#i want all the worldbuilding

[kopfkino-o]

guys i'm sorry but a rejected mating bond storyline is 1000x more interesting than yet ANOTHER reluctant mates storyline. like do you not want to read a new dynamic? do you not want to explore what something like a rejected mating bond could mean for the narrative world? the characters?? the lore???

[marciaillust]

I added some colours to her :)

[puppppppppy]

littlest furth shop

@laikascomet

[cubbihue]

What would Peri’s power level be if he didn’t have his inhibitor/stabilizer wand and just went apeshit?

While Cosmo deals with too much magic in his body, Peri suffers from a slightly different issue. Cosmo has the greatest amount of magic in Fairy World. Peri is incapable of regulating his magic.

Peri cannot, not then as a child and not now in the present, control his magic. Without his inhibitor, he can easily destroy an entire realm- just as he nearly destroyed Earth as a baby. This fact has not changed, although it is less plausible today than back then.

Peri's taken extra measures in the present-day to ensure it cannot happen.

Bitties Series: [Start] > [Previous] > [Next]

Instability: [Start] > [Previous] > [Next]

[zorangezest]

may i present my kids who are all so stupid

yin -> unethical magic man

roro -> charming girl

frid -> should be banned from fire

tiller -> 14 year old

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[icewindandboringhorror]

I made a few new wax seal stamps out of clay (like the ones I did for my worldbuilding stuff forever ago), this time just of random symbols that I thought might look good done in the style of painting over the raised part of the wax or etc. :0c Some of them aren't carved deep enough to really show up that well, but overall they worked okay for being clay lol

[mahi-does-some-art]

What if, instead of the Sorcerers' Society being just a small organization with a headquarters, it was instead a hidden city or capital where not only could sorcerers go to for assistance and to get their licenses, but could safely live and learn without having to put so much effort into hiding their magic from general human public? (Something similar to Witch Hat Atelier perhaps)

A hidden away capital with houses and apartments and magical shops selling everything a sorcerer would ever need. Where they can safely converse on the street and network and apprentices can talk to each other and swap tales of their lessons and masters.

Out in the expanse of the human world, it's hard to come by each other so having a place to live like that would be great.

But also it would make Solomon getting chased out by a dragon so much funnier (or sadder) since he and the mystery apprentice would have been the ones to found the Sorcerers' Society in the first place.

He would probably own his own house there and come back there whenever there was a meeting he had to attend or some urgent matter to discuss. Solomon wouldn't stay there longer than he usually had to and his property is usually empty.

But when sorcerers usually take in an apprentice, that apprentice lives with their master in order to make the most of learning opportunities and a lot of them tend to move back to the Sorcerers' Society for convenience.

If Solomon was able to convince MC to live with him for "educational purposes" completely separate from the brothers and Devildom, who's to say he wouldn't give living amongst his peers an honest try once more?

[regheart]

there's something i find particularly annoying in this fandom and it's the way purebloods are written as highly sophisticated extremely rich and straight up a rip off of regency period novels

i understand the choice of this specific portrayal, i can see it as an approximation to historical drama, where the social restrictions are compelling and are relevant to the story, and a good writer can make any concept believable and good

HOWEVER as much as the worldbuilding on wizarding costumes (and a lot of other things) is extremely inconsistent and gets progressively worse towards the later three books, the implications that i see don't point towards this version of a sophisticated performatic elite who interacts only with itself

while i tend to see the blood status in the harry potter universe as a distinction of class and not at all a distinction of race, i don't think the difference is, in practice, as marked as it is in real world contexts, mostly because of how numerically small and insulated the wizarding community is

this post is part of my personal vendetta against purebloods as charming aristocrats & what appears to be the necessity of writing each and all of them as so very well spoken and politically savvy and never-caught-dead-speaking-to-a-half-blood

for once, the sacred twenty-eight is extra canon information and is disputed IN UNIVERSE, because it was anonymously published and received backlash for the inclusion (weasley, ollivander) and exclusion (crabbe, goyle, potter) of certain names

the malfoys are the only extremely rich family we see in canon. extra canon information tells us they made money before the statute of secrecy by trading with muggles

compare that to the potters who are also very rich (there's no scale to tell us who is the richer family), but made most of their money from the invention of sleakezy in the 20th century

the blacks are also implied to be wealthy: sirius manages to live off his inheritance after buying harry an expensive broom, and he says his grandfather likely paid for an order of merlin

there's a lot to be said about the blacks (e.g. they should have at least a couple more properties other than grimmauld place), but the big picture and the similarity with the gaunts (not about the incest, stop fixating on that) suggest they were a family in decadence by the time sirius was growing up

i believe that the implication is that neither of them had a proper job, which creates a similarity with gentry, but gentry lived off rentals and while it is possible they had a country state i don't think grimmauld place was making a lot of money

lucius malfoy also didn't work and spent a portion of his time being a school counselor (and obviously not being paid for it, as it was a way to exercise his political power over the main learning institution in his community)

it's also extra canon that the nott family had equal footing with the malfoys, so we can assume that crabbe, goyle, parkinson and bulstrode were slightly beneath them, either in social standing or money, despite the later two being part of the sacred twenty-eight (or it could appear to be so because pansy and milicent are girls)

the weasleys are obviously the main example of a poor sacred twenty-eight family, as were the gaunts

the crouch family was most like rich (they could afford a house elf), but it's likely that most of that money came from mr. crouch having a high level ministry job. his family and connections were probably an advantage to getting the job, but it's possible he wouldn't be able to maintain the lifestyle without work

longbottom, prewett and macmillan are families that appear to be very traditional, but not remarkably wealthy

other working members of the sacred twenty-eight are: horace slughorn (school teacher, but it can be argued that teaching hogwarts is a prestigious position), garrick ollivander (wand maker and shop owner, but, again, the only wand maker, which holds a certain prestige in itself), mr. burke (shop owner), arthur weasley (ministry employee), frank longbottom and kingsley shacklebolt (both aurors). amycus and alecto carrow are also temporary hogwarts teachers

the blacks married out of the sacred twenty-eight many times (max, gamp, crabbe, potter)

all of these people and every single muggleborn goes to the same school, buys magical supplies at the same place, drinks from the same pubs, etc. that alone should serve as evidence that there aren't many exclusive pureblood hangouts around

the only place that seems to attract the malfoys (arguably the richest and most important pureblood family in the 90s) and not most other people, is the knockturn alley, which is hardly a high brow sophisticated spot

except for malfoy and flint, no slytherin quidditch player during the 90s is in the sacred twenty-eight, so that's hardly a criterion for making it into the team

mulciber is not a sacred twenty-eight name, they could very well be half-bloods

tom riddle and severus snape were half-blood students who formed ties with purebloods while in school and held blood supremacist views, assimilation to a certain level was possible

[pinkseas]

the fact that siffrin's life before forgetting was good. so painfully, so obviously loved and he doesn't remember any of it, they can't remember any of it, they are not allowed to ever remember it. the stars. their cloak, craft stitched into the seams, which keeps them comfortable no matter how hot or cold, which has grown with them for as long as he's had it. the stars. the night sky. an island with lightless sand. a dormant volcano? it got cold at night. the mountains, he said. the mountains, the sea, the lightless sand, dark like the night sky. did he freeze dormont overnight, the stars suspended eternally above, or did he simply wish that deeply to see the night sky once again? the constellations. the star charts. the telescopes. the stars. the stars. the stars. the universe. wishcraft. a language no one can understand. when siffrin talked about how they learned how to wish, everyone accepted it as the 'right' way without any real hesitation, even though all of them had learned differently, been taught differently, had only ever known differently. all of their experience vs siffrin's. almost like maybe there was a right way to wish, once. a way that people knew. a way that was accepted as correct, before it was forgotten. the universe rewritten. the stars in the night sky. are the constellations the same as they were before? or have they forgotten even themselves?

who wished for that? why? how many people? why? were they on the island, from the island, off the island, from anywhere else in the world? why? what did they believe? was it a wish made of fear? a wish made for safety's sake? those on the island had no idea what was going to happen. siffrin escaped by pure coincidence, by perfect, horrible timing. if they returned, what would they go back to? everything? nothing? culture and memories and understanding and warmth and love? nonexistence? would they remember their life outside of home? those outside would not remember them. why? why? the stars, the stars, the stars. craft stitched into the cloak, so painfully, so eternally loved. they owned a boat. did they know how to sail? how to rig the boat and tie the knots and use the stars to navigate the sea? why is it gone? who wished for that? why? why? why? the universe rewritten, endlessly erasing all memory and knowledge of itself, of the island that knew and loved it so. why? dreaming of thousands of lights. nostalgic. dreaming of stars, stars, stars. wanting to cry.

they do not remember their own name.

[tryingahandinholdingapen]

I kind of want to either write or read a time travel fix-it fic where it's Tobirama who travels back in time - BUT it's not Tobirama's POV. He's only a side character. It's mainly focused on Madara and Hashirama. Occasionally Mito, Izuna, Touka

This post got real fucking long so here's a read more

Just a really funny fic where you never quite get to see what Tobirama is doing, because he's not the POV character and the other characters don't know/don't pay attention to what he's up to. But like he is doing important stuff yk he's taking advantage of that future knowledge

For example:

Madara and Hashirama meeting at the river. They've figured out/confessed to their respective clans and are discussing peace and who in their clan might or might not support them

Madara asks about Tobirama and Hashirama is like "Hm? Tobirama? Honestly I don't think he cares about the Senju-Uchiha war at all. He's far too occupied with his own war against the mold youkai."

"....The what?"

(It's not too obvious from Hashirama's POV that Tobirama keeps sneakily fucking up Zetsu's machinations, but what's significantly more difficult to ignore is that Tobirama is increasingly getting ambushed by White Zetsu drones ('mold youkai') - that he eliminates with extreme prejudice and alarming fury)

Just, stuff like that. Main plot is making peace, focused on most of the main family EXCEPT Tobirama (who is otherwise occupied and is thus rarely focused on much) and possibly Izuna. So it's all stuff about battles between the Senju and Uchiha, probably having to deal with internal issues as well (Butsuma/Tajima? Elders? Coup/assassination attempts?) and plotting how they could possibly get peace, it's stuff like negotiating with the Uzumaki + Mito's marriage to Hashirama, it's the Uchiha having to deal with one of their allied clans turning on them (barely noticed sub-plot during this where Tobirama is trying to prevent/rectify the sabotage Zetsu did to the Uchiha's fancy tablet), it's about planning for their eventual village (Hashirama finds notes on plumbing on his desk, written in Tobirama's hand - when the fuck did he have time for that? where did he even learn about plumbing?), it's about trying to get the Daimyo on side, it's about all the politics of trying to get other clans to move into the village too, it's about ah fuck bloodline thieves discovered there were plans for a shinobi village in the works and are doing a frantic attempt to kidnap/'harvest' as much as possible before the bloodline clans are too protected in the planned village so now we have to deal with this fucking trafficking ring...

The sub-plot is an Tobiizu fic where Izuna is (correctly) CONVINCED that Tobirama is Up To Something, and (incorrectly) decided it's malicious to the Uchiha et al, and has taken it upon himself to investigate and Stop Tobirama's Evil Plans At All Costs

Longsuffering Tobirama is far too busy for Izuna's bullshit. He's attempting to prevent/stop/counteract Zetsu's machinations, he's trying to kill Zetsu, he's trying to destroy the big old statue (yk the one I mean, idk what it's called, if it has a name), he's trying to make sure the bijuu are all safe and Won't get sealed into jinchuuruki OR the aforementioned statue...

(he gets distracted for a bit with a side project wherein he decides actually it would be really funny for him to convert the cave the big statue was in, into a place for the kyuubi to hang out. that takes him quite a while since he has to run Zetsu out (so many White Zetsu drones...), destroy the statue, alter the place accordingly, and then find and convince the kyuubi that actually this is a great idea - without the kyuubi just fucking eating him)

...he's trying to make life easier for Madara and Hashirama (oh, Butsuma died from a mysterious illness right before he could enact his incredibly stupid plan against the Uchiha? damn. what a shame. anyway-), he's having to reinvent everything he remembers from last time he lived through this shit because whilst some of those jutsus/techniques/inventions (cough, Edo Tensei, cough) aren't strictly necessary, some of them are VERY MUCH NEEDED

That takes. So much time. Luckily Tobirama doesn't have to do all the research over again, since he remembers it and it's incredibly unlikely anyone will call him out on it (....except Mito with regards to certain seals. he very begrudgingly does research and writes notes and invents plausible-mistakes-that-could-have-been-a-first-attempt) so for the most part he can skip straight to inventing or writing out the final project/knowledge

Some of Zetsu's machinations are incredibly annoying to counter, actually. Like at some point the blasted weed installed/had nearly installed a puppet ruler in Land of Water which, what? Why? Urgh

(Please imagine the absolutely incredible amounts of suspicion and incredulous disbelief and paranoia etc that Izuna is aiming Tobirama's way once he (eventually) discovers that the 'White Demon' is seemingly MESSING WITH POLITICS RE: WHO RULES A FOREIGN NATION?!?!?! is nobody else seeing this!! Izuna is NOT CRAZY look at this bullshit somebody needs to stop him-!)

So long story short Tobirama has a LOT on his plate and he is so so incredibly stressed. Somebody help this man. None of this shit is helped by the fact that

a) Zetsu realised very rapidly that someone was fucking with his plans, and promptly started trying to kill Tobirama off, or failing that, sabotage Tobirama's plans in turn

(thus the years long and increasingly violent 'war against mold youkai' that starts when Tobirama is like, ridiculously young, and Hashirama casually mentions to Madara)

b) Izuna. Just, Izuna. He's fucking obsessed with Tobirama (why) and also the most paranoid person ALIVE it sometimes seems, and he just, won't stop, sticking his nose in Tobirama's business, how does he seem to be fucking EVERYWHERE doesn't he have anything else to do it's not like Izuna even knows the shadow clone jutsu how is he doing this why-

(Izuna like. What could possibly be more important to my rival than ME. And anyway he can't possibly be doing anything GOOD so it's for the best I intervene really this is entirely altruistic-)

c) amongst all this, Tobirama still has to somehow maintain at least a vague, plausibly deniable, belief that he's like. A regular person, involved in only normal things. Because if anyone finds out what he's really doing, or what Zetsu really is, or that he's from the future (IZUNA GET YOUR NOSE OUT OF-), then that introduces just. SO MANY new moving parts and this is already fucking complicated enough as it is, alright? Yeah yeah yeah teamwork makes the dream work, two heads are better than one, etc, but this is essentially a war of information and manipulation between Zetsu and Tobirama and when your main power is info+manipulation the fucking LAST thing you want is more moving parts + more people who could leak info/know your info/unintentionally fuck up your (future) knowledge. No. As much as possible he has to do this on his own. Which means he needs to act like he's doing nothing at all. Actually spend time with his family, be seen running normal missions sometimes, help in clan matters, attend the Senju-Uchiha battles when relevant...

Which is all really really hard when there's only so much time in the day. And Zetsu doesn't have to worry about 'spending time with family' or anything so any time Tobirama spends doing that instead of working towards destroying Zetsu's shit is-

(thank fuck Tobirama still remembers how he invented shadow clones, is all he can say. thank fuck for that)

Over time Tobirama increasingly gets a handle on his terrifyingly long to-do list, which means that 'Izuna is being really annoying and following me almost all the time' moves up his priority list. Eventually Tobirama figures out that the easiest way to get Izuna to stop GETTING IN THE GODDAMN WAY is to just. Humour him. Give him attention. Yes yes you are the most important person in my life and all this inconvenient shit is just stopping me from devoting my energy to fighting you now if you could just put that lady over there under a genjutsu and- (Tobirama trying to get Izuna to help un-fuck Land of Water, it only sort of works)

At some point they fuck because Tobirama's stress levels are at an all-time high and he needs SOME sort of outlet. (Could be entirely sane+consensual (relatively. given who we're talking about) or it could be dubcon) and Izuna actually chills the fuck out for an entire ten hours afterwards. Amazing. Clearly they'll have to do this again

So they do

(yandere4yandere tobiizu for the win. Tobirama starts out normal (again, relatively, considering who we're talking about) whilst Izuna approached everything about Tobirama in a completely sideways obsessive way from the start, but Tobirama gradually starts to also get more obsessive/possessive over time. Like what do you mean the one person who has followed me unquestioningly for years and wants to kill me and kissed me yesterday and volunteered to help me fight a bijuu might LEAVE?? no. fuck you)

(Izuna with a hiraishin marker tattoo-)

anyway back to 'things even further complicating Tobirama's life':

optional letter d) Tobirama is trying so hard to seem normal and not like he's from the future or fighting an evil mold-plant-creature that wants to revive his mom from the moon. So, so hard. But alas, facts work against him

Like, I mean, imagine from an in-universe perspective. There's this guy with really weird colouring, he's known as the 'White Demon', he's better at suiton than anyone else alive and if you've seen him even SLIGHTLY try it's terrifying (think: drowning on dry land, sudden rain/storm/tsunami, blood ripped from a dozen bodies in half as many seconds-), there's? more than one of him? HOW IS THAT POSSIBLE and he's so fucking hard to kill but even when you kill him he just. doesn't. die. (friendly reminder that Tobirama is abusing shadow clones like nobody's business in an attempt to stay on top of his insane amount of work to do -> yk, the jutsu he invented, that doesn't work like any other clone jutsu, and that in this timeline he has thus far told nobody about. someone destroys a shadow clone and is incredibly alarmed that theres 1) no corpse 2) the White Demon is STILL ALIVE after they KNOW they killed him?!)

There's also rumours about him fighting/negotiating with bijuu, and quite a few witnesses to his ongoing war with 'mold youkai'

The majority of people (excepting like, people he's close to in his own clan, plus Izuna and possibly a few others) aren't sure he ever sleeps or eats or drinks, and wounds don't seem to last long (healing jutsu from the future + whilst he's sleeping/eating his shadow clone(s) are still out and about)

Then there's the insane amount of knowledge and jutsu and inventions he offers-

Long story short on top of everything else, Tobirama doesn't have to deal with people knowing he's from the future or about the whole issue with Zetsu

....He DOES have to deal with basically svery person in existence being 100% convinced he's not human, though

[elbiotipo]

I also believe that in a "tech level" approach, though of course I dislike that term, trying to get blood out of the stone of pseudo-medieval settings just constrains you. There are plenty of very, very well researched guides to medieval life and technology, mostly about Europe but you will find them about the Islamic world, Eastern Asia, and so on...

but the thing is, even with well researched settings, even with very welcome switches to other historical inspirations, it's just done and tired. We are talking about fantasy, a genre that can encompass the entirety of human imagination, and people always go back to the same time period of 476-1453 like stuck in a time loop, it's maddening.

There is a lot to talk about this but let's focus on tech for a little. Do you know how ingenious bronze age technology was? Did you read about pre-columbian cities and engineering? What about something beyond the Middle Ages, the inventions of the Renaissance or Early Modernity? I think there has been quite a lot on fantasy with industrial technology but it often feels (especially in things like popular RPGs) that it's a couple of steampunk things stacked upon a medieval-inspired world. How about a world that just skips the medieval aesthetics and goes to an industrial revolution?

And since this is fantasy, you can mix and match technology and inventions. What's more, you can explore art styles and philosophies, that's more complex to reflect but very well worth it. There is simply no need to return again and again to the tired aesthetics, true, but you can also learn how technology shaped history and do something more creative about it that researching just the same time period over and over and over.

I think we're just done with castles and plate armor.

[whenthelightisrunninglow]

remembered @hehe-hoho-ohno's misfits au it's sooooo good and i love it. CHEERS AND APPLAUSE. YAY

[spocks-kaathyra]

thoughts about the Cardassian writing system

I've thinking about the Cardassian script as shown on screen and in beta canon and such and like. Is it just me or would it be very difficult to write by hand?? Like.

I traced some of this image for a recent drawing I did and like. The varying line thicknesses?? The little rectangular holes?? It's not at all intuitive to write by hand. Even if you imagine, like, a different writing implement—I suppose a chisel-tip pen would work better—it still seems like it wasn't meant to be handwritten. Which has a few possible explanations.

Like, maybe it's just a fancy font for computers, and handwritten text looks a little different. Times New Roman isn't very easily written by hand either, right? Maybe the line thickness differences are just decorative, and it's totally possible to convey the same orthographic information with the two line thicknesses of a chisel-tip pen, or with no variation in line thickness at all.

A more interesting explanation, though, and the one I thought of first, is that this writing system was never designed to be handwritten. This is a writing system developed in Cardassia's digital age. Maybe the original Cardassian script didn’t digitize well, so they invented a new one specifically for digital use? Like, when they invented coding, they realized that their writing system didn’t work very well for that purpose. I know next to nothing about coding, but I cannot imagine doing it using Chinese characters. So maybe they came up with a new writing system that worked well for that purpose, and when computer use became widespread, they stuck with it. 

Or maybe the script was invented for political reasons! Maybe Cardassia was already fairly technologically advanced when the Cardassian Union was formed, and, to reinforce a cohesive national identity, they developed a new standardized national writing system. Like, y'know, the First Emperor of Qin standardizing hanzi when he unified China, or that Korean king inventing hangul. Except that at this point in Cardassian history, all official records were digital and typing was a lot more common than handwriting, so the new script was designed to be typed and not written. Of course, this reform would be slower to reach the more rural parts of Cardassia, and even in a technologically advanced society, there are people who don't have access to that technology. But I imagine the government would be big on infrastructure and education, and would make sure all good Cardassian citizens become literate. And old regional scripts would stop being taught in schools and be phased out of digital use and all the kids would grow up learning the digital script.

Which is good for the totalitarian government! Imagine you can only write digitally. On computers. That the government can monitor. If you, like, write a physical letter and send it to someone, then it's possible for the contents to stay totally private. But if you send an email, it can be very easily intercepted. Especially if the government is controlling which computers can be manufactured and sold, and what software is in widespread use, etc. 

AND. Historical documents are now only readable for scholars. Remember that Korean king that invented hangul? Before him, Korea used to use Chinese characters too. And don't get me wrong, hangul is a genius writing system! It fits the Korean language so much better than Chinese characters did! It increased literacy at incredible rates! But by switching writing systems, they broke that historical link. The average literate Chinese person can read texts that are thousands of years old. The average literate Korean person can't. They'd have to specifically study that field, learn a whole new writing system. So with the new generation of Cardassian youths unable to read historical texts, it's much easier for the government to revise history. The primary source documents are in a script that most people can't read. You just trust the translation they teach you in school. In ASIT it's literally a crucial plot point that the Cardassian government revised history! Wouldn't it make it soooo much easier for them if only very few people can actually read the historical accounts of what happened.

I guess I am thinking of this like Chinese characters. Like, all the different Chinese "dialects" being written with hanzi, even though otherwise they could barely be considered the same language. And even non-Sinitic languages that historically adopted hanzi, like Japanese and Korean and Vietnamese. Which worked because hanzi is a logography—it encodes meaning, not sound, so the same word in different languages can be written the same. It didn’t work well! Nowadays, Japanese has made significant modifications and Korean has invented a new writing system entirely and Vietnamese has adapted a different foreign writing system, because while hanzi could write their languages, it didn’t do a very good job at it. But the Cardassian government probably cares more about assimilation and national unity than making things easier for speakers of minority languages. So, Cardassia used to have different cultures with different languages, like the Hebitians, and maybe instead of the Union forcing everyone to start speaking the same language, they just made everyone use the same writing system. Though that does seem less likely than them enforcing a standard language like the Federation does. Maybe they enforce a standard language, and invent the new writing system to increase literacy for people who are newly learning it.

And I can imagine it being a kind of purely digital language for some people? Like if you’re living on a colonized planet lightyears away from Cardassia Prime and you never have to speak Cardassian, but your computer’s interface is in Cardassian and if you go online then everyone there uses Cardassian. Like people irl who participate in the anglophone internet but don’t really use English in person because they don’t live in an anglophone country. Except if English were a logographic writing system that you could use to write your own language. And you can’t handwrite it, if for whatever reason you wanted to. Almost a similar idea to a liturgical language? Like, it’s only used in specific contexts and not really in daily life. In daily life you’d still speak your own language, and maybe even handwrite it when needed. I think old writing systems would survive even closer to the imperial core (does it make sense to call it that?), though the government would discourage it. I imagine there’d be a revival movement after the Fire, not only because of the cultural shift away from the old totalitarian Cardassia, but because people realize the importance of having a written communication system that doesn’t rely on everyone having a padd and electricity and wifi.

[asha-mage]

WoT Meta: Feudalism, Class, And The Politics of The Wheel of Time

One of my long standing personal annoyances with the fantasy genre is that it often falls into the trap of simplifying feudal class systems, stripping out the interesting parts and the nuance to make something that’s either a lot more cardboard cut-out, or has our modern ideas about class imposed onto it.

Ironically the principal exception is also the series that set the bar for me. As is so often the case, Robert Jordan’s Wheel of Time is unique in how much it works to understand and convey a realistic approach to power, politics, government, rulership, and the world in general–colored neither by cynicism or idealism. How Jordan works the feudal system into his world building is no exception–weaving in the weaknesses, the strengths, and the banal realities of what it means to have a Lord or Lady, a sovereign Queen or King, and to exist in a state held together by interpersonal relationships between them–while still conveying themes and ideas that are, at their heart, relevant to our modern world.

So, I thought I’d talk a little bit about how he does that.

Defining the Structure

First, since we’re talking about feudal class systems, let's define what that means– what classes actually existed, how they related to each other, and how that is represented in Jordan’s world. 

But before that, a quick disclaimer. To avoid getting too deep into the historical weeds, I am going to be making some pretty wide generalizations. The phrases ‘most often’, ‘usually’, and ‘in general��� are going to be doing a lot of heavy lifting. While the strata I’m describing is broadly true across the majority medieval and early Renaissance feudal states these things were obviously heavily influenced by the culture, religion, geography, and economics of their country–all of which varied widely and could shift dramatically over a surprisingly small amount of time (sometimes less than a single generation). Almost nothing I am going to say is universally applicable to all feudal states, but all states will have large swathes of it true for them, and it will be widely applicable. The other thing I would ask you to keep in mind is that a lot of our conceptions of class have been heavily changed by industrialization. It’s impossible to overstate how completely the steam engine altered the landscape of socio-politics the world over, in ways both good and bad. This is already one of those things that Jordan is incredibly good at remembering, and that most fantasy authors are very good at forgetting. 

The disparity between your average medieval monarch’s standard of living and their peasants was pretty wide, but it was nothing compared to the distance between your average minimum wage worker and any billionaire; the monarch and the peasant had far more in common with each other than you or I do with Jeff Bezos or Mike Zuckerberg. The disparity between most people’s local country lord and their peasants was even smaller. It was only when the steam engine made the mass production of consumer goods possible that the wealth gap started to become a chasm–and that was in fact one of the forces that lead to the end of the feudal system and the collapse of many (though by no means all) of the ruling monarchies in Europe. I bring this up because the idea of a class system not predicated on the accumulation of capital seems pretty alien to our modern sensibilities, but it was the norm for most of history. Descent and birth mattered far more than the riches you could acquire–and the act of accumulating wealth was itself often seen as something vulgar and in many countries actively sinful. So with that in mind, what exactly were the classes of feudalism, and how do they connect to the Wheel of Time?

The Monarch and their immediate family unsurprisingly occupied the top of the societal pyramid (at least, in feudal states that had a monarch and royal family- which wasn’t all of them). The Monarch was head of the government and was responsible for administering the nation: collecting taxes, seeing them spent, enforcing law, defending the country’s borders and vassals in the event of war, etc. Contrary to popular belief, relatively few monarchs had absolute power during the medieval period. But how much power the monarch did have varied widely- some monarchs were little more than figureheads, others were able to centralize enough power on themselves to dictate the majority of state business- and that balance could shift back and forth over a single generation, or even a single reign depending on the competence of the monarch. 

The royal family usually held power in relation to their monarch, but also at the monarch’s discretion. The more power a monarch had, the more likely they were to delegate it to trusted family members in order to aid with the administration of the realm. This was in both official and unofficial capacities: princes were often required to do military service as a right of passage, and to act as diplomats or officials, and princesses (especially those married into foreign powers) were often used as spies for their home state, or played roles in managing court affairs and business on behalf of the ruler.

Beneath the monarch and their family you get the noble aristocracy, and I could write a whole separate essay just on the delineations and strata within this group, but suffice to say the aristocracy covers individuals and families with a wide range of power and wealth. Again, starting from that country lord whose power and wealth in the grand scheme of things is not much bigger than his peasants, all the way to people as powerful, or sometimes more powerful, than the monarch. 

Nobles in a feudal system ruled over sections of land (the size and quality usually related sharply to their power) setting taxes, enforcing laws, providing protection to the peasants, hearing petitions, etc. within their domains. These nobles were sometimes independent, but more often would swear fealty to more powerful nobles (or monarchs) in exchange for greater protection and membership in a nation state. Doing so meant agreeing to pay taxes, obey (and enforce) the laws of the kingdom, and to provide soldiers to their liege in the event of war. The amount of actual power and autonomy nobles had varied pretty widely, and the general rule of thumb is that the more powerful the monarch is, the less power and autonomy the nobles have, and vice versa. Nobles generally were expected to be well educated (or at least to be able to pretend they were) and usually provided the pool from which important government officials were drawn–generals, council members, envoys, etc–with some kingdoms having laws that prevented anyone not of noble descent from occupying these positions.

Beneath the nobles you get the wealthy financial class–major merchants, bankers, and the heads of large trade guilds. Those Marx referred to generally as the bourgeoisie because they either own means of production or manage capital. In a feudal system this class tended to have a good bit of soft power, since their fortunes could buy them access to circles of the powerful, but very little institutional power, since the accumulation and pursuit of riches, if anything, was seen to have negative moral worth. An underlying presumption of greediness was attached to this class, and with it the sense that they should be kept out of direct power.

That was possible, in part, because there weren't that many means of production to actually own, or that much capital to manage, in a pre-industrial society. Most goods were produced without the aid of equipment that required significant capital investment (a weaver owned their own loom, a blacksmith owned their own tools, etc), and most citizens did not have enough wealth to make use of banking services. This is the class of merchants who owned, but generally didn’t directly operate, multiple trading ships or caravans, guild leaders for craftsfolk who required large scale equipment to do their work (copper and iron foundries for the making of bells, for example), and bankers who mainly served the nobility and other wealthy individuals through the loaning and borrowing of money. This usually (but not always) represented the ceiling of what those not born aristocrats could achieve in society.

After that you get middling merchants, master craftsfolk and specialty artisans, in particular of luxury goods. Merchants in this class usually still directly manage their expeditions and operations, while the craftsfolk and artisans are those with specialty skill sets that can not be easily replicated without a lifetime of training. Master silversmiths, dressmakers, lacquer workers, hairdressers, and clockmakers are all found in this class. How much social clout individuals in this class have usually relates strongly to how much value is placed on their skill or product by their society (think how the Seanchan have an insatiable appetite for lacquer work and how Seanchan nobles make several Ebou Dari lacquer workers very rich) as well as the actual quality of the product. But even an unskilled artisan is still probably comfortable (as Thom says, even a bad clockmaker is still a wealthy man). Apprenticeships, where children are taught these crafts, are thus highly desired by those in lower classes,as it guaranteed at least some level of financial security in life.

Bellow that class you find minor merchants (single ship or wagon types), the owners of small businesses (inns, taverns, millers etc), some educated posts (clerks, scribes, accountants, tutors) and most craftsfolk (blacksmiths, carpenters, bootmakers, etc). These are people who can usually support themselves and their families through their own labor, or who, in the words of Jin Di, ‘work with their hands’. Most of those who occupy this class are found in cities and larger towns, where the flow of trade allows so many non-food producers to congregate and still (mostly) make ends meet. This is why there is only one inn, one miller, one blacksmith (with a single apprentice) in places like Emond’s Field: most smaller villages can not sustain more than a handful of non-food producers. This is also where you start to get the possibility of serious financial instability; in times of chaos it is people at this tier (and below) that are the first to be forced into poverty, flight, or other desperate actions to survive.

Finally, there is the group often collectively called ‘peasants’ (though that term is also sometimes used to mean anyone not noble born). Farmers, manual laborers, peddlers, fishers- anyone who is unlikely to be able to support more than themselves with their labor, and often had to depend on the combined labor of their spouse and families to get by. Servants also generally fit into this tier socially, but it’s important to understand that a servant in say, a palace, is going to be significantly better paid and respected than a maid in a merchant's house. This class is the largest, making up the majority of the population in a given country, and with a majority of its own number being food-producers specifically. Without the aid of the steam engine, most of a country’s populace needs to be producing food, and a great deal of it, in order to remain a functional nation. Most of the population as a result live in smaller spread out agrarian communities, loosely organized around single towns and villages. Since these communities will almost always lack access to certain goods or amenities (Emond’s Field has a bootmaker, but no candlemaker, for example) they depend on smalltime traders, called peddlers, to provide them with everyday things, who might travel from town to town with no more than a single wagon, or even just a large pack.

The only groups lower than peasants on the social hierarchy are beggars, the destitute, and (in societies that practice slavery) slaves. People who can not (or are not allowed to) support themselves, and instead must either eke out a day to day existence from scraps, or must be supported by others. Slaves can perform labor of any kind, but they are regarded legally as a means of production rather than a laborer, and the value is awarded to their owner instead. 

It’s also worth noting that slavery has varied wildly across history in how exactly it was carried out and ran the gamut from the trans-Atlantic chattel slavery to more caste or punitive-based slavery systems where slaves could achieve freedom, social mobility, or even some degree of power within their societies. But those realities (as with servants) had more to do with who their owners were than the slave’s own merit, and the majority of slaves (who are almost always seen as less than a freedman even when they are doing the same work) were performing the same common labor as the ‘peasant’ class, and so viewed as inferior.

Viewing The Wheel of Time Through This Lens

So what does all this have to do with Robert Jordan’s Wheel of Time? A lot actually, especially compared to his contemporaries in fantasy writing. Whereas most fantasy taking place in feudal systems succumbs to the urge to simplify matters (sometimes as far down to their only being two classes, ‘peasant’ and ‘royalty’) Jordan much more closely models real feudalism in his world. 

The majority of the nations we encounter are feudal monarchies, and a majority of each of their populations are agrarian farming communities overseen by a local lord or other official. How large a nation’s other classes are is directly tied to how prosperous the kingdom is, which is strongly connected to how much food and how many goods the kingdom can produce on the available land within it. This in turn, is tightly interdependent on how stable the kingdom is and how effective its government is.

Andor is the prime example: a very large, very prosperous kingdom, which is both self-sufficient in feeding itself via its large swathes of farmland (so much so that they can afford to feed Cairhien through selling their surplus almost certainly at next to no profit) and rich in mineral wealth from mines in the west. It is capable of supporting several fairly large cities even on its outskirts, as well as the very well-developed and cosmopolitan Caemlyn as its capital. This allows Andor to maintain a pretty robust class of educated workers, craftsfolk, artisans, etc, which in turn furthers the realm’s prosperity. At the top of things, the Queen presides over the entire realm with largely centralized power to set laws and taxes. Beneath her are the ‘great houses’–the only Houses in Andor besides the royal house who are strong enough that other nobles ‘follow where they lead’ making them the equivalent of Duchesses and Dukes, with any minor nobles not sworn directly to the Queen being sworn to these ten.

And that ties into something very important about the feudal system and the impact it had on our world and the impact it has on Jordan's. To quote Youtuber Jack Rackham, feudalism is what those in the science biz would call an unstable equilibrium. The monarch and their vassals are constantly in conflict with each other; the vassals desiring more power and autonomy, as the monarch works to centralize power on themselves. In feudalism there isn’t really a state army. Instead the monarch and the nobles all have personal armies, and while the monarch’s might be stronger than anyone else’s army, it’s never going to be stronger than everybody else’s. 

To maintain peace and stability in this situation everyone has to essentially play Game of Thrones (or as Jordan called it years before Martin wrote GoT, Daes Dae’mar) using political maneuvering, alliances, and scheming in order to pursue their goals without the swords coming out, and depending on the relative skill of those involved, this can go on for centuries at a time….or break apart completely over the course of a single bad summer, and plunge the country into civil war.

Cairhien is a great example of this problem. After losing the Aiel War and being left in ruins, the monarch who ultimately secured the throne of Cairhien, Galldrian Riatin, started from a place of profound weakness. He inherited a bankrupt, war torn and starving country, parts of which were still actively on fire at the time. As Thom discusses in the Great Hunt, Galddrian's failure to resettle the farmers displaced by the war left Cairhien dependent on foreign powers to feed the populace (the grain exports from Tear and Andor) and in order to prevent riots in his own capital, Galldrian choose bread and circuses to keep the people pacified rather then trying to substantially improve their situation. Meanwhile, the nobles, with no effective check on them, began to flex their power, seeing how much strength they could take away from each other and the King, further limiting the throne’s options in how to deal with the crisis, and forcing the King to compete with his most powerful vassals in order to just stay on the throne. This state of affairs ultimately resulted, unsurprisingly, in one of Galladrin’s schemes backfiring, him ending up dead, and the country plunging into civil war, every aristocrat fighting to replace him and more concerned with securing their own power then with restoring the country that was now fully plunged into ruin.

When Dyelin is supporting Elayne in the Andoran Succession, it is this outcome (or one very much like it) that she is attempting to prevent. She says as much outright to Elayne in Knife of Dreams–a direct succession is more stable, and should only be prevented in a situation where the Daughter Heir is unfit–through either incompetence or malice–to become Queen. On the flip side, Arymilla and her lot are trying to push their own agendas, using the war as an excuse to further enrich their Houses or empower themselves and their allies. Rhavin’s machinations had very neatly destabilized Andor, emboldening nobles such as Arymilla (who normally would never dream of putting forward a serious claim for the throne) by making them believe Morgase and Trakand were weak and thus easy to take advantage of. 

We also see this conflict crop up as a central reason Murandy and Altara are in their current state as well. Both are countries where their noble classes have almost complete autonomy, and the monarch is a figurehead without significantly more power than their vassals (Tylin can only keep order in Ebou Dar and its immediate surrounding area, and from what she says her father started with an even worse deal,with parts of the capital more under the control of his vassals than him). Their main unifying force is that they wish to avoid invasion and domination by another larger power (Andor for Murandy, Illian and Amadica for Altara) and the threat of that is the only thing capable of bringing either country into anything close to unity.

Meanwhile a lack of centralization has its trade offs; people enjoy more relative freedoms and social mobility (both depend heavily on trade, which means more wealth flowing into their countries but not necessarily accumulating at the top, due to the lack of stability), and Altara specifically has a very robust ‘middle class’ (or as near as you can get pre-industrialization) of middling to minor merchants, business and craftsfolk, etc. Mat’s time in Ebou Dar (and his friendship with Satelle Anan) gets into a lot of this. Think of the many many guilds that call Altara home, and how the husband of an inn owner can do a successful enough business fishing that he comes to own several crafts by his own merit. 

On the flip side both countries have problems with violence and lawlessness due to the lack of any enforced uniformity in terms of justice. You might ride a day and end up in land ruled by a Lord or Lady with a completely different idea of what constitutes, say, a capital offense, than the Lord or Lady you were under yesterday. This is also probably why Altara has such an ingrained culture of duels to resolve disputes, among both nobles and common folk. Why appeal to a higher authority when that authority can barely keep the streets clean? Instead you and the person you are in conflict with, on anything from the last cup of wine to who cheated who in a business deal, can just settle it with your knives and not have to bother with a hearing or a petition. It’s not like you could trust it anyways; as Mat informs us, most of the magistrates in Altara do the bidding of whoever is paying their bribes.

But neither Altara nor Murandy represents the extreme of how much power and autonomy nobles can manage to wrangle for themselves. That honor goes to Tear, where the nobles have done away with the monarch entirely to instead establish what amounts to an aristocratic confederacy. Their ruling council (The High Lords of Tear) share power roughly equally among themselves, and rule via compromise and consensus. This approach also has its tradeoffs: unlike Murandy and Altara, Tear is still able to effectively administer the realm and create uniformity even without a monarch, and they are able to be remarkably flexible in terms of their politics and foreign policy, maintaining trade relationships even with bitter enemies like Tar Valon or Illian.  On the flipside, the interests of individual nobles are able to shape policy and law to a much greater extent, with no monarch to play arbiter or hold them accountable. This is the source of many of the social problems in Tear: a higher sense of justice, good, or even just plain fairness all take a back seat to the whims and interest of nobles. Tear is the only country where Jordan goes out of his way, repeatedly, to point out wealth inequality and injustice. They are present in other countries, but Jordan drives home that it is much worse in Tear, and much more obscene. 

This is at least in part because there is no one to serve as a check to the nobles, not even each other. A monarch is (at least in theory) beholden to the country as a whole, but each High Lord is beholden only to their specific people, house and interests, and there is no force present that can even attempt to keep the ambitions and desires of the High Lords from dictating everything. So while Satelle Anan's husband can work his way up from a single fishing boat to the owner of multiple vessels, most fisherman and farmers in Tear scrape by on subsistence, as taxes are used to siphon off their wealth and enrich the High Lords. While in Andor ‘even the Queen most obey the law she makes or there is no law’ (to quote Morgase), Tairen Lords can commit murder, rape, or theft without any expectation of consequences, because the law dosen’t treat those acts as crimes when done to their ‘lessers’, and any chance someone might get their own justice back (as they would in Altara) is quashed, since the common folk are not even allowed to own weapons in Tear. As we’re told in the Dragon Reborn, when an innkeeper is troubled by a Lord cheating at dice in the common room, the Civil Watch will do nothing about it and citizens in Tear are banned from owning weapons so there is nothing he can do about it. The best that can be hoped for is that he will ‘get bored and go away’.

On the opposite end, you have the very very centralized Seanchan Empire as a counter example to Tear, so centralized it’s almost (though not quite) managed to transcend feudalism. In Seanchan the aristocratic class has largely been neutered by the monarchy, their ambitions and plots kept in check by a secret police (the Seekers of Truth) and their private armies dwarfed by a state army that is rigorously kept and maintained. It’s likely that the levies of the noble houses, if they all united together, would still be enough to topple the Empress, but the Crystal Throne expends a great deal of effort to ensure that doesn't happen,playing the nobles against each other and taking advantage of natural divisions in order to keep them from uniting.

Again, this has pros and cons. The Seanchan Empire is unquestionably prosperous; able to support a ridiculous food surplus and the accompanying flow of wealth throughout its society, and it has a level of equity in its legal administration that we don’t see anywhere else in Randland. Mat spots the heads of at least two Seanchan nobles decorating the gates over Ebou Dar when he enters, their crimes being rape and theft, which is a far cry from the consequence-free lives of the Tairen nobles. Meanwhile a vast state-sponsored bureaucracy works to oversee the distribution of resources and effective governance in the Empress’s name. No one, Tuon tells us proudly, has to beg or go hungry in the Empire. But that is not without cost. 

Because for all its prosperity, Seanchan society is also incredibly rigid and controlling. One of the guiding philosophies of the Seanchan is ‘the pattern has a place for everything and everything’s place should be obvious on sight’. The classes are more distinct and more regimented than anywhere else we see in Randland. The freedoms and rights of everyone from High Lords to common folk are curtailed–and what you can say or do is sharply limited by both social convention and law. The Throne (and its proxies) are also permitted to deprive you of those rights on nothing more than suspicion. To paraphrase Egeanin from TSR: Disobeying a Seeker (and presumably any other proxy of the Empress) is a crime. Flight from a Seeker is a crime. Failure to cooperate fully with a Seeker is a crime. A Seeker could order a suspected criminal to go fetch the rope for their own binding, and the suspected criminal would be expected to do it–and likely would because failure to do anything else would make them a criminal anyway, whatever their guilt or innocence in any other matter.

Meanwhile that food surplus and the resulting wealth of the Empire is built on its imperialism and its caste-based slavery system, and both of those are inherently unsustainable engines. What social mobility there is, is tied to the Empire’s constant cycle of expand, consolidate, assimilate, repeat–Egeanin raises that very point early on, that the Corenne would mean ‘new names given and the chance to rise high’. But that cycle also creates an endless slew of problems and burning resentments, as conquered populations resist assimilation, the resistance explodes into violence that the Seanchan must constantly deal with–the ‘near constant rebellions since the Conquest finished’ that Mat mentions when musing on how the Seanchan army has stayed sharp.

The Seanchan also practice a form of punitive and caste-based slavery for non-channelers, and chattel slavery for channelers. As with the real-life Ottoman Empire, some da’covale enjoy incredible power and privilege in their society, but they (the Deathwatch Guard, the so’jhin, the Seekers) are the exception, not the rule. The majority of the slaves we encounter are nameless servants, laborers, or damane. While non-channelers have some enshrined legal protections in how they can be treated by their masters and society as a whole, we are told that emancipation is incredibly rare, and the slave status is inherited from parent to child as well as used as a legal punishment–which of course would have the natural effect of discouraging most da’covale from reproducing by choice until after (or if) they are emancipated–so the primary source for most of the laborers and servants in Seanchan society is going to be either people who are being punished or who choose to sell themselves into slavery rather then beg or face other desperate circumstances. 

This keeps the enslaved population in proportion with the rest of society only because of the Empire’s imperialism- that same cycle of expand, consolidate, assimilate, repeat, has the side effect of breeding instability, which breeds desperation and thus provides a wide pool to draw on of both those willing to go into slavery to avoid starvation, and those who are being punished with slavery for wronging the state in some manner. It’s likely the only reason the Empire’s production can keep pace with its constant war efforts: conquered nations (and subdued rebellions) eventually yield up not just the necessary resources, but also the necessary laborers to cultivate them in the name of the state, and if that engine stalls for any sustained length of time (like say a three hundred year peace enforced by a treaty), it would mean a labor collapse the likes of which the Empire has never seen before.

A note on damane here: the damane system is undoubtedly one of chattel slavery, where human beings are deprived of basic rights and person hood under the law for the enrichment of those that claim ownership over them. Like in real life this state of affairs is maintained by a set of ingrained cultural prejudices, carefully constructed lies, and simple ignorance of the truly horrific state of affairs that the masses enjoy. The longevity of channelers insulates the damane from some of the problems of how slavery can be unsustainable, but in the long run it also suffers from the same structural problem: when the endless expansion stops, so too will the flow of new damane, and the resulting cratering of power the Empire will face will put it in jeopardy like nothing has before. There is also the problem that, as with real life chattel slavery, if any one piece of the combination of ignorance, lies, and prejudice starts to fall apart, an abolition movement becomes inevitable–and several characters are setting the stage for just that via the careful spreading of the truth about the sul’dam. Even if the Seanchan successfully put down an abolition movement, doing so will profoundly weaken them in a way that will necessitate fundamental transformation, or ensure collapse.

How Jordan Depicts The Relationships Between Classes

As someone who is very conscious in how he depicts class in his works, it makes sense that Jordan frequently focuses on characters interacting through the barriers of their various classes in different ways. New Spring in particular is a gold mine for this kind of insight.

Take, for example, Moiraine and Siuan’s visit to the master seamstress. A lesser writer would not think more deeply on the matter than ‘Moiraine is nobly born so obviously she’s going to be snobby and demanding, while down-to-earth Siuan is likely to be build a natural rapport and have better relationship her fellow commoner, the seamstress Tamore Alkohima’. But Jordan correctly writes it as the reverse: Tamore Alkohima might not be nobly born, but she is not really a peasant either–rather she belongs to that class of speciality artisans, who via the value placed on her labor and skill, is able to live quite comfortably. Moiraine is much more adept at maneuvering this kind of possibly fraught relationship than Siuan is. Yes, she is at the top of the social structure (all the more so since becoming Aes Sedai) but that does not release her from a need to observe formalities and courtesies with someone who, afterall, is doing something for Moiraine that she can not do for herself, even with the Power. If Moiraine wants the services of a master dressmaker, the finest in Tar Valon, she must show respect for both Tamore Alkohima and her craft, which means submitting to her artistic decisions, as well as paying whatever price, without complaint.

Siuan, who comes from the poor Maule district in Tear, is not used to navigating this kind of situation. Most of those she has dealt with before coming to the Tower were either her equals or only slightly above her in terms of class. She tries to treat Tamore Alkohima initially like she most likely treated vendors in the Maule where everyone is concerned with price, since so many are constantly on the edge of poverty, and she wants to know exactly what she is buying and have complete say over the final product, which is the practical mentality of someone to whom those factors had a huge impact on her survival. Coin wasted on fish a day from going bad, or netting that isn’t the right kind, might have meant the difference between eating that week or not, for a young Siuan and her father. 

Yet this this reads as an insult to Tamore Alkohima, who takes it as being treated with mockery, and leads to Moiraine needing to step in to try and smooth things over, and explain to Siuan-

“Listen to me, Siuan and do not argue.” she whispered in a rush. “We must not keep Tamore waiting long. Do not ask after prices: she will tell us after we make our selections. Nothing you buy here will be cheap, but the dresses Tamore sews for you will make you look Aes Sedai as much as the shawl does. And it is Tamore, not Mistress Alkohima. You must observe the properties or she will believe you are mocking her. But try thinking of her as a sister who stands just a little above you. A touch of deference is necessary. Just a touch, but she will tell you what to wear as much as she asks.” “And will the bloody shoe maker tell us what kind of slippers to buy and charge us enough to buy fifty new sets of nets?” “No.” Moiraine said impatiently. Tamore was only arching one eyebrow but her face may as well have been a thunderhead. The meaning of that eyebrow was clear as the finest crystal. They had already made the seamstress wait too long, and there was going to be a price for it. And that scowl! She hurried on, whispering as fast as she could. “The shoemaker will make us what we want and we will bargain the price with him, but not too hard if we want his best work. The same with the glovemaker, the stockingmaker, the shiftmaker, and all the rest. Just be glad neither of us needs a hairdresser. The best hairdressers are true tyrants, and nearly as bad as perfumers.”

-New Spring, Chapter 13: Business in the City.

Navigating the relationship between characters of a different class is something a of a running theme throughout New Spring–from Moiraine’s dealing with the discretion of her banker (‘Another woman who knew well her place in the world’ as Moiraine puts it), to having to meet with peasants during her search for the Dragon Reborn (and bungling several of those interactions), to wading through the roughest criminal parts of Chachin in search of an inn, and frequently needing to resort to the Power to avoid or resolve conflict. Moiraine’s ability to handle these situations is tightly tied to her experience with the people involved prior to her time as a Novice, but all hold up and give color to the class system Jordan presents. It also serves as set up so that when Moraine breaks the properties with a different seamstress near the end of the book, it can be a sign of the rising tension and the complex machinations she and Siuan find themselves in.

Notably, Moiraine and Siuan’s relative skill with working with people is strongly related to their backgrounds: the more Moiraine encounters people outside her lived experience as a noble daughter in Cairhien, the more she struggles to navigate those situations while Siuan is much more effective at dealing with the soldiers during the name-taking sequence (who are drawn mostly from the same class as her–common laborers, farmers, etc), and the people in Chachin, where she secures an lodging and local contacts to help in the search with relative ease.

Trying to navigate these waters is also something that frequently trips up characters in the main series as well, especially with the Two Rivers folk who are, ultimately, from a relatively classless society that does not subscribe to feudal norms (more on that below). All of them react to both moving through a society that does follow those norms, and later, being incorporated into its power structures in different, frequently disastrous ways.

Rand, who is not used to the complicated balance between vassal and monarch (which is all the more complicated as he is constantly adding more and more realms under his banner) finds imposing his will and leading the aristocrats who swear fealty to him incredibly difficult. While his reforms are undoubtedly good for the common folk and the general welfare of the nations he takes over, he is most often left to enforce them with threats and violence, which ultimately fuel resistance, rebellion, and more opposition to him throughout the nations he rules, and has down-the-line bad ripple effects on how he treats others, both noble and not, who disagree with him. 

Rand also struggles even with those who sincerely wish to serve and aid him in this context: he is awkward with servants, distant with the soldiers and warriors who swear their lives to him, and even struggles with many of his advisors and allies. Part of that is distrust that plagues him in general, but a big element to it is also his own outsider perspective. The Aiel frequently complain that Rand tries to lead them like a King, but that’s because they assume a wetlander King always leads by edict and command. Yet Rand’s efforts to do that with the Westland nations he takes over almost always backfire or have lasting consequences. Rand is frequently trying to frequently play act at what he thinks a King is and does–and when he succeeds it’s almost always a result of Moiraine or Elayne’s advice on the subject, not his own instincts or preconceptions.

Perrin, meanwhile, is unable to hide his contempt for aristocracy and those that willingly follow them, which leads to him both being frequently derelict in his duties as a Lord, and not treating his followers with a great deal of respect. Nynaeve has a similar problem, where she often tries to ‘instill backbone’ into those lower in the class system then her, then comes to regret it when that backbone ends up turned on her, and her leadership rejected or her position disrespected by those she had encouraged to reject leadership or not show respect to people in higher positions.

Interestingly, it’s Mat that most effectively manages to navigate various inter-class relationships, and who via the Band of the Red Hand builds a pretty equitable, merit-based army. He does this by following a simple rule: treating people how they wish to be treated. He accepts deference when it’s offered, but never demands it. He pushes back on the notion he’s a Lord often, but only makes it a serious bone with people who hold the aristocracy in contempt. He’s earnest in his dealings, fair minded, and good at reading social situations to adapt to how folks expect him to act, and when he breaches those expectations it’s usually a deliberate tactical choice. 

This lets him maintain strong friendships with people of all backgrounds and classes– from Princes like Beslan to horse thieves like Chel Vanin. More importantly, it makes everyone under his command feel included, respected, and valued for what they are. Mat has Strong Ideas About Class (and about most things really), but he’s the only Two Rivers character who doesn't seem to be working from an assumption that everyone else ought to live by his ideals. He thinks anyone that buys into the feudal system is mad, but he doesn't actually let that impact how he treats anyone–probably from the knowledge that they think he’s just as mad.

Getting Creative With the Structure

The other thing I want to dig into is the ways in which Jordan, via his understanding of the feudal system, is able to play with it in creative and interesting ways that match his world. Succession is the big one; who rules after the current monarch dies is a massively important matter since it determines the flow of power in a country from one leader to the next. The reason so many European monarchies had primogeniture (eldest child inherits all titles) succession is not because everyone just hated second children, it’s because primogeniture is remarkably stable. Being able to point to the eldest child of the monarch and say them, that one, and their younger sibling if they're not around, and so on is very good for the transition of power, since it establishes a framework that is both easy to understand and very very hard to subvert. Pretty much the only way, historically, to subvert a primogeniture succession is for either the heir’s blood relationship to the monarch or the legitimacy of their parent’s marriage to be called into question.

And yet despite that, few of the countries in Jordan's world actually use primogeniture succession. Andor does, as do some of the Borderlands, but the majority of  monarchies in Randland use elective succession, where the monarch is elected from among the aristocratic class by some kind of deliberative body. This is the way things are in Tarabon, Arad Doman,Ghealdan, Illian, and Malkier, who all elect the monarchs (or diarchs in the case of Tarabon- where two rulers, the Panarch and the King, share power) via either special council or some other assembly of aristocrats. 

There are three countries where we don’t know the succession type (Arafel, Murandy, and Amadicia) but also one we know for sure doesn't use primogeniture succession: Cairhien. We know this because Moiraine’s claim to the Sun Throne as a member of House Damodred is seen as as legitimate enough for the White Tower to view putting her on the Sun Throne as a viable possibility, despite the fact that she has two older sisters whose claims would be considered superior to her own under primogeniture succession. We never find out for sure in the books what the succession law actually is (the country never stabilizes for a long enough period that it becomes important), but if I had to guess I would guess that it’s designated,where the monarch chooses their successor prior to their death, and that the civil war that followed the Aiel War was the result of both Laman and his designated heir(s) dying at the Bloodsnows (we are told by Moiraine that Laman and both his brothers are killed; likely one of them was the next in line).

One country that we know for sure uses designated succession is Seanchan, where the prospective heir is still chosen from among the children of the Empress, but they are made to compete with each other (usually via murder and plotting) for the monarch’s favor, the ‘best’ being then chosen to become the heir. This very closely models how the Ottoman Empire did succession (state sanctioned fratricide) and while it has the potential to ensure competence (by certain metrics, anyways) it also sows the seeds of potential instability by ensuring that the monarch is surrounded by a whole lot of people with bad will to them and feelings of being cheated or snubbed in the succession, or else out for vengeance for their favored and felled candidate. Of course, from the Seanchan’s point of view this is a feature not a bug: if you can’t win a civil war or prevent yourself from being assassinated, then you shouldn’t have the throne anyways.

Succession is far from the only way that Jordan plays with the feudal structure either. Population is something else that is very present in the world building, even though it’s only drawn attention to a handful of times. In our world, the global population steadily and consistently rose throughout the middle ages and the Renaissance (with only small dips for things like the plague and the Mongol Invasion), then exploded with the Industrial Revolution and has seen been on a meteoric climb year over year (something that may just now be stabilizing into an equilibrium again, only time will tell). This is one of the pressures that led to the collapse of feudalism in the real world, as a growing aristocratic class was confronted with finite land and titles, while at the same time the growing (and increasingly powerful) wealthy financial class of various countries were beginning to challenge the traditions and laws that kept them out of direct power. If you’ve ever read a Jane Austen novel (or really anything from the Georgian/Regency/Victorian eras) this tension is on display. The aristocratic class had never been as secure as people think, but the potential to fall into poverty and ruin had never been a greater threat, which had ripple effects for the stability of a nation, and in particular a monarch who derived much of their power from the fealty of their now-destabilized vassals.

In Jordan’s world however, we are told as early as The Great Hunt that the global population is steadily falling, and has been since the Hundred Years’ War (at least). No kingdom is able to actually control all the territory it has on a map, the size of armies have in particular shrunk consistently (to the point where it’s repeatedly commented on that the armies Rand puts together, some of no more than a few thousand, are larger than any ‘since Artur Hawkwing's day’), large swathes of land lay ungoverned and even more uninhabited or settled. Entire kingdoms have collapsed due to the inability of their increasingly small populations to hold together. This is the fate of many of the kingdoms Ingtar talks about in the Great Hunt: Almoth, Gabon, Hardan, Moredo, Caralain, to name just a few. They came apart due to a combination of ineffective leadership, low population, and a lack of strong neighbors willing or able to extend their power and stability over the area.

All of this means that there is actually more land than there are aristocrats to govern it; so much so that in places like Baerlon power is held by a crown-appointed governor because no noble house has been able to effectively entrench in the area. This has several interesting effects on the society and politics of Randland: people in general are far more aware of the fragility of the nation state as a idea then they would be otherwise, and institutions (even the intractable and mysterious White Tower) are not viewed by even their biggest partisans as invulnerable or perpetual. Even the most powerful leaders are aware, gazing out constantly, as they do, at the ruins of the hundreds of kingdoms that have risen and fallen since the Breaking of the World (itself nothing more, to their understanding, then the death of the ultimate kingdom) that there are no guarantees, no promises that it all won’t fall apart. 

This conflict reflects on different characters in different ways, drawing out selfishness and cowardice from some, courage and strength from others. This is a factor in Andor’s surprisingly egalitarian social climate: Elayne and Morgase both boast that Andorans are able to speak their minds freely to their leaders about the state of things, and be listened to, and even the most selfish of leaders like Elenia Sarand are painfully aware that they stand on a tower built from ‘the bricks of the common folk’, and make a concentrated effort to ensure their followers feel included and heard. Conversely it also reflects on the extremely regimented culture of the Borderlands, were dereliction of duty can mean not just the loss of your life, but the loss of a village, a town, a city, to Trolloc raids (another pressure likely responsible for slow and steady decline of the global population). 

The Borderlanders value duty, honor, and responsibility above all else, because those are the cornerstones holding their various nations together against both the march of time and the Blight. All classes place a high value on the social contract; the idea that everyone must fulfill their duty to keep society safe is a lot less abstract when the stakes are made obvious every winter through monsters raiding your towns. This is most obvious in both Hurin and Ingtar’s behavior throughout The Great Hunt: Hurin (and the rest of the non-noble class) lean on the assurance that the noble class will be responsible for the greater scale problems and issues in order to endure otherwise unendurable realities, and that Rand, Ingtar, Aglemar, Lan (all of whom he believes to be nobly born) have been raised with the necessary training and tools to take charge and lead others through impossible situations and are giving over their entire lives in service to the people. In exchange Hurin pays in respect, obedience, and (presumably) taxes. This frees Hurin up to focus on the things that are decidedly within his ken: tracking, thief taking, sword breaking, etc, trusting that Ingtar, and later Rand, will take care of everything else.

When Hurin comes up against the feudal system in Cairhien, where the failures of everyone involved have lead to a culture of endless backstabbing and scheming, forced deference, entitlement, and mutual contempt between the parties, he at first attempts to show the Cairhienin ‘proper’ behavior through example, in the hopes of drawing out some shame in them. But upon realizing that no one in Cairhien truly believes in the system any longer after it has failed the country so thoroughly (hence the willingness of vassals to betray their masters, and nobles to abandon their oaths–something unthinkable in the Borderlands) he reverts to his more normal shows of deference to Rand and Ingtar, abandoning excessive courtesy in favor of true fealty.

Ingtar (and later Rand) feel the reverse side of this: the pressure to be the one with the answers, to hold it all together, to be as much icon and object as living person, a figure who people can believe in and draw strength from when they have none of their own remaining, and knowing at the same time that their choices will decide the fates and lives of others. It’s no mistake that Rand first meets Hurin and begins this arc in the remains of Hardan, one of those swept-away nations that Ingtar talks about having been left nothing more than ‘the greatest stone quarry for a hundred miles’. The stakes of what can happen if they fail in this duty are made painfully clear from the start, and for Rand the stakes will only grow ever higher throughout the course of the series, as number of those ‘under his charge’ slides to become ‘a nation’ then ‘several nations’ and finally ‘all the world’. And that leads into one of the problems at the heart of Rand’s character arc.

This emphasis on the feudal contract and duty helps the Borderlands survive the impossible, but almost all of them (with the exception of Saldaea) practice cultures of emotional repression and control,spurning displays of emotion as a lack of self-control, and viewing it as weakness to address the pains and psychological traumas of their day to day lives. ‘Duty is heavier than a mountain, death lighter than a feather’, ‘There will be time to sleep when you’re dead’, ‘You can care for the living or mourn the dead, you cannot do both’: all common sayings in the Borderlands. On the one hand, all of these emphasize the importance of fulfilling your duty and obligations…but on the other, all also  implicitly imply the only true release from the sorrows and wounds taken in the course of that duty is death. It is this, in part, that breaks Ingtar: the belief that only the Borderlands truly understand the existential threat, and that he and those like him are suffering and dying for ‘soft southlanders’ whose kingdoms are destined to go to ruin anyways. It’s also why he reveals his suffering to Rand only after he has decided to die in a last stand–he is putting down the mountain of his trauma at last. This is also one of those moments in the books that is a particular building block on the road to Rand’s own problems with not expressing his feelings or being willing to work through his trauma, that will swing back around to endanger the same world he is duty-bound to protect.

I also suspect strongly that this is the source of the otherwise baffling Saldean practice of….what we will call dedicated emotional release. One of the core cultural Saldean traits (and something that is constantly tripping up Perrin in his interactions with Faile) is that Saldeans are the only Borderlanders to reject the notion that showing emotion is weakness. In fact, Saldeans in general believe that shows of anger, passion, sorrow, ardor–you name it–are a sign of both strength and respect. Your feelings are strong and they matter, and being willing to inflict them on another person is not a burden or a betrayal of duty, it’s knowing that they will be strong enough to bear whatever you are feeling. I would hesitate to call even the Saldaens well-adjusted (I don’t know that there is a way to be well-adjusted in a society at constant war), but I do think there is merit to their apparent belief in catharsis, and their resistance to emotional repression as a sign of strength. Of course, that doesn't make their culture naturally better at communication (as Faile and Perrin’s relationship problems prove) but I do think it plays a part in why Bashere is such a good influence on Rand, helping push him away from a lot of the stoic restraint Rand has internalized from Lan, Ingtar, Moiraine, et al.

It also demonstrates that a functioning feudal society is not dependent on absolute emotional repression, or perfect obedience.  Only mutual respect and trust between the parties are necessary–trust that the noble (or monarch) will do their best in the execution of their duties, and trust that the common folk in society will in turn fulfill their roles to the best of their ability. Faile’s effectiveness as Perrin’s co-leader/second in command is never hindered or even implied to be hindered by her temperament or her refusal to hide/repress her emotions. She is arguably the one who is doing most of the actual work of governing the Two Rivers after she and Perrin are acclaimed their lord and lady: seeing to public works projects, settling disputes, maintaining relationships with various official groups of their subjects.

The prologue from Lord of Chaos (a favorite scene of mine of the books) where Faile is holding public audience while Perrin is off sulking ‘again’ is a great great example of this; Faile is the quintessential Borderland noble heir, raised all her life in the skills necessary to run a feudal domain, and those skills are on prime display as she holds court. But that is not hindered by her willingness to show her true feelings, from contempt of those she thinks are wasting her time, to compassion and empathy to the Wisdoms who come to her for reassurance about the weather. This is one of those things that Perrin has to learn from her over the course of the series–that simply burying his emotions for fear they might hurt others is not a healthy way to go about life, and it isn’t necessary to rule or lead either. His prejudices about what constitutes a ‘good’ Lord (Lan, Agelmar, Ingtar) and a ‘bad’ one (literally everyone else) are blinding him, showing his lack of understanding of the system that his people are adopting, and his role in it.

Which is a nice dovetail with my next bit–

Outsiders And the Non-Feudal State

Another way Jordan effectively depicts the Feudal system is by having groups who decidedly do not practice it be prominent throughout the series–which is again accurate to real life history, where feudalism was the mode of government for much of (but by no means all) of Medieval and Renaissance Europe, but even in Europe their were always societies doing their own thing, and outside of it, different systems of government flourished in response to their environments and cultures; some with parallels to Feudalism, many completely distinct.

The obvious here are the Aiel who draw on several different non-feudal societies (the Scottish Highland Clans, the Iroquois Confederation, the Mongols, and the Zulu to name just a few) and the Seafolk (whose are a combination of the Maori and the Republic of Piracy of all things), but also firmly in these categories are groups like the communities in the Black Hills, Almoth Plain, and the Two Rivers.

Even though it’s an agrarian farming community made up primarily of small villages, the Two Rivers is not a feudal state or system. We tend to forget this because it looks a lot like our notion of a classic medieval European village, which our biases inherently equate to feudal, but Jordan is very good at remembering this is not the case, and that the Two Rivers folk are just as much outsiders to these systems as the Aiel, or the Seafolk. 

Consider how often the refrain of ‘don’t even know they’re part of the Kingdom of Andor’ is repeated in regards to the Two Rivers, and how much the knowledge of Our Heroes about how things like Kingdoms, courts, war, etc, are little more than fairy tales to the likes of those Two Rivers, while even places unaffected directly by things like the Trakand Succession or the Aiel War are still strongly culturally, economically, and politically impacted. 

Instead of deriving power and justice from a noble or even a code of law, power is maintained by two distinct groups of village elders (The Village Council and the Women’s Circle) who are awarded seats based on their standing within the community. These groups provide the day-to-day ordering of business and resolving of conflicts, aiding those in need and doing what they can for problems that impact the entire community. The Wisdom serves as the community physician, spiritual advisor, and judge (in a role that resembles what we know of pre-Christian celtic druids), and the Women’s Circle manages most social ceremonies from marriages to betrothals to funerals, as well as presiding over criminal trials (insofar as they even have them). The Mayor manages the village economics, maintaining relationships and arbitrating deals with outsider merchants and peddlers, collecting and spending public funds (through a volunteer collection when necessary, which is how we’re told the new sick house was built and presumably was how the village paid for things like fireworks and gleeman for public festivals), while the Council oversees civil matters like property disputes. 

On the surface this seems like an ideal community: idyllic, agrarian, decentralized, where everyone cares more about good food and good company and good harvests than matters of power, politics, or wealth, and without the need for any broader power-structure beyond the local town leaders. It’s the kind of place that luddites Tolkien and Thomas Jefferson envisioned as a utopia (and indeed the Two Rivers it the most Tolkien-y place in Randland after the Ogier stedding, of which we see relatively little), but I think Jordan does an excellent job of not romanticizing this way of life the way Tolkien often did. Because while the Two Rivers has many virtues and a great deal to recommend it, it also has many flaws.

The people in the Two Rivers are largely narrow minded and bigoted, especially to outsiders; The day after Moiraine saves the lives of the entire village from a Trolloc attack, a mob turns up to try and burn her out, driven by their own xenophobia and fear of that which they don’t understand. Their society is also heavily repressed and regressive in its sex norms and gender relations: the personal lives of everyone are considered public business, and anyone living in a fashion the Women’s Circle deems unsuitable (such as widower and single father Tam al’Thor) is subject to intense pressure to ‘correct’ their ways (remarry and find a mother for Rand). There is also no uniformity in terms of law or government, no codified legal code, and no real public infrastructure (largely the result of the region’s lack of taxes). This is made possible by the geographic isolation and food stability–two factors that insulate the Two Rivers from many of the problems that cause the formation or joining of a nation state. It’s only after the repeated emergence of problems that their existing systems can not handle (Trolloc raids, martial law under the White Cloaks, the Endless Summer, etc) that the Two Rivers folk begin adopting feudalism, and even then it’s not an instantaneous process, as everyone involved must navigate not just how they are going to adopt this alien form of government, but how they are going to make it match to their culture and history as well.

This plays neatly with the societies that, very pointedly, do not adopt feudalism over the course of the series. The Aiel reject the notion entirely, thinking it as barbaric and backward as the Westerlanders think their culture is–and Jordan is very good at showing neither as really right. The Aiel as a society have many strengths the fandom likes to focus on (a commitment to community care, a strong sense of collective responsibility, a flexible social order that is more capable of accounting for non-traditional platonic and romantic relationships, as well as a general lack of repressive sex norms) but this comes at a serious cost as well. The Aiel broadly share the Borderlander’s response of emotional suppression as a way of dealing with the violence of their daily life, as well as serious problems with institutionalized violence, xenophobia, and a lack of respect for individual rights and agency. Of these, the xenophobia is probably the most outright destructive, and is one of the major factors Rand has to account for when leading the Aiel into Cairhien, as well a huge motivating factor in the Shaido going renegade, and many Aiel breaking clan to join them–and even before Rand’s arrival it manifested as killing all outsiders who entered their land, except for Cairhienin, whom they sold as slaves in Shara.

And yet, despite these problems Jordan never really suggests that the Aiel would be better off as town-or-castle dwelling society, and several characters (most notably the Maidens) explicitly reject the idea that they should abandon their culture, values, and history as a response to the revelations at Rhuidean. Charting a unique course forward for the Aiel is one of the most persistent problems that weighs on the Wise Ones throughout the second half of the series, and Aviendha in particular. Unlike many of the feudal states faced with Tarmon Gai’don, the Aiel when confronted with the end of days and the sure knowledge of the destruction of their way of life are mostly disinterested in ignoring, running from, or rejecting that revelation (those that do, defect to the Shaido). Their unique government and cultural structure gives them the necessary flexibility to pivot quickly to facing the reality of the Last Battle, and to focus on both helping the world defeat the Shadow, and what will become of them afterwards. This ironically, leaves them in one of the best positions post-series, as the keepers of the Dragon’s Peace, which will allow them to hold on to many of their core cultural values even as they make the transition to a new way of life, without having to succumb to the pressures to either assimilate into Westlands, or return to their xenophobic isolationism.

The Seafolk provide the other contrast, being a maritime society where the majority of the people spend their time shipboard. Their culture is one of strong self-discipline and control, where rank, experience, and rules are valued heavily, agreements are considered the next thing to sacred, and material prosperity is valued. Though we don’t spend quite as much time with them as the Aiel, we get a good sense of their culture throughout the mid-series. They share the Aiel’s contempt for the feudal ‘shorebound’, but don’t share their xenophobia, instead maintaining strong trade relationships with every nation on navigable water, though outside of the context of those trade relationships, they are at best frosty to non-Seafolk. 

They are not society without problems–the implication of their strong anti-corruption and anti-nepotism policies is that it’s a serious issue in their culture, and their lack of a centralized power structure outside of their handful of island homes means that they suffer a similar problem to the likes of Murandy and Altara, where life on one ship might be radically different then life on another, in terms of the justice or treatment you might face, especially as an outsider. But the trade off is that they have more social mobility then basically any other society we see in Randland. Even the Aiel tend to have strongly entrenched and managed circles of power, with little mobility not managed by the Wise Ones or the chiefs. But anyone can rise high in Sea Folk society, to become a leader in their clan, or even Mistress of the Ships or Master of the Blades– and they can fall just as easily, for shows of incompetence, or failures to execute their duties. 

They are also another society who is able to adapt to circumstances of Tamon Gai’don relatively painlessly, having a very effective plan in place to deal with the fallout and realities of the Last Battle. The execution gets tripped up frequently by various factors, but again, I don’t think it’s a mistake that they are one of the groups that comes out the other side of the Last Battle in a strong position, especially given the need that will now exist to move supplies and personnel for rebuilding post-Last Battle. The Seafolk have already begun working out embassies in every nation on navigable water, an important step to modernizing national relationships.

How does all this relate to feudalism and class? It’s Jordan digging into a fundamental truth about the world and people–at no point in our own history have we ever found a truly ‘perfect’ model for society. That’s something he’s constantly trying to show with feudalism–it is neither an ideal nor an abomination, it just is. Conversely, the Two Rivers, Aiel, Seafolk, and Ogier (who I don’t get into to much here for space, but who also have their own big problems with suffrage and independence, and their virtues in terms of environmental stability and social harmony) all exist in largely classes societies, but that doesn't exempt them from having problems or make them a utopia, and it certainly doesn't make them lesser or backwards either–Jordan expends a lot of energy to show them as complex, nuanced and flawed, in the same way he does for his pseudo-Europe.

Conclusion

To restate my premise: one of Jordan’s profound gifts as a writer is his capacity to set aside his own biases and write anything from his villains to his world with an honest, empathetic cast that defies simplification. Feudalism and monarchy more generally have a bad rep in our society, for good reasons. But I think either whitewashing or vilifying the feudal system is a mistake, which Jordan’s writing naturally reflects. Jordan is good at asking complicating questions of simple premises. He presents you with the Kingdom of Andor, prosperous and vast and under the rule of a regal much loved Queen and he asks ‘where does its wealth come from? How does it maintain law and order? How does the Queen exert influence and maintain her rule even in far-flung corners of the realm? How did she come to power in the first place and does that have an impact on the politics surrounding her current reign?’. And he does this with every country, every corner of his world–shining interesting lights on familiar tropes, and exploring the humanity of these grand ideas in a way that feels very real as a result.

The question of, is this an inherently just system is never really raised because it’s a simplifying question, not a complicating one. Whatever you answer–yes or no–does not add to the depiction of these systems or the people within them, it takes away. You make someone flat–be it a glorious just revolutionary opposing a cackling wicked King, or a virtuous and dutiful King suppressing dangerous radical dissidents, and you make the world flatter as a result. 

I often think about how, when I began studying European history, I was shocked to learn that the majority of the royalists who rose up against the Jacobins were provincial peasants, marching against what they perceived to be disgruntled, greedy academic and financial elites. These were, after all, the same people that the Jacobins’ revolution claimed to serve and be doing the will of. Many of the French aristocrats were undeniably corrupt, indolent, and detached from their subjects, but when you look closer at the motives of many of the Jacobins you discover that motives were frequently more complex then history tends to remember or their propaganda tried to claim, and many were bitterly divided against each other on matters of tactics, or ideals, or simple personality difference. The simple version of the French Revolution assigns all the blame to the likes of Robespierre going mad with power, and losing sight of the revolutions’ higher ideals, but the truth was the Jacobins could never properly agree on many of their supposed core ideals, and Robespierre, while powerful, was still one voice in a Republic–and every person executed by guillotine was decreed guilty by a majority vote.

This is the sort of nuance lost so often in fantasy stories, but not in Jordan’s books. The story could be simpler–Morgase could just be a just and good high Queen archetype who is driven by love of her people, but Jordan depicts her from the beginning as human–with virtues and flaws, doing the best she can in the word she has found herself. Trying to be a just and good Queen and often succeeding, and sometimes falling short of the mark. The Tairen and Cairhienin nobility could just all be greedy, corrupt, out-of-touch monsters who cannot care for anything beyond their own pleasures–but for every Laman, Weairamon, or Colavaere, you have Dobraine, Moiraine, or Darlin. And that is one of the core tenets of Jordan’s storytelling: that there is no system wholly without merit or completely without flaw, and no group of people is ever wholly good or evil.

By taking this approach, Jordan’s story feels real. None of his characters or world come across like caricature or parody. The heinous acts are sharper and more distinct, the heroic choices more earned and powerful. Nothing is assumed–not the divine right of kings, or the glorious virtue of the common man. This, combined with a willingness to draw on the real complex histories of our own world, and work through how the unique quirks of fantasy impact them, is what renders The Wheel Of Time such a standout as a fantasy series, past even more classic seminal examples of the genre, and why its themes of class, duty, power, and politics resonate with its modern audiences.

[nessacousland]

Well, I finally finished Dragon Age: Friendship is Magic and that is *my* biggest regret.