#on your central characters’ agency and growth

[yazthebookish]

I loved all of what Sarah highlighted in her interview today and I'll elaborate a bit especially on the romance part:

In Maas’ fantasy worlds, love interests often exist as fated “mates,” with invisible strings between them that are powerful and often poetic. Readers can see the literary metaphors, like complementary powers between two characters. But other times, there are no metaphors, with their connection initially seeming random.

She's too attached to the mate trope and I like that she gives us different cases and scenarios for it, otherwise it'll be boring.

“Sometimes, I will write a scene with two characters that I’ve planned for them to get together, and then they have no …” She shakes her head slightly at me. “It’s like holding two dolls and being like, now kiss! And they won’t. … And then sometimes a different character will walk in and they will just” — she snaps.

I yelled at this part because it's as if she plucked the scene from Azriel's bonus chapter and used it as an example. Those parallels between Elain and Gwyn are intentional. It doesn't mean Elain is bad it's just their dynamic doesn't work as a couple and it was obvious to the author. I know she didn't specify who this was about but like, come on, who tried to kiss and which character showed up in a bonus chapter after that depressing scene and gave a glimmer of hope?

“It feels like magic in a way where, as much as I tried to plot out things years in advance, I let my characters guide a story. And they usually wind up with the people that they need to be with and who offer them the most growth and joy.”

I love this so much and allow me to speak about my favorite ship and its because the snippets we saw of Az and Gwyn together especially in the bonus chapter brought out a lighter version of Az. His scenes with Gwyn were light-hearted and the bonus chapter ends on a hopeful note for them. It's hard to deny that connection between them whether you theorize she's luring him or they're mates, those theories wouldn't exist if she had no ties to him (she's in his own chapter like come on).

I go the philosophical route with my next question: We’re talking about fate here, but at what point is a character the agent of their own fate? What happens if someone rejects their mate? (Listen, if I were Fae and I didn’t like my mate, whatever God chose for me is not my business.)

People are jumping the gun and assume this example is set to be Elucien but... we have Helion and Lady of Autumn likely being an example of a tragic rejected mates story (if you read ACOWAR and their history it's obvious they're mates). Maybe it's Mor and Eris and that's the secret that ties them to each other. We have other characters from other series too.

For a convincing mate rejection story in my opinion, it needs more than one book or it's a case that we see with side characters where we can see their history and the long-term implications of a rejected bond.

It's too easy of a story to have one person's central conflict be the words "no I reject you" and they're done. Again, this is not exclusive to ACOTAR but also her other series.

“That’s something I find to be very interesting,” she replies. “What if the forces that be put you with the wrong person? Or what if you just decide, eh, I’m not interested. … There’s a lot to explore within the concept of mates and your agency about it.

The concept of agency is something many readers in the fandom discussed especially when it comes to mating bonds and there were arguments on (would Rhys fell for Feyre if she wasn't his mate or would have Cassian fell for Nesta if she wasn't his mate). We know that some mates don't work out but stay together because their dynamic is unhealthy (Rhys's and Tamlin's parents). We got examples of a loveless mating bond already.

We also saw that Nesta didn't immediately accept the term "mate" because it would mean cutting off her last tether with humanity. It's not a matter of "you're my mate" "yes I'll be with you", the dynamic between the mated couple is important to explore.

“I’m not going to say if I am exploring it in future books or not,” she continues, “but it definitely offers a wealth of things to explore with this concept of freewill and what is true love. Is it something that’s destined? Or is it something that you make? Is it both?”

This part aligns with what I think about Elucien. We never had a mated pairing who knew they were mates but are not in love with each other. Every mated couple found out they're mates when they were already in love.

Can a destined love turn into true love? Or do you settle for a destined love without love being in the equation. Love wasn't in the equation for Rhys's parents, but love was the equation for Feysand and Nessian. Elucien was left unexplored for a reason and both Elain and Lucien view each other by label "mate", they didn't have a chance to get to know each other. So it's going to be very interesting to see them navigate their feelings for each other despite the mating bond.

I didn't expect her to elaborate a lot on this but I love that she did and I hope in future interviews she gives us more good bits about her writing and examples of the decisions she took for some characters and couples.

Didn't expect this post to be long but happy reading! I'm still reeling from HOFAS 🥲

[butevensomharewrite]

WIP Wednesday - Designs

So, as part of my rewrite, I'm doing some redesigns, and I just like to have them drawn more in my style. And I suppose for WIP Wednesday, I'll share some of the small groups before I do I proper post of all the central cast. Especially since this is going over three years, and I want there to be noticeable changes as time goes. Starting, of course, with the main trio.

Winter Uniforms - Year 1 - Term 1

Most obviously, of course, more uniform variation. I love MHA's uniforms are so uniform, but also, I'm a sucker for slightly different designs. We know UA has a vest, and it's not uncommon for schools to have a matching sweater, and I love proto-Bakugou's cosy oversized lil cardigan, so I gave it back to him.

Hero Suits - Year 1 - Homemade Ver.

Again, the change is most noticeable on Bakugou, because he's the most extra at the start, but with the increased focus I'm putting on the academics of heroics, we have an increased focus on hero costumes. With that, one of the starting foundations is that your fist costumes is homemade, for everyone, not just Midoriya, and from there you manage you upgrades with a fake budget, with cooperation from other students in other courses, mimicking a real agency being built from scratch.

The other most obvious change, of course, is also Bakugou's arm. This goes with his slightly altered backstory to slap him with his character growth a little earlier this time around. At the time of the Sludge Villain stuff, Bakugou's own pride and confrontation attitude gets him in a mess he can't get out of, and now he's facing a serious injury forcing him to re-evaluate his position and choices.

[datamodel-of-disaster]

Some thoughts about TTRPGs, and the ubiquity of DnD.

As someone who does not *love* DnD… it is still the only game I’ve tried with that particular vibe. And I don’t mean “medieval fantasy”.

I mean, an achievement fantasy underscored by mechanics built around an individual success-and-improvement narrative, with a large social component. (You win as a team, but you improve and grow as individual characters.)

This is mechanical, independent of what your DM may or may not put in the game.

Let me list it out.

DnD has no standard mechanics for detriments.

As much as there are possibilities for certain monsters and afflictions to permanently harm or alter a character against the player’s will, a DM has to actively choose to put those in their game, and even then there are typically ways to heal or fix them. In a typical game, there are no permanent, mechanically enforced negatives for your dude; no lingering injuries, no madness, no disabilities, etc.

Recovery mechanics are also simple and accessible (looking at you, Long Rest) and resources are not really set up to be scarce and/or a slog to track and ration.

(Mind you: I’m talking about mechanics that impose a permanent debuff or handicap on your character against your will as a feature of the game, not about playing a disabled character as your own choice.)

Simple, straightforward ability growth as a central mechanic.

DnD is almost entirely designed around characters becoming cooler and stronger over time. This ability growth is straightforward: no complicated skill tree system where you can get screwed over by your own suboptimal choices.

There is also no standard mechanic to lose abilities you’ve gained, nor is your degree of improvement every level left to chance. (The closest DnD comes to a chance mechanic in this area is rolling for HP, and even that’ll let you take average if you roll below). The game is set up to reward your character with ability growth just for continuing to play it.

Success narrative dominates.

The primary completion path in all DnD modules is “the characters win the day”. That’s what the game is about. And as much as some modules may try to subvert that with little bits of flavour text here and there, they’re doing so for show. The very manner a DM has to set up sessions is all about making the challenges appropriately levelled for the players to overcome. If you’re playing, you’re *supposed* to overcome the challenge. A game where everyone dies is not considered expected or desirable. And while a creative DM may occasionally set up an encounter the characters are expected to flee from… if it’s not telegraphed properly, the odds are they WILL die. Because the game is not set up for players to expect unbeatable challenges.

Significant character agency where it matters.

Agency is about more than just being able to make choices in-game. In DnD, you have the ability to make choices that feel situationally impactful. You’ll rarely have a situation where you consistently do everything “right”, roll well, and yet the enemy is entirely unaffected. Your abilities aren’t vague in power level or usefulness -even if you aren’t a particularly creative player, the stuff that’s on your character sheet that you can do is going to be at least moderately useful in most situations a typical game throws at you, even if applied with little finesse.

…

Like I said, I don’t *love* DnD. I’m not super sold on medieval fantasy to begin with, I’m pretty bad at basic number math (I have dyscalculia so this shit is hard for me), and I like supporting indie and less popular titles on principle.

But holy shit.

Can somebody tell TTRPG designers to please make a game that just lets me be cool and win at something?

I want to play a badass vampire! But in Vampire: The Masquerade, that’s kinda… Not Great. I want to be a faux-Victorian era paranormal investigator! But, ehm, Call of Cthulhu? Having my character die or go insane kinda sucks. I like scifi! But everything from Cyberpunk RED to the various iterations of Warhammer 40k RPG is bleak as fuck.

Mörk Borg? Dark and bleak. Candela Obscura? Dark and bleak. The Laundry? Dark and bleak.

(I’m not counting Pathfinder, as it’s basically just DnD with more math and a less straightforward character builder.)

I know I’m only scratching the very top surface of less ubiquitous TTRPGs here, but still. All these relatively well known and oft recommended titles completely fail to capture what makes DnD appealing to me -and I suspect, to many others.

In TTRPG spaces I often see people ask “Why modify and reskin DnD to be (insert aesthetic) if you can play (game designed in that aesthetic)?” And my answer is always the same. Because I want to have the DnD-style success experience, only with (cool aesthetic thing).

I want to play other games! I’m not hung up on medieval fantasy or the d20 system or spell slots or anything! I just… don’t want to play some bottom-feeding cannon fodder character in a Misery Simulator, engage with complex ethics as a game mechanic, run a one-person accountancy department to keep track of tons of scarce resources, have the other players as my de-facto opponents, be faced with challenges my character can’t do anything to overcome, invest hours into building a dude who gets offed in the first encounter, put my time in a game that progressively stacks detriments onto my character to shrink their success chances while the stakes keeps growing, etcetera etcetera.

Just, none of that edgy shit. Life’s plenty edgy already, I just want some easy escapism.

Anyway.

If anyone has recommendations for a TTRPG that sort of matches my list of requirements… I’m all ears. I like most stuff aesthetically tho I’m not super into either pirates or contemporary military as a theme. I also prefer games that don’t employ a gimmick (like jenga blocks, an hourglass, burning candles, etc).

[glitchpalantir]

Chris Avellone: The Architect of Emotionally Complex Worlds

If the game industry had poets, Chris Avellone would be its enigmatic bard—crafting stories that resonate long after the final dialogue choice is made. His name is etched in the DNA of RPG storytelling, a mind that dares to explore ambiguity, moral complexity, and human fragility in worlds both fantastical and broken. Today, I dive into Avellone’s design ethos through the lens of emotional immersion, narrative weight, and the art of making players question their every choice.

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Narrative Design as Philosophy

At the heart of Avellone’s work lies a philosophy: no character or faction is ever truly good or evil. Every choice is a gradient, a subtle shift in the spectrum of consequence. In Planescape: Torment—Avellone’s magnum opus—the question “What can change the nature of a man?” becomes not just a plot device but the game’s central philosophical puzzle. Every encounter nudges players toward self-reflection, transforming gameplay into introspection. You don’t just beat the game—you live through it.

This narrative design is an exercise in empathy. Avellone forces players to embody flawed characters, live with their mistakes, and grapple with consequences that aren’t black and white. His stories don’t lecture; they guide, allowing players to stumble upon their own insights. This approach redefines the hero’s journey, replacing triumph with understanding.

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Unreliable Characters, Unreliable Worlds

Avellone's worlds feel alive because they mirror the unpredictability of human nature. In Fallout: New Vegas, the factions aren’t just political entities—they are reflections of ideologies in decay. Caesar’s Legion, NCR, Mr. House—none offer a perfect solution, and therein lies the brilliance. Avellone leans into moral grey areas, turning every ally into a potential betrayer and every villain into a tragic figure. Trust becomes not just a gameplay mechanic but a narrative experiment.

Characters such as Kreia from Star Wars: Knights of the Old Republic II embody this philosophy perfectly. Kreia isn’t a mentor; she’s a subversion of the archetype. Her lessons are riddles, her motives slippery. She teaches you through contradiction, questioning not just the Jedi and Sith but your own beliefs as a player. In an Avellone narrative, you are always one step away from questioning yourself.

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The Power of Player Freedom—But at a Cost

Avellone’s design ethos places tremendous narrative weight on player agency. But with great freedom comes the burden of regret. He doesn’t shy away from showing that not all paths are equal and that, sometimes, no choice is truly “right.” Decisions in his games often feel heavy, not because they unlock a specific outcome but because they force players to live with consequences that cannot be undone. This echoes life itself—a constant interplay of action, regret, and growth.

The beauty of Avellone’s design is that failure can be more narratively rewarding than success. Missing a conversation tree, failing a persuasion check, or choosing the “wrong” option can lead to some of the most compelling character arcs. Avellone’s games whisper: You can’t win everything, but you can find meaning even in loss.

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Human Stories in Grand Settings

What sets Avellone apart from other narrative designers is his ability to tell deeply personal stories within expansive settings. Whether it’s the existential journey of the Nameless One in Planescape: Torment, the slow decay of hope in New Vegas, or the quiet tragedy of minor NPCs, his writing consistently focuses on the small moments—the ones that hit closest to the heart.

Avellone’s games aren’t just about the big plot twists or saving the world. They are about conversations with forgotten characters, personal confessions, and fleeting moments of connection that players might stumble upon by accident. These micro-narratives—the stories hidden in journals, overheard conversations, or optional dialogue—are where his genius truly shines. He respects the player’s curiosity, rewarding exploration not with loot but with insight.

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Controversy, Reflection, and Legacy

Chris Avellone’s career has not been without controversy, and it serves as a reminder that no creative genius is without flaws. The public fallout in recent years complicates his legacy, but that complexity is, in some ways, a reflection of the very themes he explores in his games. Can art and the artist be separated? Should it be? These questions, uncomfortable as they are, feel eerily fitting when discussing someone whose stories dwell on ambiguity.

While Avellone’s future in the industry remains uncertain, his influence on game design is undeniable. His work has shaped not just how stories are told in games but how players experience morality, regret, and redemption in interactive spaces.

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The Takeaway: Design with Questions, Not Answers

If there’s one lesson to learn from Avellone’s approach, it’s that narrative design should leave room for uncertainty. He doesn’t hand players answers on a silver platter. Instead, he asks questions—messy, uncomfortable, and deeply human ones—and lets players wrestle with them. As game designers, writers, or storytellers, we can learn from this. Don’t just design mechanics—design emotions. Don’t just tell stories—invite the player to finish them.

Chris Avellone may or may not return to the forefront of game development, but his storytelling philosophy endures. In every RPG that dares to question the nature of choice, consequence, or identity, you can hear echoes of his work.

And so, I leave you with this thought, inspired by Planescape:

What can change the nature of a player?

[welcome-to-oslov]

One thing that keeps me hooked is how Tilrey's growth/healing journey/setbacks/etc are woven throughout the saga, and central to it.

Unfortunately when something really traumatic & ongoing happens to you at such a young age, you definitely spend time re-facing it/re-facing yourself at every stage: in your 20s, your 30s, your 40s, in your friend/family/lover/colleague relationships, when you become a parent, as you build career, when you see yourself reflected in others, etc.

The recent ask about how Tilrey told himself at the beginning that "he'd made his choice" (which he implied no one but a worthless person would do, so he must be - devastating indeed, and you would subconsciously carry that with you) really struck a chord. And how you've said that in Oslov Unraveled one thing he must finally figure out (and overcome) why he's so uncomfortable claiming power.

What do you think are some of the most pivotal moments of growth/healing/self-knowledge Tilrey's had over the years - and some of the most pivotal setbacks to his healing/evolution? Or, if not most pivotal, what have been your favorites :)

I'm also dying to ask your thoughts of what you hope to see in Oslov Unraveled, but don't want to spoil it for ourselves - since you're the author 😅🙌

I have to think about this, because Tilrey has had such a long character arc across all the stories! I just started writing some “deleted scenes” from the very beginning, before the start of AtKoB, and I remembered something, which is that young Tilrey initially believes he’s “saving his sector” when he goes to Redda, because that’s what Supervisor Fernei told him to make him cooperate.

So that’s where his arc starts: naively believing that every trauma he experiences is for a good cause. When he starts suspecting that’s not the case, he also starts seeing his “choice” to cooperate as cowardly and bad.

I think this is a pattern he experiences over and over. Sometimes he thinks that everything he undergoes is in service of a higher cause, which gives him an incentive to be active, plan, scheme, fight. Then everything suddenly seems useless, and he feels powerless and falls into depression and self-hatred again.

He feels a sense of triumph every time he learns to exercise some control over a situation, even if it’s as bad as living with Malsha or Verán. But with Gersha, and then with the True Hearth, he finally starts to get some traction and find ways to have agency. He sees that he can do more than just survive.

The interrogation where Ranek Egil forces him to admit he was raped is a milestone, because he starts acknowledging that not everything was a “choice” as he once believed. He can realize he lacked agency in the past and still seek agency now. Reclaiming his sexuality and ability to feel love with Gersha is a milestone. Confronting Malsha and not being afraid of him anymore, same. After that, and reconciling with Gersha on his own terms, he’s ready to work with the rebellion and be a leader and not just a tool.

But throughout all these stages, he has moments of backsliding into self-hatred and feeling powerless. I think one problem is that he still doesn’t know how to express his anger except by turning it on himself. He does express some of it with Vera and Tollsha during the whole unexpected pregnancy debacle. But usually he uses sex, especially D/s, as a way to channel anger and aggression.

The character of Einara is sort of a shadow self who represents Tilrey’s anger and aggression to him. So when he asks her to hurt him, it’s therapeutic, but he’s still not fully facing those emotions.

I just reread the moment in Crosscurrents and Consequences where Tilrey says no to Besha for the first time. It may seem trivial, but it’s a big deal to him, the beginning of saying no more often. Years later, when Lindahl asks him for sex, he says no with zero apologies, and that one seemingly small no becomes a catalyst for the sequence of events leading to the revolution.

So: At the time of Unraveled, he has love and affection and support in his life, but he still struggles with forgiving himself, with expressing anger, with claiming the power he now has, with saying no. I don’t know if anyone ever entirely solves these problems, but he can still make progress.

One thing I want him to do is make peace with his angry, raging inner self, and I do have an idea for that. ☺️ Having sex with Einara helped him but didn’t really heal their conflict.

So anyway, I’m still thinking about these character arcs, but it’s great to have readers who understand how these issues recur cyclically throughout a person’s life and don’t just get “cured.” Thank you for the question! ❤️

[ayushantiwal2]

Exploring the Themes of Love, Power & Identity in Shatter Me

Tahereh Mafi’s Shatter Me series is a gripping young adult dystopian saga that has captivated readers with its poetic prose, intense romance, and intricate character development. At its core, the story dives deep into the emotional and psychological struggles of its protagonist, Juliette Ferrars, while also tackling broader themes like love, power, and identity. These central themes are woven throughout the narrative, creating a rich tapestry that resonates with readers worldwide.

Whether you're new to the serie Shatter Me or a long-time fan revisiting the pages, understanding how these themes interplay can enhance your appreciation of the storyline and character arcs.

Love: The Emotional Anchor of the Series

One of the most powerful and consistent themes in Shatter Me is love, not just romantic love but also self-love and friendship. Juliette’s journey begins in isolation, both physically and emotionally. She is locked away because her touch is lethal, and she has grown up believing that she is a monster unworthy of love or companionship.

However, as the series progresses, love becomes a transformative force. Through her relationship with Adam Kent in the beginning and later, her deeper, more complex connection with Warner, Juliette begins to explore what it means to be loved unconditionally. These relationships help her start believing in her own worth.

In particular, Warner’s love challenges her to confront her fears and insecurities. While Adam represents safety and the past, Warner symbolizes growth and acceptance. This contrast highlights a significant evolution in Juliette’s emotional state and helps her transition from a passive victim to a powerful leader.

Beyond romantic relationships, Juliette’s bond with her friends—especially Kenji Kishimoto—demonstrates the value of platonic love and trust. Kenji serves as comic relief but also a pillar of support and sanity in Juliette’s life, reinforcing the importance of friendship and community.

Power: From Victim to Victor

Power is another dominating theme throughout the Shatter Me series. When we first meet Juliette, she is powerless—locked in a cell, feared by society, and disconnected from the world. However, as the series unfolds, she gradually gains control over her powers and herself.

Initially, her ability is seen as a curse. But through training, guidance, and growing confidence, Juliette learns to wield it as a weapon and, later, as a symbol of leadership. This metamorphosis parallels her emotional development and underlines the notion that true power comes from self-acceptance and inner strength.

The political landscape of the series further emphasizes this theme. The oppressive regime known as The Reestablishment seeks to maintain control through fear and manipulation. Juliette's ascent to power disrupts this system, proving that change is possible when individuals reclaim their agency.

Warner, too, embodies the complexities of power. As the son of the Supreme Commander and a high-ranking official himself, he initially represents authoritarian control. But as his layers are peeled back, it becomes clear that his motives are more nuanced. His dynamic with Juliette reveals how power can be used not just to dominate, but to protect and empower.

Understanding the structure of the shatter me series order helps readers appreciate how this theme evolves across each installment. Starting with Shatter Me, the books move through stages of resistance, rebellion, and ultimately revolution, with Juliette’s empowerment mirroring the resistance's growth.

Identity: Discovering the Self Beneath the Surface

Closely intertwined with love and power is the theme of identity. Juliette’s journey is, at its core, one of self-discovery. From the beginning, she struggles with who she is—viewing herself as dangerous, unlovable, and broken. But as she learns more about her past, her abilities, and her purpose, Juliette begins to reconstruct her identity on her own terms.

This theme is poignantly expressed through the series’ writing style. The first few books are filled with strikethroughs, symbolizing Juliette’s internal chaos and self-censorship. These crossed-out thoughts represent the things she wishes she could say but feels she shouldn’t. As she gains confidence, the strikethroughs decrease, reflecting her growing sense of self-worth and clarity.

The evolution of Juliette's name—from Juliette to Ella—is a powerful moment in the series that reinforces this theme. It signifies a rebirth and a reclaiming of her true identity, free from the labels and lies imposed upon her by others.

Warner also undergoes a significant identity journey. Initially perceived as a villain, he later reveals vulnerabilities and traumas that make him a more relatable and human character. His story emphasizes that identity is multifaceted and that people are often more than the roles they are forced to play.

The Interplay of Themes Across the Series

The themes of love, power, and identity are not isolated; they intersect and influence one another throughout the serie Shatter Me. Love gives Juliette the courage to embrace her identity. Her sense of self allows her to reclaim her power. And with that power, she reshapes the world around her.

The series' progression reflects this thematic journey. If you're new and wondering about the shatter me order, here is a recommended reading sequence to follow:

Shatter Me Series Order:

Shatter Me

Destroy Me (novella)

Unravel Me

Fracture Me (novella)

Ignite Me

Restore Me

Shadow Me (novella)

Defy Me

Reveal Me (novella)

Imagine Me

Believe Me (novella)

Understanding the shatter me order is key to fully appreciating the growth arcs of each character and the unfolding of the major themes. The novellas provide critical insight into the inner thoughts of characters like Warner and Kenji, offering alternate perspectives that enrich the narrative.

Conclusion: A Journey of Transformation

At its heart, Shatter Me is a story of transformation. Juliette’s journey from a frightened girl locked in a cell to a powerful leader is both inspiring and empowering. The themes of love, power, and identity serve as the foundation for this transformation, creating a multi-layered story that resonates with readers of all ages.

Through its beautifully written prose, emotionally charged relationships, and political intrigue, the serie Shatter Me offers more than just a dystopian romance. It presents a message of hope—that no matter how broken you feel, you have the power to rebuild yourself, love freely, and rise above your circumstances.

If you're looking to explore this thrilling world, make sure to follow the correct shatter me series order for the most immersive experience. Whether you're reading for the romance, the action, or the psychological depth, the Shatter Me series offers something for everyone.

[geniusattest1]

How to Get a Saudi Police Clearance Certificate — Step-by-Step Guide

Police Clearance Certificate committed to strengthening the integrity of immigrants.

Saudi Arabia is contributing towards global development through the trade of conventional resources. The unwavering support of Saudi Arabia for the growth of human resources depends on the quality of education. Technical advancement in foreign countries is leading to the cross-country migration of the individual.

Employment accessibility and healthy lifestyle are major factors for the relocation of the individual. A Saudi Police Clearance Certificate is necessary to ensure the security and legitimacy of the individual. If you are planning to shift abroad make sure that your police clearance certificate is verified by the central agency.

What is a Saudi Police Clearance Certificate?

Saudi Police Clearance Certificate is a legal document that gives validation to the good character and personality of the individual. It contains information about the identity, domicile, character, academic excellence, authorizing institution, etc.

Saudi Police Clearance Certificate is obtained from the local police station of Saudi. It is required to obtain a study visa or employment opportunities in foreign countries.

The stamp of government authority on the police clearance certificate makes it credible for use in foreign countries. Once the police clearance certificate gains recognition from the government authority foreign migration becomes authentic and prosperous.

What are the requirements for the Saudi Police Clearance Certificate?

● Saudi ID copy

● Passport copies

● Visa copy

● Two photographs of the individual

What are the major uses of the Saudi Police Clearance Certificate?

● For educational access in foreign countries

● To procure a work visa

● For building the character

● To enhance the security of the individual abroad

● For global trade and commerce

At genius attestation, the immigrant can obtain the Saudi Police Clearance Certificate. You can contact our experienced staff for information at https://www.geniusattestation.com/

Importance of Saudi Police Clearance Certificate

The significance of a Police Clearance Certificate goes beyond mere documentation. It serves as a bridge for individuals seeking opportunities abroad while ensuring global security. Here’s why a Saudi PCC is essential:

1. Work and Employment Abroad

One of the primary uses of a Saudi PCC is for securing a work visa in foreign countries. Employers and government agencies require this document to assess the background of a candidate and verify their legal history before approving their employment permit.

2. Higher Education in Foreign Institutions

Educational institutions abroad may request a PCC to ensure the moral and ethical standing of international students before granting admission.

3. Residency and Citizenship Applications

Countries that provide permanent residency or citizenship often require a Police Clearance Certificate as part of their due diligence process to confirm an applicant’s good character.

4. Business and Trade Relations

Individuals engaging in international business and trade may need a Saudi PCC to establish trustworthiness when setting up businesses or collaborating with foreign partners.

5. Security and Legal Compliance

A Police Clearance Certificate ensures security and transparency in immigration procedures, reducing the risk of illegal activities or individuals with a criminal background moving across borders.

Who Needs a Saudi Police Clearance Certificate?

A Saudi PCC is required for individuals who have previously lived or worked in Saudi Arabia. The following categories of people may need to obtain it:

Expatriates who have lived in Saudi Arabia for work, education, or any other purpose and are planning to move to another country.

Students applying for higher education in foreign universities.

Employees seeking work visas in countries that mandate PCC submission.

Individuals applying for permanent residency in countries such as Canada, Australia, the USA, and the UK.

Business professionals looking to establish ventures abroad.

Documents Required for Saudi Police Clearance Certificate

To obtain a Saudi PCC, applicants must submit the following documents:

Copy of Saudi ID (Iqama) (if applicable)

Passport copies (old and new)

Visa copy (showing Saudi residence history)

Two recent passport-sized photographs

Authorization letter (if applying through an agency)

Fingerprint verification (if required by authorities)

It is essential to ensure that all documents are clear and correctly submitted to avoid any delays in the application process.

How to Apply for a Saudi Police Clearance Certificate?

Step 1: Obtain a No Objection Letter (NOC)

If you are currently residing in Saudi Arabia, you must first obtain a No Objection Certificate (NOC) from your employer or sponsor.

If you have already left Saudi Arabia, you may need to apply through the Saudi Embassy in your current country.

Step 2: Visit the Local Police Station

In Saudi Arabia, visit the local police department where you last resided and submit the required documents.

If you are outside Saudi Arabia, you may need to visit the Saudi Embassy or authorize an attestation agency to process your application.

Step 3: Fingerprint Submission

Some applicants may be required to submit fingerprints for further verification.

If applying from abroad, you may need to visit a police station in your country for fingerprinting and have it attested before sending it to the Saudi authorities.

Step 4: Attestation and Authentication

Once the Saudi Police Clearance Certificate is issued, it must be attested by the Ministry of Foreign Affairs (MOFA) in Saudi Arabia.

If the PCC is to be used in another country, further attestation by the Embassy of the destination country may be required.

For attestation services, visit: Police Clearance Certificate Attestation

Step 5: Receiving the Certificate

The Saudi Police Clearance Certificate can be collected in person or delivered via an authorized attestation agency.

Processing Time and Validity

The processing time for a Saudi Police Clearance Certificate varies but typically takes between 2 to 4 weeks, depending on the authorities and the applicant’s status. Some factors that may affect processing time include:

Whether the applicant is applying from within or outside Saudi Arabia.

The requirement for additional verification.

A Saudi PCC is usually valid for 6 months to 1 year, depending on the country where it is being submitted. Applicants must check the specific requirements of the country they intend to migrate to.

Why Choose Genius Attestation for Saudi PCC?

Obtaining a Saudi Police Clearance Certificate can be challenging, especially for individuals who have already left the country. Genius Attestation provides a hassle-free process to obtain and legalize your PCC efficiently. Our experienced team ensures:

Quick and reliable service with timely updates.

Professional assistance in document submission and verification.

Legalization and attestation services to ensure global acceptance.

Doorstep document collection and delivery for customer convenience.

You can reach out to Genius Attestation for expert guidance and professional support by visiting our website: https://www.geniusattestation.com/.

Conclusion

The Saudi Police Clearance Certificate is an essential document for individuals seeking opportunities abroad. Whether for employment, education, or residency, this certificate ensures transparency and security in international migration. By following the correct application process and ensuring attestation, individuals can smoothly transition to their next destination.

For seamless PCC services, expert assistance, and attestation, contact Genius Attestation and simplify your documentation journey today!

[levelsupermind]

The Enduring Power of Swami Vivekananda's Words: Transformative Quotes for Modern Living

In an era of fleeting social media wisdom and ephemeral self-help trends, the profound teachings of Swami Vivekananda stand as a testament to timeless inspiration. More than a century after his passing, Vivekananda's words continue to ignite minds and hearts worldwide, offering guidance that transcends cultural and temporal boundaries.

As a spiritual luminary who introduced Vedanta philosophy to the Western world and revitalized Hindu traditions within India, Swami Vivekananda combined profound spiritual insights with practical wisdom. His addresses at the 1893 Parliament of World Religions in Chicago catapulted him to international recognition, but it was the depth and applicability of his teachings that cemented his lasting legacy.

Wisdom That Awakens Inner Strength

Swami Vivekananda's central message emphasized the unlimited potential residing within each individual. His words serve as catalysts, awakening dormant capabilities and inspiring action in the face of life's inevitable challenges.

On Self-Belief and Potential

"You are the creator of your own destiny."

This straightforward yet powerful declaration places responsibility and agency squarely in the hands of the individual. Vivekananda rejected fatalism, instead advocating for the transformative power of personal choice and effort. This perspective empowers us to shape our future rather than merely accepting circumstances as predetermined.

"All power is within you; you can do anything and everything. Believe in that, do not believe that you are weak."

Here, Vivekananda directly challenges self-imposed limitations. By recognizing inner strength as our natural state, we can overcome the artificial boundaries created by doubt and fear. This quote serves as a reminder that most constraints on human potential originate from within rather than from external forces.

On Persistence and Determination

"Arise, awake, and stop not till the goal is reached."

This rallying cry, adapted from the Katha Upanishad, embodies Vivekananda's emphasis on relentless pursuit of worthy goals. The sequential commands—arise, awake, stop not—outline a progressive path from inertia to full consciousness to sustained action. This quote has inspired generations of activists, entrepreneurs, and spiritual seekers to persevere despite obstacles.

"Take risks in your life. If you win, you can lead; if you lose, you can guide."

This perspective reframes failure as a valuable form of education rather than a final verdict. By embracing risk as necessary for growth, we liberate ourselves from the paralysis of perfectionism and transform setbacks into stepping stones for both personal development and service to others.

Wisdom That Bridges Spirituality and Everyday Life

Unlike philosophers who separate spiritual practice from worldly engagement, Vivekananda advocated integration. His teachings demonstrate how spiritual principles can enhance rather than escape practical living.

On Balancing Action and Contemplation

"You have to grow from the inside out. None can teach you, none can make you spiritual. There is no other teacher but your own soul."

This insight highlights the primacy of direct experience over secondhand knowledge. While external guidance has value, Vivekananda reminds us that authentic growth requires internal realization. This perspective encourages balancing scholarly study with personal contemplation and lived application.

"The greatest religion is to be true to your own nature. Have faith in yourselves!"

Here, Vivekananda liberates spirituality from rigid dogma, locating authentic practice in harmony with one's essential character. This organic approach values integrity over conformity and recognizes that genuine spiritual expression must align with individual temperament rather than external expectations.

On Service and Compassion

"They alone live who live for others. The rest are more dead than alive."

This powerful statement redefines meaningful existence, suggesting that self-centered living represents a form of spiritual death regardless of material prosperity. Vivekananda consistently emphasized that genuine fulfillment emerges through contribution rather than accumulation.

"Feel like Christ and you will be a Christ; feel like Buddha and you will be a Buddha. It is feeling that is the life, the strength, the vitality, without which no amount of intellectual activity can reach God."

This perspective transcends intellectual understanding, locating transformative power in heartfelt identification rather than conceptual knowledge. By emphasizing feeling over theory, Vivekananda points toward embodied wisdom that manifests in character and action rather than remaining abstract philosophy.

Wisdom That Addresses Contemporary Challenges

Though spoken in the late 19th century, Vivekananda's insights offer remarkable relevance for modern dilemmas around purpose, stress, and social division.

On Finding Purpose and Direction

"Take up one idea. Make that one idea your life—think of it, dream of it, live on that idea. Let the brain, muscles, nerves, every part of your body, be full of that idea, and just leave every other idea alone. This is the way to success."

In our age of endless distractions and options, this guidance on focused attention and committed action offers a powerful antidote to scattered efforts. Vivekananda understood that transformative achievement requires concentrated energy rather than divided attention.

"We are what our thoughts have made us; so take care about what you think. Words are secondary. Thoughts live; they travel far."

This recognition of thought's creative power anticipated contemporary understanding of how cognitive patterns shape both perception and behavior. By highlighting our ability to consciously direct thinking, Vivekananda offers a practical approach to mental well-being and personal development.

On Harmony and Universal Connection

"All differences in this world are of degree, and not of kind, because oneness is the secret of everything."

This insight into underlying unity provides a foundation for addressing social division and conflict. Rather than erasing diversity, Vivekananda suggests that recognizing common humanity beneath surface differences enables authentic appreciation of variation without antagonism.

"The moment I have realized God sitting in the temple of every human body, the moment I stand in reverence before every human being and see God in him—that moment I am free from bondage, everything that binds vanishes, and I am free."

This perspective offers a transformative approach to human relationship based on reverence rather than utility. By recognizing innate divinity in every person, regardless of status or circumstance, Vivekananda established a spiritual foundation for universal respect and dignity.

Carrying Timeless Wisdom Forward

The continuing resonance of Swami Vivekananda's words demonstrates their evergreen applicability to human experience. Beyond their historical significance, these teachings offer practical guidance for navigating contemporary challenges with wisdom, self improvement and courage.

Whether seeking personal motivation, spiritual depth, or social harmony, Vivekananda's insights provide both inspiration and method. By internalizing these principles, we not only honor his legacy but also participate in the ongoing unfoldment of human potential that was central to his vision.

In a world often characterized by division and disillusionment, Vivekananda's message of inherent strength, universal connection, and purposeful living offers a pathway toward both individual fulfillment and collective harmony—a contribution as valuable today as it was when first articulated over a century ago.

[grandmirage123]

How to Find Your Dream Home in Accra Real Estate Market

Accra, the dynamic capital of Ghana, is a city of contrasts and opportunities, known for its vibrant culture, rapid urban growth, and diverse neighborhoods. For prospective homebuyers, grasping the nuances of the local Real Estate Accra market is essential. This comprehensive guide will steer you through Accra’s real estate scene, providing valuable insights to help you find a property that suits your lifestyle and budget.

Understanding the Accra Real Estate Market

The real estate market in Accra has undergone significant changes over the past decade, driven by the city's economic growth, increasing urbanization, and a rising middle class. The demand for residential properties has surged, reflecting Accra's status as a major commercial and cultural hub in West Africa.

The city's real estate offerings range from luxurious villas and modern apartments to more affordable housing options, catering to a wide spectrum of buyers. Key neighborhoods in Accra, each with its unique character and advantages, include Central Accra, East Legon, Cantonments, Tema, and the Airport Residential Area. Central Accra, which encompasses areas like Osu and Labone, is known for its bustling atmosphere, vibrant social scene, and proximity to numerous amenities. East Legon is popular among expatriates and professionals for its upscale homes, excellent schools, and plentiful shopping and dining options. Cantonments offer a more high-end lifestyle with its luxurious properties and diplomatic presence, while Tema provides a quieter, well-planned residential environment. The Airport Residential Area, close to Kotoka International Airport, is favored for its convenience and high-quality housing.

Staying informed about market trends is essential. Recent years have seen an increase in property values, and the market continues to evolve with new developments and changing demand. Regularly engaging with local real estate agents and monitoring property listings can provide valuable insights into current market conditions.

Defining Your Home Criteria

Before starting your search, it's crucial to define what you are looking for in a home. This begins with establishing your budget, which should encompass not just the purchase price but also additional costs such as property taxes, maintenance, and utility bills. For those seeking financing, getting pre-approved for a mortgage can help clarify your budget and strengthen your position in negotiations. Consider the type of property that best suits your needs. Whether you prefer an apartment, townhouse, or standalone house will significantly influence your search. Similarly, the number of bedrooms and bathrooms should align with your family size and lifestyle. If you value outdoor living, look for properties with gardens, terraces, or balconies.

Finding the Right Real Estate Agent

A knowledgeable real estate agent can be an invaluable resource in your home search. They offer insights into the local market, help you find properties that meet your criteria, and guide you through the buying process. When selecting an agent, consider their experience and reputation. Look for agents who have a proven track record in Accra’s real estate market and those who specialize in the neighborhoods or property types you are interested in. Checking references and reading reviews from previous clients can also provide insights into an agent’s reliability and service quality. Once you have chosen an agent, communicate your needs and preferences. Regular updates and feedback will help them refine their search and find properties that closely match your criteria.

Navigating the Property Search

Start your property search by utilizing online platforms. Websites like Jumia House and Property24, along with local real estate agencies, offer comprehensive listings with detailed information and photos. However, online listings should be supplemented with actual property viewings. During viewings, pay attention to the condition of the property, quality of finishes, and any potential issues. Don’t hesitate to ask questions about the property’s history, neighborhood, and ongoing maintenance.

When evaluating a property, consider its condition, including any signs of wear and tear or needed repairs. Assess the safety, cleanliness, and overall ambiance of the neighborhood, and evaluate the availability of amenities such as schools, shopping centers, and public transportation.

The Legal and Financial Aspects

Before finalizing a purchase, it's crucial to address the legal and financial aspects of the transaction. Ensure the property has a clear title and that all legal documents are in order. Engaging a reputable lawyer to handle the legal aspects, such as verifying the title deed and drafting the sales agreement, is essential. Prepare for additional costs, including stamp duty, legal fees, and survey fees. If financing the purchase, explore different mortgage options and compare interest rates, loan terms, and repayment conditions from various banks and financial institutions.

Closing the Deal

Once you have found the right property, make an offer through your real estate agent. Your offer should be based on comparable sales in the area and your budget. Be prepared for negotiations, as the seller may counter your offer. Reaching an agreement might require adjustments to your initial terms. After agreeing on the terms, proceed with the necessary steps to finalize the purchase. This includes paying a deposit to secure the property, signing the purchase agreement, and completing the payment and transfer of ownership. Ensure that the property is officially registered in your name.

Moving In

Preparing for your move involves arranging utilities, setting up internet and cable services, and addressing any immediate repairs or renovations needed. Once you’ve moved in, take time to familiarize yourself with your new neighborhood. Explore local amenities, meet your neighbors, and settle into your new home.

Tips for a Smooth Home Buying Experience

Patience is key when finding your dream home. The process can take time, and rushing might lead to less favorable outcomes. Stay informed about market trends, property values, and neighborhood developments to make well-informed decisions. Seeking professional advice from real estate agents, legal advisors, and financial experts can help ensure a smooth transaction. Ultimately, trust your instincts and choose a home that feels right for you and your family.

Finding your dream home in Accra’s real estate market involves a combination of research, planning, and careful consideration. By understanding the market, defining your criteria, working with the right professionals, and navigating the legal and financial aspects, you can successfully find a home that meets your needs and aspirations. Accra, with its diverse neighborhoods and dynamic real estate landscape, offers a variety of options to suit every lifestyle.

Conclusion

Embarking on the journey to find your dream home in Accra Apartments can be a fulfilling experience, but it requires careful planning and informed decision-making. The city’s dynamic growth, diverse neighborhoods, and range of property options offer something for everyone, from luxury villas to more affordable housing solutions. By understanding the local market, defining your criteria, and working with experienced professionals, you can navigate the complexities of the real estate process with confidence. Start by gaining a solid understanding of Accra’s neighborhoods and current market trends, and set a clear budget that includes not only the purchase price but also additional costs. Partner with a knowledgeable real estate agent who can provide valuable insights and guide you through each step of the process. Take the time to explore properties and neighborhoods to ensure they align with your lifestyle and needs.

[lexicorp]

Oh my Primus I love /so much/ of your points in this

Noting on the s2-3 ES Star discourse, how you explained it rlly helped me figure out why I've been so unsure about it when I found how just how feral the fandom is about it. I my opinion, all the characters still seemed /in character/ going forth after season one still. (Even if the Breakdown stuff was a bit wild, the anger ppl had at his portrayal there rlly is still them thinking of other versions or their own influencing the fact maybe we just seeing more of this ones flavor). Starscream didn't act anymore abruptly insane or something to me, he still acted very much like himself. And a decent bit of the show's plot and such was decent, I'd say I like Earthspark, flaws and all. Cuz they do still have quite a few with management, pacing, and bad guy transitioning. Cuz the main thing that threw me off going into s2 was the need for an in-between to touch on that moment of the cons working with the others and what really suddenly triggers the realization about the shards that spurs that. Like, that would have been /so/ interesting to see unfold. And I would have expected nothing less of Starscream to seek them after realizing the power they have. Both because of the perpetual distrust of stability/safety leading to that perpetual divide between the others, and his ambitious nature.

He's really good at being all nice and shit--bringing up TFP just accentuates that point! Starscream constantly tried to work with people and shit, but it was all out of survival mode and figuring out to get what he wanted/needed. I love TFP, I rewatched it a bunch, but it does indeed have its flaws just like Earthspark. My rage around how TFP Starscream was treated got rekindled SO HARD watching season 3 of RID'15... He also had ten billion chances at redemption, but something pulls him back, be it himself or others. Which sure, accurate. This shit is hard and it wouldn't be instant like you said (my slow burn af post s3 es Star redemption is a struggle with his self sabotaging aft). He doesn't rlly /have/ to be redeemed in the uwu way imo. I like him as a neutral creature tbh- but in the shows, it's those lil ways they throw shit in his face that make me be like "eugh". Or the weird shit with TFP stars Stockholm syndrome at Megs in s3 only for at the end of predacons rising to be dismissed. He wasn't allowed to have nearly as much agency. They dunked on his intelligence so much, even with how /clearly/ capable he is.

And I like how in ES Star is shown to be plenty competent, while losing his shit a bit at the end-

Its all really just so complicated to break down istg

And geez yeah, I really don't like it when ppl in the fandom try to overly lil meow meow-ify him, or just tie everything back to his trauma and Megatron. It's like ya said about the agency thing, he's his own person. Starscream himself I feel would be pissed at those interpretations (tho it's not like I hate reading those fics either - I can understand the self-indulgent nature of the quick fix. Navigating growth is hella hard.) I like a lot more to focus on the impact the trauma had and those deep rooted behaviors that resulted. Like I've often found that just focusing on them (in this case Star) as a person, as the central point, and go out from there. (That's the best way I can describe it idk djdbdjbd)

Like one of my OC's, Kyren, has gone thru just so much abhorrent shit. But he's also had a lot of good things go for him. But a lot of the time, his own deep seeded coping mechanisms are what trip him up. Sure it's a result of what he went thru, but when I take my alternative version of his same base character that dealt with a different set of stuff of lower quantity, it's still /there/. He's still who he is, even if the stressors change. Its just about recognizing the problematic natures littered in em and try to improve. Kyren would /hate/ being defined by the DR (a huge source of his trauma lore), and would rather be known for what /he/ created from it.

Sorry for the side OC rant but like--

Yeah I also hate ppl tryna be all supportive but then putting words into the mouth of victims when that shit already happens so much.

It reminds me of when my brother wrote a story about su!cide lore, and someone told him that he portrayed it wrong, when like, he is/was the demographic dammit so like???

Thank you for your Ted Talk and hopefully my wack contribution made sense

The fandom's portrayal of Starscream's abuse (A rant from an abuse victim's perspective)

To preface this, I am NOT saying that every abuse victim thinks like me or that Starscream is the "perfect" potrayal of abuse or anything like that. Nor is this directed to anyone in particular and it's definitely not a hate message or anything towards anyone who thinks differently. This is my personal opinions on the view as a victim of abuse myself and as someone who deeply relates to Starscream (especially es!starscream) on a personal level.

Now, if you're in the Transformers fandom and especially if you're a Starscream fan, you may have seen a lot of other Starscream fans opinions on Starscream—particularly in the way of how Earthspark handled him—and have seen many people discuss his trauma.

From what I've seen, many people (especially in fics) tend to potray Starscream as this "Perfect Victim" that does no wrong. And this, obviously, is a very harmful sentiment because there is no such thing as a perfect victim. People react and are affected by trauma and abuse in different ways and as someone who people would call the exact opposite of a "perfect victim", Starscream is NOTHING like the way the fandom tends to potray him.

Starscream is more often than not potrayed as a cowardly, selfish, and egoistical individual who does terrible things for his own benefits. NOTHING about that screams "poor little meow meow" to me and honestly? I like him better this way, especially in the case of Earthspark, because in my experiences, that's how my trauma shaped me.

I (unfortunately) used to be one of the people wary of Earthspark due to the loud critiques of Starscream's character in s2 and so I stayed away from the show believing it to be a terrible exmaple of how abuse can affect someone (don't hate me lol! I was an idiot). But that was until I did a little digging myself and I realised... He's literally just me???

Now I'm not saying what he does is right or that I do EVERYTHING that he does. But I think some es!starscream fans have a little skewed perception on what a "Redemption Arc" truly is. As well as what an abuse victim should be. We cannot generalise all victims as "Sympathetic innocent souls" or "Unsympathetic corrupt individuals who deserve what happened to them" because... trauma is so much more complex than that.

In my case, abuse made me violent (not towards innocent people but towards my own abusers) and selfish and at times cowardly. It's not due to an innate desire to harm others and an inherent evil within me but because I was a scared child who didn't know how to protect myself other than mimicking the people around me.

To insinuate that es!starscream did the things he did in s2 because the writers were trying to convey that he's inherently evil due to his trauma (despite that, to my knowledge, nothing in the show implies such a thing) can be a harmful thought because.. 1. It's taking agency away from his character and tying him down to his abuser and 2. Trauma can influence people to do bad things but that doesn't mean there isn't a level of accountability and agency when they do. To villainise that fact just because you want a character you like to be redeemed can be damaging to the already ill conceived perception of abuse victims that are anything but "perfect". We shouldn't shame abuse victims for doing bad things (Unless of course it's something REALLY horrible) but we should still hold them accountable in a safe and respectful manner. Especially since most of the time (at least in children), abuse victims do these bad things in order to protect themselves.

In my personal opinion, I don't think the things that Starscream did in s2 was purely due to his trauma—though I do think it may have influenced him in some way, because trauma tends to influence our decisions in life—but I don't think it's due to some sort of inherent evil within him. People doing bad things doesn't mean that they're born with an inherent evilness. Experience shapes us into who we are, external factors influences our mindsets, and sometimes we get into situations where it seems like we have no choice but to do something bad. (The best example of this I can think of right now is Magneto from X-Men: He wasn't born evil, but due to prejudice and trauma, he felt as if he had no choice but to become the villain.)

As I said, obviously trauma may have influenced Starscream's decisions but to tie every single decision he makes down to his abuser takes agency away from his character and makes it seem like as if he's nothing more than is trauma, which is NOT true. Time and time again across multiple continuities we can see that whether or not he experiences the same thing as es!starscream, he's still the same cunning and egoistical bastard he is because that's who he is!

Just because continuities like Earthspark brings more attention to his abusive relationship with Megatron doesn't mean that's his only characteristic. His decisions are still his own decisions and even if it's somewhat influenced by his trauma in any way it doesn't take away from the fact it's still his choice and in my opinion, to blame everything he does on his trauma feels honestly disrespectful as if victims cannot do anything that is unrelated to their abuser as well as the fact that it once again enforces that whole "Perfect Victim" narrative. Victims can be (for lack of a better word) "imperfect", and it's important that victims like Starscream is represented as much as victims that are perceived to be "perfect" are. Trauma and abuse is a complex topic and when handled appropriately, ALL victims should be represented. Not just those that fit into people's ideal expectations of what a victim should be.

There's also the fact that almost EVERY character in Earthspark or other tf continuities are technically also victims of different forms of abuse or other forms of trauma. Whether it be physically violent or emotionally damaging, so many other characters have been traumatised in various ways and it's not ONLY Starscream that has been abused by Megatron or in general.

As an example, Hashtag: I think when people hear Hashtag say "When bad things happen, it isn't always our fault" towards Starscream, they think it's directed solely towards Starscream and forget that it may have been also directed towards HERSELF. If I'm remembering the orders of things right, Hashtag has also went through a traumatising experience which has influenced her relationship with Starscream. She felt a sense of kinship within their trauma and when she says it's not a victim's fault, I got the sense that she wasn't saying that only to validate Starscream but also herself.

Hashtag has also experienced trauma—not as violent as Starscream's, but trauma nonetheless—and if Earthspark is truly claiming that being abused or traumatised is the victim's fault like es!starscream fans like to claim, then why is that sentiment not extended to Hashtag? Or if you want a more violent example, the Autobots, who have also technically been violently abused by the Decepticons during the war.

Earthspark, in my opinion, isn't villainising abuse victims or anyone who has experienced any kind of trauma in general, nor are they even villainising anyone in general. They teach children again and again that someone's actions is not an excuse to treat them badly, but it doesn't mean you can just LET them continue doing it either, especially when it harms you or others.

If you want an example of actual continuities that DOES justify abuse for "laughs" or because "they deserve it" then turn your attention towards Transformers: Prime. The treatment of Starscream's abuse is highly questionable there yet hardly anyone (Especially es!starscream fans, who I find to often be tfp fans) discusses it. Sure, it could be because it's a kids show. But Earthspark is also a kids show. So why are we justifying tfp's potrayal of abuse but not Earthspark—a show that actually does encourage you to respect victims and makes an attempt to validate victims trauma? (This isn't hate towards tfp or anyone that enjoys it btw. I too love tfp but I find the quality and writing there to be very questionable at times.)

Also, people who criticise Earthspark's handling of Starscream's trauma tend to claim that it influences abuse victims (typically children) to believe that it's their fault. I've spoken to a few of these people myself and how that in my opinion as a victim, I find how the show handled trauma—although not perfect—quite respectable and that the show makes it clear that characters like Starscream, as I said, shouldn't be disrespected just because of their choices, and that although the line may be a bit unclear at times, Earthspark does a decent job at clarifying that trauma isn't excuse for making harmful choices but it doesn't make you inherently evil either nor does your actions excuse being abused. When I brought this up however, they tend to.. brush off my opinion? And repeat the same things again. Which I quite frankly don't get because if you're that concerned about how abuse victims, especially child abuse victims, will perceive Starscream's characterisation, then why won't you take into account the perspective of an actual child abuse victim?

In my opinion—and not to generalise, it's just a personal observation—I think most Starscream fans honestly don't actually care about how his abuse is handled or about what real victims will think. They usually seem like they just want their favourite character to live out their ao3 "Starscream redemption" fanfics. Again, I don't mean to generalise but this is just something I see a lot of in es!starscream fans. I don't mind when people criticise a piece of media when it potrays a group of people in a harmful manner but like... it's kinda pointless if you don't take into account the actual group's perspective in question.

Another thing I'd like to mention; it's not exactly restricted to Starscream fans nor is it exactly about abuse but an issue I see in a lot of pieces of media is that people tend to forget that a individual character's story ≠ the general story plot. Sure a character's storyline may influence the plot and vice versa but it doesn't mean that the character's story IS the plot. When people say that Earthspark's story sucks just because Starscream's (or any other characters) personal plot was unsatisfactory to them, I can't help but question them because even if it IS bad, one bad character doesn't always make the ENTIRE general plot bad. Of course there are exceptions but in this case? I think Earthspark—with what little I've seen of it—is already MILES better compared to other continuities. Which is a strange thing for me to say because when it comes to Transformers—or more specifically, the animated adaptations—they tend to be less than stellar in terms of quality of animation or in storywriting, or sometimes both! Sure it's not perfect by any means and there are definitely a lot of things that are worth criticising, but neither are any of the other continuities and I hardly see them get any criticism. So then why is Earthspark singled out? (Honestly, I think I know why but I don't want to generalise everyone who dislikes Earthspark here.)

And for my final opinion: Some people say that Starscream's potrayal in s2 was too sudden compared to his characterisation in s1. Which... I respectfully disagree.

First off, Starscream BARELY had any screentime in s1. He was pretty much a side character until s2 and had very few screentime enough to draw a conclusion to his character.

People claim that his characterisation in s1 was a "set-up" for a redemption arc or that he already has been redeemed, purely due to the fact he was sympathetic and was nice to Hashtag. And I personally don't quite get that from both a literary standpoint and as a victim: victims can be sympathetic... and still do bad things. Shocking, I know. But just because Starscream was sympathetic and nice to Hashtag doesn't mean he was ever gonna be redeemed or already was redeemed. A redemption arc needs MUCH more than just a few moments of kindness or sympathy. Plus, his moments of kindness towards the Terrans/Hashtag was like... two episodes in comparison to his multiple episodes both in s1 and s2 in which it is setting up his eventual villainous actions AND his offscreen DECADES of destruction and violence against the Autobots and humans during the war. Just like how doing bad things doesn't make someone inherently evil, doing good things doesn't make him inherently nice or redeemed. And it makes much more such for him to not be redeemed because there's virtually no set up for a redemption arc in comparison to his story in s2.

Not to mention the fact that Hashtag is a child. Starscream isn't the type of person to suddenly forget about his trauma and his goals for a child he barely knows, especially a child associated with his abuser. It makes more sense that his "kindness" towards Hashtag was fuelled by his ego getting stroked at the fact that she believed him because I and many others similar to Starscream typically don't just completely forget about our trust issues because of kindness but rather because we feel validated when someone believes in our abuse and trauma and assures us that it's not our fault.

Plus, it makes less sense—in my personal opinion—when all those "Starscream Redemption" fanfics make him immediately flip a switch and suddenly become all nice and selfless simply because he joined the Autobots or whatever. Not to shit on the writers or anyone else who enjoy fanfics like these, I like them too. It's just from a literary standpoint as well as when considering his trauma, I highly doubt he's going to immediately change his entire ideals and perception simply because he bonds with a child or because he joins the Autobots. And in the case of Earthspark, I highly doubt he'd want to join the team that is allies with his abuser, or even just be nice to them. Megatron and the others aren't entitled to Starscream bending over backwards to becoming nice and good for them and neither should the Autobots and the others completely exempt Starscream from the consequences of his actions simply because he is a victim.

That's all my thoughts for now. Again, this isn't to shit on anyone who many have different opinions or just finds es!starscream's story unsatisfactory or anything. I just needed to rant about how the fandom treats Starscream and his abuse (or any fandom with any traumatised character in general) because honestly I'm sick of seeing his trauma being brought up only to infantilise him and take away the agency in his actions or to make fun of his trauma and insinuate that he "deserves" it (which is an awful thing to say, considering the fact real people experience such things). There's nothing wrong with having a different opinion than mine or anything, I just really needed to get this off my chest because I heavily relate to Starscream, especially es!starscream, but also as someone very interested in literature I can't help but need to rant both about the treatment of abuse victims in fandom and the lack of media literacy these days. Feel free to share your thoughts on this post, just keep it respectful.

[htubmanrenrappingblog]

ISTHEREAGREATERINTENTIONSOF: THEIMPORTANCEOFOBTAINING

ISTHEREAGREATERINTENTIONSOF: THEIMPORTANCEOFOBTAINING… “Everybody wants to put their hands in this cookie jar and there’s nothing in it,” she said. “I mean, we’re broke, why do we keep on doing this?” DOLTONILLONIOS':THEVILLAGELOCAL… CITYGOVTAUTRHORITY*CONTROL??? B.P. Capital’s president did not respond to multiple messages seeking comment about these allegations. “I just kept on listening and listening and trying to figure out what’s your angle, why are you in here, what are you here really to do?” said Wells, referring to B.P.

"THEVILLAGE'SACCESSTOMAJORRAILLINES… ISAMAJORECONOMICDEVELOPMENT*ASSET!!!" ["The racial makeup of the village was 90.69% African."]

Over the objections of Rogers, the board majority voted last year to fire an intergovernmental agency for the south suburbs that had handled the task and replace it with Calumet City-based private developer B.P. Capital under a no-bid contract. Under the deal, at which Rogers balked, the village is to seize vacant properties and turn them over to B.P. for repairs and sale. In trying to block the transfer of properties to B.P., Rogers expressed reservations about the firm. That led four board members who support the company to sue Rogers. The matter is pending. At least three Dolton residents have come forward to complain about past dealings with B.P., including Pink Dorsey IV, who paid the firm $80,000 for titles to a dozen abandoned homes in nearby Markham two years ago. Dorsey said B.P never turned over the titles. “I’m just one small person and I got duped, but a whole village shouldn’t have gotten duped,” said Dorsey. “Somebody should have done their due diligence. … There's no telling what else somebody will try to sell Dolton." Sandra Wells, a resident of Dolton for 19-years, said the flap over B.P. has led her to take a deeper interest in village politics.

“I just kept on listening and listening and trying to figure out what’s your angle, why are you in here, what are you here really to do?” said Wells, referring to B.P.

Wells, director of a non-profit that helps people in the south suburbs fix and buy homes, said she is frustrated by all the scheming that goes on in a village that has so little to give.

Early industries in the Village of Dolton included a distilling company and a lumber company located along the Calumet River. Due to its close proximity to the City of Chicago, Dolton became home to many railroad companies, which further increased the growth of the village. In 1852, the Illinois Central Railroad became the first railroad company to settle in Dolton and began laying tracks for the Chicago and Great Eastern Railroad in 1865.Ultimately, ten different railroad lines ran throughout the village and created an industrial character for Dolton. In order to help mitigate the congestion caused by the excessive number of train lines running throughout the village, the first bridge was built along Sibley Street and 147th Street in 1936. Although the train activity began to decline in the mid-1900s, there has been a major resurgence in recent years. Today, the Village’s access to major rail line and railyards is a major economic development asset.

In 1973, Dolton Mayor Norman MacKay traveled to Capitol Hill to plead for federal aid in fixing a major problem that disturbed the quality of life in his close-knit, blue-collar suburb — a town that was in many ways a model of post-war America. Bill Shaw was elected Dolton’s first African-American mayor in 1997, but also held on to his post in the Illinois Senate, which he then used to steer millions of dollars in state pork spending to the town. Bill Shaw also hired Bob to be his $70,000-a-year inspector general charged with rooting out corruption in Dolton, though village ordinance made it clear that his brother and trustees were off limits. When Bill Shaw died in 2008, the pamphlet handed to mourners at his funeral proudly declared he had been “truly one who brought home the bacon.”

Bert Herzog, who lost to Bill Shaw in that 1997 mayoral contest, saw the legacy differently. Shaw increased racial representation through patronage, said Herzog, but also “spent us into a hole.” One of the sharpest disagreements at Village Hall turns on how to renovate hundreds of abandoned homes and get them back on the tax rolls, an enormous undertaking for any community let alone one racked by infighting and a sharp resource deficit.

Over the objections of Rogers, the board majority voted last year to fire an intergovernmental agency for the south suburbs that had handled the task and replace it with Calumet City-based private developer B.P. Capital under a no-bid contract. Under the deal, at which Rogers balked, the village is to seize vacant properties and turn them over to B.P. for repairs and sale.

Hear how B.P. Capital's plans have divided Dolton

In trying to block the transfer of properties to B.P., Rogers expressed reservations about the firm. That led four board members who support the company to sue Rogers. The matter is pending.

At least three Dolton residents have come forward to complain about past dealings with B.P., including Pink Dorsey IV, who paid the firm $80,000 for titles to a dozen abandoned homes in nearby Markham two years ago. Dorsey said B.P never turned over the titles.

“I’m just one small person and I got duped, but a whole village shouldn’t have gotten duped,” said Dorsey. “Somebody should have done their due diligence. … There's no telling what else somebody will try to sell Dolton."

B.P. Capital’s president did not respond to multiple messages seeking comment about these allegations.

Sandra Wells, a resident of Dolton for 19-years, said the flap over B.P. has led her to take a deeper interest in village politics.

“I just kept on listening and listening and trying to figure out what’s your angle, why are you in here, what are you here really to do?” said Wells, referring to B.P.

Wells, director of a non-profit that helps people in the south suburbs fix and buy homes, said she is frustrated by all the scheming that goes on in a village that has so little to give.

“Everybody wants to put their hands in this cookie jar and there’s nothing in it,” she said. “I mean, we’re broke, why do we keep on doing this?” https://interactive.wbez.org/dolton/ https://vodolton.org/about/ |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

[k12academics]

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I recognize that personal growth is an ongoing journey. I actively seek feedback from my leadership team, employees, and other stakeholders to identify areas where I can improve. I encourage an environment where constructive criticism is welcomed and valued. Regular one-on-one meetings with my leadership team provide an avenue for open discussions about our organization's direction, challenges, and opportunities. Additionally, I engage in self-reflection and participate in leadership development programs to enhance my skills and leadership qualities.

Transparency is a cornerstone of our customer relationships. We provide regular updates and clear communication on the status of orders, services, and any potential disruptions. Our customer portal offers real-time tracking, and we share insights into our processes, showcasing our commitment to honesty. Additionally, we openly share customer feedback with our internal teams, using it as a catalyst for improvement. For instance, during a recent service disruption, we immediately informed customers about the issue, outlined our mitigation plan, and kept them updated until the situation was resolved.

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[blueskittlesart]

So I have been reading you BotW/TotK analysis and I have gotta say that your insight is really impressive. I do have 2 points to make on the subject. Assuming that Calamity Ganon’s (the one that is fought in BotW) purpose is to draw attention to the underground (where Ganondorf’s corpse is) than that has some terrifying implications to how he operated in BotW. If there hero and Princess were successful in sealing away his calamity (which they were), than there is no way that someone like Zelda, who has both curiosity and altruism in spades would ever leave this problem unresolved. She would be determined to seek out the source of the calamity to make sure that no future generations would ever suffer as she and Link did, which in doing so would likely break the seal that was on Ganondorf. And if they failed to stop the calamity than Ganon wins and the calamity would destroy Hyrule (accomplishing his goals).

In regards to TotK, I do believe that Zelda will be physically incapacitated (either dead or in a stasis like state like in SwSd), though she will likely be involved spiritually as there is many ways she tan grow as a character (especially if there are flashbacks to the events 10,000 years ago, and even if she does die, resurrection is something that is present in Zelda so I doubt it will be a permanent death). I have a feeling that the ending will be bittersweet with both Link and Zelda surviving and perhaps breaking the curse of Demise. However I can see the Kingdom of Hyrule being annihilated beyond recovery, bringing additional meaning to “Tears of the Kingdom.”

Anyway love reading your thoughts and predictions of the game, makes the wait for May a lot more bearable.

yeah as to your first point that's exactly what i think is going to happen! because these games operate cyclically when predicting these plot points i'm constantly thinking about what has precedent, and there's a notable precedent in previous cycles for the princess's attempts at resolution to unintentionally lead to more problems for hyrule, forcing the princess to confront her own lack of agency and experience. I think that the calamity is playing into zelda's curiosity and moral compass specifically in beckoning her and link deeper under hyrule castle, knowing that she won't be able to resist trying to confront the problem once and for all but lacks the knowledge that might keep her from unleashing human ganon accidentally.

as for your second point, i sincerely doubt that death going to be zelda's fate in totk. call it optimism, but considering how she's been written up until now i can't see a way that death, even temporary death, would bring a satisfying or thematically cohesive end to her character arc. this is a girl we've seen do nothing but struggle her entire life. She is so, so, SO strong and stubborn and persistent that to cut her life short at seventeen (mentally. we're not getting into the 100 year gap here) just seems like an openly cruel treatment of a character so central to the game. A more cohesive end to her story, narratively, would be to allow her to live and heal when the game is finished, and i hope & believe that this is the direction totk will go. Zelda was the driving force for everything that happened in botw. she is the beginning and end of these games. to remove her from the final chapter completely would be a detriment to both her character and the game as a whole.

I also don't quite agree with the idea that the end of totk will be the complete destruction of hyrule. botw is, at its essence, a story about growth and healing. its characters convey this theme on a smaller scale, but more largely, botw shows us the ways in which hyrule grows and heals around destruction and calamity. to end its sequel with destruction and no hope of recovery is to trample over what made botw so impactful. in my perfect world, totk will end in much the same way as botw--with the promise that link, zelda, and all of hyrule will continue to grow and heal.

[professional-rat-eater]

Okay, if this is a joke and I’m just misunderstanding your sense of humour, ignore everything that follows. I’m bad with tone, especially through text, so it’s hard to tell sometimes. It’s very funny if you’re kidding.

If you’re not, I don’t know if I’ve ever read a more misguided, delusional and just plain incorrect interpretation of what is a pretty damn easily understood piece of media before. I’m not sure this isn’t trolling. I don’t know if I should even entertain this with a response.

You barely see any of them eat because it’s an action-based series, not a cooking show. You see Omega and Wrecker eat together because it serves as levity/comedic relief (also Wrecker’s muscle mass is bigger than everyone else’s so he logically needs more food). They don’t show everything because it’s not CCTV footage, it’s a 25 minute show. We saw them eat on Pabu to symbolise the paradise of the island, that they could finally maybe make a home there. Do you need to watch Crosshair shower or pee too just to make sure Hunter hasn’t revoked his bathroom privileges? Why would Crosshair need permission to do these things? (Rhetorical question, I don’t care what the answer you’ve invented is.) If he really hadn’t had anything to eat in three years, he would’ve died three years ago.

By your own logic of “I didn’t see it so it didn’t happen” Crosshair doesn’t give two shits about Tech because we didn’t see him burst into tears over him. Or Echo doesn’t care about Fives. We don’t see him find out about his death. Obviously neither thing is true, but according to your way of thinking, they are. You see how ridiculous that sounds?

This is how screenwriting works. The batch, Hunter particularly, will never be the villains you want them to be because that MAKES NO FUCKING SENSE. What the hell is a point of a show in a franchise about defeating evil that focuses on family if what it’s actually about is a bunch of psychopaths psychologically torturing their brother? No one would make that show, Disney wouldn’t greenlight it, and it certainly wouldn’t be marketed towards children.

This constant victimising of Crosshair is fucking insane. It completely infantilises him and removes any sort of agency he has as a character. His growth is why this show has been so fantastic. We watch in real time as he realises the Empire doesn’t deserve his loyalties, but his family does.

In the first season, he is actively trying to murder them. Sure, he had the chip but it didn’t make him any safer to be around and he told them he got it removed. He tried cook his former squad inside the exhaust of a ship, ordered his team to open fire on civilians and told them to aim specifically for Omega. That is not someone who will come off as trustworthy to the rest of the batch so excuse them if they take a couple of episodes to warm back up to him. Even he gets that. He’s a complex, multifaceted person, not an innocent little baby.

You are so determined for him to be a victim that you are doing to him the very thing you accuse the characters of. You take away his choices, a central part of his arc, and ignore his trauma. Have you considered maybe he finds it hard to eat because of his trauma? Being starved, like he was by the empire, makes it hard to consume food normally. You have to build up your tolerance for regular food again and it can be like torture. He needs time to heal. It’s not an overnight process, as documented in the actual show.

And speaking of his trauma, Hunter and Omega have both expressed concern and a desire to help him and Wrecker welcomed him back to the group with open arms. In fact I’d say Crosshair’s trauma is one of the key themes of the season. Omega particularly has only ever wanted to help him. She helped him meditate and focus to try and cope with the psychological issues he has and she’s used physical contact to reassure him multiple times. She’s also a fucking kid so trying to make it seem like she could control him even if she wanted to is beyond bizarre.

Let’s be super clear: Crosshair is a mass murderer. I adore him and how far he’s come, but it doesn’t bring back anyone he’s killed. If the batch assumed he wanted to hurt Omega when she was drowning, it’s probably because of all the previous times he tried to hurt her.

And the last paragraph really tells me everything I need to know. “Stop speaking for me” WHO ARE YOU??? You say this fandom isn’t a monolith, which is not something anyone has ever even implied, yet you assume this is about you and speaks for everyone when I specifically used language that avoided that. You projected that.

I don’t even know who you are. Try to comprehend the idea that people exist outside of yourself and that your experience isn’t the universal one. Did you want me to consult you before I posted on my own account, complete and total stranger? People online get so caught up in their own experiences that they can’t even consider that idea that someone might not be talking about them. Take a break and try and gain some perspective.

If you want to have these theories, go right ahead. I hope you’re wrong because I’d like Crosshair to survive. But keep these takes on your own account with people who want to hear it and try not to take things that have nothing to do with you so personally. The block button is right there. It’ll cause you so much less stress in the future, I promise.

You also clearly don’t like this show so stick to ao3 and find something else to watch. There’s no point in tormenting yourself like this. I’m sorry you’ve missed out on all the beautiful moments this show has provided. Just stop taking your inability to understand the media you consume out on people who literally want nothing to do with your wild discourse.

Anyway the silly Crosshair and Hunter are rivals narrative can finally be put to rest for good now that they are close again and Hunter as clearly demonstrated multiple times that he cares about and trusts Crosshair so let’s never ever ever pit them against each other again because they are literally family. Thank you. 🫶

[theoncomingchaos]

1000 Stars Ending- First Watch

I’m a bit late to finish the watch because of Obon, but I finally finished A Tale of 1000 Stars!

Final Thoughts under the cut including the second half of my analysis via a Queer literary lens.

First off, this show is really such a comfort. Even the dramatic angsty bits felt so cathartic and purposeful because we were all waiting for him to tell the truth and claim his own agency in his life. It was never going to be easy for him to tell everyone about Torfan, but we all knew from the beginning that it was not only coming, but that it would lead to a better Tian.

So many BL throw in pointless drama that really doesn’t have anything to do with the central theme. It’s just there to give an excuse to keep the main couple apart a little longer/create tension, and honestly it usually feels like filler. You know you have a good series when that kind of nonsense isn’t necessary because the story has a real conflict already baked into it- one that will lead to real growth and change for the characters involved.

Queer Lens:

As I mentioned last time, the very premise of this show erases a female character and throws a male into her story. Out of guilt, he proceeds to follow HER story and let it drive his life. This works out for him because he never really had a chance to make choices for himself or think about the future. His parents controlled everything and with his heart problems, he didn’t have to really face the idea of a future. However, once the Chief takes Torfan’s journal and the truth comes out, we start to see Tian come out more and more from the shadow of the stolen narrative.

One example showing that this is now HIS narrative was how he used his engineering skills to help the kids build kites. He understood the theory, even though he had never flown one before. Another is how he followed the men out to the woods even though it was dangerous and found out about the smuggling operation. He took action and became an active participant in his life, rather than a passive fill in for someone else.

Another important point is that his feelings aren’t coming from Torfan and that is made very clear in the series. This is not some supernatural story, she is very much dead. He may have her physical heart, but his feelings for the Chief came from him and even though it’s surprising for him, he showed courage in telling his friend and seeking advice and support about it. After that, he doesn’t shy away from it. He embraces his feelings for the Chief and in return they help him to find his own heart that he has never had a chance to really follow before. 

All of these pieces build to the climax, where he finally goes to count the stars and he can’t. Metaphorically, this is so beautiful because, beyond trying to deal with his literal conscious guilt over Torfan, his inability to count the stars shows that unconsciously he knows now that he can’t live his life following her footsteps anymore. He can’t be her or fill the spot she would have filled. We can go further and read this as in he can’t continue to live up to the gender and heteronormative expectations put on him by his family either. He isn’t a woman, he isn’t Torfan, and he isn’t the man his parents want him to be: obedient, ready to take over the family business, do whatever it takes to get what you want/need, show off your wealth, confident, marry a woman and carry on the legacy of the family by having children etc. 

He tries so desperately to count the stars because not only does he feel like he owes it to Torfan, but she has also been his guiding light. Without that, he doesn’t know what to do with himself which can be really terrifying. He has feelings for the Chief, but beyond that, he doesn’t truly know himself or what he wants for his life yet.

However, by forgiving himself for having a chance at life that Torfan can never have he fully lets her go and is set on the path to become his own person.

The remainder of the series does a beautiful job showing how consciously he didn’t know what he wanted yet by letting people make life decisions for him “since it’s for his own sake,” but the way he fell apart saying goodbye to the villagers showed that his heart already knew what he wanted. Fortunately, the narrative gave him another chance to be active in his story and to not only choose what he wanted, but to fight for it. His parents didn’t want him to be a teacher. It doesn’t fit their expectations of him, but he fights for it because he knows who he is now and what makes him happy and gives him purpose. We see a similar situation where he hugs the Chief in front of his parents at the airport. His mother is confused and seems disapproving, but even if that’s the case, we know that he isn’t going to just live the life he thinks he’s supposed to live anymore. Not the life his mother wants for him, not the life he once thought he owed Torfan, he’s going to live his own story. (Thus the symbolism of having his own journal at the end)

As far as queer narrative goes, when you live in a society that doesn’t accept you, a big part of life is struggling with this conflict- do you force yourself to live the way you are expected to or do you carve your own path and follow what makes you happy? I’m glad to see Tian had agency and took control of his own narrative. We don’t owe it to others to live our lives for them. We owe it to ourselves to find where we belong. It’s beautiful and worthy message.

The only thing that would have made me happier is to see him reunite with the kids, but it’s ok, we know they will be happy to see him.

[praise-the-lord-im-dead]

Re: the coming-of-age stories conversation:

Considering the nature of trauma, I'd argue that novels in which children on the cusp of adulthood experience deeply traumatic events aren't coming-of-age stories at all?

The characters are thrust into 'adult' situations but they also, crucially, do not *grow up*; they are stuck, as children, in a world that expects them to act as adults. Trauma happens when you experience something that you cannot mentally or emotionally deal with, and in a sense, it locks you into a stagnant state until you do deal with what's happened.

It's not really a transitional event. *Dealing* with trauma (not experiencing it, but healing from it) allows growth, but it's not the *cause* of growth--just a removal of a blockage, really.

Trauma+kids stories are coming-to-terms stories, and in direct opposition to a coming-of-age story, which should centralize the experience of becoming the adult version of oneself.

Coming-to-terms stories are really important, i think, bc that's how a lot of people do experience the transition from childhood to adulthood! The world is messy and it hurts people and telling stories about that is a good way to work out our feelings about it. But it's hardly a replacement for stories about taking responsibility and finding agency in your own life as you grow, yknow?

In the same vein, would stories of dealing with childhood trauma as adults count as coming-of-age stories, or something adjacent to them?