#is this an extension of america core???????????????????????????

[wyllzel]

i know it's bc American institutions have essentially rebranded themselves as fashion labels (?) in Korea, but it will never not be mind-bending to see kpop idols wearing like. NFL and UCLA merch. like what does he know about the triumphs and defeats, the epic highs and lows of college football???

[wilwheaton]

I don’t like to think in conspiratorial ways. But DOGE currently has far deeper and far more extensive access to U.S. government computer systems — and is far deeper into the national security space — than is conceivably necessary for anything related to their notional brief and goals. I don’t just mean this about the front-facing notional goals of making the federal government “efficient.” I mean it as well in the most sinister versions of the group’s goals — hollowing out the federal bureaucracy, destroying oversight agencies which pose threats to Musk’s business interests, building centralized command and control over budgets, employment, personal data, etc., etc.

DOGE Dives Into Core National Defense and Data Systems Across Government

Yes, these Nazi Incels are attacking America. They all belong in federal prison for the rest of their lives.

[talenlee]

3e: Alignment Is Invisible

The entire alignment system is sick from the top to the bottom and racist too.

Content Warning: I’m going to talk smack about not just Dungeons & Dragons‘ morality system in 3rd edition, but also, in the process, talk some smack about Christians, and more specifically the Jehovah’s Witnesses. If you’re not here for that, you should find yourself a door.

Few elements of Dungeons & Dragons that lay bare its deeply incoherent roots have endured quite so long as the alignment system. Whenever discussing the alignment system, and by extension, the conception of morality presented in this game, it’s always worth remembering that the framework was devised by, and speaks to the values of, a deeply racist and misogynistic man who in addition to those larger, more structurally common biases, was also a Jehovah’s Witness and heavily informed by the way that that specific sect of American Christianity works.

I’ll spare you a detailed rundown of what I mean by American Christianity (for now, because this is about Dungeons & Dragons), but instead in the broadest strokes indicate that the alignment system that Gygax conceived of was something cosmically tracked and enforced. It was a truly objective morality system; your intention or your attitude did not matter, because there was an absolute right and an absolute wrong to each action, and characters could choose to comply with that right or not, by degrees.

This is why I say racist: It’s a hard fact in the first editions of D&D under Gygax’s most direct control that killing orc children who hadn’t done anything was a moral good; those creatures were evil creatures, and regardless of consequences killing them was good. Gygax quoted the ‘lice make nits’ line from the colonialism of the Americas to reinforce this position, but he was also quite clear that it was the act itself that had its moral valence, not the results or the intention.

This quite frankly deeply evil and immoral ethical framework was the horse to which Dungeons & Dragons 3rd Edition had to nonetheless hitch its wagon, and the resultant discord show a host of cracks in the way it’s supposed to work. Politicians who starve millions are in no ways doing anything wrong because they’re doing their jobs and there’s nothing evil in signing a piece of paper, but the people who enforce that law and keep orphans away from the food are also not doing anything wrong because they’re just upholding order. The core rulebook of 3rd edition had to try and address this framework without making it too obvious that elements of it were being thrown out the window, especially as the purpose of alignment shifted subtly in the more programmatic, more, let’s say, intentionally designed world of 3rd edition.

See, in 3rd edition, the purpose of alignment was first and foremost to let you target things. Oh sure, it was flavour, it helped to inform some monster behaviours or styles, but mostly, you were never going to scan the alignment of things you fought (not worth the effort) which meant that what alignment did was let you make reasonable guesstimates for smart-targeting of spells and effects. If you threw a spell that protected you from evil creatures into the mix it meant that you had some control over the kinds of threats you’d deal with and then prioritise them. In the purest sense, this was a reference point for magical spells.

Secondarily to that, it informed the moral valence of what you were doing and it was with the rulebooks The Book of Vile Darkness and its prettier but equally vacuous cousin The Book of Exalted Deeds that 3rd edition attempted to really roll up its sleeves and discuss morality in a way that could square the circle of previous editions’ heinous moral landscape and 3rd edition’s attempt to improve it by just rearranging some of the words.

The problem, such as it was, is that alignment was fundamentally invisible. You could have no control over what you did and how it affected you morally, because it was a matter of checking a list of subjects and determining what you did not what you thought or tried to do. If you killed a child and it turns out that child was a shapeshifted demon in disguise, the rules would say that you were in no way morally impacted by your desire to do it. If on the othe hand, you refused to kill the child that was a demon in disguise, because that’s a pretty messed up thing to want to do, then you’d failed to do a good act.

Now, the way the Book of Exalted Deeds tried to grapple with this was by presenting virtues that stood apart from the listed examples of explicitly evil acts. Doing mercy was shown as part of the tension with punishing evil and that’s a pretty good rules patch for the absolutist nature of things. It at least lets the player present something that’s within their control (why they did something) rather than one of those invisible wires around them.

One of the examples the book presented in 3rd edition was that if you climbed a cliff face, and in the process a rock fell and started an avalanche, then that avalanche killed people, then you were morally liable. In fact, a Paladin who did that kind of thing would lose access to their powers, while trying to redeem themselves for the sin of… climbing something.

The added problem with all of this is that no element of opposition or ambition cannot be framed with different moral outlooks that change nothing about how it expresses. A ruthless pursuit of justice and a sadistic love of control over criminals would both be expressed roughly similarly in a Javert-style inspector. A characte’rs own alignment, what they determine their alignment to be is something that can always be rationalised in terms of a framework of moral choices, and those intentions are going to be what informs the actual result of the test. If you’re doing everything right for an asshole reason, the world does not see you as doing evil acts, but your alignment can still be evil because there’s nothing in the world forcing you to change from your mindset of being a total prick.

The 4th edition system did try and push back against this with some interesting ideas of its own, but based on watching people talking about 5th edition games? Boy howdy they did not learn from that and instead decided to RETVRN to the worst version of the system so far.

Check it out on PRESS.exe to see it with images and links!

[calder]

Released in 2010, Obsidian Entertainment's Fallout: New Vegas actively concerns itself with the realities of gay existence, and is widely recognized as a noteworthy work of queer science fiction. New Vegas extensively examines social attitudes towards homosexuality among the game's major factions, and primarily conveys this lore through gay and bisexual characters describing their own experiences. It also allowed the player to mechanically set the Courier's sexual orientation. By taking both available perks, the player character can be bisexual. By choosing neither, the player can opt out of seeing flirtatious dialogue options.

Uniquely, Fallout: New Vegas explores homosexuality in the context of wasteland societies, and touches upon related issues. The core theme of New Vegas is that the desire to recreate the past is driven by irrational nostalgia, and any endeavor to manifest past glory is dangerous and doomed. The social issue of homophobia is used as a demonstrative example. The resurrection of corporate and military power structures presents new avenues for Old World problems such as institutional homophobia to reemerge. One of the many issues that divide the New California Republic and Caesar's Legion is the latter's open persecution of gay people. The NCR is described as tolerant and even accepting of same-sex relationships, though acceptance tends to fall off the further one moves away from the developed, urbanized core of New California. In recent years, the Republic's rapid economic transformation has led to an unforeseen erosion of the humanitarian ideals which it was founded to serve. In practice, to recreate America was to take on its shortcomings and its sins. As subsistence scavenging has dried up, the people of the NCR increasingly turn to wage labor, entrepreneurial venture, or military enlistment to keep their families fed. Meanwhile, their government enacts morally corrosive imperialism (narrative verbiage), their dominion expanding indefinitely as their infrastructure crumbles from within. This has led to a profit-based imperial monoculture which must conquer, consume, and coerce to perpetuate. As personal politics and service labor grow in importance, people find themselves more inclined to present as "normal" in the interest of financial stability and political expedience. A loading screen visualizes this culture of artificial social normalcy: the portrait of President Aradesh on the NCR 5$ bill neglects to depict his unibrow, earring, and facial scarification, overall portraying the once-chieftain so cleanly-cut as to be unrecognizable at first glance. He also appears to be wearing a collared shirt or suit as opposed to the robe he wore in Fallout.

In the Legion, Caesar has mandated that every legionnaire take a wife and produce children, citing high infant mortality rates and the constant need for soldiers, and going as far as instituting child quotas. He treats human beings as a resource to be exploited for war. Ostensibly in this aim homosexuality has been declared a capital offense punishable by death. Historically, routine demonstrations of violence towards women and gay people are a deliberate feature of fascist societies, the only logical cultural conclusion of a government devoted entirely to war and control. In Forlorn Hope letter 9, an NCR soldier wrote wrote the following to his boyfriend:

Dearest Andrew, Writing this seems pretty morbid, but tomorrow we march into the no man's land between our camp and Nelson, which is crawling with Legion. The Major insisted I write this damn "if you get this, I'm dead" letter so here it is. What a crock. I have the luck of the devil and your love on my side, so I'll be home soon. Keep the porch light on for me. We'll party in New Vegas when I get back. I love you. —Devin

Devin believed he would prevail over the Legion because his love would keep him safe. He was found dying or dead on the battlefield, the letter was found on his body. In a post-release patch, the injured soldiers were removed from the battlefield for performance reasons, and never re-implemented. Driven largely in reaction to the Legion's hyper-masculine posturing and misogyny, rumors persist across the Mojave that gay male relationships are not only common within the Legion, but condoned. These rumors are repeated commonly in NCR society. A closeted NCR Major mentions that the Legion is "a little more... forgiving" about close male "friendships," speaking in a hushed tone to avoid suspicion. At the same outpost, the player can encounter Cass, a bisexual civilian woman. She may flirt with a male Courier, who may imply they are gay, prompting her to imply gay men are more common in the Legion. Even as gay men fight and die in the name of love under his command, NCR General Oliver may remark to Courier Six at the Second Battle of Hoover Dam: "If you think after all that's happened, I'm going to grab my ankles and take it like the Legion..."

This writing pertains to institutionalized homophobia which manifests in practice though power structures and social interactions without being written into law. Simply put, in his derogatory remark, the general expresses to his army that military surrender is gay, much like their gay enemy. From the brevity and bluntness of this remark, it's clear that this sentiment is already well understood among his ranks. Logically, to project strength in the eyes of such a leader, one might also project homophobia by scrutinizing and harassing one's peers and subordinates. In this atmosphere, the expression of homophobia is not only normalized, but materially incentivized. For the ambitious, it becomes a tool, and a way of casting shame upon rivals. For the closeted, homophobia becomes a survival tactic, hoping to throw scrutiny off oneself. This is why Major Knight is immediately frightened when a male Courier flirts with him. He is so profoundly alienated that he romanticizes life as a gay man under the Legion. The Legion punish homosexuality with death, and yet Knight characterizes them as more "forgiving" than the NCR. Through these apparently disparate events, the audience can trace how a distorted perception of gay people emerges among insecure men in a military environment, and subsequently becomes ingrained in the corresponding civilian culture. At the 188 Trading Post, a lesbian from the Brotherhood of Steel named Veronica also wryly remarks that she believes legionaries have gay sex about as often as straight sex. She also notes that this only applies to men, as women have no rights whatsoever in Legion society. In this aside, she conveys a pre-existing frustration with lesbophobic social norms. Veronica also mentions that the people of her bunker would rather she remain on the surface. The Mojave Brotherhood of Steel has no official policy prohibiting homosexuality, but an implicit attitude among its dominant members that their limited numbers require everyone to have children to avoid extinction. Numerically, this may seem logical on the surface, given their reluctance to recruit outsiders. However, given their tiny population, this is an ineffective countermeasure, as they do not have nearly enough members to maintain genetic diversity for more than a few generations. This approach is not universally supported by all family units within the Brotherhood, but every individual is ultimately at the mercy of the elder. Veronica was in a lesbian relationship, but they were quietly separated by Elder Elijah, due to the dominant culture of enforcing heterosexual pairing among their population.

Caesar's law has not ended homosexuality within his domain. Despite the obvious risks, some legionaries have continued to pursue relationships behind closed doors, especially given their access to slaves. So long as members complete their societal obligations and fulfill the child quotas, they are able to pursue romance with other men in secret. Homosexual relationships in the faction are noted as being relatively equal compared to the average Legion husband and wife, in a "Don't Ask, Don't Tell" sort of open secret policy. Gay legionaries must always make sure to keep their activities hidden. A centurion was once almost caught fraternizing with the teenage boy he had chosen to tend his tent. Despite previous "romantic" intentions, he quickly resolved to dispose of the slave to dispel suspicion. Had they been caught together, the centurion would have been charged with homosexuality and sentenced to death. This story is only known because the enslaved young man, Jimmy, managed to escape execution. Further illustrating the cruelty intrinsic to Legion governance, it's stated that homosexuality was the crime, and not the rape of a young slave; in fact, it seems Jimmy was forced to contribute to the child quota despite being a gay teenager, and the experience left him traumatized. He has resolved to never have sex with another woman, as the very notion triggers memories which fill him with disgust, and (in his own words) makes him feel like a slave all over again. The Strip is indifferent to gay people, viewing them as another opportunity to make caps. Both the Gomorrah and the Atomic Wrangler are interested in maximizing profits, and their prostitution services cater to clients regardless of their orientation. The openly gay Jimmy works at nearby Casa Madrid, but there is some tension among his peers due to his co-worker Maude's blatant homophobia. She supposes he's "okay, for one of those," and if propositioned by a female Courier, Maude will direct them to Sweetie for such "perverted" services. Pretty Sarah must regularly intervene to keep the peace among her staff.

The Followers of the Apocalypse, well-read punks who seek to embody healing through anarchistic values, are not concerned with gender. Most are openly and casually sexually active. Upon meeting Courier Six, Arcade Gannon offhandedly makes his gayness known, unprompted. The audience must face the fact that Arcade's apprehension of the Legion is far from abstract; under Legion law, he would be put to death. One possible ending gives further insight into Caesar's hypocrisy: should the player sell Arcade into slavery and leave Caesar alive, he will keep Arcade as a personal physician and philosophical advisor. They intellectually spar at length, and Caesar grows singularly fond of him. Accordingly, Arcade imitates the historic suicide of Cato the Younger by disemboweling himself. The Legion's remaining medics attempted to save his life, but none were Arcade's equal. Caesar understood his doctor's final gesture of contempt, and mourned him for months.

New Vegas ventures further into themes of healing from the trauma of sexual violence, from the perspective of a lesbian character. Corporal Betsy, an NCR sharpshooter, is a rape survivor, and suffers with PTSD from the incident. Her unprocessed trauma has manifested as a maladaptive tendency to aggressively and explicitly proposition the women she encounters, in an effort to reassert a sense of control. This defensive hypersexual impulse has negatively impacted her ability to connect with other women. A male superior officer notes that her behavior is inappropriate for anyone of her stature, but abstains from disciplining her out of sincere concern for her mental health. The Courier can help her begin to recognize these problems, and convince her to seek treatment from Doctor Usanagi at the New Vegas medical clinic, which proves helpful to her as she processes and heals from her trauma.

In Old World Blues, the Think Tank are five floating brains in jars who express themselves by waving robotic arms bearing screens depicting facial features. Before the War, they were federal scientists who committed crimes against humanity in the name of weapons development. Each is stuck in some sort of neuro-bionic feedback loop which prevents them from moving forward with their projects, mentally binding them to their central laboratory. Walking through their homes at Higgs Village, it's clear each was deeply neurotic before they were transformed into floating brains. Now without bodies, they attempt to maintain the illusion that they are exempt from sexuality as purely mental beings, but each displays obvious interest in the human form. They have codified this shaming with the term "formography." Most of the men are obsessively defensive over their complete disinterest in penises, which they talk about constantly. However, the shameless Dr. Dala shows overwhelming interest in observing and recording any and all human functions. Already androgynous in her pre-War life, Dala has taken to self-identifying as a "gender neutral entity" (though she is not known to use they/them pronouns). Regardless of the Courier's gender, they may coquettishly scratch themselves, clear their throat, and stretch in front of Dala until her biomed gel decoagulates. Dr. 8 also responds positively to graphic masturbation advice from Couriers of either gender. The X-8 research facility is ostensibly a massive immersive shrine to Doctor Borous's hatred of Richie "Ball-Lover" Marcus, a long-dead child who bullied Borous centuries ago. He also clings to his resentment of one Betsy Bright, who refused to attend a dance with him, supposedly so she could "go smoke with RICHIE MARCUS." Clearly arrested in development, Borous has literally built a temple to the fantasy of torturing his adolescent romantic rival and feeding him to dogs. His frozen, static characterization of the jock Richie Marcus as a "pinko-commie" who "likes balls" reflects the shallowness, pettiness, and overall misanthropy underlying his patriotic identity. It remains apparent throughout Old World Blues that the Think Tank are all chronically sexually repressed, which is inseparable from the values of the violent and judgmental pre-War culture which created them. With time and isolation, this ingrained repression has manifested as various intense and deranged psychosexual behaviors, including rage-fueled homophobia, voyeurism, and the obsessive performance of puritanical pretense.

____

“Although I’ve been out for a very long time, I made a conscious effort to be out with relation to this project, as I wanted to be visible as a lesbian in the game industry. New Vegas itself is, I think, one of (if not the) best games out there in how we treat homosexuality – and all of that is very intentional.”

“If my work on FNV, if my being out has helped even one gay person, then I have succeeded.” — Tess “Obsidian’s Gay Cowgirl” Treadwell

____

written (with help from other editors) for fallout.fandom.com/wiki/LGBT_representation_in_the_Fallout_series criticism welcome

[rayclubs]

Which tf2 merc do you think gets mischaracterized the least?

Good question! Let's do a rating.

In my opinion, there are three aspects to characterizing someone.

Facts - you have to get basic character backstory right. This includes all objective canon truths, events, and, well, facts about said character.

Behavior - you need to understand how the character acts, how their interpersonal relationships function, what they're like in their day-to-day life. This is the nitty-gritty of fanfic and fanart, this is dialogue, line-to-line characterization.

Integrity - you need to understand the character's core beliefs and principles, what their values are and how they view the world around them. This isn't something you can easily quote or point to as a mistake in fanfic, it's more of an overall idea of a character.

Each of these is going to be worth up to three points, with zero for terrible characterization that gets everything wrong. This would ideally total to nine points. I'll be awarding an additional bonus point for character interpretation that doesn't make me scream "he would not fucking say that". Let's go.

Scout:

His backstory is fairly simple. He has an absent father, half a dozen siblings, and a crush on his boss who doesn't reciprocate. People mostly get this right, except they also call him a virgin despite the fact he canonically lands the fried chicken queen, and seems to do it with ease. 2/3.

His behavior is also mostly portrayed accurately, in that he's loud, obnoxious, self-absorbed, and can be kind of a dick, though not completely without endearing qualities. The fandom is, admittedly, guilty of making him more insecure and self-conscious than he actually is, to amp up the drama. 2/3.

His core values, however, are completely off. The main interpretations I see of him are "depressed Scout", "homophobic Scout", and "baby Scout", neither of which is true to his character. This is a grown man with a force-a-nature complex. The homophobia is just projection and internalized prejudice, but that phenomena is too complicated for me to dissect here. I talked about it before and might make another post later. Anyway, 0/3.

Scout does not get a bonus point. He would not fucking say "poggers" but he would say "daddy-o".

Overall characterization score: 4/10

Soldier:

Very little is known about Soldier's backstory so there isn't really any room to be wrong about it. What we do know is also vague and unreliable, so it's open to interpretation. Given how little room for error there is, I'll give him a 3/3.

His behavior is completely off in most cases, often shown to either be overly aggressive or so dumb you start to question how this man functions in his day-to-day life. Canon Soldier has plenty of endearingly stupid moments but a lot of them can be read as deadpan jokes on the character's part, and many turn out to be secretly clever moments, such as him infiltrating the robot base with a goofy cardboard disguise. Likewise, canon Soldier has plenty of aggressive and mean moments, but he's not cruel and very clearly not a threat to his teammates, which isn't captured at all in fanworks that decide to go that way. 0/3.

Soldier's core ideals are mostly captured well, as in - yeah, he calls people communist as an insult in fanfics. I feel like he should mention God more often than he does in fanon, it's, like, one of the two ideologically meaningful things he ever talks about. The importance of "America" as a concept to him is mostly preserved but left unexplored. 2/3.

Soldier does not get a bonus point, he would not fucking say [homophobic slur] yet here we fucking are.

Overall characterization score: 5/10

Pyro:

His backstory is nonexistent yet people still fuck it up. His technical knowledge is clearly extensive and impressive, as shown by the complexity of his weaponry - which, mind you, looks HAND MADE - but people treat him as if he's altogether incompetent and maniacally stupid all the time always. He also ran an engineering company for hell knows how long and people just forget about it because they're allergic to adults or something. God this pisses me off so much. I mean for fuck's sake, people act like his full job description is "Pyromaniac" and not "Pyrotechnician". I'm so tired. 0/3.

His day-to-day characterization and dialogue is also completely off. People treat him as if he's INCAPABLE of communication, make him obsess over childish things he's only shown a moderate liking to in a manner that's borderline creepy and insulting, and take away his whole entire agency in everything he ever does. I will literally not give y'all a single point, you do my man Pyro so dirty. 0/3.

His ideology is complex and vague in canon, and I don't blame people for getting confused by such things as Pyrovision, but FOR THE LOVE OF GOD. In my time on Ao3 I've seen animal Pyro, cryptid Pyro, monster Pyro, alien Pyro, evil mindless maniac Pyro, incompetent baby Pyro, nonbinary Pyro (HENCE MY PROBLEM WITH THE HEADCANON, do you see how it looks next to all these other interpretations?) but I've rarely, if ever, seen competent adult Pyro with actual hopes and dreams and agency. 0/3.

Pyro does not get a bonus point because he would not fucking say "uwu" but he would say "fuck", let Pyro say fuck.

Overall characterization score: 0/10 are you fucking surprised

Demoman:

Oh poor lad what have they done to you. So, Demo's backstory is arguably the most detailed and fleshed-out in the entire canon. Too bad nobody fucking read it. Admittedly, in the recent years I've seen people mostly manage to remember he has several jobs and is overall a competent and successful man, but it's rarely - if ever - explored, I've seen exactly one fic where the author bothered to explore what one of his other jobs might be (and it was not a good fic for many other reasons, don't ask me for a link), and it honestly feels like people don't want to dwell on it? Like, they mostly mention it to fill a quota, y'know? Here, I'm not racist, I've acknowledged one of this character's achievements, leave me alone. Also the subject of him being fucking adopted as a kid never comes up. 0/3.

His day-to-day characterization suffers a lot because people think alcoholism is the most morally repugnant thing that can ever happen to a human being. This man honestly barely even has a presence in the fics he's in. Are you wondering where Demo is? Well, he wasn't there! He was BUSY! He couldn't come! There is a handful of writers who bother to write his actual inner monologue and point of view, and this point goes out to them only. Also there was a pretty good Boots and Bombs fic in which Demo was a dick to Soldier but then got better, and it stuck with me. 1/3.

His core character is fucked up by fandom because he's either all flaws or not allowed to have any flaws, and there's no in-between. Ever since I joined the fandom I've seen a lot of critique floating around, and people mostly seem to listen and realize they've been mistreating the man for long enough, but it created a whole separate problem of Perfect Demoman which is bland and boring. People don't want to write an offensive caricature but don't feel like fleshing him out either, so they just make him great at everything and never let him fail and grown in ways that are meaningful. Except that one fic I mentioned earlier, but I've already awarded a point for that. 0/3.

Demo does not get a bonus point. I couldn't find a meaningful example of bad dialogue because, like I said, he has no presence in any of the fics he's in. He would fucking say something.

Overall characterization score: 1/10 and honestly it's too generous on my part.

Heavy:

Okay so Heavy's backstory really confuses people. I've got like a dozen asks in my inbox when I called his father a revolutionary AND a counter-revolutionary. Wait till I call him a royalist, it'll blow your tits clean off. I don't feel like explaining the history of the communist regime in the USSR on this post, let's just say people are mostly faithful to canon but don't really "get" Heavy. 2/3.

His day-to-day characterization is plain bad. He's treated like a mother hen to the mercs when he's more of a stoic friend with a mean streak and a crude sense of humor. I think the main problem is the dialogue, people just can't give him the dignity of speaking in an intelligent manner. It's honestly also pretty bad in the comics. 1/3.

His core ideals are fine, if oversimplified. He's not a complicated man, he loves his family, his guns and his doctor. People rarely give him any more depth than that but it's not offensive to his character or anything. I feel like he should have more political opinions than people give him. I also feel like people make him way more protective of Zhanna's romantic pursuits, to a creepy degree. I mean, yes, he's annoyed by her marrying Soldier, and seems horrified for a brief second, but it's not like he's against it or anything, he's just kinda surprised? Anyway, 2/3.

Heavy does not get a bonus point because he would not fucking say "da". Pizda.

Overall characterization score: 5/10

Engineer:

Yeah people mostly get him. He's got 11 Ph. Ds. Some treat him like he grew up as an actual cowboy or something but most remember he's a nerd. I'd actually give all the points here because Engie's backstory is NOT complicated. 3/3.

His dialogue and day-to-day characterization is also okay, though people really mellow him down a lot. I had a bit in one of my fics where he said something like "let's teach those sumbitches how the real killin' is done" and like three different people commented on it saying they liked or were surprised by his mean energy. It's not even that mean, I think it kinda shows my problem with his interpretation. 2/3.

I asked about mischaracterization once and a lot of people replied "Engie is the most mischaracterized because people treat him like he's good but he's actually evil" which I think pretty much covers it? It's hard to write someone who is not implicitly strictly good or strictly evil. Engie treads this balance really well, I'm actually convinced his demeanor is not a facade, he is nice at times and mean when he wants to be. Fanon Engie can only be one of two things and neither is right. 0/3.

Engie gets a bonus point as an exception. I actually can't tell why, people just have his voice on-point. Is his accent and manner of speaking really that easy for you? I struggle to write him a lot. I think he should say "bitch" more.

Overall characterization score: 6/10

Medic:

People focus on the fact he lost his medical license more than on the fact he HAD a medical license in the first place. Other than that he really doesn't have a backstory. I dislike that people try to give him a sad one, I think he grew up loved and maybe even a little spoiled, but I can't fault others for not following my headcanons, so. 2/3.

His dialogue is the WORST because it's written phonetically. His goofy yet self-confident energy isn't captured well at all. The best I can put this is "people wife him" but it sounds kinda mysogynistic so really I'm at a loss. Submissivepilled breedablemaxxer. 0/3.

His core values are also all over the place. The complicated thing about writing Medic is that he actually doesn't come with pre-packaged drama. His backstory is vague, his demeanor is optimistic, his vibes are fun, and the worst thing that happened to him in canon was working with the classics for a bit - people amp it up to squeeze hurt out of it, which is fine, but not many people actually like going there. Thing is, fanfic writers aren't that good at writing drama when it hasn't been established before. They have to warp his character, make him edgy, self-conscious, or plain mad evil without redeeming qualities. I remember really struggling with my big Medic fic because I wanted it to be dramatic but had to put a lot of work into actually building up the emotion, because Medic is fine. He's fine. He's alright. He's fine. He's doing well. 0/3.

Medic does NOT get a bonus point, he would not fucking say "babygirl" and I'm not even sure if he would say "yass queen slay" I'm SORRY

Overall characterization score: 2/10

Sniper:

People mostly get his backstory right, probably because it's the most well-explained in the comics and it gets the most "screentime". It's also literally a Superman parody which is funny and memorable in concept. 3/3.

People can't find a good balance between stoic professionalism and social anxiety. I think Sniper is actually pretty simple, in that he's a little self-conscious which pushes him to actively better himself as a professional, but also makes him a little awkward so he comes across as standoffish and a little mean. He's a solid bloke that's balanced and feels real. Fandom has to go for the extreme every goddamn time with him. It sucks. 0/3.

People kind of get his drama, his relationship with his family and whatnot - mostly because a lot of us losers can relate, I bet - but, again, go for the extreme in making him anxious, whiny, and sad as a wet kitten. Unless it's a porn fic in which case he's an absolute freak that growls at people. I don't know what it is about Sniper that makes him so difficult to characterize. Manic pixie dream boy. Dark and moody lover love me like no other. 0/3.

Sniper does NOT get a bonus point because he doesn't say "cunt" nearly as often as he should. Also send me asks about my Sniper takes I want to stir up some shit.

Overall characterization score: 3/10.

Spy:

The only piece of his backstory we actually know is that he fathered the blight of the earth that is Scout TF2. 3/3.

His obnoxious and insufferable demeanor is mostly captured well. A lot of his portrayals aren't nearly as classy as people think they are, but that's because most authors are themselves proletarian, myself included, which is fine. Not many make the effort to pepper his speech with French words it would actually be natural for him to say, and blame it on the nonsensical complexity of the French language, but I'm not buying it as an excuse. 2/3.

His core values are off in regards to Scout - he's often portrayed as soft, mellow, overbearing, and critical of Scout's love life to either a comical or an uncomfortable degree. His fandom portrayal often also lacks the self-confidence he's demonstrated in the comics. Spy is not above strangling a man with a chain that holds the shackles around his ankles, he wouldn't consider it a blow to his dignity to fuck any of his coworkers either, come on. He's also funny and goofy but the fandom tends to neglect that. 1/3.

Spy does not get a bonus point because he would not say "perchance" but he would say "your mother".

Overall characterization score: 6/10

The final scores are:

Spy - 6/10

Engineer - 6/10

Heavy - 5/10

Soldier - 5/10

Scout - 4/10

Sniper - 3/10

Medic - 2/10

Demoman - 1/10

Pyro - 0/10

There we go! Pyro is the most mischaracterized, Demoman is a close second, and nobody is characterized well. Cheers!

[qcellbit]

meta talk. i don't quite know how to word this properly, but adding french creators to the qsmp is the riskiest thing quackity studios could've done and it doesn't surprise me that the success to which it was executed was minimal.

adding portuguese speaking creators exclusively from brazil as the first batch outside of the initial english and spanish speakers was the perfect "soft expansion" for the server when you consider the reason for the project's conception - because quackity had experienced poor treatment from white americans as a bilingual latino creator and sought to unite his two communities in an empowering way, further expanding this very noble and personal idea to encapsulate all communities and all languages spanning across the entire world. inviting more latino creators who have likely had the same experiences and would be able to appreciate what the project is trying to achieve is a no-brainer.

it's an uncomfortable thing to touch on (which is why i've never, ever, seen it spoken about on this website), but minecraft projects and communities have always had massive problems with all forms of bigotry, but especially racism. white americans and white europeans have probably not felt the euphoria of seeing their culture celebrated in mainstream global entertainment projects as they already absolutely dominate the entertainment industry on a global scale. as someone who is visibly brown and living in europe, i've always got a lot of grief from classmates and co-workers in the form of ignorant jokes and flat out exclusion - it's an unfortunate cultural norm that bleeds into streaming due to the medium's casual and open nature, unnoticed or unchallenged by white viewers who don't want to have to confront a content creator's bigotry in fears of having to stop watching them. something that cannot be ignored by the people it's actually affecting. there is a reason dsmp and hermitcraft cosplay meet ups are dominated by pale skin.

i love the qsmp because its inclusion of latin american creators and quackity's selectiveness based on personal experience have largely (and i do mean largely, not entirely, but that's a discussion for another day) eliminated that problem.

the most prominent and succinct example i can think of is the photo of quackity's bedroom that was mocked countless times by his english speaking community and his bigoted english speaking friends when he streamed on the dsmp - when that photo was brought to the qsmp, forever, a fellow latino creator, was the first person to gently offer solidarity because he had come from the same impoverished latin american background. to me, and to a lot of minorities, that is what the qsmp is about. yeah, sharing languages in a minecraft server is novel, it's a fun way for americans who did poorly in high school to get back into learning spanish, but it stands for so much more when you're a racial minority. when your pleading in the dsmp fandom was drowned out and ignored for the entire duration of its run. when you're completely unrepresented in minecraft tournaments, and when known bigots are encouraged to participate in said tournaments to boost viewership because numbers are paramount. when you are finally seeing your culture appreciated rather than mocked on streams with tens of thousands of viewers all over the world as part of a massive project with a brilliant, engaging story.

it was obviously necessary to branch out of the americas at some point with what the project is attempting to achieve, but such a task is daunting when the next group you're inviting and their community probably do not have the capacity through personal experience to appreciate what the project stands for at its core in the same way the first batches do. can non americans all relate in discussions of the internet and entertainment industry being america and by extension english speaking centric? yeah, of course. but can white europeans relate when the only representation you have in said media revolves around harmful bigoted stereotypes? can there be a quiet solidarity between a white frenchman and a brown brazilian based on experiences with government, racial profiling, and online mockery? no. and in the landscape of livestreaming stupid jokes for entertainment alongside fast paced gameplay, these nuances are probably not going to be acknowledged.

in complete contrast to the solidarity exhibited between quackity and forever when discussing their poverty growing up in latin america, i have not forgotten and never will forget aypierre excusing his constant racist jokes aimed at the brazilians on his uniquely "french dark humour" that the brazilians, hurt by his comments, could "not understand." this is not an excusable cultural difference, but a symptom of white european privilege, and total ignorance towards what the project is meant to stand for. a smooth integration of all the world's cultures necessitates white european and white american introspection in a way that i haven't seen a lot of streamers capable of. admitting fault to such a degree and the ego of a large online personality do not often mesh well.

i'm always very irritated when people (especially english speakers) complain about them not "adding the germans" sooner despite us seeing applications for german speaking admins many months ago - because it would not be a task of simply throwing out server invites to content creators and cobbling together an animation of a submarine crashing into the island. you cannot downplay the ambition of this project and the mammoth task its trying to accomplish. people take for granted and forget that this is an unprecedented melding of cultures that would never otherwise interact and clash on the rare occasions they do. the french qsmp community being small and the french creators largely being outliers when it comes to the qsmp is not something born out of malice or purposeful exclusion, but simply a symptom of an unspoken lack of solidarity and inability to meaningfully relate based on everything from wildly varying privilege to global placement.

and don't get me wrong - i'm not excusing things like the times at which events are broadcast (i literally live in europe and have to stay up until sunrise to see most events, i think the admins do have to bite the bullet and begin structuring events around a new timezone that isn't the globally inconvenient unsustainable PST), or the exclusion of clips from french content creators at the presidential dinner, but i think attributing those admin choices to the brazilian community being unfairly favoured is downplaying what the qsmp as a project means for minorities, especially when the brazilian community receive the most scorn for infamously being the first to call out bigoted behaviour from qsmp content creators. yeah, it sucks that the french haven't slotted into the qsmp as well as the brazilians and aren't anywhere as numerous, but with all these unspoken contributing factors being taken into account, i can't be surprised.

i wish quackity and his team the best in smoothly integrating more languages and cultures in this amazing project in the future, but for the love of god please understand that the implications of this project and its impact are far larger than any streamer "drama" you might've witnessed in the past. and stop underplaying what this project is trying to achieve in an online landscape saturated in bigotry.

[siren-sovereign]

How did you become a Luciferian/Satanist and why do you remain one?

Theistic Satanism was not something I was actively searching for when I got into it. It was actually something I kind of just stumbled into.

I was never really looking for a faith, as I had been disillusioned by the idea of religion long ago. It never even occurred to me how badly I needed something to believe in until I started believing in it. The concept of faith and religion has been so muddled and distorted over time that now I feel a lot of “religious” people aren’t really religious and just use use religion as a mask to cover up or justify controlling the people around them and to justify their own opinions. So many people nowadays treat their religion like it’s an extension of politics and not the spiritual comfort it’s supposed to be.

So, as I mentioned, this was not something I was looking for, but it was very much something I needed. I was introduced to Theistic Satanism through a dating app of all things. Long story short, I matched with this girl who happened to be a Theistic Satanist and her dating profile was not subtle about that. She had mentioned on there that she’s passionate about her faith, her church, her gods, her people, etc. The kinds of things I’m used to seeing Christian conservatives saying on their profile about Jesus and all that. Her profile really stood out to me and I wanted to know more about her and about her beliefs.

We ended up matching and I began asking her about the faith. I asked questions about core beliefs and the gods within the pantheons of Hell. I asked about the place of queer people and trans people within the faith. I asked about consciousness and afterlife. For every question I had, she had an answer for it that resonated with me— answers that just made sense.

All of the things that were being told to me were things that aligned with my personal gnosis prior to finding Theistic Satanism. While it was true I had identified atheist for the majority of my life, I still held onto my beliefs in the supernatural and had started exploring my spirituality and very basic witchcraft prior to my introduction. I had just barely begun exploring the occult and after hearing everything she had to tell me about Theistic Satanism, I knew this was the next step in my spiritual path.

She ended up inviting me to the church’s first open mass and when I had arrived and met everybody else who was there, it was like coming home for the first time. The people, the gods, the culture, the faith, the craft— it was a literal dream come true to have a space like this.

I don’t think everyone in the world should convert and become a Theistic Satanist, hell, same goes for Theistic Luciferians. It’s certainly not for everyone. But with how much goodness has been brought into my life in such a short time, I strongly believe that everyone needs faith like this. Something that makes them feel seen, something that gives them hope and joy, something that uplifts them and those close to them, something that works for them and doesn’t infringe upon others.

The world can be a terrifying place, and for a lot of people it’s something that grows more and more terrifying every day. Trust me, I know it. As a trans woman and Theistic Satanist living in America right now, it feels like the world is quite literally against me. But it’s because of my faith, because of my gods, that I’m holding my head up high. Despite it all, I’m still here and my gods hear me and see me for who I am. Theistic Satanism has truly changed my life for the better and I’m living each and every day filled with Satanic joy.

For the first time in a very long time, I feel secure. And I have Satan to thank for that.

Ave.

[orqheuss]

☆*: .｡.Wand headcanons.｡.:*☆

Warning: long post! Deep discussion of characters and their personalities ahead

I have been thinking extensively about Ominis and Sebastian's wands and which would suit them the best since they are currently unknown in canon.

As we know from Harry Potter lore, wand cores and woods have the most sway in how not only the wand itself would behave, but also what kind of person the wand owner is and how they will use it. With that being said, we know the personalities of the boy's quite intimately, but we know absolutely no information about their wands besides what they look like, and even then in some scenes they look vastly different.

For this research I used stills from the game when we get close ups of their wands, as well as the Harry Potter Wiki, the Wizarding World website, and a funky weebly website that someone made for a class all about wandlore (I know, not really a reputable source, but it has a but ton of information that can be backed up via the other websites I mentioned) to gather my research.

This was all just a late night info spiral that the ominis discord server helped me with, lol (message @finalgirllx if you would like to join! we have fun)

I am by no means saying my word is law or that you can't have your own opinions. This is just what I think fits them best. I do not own the characters or the Hogwarts Legacy game.

I tried to keep this as spoiler free as possible. No huge plot spoilers are shared.

Now with the formalities out of the way, let's dive in.

We'll start with Ominis, because he has, arguably, the most interesting wand.

My headcanon: Horned Serpent horn core, blackthorn wood, 10 3/4 inches, brittle flexibility

I'm going to go section by section and explain my reasonings. First, the core.

Horned Serpent horn core: While a very, very rare core, it is an exceedingly powerful one that leans towards not only the ties it has to Ominis' family name but also his strengths and weaknesses.

There has only been two wands created with a Horned Serpent horn core in Harry Potter lore, and they belonged to the adopted sons of Isolt Sayre, the founder of Ilvermorny, or the North American school of Witchcraft and Wizardry.

According to the lore, Isolt is a direct descendant of Morrigan, a famous Irish witch, and Salazar Slytherin, one of the founders of Hogwarts, thus making her of Gaunt heritage. Her parents were murdered when she was young by her aunt, Gormlaith Gaunt, whom was unhappy with her sister's muggle-helping ways. Gormlaith then kidnapped the girl and kept her captive for a number of years before Isolt was able to escape and flee to America on the Mayflower. There she befriended a Horned Serpent, and when her adopted son's were of age she had their wands fashioned with a sliver of the horn from her serpent friend.

So, why does this core fit Ominis?

As I said, it's properties directly line up with what we know about Ominis' wand in the game. Sebastian states that it is "almost sentient" and is able to help him navigate around the castle and the outside world with little problem. This fits the Horned Serpent horn because, according to the Harry Potter wiki, "[t]his core was exceptionally powerful, sensitive to Parseltongue and vibrated when Parseltongue was being spoken, and could warn their owners of danger by emitting a low musical tone." Because of Ominis' blindness, he likely has exceedingly strong hearing, thus making the low musical tone of the Horned Serpent horn a likely culprit for his wand's echolocation abilities. Not only would this wand core run in the Gaunt family, but it would also connect to Ominis' ability to speak Parseltongue.

As a side note, Salazar Slytherin had a basilisk horn core in his wand and is said to have passed it down when he died, so it would stay in the Gaunt family. Having a core so similar to Slytherin's, and most likely Ominis' father because he would be the next in line to get the wand, would please his family greatly.

Blackthorn wood: As we can see in the game and in the reference picture, Ominis' wand is a dark grey, nearly black color. This in itself narrows down what possible wood it is, as there isn't many dark wand woods known in the lore.

Below is an image of blackthorn branches.

The coloring matches, but what about their personality?

According to the Wizarding World website, this is the description of blackthorn wood:

Blackthorn, which is a very unusual wand wood, has the reputation, in my view well-merited, of being best suited to a warrior. This does not necessarily mean that its owner practises the Dark Arts (although it is undeniable that those who do so will enjoy the blackthorn wand’s prodigious power); one finds blackthorn wands among the Aurors as well as among the denizens of Azkaban. It is a curious feature of the blackthorn bush, which sports wicked thorns, that it produces its sweetest berries after the hardest frosts, and the wands made from this wood appear to need to pass through danger or hardship with their owners to become truly bonded. Given this condition, the blackthorn wand will become as loyal and faithful a servant as one could wish.

This fits with one of the first things we find out about Ominis and his personality-- he starts off as standoff-ish, brash, and, for a lack of a better word, "thorny." After getting to know him in the game, though, we find out that his harshness is just a defense mechanism due to his past and his protectiveness of his friends. Thus, the berry analogy. He himself goes through an incredible "danger or hardship" at the hands of his family, making the blackthorn tree a kindred spirit for him.

Unfortunately wand length and flexibility don't make much of a difference in wands, but there is still a little bit of information about them. I'm basing most of this information (the wand length at least) on fanon decided lore.

10 3/4 inches: Wand length is primarily based on the height and stature of the wizard. In very rare cases, witches and wizards of incredibly sour dispositions will get small, stubby wands (6 inches or below) but that doesn't fit in this situation. According to the Harry Potter Wiki, nine to ten inch wands are "[v]ery standard, and very formal," and "[t]ypically, wizards of average height (5' 6" - 6' 0") will have wands in this size range." Since most of the fandom agrees that Ominis would be around the 6'0", 6'1" range, this would fit his build. I added the 3/4 just to be a bit spicy.

Brittle flexibility: Because neither website really has information about the flexibility of wands, this is taken mostly from the weebly page on wandlore. According to the Wizarding World website, "[w]and flexibility or rigidity denotes the degree of adaptability and willingness to change possessed by the wand-and-owner pair[.]" I have also heard that it is based again on the witch or wizard's personality, so I used both instances here.

Basically, the more flexible the wand, the more flexible the witch or wizard would be in stressful situations, but also the more likely your wand would be to accept a new owner if it were to be won in a duel.

Brittle fits Ominis the best because of it's description on the wandlore class website:

A wand with this flexibility tends to attach itself quickest to owners who have insecurities, and its level of loyalty is often dependent on how loyal the owner is to it. Should it become very loyal to its original owner, new owners often won't get the chance to earn the wand's loyalty before it breaks. Brittle wands are best suited to subtle and delicate magic, such as transfiguration and non-verbal spell-casting. Because they break easy, their owners should be careful to avoid magic that is unnecessarily flashy or explosive, especially if the wand also has a dragon heartstring core. Owners with this wand flexibility are usually contemplative, clever, and somewhat cynical; they tend to be an "underdog" type of person and perhaps even a little bit unlucky, which could lead them to becoming resentful of their more successful peers. If a brittle wand owner perseveres and manages to get over their insecurities, however, he or she will often become a "great success story" that never ceases to amaze and inspire others.

There are points in the argument both for and against Ominis' insecurities controlling his personality, but this particular wand flexibility fits both extremes well. If he leans more on the insecure side, the wand would attach itself quite quickly to him and would remain loyal as long as he was loyal to it, which is a given since he needs it to navigate the world. Ominis was likely a closed off and insecure child when he was young, so it would fit that a brittle wand would attach itself to him quickly. In the game, we see Ominis is careful and sure with his wand work, so I don't think the brittle nature of the wand would come into play, especially with his and Sebastian's love for confringo.

The main thing that connects this flexibility to Ominis is the description of the owners personality, stating that they would be "contemplative, clever, and somewhat cynical" even an "underdog" type. Ominis is the definition of these three terms, and it can be argued that because of the biases surrounding his last name, as well as his disability, he could be considered an "underdog." Ominis is contemplative in most of his dialogue, wanting to see all sides of an argument before making a decision one way or another. He is incredibly clever, often twisting arguments in his favor and throwing words back at the person debating him. As for cynical, there just isn't a better word for how he treats the MC when he passes them around the castle. Every single one of his voice lines is some thinly veiled insult.

Next, let's explore Sebastian's wand-- easily one of the most identifiable wands in the game.

My headcanon: Dragon heartstring core, yew wood, 9 1/2 inches, unyielding flexibility

Same process as Ominis' wand. Here we go!

Dragon heartstring core: In medical science, "heartstrings" refer to the chordae tendineae of the heart, which connect the papillary muscles to the tricuspid and mitral valves so they can open and close as the heart pumps blood between atrial and ventricular chambers (I had to research this lmao, I am not a science person). It's possible that this is where they get the core from in a dragon, but there isn't enough information about dragon anatomy in canon lore to be sure.

Wand cores are connected to the strength of a witch or wizard's magic, as well as the type of magic that they are more likely to lean towards and the type of magic that the wand will be adept with.

Dragon heartstring is one of the three "supreme cores" that are sold in Olivanders. The description of the wand core on the Harry Potter Wiki is as follows:

Dragon heartstrings produce wands with the most magical power, and which [are] capable of the most flamboyant spells. Dragon wands tended to learn more quickly than other types. While they could change allegiance if won from their original master, they always bonded strongly with the current owner. The dragon wand tended to be easiest to turn to the Dark Arts, though it would not incline that way of its own accord. It was also the most prone of the three cores to accidents, being somewhat temperamental.

Don't be swayed, I did not just pick this because of its proclivity towards dark magic. Yes, Sebastian is the one that teaches the MC the unforgivable curses, but this in itself matches the personality traits he exhibits from the very beginning: confidence (to the point of arrogance at times), and loyalty. Sebastian himself states that he leans more towards "fiery forms of magic" after he teaches you the blasting curse, so it would make sense that his wand core would need to be able to handle this kind of spell work. One that is "flamboyant" and "temperamental" would fit this the best. Not only this, but before the MC arrives at Hogwarts, Sebastian was the best duelist there, so he would need a wand core that picked up magic quick and was able to keep up with his competitive nature.

Yew wood: Yes, another thing that leans towards dark magic, but hear me out. Sebastian's wand color is very light, making the options for the possible wood types he would have just as sparse as Ominis'.

Wand woods are connected to the owners personality, diving down past the surface level and often discovering the most innate personality traits of the witch or wizard that owns it.

Below is an image of yew wood.

At first, I thought Sebastian's wand could possibly be aspen, but upon looking at the coloring of that wood versus yew, yew seems to be the closest in color. Aspen wood is often compared to bone because of how pale white it is, but if you look at the picture of Sebastian's wand, it has some warm undertones that make it a different hue than ivory.

Back to the personality. Here is what the Wizarding World website says about yew wood:

Yew wands are among the rarer kinds, and their ideal matches are likewise unusual, and occasionally notorious. The wand of yew is reputed to endow its possessor with the power of life and death, which might, of course, be said of all wands; and yet yew retains a particularly dark and fearsome reputation in the spheres of duelling and all curses. However, it is untrue to say (as those unlearned in wandlore often do) that those who use yew wands are more likely to be attracted to the Dark Arts than another. The witch or wizard best suited to a yew wand might equally prove a fierce protector of others. Wands hewn from these most long-lived trees have been found in the possession of heroes quite as often as of villains. Where wizards have been buried with wands of yew, the wand generally sprouts into a tree guarding the dead owner’s grave. What is certain, in my experience, is that the yew wand never chooses either a mediocre or a timid owner.

I'm not going to go into any heavy spoilers, but if you know, you know.

Sebastian is absolutely not a mediocre or timid wizard-- quite the opposite. He tends to lead with his heart rather his head, diving into battles before thinking through a strategy or jumping feet first into an argument before hearing both sides of the issue. He is fiercely loyal and protective of those he cares about, which can be seen in how he talks about not only Anne but also Ominis. His main motivation through the entirety of the game is finding a cure for his sister's curse, and he quite literally goes to outlandish means to achieve his goals. He is described as an accomplished duelist (we don't really see that, but let's chalk that up to the companion mechanics of the game and not his actual skill) and he is proficient in curses of all nature. He is the definition of a morally grey character-- not quite a hero, but also not quite a villain.

Again, for wand length and flexibility I will be using a mix of canon and fanon lore because of how scarce the information is on these sections of wandlore.

9 1/2 inches: As I said earlier with Ominis' wand, nine to ten inches is the common length for most wands. Since Ominis and Sebastian are, in fanon lore at least, similar in height (Ominis slightly taller than Sebastian in most fanfictions and fanart), I kept them close in length. Most agree that Sebastian is likely around 5'10", 5"11", so a wand slightly smaller than Ominis' but still within average length would fit best. Again, the half inch is just to be spicy.

Unyielding flexibility: Same as before, most of this information was taken from the wandlore weebly.

The word "unyielding" in itself describes Sebastian's personality. As previously stated, he is incredibly stubborn and hardheaded when he wants to be, and we see that often in the game.

The description for an unyielding wand is as follows:

A wand of this flexibility finely tunes itself to its original owner's preferences and doesn't stray from those preferences, even in the hands of a new owner; the new owner will just have to get used to it. It is particularly good for combative and healing magic. Unyielding wand owners tend to be very confident in themselves and/or in the things they believe in. They tend to be intelligent, somewhat cynical, and usually have well-defined principles that they will not stray from ever. Sometimes, this combination can lead to arrogance because of them insisting on how right they are without considering other points of view or whether or not they might be wrong.

Sebastian is a confident young man. He himself names him the best duelist in the school, and he prides himself on his knowledge of the wizarding world, both due to his proclivity to research and the fact that his parents were professors. In the game mechanics, particularly the bits that did not make it into the final game but were still in the code, there are a few lines for him that lean towards the possibility that he could heal the MC if our health got too low, thus adding the possibility that he was skilled in healing magic and combative magic. Sebastian's principles are defined from the very beginning of the game, stating that he would do anything for his friends and family, as well as was not afraid to break the rules to get what he wanted. He can be a bit arrogant at times due to this confidence, but for the most part it comes off as endearing.

As the game goes on he grows more cynical of the world and of the MC, often stating that they do not share the same opinions like he once thought and that they don't care about Anne and finding a cure for her curse. His tendency to not sway in his opinions and his insistence that he is right and everyone else is wrong grows tenfold around the winter mark. Because of this, no matter how many people are arguing that he is going down a dark path, he does not back down.

As both Ominis and Sebastian say, Sebastian Sallow does not back down from a fight, and he needs a wand that agrees with this belief system.

These are my headcaons! If you made it all the way to this bit, please don't be afraid to share your thoughts and personal headcanons for the boys and their wands!

Thanks for indulging me and my ramblings, lol

[superfallingstars]

I’m limiting myself to 3 because I was hit by a wave of kindness while typing this:

1. You put not one, but TWO Radiohead songs in your weird sisters playlist AFTER saying it was for mid Brit pop, truly your worst offense, borderline unforgivable.

2. You have stated on multiple occasions that Snape was serving cunt with little evidence to back it up, the only thing he’s serving is 15 to life

3. You’ve compared snape to sue sylvester many times but have never gone the step further of comparing lupin to will schuester (could this be unfair bias 🤔)

Im hoping you take the time to reflect on these issues and grow as a person ❤️

LMFAO I wondered if anyone would actually send me stuff when I rbed that 😭😭😭 listening and learning here! But also I must defend myself

1. So I just looked and I actually put three Radiohead songs on that playlist lol. Ummmm. You know what two of them were from Pablo Honey so I think calling them mid britpop is arguably fair. Also I was so insanely obsessed with Radiohead in middle/high school that I can literally reclaim calling Radiohead mid… I spent days downloading all of their songs with youtube to mp3 to put them on my iPod and drew fanart of Thom Yorke screaming “FAT UGLY DEAD” from the anyone can play guitar mtv video and made my own hail to the thief shirt with fabric markers. Oh and then in high school I tried to write an essay in high school about how Ok computer is a concept album about postmodernism but I didn’t understand what postmodernism was and I had to tell the teacher that I couldn’t do it and ask for an extension so i could pick a new topic. That’s not really relevant but whatever. Facts are facts America, and the fact is that Radiohead is sometimes, dare I say frequently, mid

2. Snape DOES serve cunt!!! He serves trench coat buttoned all the way to the TOP!!! He’s got charisma (“ghosts are transparent,” anyone?), he’s got uniqueness (biggest nose in all of hogwarts, also a uniquely unlikable guy), he’s most certainly got nerve (the nerve to be a total bitch), and he’s obviously got talent (for potions, and also for being a bad person, and also for being a good person, all of this is very complicated but it is true at the same time.) And wowww anon cant believe you would bring up criminal convictions here, do you think people serving 15 to life can’t ALSO serve cunt??? This is very problematic and anti restorative justice of you, look inward anon 🙄

3. Ok I actually do think Lupin is probably the best analogue to Will Schuester out of everyone in HP. I can’t remember if I’ve posted that before or if it’s sitting in my drafts (most likely as an answer to an ask that’s been in my inbox for 478274772 years). Anyway. Lupin is overly involved in at least one student’s (Harry’s) life, he’s much more insecure than any 30-something should be, and he’s also deeply cringe. Those are like the core qualifications for being Will Schuster-coded. Also now I’m thinking about that episode where Sue tries to seduce Mr. Schue………….

Well that was some great ruminating! Really feel like I’ve stretched my little pea-brain, I’ve truly grown as a person. Thank you for taking the time to submit your claims and bringing these important issues to my attention.

[buckyslawyer12]

Let's Talk about Captain America: Brave New World

*Spoilers*

Here's the thing: I don't think it was bad, I think it was weird.

I want to start with the israeli character. She showed up a good half an hour into the movie, did nothing for a total of 10mins of the runtime, and that was it. She could have been completely removed and the plot of the movie would have stayed the same. They made no mention of her "superhero" name Sabra, or even that she's israeli, only that she was a "former Widow." The movie was very obviously cut and edited in a way to reduce her screen time and I think that made the movie feel even weirder.

She should have just been Sharon. They should have just brought Sharon back. Was Emily Vancamp busy? Was her phone off? If you watch the movie and pretend that it's Sharon and not that other woman, her part almost makes sense.

They should have just gotten rid of her. I can almost guarantee she's never going to show up in a movie ever again, and I really hope they bring Sharon back.

As for the movie itself, well, the villains worked well enough, even though they were Hulk villains, not Captain America villains. I think facing the repercussions of the Sokovia Accords and Tiamut made sense. Sam (and Anthony Mackie) did a great job nailing down the core of Captain America not just as a character, but also as an idea. Fighting for what's right, no matter what. So what was wrong?

Something at the core of this movie was fundamentally broken and I cannot figure out what. My friends said they felt like they were missing something, but I don't think it was Isaiah Bradly or Tiamut they were talking about. I felt like if you were even paying half attention you could figure out what was happening around those two things. No, it really felt like a good portion of the movie was sheared off and left on the cutting room floor, but I don't know how they could have managed that.

I would have liked to have seen Sam grapple with letting Joaquin join him as Falcon a lot more. We know Sam's history with losing his first partner all the way back in The Winter Soldier, so I can't imagine he'd be so chill about letting Joaquin fly in this movie. Sam mentions that they've been working together for three years, and I think that was a bad choice. I don't know if it would have been better if this movie came out immediately after TFATWS or if they had just smudged the timeline a little, but I would have loved to have seen Sam and Joaquin's relationship build over a period of time rather than coming out the gate as a proper team. There is no reason to believe that Joaquin hasn't joined Sam on missions as Falcon in the last three years, so why is Sam all worked up about having in the field? And Sam isn't even that worked up about it, not really, only really telling Joaquin to chill and be careful. Sam should have been more reserved and reluctant, so when Joaquin gets shot out of the sky in the end, we feel it more.

Something was also really wrong with Ross. I don't think it was Harrison Ford, who is amazing, but something was wrong about his character. It was probably the extensive retconning they did, and the original actor having passed away didn't help. Ross was never that important and I'm fairly certain the last time he showed up in a Marvel movie was Infinity War for like two seconds so no doubt most people didn't know who Harrison Ford was supposed to be or even who Ross was. I think the main issue was that Ross was dealing with problems that were started in the Edward Norton Hulk movie without the Hulk.

And maybe that's where the fault lies: Sam got Bruce Banner's closure. And I cannot understand why. Sam's story could have just revolved around dealing with Tiamut or what it means to be Captain America in a post-Sokovia Accords world when there are no Avengers. Steven never had to wonder what the point of being Captain America was because he always had the Avengers. There were always threats to punch in the face. Steve had his long-standing foe HYDRA to contend with (which he never actually got closure for, by the way) and then he went off to live the rest of his life. Now what?

That's for Sam to find out.

And you could argue in TFATWS Sam dealt with the issue of "the point of Captain America post-Avengers," but no, not really. In the show, Sam was dealing with an issue that arose out of the consequences of the Blip. The point of that story was Sam coming to terms and accepting that he was Captain America, now he needs to figure out the *point* of Captain America.

Captain America has always been a symbol. A symbol of strength, hope, resilience. He was a symbol during WWII, he was a symbol during the Avengers period. Captain America has never existed out side of strife and conflict.

What is Captain America now?

Brave New World could have been a really good way to figure that out, but that's not what we got.

Instead, we got a weird Captain America movie. And while having Sam on my screen again feels amazing, and I have missed Anthony Mackie, I cannot shake the fact that this movie was really fucking weird.

[grantmentis]

Women’s hockey news 6/1-6/16

News from around the women’s hockey world, only confirmed news and not rumors. It’s hard to cover every signing and extension so I try to filter to just the most notable but may miss something, feel free to add!

This is a long one as a heads up

PWHL (America/canada)

PWHL completed their draft! Full results are here

Corinne Schroeder signed a 2 year extension with PWHL New York

Lina Ljungblom (who was drafted in 2023 and played in the SDHL last year, winning SDHL league mvp) signs a three year deal with PWHL Montreal

Zoe Boyd and Natalie Snodgrass a one year extension with PWHL Ottawa, Aneta Tejralová signs a two year extension

Former Colgate University women’s hockey coach Greg Fargo is hired to coach PWHL New York

Natalie Darwitz is forced out of PWHL Minnesota, who will begin their GM search

Mélodie Daoust, Brittyn Fleming announced their retirement

PWHL Boston expected to stay at Tsongas next season

SDHL (Sweden)

Next years schedule has been released, with the season starting in September

Swedish national team defender Jessica Adolfsson signs with HV71. She was with Linköping last season

Forward Lisa Johansson signs with SDE HF. She was with Luleå last year

Italian defender Nadia Mattivi signs with Luleå. She spent the last several season with Boston University, where she was also captain

Finnish forward Ida Kuoppala signs with Skellefteå AIK. She spent the past few season with UMaine and was one of their top scorers

University of Minnesota Duluth and Bemidji state forward Reece Hunt signs with Luleå

SWHL/Postfinance Women League (Switzerland)

HC Ambrì-Piotta Girls sign two big names from Naisten Liiga. The first is Michaela Pejzlová, a star from Czechia who led Naisten Liiga in points, was a first team all star, and won her second championship. HIFK teammate Julia Liikala is the other player from Naisten Liiga joining, she was a second team all star for the league and played on Finland’s national team that won a gold medal

HC Ambrì-Piotta Girls also gets three players who played in the SWHL last year: the first is young Swiss goaltender Sofia Bernardasci, who’s played solid backup minutes the past two years on other teams. 23 year old Italian center Greta Niccolai, who represents her national team and also captained ladies team Lugano last year, joins the team as well. Lastly, young defender Valérie Christmann joins from HC Davos Ladies

Naisten Liiga (Finland)

Naisten Liiga schedule announced and can be viewed here. The season will star in September with a mini showcase in Turku where all teams will play their first few games

Forward Pauliina Salonen returns to HIFK. The 20 year old was one of their top producers last season and spent some time on the national team during their five nationals tournament

Kiekko-Espoo extend Minttu Tuominen, Tiia Pajarinen, Aliisa Toivonen, Siru Lehtopelto, Tea Villilä, Nea Katajamäki, Lisette Täks, and Nea Koskipalo. Tuominen, a star defender who was drafted by the PWHL but ended up playing in China and then Finland instead last year. Also notable is Pajarinen had 16 solid starts for Kiekko-Espoo last year, and got some looks on the national team. Tea Villilä has also been a mainstay producer on Kiekko-Espoo for the past several years. Täks finished with the most goals in Naisten Liiga. All this to say, Kiekko-Espoo has brought back significant core pieces

HIFK brings back goaltender Miia Vainio, who had the most shutouts last season

Tilli Keränen, who captained Finlands U18 team in 2022-2023, will play one more year at KalPa before going to the NCAA in 2025-2926

KalPa also brings back Captain Johanna Juutilainen

One of Ilves top scorers, Noora Mylläri, will return this year

EWHL (Central/eastern Europe + other assorted counties)

EV Bozen Eagles announced the signings of Justine Reyes and Kristen Guerriero to play in the EWHL and Italian women’s domestic league. Reyes was one of the SDHL’s top scorers last season, and Guerriero had a productive season in the SWHL

Veteran defender Enikő Tóth returns to the EWHL after spending last year in the SDHL, signing with MAC Budapest

IIHF

We got our locations and most of our times for all of women’s senior worlds in 2025! They are as follows:

Top division; ceske budejovice, Czechia from April 9-20

Division IA: shenzhen, China, dates TBA

Division IB: dumfries, great British, dates TBA

Division IIA: bytom, Poland from April 7-13

Division IIB: Dunedin, New Zealand from April 14-30

Division 3A: belgrade, Serbia from March 2-8

Division 3B: Sarajevo, Bosnia and Herzegovina from February 20-26

We also have the U18 tournament dates!

Top division; Vantaa, Finland from January 5-12

Division IA: TBA

division IB: Katowice, Poland January 7-13

Division IIA: Riga, Latvia from January 13-19

Division IIB: Istanbul, turkey from January 18-24

[revasserium]

a rumination on falling in love; aka the terrifying and strange reality of "dream girl" becoming "real girl"

or, what happens when an only child who has only ever loved in fiction falls in love in real life instead

this is not for you. unless, of course. you, like me, have felt like this before. which is to say, this might be for you. but it most definitely is, 100%, for me. so read on if you'd like. or, close out and move right along.

i am very lucky, i think, to have had the childhood that i had -- only child, two loving parents. but not only that, two loving parents who were good at loving and also good at parenting (which are two very distinct and different things and somehow, at least in my semi-limited exposure to people around my age, is becoming rarer and rarer these days). i am lucky to have been allowed to grow as i have -- to never question that i am loved, unconditionally and endlessly, to never question whether or not i have something -- because of course it's mine -- i've got no siblings to have to share anything with.

now, to some, that might be a sad, lonely thing, but i never thought about it that way. because i was never taught to think about it that way. and contrary to popular belief, it hasn't made me (or at least so i think) stingy or "bad at sharing" -- it's actually made me rather an over-sharer. i always have snacks at the office, i try to offer advice freely, i spot dinners/outings when i can, i like the joy it brings to share things not only to the people being shared with, but also to me -- the person doing the sharing.

but the double-edged sword of only-child-dom in upper-middle class america is time -- the huge, gaping excess of it, giant swaths of it after school, great big chunks of it on the weekends, the seemingly unbridgeable chasm between turning off the light and falling asleep. later, i'd learn that undiagnosed adhd and very high performing manic depression are to blame for most of my vibrating sense of need to fill every hour of every day with some kind of productivity (this, unironically, is why i love new york city -- the frenetic energy of it matches my mental wavelength so that i can feel "productive" even when i'm just walking down the street or sitting in a bar).

but back then, i -- and by extension my lovely parents -- tried to fill it with stuff -- 2 different art classes, ballet, swimming, piano, debate club, singing, chinese school, and of course, with my still yet unfilled hours -- reading and writing. to say i was raised by the books i read would be an understatement. to say i am nothing more than a massive conglomerate of those characters that resonated most with me in those books would be parenthetical to the fact that i'm also built by all those characters i've ever admired or wanted to be. i am, in the most cliche, literal, non-lampshaded sense "that nerdy book girl" who made it her entire fucking personality to be... that nerdy book girl. and this, amidst the stratospheric rise of "not like other girls" media and rhetoric -- it was not healthy (it still isn't), but it was a large part of who i was. and a lingering part of who i am today.

my overactive, adhd-driven imagination served me well, then. into the stories i delved, and what i couldn't find in my normal every day life, i found in narrative. long before the tiktok-ification of "book boyfriends" came the voices in my head that sounded like all the would-be book boyfriends i'd ever have -- everyone from edward cullen to kakashi to four (that one guy from divergent who only has like 4 fears, which in retrospect is so, so cringe, but alas) to fictionalized versions of one direction members. the list goes on. i used to be able to hold entire conversations, play out entire scenes with these mental constructs with impudent ease. spend hours in my room by myself just imagining.

it was like astral projection -- my body, here, my mind and my soul, somewhere else entirely. and this i believe (to this day) is the core of a lot of my writing and creativity. and also the core of a lot of my philosophies and beliefs. the ability to sink into a dream, a scene, a story.

and then. i fell in love.

and sure, it would be much too cliche to say that misery breeds good art so a happy artist would (at best) produce mediocre art/writing/whatever. because i've also seen fantastic art produced by very, very happy artists. the sad truth is only that it's much rarer than the alternative of the painfully mainstream tortured artist.

but to some degree, i think there's an inkling of truth in that saying. because having a real-life boyfriend, with all the real-life machinations and strings of having said real-life boyfriend has made it, somehow, much harder to access that old imaginary part of me. like a child growing up and losing the ability to "make believe" the way they used to. except, i know it's still there. there are still moments where i touch it, where i dip my toes in and it always feels like coming home.

and it's more than just the normal adult-ish responsibilities of going to work and paying bills, making dinner and shopping for groceries. doing laundry and investing in your roth ira. because before real-life boyfriend, i still did those things and i was still able to seamlessly get to that "elsewhere place". somehow, it is the physical presence of real-life boyfriend that seems to act as a "grounding agent". he is home, so i can't go to that other place. or, i can kind of get there, but i've always still got one foot steeped in reality.

it is not a necessarily good or bad thing, just an observation at most. but it does create this new "space" for the "want" of that elsewhere. for the want to being able to slip into that creative asphodel like i used to -- blink and i'm there. so i find myself often sitting at my desk, wishing, and then wondering what it means that i can't. that it isn't always and immediately accessible to me anymore.

perhaps absolute solitude was the unquestioned prerequisite for so long that i'd never noticed it until the solitude was no longer available to me. or perhaps the book-boyfriends are just shy creatures, afraid of the blaring daylight that real-life boyfriend might shed on their ultimate two-dimensional beings.

or perhaps that was always a "safe space" that i'd created for myself, and now real-life boyfriend has created a safe space for me too, and the venne-diagram of the two space spaces overlap just so, making a less singular space of each of them in turn. i don't know, but it's an interesting thought.

it's always struck me, now thinking back, that i've never been even remotely interested in having a real-life relationship before now. but that i've also never questioned if i wanted the current one that i'm in, if this was "the one" or if it was "good for me". and in that too, i know i am very lucky. few people can say that they struck gold the first time they've ever tried.

i know for a fact i wouldn't be this happy, have this good of a life if real-life boyfriend weren't here. he has made me better in ways that i do not have words to describe. but i'm also terrified of the earthen grounding-ness of him. i've spent my entire childhood and most of my adult life with my head in the clouds, taking the necessary trips back down to earth when i had to but... it feels strange to be "here" more and more. there's a hole inside of me where "that" heaven should be.

but two things can be true -- i am happy here; i still yearn for that elsewhere.

[aois-amaterasu-painting]

Gekirock - Uruha & Kai interview (2021)

The New 10th Album and a Message for the Present Day, Released After Nearly Three Years! "What We’re Always Conscious of, at the Core, is the Live Show."

The long-anticipated full album MASS from the GazettE has finally arrived, marking nearly three years since their last release, NINTH. What’s more, this new work is their 10th studio album. Following the cancellation of their milestone 18th anniversary live concert last spring due to the pandemic, the band has been working steadily behind the scenes. This production involved significant online collaboration, a necessity of the times. The completed album is imbued with meaningful messages reflective of this unique era. Naturally, the release of such a monumental work raises expectations for live performances. Stay tuned for future announcements!

Interviewer: It has been almost three years since your last album, NINTH (released in 2018), and now you’ve completed MASS. Could you first reflect on the journey the GazettE has taken over this time?

KAI: After releasing NINTH, we spent quite a lot of time on an extensive tour, so a significant portion of our efforts as a band went into that.

URUHA: We were touring on and off for over a year, after all.

Interviewer: Indeed, starting with the hall tour PHASE #01-PHENOMENON in July 2018, followed by the standing tour PHASE #02-ENHANCEMENT, the live house tour PHASE #03 -Passion is Ferocious, the world tour PHASE #04 -99.999-, the Japan homecoming semi-final performance PHASE #05 -Mixed-Blood, and the FINAL NINTH LIVE AT 09.23 YOKOHAMA ARENA in September 2019—this LIVE TOUR spanned 61 performances, covering not only Japan but North America, South America, Europe, Asia—a truly massive undertaking.

KAI: Yes, and since it’s hard for us to mentally shift toward starting new material until after the tour is fully completed, this album’s creation followed the same process as usual—beginning about a year after the tour ended.

Interviewer: So when did the band—or even the individual members—begin to form a vision for MASS, even vaguely?

URUHA: The vision became clearer as we progressed with production. There wasn’t any rush to establish a clear direction; instead, we took the time to carefully discuss and decide on our next steps together.

KAI: By the end of 2019, we held our first song selection meeting. After a series of discussions, we gradually narrowed it down, eventually settling on the 11 tracks included in this album.

Interviewer: On March 10 of last year, during what was likely the middle of your album production period, the 18th-anniversary live show “18TH ANNIVERSARY DAY/6576” was originally scheduled to take place at the Musashino Forest Sport Plaza Main Arena. However, the GazettE made the decision to cancel the event after carefully assessing the situation, even before the first state of emergency declaration was issued. After that, it seemed like the band's activities went completely silent. While I assume you were focusing on creating MASS behind the scenes, why didn’t you opt for the types of outreach many artists were doing at the time, like audience-free streaming concerts or video uploads on YouTube?

URUHA: That’s simply because we had already planned to enter the album production phase at that point.

KAI: Actually, we had our second song selection meeting even before March 10. After that, we stopped production temporarily to switch into live mode and started preparing for the anniversary concert. Unfortunately, it ended up being canceled. So, once that was decided, we just returned to production as planned.

Interviewer: I see. When did you actually start recording?

KAI: We recorded in multiple phases, and the first session was last summer. At that time, we recorded just one track, the lead tune of the album, BLINDING HOPE.

Interviewer: Speaking of BLINDING HOPE, could you share why this particular song was chosen as the lead track for the album?

URUHA: It was a song RUKI (vocals) wrote and presented right from the start saying “this has to be the lead.” When we listened to it, it had a convincing impact and a strong presence that made it clear it was perfect as the lead track. All the members agreed on that point without hesitation.

KAI: This isn’t specific to this album; RUKI always thinks about it holistically and presents the main song and album title at the same time. We listened to his thoughts on that and respected his wishes as we continued to produce the album.

Interviewer: From the perspective of each player, what kind of sound did you think needed to be captured for the lead tune, BLINDING HOPE?

KAI: The phrases were already quite developed in the original composition, so I just added some of my own arrangements here and there. As for the sound, it wasn’t just about my approach as a drummer. Instead, we started from the question, “What sound should the band aim for next?” and built from there.

Interviewer: I'm really curious about what kind of conversations you had within the band when you were searching for this "next sound we should aim for."

KAI: Each of us brought up different reference points, including sounds from various international artists, we did talk about wanting to aim for something that focused on a fairly natural sound at first. I think that was because we were conscious of going in the opposite direction to our previous album, NINTH.

Interviewer: When comparing MASS with NINTH, the difference is striking. NINTH had a densely packed, almost enclosed soundscape, but in this album, even the sound of the kick drum seems to carry more resonance and a sense of space.

KAI: At first, we were even saying, “Should we just go back to recording normally for once?” But after further consideration, we decided to stick with the same separate recording method we used in the previous album. Of course, we used samples for some of the sounds, but one of the key changes was having a different drum technician this time. That likely contributed to the final result being noticeably distinct from NINTH.

Interviewer: Was the main change in the drum parts related to tuning?

KAI: It wasn’t just the equipment we used that changed; the change in the tuner was surprisingly significant. This person is very precise in tuning the snare and toms to match the original compositions perfectly. He seems to have great chemistry with me and provides lots of valuable advice. Honestly, I learned so much—it was really eye-opening.

Interviewer: It’s incredible that even with the GazettE’s 19-year career, you were still able to gain new insights like that.

KAI: Yeah, I was genuinely surprised by how much I still don’t know (laughs).

Interviewer: Did the unique drum sound that became the foundation of this album affect the guitar sound in any way?

URUHA: Since we recorded the guitars while listening to the recorded drum tracks, there were moments where I thought, “The sound is different from the pre-production stage. So that's how it turned out.” However, that didn’t lead to significant changes in the guitar sound. The sound changes drastically during the mixing stage, so getting caught up in minor adjustments during recording could cause inconsistencies in the overall album production. That’s why my focus was consistently on the sound of the album as a whole.

Interviewer: So you had to look at things from a big-picture perspective. Speaking of that, what were the key aspects you emphasized while working on MASS? My impression after listening to it is that there are many parts of this album that seem to be made with live performances in mind, starting with the SE track COUNT-10 leading into the lead tune BLINDING HOPE and the energetic ROLLIN’ with its drum solo intro.

URUHA: Absolutely, that’s exactly right. The GazettE rarely creates songs solely for recordings. We often approach music with live performances in mind. Even during the song selection process, we judge whether a track is suitable for live settings. Fundamentally, live performance is always at the core of what we do.

KAI: During the album production, we actually simulated setlists. We experimented with mixing new songs and existing ones to see what combinations would feel cohesive for a live performance. Based on those tests, we identified gaps like, “We need this type of song,” and added tracks accordingly.

Interviewer: Now, for the Gekirock readers, could each of you recommend two personal favorites from MASS?

URUHA: For the Gekirock audience, I have to start with BLINDING HOPE. It’s the one song that encapsulates the various elements contained within MASS. The melodic progression, the sense of speed, the intricacy of each instrument—this track is a condensed representation of the current state of the GazettE. Just by listening to it, you’ll get a good grasp of the album’s overall feel. And since Gekirock readers tend to be metalcore fans, I’d also recommend MOMENT.

Interviewer: Interesting choice. Why MOMENT specifically?

URUHA: For metalcore fans, I think it’s refreshing to sometimes take a break with a ballad like MOMENT featuring acoustic guitars. I’m guessing many of you don’t often listen to this type of song, and it’s also rare for the GazettE. It had been a while since I recorded with an acoustic guitar, and I hope you’ll enjoy this tranquil atmosphere.

Interviewer: When using acoustic guitars in the GazettE’s music, what is important to you?

URUHA: Normally, acoustic guitar parts are handled by AOI. However, MOMENT is a track where the acoustic guitar takes center stage throughout, including the guitar solo. Since it was such a special case, we emphasized capturing the natural resonance of the guitar body by recording it with a microphone. That said, faithfully reproducing the recorded sound in a live setting might be challenging due to the band’s overall acoustics, so I think we'll have to go through a process of trial and error from here on out.

"The thing is, the GazettE just can’t lie" - KAI

Interviewer: Not just MOMENT, but listening to MASS, I was reminded again of how strong the GazettE’s melodies are in general.

URUHA: I like heavy music, but I this is largely because our roots aren't in metalcore. Our roots are in visual kei, so of course we think about song melodies as the axis.

Interviewer: Meanwhile, KAI, what are your personal recommendations from MASS?

KAI: While I feel like I should pick something different from URUHA’s choices (laughs), I can’t leave out BLINDING HOPE. It’s the entrance to MASS, and more than any other track, it encapsulates what the GazettE is as a band. So, I can't leave it out.

URUHA: So, what about the other two songs?

KAI: Hmm, all the songs are my favorites, so it's hard to pick out just one (laughs).

Interviewer: In terms of drum phrases, HOLD has quite a flashy structure, doesn’t it?

KAI: Ah, yes, definitely. I think readers of Gekirock would probably prefer tracks like HOLD, BARBARIAN, and FRENZY. But personally, I’d like to recommend LAST SONG.

Interviewer: Please tell us why.

KAI: This is the song that concludes the album MASS, and if we do any tours in the future, it's definitely the song we'll play last at live shows.

Interviewer: That's why it's called LAST SONG.

KAI: Yes, it’s a track that really makes the live experience come to life, and I believe it will play an important role in our future live performances.

Interviewer: LAST SONG includes lyrics like "I was dreaming in despair" and "Wandering voices, here and now, screaming like that day." For those who have been eagerly waiting for the GazettE’s live shows since last spring, this song seems like it will be an incredibly emotional moment.

KAI: Yeah, this song carries a very strong message. The thing is, the GazettE just can’t lie—we end up expressing exactly how we feel in the most straightforward way. In that sense, BLINDING HOPE is also entirely that kind of song. Since this album was created during the pandemic, it was only natural for us to want to pack it full of the emotions we experienced during that time.

Interviewer: And which other track would you choose?

KAI: 濁 (Daku). I think this type of track might not be very familiar to Gekirock readers. It’s a song that really lets you immerse yourself deeply in its world, and I believe that’s one of our strengths. And being able to enjoy such a dark atmosphere is one of the best parts of visual kei, so it might actually be something fresh for Gekirock readers.

Interviewer: With tracks like NOX, which incorporates string elements into loud rock, and THE PALE, which evokes vivid imagery as you listen, the 11 songs on this album each stand out with their unique characteristics. That said, with such a wide variety of songs, wasn't it difficult to compile them into one album?

URUHA: If anything, it was actually a bit harder during NINTH. This time, we didn’t really struggle with that.

KAI: The GazettE has been a band that’s experimented with a lot of different things over the years. We’re quite accustomed to blending a variety of elements into a single album, so it’s something we’re pretty good at by now (laughs).

Interviewer: What was the most challenging part of the production process this time around?

URUHA: This time, because of COVID, we couldn’t gather as a band very often. All the string instrument parts were recorded at home. Even beyond the recording process, we had to proceed without being able to clearly see what each member was working on or how they were approaching things.

KAI: We even did the mixing online this time, which was a first.

Interviewer: When working on the guitar ensemble, did you also communicate with AOI online rather than in person?

URUHA: We kept using LINE and Zoom throughout pre-production. Even after the recording phase was done and we moved to mixing, we still had thorough discussions to make sure the ideal form we each had in mind matched up with the actual sound, so we kept communicating until the very last minute before the deadline.

Interviewer: In such a setup, what approach did you take to find solutions to issues as they arose?

URUHA: First, I tried to draw out AOI’s vision as much as possible—what kind of sound he was aiming for. In the past, I might have jumped in with my own ideas first, like, “Here’s what I think.” But this time, I focused on understanding what AOI wanted to achieve and then considered how I could contribute. Luckily, with tools like re-amping and cabinet IRs (impulse responses), we could tweak sounds extensively. We were able to adjust both AOI’s tone and mine in real-time during our discussions to bring them closer to our shared vision. It was a somewhat tedious and roundabout method (laughs), but it gave us ample time to share and refine our ideas. I think the way we aligned as a twin-guitar duo turned out quite well in the end.

Interviewer: Wouldn’t it be fair to say that it wasn’t a roundabout process but rather a meticulous and careful approach?

URUHA: I guess you could put it that way. Also, this time it was necessary to create from a bird's-eye view, rather than from a subjective point of view.

Interviewer: The twin guitar sound doesn’t clash unnecessarily; instead, it achieves a harmonious and refined ensemble, which makes perfect sense now.

URUHA: I'm glad. If you could feel that, it's all worth it (laughs). While it wasn’t to the extent of completely suppressing myself, this time I really focused all my energy on fully embracing the intentions of the composer, each part's preferences and finding the best possible landing point.

Interviewer: After completing MASS, is there anything new you’ve realized or learned from this experience?

KAI: We were able to do the production online, and as a result, we managed to create something like this. I’ve come to understand that the ideal way to work would be for everyone to gather in person for things like mixing. Hearing the sound from the same speakers and discussing it on-site is really important. When each of us listens on different speakers, our discussions can get a bit misaligned (laughs).

URUHA: The sound changes depending on the environment, after all. Things we used to do smoothly without any issues took unexpected extra effort this time. That’s definitely something to address moving forward, but realizing it was itself a significant takeaway from this production.

Interviewer: This album has been titled MASS. I would be grateful if you could explain a little about the thoughts behind this title.

KAI: The word MASS itself carries many meanings, so it’s not like the title is meant to reflect just one of those meanings. But the aspect of "MASS" as "one cohesive entity" is definitely one of them.

Interviewer: It seems like listeners will have the opportunity to explore and find the meanings themselves while enjoying this album. Also, this happens to be the GazettE’s 10th studio album.

KAI: Yes, and we kept that in mind with the jacket design. It’s a collage that incorporates elements from all our album covers since our first full-length album, DISORDER, released in 2004. In that sense, you could interpret MASS as a square within a square*, and I think it can be interpreted in many other ways.

*The term he used is "枡目の枡" (masume no masu). It’s like saying the "unit" or "box" that is a part of the grid. So, it’s a way of emphasizing that the "masu" itself is a part of a larger, organized structure made up of smaller units.

URUHA: That said, MASS isn’t what you’d call a conceptual album. It wasn’t created around a specific theme. It’s more accurate to say it encapsulates the core of the band, distilled into one record at this moment in time. But this doesn’t represent some sort of final destination for the GazettE. If anything, it’s just a checkpoint. This is our best work at this time, but there are still many unanswered questions even after finishing the recording. Those are things we’ll have to discover as we keep moving forward. Creating this album really reminded me, after three years, "Oh yeah, this is what making an album feels like" (laughs).

Interviewer: As the GazettE celebrates 19 years this year and approaches its 20th anniversary next year, we sincerely hope for the day when we can hear the songs from MASS performed live as soon as possible.

KAI: Since we’ve released MASS, of course we want to follow it up with live performances. That’s definitely on our minds. However, we’ll need to consider the timing carefully. Regardless, we’re making preparations so that we’re ready to go whenever the opportunity arises. So, I’d like to say it clearly here: We will do live shows!

URUHA: The issue of COVID-19 is a global one, so for now, saying “We want to do live shows” is really just an expression of our hopes. But if people listen to MASS and feel, “I want to go to their concert!” then we believe it’s our job to create the conditions to respond to that feeling as much as possible moving forward.

Interviewer: How are you feeling about the upcoming 20th anniversary next spring?

URUHA: We had a lot of plans in place for the 20th anniversary, but some of them have had to be changed under the current circumstances. Still, when I think about it, I feel like reaching 20 years is pretty incredible. I'm amazed that we've lasted this long (laughs).

KAI: Hahaha (laughs).

URUHA: But as the years go by, I’ve come to feel more and more that it’s because of the five of us that we’ve been able to keep going. Our members are truly resilient, and their love for the band runs deep. Without that, we wouldn’t have made it through all the rough seas we’ve faced over the years. I felt that once again when we finished MASS.

KAI: That’s why, even beyond the 20th anniversary, all we want to do is keep expressing what we want to convey through our music. That’s everything for the GazettE.

[pulaasul]

Marvel vs. DC - Amalgam

Marvel and DC, two of the most renowned comic book companies in the world, joined forces in 1996 to create the Amalgam Universe and the Versus lineup.

In video games, particularly in the fighting game genre, these comic book superheroes have crossed over with other franchises. Marvel characters, for example, have gone up against characters from Capcom—a video game company with an extensive catalog of titles. However, in their storyline, they often join forces to face a common enemy.

DC, on the other hand, clashed with the characters from Mortal Kombat, developed by the former Midway Games. Their narrative revolves around the two sides battling each other before ultimately uncovering the true cause of their conflict.

In the Versus miniseries, the storyline centers around two cosmic entities compelling the characters to fight one another, only for the heroes to eventually unite and stop the entities from destroying each other.

In the spirit of Amalgam Comics and my love for crossovers, I'm proposing the idea of a Marvel vs. DC fighting game that could be developed by Capcom.

It could have been an either/or situation—either Capcom or NetherRealm Studios—but since NetherRealm is still owned by Warner Bros., DC's current parent company, it wouldn't be a fair arrangement for Marvel characters.

I propose a roster of 27 characters for the fighting game. Capcom’s very first Marvel fighting game featured 13 playable characters, while Midway’s first DC fighting game included 23 playable characters, 11 of which were from DC.

Admittedly, this might seem ambitious, especially since Capcom’s recent releases typically feature 16–18 base characters. Adding 9–11 more might push the limits, but it’s necessary to ensure a balanced and diverse roster.

Here’s how the roster would break down: Marvel and DC would each have 10 characters, making up the core lineup. Five additional characters would come from the Amalgam Universe, paying homage to the classic crossover. The final two would be guest fighters—Ryu from Street Fighter and Liu Kang from Mortal Kombat—a nod to the first fighting game crossovers these characters were part of.

Let's start with the Amalgam characters:

Amazon - Princess Ororo of Themyscira (Amalgamation of Wonder Woman and Storm)

Nabu the Ancient One (Amalgamation of Nabu and the Ancient One)

Huntress (Amalgamation of DC's Huntress and Captain Marvel - Carol Danvers)

The White Witch Wanda Zatara (Amalgamation of Zatanna Zatara and Wanda Maximoff)

Catsai (Amalgamation of Catwoman and Elektra)

Marvel Characters:

Captain America - Steve Rogers

Thor - Thor Odinson

Captain Marvel - Carol Danvers

Storm - Ororo Munroe

Wolverine - James "Logan" Howlett

Magneto - Max Eisenhardt

Scarlet Witch - Wanda Maximoff

QuickSilver - Pietro Maximoff

Ironman - Tony Stark

Thanos

DC Characters:

Superman - Kal El, Clark Kent

Batman - Bruce Wayne

Wonder Woman - Princess Diana of Themyscira

The Flash - Barry Allen

Zatanna Zatara

Catwoman

Captain Marvel - Billy Batson

The Joker

Lex Luthor

Zodd

NPCs would be Deadpool and Harley Quinn

Any of these characters can replace anyone from the proposed roster or could be added as DLC:

Deadpool - Wade Wilson - Marvel Comics

Harley Quinn - Harleen Quinzel - DC Comics

Spider-man - Peter Parker/Miles Morales - Marvel Comics

Poison Ivy - Pamela Isley - DC Comics

Cyclops - Scott Summers - Marvel Comics

Mr. Fantastic - Reed Richards - Marvel Comics

Constantine - John Constantine - DC Comics

Dr. Fate - Nabu/Kent Nelson - DC Comics

Doctor Strange - Stephen Strange - Marvel Comics

Blue Beetle - Jaime Reyes - DC Comics

Human Torch - Jonathan Storm - Marvel Comics

Firestorm - Martin Stein & Ronnie Raymond - DC Comics

Martian Manhunter - J'onn J'onzz - DC Comics

Green Lantern - Any of the human green lanterns, I prefer Kyle Rayner - DC Comics

[anarchistfrogposting]

Hey just wanted to quickly ask if you could maybe explain what settler colonialism is, I'm a bit confused by the term because it seems like it doesn't really apply anymore in places like the US. There aren't really colonies, but fully developed capitalist states that oppress both the people who were originally colonized as well as the working class there.

Colonialism is an aspect of imperialism which focuses on an imperialist state (most obvious examples of this are Britain and France, for example) extracting natural resources from conquered/bought/stolen land abroad, wherein the country that forms the core of said colonial empire takes those resources and uses them to develop their own industries and thereupon its productive capabilities. Many places in Africa experienced considerable colonial oppression, but comparatively little settler-colonial oppression (although I will be clear; there were and are many large-scale settler colonial operations that aimed and some to support and protect European hegemony over Africa).

Settler colonialism is a specific form of colonialism wherein settlers from the imperial core travel to and form significant communities within colonial nations, stealing land from and displacing the local, native populace and replacing it with the native population of the imperial power. These projects inevitably and necessarily involve attempts to wipe out native culture and heritage and replace them with a new settler identity. Prominent examples of this can be seen in former colonies of the British empire; the US, Canada and Australia, e.g., but settler colonialism is a critical aspect of the success of colonial projects; the impacts thereof can be seen in a huge way in Latin America, India, all across Africa (prominently Algeria), and Oceania. In all the aforementioned native populations were displaced and their culture and identity intentionally erased.

Israel is certainly a settler colony, but it stands out as having a somewhat unique background and history. If you are interested in what I mean by this, I’d recommend you to watch this video by crash course (now quite old), which seems to do a decent job of quickly providing a brief overview.

Without significant decolonisation efforts, many of these places are, in a sense, still settler colonies. America will arguably always be a settler colony, but notably still colonises Native Americans in its borders. As does Canada. You could argue that these are postcolonial nations, but I feel that obscures the fact that many of these nations still actively engage in colonialism.

The line between colonialism and not colonialism, I would posit, is not a matter of development but a matter of policy and direction.

There are many many people far more qualified to talk about colonialism and settler colonialism than me, a white person from the UK, but I hope this helps. If you’re interested in exploring black and anti-colonialist anarchism, I would recommend Andrewism on YouTube, and would look into Angela Davis, who, along with being a prison abolitionist has also written extensively on colonialism.

[moontyger]

Utilitarian philosopher Peter Singer proposed a famous thought experiment: Imagine that a child is drowning in front of you. You see her flailing in a shallow pond, and you know you could easily wade into the waters and save her. Your clothes would get muddy, but your life wouldn’t be in any danger. Should you rescue her?

Yes, of course! Walking past the child would be incredibly callous. But according to Singer, we’re all basically walking past that child every day by neglecting to donate to people in poor countries. Since we live in a rich society and giving up a little bit of our wealth wouldn’t substantially harm our lives, we should give to save the lives of the millions of kids who die every year from preventable causes.

That argument has been very influential, both in the ivory tower and beyond. It helped inspire the effective altruism movement, which encourages people to donate as cost-effectively as possible — to give where their money can do the most good — instead of just donating to their local community or pet causes. It’s about doing good impartially rather than prioritizing your nearest and dearest.

But Singer’s argument has also stirred up a lot of debate and confusion, as people who try to optimize their giving for maximum cost-effectiveness sometimes end up feeling callous when they ignore those suffering right in front of them.

According to philosopher Bernard Williams — a staunch critic of utilitarianism — people are right to feel squeamish about ignoring those who are near and dear. In another famous passage related to drowning strangers, Williams said that if a man sees two people drowning, and one is his wife and the other is a stranger, and he pauses to consider whether rescuing his wife would maximize the overall good more than rescuing the stranger, he has had “one thought too many.”

Williams argued that moral agency does not sit in a contextless vacuum — it is always some specific person’s agency, and as specific people we have specific commitments. A mom has a commitment to ensuring her kid’s well-being, over and above her general wish for all kids everywhere to be well. Utilitarianism says she has to consider everyone’s well-being equally, with no special treatment for her own kid — but Williams says that’s an absurd demand. It alienates her from a core part of herself, ripping her into pieces, and wrecking her integrity as a moral agent.

By extension, there is something reasonable in Vance’s claim that it’s morally appropriate to give preferential treatment to citizens of your own country. America is a democracy, and the prime responsibility of a democratic government is to respond to the needs of its citizens.

But here’s the thing: It does not follow — at all — that America should gut foreign aid or keep out immigrants.

Foreign aid and immigration are not the reasons why some US citizens aren’t well provided for, and pretending otherwise is a distraction from government-enabled wealth inequality — which the Trump administration could address, if it wanted to, by raising taxes on billionaires instead of lowering them. The foreign aid agency USAID actually bolsters Americans’ own interests. And immigrants, we know, grow the economy, making everyone better off on balance.