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wilwheaton · 5 months ago

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hello mr wil wheaton when you were my age (like exactly i think) you were filming stand by me

I turned 13 during production, so if you're about to become a teenager, I hope you'll let me offer some thoughts that I wish an adult had shared with me, then?

I know this is a wall of text, and giving someone this much of your attention is a HUGE ask. Maybe bookmark this for another time, if you're not into hearing an old man talk.

I wrote this a few days before I turned 50. Thank you in advance for listening, and I wish you a life filled with joy, unconditional love, kindness, and adventure.

Hey everyone! An old man is talking!

In seven days, I will be 50 years-old. This is ... weird. I do not feel the way I expected I would feel when I was approaching 50, nor do any of my friends. The only time I feel like I'm middle-aged is when my body does some bullshit that takes me down for hours because I had the nerve to stand up quickly. And I really hate it when I have to use the flashlight on my phone to see a menu. I mean, at that point, I may as well be dropping my pants for free and singing the Old Gray Mare.

Anyway. This has been on my mind for a little bit, so I had something to say when someone used my tumblr ask me thingy earlier this week:

Q: I hope I'm as cool as you when I'm 49. I'd like to think I'm taking the right steps towards that version of myself. A: So I'm not sure I'm cool, but I do know that I don't suck, and that it's a choice I make every day. I desperately wish someone in my family had told me, or shown me by example, that getting older doesn't mean getting stupid and boring and stuffy and extremely uncool. I wish I'd known that, because I spent all of my life until I was in my 40s feeling like there was this day coming very soon when I would have to stop listening to punk, stop playing video games, put on a suit, and start yelling at kids for no good reason. I didn't know that you don't have to suddenly stop being who you are and become something or someone you hate, just because of a certain age. I know that's super obvious, but to young me, it was not. My dad was an asshole, my mom never showed up for me. Directors and people on set had been treating me like a thing for my entire life. I got yelled at for no reason from adults who knew better almost every day. Most of my elementary school teachers were authoritarian, evangelical assholes. All of these different adults, consistently, shut me down and made me feel like I didn't matter, the things I liked were stupid, and my opinions were invalid because of reasons I didn't understand because I was a dumb kid. So I presumed that when you got to be a certain age, that's what happened. I didn't want to be that, at all, and I was sincerely afraid of the day it would happen. But as I got older, I discovered that all that stuff I hated about adults doesn't automatically happen. Those adults I just mentioned all made a choice to be an asshole. I just didn't know it. I was in my early 20s when I did a movie with a cinematographer who was, I think, 45 at the time. He was the coolest, kindest, most artistic dude I'd ever known. He mentored me and we had epic fun making great art together. I remember telling him, "I'm not afraid of being in my 40s like I used to be. I didn't know you could still be cool." It's sad, that I grew up in such a toxic environment, and didn't know any of these things. So, 9 days before I turn 50, here are a couple things I have figured out: You know who sucks when they hit 49 and 50? People who sucked when they were 20 and never grew up. You know who is an asshole at 49 and 50? Yep. Someone who was an asshole as a kid and never experienced consequences for being an asshole. Hitting middle age has been awesome for me. Other than the aging of my body and its reluctance / refusal to do what I want it to do, I love everything about it. I wish I hadn't spent so much of my life being afraid that, when I hit 50, it was all over. Because honestly it's kind of just starting. The coolest stuff in my life to date has all happened in the last ten years, and I'm so grateful that it coincided with me figuring out a lot of shit so I could enjoy it.

The best part of getting older, by several thousand light years, is the part where we figure out how to stop putting up with other people's bullshit, and we contract our social circle until it's only populated with a VERY few people who deserve us. And I am incredibly grateful for these occasional opportunities to be a 49 year-old dad who can say all the things that would have been reassuring for 19 year-old me to hear (he wouldn't have understood, but 29 year-old me would have remembered, and he would have understood. I think.) I sincerely hope someone hears it and finds it helpful. Anyway, you're gonna be fine. Just remember that being cool, kind, honest, honorable, reliable, listening and showing up … they are all choices. If you want to be cool when you're 49, make the choice and set the example for someone to follow you. Treat kids the way you wanted to be treated when you were young. Listen to them when they offer you the privilege, because that means they trust you, and you have credibility with them. Be a mentor. Be supportive. Show up. Make a choice to be the person you need in the world, and never stop being that person. Start today, and when you're nearing 50 like I am, hopefully you'll remember who you needed right now, so you can be that person to someone else in the future. You're already asking the right questions and taking the first steps. I believe in you. You've got this.

Okay, if you've come this far, perhaps you'll follow me a little bit more, and read a thing I wrote about talking to students just a tiny bit older than you, which contains my core values.

Be honest. I’m a very old man, relative to y’all, and I’ve learned that the only currency that really matters in this world is the truth.

Be honorable. This dovetails with number one. You attract to yourself what you put into the world. Dishonorable people will take everything from you and leave you with nothing. Do your best to be a person they aren’t attracted to.

Work hard. I don’t mean, like, at your crappy minimum wage job you hate. I mean do the hard work that makes relationships work, that gets you ahead in your education, that gets you closer to your goals. Everything worth doing is hard. Everything worth doing requires hard work. Sooner or later, you’re going to run into something in your life that’s really hard, and you’ll want to give up, but it’s something you care so much about, you’ll do whatever you can to achieve it. It’s going to be hard, but it’s going to be less hard for someone who has practiced doing the hard things all along, than it is for someone who doesn’t know how to do the hard work because they’ve always chosen the easy path.

Always do your best. Even if you don’t get the result you wanted, doing your best — which will vary from day to day, moment to moment — is all you can ever do. We tell athletes to leave it all on the field. Whatever your version of that is, do it.

This is the most important one. This is the one I hope you’ll all hear and embrace. This is the one I hope you’ll share with your peers: Always be kind.”

When I read number 5, I looked up at them. I was so happy to see a classroom filled with teenagers who were all listening intently, even the ones I thought had tuned me out. “Here’s the thing about being Kind, versus being Nice,” I said. “I have interacted with lots of nice people who are incredibly unkind. Why is that? How do you choose to be nice but not kind?”

I pointed to my head. “This is where nice comes from,” I said. Then, I put my hand over my heart. “This is where kind comes from.” I put my hands out, like, “get it?”

There was this collective gasp of realization that I did not expect, at all. One kid said “Oh damn!” I saw a few kids look at each other like the trick had just been explained to them. They heard me. They really, really heard me. And it was amazing.

Okay, that's all. If you're still here, thank you for giving me so much of your time and attention. I hope you'll come back in a few years, and let me know how you're doing.

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mesetacadre · 4 months ago

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Palace of the Republic, Berlin

The right to work at a job of one’s own choice was guaranteed by the East German constitution (Aus erster Hand, 1987). While there were some (mostly alcoholics) who continuously refused to show up for jobs offered by the state, their numbers represented only about 0.2% of the entire East German work force, and only 0.1% of the scheduled work hours of the rest of the labor force was lost due to unexcused absences (Krakat, 1996). These findings are especially noteworthy, given that people were generally protected from being fired (or otherwise penalized) for failing to show up for work or for not working productively (Thuet, 1985). The importance of the communist characteristic of full employment to workers is reflected in a 1999 survey of eastern Germans that indicated about 70% of them felt they had meaningfully less job security in the unified capitalist country in the 1990s than they did in communist East Germany (Kramm, 1999)

The Triumph of Evil, A. Murphy (2002)

The GDR had more theatres per capita than any other country in the world and in no other country were there more orchestras in relation to population size or territory. With 90 professional orchestras, GDR citizens had three times more opportunity of accessing live music, than those in the FRG, 7.5 times more than in the USA and 30 times more than in the UK. It also had one of the world’s highest book publishing figures. This small country with its very limited economic resources, even in the fifties was spending double the amount on cultural activities as the FRG. Every town of 30,000 or more inhabitants in the GDR had its theatre and cinema as well as other cultural venues. [...] Subsidised tickets to the theatre and concerts were always priced so that everyone could afford to go. Many factories and institutions had regular block-bookings for their workers which were avidly taken up. School pupils from the age of 14 were also encouraged to go to the theatre once a month and schools were able to obtain subsidised tickets. [...] All towns and even many villages had their own ‘Houses of Culture’, owned by the local communities and open for all to use. These were places that offered performance venues, workshop space and facilities for celebratory gatherings, discos, drama groups etc. There was a lively culture of local music and folk-song groups, as well as classical musical performance.

Stasi State or Socialist Paradise? The German Democratic Republic and What Became of It, Bruni de la Motte and John Green (2015)

Work itself was elevated to a place of pride and esteem and, even if you were in a lower paid job, you were valued for the work you did as a necessary contribution to the functioning of society. The socialist countries were also designated ‘workers’ states and it was not merely an empty phrase when the GDR government argued that the workers, who produced the commodities that society needed, should be placed at the forefront of society. Those who did heavy manual work, like miners or steel workers, enjoyed certain privileges: better wages and health care than those in less strenuous or dangerous professions. The GDR had one of the most comprehensive workers’ rights legislation of any other country in the world. From 1950 onwards, there was a guaranteed right to work. This right applied to everybody, including disabled people and those with criminal records. Employers were made responsible for the training and integration of everyone. This meant that everybody felt they had a place in society and were needed. This was particularly important for disabled people and those who wanted a new start in life after being convicted of a crime. Working people were under a much more relaxed discipline in the workplace. Because there was job security and it was almost impossible to be sacked, an authoritarian discipline was difficult, if not impossible, to achieve. In Western countries work discipline is invariably enforced by the implicit threat of job loss. In the GDR, only in cases of serious misconduct or incompetence would employees be sacked. There were individual cases where employees were sacked illegally for what was considered ‘oppositional’ or ‘anti-state behaviour’, but usually the sanction would involve demotion or being transferred to a different workplace. This job security gave employees a sense of confidence and a considerable power in the workplace. It meant that workers could and would voice criticism over inefficiencies or bad management without having to fear for their job. Job security and lack of fear about losing it was probably one of the greatest advantages the socialist system offered working people. Even in cases where a worker was sacked from one job, other alternative work would be offered, even if not on the same level. The other side of the coin was that there was also a social obligation to work - the GDR had no system of unemployment benefit, because the concept of unemployment did not exist.

Stasi State or Socialist Paradise? The German Democratic Republic and What Became of It, Bruni de la Motte and John Green (2015)

#agitprop #quotes

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a-very-tired-jew · 2 months ago

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Absolutely wild to see a Jewish blog on here that has historically called out antisemitic rhetoric in media, such as Disney and AoT, fully embrace that same rhetoric when it comes to Israel and Hamas.

But I also understand.

I won't call anyone out, but if you can spot the similarities in AoT to Nazi rhetoric about Jews, then you can sure as shit spot them in the rhetoric of Hamas and their allies. Willfully ignoring it because "Western Civ is Bad" is an indicator that you have been radicalized by that exact same rhetoric, except this time it's coming from people you like or share interests with.

My Left leaning shalomies, you have got to be careful. You may identify as a Democratic Socialist, a Socialist, or even some form of Communist, but that "West Civ is Bad" rhetoric and talking points you're repeating that you heard from your more radical Comrade comes coupled with thinly disguised antisemitism. They're using your dissatisfaction with the state of things here in the USA and other Western countries to spread Holocaust Inversion/Denial, spread blood libel, ZOG, and other such antisemitic conspiracies.

How do I know?

I'm in my late 30s. In my 20s I was an avowed anti-Zionist. But as time went on more and more of the rhetoric I was being told by other anti-Zionists didn't make sense. It was a lot of Bundist talking points about how the diaspora was always safer while also denying the well documented pogroms that had happened against us.

While also denying what happened to the Bundists in the USSR.

What happened to people like Benjamin Zuskin.

And so many others who argued that we were "safe".

It was the Holocaust Universalization mixed with Denial and Inversion. It was so many things that when you looked at them in a bigger picture they ended up contradicting themselves.

It was the denial that Nazis allied with various regimes in the MENA to blatantly kill Jews for simply existing.

It was the denial that antisemitism was actually not a big problem nor as pervasive as it actually is.

Simply put, after enough time, life experience, reading, and thinking it became very clear to me that I had been fed a line of bologna. They had played on my dissatisfaction with the USA and its past actions.

I legit had the line "Israel only exists as a modern day concentration camp to keep all the Jews in one place and then exterminate them later. Jews need to be dispersed around the world to keep them safe" as justification to be anti-Zionist thrown at me when I was younger.

And it made sense at the time. You're fed so much pro-USA material growing up that eventually you find out the narrative that the USA lies, that the UK lies, that the West lies all the time. So you look for alternatives, but you end up embracing propaganda from even worse sources that are downright authoritarian and trying to deny their own atrocities and bigotry by pointing at others. You honestly swing so far the other way on the pendulum that you embrace and repeat rhetoric without fully understanding the nuance and complexity of it all.

When I hit my 30s I realized I had been taken for a ride. A veritable rube if you will.

And I see this same pattern in a lot of younger anti-Zionist Jews in that same age bracket. It's the same dissatisfaction that is being manipulated into antisemitism under the guise of anti-Zionism. It's the denial that what they're saying is antisemitic because surely they, as Jews, know what that actually is, and even if it is, they can't be antisemitic because they're Jewish. Right? Right???

So I beseech you. When the rest of us are saying "hey, this is actually antisemitic" and you go "Um, actually... As a Jew..." please stop for a moment. Think why some of us would be pointing that out. It's not for Zionism sake or any other political ideology. It's because that hate fueled rhetoric hurts all of us and some of us have been in your exact same shoes.

So if you can see the antisemitism in something like AoT and Disney, then you can surely see it in these slogans, rhetoric, and actions of anti-Zionist activists. And if you don't...well hopefully this will make you stop and think.

#jumblr #antisemitism #leftist antisemitism #Former anti-Zionist #I've been there and I've done that #I know the rhetoric and I know the talking points #It honestly would take a graduate education to fully unload everything I've been through as an activist and what is good and what is bull #There's just some things you have to live through and you either double down or snap out of it

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batboyblog · 20 days ago

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In the almost month since the election I’ve gone through so many emotions. I’ve felt hopelessly crushed, furious, overwhelmed, and just plain exhausted. I hate that this has happened, and that the orange shitstain is gonna put the most awful people in power. I’m not gonna lay down and die, but I’m just so tired of this. That man has slowly drained the hope out of this nation for the last ten years and I’m sick of it. I know this didn’t start with him, but he certainly emboldened blatant authoritarianism. I know every generation feels at some point the world is ending, but at this point it feels so difficult to try to have hope for the future. I believe we as a country can be better than this, but I’m not sure at the moment how we can get there.

I know the feeling, the tired part any ways.

in 2016 I was in the Hillary campaign and like we talked about HOW! bad Donald Trump could be, Hillary had a tweet "we can't trust a man who can be baited with a tweet with the nuclear codes" and for us inside the campaign we took all that very seriously for us it was not talk we meant it, we believed he was really dangerous, deeply corrupt possibly criminal already, and totally unqualified and unfit. And we said so, and no one took us seriously, I always remember a nice middle aged couple stopped at our office to get some signs they weren't from the state and were just passing through. But Democrats, supporters and I was trying to push them to maybe volunteer (as was my job) and I talked about how a Republican President (Ie Trump) could appoint up to 4 Supreme Court justices and they would surely do away with Roe V Wade. And They literally rolled their eyes at me and said "I know thats a good line but do you really believe that'd happen? they'd do away with Roe?" yes, yes we did.

So any ways I believed Trump 1.0 would be every bit as bad as it turned out to be, it was even on January 6th a little worse. So I went through the emotional roller coaster in 2016

2024 has been just sad, and tired.

But I do feel something growing in the guts of my soul, rage, pure burning rage. Someone once said that the thing that fuels every good activist is rage at the world for being imperfect. I don't know if thats right or true.

But it's whats getting me up in the morning, we offered hope, and kindness and a better world and they threw it back, well fuck 'em. This is my patch of dirt on god's good earth goddamn it and they can't fucking have it without a fight, I'm a miserable cockroach motherfucker, I will out fight them, out last them, and win and stand on the ashes of their fucking fascist dreams.

more to the point, I did feel like giving up, and saying "well they picked this, eyes wide open, now we all suffer, w/e" but I don't get to give up, Bill Clinton said "there are no permeant victories or defeats in politics" and he's right, this is the call and the cause, to struggle unendingly for the better world and if you're very lucky you live to see it turn a little and a new battle for the better of man kind than the one you spent your life on be engaged. For me personally, my nephew is trans, he's 17 looking at colleges, picking states that are safe for him. I don't have the power to protect him, I did EVERYthing in my power to stop this, because of him, and for him, I'll be out there again and again and again. I wish deals with the devil were real because I'd just go to hell so he could be safe and happy, but sadly only hard work and uncertain outcomes are real.

I have no easy answers, no clean hope of a better world or a better America about to be born from the bitter ashes of this election. Harvey Milk said "I know you cannot live on Hope alone, but without it life is not worth living" And the last 10 years, the forces of darkness have across all of society, wearing many different faces tried to take hope out of our souls, and its brought us here. My favorite speech is by Ann Richards and I quote the end a lot, but here I'll quote something she said way way back in 1988

This Republican Administration treats us as if we were pieces of a puzzle that can’t fit together. They've tried to put us into compartments and separate us from each other. Their political theory is “divide and conquer.” They’ve suggested time and time again that what is of interest to one group of Americans is not of interest to any one else. We’ve been isolated. We’ve been lumped into that sad phraseology called “special interests.” ------ No wonder we feel isolated and confused. We want answers and their answer is that "something is wrong with you." Well nothing's wrong with you. Nothing’s wrong with you that you can’t fix in November! We've been told -- We've been told that the interests of the South and the Southwest are not the same interests as the North and the Northeast. They pit one group against the other. They've divided this country and in our isolation we think government isn’t gonna help us, and we're alone in our feelings. We feel forgotten. Well, the fact is that we are not an isolated piece of their puzzle. We are one nation. We are the United States of America.

in the 2020s we're doing it to ourselves but its helping the cynical just as much. Each of us trapped on our phones in our own personal self made hell, well not self made, there are algorithms feeling you stories designed to make you feel like shit, because when you feel like shit you stay on-line, and keep doom scrolling. We're divided and our culture, the way we speak to each other it only makes us more divided, we're rubbery and inauthentic.

So I guess, you want hope, get out there and find something you believe in and fight for it, there's a local candidate near you I'm sure you can believe in, a ballot measure, a local group, something, and break the isolation we have to talk again because if we don't, well its already eaten us alive and we're trying to get out of the whale.

#political #politics #rambling #Democrats #american politics #us politics

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togglesbloggle · 11 months ago

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Voltaire's Prayer

“I have never made but one prayer to God, a very short one: Oh Lord, make my enemies ridiculous. And God granted it." -Volaire’s letter to Étienne Noël Damilaville, 16 May 1767

I’m inordinately fond of sex, in the political sense. It’s saved us so often from the worst parts of ourselves.

As far as anti-authoritarian elements of the human experience go, sex is right up there with curiosity and the search for truth- maybe even more so. When a new tyrant comes to town, shutting down the universities and the libraries is only the second thing they try. The first thing is to regulate human sexuality to within an inch of its life. Rules for marriage, rules for courtship, rules for which genitals may touch and where they may touch and when they may touch. Rules for who and rules for whom. Rules for which kinds of sex must doom characters in literature, rules for which things may be described as sexy, rules for which things may be described in a sexy way.

Of course they do! If you’re trying to bind a large polity together under a common ideological narrative, to render people predictable enough to quash dissent and legible enough to exert power through them, the last thing you need is a bunch of folks running around being horny about stuff without permission. Nature gifted us with a great capacity for reason and community; we have the innate opportunity to learn about ourselves and our neighbors, and to form complex societies based on that understanding. It was Aristotle who first called us the political animal, and the fruits of that extraordinary capacity will always be within our reach, if only we can come together within a shared understanding. The invention of the city is the great triumph of our species, and with it we conquer the universe.

But also this extraordinary, reasoning mind has been sculpted from the raw clay of a biology that’s anchored in sexual reproduction, and this ends up being very, very funny.

The problem isn’t so much that the sex instinct exists, per se. It’s how it’s implemented. Like most biological forms, the full complement of 86 billion(!) neurons in your brain aren’t encoded in a particular configuration; the brain is much too complex to be described so precisely in the only ~725 megabytes or so of human DNA. The particular shape of your brain is in there somewhere- the lobes and subregions responsible for vision, memory, cognition, all that- but only up to a point. The genius and fundamental limitation of genetics is that, below a certain level, the genes instead describe a process for the production and reproduction of specialized cells, and simply constructs them in such a way that they can be relied upon to order themselves as they go.

This is all well and good when we’re talking about kidneys and livers, but the fact that you can encode any kind of specific behavioral instinct in a brain this way is nothing short of a minor miracle. Think about it! Spiders don’t have a ‘spider web’ gene, the gene is for ‘proteins that come together in self-assembling electrochemically sensitive gelatin tissue which, when complete, encodes patterns that operate organ systems such as legs and spinnerets in such a way as to reliably create silk webs.’ This is absurdly impressive, and also completely insane.

What I’m getting at is, powerful behavioral instincts in a complex animal aren’t precise instruction manuals by which we pursue evolutionarily advantageous behaviors. Sex and eros are prior to logic or language, let alone strategy. Sex is a double-thick electrical wire discharging lightning bolts right through the middle of our cognitive centers, installed in the brain by a surgeon wearing mittens. It’s an untethered firehose whipping chaotically through the cathedral, unpredictably spraying golden reliquaries with substances unmentionable. It’s the first and greatest anarchist.

I really can’t overstate my gratitude for this.

Obviously this results in any number of deeply goofy outcomes by way of kinks and odd sexual practices- it gets tangled with pain centers, with random bits of anatomy and proprioception, with our taboos and aversions, with our greatest terrors or our greatest yearnings or just arbitrary stimuli from adolescence, and of course it gets enmeshed so often with our notions of power and submission. It imbues these things with a fascination and potency out of all proportion with their mundane meanings. And ultimately, you end up with human pleasures and human values that diverge so far from banal evolutionary imperatives as to be all but unrecognizable.

Even when this process somehow manages to propagate through the brain in such a way as to drive behaviors that are legibly aligned towards some adaptive constraint- e.g. heterosexual mating practices resulting in biological reproduction and careful childrearing- it’s still madness. Love and sex penetrate deeply across tribal and national and racial boundaries, across economic interests, across battle-lines and enmities. We become traitors, apostates, emigrants, and artists. Declare a law, and in short order some hot-headed young people come along to break it in the name of sexual passions you could not possibly have seen coming. Divide your neighborhood into us and them, and by the time the ink is dry on your proclamation there will be a forbidden relationship across the fence. There is no social order, no ethical system, no theory of human nature that can entirely withstand contact with the full spectrum of human sexuality, because sex and eros are always going to be exactly as bonkers as the complexity of the human mind and culture will allow, plus a little extra just to be sure.

This isn’t always a delight, of course. Many prohibitions exist for a very good reason, and the chaos of human sexuality makes no exemptions for true evil. Some of us end up really, truly victims of this process. But for all the dangers, the chaos at the root of all this isn’t oriented towards evil. Chaos just means chaos, essentially arbitrary and hence absurd in character.

And in the grand analysis, we are so lucky to have this thing moving through our communities, this ridiculous madness that guarantees that there will be cracks in every wall and slips exploding cigars in the pockets of the powerful few. Not in everybody as individuals, of course, and not everybody the same amount; asexuality is certainly one of the outcomes that all this mad gallivanting through our brains can produce. Sexuality would never be so predictable as to guarantee its own existence, after all. That’s part of what makes the joke so funny.

But all of us, regardless of sexuality, get to live in a world where the grand anarchy of sex is constantly driving home this lesson that no category is inviolate and no law is perfect. That we should not and cannot take ourselves too seriously, or forget that we’re animals. That we don’t exist only for the sake of others, or within their understanding. That cities are made of cooperation, grace, and forbearance- not conformity or mere compliance.

People sometimes worry about immortality. In the political sense, I mean. They worry about eternal dictatorships and unconquerable gerontocracies. This fear isn’t entirely unjustified; death has often played a role in progress and liberation. But as long as enough of us are still getting horny without permission, still falling in love in stupid ways, I think we’ll be okay. Romeo and Juliet don’t have to die at the end to make a difference in the world, as long as they’re brave enough to get weird with it.

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elpeadro · 12 days ago

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If the writers wanted CaitVi to be their canon OTP so damn bad, they had two ways of going about it:

THE GOOD ENDING:

Caitlyn doesn’t turn to fascism in her grief and rage. Ambessa still takes advantage of the council bombing to goad Piltover’s elite toward supporting martial law, likely installing Salo as her puppet as she originally planned to, but Caitlyn is one of the few who protest and refuse to be swept up in the authoritarian fervor Ambessa stokes. Because:

1) there’s no way she wouldn’t notice how fishy the attack on the memorial was. This is the same person who pieced together the conspiracy surrounding Silco and his criminal empire without ever stepping foot in Zaun. She’s a great detective who has been shown to see through the surface level cover-up. Not to mention the list of potential suspects with both motive and means is very small. Add on Mel’s insight, who she would interact with as one of the other Piltover characters who resists Ambessa’s scheming, and they would definitely pin Ambessa as their prime suspect. The problem is that they have no proof. All of the attackers are dead. Ambessa covered her tracks well, a nod to Noxian subterfuge in the wider lore.

And most of all, and most horrifyingly, Piltover doesn’t care. They’re angry. They’re outraged. Their bigotry is being preyed on by Ambessa, but they hardly need a push to go from the indifferent oppression of Zaun to active, overwhelming oppression. They already saw Zaunites as a monolith: criminals, street scum, dirty people who need to stay out of Piltover’s golden streets.

That Jinx is the lone guilty party is irrelevant. Her attack threatens their status quo. It has disrupted the utopia of Piltover living in its ivory towers without a care in the world, and they will bring back that false sense of security by crushing any possibility of Zaun fighting back ever again.

and 2) even with the grief of losing her mother fresh on her mind, this is still Caitlyn Kirammen we’re talking about. The woman who gives up her rifle - not just a prized possession, but her means of self-defense and safety when she’s deep in the worst parts of Zaun - without a second thought to save Vi’s life. The woman who hugs Huck, a homeless drug addict with a cancerous-like growth on half his forehead, of her own volition.

Because she cares.

As we are reminded time and time again in season 1, while Caitlyn is an incredibly naive, privileged, idealistic woman with an exceptional ability to put her foot in her mouth and say the most tone deaf things, she has a good heart, and more importantly, is willing to learn. It isn’t easy at the start, but when confronted with the irrefutable proof of how awful Piltover’s treatment of Zaun is, she listens. She feels sympathy for Zaunites, even if they are drug addicts (Huck), convicts (Vi), or gang leaders (Ekko).

That same Caitlyn, the one we see a small glimpse of in episode 1 when she protests that innocents will be caught in the crossfire, would not stand for Piltover’s martial law and mass imprisonment of Zaunites. She would try to fight it alongside Mel, using her position and influence in the enforcers as Mel uses hers as a politician.

(While she still develops an obsession over Jinx and getting justice for her mother’s death, she doesn’t see collective punishment and chemical weapons as acceptable costs of achieving said justice.)

And if the writing stayed true to the themes of class conflict in season 1, then she would quickly be forced to confront the horrible realization that there is no fixing this. The faults are systematic, not individualistic.

It doesn’t matter if it’s Marcus or Salo or Ambessa or whoever. The enforcers and Piltover will always be corrupt institutions stepping on the necks of Zaun. Piltover’s society is rotten from the inside out. And if she isn’t going to stand by and let it happen (because she refuses to compromise her morals and enforce martial law, because she cares - not just about Vi, but about Ekko and the Firelights, Huck, all the innocent people who will be swept up in Piltover’s thirst for blood), then the only way forward is to fight against Piltover.

So she becomes a class traitor. She fights alongside Vi and Ekko in repelling enforcers and Noxian soldiers from Zaun, protects the innocent.

Her relationship with Vi develops healthily compared to the canon season 2 - or as best it can in the midst of fighting a war and given their personal issues (Caitlyn’s grief and rage; Vi's self-loathing and guilt) - and they are good for each other.

It becomes a loving, supportive relationship and a wonderful piece of queer representation.

It would be beautiful. Not just the love and trust they have in each other, but that such love can flourish even in dark times. That people are capable of being defined not by their class and the systems they are born into, but by their actions and morals.

(Would such writing be too radical for the higher-ups at Netflix, Riot, and Fortiche (i.e. writing a class traitor and class war)? Most likely, but that discussion is for another time.)

Part 2: The Bad, Tragic Ending

Will post and link part 3 (the disjumbled tonal mess of an ending we got) once written.

#arcane #arcane s2 #arcane season 2 #arcane spoilers #arcane critical #arcane criticism #caitlyn kiramman #caitvi critical #look the dictator arc wasn't a bad writing decision in a vacuum #in fact Caitlyn being “crowned” might be my favorite scene of season 2 #gives me this wonderful horrible sick feeling of dread in my stomach #but her arc to get to that point was rushed okay?#and then acts 2 and 3 don't follow through on the fallout #so then why the fuck do you make that writing choice?#you can't evoke Macbeth in Caitlyn's intro on the title card and not have her grapple with the weight of her crimes #but the writers did just that #haha...

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frustratedasatruar · 5 months ago

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I've seen a number of antizionists argue for the immediate destruction of Israel on Anarchist grounds.

Lets just pretend for a second that this is an argument that they are making in-good-faith.

I'm an Anarchist. I don't like states.

This said, Israel seems like it may very well be the worst state to start with trying to dissolve? Like, if a state's territory is reorganized into autonomously self-governing communes, there will be a transitional period between when the State's military was defending its boarders and when the communes are able to organize the same. There would be a hiccup, even in somewhere like Israel or Switzerland where everybody's been in the military, in the territory's ability to resist outside invasion.

And Israel is constantly under immediate threat of foreign invasion.

And its not as if Israel has any kind of strategic depth; its the size of New Jersey! You very much cannot trade land for time there!

And all of Israel's neighbors are, at best, hard right authoritarians who would not tolerate any kind of leftist movement any where near as much as the current Israeli state, and, more practically speaking, have actively genocidal ambitions against the Israeli people.

These are not good conditions for getting a Free Territory off the ground!

Like, it would be one thing if, I dunno, Italy and Spain were already reorganized into Anarchist systems and were potentially willing to intervene against anyone trying to crush a nascent Israeli Black Army. I would still be weary, as Israel is still very very small and her neighbors actively want to eradicate her populace, but I would feel space to talk about that because maybe, if everything went right, that could be managed. Theoretically. (In the real world, there is also the question of Antisemitism to contend with, and to what degree that would have a depressive effect on the willingness of christian communes to come to the aid of Jews. There are far more than enough Strasserites in the modern day for this to be a very real concern.)

But that is not the world we live in. Pragmatically speaking, it is absurd to want to build up a global Anarchist movement starting with overthrowing Israel.

Like, fuck, if the Southern Levant is where you want to start, I would advocate somewhere like, I don't know, Palestine, where anarchist militants would have a negotiating position with the Israelis; able to offer an end to Hamas or other terrorist-groups' ability to operate in territory the anarchists control, in exchange for IDF ambivalence or even material support.

You know, a type of deal that could never in a million years be struck between Israeli anarchists and Hamas.

Even if I imagine a scenario where Anarchy replaces the modern State-based global paradigm, I just can't think of any mechanism by which Israel wouldn't be in at least the latter half of territories to be reorganized thusly... at least, not without wildly unacceptable risk of mass ethnic cleansing.

I can only conclude that any anarcho-strasserites who actually think Israel is a remotely realistic nation to focus on dissolving are high on their own supply.

#anarchism #antisemitism

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yuurei20 · 9 months ago

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Short translation from the second Twisted Wonderland novel: Yuuya and the rumors

“'What's the matter? You look a bit down,’ says the ghost.

‘No…mm. It's nothing, but...' Yuuya’s reluctant response trails off in a sigh. ‘I just remembered that tomorrow is the start of another week.’

‘Ah, I get it.’ Ace nods in understanding. ‘You're all gloomy cause you don’t want to go to school.’

‘…yeah.’

‘I get that,’ Grim says with a knowing nod. ‘I hate all those boring classes.’

‘Nah, it’s cause he doesn’t want a bunch of guys he doesn’t even know giving him trouble again.’

Yuuya gives a weak nod.

Yuuya and Grim have been students at Night Raven College for a month. He’d assumed that everything would settle down in time, but after a certain incident things are more shaken up than ever.

It is as though there is no one at the school who has not heard the rumors surrounding Yuuya. Everyone is talking about the incident.

Riddle Rosehearts, the housewarden who reigned over Heartslabyul Dorm, and his excessively strict rules. His authoritarian regime may have continued until his graduation but then, disoriented, he had unleashed a torrent of magical power that resulted in his overblot.

Blot is a byproduct of using magic. While a phenomenon that can pose a deadly threat to mages who allow it to accumulate, it is very rare for it to ever reach that point. For an overblot to occur within such a prestigious, traditional school for mages was unprecedented.

It was a major incident that involved both the students of Heartslabyul, and those of another dorm entirely.

A dorm that was most recently dubbed ‘Ramshackle.’ Its two members are Kuroki Yuuya, a human from another world incapable of using magic, and Grim, a magical beast.

They are special first-years, having received permission from the headmage to enroll due to unusual circumstances.

‘Well, it’s not like the rumors are wrong, but they leave out a lot of important parts.’

Listening to Ace explain, Yuuya starts to feel dizzy.

‘I wasn’t really that caught up in everything with Riddle-senpai, I just happened to be there with you two…I don’t really think ‘special first year’ is the right way to put it.’

‘I guess the main point is that they’re not just rumors.’ Deuce seems to be thinking hard, and Ace laughs aloud.

‘I get asked about you all the time, too, but it’s not like I can say they're wrong or refute them, right?’

‘It’s okay to refute them! People are even coming to our classroom, now, to look in. I thought I was just imagining it at first, but…it’s probably the rumors.’

‘Well, you hear something like that and of course you’re gonna think, ‘I wonder how amazing that first-year really is,’ right?’

‘Speaking of which, on Friday, when I saw you talking to someone from another class,’ Deuce blinks as if having just remembered something. ‘I thought it was someone you knew―they were just hassling you?’

‘Yeah...I might have fainted if you hadn't walked up.’

‘That's a bit dramatic...but then again, not for Yuu, I guess.’

While he is an ordinary human, there is one thing that sets Yuuya apart from others: he detests fighting.

Even witnessing a conflict sets him on edge, and hearing the slightest argument makes him anxious. There is nothing that Yuuya would not do to avoid a fight.

And yet, it seems that a considerable number of students now view him as a rival. Night Raven College students have a lot of pride. Rumors about a special first-year student must have sparked their competitive spirit.

There is no end to the openly hostile students. Whenever he hears, ‘Hey, are you Yuu?,’ he gives an evasive answer and runs away.

‘What? Someone pickin’ a fight? We can’t just let ‘em mock Ramshackle Dorm.’ Grim growls, wrinkling his small, black nose. ‘Tell me who it is an’ where they are. I’ll knock ‘em right out!’

‘Absolutely not.’

‘Well, don’t let it get to you.’ Ace pats Yuuya on the back. He hasn’t stopped chuckling. ‘People will forget about the rumors sooner or later. Hang in there!’

‘That’s easy for you to say…’

If any of them were significantly involved in the situation with Riddle, it was Ace. But with the gossip about Yuuya spreading like wildfire Ace has been able to avoid any negative attention, skillfully keeping himself out of the trouble.

Perhaps he feels guilty about it. ‘You actually seem to be fitting in with the class more,’ he offers in assurance.

‘You think so? Nothing feels different.’

‘Yeah, I think you’re starting to fit in, too.’

Yuuya remains glum, even despite Deuce's encouragement. Ace and Deuce exchange glances and shrug."

#twstnovel2 #twisted wonderland #twst translations

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mariacallous · 2 months ago

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People often say to me that I wouldn’t personally be affected by a second Donald Trump presidency. After all, I live in a blue city in a blue state, and I’m a married, heterosexual woman who isn’t looking to have any more children. I won’t need medication like mifepristone for a miscarriage (though I do have girls in my family who I assume will someday want to have children), and I don’t personally rely on the federal government for education, because my kids don’t go to public school.

So, again, how would any of this affect me? The most likely answer is that, as a public-facing person, I will continue to be subjected to threats, as many in the mainstream media already are. But attacks on the media could escalate if Trump returns to power, given that he doesn’t hesitate to demonize journalists and call them out before his millions of followers. And given what Trump says on television, he may target American citizens for unfavorable speech.

“I think the bigger problem is the enemy from within,” he told Maria Bartiromo on Fox News on Sunday. “Sick people, radical-left lunatics. And it should be very easily handled by, if necessary, by the National Guard, or, if really necessary, by the military.” The “lunatics” in question could be anyone from protesters to opinion columnists—or even mainstream reporters—he doesn’t agree with. Trump has referred to CBS as a “A FAKE NEWS SCAM” whose operations are “totally illegal,” and has similarly suggested that ABC should lose its broadcast license.

What would it mean to have a president who, in this fashion, targets what little is left of the free press? It’s hard to fathom, but there’s a world where Trump imitates his strongman friends like Vladimir Putin or Viktor Orbán or Kim Jong Un—all of whom participate in jailing or killing journalists in countries with state-regulated media. He’s already taking a page from Joe McCarthy this election cycle in targeting the “enemies within,” something my family is all too familiar with.

Few aspects of Trump’s second-terms plans are more openly authoritarian than his immigration platform. On Friday, Trump traveled to Aurora, a suburb of Denver, Colorado, where he is shopping “Operation Aurora,” a policy he said would target “every illegal migrant criminal network operating on American soil” by use of the Alien Enemies Act of 1798. According to the Brennan Center, the law is “a wartime authority that allows the president to detain or deport the natives and citizens of an enemy nation. The law permits the president to target these immigrants without a hearing and based only on their country of birth or citizenship.” The last time the United States used the Alien Enemies Act, it was to put Japanese and Japanese Americans into internment camps during WWII.

What would internment camps actually entail in the modern day? Well, Trump has talked about deporting up to 20 million undocumented immigrants—an operation of staggering scale that he freely admits will be “bloody.” (The Department of Homeland Security, in 2018, estimated there were 11.4 million undocumented immigrants; Pew put the number at roughly 11 million in 2022.) It’s impossible to imagine what deporting that many people would really look like; maybe blue-state governors would be strong enough to prevent deportation camps from being built in states like California and New York. Maybe the camps would only be in red states, or maybe they’d be erected on federal land, like national parks. Then there’s the question of who would run these camps. Trump, for his part, has mused about using the National Guard. Who would stop any of this, you might ask? Would a Republican Congress stop it? Who would be the grown-ups in the room.

At least during the first Trump administration, the courts prevented Trump from doing some of the things he wanted to do, like ending DACA. But this time, Trump would be starting out with a 6-3 conservative-majority Supreme Court, featuring three justices he appointed. Last year, we saw the Trump-friendly high court issue two rulings that will pretty much serve as a blank check to an emboldened Trump: The first ended the Chevron deference, which will curb the power of federal agencies and expedite the death of regulatory expertise. The other decision, which is perhaps more worrying, Trump would have a blank check to do whatever he wants if he says it’s in the service of the presidency, essentially granting him blanket immunity against any crimes he commits in office. As Ninth Circuit judge and Ronald Reagan appointee Stephen S. Trott wrote, it means that Richard Nixon could have “legally ordered his plumbers to burgle the office of Daniel Ellsberg’s psychiatrist.”

Trump is telling us all about his potential plans: internment camps, going after his enemies foreign and domestic, including, presumably, journalists. Will I be one of them? Will he clamp down on the free press? Will he take away the licenses from networks he deems insufficiently supportive of his presidency?

On the campaign trail, Trump has recently posed a question of his own when it comes to voting for him, asking the crowd, “What the hell do you have to lose?” Actually, a lot. While we don’t know precisely what a second Trump term will look like, it’ll surely be chaotic and bleak, and could mark the end of something we certainly don’t want to lose: democracy as we know it.

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bobbile-blog · 1 year ago

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Not sure if anyone’s said this yet but now that we have Laterano events plural I’m fascinated by their (imo) very deliberate choice of protagonists, and there are almost a couple of layers of narrative going on there. I struggle a little figuring out how to get this into words but specifically I think they’re chosen to be people who can carry a narrative without contradicting the orthodox morals of the church. There’s a LOT of vaguely anti-authoritarian rambling below the cut so please kindly bear with me and my English major brain.

I can’t really start there though. One of the reasons this is so brain hurty is how deeply it’s woven into the storyline, so to start, I have to verbalize how Laterano and Arknights writing more generally is different from other, similar settings. Because like, I hear the words “morally negative church in a grimdark setting” and my brain immediately shuts off. Come on, that’s so far beyond low-hanging fruit, if you’ve seen any grimdark setting ever you know exactly what that looks like. And sure, it was fine the first two or three times you saw it, depending on your tolerance for that kinda thing, but it gets boring quick and even when it was new it was kinda uninteresting story-wise. “Religion is always fake because it inspires hope which means everyone who takes meaning from it is either a corrupt grifter or naive and misled” isn’t just edgy nonsense, it’s also basically useless as an actual critique. It tells you absolutely nothing except how to tune out a particular kind of story, and a story that tries to get you to hear less is doing its job wrong.

So, Arknights does something different. Instead of denying the premise of the church entirely, it actually takes it at its word. Laterano is, in almost every definition of the word, a paradise. It is basically unmatched in terms of actual quality of life, with its only competitors being the Durin cities and maybe Aegir, and is worlds apart from now much the rest of Terra sucks. More than that, though, the paradise is specifically tailored to the worldview of a religion with a strong central authority - when I say it takes it at its word, I mean the authoritarian bits too. Laterano is a city that lives in perfect order and peace because everyone follows the law perfectly and they all understand each other and never fight. Empathy is really important for this, as it allows for a believable amount of superhuman societal order. Laterano has very little crime, political drama, or quarrels in general. It’s the promises of a strict higher authority actually taken at face value: everyone follows the rules and that means they have effectively unfettered freedom, because they don’t want to break the rules and therefore they can do anything they want.

Laterano is specifically written to be a believable paradise in a setting that has none, so that when the story then turns around and criticizes that setting, it has significantly more weight. Even when the promises of paradise are taken at face value, there are still issues that cannot be addressed because the system is inherently flawed even in the imaginary scenario where it works. Even worse, the problems that poke holes in the imaginary perfect scenario are the same problems that they face in the real world, like “how do you deal with the interpretation of scriptures” and “hey there’s this racism thing I keep hearing about should we be worried about that or what”. Because of the way this imaginary perfect system works, we then look back on our real world in a new light and understand it a little better. It’s good critique.

Okay so how did we get here and what does this have to do with the protagonists? Well, this starts with Fiametta in Guide Ahead, because she’s a really weird protagonist. This is a cold take at this point but despite being the character on the front of the box, she has very little to actually do with the central conflict of the event. Most of the conflict is handled by Ezell first and Andoain second, and Fiametta mostly putters around putting holes in people until the finale where Andoain receives the answer he’s been looking for, he turns to explain it to the world, and he runs into the only person in the whole of Laterano who does not care about his motivations or his revelation. Her role, in other words, is to replace the climax of Andoain’s story with her own, and in doing so she makes it much harder to actually get a resolution and a meaning out of the story (this should not be taken as a criticism of her character, let me cook). Guide Ahead’s ending is hazy, with only small piecemeal resolutions to its conflicts, and for the longest time that was just the way the event was written and it stood on its own.

But now, Hortus de Escapismo is out and the monkey brain see patterns. Specifically, with the choice of protagonists. Because Executor is definitely different from Fiametta as a protagonist, but there’s one particularly important connection between the two, and that’s that as I mentioned in the beginning, they allow for stories don’t contradict orthodox morality. Fiametta we went over, as she’s uninterested in any of Andoain’s morality and just wants him dead. Executor, though, is purely focused on his mission and views the world through that lens. He only wants to achieve his objective, and while helping the needy is in line with the stated objectives of the church and he does do so when able, it’s secondary to his assigned task. He does change as he gets further into the story, and we’re not gonna ignore that, but we’ll be back to it later. What I mean is more that he is designed as a person who is able to lead a story that doesn’t contradict with the morals of Laterano. He sees the injustice and suffering around him, but that’s not his job, so he doesn’t need to solve it to have a complete story with a happy ending.

This is where it really gets complicated, so I apologize if I don’t explain this very well. I see this as us dealing with multiple layers of fiction: the events of the story, the perspective of the church, and our perspective as readers. Back to the first point - authoritarian institutions almost always use stories to sell people on their brand of order. Simple stories, simple enough that even calling them myths seems like overselling it a little, your “Saint George slays a dragon” kinda thing. This is the point of the second layer, the perspective of the church. I don’t really have an in-world justification for this layer - maybe you could make the argument that it has to do with Law’s perspective on things, but I don’t totally buy that - I think it’s more in a weird narrative transition space for people who don’t read very carefully. Regardless, Fiametta and Executor’s shared indifference to the questionable circumstances surrounding them is designed to let them tell a story to prop up the existing order. Their protagonist status and their missions are specifically constructed to allow them to ignore the suffering around them, and as such ignore the larger questions that might poke holes in the larger order. They’re both playing out the story of Saint George, where they go and find a bad guy and kill them and that’s all there is to it. The story is designed and told specifically for that “that’s all there is to it”.

But, as we said earlier, this is a good critique, and as such it intentionally undercuts this story with the third layer: what we actually see as readers. We are shown the suffering and the injustice, and then get to see our protagonists ignoring that to pursue their goals. This is what gives Guide Ahead’s ending its unique texture, which sets it apart from every other event with a vaguely unresolved ending. We have seen the actual issues with Laterano, and also watched our protagonist explicitly ignore them in favor of her own story. It’s unsatisfying in a way that only really makes sense to me if we as the readers have an understanding of intentional authorship. Whether it be Yvangelista XI or Law or The Actual Real Life Pope, there are issues here that we want to see a resolution to but people are choosing not to address them. Again, it’s good critique. Not only does it push the reader to unpack and understand the actual real-world technique, but it also helps blunt it. You have just seen a plot and protagonist ring uncharacteristically hollow. You then look around to see why that is, and you realize there are many things that should have been resolved that weren’t. The next time you see a story resolve with that same hollow-ness, you know where to look. Surprise! Harry Potter was propaganda the whole time. It’s okay, it was never good, you were just twelve.

I guess the last thing is where we go from here, because Executor’s story breaks this mold somewhat. In Hortus de Escapismo, he has to deal with a mission that isn’t actually bounded by his normal rules, and because of that he actually does have leeway to help the people around him. He starts as someone who is totally mission-focused, but by the end of the event he’s done a total 180 and is blocking Oren’s attack, which makes the mission harder but helps the non-mission-critical civilians of the monastery. He breaks from the rigid thinking of “kill the bad guy and that’s all there is do it”, and gives his attention to the people he isn’t supposed to see. I think this is an indication of the direction we’re going to be headed in the future with Laterano events. The events aren’t going to get better - they’re going to keep being just as morally murky and complicated as in the past - but the characters are going to get better at handling it, and when they do, they’re going to actually start to change things for the better.

Goddamn that was a lot of writing for 1 AM. I still have a. Lot of thoughts on this event with stuff like empathy and Lemuen and Federico being an autistic icon(my beloved) but I’m going to leave things there, I think, because if I write for any longer my phone is going to crash when I try to post this. Anyway if you actually made it to the end thanks for listening to me rambling and I hope that made sense. Cheers.

#arknights #arknights thoughts #hortus de escapismo #laterano #fiametta #executor arknights #I deadass had to ask folks to proofread this one #to make sure I didn’t sound like I didn’t sound off my rocker #also don’t mind my random Harry Potter slander that’s an entirely different rant

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roseofthewind · 7 months ago

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Furina and High-Masking Autism

A lot of people don’t know how to recognize high-masking autism because its presentation challenges many stereotypes about what autistic people are like, but Furina continues to be a perfect example of it.

It should go without saying, but I love Furina as a character and this analysis is in no way putting her down. Autism is an entirely neutral trait that carries through to adulthood, and if you have a strong negative reaction to the idea of a character you like being autistic, you have probably absorbed a lot of misconceptions about autism and have some unconscious prejudice to unpack.

In the paragraphs that follow, I am going to explain several autistic traits and give examples of how Furina displays each trait.

*thinking face on*

1. Autism is, at its core, a difference in the way the brain takes in, processes, and shares information. This can make it challenging to communicate with other people who don’t share this neurotype, but a high-masking autistic person has observed the way other people interact and spent years copying them, figuring out through trial and error how to act to best fit in and get the most positive responses from other people.

Furina’s ascension speech in Act V of the Fontaine Archon Quest, where she first presents herself to the people of Fontaine, is a great example of this observation of others with the goal of masking as well as possible. Furina initially gives the speech as comes naturally to her in a very straightforward and honest manner (also an autistic trait!). After the speech, she realizes that her citizens are responding with hostility to her humility and lack of authoritarianism, so she then plays off the original speech as a ruse and immediately redoes the entire thing more assertively according to the feedback she picked up on.

(Calm down, Furina… Think. Think. What do the people want? How would they imagine a god to speak and act?)

Fontaine AQ Act V, Chinese audio: (link starts video at 3:10:07) https://youtu.be/T-AbXi5bufk?si=eQADAWw6n8Sk0PZE&t=11407

This is the kind of social trial and error that many autistic people do over the course of years so that eventually we can say the “right thing” the first time around, and it’s a testimony to Furina’s skills as an actor that she course-corrects so quickly.

Because of all the constant mental calculations, social situations are usually very tiring for autistic people, even when the social event lines up with their interests. In Clorinde’s Story Quest, Furina has no interest in Navia’s suggestion of pulling an all-nighter to keep playing D&D (I mean, Tabletop Troupe!) and wants to go home and rest.

Furina: Huh!? Oh, um… I’m not sure I’ll have enough energy for that…

Furina has shown other signs of needing to take a break from socializing– for instance, in Lynette’s hangout event quest, Lynette gets tired of all the people at her post-performance reception and goes upstairs to a quieter room to find Furina already there.

Furina offers to give Lynette tips on the best ways to slip away from an event, and Lynette misunderstands at first and isn’t interested in Furina’s advice because she thinks Furina loves everything about the spotlight and doesn’t realize how much they have in common. This goes a long way to show just how well Furina masks her autistic traits!

Furina: I see you’ve escaped the crowds to seek refuge on the second floor. Fame can be overwhelming at first, can’t it? Perhaps you’d benefit from hearing about the experiences of a veteran celebrity such as myself?

Lynette: No thanks, I’m good. Pretty sure this’ll be my first and last time in this situation…

Furina: Hey, at least let me finish! I have top tips on dealing with belligerent reporters, slipping away to hunt down snacks during the intermission…

Lynette: …Tell me everything.

Conversely, when alone, Furina will stay up late reading or doing something else that interests her and will not feel the same need to stop and rest, because when alone, there is no need to expend extra energy worrying about socializing properly.

At the beginning of the Fontinalia Film Festival limited event story, Traveler and Paimon go to Furina’s apartment and she answers the door sounding a bit groggy.

Paimon: Did you just get up, Furina? It’s already past noon, you know…

After Traveler chastises Paimon for being rude, Paimon panics and says something nonsensical about how the weather is so nice in the afternoon and sleeping in is fine, actually, and Furina responds that she’s just a bit tired because she was up late reading:

Furina: I was just up late last night reading some novels…

When focused on an interest, it’s very easy for an autistic person to lose track of time and it can be difficult to break out of the focused state and go to bed. (This is a trait that overlaps significantly with ADHD.)

2. Alexithymia is a difficulty with identifying, processing, and expressing your own emotions, and in extreme cases presents as an almost total lack of emotion. Some degree of alexithymia is common in autistic people.

I believe, in the flashback scene below from Act V of the Fontaine Archon Quest, that Furina genuinely did not realize she was upset and did not realize she was crying, which could be explained by alexithymia.

Fontainian citizen: Are… are you crying?

(If you played this part with the English voice acting and interpreted it differently, try listening to it in Chinese- Furina’s voice sounds completely confident and in control the entire time, and it’s not until the other person points out she’s crying that Furina sounds at all upset.)

Fontaine AQ Act V, Chinese audio: (link starts video at 3:22:00) https://youtu.be/T-AbXi5bufk?si=fl8xSwkQ0rRLFPQU&t=12121

I am a believer that Furina and Focalors were originally the same person, and Focalors is just Furina’s divinity and pre-archonhood memories— so if Furina is autistic, Focalors is autistic.

While talking to Neuvillette, Focalors is extremely matter-of-fact with her explanation of her plan, very matter-of-fact about the suffering of her own human self, and very matter-of-fact about her own impending death. There is no show of emotion— she just tells Neuvillette the facts. This could be related to alexithymia, but regardless it is a very autistic way of communicating that is often misinterpreted as cold and uncaring. In actuality, someone who is willing to sacrifice their own immortality, divine power, and freedom to save other people’s lives cares a great deal, even if the tone of their voice doesn’t reflect it!

Focalors: I mean, did you think I would be the sort to enjoy peaceful repose while Furina suffered?

3. The autistic nervous system takes in a lot of information that a neurotypical person’s would filter out as not being important enough to bother with- this is why autistic people are so much more sensitive to sounds, lights, textures, and any changes in the environment. Too much sensory input can actually feel painful.

There is a documented instance of the Opera Epiclese becoming so loud that Furina was overstimulated enough to yell at everyone to be quiet.

Furthermore, post-Archon Quest, after moving out of the Palais Mermonia and into her own apartment, Furina eats primarily macaroni for an unspecified amount of time— weeks or months on end. After a huge life change, it’s common for an autistic person to want anything they can control to be the same, so their brain has more space to process everything that’s different.

There is no neurotypical explanation for eating the same food over and over to the exclusion of everything else. It makes no sense to someone who doesn’t experience overstimulation and distress at too much change. Case in point, during Furina’s Story Quest, Traveler and Paimon are rather baffled:

Traveler: …Don’t you get sick of macaroni every day?

Furina: Not at all. As long as you have different kinds of sauces in, you can have macaroni and tomato sauce one week, macaroni and bolognese the next…

Notice that Furina says “macaroni and tomato sauce one week,” implying that she’s fine with just that sauce for an entire week, and then uses a different sauce for the next entire week. Still not very much variety!

Paimon: Oh, sounds like you’re really struggling to cope… Traveler: Is it because you have to do all your own cooking now?

Yes, Furina is struggling to cope, but not because she’s incapable of learning how to cook more complex dishes! She’s just too burnt out to want to make or eat a variety of things right now. Furina explains this and Paimon doesn’t believe her, but since we know that Furina’s special dish is an even more extravagant version of La Lettre a Focalors, if Furina is capable of baking at that level, she would certainly be capable of cooking.

4. Stimming, or self-stimulatory behaviors, are repetitive actions that serve to regulate or soothe the nervous system. There are countless behaviors that can be used as stims, but some common ones are rocking back and forth, hand flapping or waving, leg bouncing, skin picking or scratching, rubbing or squeezing a comforting object, dancing, spinning in circles, humming or vocalizing, or listening to the same song on repeat for hours. (It’s worth noting that stimming is not exclusive to autism— especially when stressed neurotypical people do some of these things too. Stimming can also be commonly exhibited by people with ADHD who aren’t autistic, although there are also a significant number of people with both ADHD and autism.)

One of Furina’s idle animations and also her normal attack sequence include behaviors that can be interpreted as stimming. Furina’s idle animation with Surintendante Chevalmarin involves her holding the seahorse up, waving her around, squeezing her tightly and rubbing her face on her head. Chevalmarin is made entirely of water and loves Furina dearly, and so does not mind being cuddled like a stuffed animal.

If you use all four of Furina’s normal attacks, she spins around several times and the final attack culminates with her spinning on a bubble and swinging her sword for AOE. If you use just three of Furina’s normal attacks and do not append any additional actions, Furina spins around again before plunging the tip of her sword into the ground (I do not have a gif of this). Furina also spins around when added to your 4-character party. That’s a lot of spinning, which certainly makes it seem like a preferred stim!

5. I got this far without mentioning special interests because I have so much other evidence that I hardly need to bring it up— but since it’s a much more commonly recognized autistic trait than many of the things I discussed at the beginning, I will include this part of Furina’s teapot dialogue, which does indicate that Furina engages in special interests:

Furina pretty much defines “special interest” with the above statement: it’s something that you’re interested in (to the point that it may feel like an obsession) and you have to know everything about it!

These are just a few examples of autistic traits that Furina exhibits— there are absolutely more. Furina is shown many times to have a high level of near constant anxiety despite being someone who is confident enough to perform on stage. This anxiety could come from other sources, like c-PTSD, but it’s very common for a high-masking autistic person to have chronic anxiety from being hyper-aware of avoiding potential social blunders, repressing stimming to appear more “normal,” and dealing with the increased risk of overstimulation that comes with repressing stimming.

If you made it this far, thanks for reading! Even if you don’t agree with my interpretation of the character, I do genuinely hope you learned something about autism.

#genshin impact #furina #genshin impact furina #furina de fontaine #furina genshin #genshin furina

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signalburst · 8 months ago

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Shōgun Historical Shallow-Dive: the Final Part - The Samurai Were Assholes, When 'Accuracy' Isn't Accurate, Beautiful Art, and Where to From Here

Final part. There is an enormous cancer attached to the samurai mythos and James Clavell's orientalism that I need to address. Well, I want to, anyway. In acknowledging how great the 2024 adaptation of Shōgun is, it's important to engage with the fact that it's fiction, and that much of its marketed authenticity is fake. That doesn't take away from it being an excellent work of fiction, but it is a very important distinction to me.

If you want to engage with the cool 'honourable men with swords' trope without thinking any deeper, navigate away now. Beyond here, there are monsters - literal and figurative. If you're interested in how different forms of media are used to manufacture consent and shape national identity, please bear with me.

I think the makers of 2024's Shōgun have done a fantastic job. But there is one underlying problem they never fully wrestled with. It's one that Hiroyuki Sanada, the leading man and face of the production team, is enthusiastically supportive of. And with the recent announcement of Season 2, it's likely to return. You may disagree, but to me, ignoring this dishonours the millions of people who were killed or brutalised by either the samurai class, or people in the 20th century inspired by a constructed idea of them.

Why are we drawn to the samurai?

A pretty badly sourced, but wildly popular history podcast contends that 'The Japanese are just like everybody else, only more so.' I saw a post on here that tried to make the assertion that the show's John Blackthorne would have been exposed to as much violence as he saw in Japan, and wouldn't have found it abnormal.

This is incorrect. Obviously 16th and 17th century Europe were violent places, but they contained violence familiar to Europeans through their cultural lens. Why am I confidently asserting this? We have hundreds of letters, journals and reports from Spaniards, Portuguese, Dutch and English expressing absolute horror about what they encountered. Testing swords on peasants was becoming so common that it would eventually become the law of the land. Crucifixion was enacted as a punishment for Christians - first by the Taiko, then by the Tokugawa shogunate - for irony's sake.

Before the end of the feudal period, battles would end with the taking of heads for washing and display. Depending on who was viewing them, this was either to honour them, or to gloat: 'I'm alive, you're dead.' These things were ritualised to the point of being codified when real-life Toranaga took control. Seppuku started as a cultural meme and ended up being the enforced punishment for any minor mistake for the 260 years the ruling samurai class acted as the nation's bureaucracy. It got more and more ritualised and flowery the more it got divorced from its origin: men being ordered by other men to kill themselves during a period of chaotic warfare. I've read accounts of samurai 'warriors' during the Edo period committing seppuku for being late for work. Not life-and-death warrior work - after Sekigahara, they were just book-keepers. They had desk jobs.

Since Europe's contact with Japan, the samurai myth has fascinated and appalled in equal measure. As time has gone on, the fascination has gone up and the horror has been dialled down. This is not an accident. This isn't just a change in the rest of the world's perception of the samurai. This is the result of approximately 120 years of Japanese government policies. Successive governments - nationalist, military authoritarian, and post-war democratic - began to lionize the samurai as the perfect warrior ideal, and sanitize the history of their origin and their heydey (the period Shōgun covers). It erases the fact that almost all of the fighting of the glorious samurai Sengoku Jidai was done by peasant ashigaru (levies), who had no choice.

It is important to never forget why this was done initially: to form an imagined-historical ideal of a fighting culture. An imagined fighting culture that Japanese invasion forces could emulate to take colonies and subdue foreign populations in WWI, and, much more brutally, in WWII. James Clavell came into contact with it as a Japanese Prisoner of War.

He just didn't have access to the long view, or he didn't care.

The Original Novel - How One Ayn Rand Fan Introduced Japan to America

There's a reason why 1975's Shogun novel contains so many historical anachronisms. James Clavell bought into a bunch of state-sanctioned lies, unachored in history, about the warring states period, the concept of bushido (manufactured after the samurai had stopped fighting), and the samurai class's role in Japanese history.

For the novel, I could go into great depth, but there are three things that stand out.

Never let the truth get in the way of a good story. He's a novelist, and he did what he liked. But Clavell's novel was groundbreaking in the 70's because it was sold as a lightly-fictionalised history of Japan. The unfortunate fact is the official version that was being taught at the time (and now) is horseshit, and used for far-right wing authoritarian/nationalist political projects. The Three Unifiers and the 'honour of the samurai' magnates at the time is a neat package to tell kids and adults, but it was manufactured by an early-20th century Japanese Imperial Government trying to harness nationalism for building up a war-ready population. Any slightly critical reading of the primary sources shows the samurai to be just like any ruling class - brutal, venal, self-interested, and horrifically cruel. Even to their contemporary warrior elites in Korea and China.

Fake history as propraganda. Clavell swallowed and regurgitated the 'death before dishonour', 'loyalty to the cause above all else', 'it's all for the Realm' messages that were deployed to justify Imperial Japanese Army Class-A war crimes during the war in the Pacific and the Creation of the Greater East Asian Co-Properity Sphere. This retroactive samurai ethos was used in the late Meiji restoration and early 20th century nationalist-military governments to radicalise young Japanese men into being willing to die for nothing, and kill without restraint. The best book on this is An Introduction to Japanese Society by Sugimoto Yoshio, but there is a vast corpus of scholarship to back it up.

Clavell's orientalism strays into outright racism. Despite the novel Shōgun undercutting John Blackthorne as a white savior in its final pages - showing him as just a pawn in the game - Clavell's politics come into play in every Asia Saga novel. A white man dominates an Asian culture through the power of capitalism. This is orthagonal to points 1 and 2, but Clavell was a devotee of Ayn Rand. There's a reason his protagonists all appear cut from the same cloth. They thrust their way into an unfamiliar society, they use their knowledge of trade and mercantilism to heroically save the day, they are remarked upon by the Asian characters as braver and stronger, and they are irresistible to the - mostly simpering, extremely submissive - caricatures of Asian women in his novels. Call it a product of its times or a product of Clavell's beliefs, I still find it repulsive. Clavell invents (nearly from whole cloth, actually) the idea that samurai find money repulsive and distasteful, and his Blackthorne shows them the power of commerce and markets. Plus there are numerous other stereotypes (Blackthorne's massive dick! Japanese men have tiny penises! Everyone gets naked and bathes together because they're so sexually free! White guys are automatically cool over there!) that have fuelled the fantasies of generations of non-Japanese men, usually white: Clavell's primary audience of 'dad history' buffs.

2024's Shōgun, as a television adaptation, did a far better job in almost every respect

But the show did much better, right? Yes. Unquestionably. It was an incredible achievement in bringing forward a tired, stereotypical story to add new themes of cultural encounter, questioning one's place in the broader world, and killing your ego. In many ways, the show was the antithesis to Clavell's thesis.

It drastically reigned in the anachronistic, ahistorical referencees to 'bushido' and 'samurai honor', and showed the ruling class of Japan in 1600 much more accurately. John Blackthorne (William Adams) was shown to be an extraordinary person, but he wasn't central to the outcome of the Eastern Army-Western Army civil war. There aren't scenes of him being the best lover every woman he encounters in Japan has ever had (if you haven't read the book, this is not an exaggeration). He doesn't teach Japanese warriors how to use matchlock rifles, which they had been doing for two hundred years. He doesn't change the outcome of enormous events with his thrusting, self-confident individualism. In 2024's Shōgun, Blackthorne is much like his historical counterpart. He was there for fascinating events, but not central. He wasn't teaching Japanese people basic concepts like how to make money or how to make war.

On fake history - the manufactured samurai mythos - it improved on the novel, but didn't overcome the central problems. In many ways, I can't blame the showrunners. Many of the central lies (and they are deliberate lies) constructed around the concept of samurai are hallmarks of the genre. But it's still important to me to notice when it's happening - even while enjoying some of the tropes - without passively accepting it.

'Authenticity' to a precisely manufactured story, not to history

There's a core problem surrounding the promotion and manufactured discussion surrounding 2024's Shōgun. I think it's a disconnect between the creative and marketing teams, but it came up again and again in advertising and promotion for the show: 'It's authentic. It's as real as possible.'

I've only seen this brought up in one article, Shōgun Has a Japanese-Superiority Complex, by Ryu Spaeth:

'The show also valorizes a supreme military power that is tempered by the pursuit of beauty and the highest of cultures, as if that might be a formula for peace. Shōgun displays these two extremes of the Japanese self, the savagery and the refinement, but seems wholly unaware that there may be a connection between them, that the exquisite sensibility Japan is famous for may flow from, and be a mask for, its many uses of atrocious domination.'

Here we come to authenticity.

'The publicity surrounding the series has focused on its fidelity to authenticity: multiple rounds of translation to give the dialogue a “classical” feel; fastidious attention to how katana swords should be slung, how women of the nobility should fold their knees when they sit, how kimonos should be colored and styled; and, crucially, a decentralization of the narrative so that it’s not dominated by the character John Blackthorne.'

It's undeniable that the 2024 production spent enormous amounts of energy on authenticity. But authenticity to what? To traditional depictions of samurai in Japanese media, not to history itself. The experts hired for gestures, movement, costumes, buildings, and every other aspect of the show were experts with decades in experience making Japanese historical dramas 'look right', not experts in Japanese history. But this appeal to 'Japanese authenticity' was made in almost every piece of promotional material.

The show had only one historical advisor on staff, and he was Dutch. The numerous Japanese consultants, experts and specialists brought on board (talked about at length in the show's marketing and behind the scenes) were there to assist with making an accurate Japanese jidaigeki. It's the difference between hiring an experienced BBC period drama consultant, and a historian specialising in the Regency. One knows how to make things look 'right' to a British audience. The other knows what actually happened.

That's fine, but a critical viewing of the show needs to engage with this. It's a stylistically accurate Japanese period drama. It is not an accurate telling of Japanese history around the unification of Japan. If it was, the horses would be the size of ponies, there would be far more malnourished and brutalised peasants, the word samurai would have far less importance as it wasn't yet a rigidly enforced caste, seppuku wouldn't yet be ritualised and performed with as much frequency, and Toranaga - Tokugawa - would be a famously corpulently obese man, pounding the saddle of his horse in frustration at minor setbacks, as he was in history.

The noble picture of restraint, patience, refinement and honour presented by Hiroyuki Sanada as Toranaga/Tokugawa is historical sanitation at its most extreme. Despite being Sanada's personal hero, Tokugawa Ieyasu was a brutal warlord (even for the standards of the time), and he committed acts of horrific cruelty. He ordered many more after gaining ultimate power. Think a miniseries about the Founding Fathers of the United States that doesn't touch upon slavery - I'm sure there have been plenty.

The final myth that 2024's Shōgun leaves us with is that it took a man like Toranaga - Tokugawa Ieyasu - to bring peace to a land ripped assunder by chaos. This plays into 19th century notions of Great Man History, and is a neat story, but the consensus amongst historians is if it wasn't Tokugawa, it would have been some other cunt. In many cases, it very nearly was. His success was historical contingency, not 5D chess.

So how did this image get manufactured, to the point where the Japanese populace - by and large - believes it to be true? Very long story short: after a period of rapid modernisation, Japan embraced nationalism in the late 19th century. It was all the rage. Nationalism depends on a glorified past. The samurai (recently the pariahs of Japanese history) were repurposed as Japan's unique warrior heroes, and woven into state education. This was especially heated in the 1920s and 30s in the lead up to the invasion of Manchuria and Japan's war of aggression in the Pacific. Nationalism + militarism = the modern Japanese samurai myth, to prepare men to obey orders unquestioningly from a military dictatorship.

This persists in the postwar period. Every year since 1963, Japan's state broadcaster NHK commissions a historical drama - a Taiga Drama, where many of this show's actors got their starts - that manufactures and re-enforces the idea of samurai as noble, artful, honourable people. Read a book - read a Wikipedia article! - and you'll see that most of it stems from Tokugawa-shogunate era self-propaganda. It's much like the European re-interpretation of chivalry. In Europe's case, chivalry in actual history was a set of guidelines that allowed for the sanctioned mass-rape and murder of civilians, with a side of rules regarding the ransoming of nobles in scorched-earth military campaigns. In Japan's case, historical figures that regularly backstabbed each other, tortured rival warriors and their lessers, and inflicted horrific casualties on the peasants that they owned (we have a term for that) are cast as noble, honourable, dedicated servants of the Empire.

Why does this matter to me? Samurai movies and TV shows are just media, after all. The issue, for me, is that the actors, the producers - including Hiroyuki Sanada - passionately extoll 'accuracy' as if they genuinely believe they're telling history. They talk emotionally about bushido and its special place in Japanese society.

But the entire concept of bushido is a retroactive, post-conflict, samurai construction. Bushio is bullshit. Despite being spoken of as the central tenet of 2024's Shōgun by actors like Hiroyuki Sanada, Tadanobu Asano, and Tokuma Nishioka, it simply didn't exist at the time. It was made up after the advent of modern nationalism.

It was used to justify horrendous acts during the late Edo period, the Meiji restoration, and the years leading up to the conclusion of Japan's war of aggression in the Pacific. It's still used now by Japan's primarily right-wing government to deny war crimes and justify the horrors unleashed on Asia and the Pacific during World War II as some kind of noble warrior crusade. If you ever want your stomach turned, visit the museum attached to Yasukuni Shrine. It's a theme park dedicated to war crimes denial, linked intimately to Japan's imagined warrior past. Whether or not the production staff, cast, and marketing team of 2024's Shōgun knew they were engaging with a long line of ahistorical bullshit is unknown, but it is important.

It's also important to acknowledge that, having listened to many interviews with Rachel Kondo and Justin Marks, they were acutely aware that they weren't Japanese, to claim to be telling an authentically Japanese story would be wrong, and that all they could do was do their best to make an engaging work that plays on ideas of cultural encounter and letting go. I think the 'authenticity!' thing is mostly marketing, and judicious editing of what the creators and writers actually said in interviews.

So... you hate the show, then? What the hell is this all about?

No, I love the show. It's beautiful. But it's a beautiful artwork.

Just as the noh theatre in the show was a twisting of events within the show, so are all works of fiction that take inspiration from history. Some do it better than others. And on balance, in the show, Shōgun did it better than most. But so much of the marketing and the discussion of this adaptation has been on its accuracy. This has been by design - it was the strategy Disney adopted to market the show and give it a unique viewing proposition.

'This time, Shōgun is authentic!*

*an authentic Japanese period drama, but we won't mention that part.

And audiences have conflated that with what actually happened, as opposed to accuracy to a particular form of Japanese propaganda that has been honed over a century. This difference is crucial.

It doesn't detract from my enjoyment of it. Where I view James Clavell's novel as a horrid remnant of an orientalist, racist past, I believe the showrunners of 2024's Shōgun have updated that story to put Japanese characters front and centre, to decentralise the white protagonist to a more accurate place of observation and interest, and do their best to make a compelling subversion of the 'stranger in a strange land' tale.

But I don't want anyone who reads my words or has followed this series to think that the samurai were better than the armed thugs of any society. They weren't more noble, they weren't more honourable, they weren't more restrained. They just had 260 years in which they worked desk-jobs while wearing two swords to write stories about how glorious the good old days were, and how great people were.

Well... that's a bleak note to end on. Where to from here?

There are beautiful works of fiction that engage much closer with the actual truth of the samurai class that I'd recommend. One even stars Hiroyuki Sanada, and is (I think) his finest role.

I'd really encourage anyone who enjoyed Shōgun to check out The Twilight Samurai. That was the reality for the vast majority of post-Sekigahara samurai

For something closer to the period that Shogun is set, the best film is Seppuku (Hara-Kiri in English releases). It is a post-war Japanese film that engages both with the reality of samurai rule, and, through its central themes, how that created mythos was used to radicalise millions of Japanese into senseless death during the war. It is the best possible response to a romanticisation of a brutal, hateful period of history, dominated by cruel men who put power first, every single time.

I want to end this series, if I can, with hope. I hope that reading the novel or watching the 1980 show or the 2024 show has ignited in people an interest in Japanese culture, or society, or history. But don't let that be an end. Go further. There are so many things that aren't whitewashed warlords nobly killing - the social history of Japan is amazing, as is the women's history. A great book for getting an introduction to this is The Japanese: A History in 20 Lives.

And outside of that, there are so many beautiful Japanese movies and shows that don't deal with glorified violence and death. In fact, it makes up the vast majority of Japanese media! Who would have thought! Your Name was the first major work of art to bridge some of the cultural animosity between China and Japan stemming from WW2, and is a goofy time travel love story. Perfect Days is a beautiful movie about the simple joy of living, and it's about the most Tokyo story you can get.

Please go out, read more, watch more. If you can, try and find your way to Japan. It's one of the most beautiful places on earth. The people are kind, the food is delicious, and the culture is very welcoming to foreigners.

2024's Shōgun was great, but please don't let that be the end. Let it be the beginning, and I hope it serves as a gateway for you.

And I hope our little fandom on here remembers this show as a special time, where we came together to talk about something we loved. I'll miss you all.

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