and so painful that it percludes happiness, cooperation, or even rational thought. Hunger not as a sumptuous hedonistic gluttony but a hollowing emptiness that compels violence and desperation. More than just psychopathic slaughter and gore, it is becalmed sailors drinking seawater to quench their thirst, the urban poor mixing sawdust and plaster into their food because their wages are not enough to afford grain.

This is where we get the idea of Yeenoghu as an enemy of society, not because violence is antithical to society ( I think we've learned by now how structured violence can really be) but because society fundamentally breaks down when it can't take care of the people who provide its foundations. Contrast the Beast of Butchery with one of my other favourite villainous famine spirits: Caracalla the grim trader, who embodies scarcity as a form of profit and control in to Yeenoghu's scarcity as suffering.

Into this we can also add the idea of the hungry dead, ghouls yes but also vampires, anything cursed with an eternal existence and appetites it no longer has the ability to sate. A large number of cultures across the world share the idea that the dead cannot rest while they are starving, which is why we leave offerings of food by their graves or pour out a glass to the ones we lost along the way.

On that topic, there's also a scrap of lore involving Doresain god of ghouls, who has been depicted as an on and off servant of Yeenoghu. Since I'm already remaking the mythology, I'd have Doresain act as a sort of saint or herald for the demon lord, the wicked but still partially reasonable entity who can villain monolog before the feral and all consuming demon god shows up.

Summing it all up: Yeenoghu isn't a demon you wittingly worship, it's a demon that claims you, marks you as its mouthpiece and through you seeks to consume more of the world. It gives you just enough strength to keep on living, keep on suffering, keep on filling that hole in your belly and feed it in turn.

The greatest of these mouthpieces is Doresain, an elf of ancient times who's unearthly hungers elevated him to demigod status. Known as the knawbone king, he dwells within a dread domain of the shadowfell, and is sought out only for his ability to intercede with the maw-fiend's rampages.

Signs: Unnaturally persistent hunger pangs, excessive drool and gurgling stomach noises, the growth of extra teeth in the mouth, stomachs splitting open into mouths.

Symbols: An animal with three jaws, a three tailed flail or spiked whip. A crown of knawed bones (Doresain)

Titles: Beast of butchery, the maw fiend, the knawing god

Artist

[jesncin]

Thinking about Disney and how we talk about Cultural Representation

(concept art by Scott Watanabe)

Old essay originally written on Cohost in November 2023. With additions.

With all the promo stuff about Disney's upcoming animated film Wish, I can't help but think about Raya and the Last Dragon again. I spent a year intensively researching things about that movie and the discourse surrounding it for a series of videos on Xiran Jay Zhao's channel, and oh boy did that reveal a lot about the current way we talk about cultural representation in casual media criticism.

Lately we've grown a habit of looking at signifiers to culture, things like a cultural dish, a nod to a martial arts style, a piece of clothing, maybe a hairstyle, a weapon and so on, and then projecting a bunch of intentions onto the work regardless of authorial intent. I witnessed this a bunch of times in discussions surrounding Raya and the Last Dragon.

You basically get a bunch of 4d chess-style justifications for the lazy implementation of culture in Raya.

random examples cuz there's too many to name:

The movie will do something like make the leaders of the villain nation women, and people immediately assumed it was some kind of bespoke reference to Minangkabau matriarchical society.

the art book of Raya specifically stated that they purposely misplaced things as a stylistic fantasy choice "we could take something that is known and place it in an unexpected location, like coral in the desert and cacti in the snow". But when people saw a water buffalo placed in the desert they assumed it was some super clever environmental story decision.

The movie will tell you it includes things like Borobudur, Angkor wat, Keris, and most people will take their word for it without hesitation. Never mind that Southeast Asians could barely recognize these nods to our culture through how amalgamated the designs are.

(early concept art by Scott Watanabe)

Moving forward, I think we need to talk less about "what" parts of a culture are being represented in these movies, and more about HOW they're being included, we need to ask:

What is this piece of media's relationship with the cultures it represents?

Because Raya and the Last Dragon is not a cultural movie, it's a monolith film pitched and written by white people and a Mexican director with 2 SEA writers added later in production to avoid backlash. Culture serves the purpose of aesthetic set dressing in the film, as opposed to something that informs its themes and characters.

it wasn't even initially pitched as a Southeast Asian movie. The white writers who pitched it were going for a vague East Asian sci fi fantasy story under the working title "Dragon Empire". Southeast Asian culture was an aesthetic change added much later.

This is what happens when a corporation tries to put representational value on a shallow aesthetic. Because of the way Disney constantly marketed Raya as this big authentic cultural film, it primes its audience to read cultural intention in the most benign details. And when we get lost in the details, we lose sight of the bigger picture.

Contextualizing Cultural media criticism

(visual development art by April Liu)

We need to start demanding more context in our analysis. The next time we see a reference to culture in media we consume, take a step back and ask what purpose it serves in the narrative. And most importantly!! What Is Its Relationship With The Culture It Represents? We shouldn't just accept things at face value.

start asking yourself,

through what lens is this cultural dish and its spicy flavors being presented to us? Are the customs surrounding the food being respected?

If martial arts or dance is represented, how is it translated in the adaptation? Are you getting generic hollywood-fu or are you seeing specific movements with purpose and motivation? Are the philosophies or spiritual contexts of these traditions present in the text?

Are the clothing, hairstyles, and presentation of the characters being de-yassified through a colonial filter? Is the non-conformity of the cultures' different framework for gender presentation being adjusted to fit a more recognizable binary?

If language is present, what role does it serve? Is it presented as other through being exclusively used by villainous beings? Is it being made a monolith as one "non-English" language?

is this temple actually a place of worship or is it just a set piece for a goddang Indiana jones booby trap action fight sequence

This way, instead of unquestionably defending a piece of media because a character wore a traditional outfit one time, or because some characters took their shoes off at a temple, or because there were Arnis sticks in that one fight scene, we can approach the text with a more nuanced and holistic understanding of how culture informs narrative.

To quote Haunani K. Trask (author of From A Native Daughter):

“Cultural people have to become political… Our culture can’t just be ornamental and recreational. That’s what Waikiki is. Our culture has to be the core of our resistance. The core of our anger. The core of our mana. That’s what culture is for.”

[metamatar]

But antara you work with computers. Your livelihood isn't dependent on art. People whose livelihood depend on making artwork are saying that this is bad for business. Shouldn't their voice matter here? They aren't imperialists for not wanting corporates to train softwares on their stolen art. And how long till artists contribution are curtailed even more. It is a competitive market. This will jack the competition level upto a thousand + level!

I never called them imperialists. The art is not stolen from them. They still have the original copies. Intellectual property theft is a genuinely meaningless concept. I understand that they're worried, and I have sympathy. But the problem is in their fear they're getting in bed with reactionary forces. That will hurt more than artists, it hurts everyone in the way it makes copyright enforcement more draconian. I highlighted what that looked like in the last reblog of this.

sure, you can standpoint epistemology me into a heartless techbro – but I find this insistence on the special position of artists to be considered for protection from technological forces frankly self invested too. we didn't get this hysteria when grocery store cashiers got replaced by self checkout machines or skilled assembly line workers got replaced by KUKA industrial arms or bookkeepers by accounting software – is it because some workers and their work involve intrinsically more valuable skills than others? if not, shouldn't we ban any technology that can potentially replace a worker? protein folding and drug discovery by AI may save lives, but its taking jobs away from older researchers who did traditional work. should we all burn down washing machines so we can have laundrywomen again? or should we argue for stronger social security and reorganise our society to enjoy reduced working hours when jobs are automated and let people pursue work that they want without market pressures?

[ineffably-human]

We're going to scream about Nandermo all week, but right now I need to talk about Baron Afanas. Because the Baron's arc, so to speak, always felt like a big part of the series DNA for me - and oh fuck did this episode deliver on why.

I think we can agree: in the show, vampire society is fucked up, right?

Vampires on their own have plenty to deal with that can make them crazy. They have to live by killing. They lose everyone from their old lives. They have to find new reasons to keep going on, forever, so shit can get decadent really fast.

But holy shit, what that's turned into in vampire society? Where you actively put cruelty over mercy, and violence over solving your problems? Death cults and scam artists roam free, but if someone has depression the best thing to do is ignore them. Someone can get their mind wiped or be locked up for centuries, and that's just what you do to your species.

--

So: the Baron's arrival is the first conflict of the whole show. The joke is about an ancient powerful creature of pants-shitting terror, vs three lesser vampires who just want to live their lives and not get murdered for being too lazy to conquer humanity. There's a lot of talk about how to please him: do you keep to the old ways, or pick up some new traditions? Decorate with flayed skin, or with glitter? And the Baron says: who cares, you're all soft and useless. All that matters is getting more control over this world, until people are cattle and we have no reason to hide anymore.

But later he confesses: that shit stopped mattering ages ago. He's not even real nobility, he's literally impotent, and he talks about doing horrible things because he doesn't know what else to say. He's angry and half-crazy from boredom. And admitting that, owning those feelings, means suddenly he has three new friends and a whole new world of things to enjoy.

There's the Baron the rest of the vampire world knows, but for one night we see the ancient, unknowable terror was just a guy. Maybe he's always been just some guy.

That fun puts him in a vulnerable position, and he's killed by the most unwitting vampire slayer in fiction. But Baron Afanas is changed. He sucks dirt for a year and still comes out of it with a new lightness and joy to him. He saves the Sire, another ancient terrifying monster everyone was eager to kill or send away. They adopt the hellhound. They get cozy and give advice. They make popsicle stick houses and go on walks. They live.

And that seemed like the end of the story until last night - when the Baron suddenly felt like the butt of a joke everyone knew but him. Spurred on by someone else who feels lonely and ignored, the Baron felt vulnerable. And he snapped back to how he lived for centuries.

'What the hell are you all doing, enjoying yourselves? We're supposed to be unhappy. We're supposed to live centuries of unhappiness, bringing pain to everyone in our path, and we're definitely not supposed to cheer up our friend who's sad.'

--

Nobody liked the Baron before Guillermo killed him, not even other powerful vampires we meet; they saw the Baron as a crazy far beyond their own crazy. But this is also how vampire society values you. It's how they measure Nandor's worth when they think he's dead, too: how old and powerful you are, how much you've been able to conquer and kill.

Vampire pods are both cliquish and aren't expected to last in the first place. If someone dies, you literally paint them out of your lives and forget. Everything we see discourages feelings, sincerity, or even basic companionship. The only way to earn respect is to be cruel. The more cruel you are, the more powerful you are. The more powerful you are, the more feared you are - the lonelier you are, the crazier you are. It's practically designed to create the Baron, or worse.

But new vampires don't behave that way. And the vampires we follow in the show don't behave that way - because they have each other, because they've been encouraged to have each other, often by Guillermo. (Holy shit, Nadja saying maybe she'd be fine dying, and Nandor immediately asking if she's okay? Nothing changes in this house, except everything does. They're not going to almost lose one of their own ever again.)

The vampires in the heart of vampire culture never seem happy to be like this. It doesn't have to be like this.

--

The Baron doesn't become a tyrannical monster for long. Because he never actually was one - and because he spends two evenings and a fireball to the face, watching Nandor and Nadja fight for Guillermo. Watching them plead and cling and defy, seeing Guillermo's earnest feelings in spite of his bloodline and the mistakes he's made. Seeing Nandor's perfect trust, and then his grief, the way he insists that Guillermo was never 'just' anything. The Baron can't find real fulfillment in hurting someone (because that ship sailed ages ago). He can't deride them for caring, because he's cared for a long time now.

And when the Baron admits that's who he is, when he says it out loud, he only gains more in his life. He finds new depth in the happiness he'd felt for a while now, because he's admitted and allowed himself to be happy. And now he has the children he's always wanted. Living together, the Baron and the Sire are still ancient and powerful - and they're also family, finding real joy together in a world that was ready to dispose of them.

"I suppose with the right company, it can be beautiful, this eternal existence."

--

There's an inherent selfishness to being a vampire, taking from someone else in order to live. But there doesn't have to be inherent cruelty, or lack of love.

They're all ready to admit they care. The Staten vampires have all cared for Guillermo or each other in their own ways this season. And Guillermo doesn't lack for flaws, but loving his monster family has never been one of them. (When he and Nandor work their shit out, they're gonna be insufferable.)

Now they just have to let the Guide in. Because she's absolutely starved for love, and vampires get pretty fucked up when they're on their own.

[writingwithfolklore]

Writing Fictional News

              Eee this is one of my biggest pet peeves in movies, games, stories, anything… As someone who reads and edits a lot of news articles for my job, I can tell soo instantly when fictional news articles or broadcasts were written by someone who has never written news before. I’m constantly saying, “hmm, they’d never publish that.”

              So here’s what you gotta know about writing (fictional) news stories.

1. They’re to the point… but not like that

This is the biggest thing I see in fiction that has news in it. People tend to write headlines that have the worst, gory details. For example,

“Student Sadie Walker murdered by 50 stabbings last night.”

While dramatic (and informative), I don’t see this as a news headline. The same situation (Sorry Sadie) may actually be reported as,

“Young woman passed away after involvement in stabbing late last night.”

              While news articles are to the point and informative, remember that they’re written for the general public. We often don’t get the super gory details (at least, not in the headline).

2. They have a pretty specific voice

While most journalism is meant to be free of bias, news is the most importantly objective. This tends to result in articles written in a more formal tone. They also follow a structure: the most specific details to the most general.

              Imagine you’re writing a piece that you’re expecting the reader to drop out at any moment. The headline is the attention grabber so your first line has the most important details of the story, so that someone can read it and know the jist.

Following our example, the first paragraph might be,

“Last night in June County a young woman was found unconscious, having suffered severe injuries. The woman was identified as Sadie Walker, a 21-year-old student attending June County University nearby. According to police reports, Walker had been walking between campus and the student dorms around midnight when she was struck and stabbed 30-50 times in the chest and back. Walker was found by a peer returning home an estimated hour after the attack and taken straight to Red Mill General hospital, where she passed away shortly after. The perpetrator is still unknown at this time.”

       Remember the 5 W’s and 1 H. Your first few lines should inform the reader of Who, What happened, Where did it happen, When did it happen, how it happened, and maybe why if you know—though since news is so timely, often the answer isn’t known right away.

3. Where the article is found in the news is telling

While a story like our example might make the front page of the paper (especially if nothing else is really going on in June County), only one story can make this top spot. Some papers are divided between the top and bottom of the page, known as “above the fold” and “below the fold”. It’s a bit more traditional format, but the ‘above the fold’ spot is the best one, because that’s the story people see when they’re passing by the newsstand, while ‘below the fold’ is another important story making the front page, but one would have to pick up the paper and unfold it to read it.

Not to mention all the stories found inside the paper. Consider how important your article is--not to your characters/plot, but to the general society your fictional newspaper is serving. Would your MC’s win at the local dog competition make the front page of big city news?

Any other news writers on here? What did I miss?

[lucysarah-c]

Following your answer on homosexuality in AoT, how would sexism in AoT be handled on both sides of the spectrum, female and male, on Paradis and in Marley?

Hi, dear! How are you?

Ah, that's such a good question. You know, I did a post about it a LONG time ago, but it’s a topic I touch on a lot in my fics and here from time to time.

I'll set the context of my reply with three ideas. First, sexism or misogyny ALWAYS exists. It exists in our society like oxygen does. In many countries, it’s not the same sexism as in the 1800s, but it still exists. Second, the Scouts PER SE are the "wokes" of their time; they don't have the same views, lives, and beliefs as regular people inside the walls. So I always think that the Scouts are a bit of an "exception" from the rest of Paradis.

Third, and I state this because my blog is Levi-centered, Levi is ALREADY a person, and in particular, a man, with a very different and unique upbringing. I DO believe that Levi has a more "modern" or "woke" view on "women," "women's rights," and "house chores" than the rest of the men. I'll simply say this: a man who saw his mother being treated like garbage because she worked as a prostitute, a man who had to raise himself, and a man who RAISED a girl out of pure heart. I hardly think he judges women on how they dress, who they sleep with, or thinks that "a man shouldn't cook or clean/take care of the kids." So Levi is kind of an exception for me. This doesn't mean he doesn't have internalized misogyny or "micro-sexism" (which I'll talk about later).

Overall, despite both societies allowing "women" in the military, I don't think their views on women or men's roles are much different. I believe there are a few clear examples of this in the manga. If my memory serves me correctly (and take this with a grain of salt because I know that Isayama gave multiple interviews, and a lot of them were edited), he said on one occasion that the Scouts were different because usually, everybody helps with all the chores, like cooking, cleaning, etc., because they work more united and as a family than the rest of the military divisions. Second, he said in one interview right after the manga ended that when he draws "military boards or higher ranks," he always keeps in mind not to add women because they aren't allowed.

Other scenes that quickly come to mind that make me think that Paradis (and I'll speak mostly of Paradis because we don't see much of Marley as a society) is a very sexist society with traditional views:

Most of the time, when we are shown military members from the Garrison OR the MPs, they are mostly men.

Which women are shown that are "recalled" from the Garrison? Riko and Anka… What role does Anka have? Being a secretary for Pixis, more or less, a very stereotypical role for a woman.

A very memorable woman from the MPs is Hitch, and there's a scene where it's clearly said that "there's only one way a woman like Hitch can get into the MPs," basically stating that she made sexual favors to get into that position.

Not a single scene from the military board or higher-up positions shows a single woman.

All the mothers of the characters shown in the story are "housewives" or "stay-at-home moms," which is absolutely fine if a woman decides to dedicate her time to her family as long as it’s a decision she made and not because she didn’t have "other options." Even Eren's mother, Carla, is shown to work as a waitress before she became a mother and a housewife.

All this makes me conclude that probably women inside the military never reach far, either because they aren't allowed (men are preferred over them, offered better positions, promoted first) or because once they get married, they are expected to become stay-at-home wives. I can clearly imagine people thinking that if you get promoted as a woman, it's because you're sleeping with your boss, or if you haven't gotten married and had kids at a certain age, "you're wasting your time" or "a woman's role is to be a mom; they only feel fulfilled like that."

This creates a power dynamic: women are expected to be wives; therefore, men are expected to be the main providers. And this is something I can see men, particularly Levi, being affected by. In my fic, I wrote once that Levi gets very offended when the reader invites or pays for him because she comes from a wealthy family. For Levi, as internalized misogyny, HIS role as a man is to provide. What kind of man is he if he's not paying? Especially for the Scouts' men, it's said that the Scouts have the lowest salaries in the military. If they can't provide, their chances of getting married are probably low. Even today, a lot of men get sensitive or offended if their wives make more money than them. Or men get irrationally jealous and butthurt if their women are more successful than them.

Another way men might get the sour end is in terms of emotional availability. While women's harsh reality is known, men's struggles often aren't. For example (one from Marley), Reiner's mother suffers a lot of social prejudice because she had a kid out of wedlock, and her only "salvation" is that Reiner becomes a warrior. Even today, men struggle with being emotionally available and having more feelings than just "lust and anger." I can totally see men all over the AoT world having to be these "very tough" guys who are only allowed to be "human" when they are alone with "their girl/wife." This happened a lot after WWI; men were sent back home with horrible memories of war and society expected them to just "toughen up and be men." Go, work, and provide for your family; and if you're suffering from everything you lived, then learn to be a man.

It's like I can literally imagine Erwin perhaps complaining that he's having a hard time, and Zackly or any other dude would be like, "You know what you need? A wife; she will take care of the rest."

"I don't have time to dedicate."

"Doesn't matter, a good wife always understands."

"… my salary isn't that good."

"Oh well, you know it's never too late for you to change divisions and settle down." pat on the back lmao end of the advice, and Erwin has the same emotional stress as before.

Overall, I think their views are probably as traditional as they were only a couple of years ago. This is completely ignorable for the sake of fanfiction and having fun; not every piece you write has to send a message or be political. But if you ask me how I think canon AoT characters are, I believe a good part of them, if not most, would be very traditional.

Hope this helps! I tried to cover everything I could remember while being as concise as possible. Thank you so much for your question!

Lots of love!

[pianokantzart]

My Theory on Pachacamac and The Iblis Trigger

There is talk about how much they changed Pachacamac from a warmongering, power hungry tribal leader, to a goofy grandpa figure, but I think the truth of Pachacamac's nature might be somewhere between the two interpretations. Despite his friendliness, you can't forget he did lead a clan that wiped out the owls with a singleminded focus on capturing Sonic and reclaiming The Master Emerald. Pachacamac, now a ghost, has visited Knuckles to tell him he needs to expand his tribe. There are no other echidnas left, so he asks the sole survivor to take on an apprentice. "Show him our customs, teach him our traditions, and soon our tribe will grow once again."

There is no acceptance or acknowledgement of the fact that the clan's current situation is the result of a bloody feud and the destruction of an entire race besides their own. There is also, unsettlingly, no acknowledgement of Tails, Sonic, or The Wachowskis as members of Knuckles' clan.

While there are questionable elements to Pachacamac's approach, his motivations are at least understandable. Knuckles is a minority– the last of his tribe and the only surviving member of his species, so of course his old chief wants to see their traditions and culture preserved.

Things only get really weird when Pachacamac takes hold of Wade– Knuckles' apprentice and the soon-to-be new addition to their clan–and rewrites history. Rather than the tale of a lone owl that the echidnas hunted down in a quest for power, the story is instead of an entire flock of owls that were the aggressors, killing off Knuckles' tribe and burning down his village for no reason other than for the sake of the slaughter.

Similarly, Knuckles isn't described as a lost child left behind, but a fellow warrior who battled alongside his father until the bitter end.

So, knowing that Pachacamac's version of events is wrought with lies leads to one very serious question: What is the true story of Knuckles' battle with Iblis? If there's one thing we know about The Echidna Clan, it's that they are fixated on raw power. They're a warrior-focused society where the best fighter gets the highest honor and the most privileges. They were the ones who crafted The Master Emerald from the seven chaos emeralds. They were the ones who tracked down Sonic when he was a child with the intention of obtaining his power, before Long Claw wiped them out in her final struggle.

And who else do we know that was accidentally unleashed in a reckless pursuit of power?

Iblis, the raw power of the sun god Solaris. Iblis, who was sealed away within a child using the power of the chaos emeralds.

Now, there's no doubt that "The Flames of Disaster" in the SCU are very different from "The Flames of Disaster" in Sonic 06. In the movie universe the flames are merely a type of wieldable power rather than the name of an apocalyptic event. However... what better way to rewrite the fact that the echidna tribe nearly caused the end of the world and locked an immortal fire demon within an echidna child, than by pretending that The Flames of Disaster is just an inherent ability Knuckles unlocked through an epic battle?

What if "The Flames of Disaster" wasn't a power he obtained through a magnificent fight, but a power he survived after it was thrusted upon him by his elders? ... What if one of the many, many reasons reasons his father didn't let him join the fight was out of fear of what would happen if he cried?

[coriphallus]

DA: The Veilguard Spoiler review pt1 - Blood Magic

alright let's do this. let's write an in-depth review of veilguard. this will be long and this will be negative and i might eventually say some good things but everything i say will be undermined with a 'BUT'.

its now been around a week since i finished the game and had some time to parse my thoughts and this is why i didnt enjoy the game; NOT why you shouldnt.

so dragon age has a very special place in my heart and i am %100 the kind that has DAO as their favourite game. i have played these games religiously, and let me prefix this by saying i was not hyped for this game, i wont lie and say i wanted bw to succeed or i hoped the game would be good etc etc. if i liked the game, it would be a surprise. alas.

so theres multiple reasons for that, but the canary in the mine for me had been the announcement on blood magic, and yeah i was not shocked after DAI but i was still disappointed. so lets start with blood magic:

Blood Magic

DA lore has changed alot over time, and just like the media it took inspiration from (ASOIAF) i was under the impression that it used unreliable narrators deliberately, just as theyve poked fun at the concept with bethanys tits. it made sense then that the people telling these stories didnt know much about blood magic therefore they couldnt explain it fully but we've known some things for certain, from the text. blood magic uses blood as its source of power instead of lyrium (blood=life force), what constitutes as blood magic is open to interpretation (i.e phylacteries), multiple groups outside of the 'civilised society' such as chasind are not so staunchly against it, knowledge on it can be passed down from a mentor and that mentor usually happens to be a spirit. it can be used to enact control over people in a literal sense and thats considered by the narrative of all DA games to be more reprehensible than burning someone alive.

now i will derail this but i swear im going somewhere with it. i grew up in a country with majority white people, some blond, most with exposed hair who lived in big cities with cobblestone roads and snowy winters and starbuckses, and who would consider themselves westerners. some religious practices i know less about than most christians know about their holidays.

where my grandma lived was at the bottom of a high slope, and once a year when we went to visit her id see a thick trail of blood trickle down from the waterway to pool on her street, and at that dinner the family (and neighbours, sometimes) would bring a myriad of dishes and we'd feast. i would see butchers shops clean their curbs with buckets of water, mopping red tinted liquid down a drain. when i grew older and we were visiting my mothers village i watched the men subdue and kill a cow that we were going to eat that night. i watched them skin it and separate the meat from its bones, explaining what parts of an animal is used for which dishes because it was their craft and a young girl showed interest. as people we always live with the knowledge that our lives depend on death, whether it be a plant or an animal. existence is not moral and clean, and death is messy. getting blood stains out of a fabric once a month is the lived reality of more than half the human population.

i was not raised religious, nobody in my close family were, i didn't feel any sort of way when those men started to pray around the cow but i knew why they did it, even if it was performative for some, for the rest they had to show respect. the cow was meant to represent somebody you cared about, offering it in their stead symbolically. it needed to be respected, it needed to be butchered without pain. save from one serving of meat, as was tradition, were donated to the food banks.

now im sure some of you are thinking 'no matter how you slice it, its still a brutal act. made more brutal by the audience deriving some form of moral superiority' and yes, i used to think that too, because what is a religious practice for them is a show to me. but it is the norm where i grew up, and in the end a cow is dead regardless because we need to eat. and some people who needed to eat more than us got to eat too.

somewhere in germany news break out that some immigrants were practicing unethical and unsanitary butcherings, you see the footage of men in kufi and puffy pants and women covered completely in black sheets get ushered out by police. they shout some things in a foreign language, speaking the name of their foreign god. they show a censored room covered in blood and gore.

so i have to ask now, when you play veilguard and see venatori torturing and exploding a halla into a puff of red smoke which image does it bring to mind, what do you think of when you hear 'ritual sacrifice'? you may not have noticed this parallel but your brain sure did, as it has been noticing for your entire life and counting, the same reason you cringe at the barbarity of people consuming raw flesh, painting their foreheads with blood, killing animals you would pet. its alien, its gross, its wrong.

i cant play this game and take it seriously with its mask yanked off, gloating about its lack of nuance every step of the way. when you hit people red stuff comes out, red stuff bad. killing bad. murder bad. that it extends more sympathy to a fantasy deer than it ever allows for living breathing people of its universe, faceless and primitive.

in other DA games there were people over there somewhere who enslaved others, built their entire civilization on the ruins of gods they cannot comprehend, practiced bloody sacrifices and rituals that doomed the world for their own power, and even in their homeland they are nothing but canon fodder to be murdered and gawked at. their traditions, religion, entire culture is less than a set dressing, because whatever grosses you out are the bad apples, because the good ones cant be anything else and still derive sympathy from the audience.

and its true, you need to be an exceptional writer to make that work, especially if you dont have any real life experience to pull from. you need to stain your hands a little, and be prepared to be called dirty.

but i see it, i see those news reports everywhere i look in the game, i see the streets being cleaned and scrubbed so the tourists wouldnt call them backwards people, unclean, less than.

ive never played a game so repulsed by and is uninterested in its own universe than DAV, in every line of dialogue i can feel it trembling in fear. my companions tell me i dont need to watch a deer getting butchered, i can look away and proceed to electrocute hundreds of masked men some of whom are talking about comically evil things like patricide.

this has always been a point of contention in the medium of video games as the most prominent way to engage with the world has been through violence, and for me the DA franchise has always managed to tackle this by allowing its main character to be messy. yes, hawke cleaves thru countless faceless raiders but theyre also an illegal immigrant trying to get by with nothing to offer to the world than their violence. warden is deliberately recruited for that same violence, the only purpose of their existence is to fight as theyre made to shed everything else from their old life. and still, still you play these characters as they are allowed to grow, heal, carve out a little space for themselves where they can laugh and joke with their peers. it is juxtaposed to that darkness in their lives that makes those moments precious.

'what is good?' the games asked, and they answered 'doesn't matter, the world can be a better place with them in it'

veilguard asks 'what is good?' and answers 'you are.'

it doesnt matter whether blood magic is bad lore-wise (and that discussion is irrelevant to this decision made by the devs), because it needs to be narratively. like tabloid news the entire premise of the story is built on it. it needs to be inaccessible to and shunned by your party and rook because they need to be 'good' and in contrast, your enemies need to be 'bad'

and like dominoes it retroactively reframes the moral stance of every game in the franchise.

so, yes, i just laughed when i saw that announcement. i didnt know what else to do. but hang on to your knickers because it gets so much worse...

[writingwithcolor]

[Running Commentary] Zombies are Zombies: Cultural Relativism, Folklore, and Foreign Perspectives

She obviously started getting into media in Japan, and (from my research into Japanese media and culture), Japan’s movies about zombies are mostly comedic, since due to traditional funerary practices the idea of zombies bringing down society is ridiculous to a lot of Japanese people. 

Rina: OP, this you? https://www.tofugu.com/japan/japanese-zombies/

Marika: Counterpoint: Parasite Eve. Resident Evil. The Evil Within. 

Rina: Literally all the grody horror game franchises that people forget were developed and written by Japanese people because the characters have names like “Leon Kennedy” and “Sebastian Castellanos” 

~ ~ ~

Based on the reception we received the last time we did one of these, the Japanese moderator team returns with another running commentary. (They’re easier to answer this way) (Several of Marika’s answers may be troll answers)

Our question today pertains to foreign perspectives on folklore—that is, how people view folklore and stories that aren’t a part of their culture. CW: for anything you’d associate with zombies and a zombie apocalypse, really.

Keep reading for necromancy, horror games, debunking the Sapir-Whorf hypothesis, Hong Kong jiangshi films, Japanese disaster prep videos, and Vietnamese idol pop...

Essentially, in my story there’s an organization who wants to end the world. They think this one woman in particular, a woman of mixed Vietnamese (irreligious, Kinh) and Japanese descent who spent her formative years in Japan, is the person to do it because she’s (for lack of a better term) a necromancer; powers are semi-normal in this world. She prefers not to use her powers overall, but when she does she mostly talks to ghosts and spirits that are giving people issues. She could technically reanimate a corpse but she wouldn’t because she feels that would be morally wrong, not to mention she couldn’t start a zombie apocalypse in the traditional sense (plague, virus, etc.) in the first place. 

(Marika (M): Your local public health officials would like to assure necromancers that reviving the dead will not provoke a zombie apocalypse. This is because necromancy is a reanimation technique, and not a pathogenic vector. Assuming that the technique does not release spores, airborne viruses, gasses, or other related physical matter that can affect neighboring corpses in a similar way, there should be no issue. However, necromancers should comply with local regulations w/r to permitting and only raise the dead with the approval of the local municipality and surviving family.)

M: I think it makes sense for most people of E. Asian descent, including Japanese and Vietnamese people, to find it culturally reprehensible to reanimate the dead. I imagine the religious background of your character matters as well. What religion(s) are her family members from? How do they each regard death and the treatment of human remains? Depending on where she grew up, I’m curious on how she got opportunities to practice outside specialized settings like morgues.

M: It’s true, space in Japan is at a premium, even for the dead. You note that most of Japan cremates, but, surely, it must have occurred to you that if there aren’t that many bodies in Japan to raise…she doesn’t exactly have much opportunity to practice with her powers, does she? I yield to our Vietnamese followers on funerary customs in Vietnam, but you may want to better flesh out your world-building logic on how necromancy operates in your story (And maybe distinguish between necromancy v. channeling v. summoning v. exorcisms). 

She obviously started getting into media in Japan, and (from my research into Japanese media and culture), Japan’s movies about zombies are mostly comedic, since due to traditional funerary practices the idea of zombies bringing down society is ridiculous to a lot of Japanese people. 

Rina (R): OP, this you? https://www.tofugu.com/japan/japanese-zombies/

M: Counterpoint: Parasite Eve. Resident Evil. The Evil Within. 

R: Literally all the grody horror game franchises that people forget were developed and written by Japanese people because the characters have names like “Leon Kennedy” and “Sebastian Castellanos” 

R: And yes, the Tofugu article uses Resident Evil and those games to support its theory, with the reason that they are set in the West. But that only suggests that Japanese people consider zombies a Western thing, not that Japanese people consider zombies nonthreatening if they were to exist. 

M: Same with vampires - series like Castlevania also use Western/ European settings and not “Vampires in Japan '' because vampires just aren't part of our folklore.

(M: Also, realistically, these series deal with individuals who quickly perish after their bodies are used as hosts for the pathogen in question, rather than the pathogen reanimating a corpse. Although the victims are initially alive, they soon succumb to the pathogen/ parasite and their organic matter then becomes an infectious vector for the disease. It should be noted, infecting ordinary, living humans with viruses to grant them elevated powers, is not only a major violation of consent and defies all recommendations made by the Belmont Report (in addition to a number of articles in the Hague Convention w/r to the use of WMDs) and is unlikely to be approved by any reputable university’s IRB committee. This is why the Umbrella Corporation are naughty, naughty little children, and honestly, someone should have assassinated Wesker for the grant money.)

R: wwww

From what I know Vietnam didn’t have a zombie movie until 2022. 

R: Do you mean a domestically produced zombie movie? Because Vietnamese people have most certainly had access to zombie movies for a long time. The Hong Kong film Mr. Vampire (1985) was a gigantic hit in Southeast Asia; you can find a gazillion copies of this movie online with Viet subs, with people commenting on how nostalgic this movie is or how they loved it as a kid. 

M: “Didn’t have a [domestic] zombie movie” is not necessarily the same thing as “Would not have made one if the opportunity had arisen.” None of us here are personifications of the Vietnamese film industry, I think it’s safe to say we couldn’t know. Correlation is not causation. It’s important to do your research thoroughly, and not use minor facts to craft a narrative based on your own assumptions.

(R: …Also, I did find a 2017 music video for “Game Over” by the Vietnamese idol Thanh Duy which features… a zombie apocalypse.)

(R: The MV has a very campy horror aesthetic and zombie backup dancers (which I love, everyone please watch this lol). But the scenes at the beginning and end where people are biting their fingers watching a threatening news report clearly establish that the zombies are considered a threat.)

So at one point, she laughs about the idea and remarks how ridiculous it is to think zombies could end the world. What I’m struggling with are other ways to show her attitude on the issue because I’d assume most non-Japanese readers wouldn’t get why she thinks like that. Are there any other ways to show why she thinks this way, especially ones that might resonate more with a Japanese reader?

R: The problem is this does not resonate in the first place. Your line of thinking is too Sapir-Whorf-adjacent. The Sapir-Whorf hypothesis, otherwise known as linguistic relativity theory, claims that language shapes cognition—that you can’t conceive of something if you can’t express it in your language. This is a very weak theory that you can easily bring evidence against: think of the last time you felt an emotion you had a hard time putting into words; just because you didn’t have the language for it doesn’t mean that you didn’t feel it, nor does it mean that you won’t be able to understand or recognize it if you feel it again. Similarly, it’s not a sound assumption to say that if some kind of subject matter does not exist in a culture, then people of that culture couldn't possibly conceive of it. This excerpt from linguist Laura Bailey sums it up quite well. 

M: Just because ghosts may be more culturally relevant doesn’t mean that zombies (or vampires, or whatever) are nonexistent in a Japanese or Vietnamese person’s imagination when it comes to horror and disaster.

R: Really,  if anything, Japanese people are much more attuned to how easily a society’s infrastructure can be destroyed by a disruptive force without adequate preparation. Japan is natural disaster central. A Japanese person would know better than anyone that if you aren’t prepared for a zombie epidemic—yeah it’s gonna be bad. 

M: Earthquakes, tsunami, typhoon, floods: Japan has robust disaster infrastructure out of necessity. 防災 or bousai, meaning disaster preparedness is a common part of daily life, including drills at workplaces, schools, and community organizations. Local government and community agencies are always looking for ways to make disaster and pandemic preparedness relevant to the public.

M: Might “zombie apocalypse prep as a proxy for disaster prep” be humorous in an ironic, self-deprecating way? Sure, but it’s not like Japanese people are innately different from non-Japanese people. Rather, by being a relatively well-off country practiced at disaster preparation with more experience than most parts of the world with many different types of disasters (and the accompanying infrastructure), it likely would seem more odd to most Japanese people within Japan to not handle a zombie apocalypse rather like might one handle a combination of a WMD/ chemical disaster+pandemic+civil unrest (all of which at least some part of Japan has experienced). Enjoy this very long, slightly dry video on COVID-19 safety procedures and preparedness using the framing device of surviving a zombie apocalypse.

M: Living in Los Angeles, I’ve often experienced similar tactics. We do a fair amount of advance and rehearsed disaster prep here as well. In elementary school, the first and last days of class were always for packing and unpacking home-made disaster packs, and “zombie apocalypse” simulations have been around since I was in middle school for all kinds of drills, including active shooter drills, like the one shown in this LAT article. The line between “prepper” and “well prepared” really comes down to degree of anxiety and zeal. So, it wouldn’t be just Japanese people who might not be able to resonate with your scene. The same could be said for anyone who lives somewhere with a robust disaster prevention culture.

M: A zombie apocalypse is not “real” in the sense of being a tangible threat that the majority of the world lives in fear of waking up to (At least, for the mental health of most people, I hope so). Rather, zombie apocalypse narratives are compelling to people because of the feelings of vague, existential dread they provoke: of isolation, paranoia, dwindling resources, and a definite end to everything familiar. I encourage you to stop thinking of the way Japanese people and non-Japanese people think about vague, existential dread as incomprehensible to each other. What would you think about zombies if they actually had a chance of existing in your world? That’s probably how most Japanese people would feel about them, too.

[dallasgallant]

Time period post: Soc’s

I just did one of these recently going over greasers and so I thought I’d go over Soc’s! Something to keep in mind is they aren’t really a subculture(really neither are our greasers) but are a defined group, clique might be the best word.

Ponyboy explains soc himself in the book by explaining its short for ‘Socialite’

Socialite:

is a person from a wealthy background who is prominent in high society. Who generally spends a significant amount of time attending various fashionable social gatherings, instead of having traditional employment.

Rich > popular

Soc does not automatically mean popularity and shouldn’t be seen as a stand in for a “popular kids”, however there’s an overlap and high likelihood they are popular but it’s not a requirement or the only aspect. The Soc’s are the rich kids.

In the sixties that likely means a two story house, two car garage, full kitchen, finished basement, central air etc. Nice new clothes and a nice car, they’re able to keep up with modern trends in just about everything. They’ll get records and stuff they like with relative ease.

There’s also the social aspect to being a social!

Being social-

Their entire life is about knowing the right people and being in the proper circles, they’re being reared to be the next proper socialites. Typically the women, men too but they’ll get a marketing, sales or board job that’s also primarily knowing people and cutting deals.

They throw ragers now but it’ll soon turn into garden parties and charity luncheons or company picnics. Building relationships and passing money around to each other and to whatever cause of the week they’ll pretend to care for or perhaps genuinely do but are so separated from everyone else it’s still tone deaf. We’re talking that kind of rich here.

For now Soc’s are still young, they may attend family events when needed but are largely left on their own to throw their own things… beer blasts, ragers. Getting in the news for their insanity but being praised in it the next day like cherry says. It’s a weird duality.

Appearance

To be a soc one has to be hyper-vigilant. One has to be presentable. One can never really be themselves or even know themselves. It’s hard to turn it off even when they’re alone, is there anything beneath that smile? Has it ever got a chance to develop? Bringing up Cherry again because she describes it so perfectly in a book that they’d talk without listening to themselves, just to talk, don’t even really know any of their friends but they’re friends because well— no one remembers.

They keep ramping up their antics just to feel something, anything. So you’re jumping greasers. You’re getting wasted. Wreckless, violent etc. might as well get it all out of your system now, it’s harder to burry when you age. They’re losing their minds a little constantly before they learn to completely harden. This is something still prevalent today amongst upper class kids.

Which, again don’t misunderstand me. They do have feelings and they are people I’m just explains how the pressures and demands of who/what they are often leads to completely losing yourself to the collective (there’s so many movies on this lol). Or just simply are lead not to care, too busy either networking or having fun to have a chance to think. Cherry mentioned something on this too, I think if they ever had a moment to stop, for silence or a sunset they’d explode. Need to fill themselves with noise and action to feel.

A lot of their more general behavior, that’s not influenced by the pressures of being Uber rich, overlaps with just plain and regular ‘popular’ kids in school. Not really knowing your friends or what you’re doing but you’re young and hot and you have fun so who cares really?

Soc = prep

While a soc isn’t interchangeable with Popular, they do tend to be. A better synonym would be the Preps/Preppies of the 1980s

Prep:

an American subculture associated with the alumni of college-preparatory schools in the Northeastern United States.

A prep is essentially a soc, just with more focus on the style of clothing and less the social aspect. It’s sort of the overlap with Soc and popular, as if you’re middle/upper middle class but popular and dress in the style you’d be considered a prep.

In the end, Soc refers to the “rich bully” whereas a Greaser is the “working class bully” as specified in my post on them. This is speaking in the stereotypical sense as the entire point of the story is people are more than the surface or stereotypes.