#racial dynamics in politics

[alwaysbewoke]

[tuulikki]

The thing is that the portrayal of Neanderthals as having been inherently grotesque and alien to H. sapiens is something we will never have proof of. But we do have proof that, in different locations and in different populations across time, we all found eachother desirable. We saw eachother and wanted to touch. And the offspring were held by their mothers and raised and had their own offspring in turn.

When you look for the first proof that H. sapiens found Neanderthals repulsive, you have to wait until the Victorian era, when the white masters of empires were busy portraying Neanderthals as stupid, brutish, and (of course) dark-skinned.

In more modern times, we’ve had people arguing that instead of seeing Neanderthals as Benighted Savages, they should instead be seen as Noble Savages, (allegedly) cruelly destroyed and driven from their lands by H. sapiens. Which one of their two you believe says more about your modern political views than it does about ancient H. sapiens.

And, whether we construct Neanderthals as Savage or Noble Savage, the fundamental assumption we project into the unfathomably distant past is still that H. sapiens saw Neanderthals as an Other, with the language we use being almost explicitly that of modern racial dynamics.

But we have no proof of any of that. We have no proof of hostilities. We know we co-existed and we had sex. That’s it.

Humans obviously have sex with some humans and kill others. We also know that, when small groups of humans occupy vast spaces with infrequent contact with others, unique cultures will always form, some more hospitable, some more neophobic/xenophobic. But many cultures of small settlements placed among huge unpeopled landscapes place supreme emphasis on hospitality to strangers. Plus, we fucking love other social animals, as evidenced by how we befriended wolves.

I’m a humourless weirdo and a wet blanket about popular constructions of Neanderthals as “monstrous”, and I freely admit it. But that’s because it’s tied up in legacies of imperialism. Not only that, but it also privileges one culture (yours, mine, modernity’s) as being most human by implicitly assuming we can project it onto people in the past. Since you don’t pretend that all global cultures share exact same values as you do, it doesn’t take more than a few moments’ reflection to realise you can’t do that to the past.

[fursasaida]

This article is from 2022, but it came up in the context of Palestine:

Here are some striking passages, relevant to all colonial aftermaths but certainly also to the forms we see Zionist reaction taking at the moment:

Over the decade I lived in South Africa, I became fascinated by this white minority [i.e. the whole white population post-apartheid as a minority in the country], particularly its members who considered themselves progressive. They reminded me of my liberal peers in America, who had an apparently self-assured enthusiasm about the coming of a so-called majority-minority nation. As with white South Africans who had celebrated the end of apartheid, their enthusiasm often belied, just beneath the surface, a striking degree of fear, bewilderment, disillusionment, and dread.

[...]

Yet these progressives’ response to the end of apartheid was ambivalent. Contemplating South Africa after apartheid, an Economist correspondent observed that “the lives of many whites exude sadness.” The phenomenon perplexed him. In so many ways, white life remained more or less untouched, or had even improved. Despite apartheid’s horrors—and the regime’s violence against those who worked to dismantle it—the ANC encouraged an attitude of forgiveness. It left statues of Afrikaner heroes standing and helped institute the Truth and Reconciliation Commission, which granted amnesty to some perpetrators of apartheid-era political crimes.

But as time wore on, even wealthy white South Africans began to radiate a degree of fear and frustration that did not match any simple economic analysis of their situation. A startling number of formerly anti-apartheid white people began to voice bitter criticisms of post-apartheid society. An Afrikaner poet who did prison time under apartheid for aiding the Black-liberation cause wrote an essay denouncing the new Black-led country as “a sewer of betrayed expectations and thievery, fear and unbridled greed.”

What accounted for this disillusionment? Many white South Africans told me that Black forgiveness felt like a slap on the face. By not acting toward you as you acted toward us, we’re showing you up, white South Africans seemed to hear. You’ll owe us a debt of gratitude forever.

The article goes on to discuss:

"Mau Mau anxiety," or the fear among whites of violent repercussions, and how this shows up in reported vs confirmed crime stats - possibly to the point of false memories of home invasion

A sense of irrelevance and alienation among this white population, leading to another anxiety: "do we still belong here?"

The sublimation of this anxiety into self-identification as a marginalized minority group, featuring such incredible statements as "I wanted to fight for Afrikaners, but I came to think of myself as a ‘liberal internationalist,’ not a white racist...I found such inspiration from the struggles of the Catalonians and the Basques. Even Tibet" and "[Martin Luther] King [Jr.] also fought for a people without much political representation … That’s why I consider him one of my most important forebears and heroes,” from a self-declared liberal environmentalist who also thinks Afrikaaners should take back government control because they are "naturally good" at governance

Some discussion of the dynamics underlying these reactions, particularly the fact that "admitting past sins seem[ed] to become harder even as they receded into history," and US parallels

And finally, in closing:

The Afrikaner journalist Rian Malan, who opposed apartheid, has written that, by most measures, its aftermath went better than almost any white person could have imagined. But, as with most white progressives, his experience of post-1994 South Africa has been complicated. [...]

He just couldn’t forgive Black people for forgiving him. Paradoxically, being left undisturbed served as an ever-present reminder of his guilt, of how wrongly he had treated his maid and other Black people under apartheid. “The Bible was right about a thing or two,” he wrote. “It is infinitely worse to receive than to give, especially if … the gift is mercy.”

[mortalityplays]

This is a fantastic linguistics paper – the researcher observed the artificiality and social pressure imposed on kids when they're asked to produce language on the spot, so instead had them talk to a rabbit in a room with a tape recorder. He found that when talking organically, without an adult authority figure around, their speech was exponentially more sophisticated, socially fluid, and creative.

As someone in the twitter thread points out, this has obvious implications for situations in which cued language production is used in diagnosis e.g. for autism. I'd add that (while this particular paper's remit is limited to children) it should also make us think about situations where adults are pressured to speak by authority figures: court hearings, police encounters, benefit assessments, asylum interviews, etc. If the presence of power hampers your ability to advocate for yourself, these are all rigged propositions.

Anyway, you can read the whole piece here (taken from a talk on his research, so it's very readable):

e: sorry, I should add the context that this is a language study situated in Hawaii in 1970 so there are also some very significant racial socio-linguistic politics discussed here that might be distressing to read about. I don't want to discount that aspect of the power dynamic studied here either.

[infimace-blog]

Some days I forget how much of my feelings are tied into the racial dynamics of orcs and then I see something like Don't Kill Them All and I want to break someone.

Accidentally clicked on the trailer after foiling YouTube's attempts to foist this on me for several days, and god fucking damn, it's white savior bullshit. Biracial girl raised by the white elven side of her family returns to her savage orcish brethren who definitely aren't supposed to be some kind of racial analogue to try and civilize them. Ignore that the girl and some of the orcs have dreadlocks. The half-orc has to introduce the orcs to such complex concepts as 'don't kill everything' and 'don't mindlessly destroy resources' and 'gathered food can be turned into delicious things like bread'. Who the fuck decided we needed a game about some privileged outsider teaching the 'savages' how to maintain their own land?

It's like the most Euro-centric bits of the Civilization games combined with DnD race politics, complete with the idea that only a half-orc (rather than a full orc) has the civility and intelligence to be a proper protagonist. I've seen so many people acting like we've fully divorced the fantasy concepts of orcs and goblins and the rest from real-world racial issues, and here we have someone recreating The White Man's Burden with orcs from base principles. Have y'all learned nothing from what black and indigenous people have been saying about orcs for years?

[opencommunion]

"The racism embedded in colonial logic often creates 'differentiation' between those people who are allowed to have a category of childhood and those who are at the margins of humanity and so are denied such a category. The deployment of such a differentiation is not unique to Zionism and its racialized concepts of Israeli sovereignty. Mbembe suggests that the relationship between the colonizer and the colonized can only be one of violence and domination, since the animalized colonized people cannot have an existence that is in any way equal to that of the colonizers. Caging the colonized in spaces of nonexistence enables the colonial power to persist while maintaining an inhumane image of the colonized. Caging reveals inherent contradictions, especially in Hebron where the act of confining Palestinians within their houses and communities is justified as a necessary measure to protect Israelis and to maintain the state’s 'security' as a mode of 'separating' two 'contesting' groups and/or to 'protect' the Palestinians from the violence of the settlers. Arbitrary justifications are also one of the distinctive features of colonial power, and the dynamics of caging can serve both to validate the perception of the Palestinians as animals that must be controlled and also as a group that is receiving the ostensibly benevolent protection of the state that has encaged them in this manner. ... Children in cages are treated no different than their elders. In fact, more often than not, they are considered more dangerous than adults, since the children are the builders of the future, and their speech and silences ... convey thoughts and plans about what they might do to liberate themselves from such a cage. The refusal of children to accept humiliation as part of their reality was a vivid and daily reminder to the occupier that the land is stolen; this is one reason for their caging." Incarcerated Childhood and the Politics of Unchilding, Nadera Shalhoub-Kevorkian (2019)

[wasabi-gumdrop]

essential reading for Kabru lovers and dunmeshi world building enthusiasts

Kabru, impossible mutual understanding & unknowable objects

Despite his concerted and constant efforts to understand other people, it’s established in a few extras that Kabru believes that true mutual understanding between certain different races is impossible. Specifically, between long-lived and short-lived races, and between humans and demi-humans. Partially, we can trace this conviction back to specific hang-ups caused by his life; the trauma of the Utaya disaster, prejudices he carries from his childhood, and his experience of racism among the elves. In this “little” essay, I’m gonna discuss how I think those experiences formed this belief, how it comes out in his actions, and how some of his actions seem to contradict it. The question of whether it’s possible to reach mutual understanding with other living beings despite our differences is one of the core themes of the manga, and I’ll also touch on how this aspect of Kabru’s character links to that.

Seeking understanding

Kabru is a character who devotes a huge amount of time and effort to understanding people, and he is very good at it. In his internal monologue, we can tell how advanced and complex his skills of analysis are. He is able to read a huge amount of information just from looking at people's faces and body language.

People are, to him, what monsters are to Laios. This is something that's been expanded on at length in other, excellent meta. It's the fact that they're foils; it's the fact that Kabru is also very easy to read as autistic, with a special interest which is the opposite and parallel of Laios'. It's something that came out of trauma and alienation, as Laios' special interest in monsters also began as a coping mechanism.

The complicated origin of this "love" for monsters and for people comes through, I think, in the fact that one of the places we see both characters use their fixation is in being very, very good at killing the thing that they love. This also ties into the idea that loving something isn't even remotely mutually exclusive with using it to sustain your own survival; using it for your own purposes; hurting it or killing it. Love can be, and often is, violent, possessive and consumptive. This understanding is part of what makes Kui's depiction of interpersonal relationships so compelling to me.

While Laios fixated on monsters and animals to seek a place of escape, in both his imagination and his self-image, from the humans who he couldn't understand and who couldn't understand him, Kabru seems to have fixated on understanding people in order to navigate the complex, socially marginal places that he has been forced into throughout his life. As an illegitimate child raised by a single mother with an appearance that marked him out as different to the point his father's family wanted to kill him, and a tallman child raised among elves who didn't treat him as fully human and wanted him to perform gratefulness for that treatment – treatment that, after he met Rin at age 9, he certainly always understood could be a lot worse – his ability to work out what people wanted from him, whether they were friendly or hostile or had ulterior motives, wasn’t just an interest. It will have been an essential skill.  

Milsiril, I think, was a flawed parent who tried to do her best by Kabru and did a lot of harm to him despite her best intentions. She may have treated him much better than an average elf would have, but like Otta and Marcille's mother, there are other elves with different outlooks on short-lived races. How would they judge her treatment of him? We don’t have any insight on what it could be, but to be honest, the person’s whose opinion of her I’d be most interested in knowing is Rin’s.

But even if she'd been perfect, living as an trans-racial adoptee in a deeply hierarchical nation with a queen who is a 'staunch traditionalist' who wouldn't even acknowledge the existence of a half-elf like Marcille (according to Cithis) is an experience that would deeply impact anyone.

Elves & Impossible mutual understanding

While Kabru was living with Milsiril - in other words, while living in the Northern Central Continent - he came to believe that "there was no way to achieve mutual understanding with the long-lived races."

This is evident in his political project: he wants short-lived races to have ownership over the dungeon's secrets. Despite his dislike of the Lord of the Island, he's a useful bulwark to stop the elves taking over. Despite his doubts about Laios, Laios needs to be the one to defeat the dungeon, because if he doesn't the elves will take over.

Kabru still carries a deep scar from Utaya, one that was exacerbated by the fact that he never got an answer to any of his questions about what happened or why. This, despite the fact that Milsiril knows about the demon and how it works. Do you think Kabru, with his social perceptiveness that borders on the superhuman, wasn't aware that she knew more than she would tell him?

Given that, the fact that he gets to a place where he "doesn't have any particularly negative feelings about [elves/long-lived species]" .... well, to put it bluntly, I believe that he thinks that's the case, but I kind of doubt it. After all, if he did have resentment, of Milsiril (someone who was his primary provider and caretaker since age six, and who despite her flaws, loves him and who I do think he loves) or of elves (who he has had to play nice with for most of his life, in order to survive, and will still have to play nice with in order to achieve his goals, since they hold all the power) what would that do except hurt him and make his life harder? Kabru is Mr. Pragmatic, so I don't think he'd let himself acknowledge any such feelings he did have. Exactly because he can't acknowledge them, they're well placed to get internalised as beliefs about the Fundamental Unchangeable Nature of the World.

However, these stated beliefs seem to contradict his actions. Despite his belief in the impossibility of forming a mutual understanding, he certainly seems to try to understand long-lived people, just as much as he does short-lived people. There's no noticeable difference between his treatment of Daya & Holm versus Mickbell & Rin that isn't clearly down to their relationship with him. His skills of human analysis were honed and developed while living amongst elves, and as soon as he's alone with Mithrun he immediately sets to understanding him - his interests, his motivations, his needs, and his past.

He treats him considerately and without bias, and despite the fact that Mithrun conquering the dungeon for the elves is both a reenactment of a core part of his childhood trauma and a political disaster for his aims, that doesn't seem to colour his perspective on Mithrun negatively at all.

This is something I find extremely laudable about Kabru, and it's another way he parallels Laios. He seems to understand that people, as a rule, (in Laios' case, he understands this about monsters - and eventually, all living beings) will act in their own interests, and if those interests conflict with yours, might harm you. But that's just their nature, and it's not something that should be held against them; you're also doing the same thing, after all. The crux of Laios' arc is precisely that he has to accept the responsibility of hurting someone else in order to achieve what he wants.

Kabru is deeply concerned with his own morals, what he should and shouldn't do, but mostly in the context of responsibility for the consequences - a responsibility he takes onto himself. He isn't scrupulous about what he needs to do in order to create the outcome he wants, but if he fails to create that outcome, then....

He blames himself to the point of thinking he should die. He doesn't blame Laios, or seem at all angry with him, despite concluding he should have killed him to prevent this outcome. That's because in his eyes, ultimately Laios was going to act according to his own nature, and it's Kabru's fault for not understanding that nature well enough. He's extremely confident in his ability to understand and predict others, (including elves and other long-lived people). Then, where does his conviction that mutual understanding is impossible come from?

Partially, it's the "mutual" part. I'm sure Kabru, who isn't able or willing to deny Otta's insinuation that Milsiril saw him more like a pet than a son, has felt that his full interiority, the depth of his feelings and his ability to grow, act, and think as a fully equal being, was something that the elves around him just couldn't grasp. Because that was their excuse for it, he came to understand this as a gulf between short-lived and long-lived beings, an inevitable difference in outlook caused by their different lifespans.

This experience might be part of what leads to his iconic “fake” behaviour. He trusts his ability to understand others, but if they aren’t able to understand him, then there isn’t any benefit to being honest about his feelings and thoughts. If his attempts to reach mutual understanding with his caretakers were never able to be fulfilled, then it isn’t any wonder that he reacts with such surprise and horror at blurting out his desire to be Laios’ friend.

In his experience, making yourself vulnerable in that way only leads to being hurt. Soothing him, hushing him, lying to him, talking to him like a child that isn’t able to use proper judgement – that’s an inadequate and deeply hurtful way to respond to genuine distress, the desire for autonomy, or disagreement. Ultimately, I think that’s why he comes out on the side of being grateful to Milsiril; because she did equip him with the skills and knowledge he’d need to reach his goal, and let him go.

Though he could understand them, they couldn't understand him. To the extent that was true - which I'm sure it was - it wasn't due to anything about lifespan. It was due to the elves’ racism, and the solipsitic mindset & prejudiced attitude that it caused them to approach him with.

Because, if it needs to be said, the idea that there is an unbreachable gap in understanding between the long-lived and short-lived species is not true. Marcille and Laios have a much greater difference in lifespan than any full elf from any short-lived person, and they’re able to understand each other – maybe not perfectly, but better than many other people who are closer in life-span to them.

That doesn’t mean that I think Kabru is wrong about this, however. Because there’s an interpretation of his statement that is reflected in his actions and is true. When he talks about his problem with elves, it’s not just their attitudes: it’s their power, and what they use it to do. They “explain nothing and take everything”. Though it’s presented in the guise of ‘guiding and protecting’, in fact it’s a simple case of a powerful nation using their military power, wealth, access to resources, and historically stolen land – including the island itself – to protect their own interests and advance their own agenda. That’s why they’d be able to show up, seize the dungeon, and forcibly take Kabru’s party and Laios’ party to the West. If Kabru wants to stop that from happening, or change that status quo, persuasion or a bid to be understood would be completely pointless. Between the political blocs formed by long-lived species and the interests of short-lived species, “mutual understanding”, given their current, unequal terms, would be impossible. This is something that we see reflected in Kabru’s actions; before he asks his questions about the dungeon, he grabs Mithrun as leverage. He never really attempts to persuade the canaries to see his point of view, because that would be pointless: they’re agents of the Northern Central Continent’s monarchy, and will act in its interests regardless of any individual relationship with him.  

I don’t think Kabru sees the different dimensions of this belief of his in quite such clear terms, however, as is evidenced by the other group who he thinks it’s impossible to communicate with.

Demi-Humans & Unknowable Objects

The other place that we see his conviction about the impossibility of mutual understanding is in the kobold extra.

I'm including the whole thing, because I think it's an excellent and clever piece of world-building. Aside from what it says about Kabru, which I'll expand on shortly, what this extra does is deconstruct and call into question the usual "fantasy ontological biology" present in these sort of DnD-like settings. Essentially, the kind of worldbuilding where a race (such as kobolds) can be described as war-like, and that's establishing something essential about their biological nature. That's common to the point that if Kui didn't include this, some people would probably come away thinking that's the case about, e.g., the orcs.

But here, despite what Kabru is saying, the information the reader actually gets is:

the conflict between short-lived humans and demi-humans such as kobolds is mostly over access to material resources that they need to survive.

These resources are scarce because powerful nations, such as the elves, have monopolised them.

Kabru, who has grown up in a place at the centre of these conflicts, ascribes essential, negative traits to a cultural group which was in direct conflict with his own. Communication with this other group is impossible; they aren't people, they're more like objects.

oh yes! just like this conflict between groups of tall-men, a conflict which the reader will immediately interpret as more clearly analogous to real-life racism. Our other protagonists also carry prejudices from growing up in a place where a marginalised group was in conflict with the dominant group over scarce resources. It's definitely impossible to communicate with these people, and you can only kill them.

Woah, when you say it like that, it sounds pretty bad!

But also, nobody walks away having had a realisation or unlearned their prejudices - because they don't have the tools they need to do that work. Yet. I do think, to an extent, it could happen - especially with Kabru, since it's suggested in the epilogue that Melini might become a safe-haven for demi-humans.

To focus in on Kabru, the key here is his statement that you should think of demi-humans as "unknowable objects". Even his extraordinary powers of understanding have seemingly hit a limit. Part of this is just inherited prejudice, and doesn't need to have a complicated psychological explanation, any more than the elves who were prejudiced against him need one.

But also... this is probably somewhat linked to the way demi-humans seem to be considered "pseudo-monsters". They're the place that the strict delineation between the human and the monstrous is permeated. Laios, who is not interested in humans, remembers and is excited by Kuro. Chilchuck and Laios argue over whether it's OK to eat a mermaid. Kabru's prepared to (pretend to) roll with the idea that Laios ate the orcs.

But these are people, aren't they? Of course, this is a social construction, as we see from the fact that in the Eastern Archipelago, the label of "human" is reserved for tallmen, but in most of the rest of the world it depends on some obviously arbirary classification based on number of bones; "demi-humans" aren't in any essential way monstrous, except to an extent in their appearance, and physical location - due to their marginal social status, they're pushed out to live in unsafe places such as dungeons.

Therefore, Kabru's view of demi-humans as fundamentally "other", unable to be understood - monstrous - could be read as akin to abjection, the psychoanalytical concept described by Julia Kristeva. In order to create a bounded, secure superego, that thing which permeates and calls into question the border between self and other, human and animal, life and death, is rejected and pushed to the margin.

“Not me. Not that. But not nothing, either. A "something" that I do not recognize as a thing.[...] On the edge of nonexistence and hallucination, of a reality that, if I acknowledge it, annihilates me. There, abject and abjection are my safeguards. The primers of my culture.” (Kristeva et al., 1984, p. 11) “It is thus not lack of cleanliness or health that causes abjection but what disturbs identity, system, order. ” (Kristeva et al., 1984, p. 13) “The pure will be that which conforms to an established taxonomy; the impure, that which unsettles it, establishes intermixture and disorder. [...] the impure will be those that do not confine themselves to one element but point to admixture and confusion.” (Kristeva et al., 1984, p. 107) (discussing food prohibitions in Leviticus)

This is both (due to its affinity with food-loathing and disgust) a very fruitful concept to apply to dunmeshi, and a psychoanalytical theory which I wouldn't exactly cosign as True Facts About Human Psychological Development. You may also know the abject from its utilisation in the classic essay "Horror and the Monstrous-Feminine" by Barbara Creed - that's a lot more approachable than Kristeva if anyone's interested.

Key here, though, is that through the symbol of the "demi-human" is embodied a step between "human" and "monster" - and that's a prospect that puts at risk the whole notion of an absolute separation between those two categories in the first place. To Laios, that's something wonderful, and to Kabru, it's terrifying. We can see this principle further embodied in the relationship both characters have with the notion of becoming monstrous.

To Laios, this is transcendent, and represents a renunciation of everything human - in fact, if it didn't, it wouldn't "count".

To Kabru, it's a deeply-held fear, established by his childhood alienation (due to his illegitimacy, his eyes, and perhaps also his neurodivergency), deepened by monster-related trauma and the sense of responsibility and survivors guilt he feels for what happened at Utaya. His identity as a human who is not monstrous is key to his sense of stability and safety; he doesn't want to touch monsters, he doesn't even want to see them.

To acknowledge a kinship, a possibility of similarity between the things he loves (humans) and the things he hates (monsters) would be more than touching them - it would be putting them inside him. We know, quite explicitly, that this notion is triggering to Kabru. He literally has what seems to be a flashback when he's about to eat the harpy omelette.

So he abjects it, classifying the demi-human as fundamentally unlike him - an unknowable object, or an object that he refuses to know. Because in understanding it, he would interject the things he hates and fears into his self, which is already, always under threat by that hated and feared object.

Of course, again, Kabru isn't very good at enacting this refusal in practice. For one, when he chooses between his desires and ingesting the feared object, eating monsters... he eats monsters. Part of this is treating himself badly, the "ends justify the means" mentality. His goal is to destroy all monsters, so if he needs to become monster-like to do that, he will. But part of it is also the other motivation that he didn't even seem to know about until he said it: he wants to become Laios' friend, and to learn from him how a person can like monsters. He wants, at least in some part of him, to reconcile the feared and hated object into something he can understand.

For another:

Kabru can speak the kobold language. In the first place, while this may have been common in Utaya, it also could have been something he chose to learn, an early expression of his interest in understanding and talking to all sorts of people. It isn't the kind of thing you learn if you believe that communication between yourself and the group that speak it is impossible, is it?

It's possible to harbour prejudices against a group while being kind to an individual, and given Kabru has those prejudices regardless of his reasons, that is what he is doing. But also, his treatment of Kuro doesn't reflect a sincerely held belief that he's an "unknowable object" at all. His approach is exactly the same as it is to any other person: an analysis of goal and motive, and an attempt to help if he's sympathetic and their goals align - going out of his way to give language and local knowledge lessons in secret. His conviction that Mickbell and Kuro will truly become friends when they can properly communicate is completely contradictory to any sense of demi-humans as fundamentally different, or impossible to reach mutual understanding with. To me, it seems like this self-protective shield against the corruptive force demi-humans as an idea present to his identity, this abjection, when Kabru is face-to-face with one, just simply can't hold up against his finely honed skill of intellectual empathy. Perhaps because he's autistic, it seems his "empathy" is less an emotional mirror response, and more a set of cognitive skills for analysis of others. That instinctual, emotional empathy might not trigger when presented with a member of an out-group, but if it’s possible for Kabru to turn his cognitive empathy off, we don’t see him do it.

This isn't to say that this prejudice doesn't affect his behaviour. For one, it could negatively impact his judgement of politics and policy, where individual people don't enter into it. For another, I'm not convinced he'd be willing to overlook Mickbell's exploitative relationship with Kuro if Kuro wasn't a kobold. As it is, since both of them are satisfied, he doesn't feel like he needs to intervene, regardless of the fact Mickbell isn't paying Kuro. But if Daya and Holm were in a relationship, and Holm took both Daya's and his own share from their ventures, but only compensated her in living expenses and kept the rest, do you think he'd tolerate it, for example? Even if she said it was OK?

Conclusion

The kelpie chapter establishes that "people can never know what monsters are really thinking." That isn't just true of monsters, though.

True mutual understanding is impossible - between anyone. We can never truly understand another person's heart. This is touched on in, for example, the existence of shapeshifters and dopplegangers. Even a monster that seemed like a perfect copy of a person wouldn’t be that person, and wouldn’t be a satisfactory replacement.

We’re intended, I think, to understand the winged lion's repeated suggestions to just replace people who have been lost with copies as something uncanny, which demonstrates the way that the winged lion never manages to attain a complete understanding of humans. A version of a person who was created to fulfil your memories of them, to be the person who you wanted them to be, would be a terrible, miserable thing.

Disagreeing, coming into conflict, and misunderstanding each other, are essential parts of what it means to be living beings, as fundamental as the need to eat.

The only thing to do is not to take more than you need to eat to survive, and not impose your own desires onto others. To do your best to sincerely communicate your desires, even if they're embarrassing or vulnerable or strange, like Kabru eventually does with Laios; like Laios does, bit by bit, with the people around him; like Marcille does, Chilchuck does, Senshi does... to hope they will accept you, and do your best to understand them in return.

We can re-examine, in that context, Kabru's line about the elves' tendency to "explain nothing and take everything".

They have the power to impose their preferred "menu" onto less powerful groups. And in that context, mutual understanding being impossible just means that they won't give up their power because they're asked nicely. Kabru's goal is to seize the truth that they won't give to him, and to create a situation where they can't take everything. Because he's accurately surmised that nothing about the treatment of short-lived races will change so long as the power imbalance remains. Despite the way he mistakenly ascribes part of that to "long-lived vs short-lived" or "human vs demi-human", the actual gulfs in understanding he identifies are structural, are about power and about access to material resources and safety.

I think he could come to recognise this. Yaad is teaching him political science after all, and while a prince's lessons on political science won't exactly get at much that's radical or invested in the interests and perspectives of the marginalised (Capital is a critique of for a reason after all...) I believe in Kabru's ability to learn critically and get more from a lesson than it was intended to teach.

[floral-ashes]

I was asked why the moral panic around Algerian boxer Imane Khelif was so centred on trans people when there’s no evidence that she’s trans. I thought I’d share my thoughts publicly.

The reason is that, in many ways, transphobia isn’t about trans people, it’s about what trans people mean to ideologies of race and gender. The controversy about the Olympic boxers is linked to rising anxieties about the line between men and women becoming increasingly blurred in contemporary society. These anxieties are fuelled by right-wing movements who see rigid divisions between men and women as critical to maintaining white social, economic, and political control. Because trans people are seen as challenging the justification of gender norms and roles based on biology and reproduction, they’re targets of particularly intense hostility and violence. My colleague Blu Buchanan and I tracked that racial logic a bit more in depth in a truthout essay a few years ago. White supremacist ideologies are heavily invested in rigid gender norms and roles because they see them as necessary to white reproduction.

The moral panic about ‘gender ideology’ is about trans people, yes, but it’s also explicitly about cis men and women not conforming to gender ideals that see men and women as fundamentally different forms of life with different roles in a society organized around the nuclear family. Women have to act and look a certain way to be considered ‘really’ women, much in the way that gay men are deprecated as ‘not real men.’ This moral panic manifests in the disproportionate targeting of racialized women and especially Black women for not conforming to white ideals of femininity. This dynamic is only amplified in the context of elite sports given the pervasive association of athletic ability with masculinity, especially in contact and strength-based sports like boxing as opposed to, say, gymnastics.

[redvexillum]

PSA: RACISM, BIGOTRY, ENTITLEMENT IN HAZBIN HOTEL FANDOM

CONTENT WARNING: Inflammatory hate speech, White hate, political baiting, gaslighting, racism, death threats

The messages I’ve received and am addressing below contain upsetting and harmful language that has no place in any community. If these topics are distressing to you, please prioritize your well-being and feel free to stop reading here. Thank you for taking care of yourself.

I never imagined I would find myself addressing this, but here we are. This post is regarding my recent story, Stay With Me, which has stirred up unexpected controversy due to my decision to imply the reader’s race as white. I want to clarify that this choice was made purely for plot purposes.

The story is set in 1920s Louisiana, a time and place where racial and class dynamics were deeply significant. This backdrop was essential to the narrative’s themes of tension and forbidden love, as it explores the societal barriers that would have made a relationship between Alastor and the reader virtually impossible. The decision to depict the reader as an upper-class white individual was not arbitrary—it was intentional, aimed at heightening the drama and emotional weight of their story.

I deeply value the Hazbin Hotel fandom and the x-reader community. Writing for this space has brought me immense joy, and I’ve formed wonderful connections with both readers and fellow writers. That’s why receiving such hateful and inflammatory messages has been incredibly disheartening. The accusations of racism, the vitriol, and the twisting of my creative choices into something they were never meant to be—this has shaken me more than I can express.

To the anonymous senders of these messages: I want to make it clear that my work comes from a place of love and passion. My intention has always been to tell compelling stories that explore complex emotions, societal norms, and the human condition—stories that resonate with readers on a deeper level. To reduce my work to a political agenda or an act of prejudice is deeply hurtful and entirely unfounded.

I want to echo sentiments shared by Kit (please check out her explanation here), another writer in the fandom, who also explored the racial and class dynamics between characters. Like them, I am fascinated by the tension and drama that arise from star-crossed love stories, particularly when societal laws and prejudices forbid such relationships. Writing the reader as white in this context wasn’t about excluding or favoring anyone—it was about creating an authentic narrative rooted in the realities of the era.

For those questioning why I made this choice, I ask: if you can suspend disbelief to fall in love with a cannibalistic, asexual deer demon, why is the reader’s race—chosen for specific plot reasons—the line you cannot cross? My goal as a writer is to craft stories that make sense within their own context. The entitlement to demand otherwise, or to impose personal prejudices onto my work, is unfair and unwarranted.

I hate that I’ve had to turn off anonymous asks. Some of the most heartfelt and hilarious messages I’ve received have come from anonymous users, and losing that connection with my readers pains me. But unfortunately, the actions of a loud, hateful minority have left me with no choice. I will not entertain further discourse on this matter after this post.

To those who have supported me, who have read my stories and shared kind words: thank you. Your encouragement is what keeps me going. Writing for this fandom has been a labor of love, and I pour my heart and soul into every piece I create—for free, might I add. It’s devastating to feel that love overshadowed by hostility.

I won’t let this stop me from creating, but I’d be lying if I said it hasn’t made me question my place here. To anyone who feels entitled to tear down what others create out of hatred or spite: I hope you take a moment to reflect on the harm your words can cause.

To my true supporters: I appreciate you more than words can express. Your kindness reminds me why I love writing in the first place. Thank you for standing by me.

[alwaysbewoke]

and i don't feel a lick of sorry for this dude smfh.

[mikasaerens]

The real issue with the politics in s4 of The Boys

Ok before y’all jump me- I agree with most, if not all, of the political stances that the show takes. That being said there have been serious issues in the way the politics is being handled in s4.

It’s true that the previous seasons were never subtle, but the problem with s4 isn’t that it’s more in your face politics. The problem is the way it fits into the story.

In s1-3 whenever politics were brought up (all the time) they were well integrated into the plot. When they talked about racism, it wasn’t a one liner, it involved making characters like Stormfront a huge focus of the season. They EXPLORED and FLESHED OUT all of the political topics that they brought up.

In s4, instead we have random line drops about transgender people, abortion, immigration etc, without diving deep. Not every political topic needs to be included. They need to include ones only where they can seamlessly incorporate it into the plotline.

The abortion scene was so jarring. Here we have a MAIN character (Starlight) supposedly get an abortion and make that tough decision and WE NEVER HEAR OF IT. It basically happened *between seasons* and then is only brought up when exposed by Firecracker and then never again. Like tf is that?? What other show would leave out such a huge moment??

Similarly we have random lines where a white man talks about being a slave catcher while eyeing A-Train and all sorts of cringy BS. Whereas before, the racial dynamics of police violence (Stormfront, Blue Hawk) are a huge part of his arc and redemption.

They just threw shit in without workshopping it to fit the plot. I don’t mind funny campy moments like when they donated Tek Knight’s money to liberal organizations while he had a breakdown, but every political moment in s4 is taking that same tone. Just dropped in for no reason. I did like how they did Firecracker though, having her be a host spreading far right conspiracy theories worked.

[theotterpenguin]

the performative accusation that shipping zutara (and occasionally this criticism is levied at jinko/zukka) is colonialist apologism has been addressed in some excellent posts, explaining the inaccuracies and problematic implications of this logic far better than i ever could - like this post and this one and this one and this one and this one.

and i know this topic has been talked about to death, but if you could indulge my contribution for a moment, i just find it interesting how this sentiment results from the cognitive dissonance of atla fans being unable to reconcile with the idea of their favorite show's political beliefs not lining up with their own.

atla is a largely philosophical children's show that at its core deals with themes of love, redemption, and destiny vs. free-will. atla examines these themes through an anti-colonalist, anti-imperalist lens that deconstructs the idea of racial divisiveness and the idea that people of different ethnicities are inherently different. this is message is pretty explicitly stated by guru pathik:

Guru Pathik: "The greatest illusion of this world is the illusion of separation. Things you think are separate and different are actually one and the same." Aang: "Like the four nations?" Guru Pathik: "Yes. We are all one people. But we live as if divided."

and also by uncle iroh:

"It is important to draw wisdom from many different places. If you take it from only one place, it becomes rigid and stale. Understanding others, the other elements and the other nations will help you become whole."

this theme is developed across three full seasons, with the crux of this message culminating in zuko's friendships with the gaang - despite coming from different nationalities and different backgrounds, they have all had their own experiences being hurt by the fire nation and work together to take down the oppressive fire nation government. the question of destiny vs. free will is also explored through zuko's character - despite starting off as an antagonist, he develops into a symbolic representation of how the fire nation's oppression hurts its own citizens. he unlearns the fire nation's imperialist propaganda while simultaneously unlearning his father's abuse. rather than following misguided beliefs of what he thought his destiny was as the heir to the throne, instead he forges his own path.

thus, to claim that zuko can never form a deep and meaningful relationship with any of the gaang because of his nationality goes unequivocally against the themes of the show. and a major part of this is because these are fictional characters being used to analyze different theoretical questions within the show and in some cases, are used as symbolic representations of different philosophical ideas - their friendships and their character arcs serve a purpose within the text that cannot be easily transcribed onto real-life dynamics between people.

it's illogical to criticize fans who are choosing to understand atla at the level of the themes that are presented by the text - who are interested in exploring similar philosophical questions brought up by the show through the context of relationships.

if you don't like the themes of forgiveness and redemption that atla explores, your criticism should be aimed at the writing of the show itself rather than other fans. because you are giving far more thought to the "implications" of a close friendship or romantic relationship between someone from an imperalist nation and someone from an oppressed nation than the writers ever did. (and if you fall in this camp of people, i would hope you wouldn't be reblogging fanart of zuko and the gaang together while simultaneously claiming zuko could can never escape the sins of his ancestors and can never form a deep relationship based on trust and intimacy with katara or sokka or jin - because that would just be hypocritical).

and as a side note, people seem to apply this flawed logic to zutara far more than other ships solely because the show spends the most time exploring the complicated nature of fire nation imperalism in the interactions between zuko and katara in the latter half of b3. this is because they've been juxtapositioned against each other and paralleled with aang since the beginning of the show in ways that toph, sokka, and suki are not, who have mostly been used to examine different themes. there simply isn't enough time to explore these complicated themes with all the other characters, even if they theoretically exist in zuko’s dynamics with these characters, so the writers focus the most on zuko's relationships with katara and aang, and these relationships are given far more narrative weight, so have more content to criticize. but zuko and katara also canonically become friends by the end of the show. if you want to discount the existence of their friendship, claiming that it will always be tainted by the fire nation's oppression regardless of what is shown in the text, then you also have to discount zuko's friendships with aang, suki, toph, and sokka - because even if this isn't shown as a permanent barrier to their friendships in the show, it’s also not shown as a permanent barrier to his friendship with katara. if your logic is solely based on the idea that a person's identity in a relationship as a colonizer or a victim is fixed and unchanging regardless of character development, this would apply to zuko's friendships with everyone else as well.

[justinspoliticalcorner]

Lois Beckett at The Guardian:

Attacks targeting American public schools over LGBTQ+ rights and education about race and racism cost those schools an estimated $3.2bn in the 2023-24 school year, according to a new report by education professors from four major American universities. The study is believed to be the first attempt to quantify the financial impact of rightwing political campaigns targeting school districts and school boards across the US. In the wake of the pandemic, these campaigns first attempted to restrict how American schools educate students about racism, and then increasingly shifted to spreading fear among parents about schools’ policies about transgender students and LGBTQ+ rights.

Researchers from UCLA, UT Austin, UC Riverside and American University surveyed 467 public school superintendents across 46 US states, asking them about the direct and indirect costs of dealing with these volatile campaigns. Those costs included everything from out-of-pocket payments to hire to lawyers or additional security, to the staff member hours devoted to responding to disinformation on social media, addressing parent concerns and replying to voluminous public records requests focused on the district’s teachings on racism, gender and sexuality. The campaigns that focused on public schools’ policies about transgender students often included lurid false claims about schools trying to change students’ gender or “indoctrinating” them into becoming gay. This disinformation sparked harassment and threats against individual teachers, school board members and administrators, with some of the fury coming from within local communities, and even more angry calls, emails and social media posts flooding in from conservative media viewers across the country.

In addition to the financial costs of responding to these targeted campaigns, the study revealed other dynamics, the researchers said. “The attack on public officials as pedophiles was one I heard again and again, from people across extremely different parts of the country: rural, urban, suburban. It speaks to the way that this really is a nationalized conflict campaign,” said John Rogers, an education professor at the University of California, Los Angeles, and the lead author of the study. The frequency with which both school board members and school superintendents were “being called out as sexual predators – it was really frightening”, Rogers said. Superintendents from across the country told the researchers how these culture battles had affected their schools, and cut into resources they would have preferred to spend on education.

[...] While disagreement, debate and dealing with angry parents are a normal part of local public school administration, the researchers noted, the political campaigns that schools have faced in recent years have been anything but normal. Many of them have been driven by “a small number of active individuals on social media or at school board meetings”, and fueled by misinformation. The school-focused campaigns, which started with claims that elementary and middle schools were harming white students by teaching critical race theory and later shifted to attacks on schools’ policies for transgender students, were nationally organized, with “common talking points” that could be traced back to conservative foundations and rightwing legal organizations, and were intensely amplified by rightwing media coverage, Rogers said.

Public schools across the US burned up nearly $3.2BN worth of money fending off right-wing culture war items such as book bans, anti-LGBTQ+ extremism, anti-student inclusion, and anti-racial equity policies.

See Also:

The Advocate: U.S. public schools lost $3.2 billion fighting conservative culture wars: report

[crooked-wasteland]

The rapresentation of abusers in helluva boss is something that particularly frustrates me, Stella in particular, it seems to be done just to victimaze certain characters not to show the complex dynamics of those relationships. It seems to me the writers aren't mature enough to handle these topics properly.

Abuse and Vivienne Medrano

Christmas 1962, a man renowned the western world over for his revolutionary approach to animation sat in a withering melancholy as he watched what could only be called a cinematic masterpiece based on a novel classic. Walt Disney, now in the twilight years of his life, saw the walls closing in and his legacy coming to a close. This man, who pioneered the animated feature film, saw his greatest accomplishment as his greatest obstacle. The man responsible for the tales brought to life of Cinderella, Snow White, Pinocchio, and Dumbo felt trapped in his achievement. “I wish,” Walt lamented, “I could make a picture like that.”

To Kill a Mockingbird was a piece that challenged its audience. The discussion of a white man defending a black man in southern America, years before the civil rights movement. The movement that, at the time the movie hit cinemas, was in its infancy. Released during the height of the historically revisionist counter movement taking place to combat the rising push of African Americans towards their human rights. The last film Walt Disney ever saw the production of before his death in 1966 was The Jungle Book, a movie that was the epitome of “Safe” and a message that upheld the status quo of segregation.

It wasn’t until 1972 that the media of animation became raucously adult with those political and challenging concepts Disney felt were unattainable. Fritz the Cat was an X-rated animated film composed of vignettes that were unapologetically perverse, violent, and aggressively political. Critical of politicians and the police with a sympathetic if exploitative lens towards the LGBT and racial minority communities Brooklyn-based director Ralph Bakshi grew up around. Bakshi proved that animation was not strictly a child-friendly media and that adult animation could be financially and critically successful.

(For more on Ralph Bakshi's career and animation history)

If one has ever had the opportunity to listen to a Brad Bird (director of Ratatouille and The Incredibles) interview, it is clear to see that the success of Bakshi was generally quite limited. That animation is considered a genre and not a medium of art has resulted in animated films being knee-capped in the box office. There is far more potential to animation, highlighted by Howard Ashton in his collaboration with Disney studios during the Renaissance. Responsible for resurrecting the feature-length animated movie through The Little Mermaid and credited for the monumental success of Best Picture Award winner Beauty and the Beast, Ashton once said that the potential animation was ideal for musical theatre. The limitless possibilities given the medium gave the possibility of introducing Broadway to the common folk who didn’t live in New York and otherwise couldn’t afford the theater. He was quoted saying that live action musical films were “an exercise in stupidity,” highlighting the freedom that comes with a blank page.

However, the success of animation, and media in general, comes down to the message the media wishes to send. The reason the Disney Renaissance films have enjoyed their position as cornerstones of pop culture and creativity was because it did introduce the artform of musical theater into homes and made them readily accessible to everyone with an even heightened sense of fantasy that revitalized Walt’s ethos of making films for the child in everyone.

With Bakshi, it was the loud and violently political message of a revolution taking place. This continues in adult animation with the Simpsons, a series critical of hyper-capitalist America and the fallout of Reagan’s economic disaster that the effects of which are still being felt today and a satire of toxic masculinity and abusive family dynamics.

So, ultimately, the value of a piece of media is a cross between its social artistic influence and the message the creators are intending to make. While Medrano’s influence on the field of indie animation is often mischaracterized as a “pioneer”, the fact is that indie animation and pilots have existed and been funded before Spindlehorse existed. It is simply that Medrano has had the spotlight handed to her for the myth surrounding the production and subsequent success of his indie projects. Artistically, her influence can be summarized as a double-edged sword. For some, she is the motivation for inspiring artists to connect with the community to one day, hopefully, create their own work. On the other hand, she is the cautionary tale of why investing in an indie project is a financial risk for an audience member and a risk to the community as a whole that poses a real danger of making the indie sphere financially cannibalistic, as her public persona is off-putting to “normies” and her show is simply not good.

Much like Disney, the man in 1962, and Disney the company circa 2023, the revolution of animating "because you can" loses its luster very quickly. Without something profound to say, an entire company, regardless of its social influence, can fade into irrelevance despite still being "successful". The story of Disney is a cautionary tale for Indie animation as a whole and Spindlehorse in specific.

And that is the other axis on this chart. Her narrative lacks a message worth telling, and that’s very much due to her not having anything worthwhile to say.

“I really liked when things and shows and stories allow the characters to be flawed, and allow them to grow and to change. And I think that’s something that’s, you know, the world is not black and white. And I like things that explore the gray and that and the complexity, of life and mistakes and of things like that.” - Vivienne Medrano

It is not for want of mockery that I carefully transcribe Medrano’s words in her interview. To read the words aloud tells the story just as clearly as I have set out to do here. This is someone who is highly inspired by better media, who has ideas and a belief that she has something to say. But that is where the belief ends. There is no conclusion to that thought any more than there is one in the unfocused and run-on sentences she rambles along throughout the interview. She talks of “Things” without clarity, because she herself is a fundamentally incurious individual who has never once spent the time critically analyzing herself, let alone the work of others to better grasp what about it resonated with her. She merely consumes art insatiably and without any substance. Like a diet of fruit, it has a superficial veneer of positive value. Fruit would be considered healthy as it is “natural”. However, it is the nutritional equivalent of candy, lacking vital components that are necessary to sustain basic life, it is pure sugar. Her work, similarly, lacks any value of depth that would qualify as meaning.

Which comes back to what the message is in her work.

When it comes to others in the field of indie animation, Medrano does not have many friends. In response to the Lackadaisy situation, creator Tracy explained why she returned Medrano’s donation. For one, the donation was not Medrano’s money, but money she crowd sourced from her employees. While the $5k for the producer spot of the fundraiser would have not been a dent in her personal wallet, Medrano is so uninterested in supporting fellow creators while presenting an impression of camaraderie that she instead took money from the people she is in charge of the paychecks for to get her name in the credits of another creator’s work. In regards to why Medrano was declined her support, it was due to numerous individuals who had such an awful experience working for Medrano that they did not want her involvement associated with the project to any extent. When the money was returned, she made the situation extremely public and encouraged harassment by liking tweets attacking Tracy and the Iron Circus team.

A well-known member of Medrano’s crew, Hunter B, was leaked speaking crassly of other animation projects that were still in the process of production, met with support from other members in the discord. One of these creators being Ashley Nicoles from Far-Fetched. A former friend and creative partner on the Hazbin Pilot whose podcast streams featuring Edward Bosco and Michael Kovach single-handedly maintained interest in the show until the winter of 2021, free of charge. Ashley once spoke of how Medrano would speak disparagingly of an employee to her, saying that this individual was “Too unstable to work with”. Which, regardless of whether or not that is Medrano’s honest opinion, counts as defamation by an employer. It is the exact reason why most previous employers will not give a negative, detailed review of a former employee, maintaining instead to verify facts of the employment. If Erin Frost was more experienced and less involved in social media exposed culture, they could have easily sued Medrano and Spindlehorse for damaging their reputation in their field of employment.

Which circles back to Medrano’s self-assigned message of her show:

“Abusers rely on your silence. They rely on knowing you can’t retaliate without consequence. That they can tell any lies and vague around without getting called out. But we see you, and you don’t have the power you think you do anymore. A message I put into my work. “Fuck you!” - Vivienne Medrano

Medrano, who has vague and sub tweeted individuals like Lackadaisy Tracy, The Diregentlemen, Michael Kovach, and Ashley Nicoles. Medrano who has instigated and incited harassment campaigns knowing that no one can call her out without severe and relentless backlash from her cultish fanbase that she personally encourages through positive reinforcement of liking the tweets of fans. Medrano who relies on the silence of other creators in the field due to the fear of her ire collapsing their projects before they even have a chance to begin.

Vivienne Medrano with an extensive abusive history that continues to this day, has something to say about abuse.

What Medrano has to say about abuse comes from someone who has the position of superiority in all of her relationships, but feels like she’s the outcast and bullied loser. Her self insert that is repeatedly expressed in every character at one point or another is how easily they abuse those around them just because they can, but that the narrative justifies their “acting out” because they are sad. According to the National Coalition Against Domestic Violence, “An abuser externalizes the causes of their behavior. They blame their violence on circumstances.”

Indeed, the lists of abusive characteristics and traits, according to the National Coalition Against Domestic Violence, overwhelmingly encompasses the characteristics shown by characters like Loona, Blitz and Stolas that Medrano repeatedly has attempted to rationalize, justify and minimize. Which, “An abuser often denies the existence or minimizes the seriousness of the violence [including emotional and mental abuse] and its effect on the victim and other family members.”

It is not surprising, then, that the conversation of abuse in Helluva Boss is often infuriating. The narrative underplays the harm done by characters we are supposed to see as “good”. Not allowing for them to grow or change, but ignoring and minimizing the behavior, justifying it through circumstances and perpetuating the false belief that victims are not, themselves, abusers.

One of the first blog post rants I ever made about mental health and abuse was the affirmation that not all victims of abuse are survivors. I wholly stand by that. Victims of abuse perpetuate abuse. A victim and an abuser are one in the same, whereas a survivor is someone who has actually done the difficult work of being self-critical. And the one thing we all are very aware of is how much Vivienne Medrano rejects criticism.

[fatehbaz]

[A]nti-homeless laws [...] rooted in European anti-vagrancy laws were adapted across parts of the Japanese empire [...] at the turn of the 20th century. [...] [C]riminalising ideas transferred from anti-vagrancy statutes into [contemporary] welfare systems. [...] [W]elfare and border control systems - substantively shaped by imperial aversions to racialised ideas of uncivilised vagrants - mutually served as a transnational legal architecture [...] [leading to] [t]oday's modern divides between homeless persons, migrants, and refugees [...].

---

By the Boer Wars (1880–1902), Euro-American powers and settler-colonial governments professed anxieties about White degeneration and the so-called “Yellow Peril” alongside other existential threats to White supremacy [...]. Japan [...] validated the creation of transnational racial hierarchies as it sought to elevate its own global standing [...]. [O]ne key legal instrument for achieving such racialised orders was the vagrancy concept, rooted in vagrancy laws that originated in Europe and proliferated globally through imperial-colonial conquest [...].

[A]nti-vagrancy regulation [...] shaped public thinking around homelessness [...]. Such laws were applied as a “criminal making device” (Kimber 2013:544) and "catch-all detention rationale" (Agee 2018:1659) targeting persons deemed threats for their supposedly transgressive or "wayward interiority" (Nicolazzo 2014:339) measured against raced, gendered, ableist, and classed norms [...]. Through the mid-20th century, vagrancy laws were aggressively used to control migration [and] encourage labour [...]. As vagrancy laws fell out of favour, [...] a "vagrancy concept" nonetheless thrived in welfare systems that similarly meted out punishment for ostensible vagrant-like qualities [...], [which] helps explain why particular discourses about the mobile poor have persisted to date [...].

---

During high imperialism (1870–1914), European, American, and Japanese empires expanded rapidly, aided by technologies like steam and electricity. The Boer Wars and Japan's ascent to Great Power status each profoundly influenced trans-imperial dynamics, hardening Euro-American concerns regarding a perceived deterioration of the White race. [...] Through the 1870s [...] the [Japanese] government introduced modern police forces and a centralised koseki register to monitor spatial movement. The koseki register, which recorded geographic origins, also served as a tool for marking racialised groups including Ainu, Burakumin, Chinese, [...] and Korean subjects across Japan's empire [...]. The 1880 Penal Code contained Japan's first anti-vagrancy statute, based on French models [...]. Tokyo's Governor Matsuda, known for introducing geographic segregation of the rich and poor, expressed concern around 1882 for kichinyado (daily lodgings), which he identified as “den[s] for people without fixed employment or [koseki] registration” [...].

Attention to “vagrant foreigners” (furō-gaikokujin) emerged in Japanese media and politics in the mid-1890s. It stemmed directly from contemporary British debates over immigration restrictions targeting predominantly Jewish “destitute aliens” [...].

The 1896 Landing Regulation for Qing Nationals barred entry of “people without fixed employment” and “Chinese labourers” [...], justified as essential "for maintaining public peace and morals" in legal documents [...]. Notably, prohibitions against Chinese labourers were repeatedly modified at the British consulate's behest through 1899 to ensure more workers for [the British-affiliated plantation] tea industry. [...]

---

Simultaneously, new welfaristic measures emerged alongside such punitive anti-vagrancy statutes. [...] Such border control regulations were eventually standardised in Japan's first immigration law, the 1918 Foreigners’ Entry Order. [...] This turn towards instituting racialised territorial boundaries should be understood in light of empire's concurrent welfarist turn [...]. Japanese administration established a quasi-carceral workhouse system in 1906 [in colonized territory of East Asia] [...] which sentenced [...] vagrants to years in workhouses. This law still treated vagrancy as illegal, but touted its remedy of compulsory labour as welfaristic. [...] This welfarist tum led to a proliferation of state-run programmes [...] connecting [lower classes] to employment. Therein, the vagrancy concept became operative in sorting between subjects deemed deserving, or undeserving, of aid. Effectively, surveillance practices in welfare systems mobilised the vagrancy concept to, firstly, justify supportive assistance and labour protections centring able-bodied, and especially married, Japanese men deemed “willing to work” and, secondly, withhold protections from racialised persons for their perceived waywardness [...] as contemporaneous Burakumin, Korean, and Ainu movements frequently protested [...]. [D]uring the American occupation (1945–1952), not only were anti-vagrancy statutes reinstituted in Japan's 1948 Minor Offences Act, but [...] the 1946 Livelihood Protection Act (Article 2) excluded “people unwilling to work or lazy” from social insurance coverage [...].

---

Imperial expansion relied on not only claiming new markets and territories, but also using borders as places for negotiating legal powers and personhood [...]. Japan [...] integrated Euro-American ideas and practices attached to extraterritorial governance, like exceptionalism and legal immunity, into its legal systems. [...] (Importantly, because supportive systems [welfare], like punitive ones, were racialised to differentially regulate mobilities according to racial-ethic hierarchies, they were not universally beneficial to all eligible subjects.) [...]

At the turn of the century, imperialism and industrial capitalism had co-produced new transnational mobilities [which induced mass movements of poor and newly displaced people seeking income] [...]. These mobilities - unlike those celebrated in imperial travel writing - conflicted with racist imaginaries of who should possess freedom of movement, thereby triggering racialised concerns over vagrancy [...]. In both Euro-American and Japanese contexts, [...] racialised “lawless” Others (readily associated with vagrancy) were treated as threats to “public order” and “public peace and morals”. [...] Early 20th century discourse about vagrants, undesirable aliens, and “vagrant foreigners” [...] produced [...] "new categories of [illegal] people" [...] that cast particular people outside of systems of state aid and protection. [...] [P]ractices of illegalisation impress upon people, “the constant threat of removal, of being coercively forced out and physically removed [...] … an expulsion from life and living itself”.

---

All text above by: Rayna Rusenko. "The Vagrancy Concept, Border Control, and Legal Architectures of Human In/Security". Antipode [A Radical Journal of Geography] Volume 56, Issue 2, pages 628-650. First published 24 October 2023. [Bold emphasis and some paragraph breaks/contractions added by me. Text within brackets added by me for clarity. Presented here for criticism, teaching, commentary purposes.]