#realistic cultures set in fantasy worlds are so good

[asha-mage]

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

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

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

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

Defining the Structure

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Viewing The Wheel of Time Through This Lens

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How Jordan Depicts The Relationships Between Classes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Getting Creative With the Structure

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Which is a nice dovetail with my next bit–

Outsiders And the Non-Feudal State

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

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

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

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

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

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

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

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

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

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

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

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

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

Conclusion

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

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

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

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

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

[cripplecharacters]

Do you guys have any good resources for giving disability aids to characters in medieval fantasy settings/otherwise technologically unadvanced settings? I've been working on a story and I plan to add a lot of disabled characters, physical or not, and so far I have one who's blind, one who's hard of hearing and non-verbal, and one with muscular dystrophy and idiopathic chronic pain, and I've been struggling to design good aids (especially for the latter) that would both realistically fit within the setting and provide relief on a similar level to today's technology

Hello!

This can be a tricky one, for sure.

Something to note is that a lot of lower-technology mobility aids (Such as walking canes) have a very long history. Walking canes actually date back to ancient Egypt [Link] so it would be perfectly reasonable for your character with muscular dystrophy (MD) to use one if it would help them.

Although wheelchairs came later on (The first self-propelled one was invented in the 1600s [Link]), the fantasy setting allows you to get away with a bit of historical handwaving here and you could certainly give your character a wheelchair of some sort.

This article [Link] goes into the history of mobility aids in general.

White canes and guide dogs are more recent (Both emerging within the 1900s) but there were other methods employed to help guide blind people in the medieval times. This paper [Link] focuses more on the cultural view of blindness in medieval times but it also includes some information on methods of guidance and navigation.

Content Warning: Please note that there is some heavy content there, specifically around the practices of the time in relation to blindness and disability in general.

For your hard of hearing/non verbal character, writing or sign language (Or both!) may be a good bet. Although there's a lot of deliberation about the exact origins of sign languages, they definitely existed before the twentieth century.

Something to keep in mind is that with fantasy settings, you can absolutely take liberties with historical accuracy. Without much information on the specific fantasy aspects of your world, I can't give any suggestions on this but it could also be interesting to explore how the fantasy part of your world interacts with the historical aspects in the context of disability and aids -- just be sure to avoid any magical cure tropes.

Cheers,

~ Mod Icarus

[drdemonprince]

that essay about the inherently colonial nature of projecting modern, American-style toothy smiles onto the images of historical and non-American people has me thinking quite a bit about the American expectation of happiness.

i think our entitlement to the absurd fantasy of a limitless and eternal happiness makes us actually less able to appreciate the small discoveries, challenges, and moments of growth life truly does have to offer us. many of us have been trained to think the greatest outcome we can expect in life is to be just pleased or entertained, over and over again when really some of the most gratifying moments in life involve learning what we are truly capable of and taking responsibility for our lives and relationships in ways we weren't able to do so before.

people have many reasons to seek a brief psychological escape from the pain of living in this world, and i've always vocally resisted any suggestion that pleasure is suspect or sinful. But I think as much as American culture moralizes and penalizes many kinds of pleasure, especially sexual pleasure, it also conditions people to chase after unending simplistic happiness. but really it's a lot more realistic and rewarding to aim to grow and and assert more agency rather than to strive to "be happier."

sometimes a good life doesn't look like one endless toothy grin. it looks like having a set jaw and a look of resolve in one's eyes -- and a network of serious people who know how to accept reality and offer support by your side.

[alpaca-clouds]

Worldbuild Differently: Unthink Money

This week I want to talk a bit about one thing I see in both fantasy and scifi worldbuilding: Certain things about our world that we live in right now are assumed to be natural, and hence just adapted in the fantasy world. With just one tiny problem: They are not natural, and there were more than enough societies historically that avoided those pitfalls.

Another interesting thing were you can see writers struggling to unthink our world is money. No matter what fantasy world we are talking: We almost always see people paying with money, earning money, selling for money. Money, money, money. Everything is all about the money.

Only that until fairly recently money did actually not play such a big role in human history.

I know, I know. "But there were coins found as far back as..." Yes, they were. But we know that even in cultures that had coin, a lot of interactions happened without coins being exchanged. Yes, coins and some form of money often made it easier to trade if you had certain kinds of jobs, but for the most part a lot of people just exchanged stuff. And mind you: Not with bartering. (Read David Graeber's book in "Dept".) They just exchanged stuff and that was the normal way to go about those things.

Unless you have this kinda global capitalism system we have right now... Actually you do not really need money. There are several ways of making worlds work without money.

If you write fantasy set in a medieval setting, your characters might only interact with money if they are nobility (if you wanna keep it realistic). And if you write some sort of utopian science fiction (something like Solarpunk), there is also a good chance that folks just have gotten rid of money.

I am not saying: "Generally, write moneyless worlds." I am more saying: Think about this. Does money make sense in your world? Does it make things easier? And again: Is it logical to be there?

And you will allow me to bring up the maybe most clear example of a world where money does not make sense: Harry Potter. Rowling is not only a TERF, she is also utterly unable to imagine a world that is not run on Thatcher bullshit, no matter how little sense it makes within that world.

See, money in general exists to a good degree because when you exchange goods you are not just paying for the good but also for the work. And in some cases you just need to pay for work as it is. But... Well, in a world where most work actually does get automated with a simple spell... this does make so little sense. Food production is so much more efficient in this world - and most wizards to live in areas with a lot of land around where they can actually harvest their food.

And then there is the fact that quite a lot of stuff can simply be duplicated and changed around with simple spells. Which makes me wonder: What is money in this world even for? Why would this society run on money? Why would this world - that clearly does not really have a working class (aka people artificially kept poor to have workers) - need to keep people poor?

It just does not make any sense. And it is one of the points were one really notices how the worldbuilding does not really work.

Now, mind you: A lot of authors struggle with this. It is not just Rowling. We see the issues in so many other novels and worlds. I would argue that the way how heavily Faerûn relies on coin money also does not make a whole lot of sense, either, though at the very least that world has a bit of the excuse that the money kinda needs to be there for game reasons. But... there is a reason why I ignore it at times especially when writing about the DnD:HAT crew. (I mean, my Tav kinda relies on money, due to being a service worker.)

We tend to just recreate stuff that is normal to us in the worlds we build... But I am actually gonna argue, that a lot of worlds would be a lot more interesting, when we did not do that.

[ominous-feychild]

I have a Problem in that I love to over-explain things even when I don't need to.

Especially when I don't need to. 😭

On that note! I'm working on my introduction post again (take a guess how many times I've gone to work on it and then stopped) and I went too in-depth when I should really be focusing on making it shorter, haha.

Except... I don't want to get rid of what I've written, and still want to share it.

SOLUTION!

My Obsessions:

✦ Fantasy, horror, mystery, action, and exploration of realistic characters' reactions to the things they go through.

What I write tends to be a reflection of this. My main works are high fantasies placed in what I feel is a more realistic setting--not as in grimdark "realistic", but places that are very used to the existence of magic. Someone who's grown up in a place with magical basically-electricity shouldn't spend five pages fawning over the existence of teleporters. Maybe they'll be surprised. Maybe they'll even be impressed. But unless they have some kind of a special interest in the subject, they'll probably spend more time thinking about how convenient it'll be for them rather than how it works, what it means, and the long, long history of magic... which has been around them for their whole life.

✦ Fairy tales, mythology, and folklore

I called myself "ominous-feychild" for a reason, haha. I like horror, I love fantasy, I adore faeries, and dear god--am I in LOVE with putting them all together! In folklore, faeries weren't cute little pixies that helped everyone around them... or even tiny little pixies that annoyed everyone around them (most of the time). They were the things that went "bump" in the night, that you huddled in close with your loved ones when you thought you might've caught their attention... Or, they made you question if your sister's eyes were always that far apart. Wait, was your bedroom there before? Did... did you even have a sister??? Well, you do now. And you might want to start running.

✦ "Ye Olde History" and language

"Ye Olde" meaning "the further away from modern day, the better." I can appreciate steampunk and actually often implement it into my own writing, but I do not consider Victorian England to be old. Civilization has been tracked back to as early as 4000 BCE, and it's way too easy to google that to think history actually started when Jesus was put on the cross. (Note: I am a merciless agnostic and hate what Christianity did to our world's history. So much was erased just because some bigots thought "stupid people don't think and act exactly like me, they're clearly barbaric! Time to erase their entire culture, massacre their people, and/or destroy their creations! Empathy be damned!!!" Fuck Christianity. To any Christians reading this, I don't mean you--just your religion. But you have to admit, it really sucks.)

✦ DIVERSITY!!!

As I just alluded to, I love learning about things that are unlike me. And, even more than that, I love people feeling like they have a place they belong. I've gone most of my life feeling ostracized, I'm not just going to perpetrate that cycle myself. Besides! It gets exhausting being in echo chambers with the same-old white cishet stories all the time.

✦ Explorations of "evil-coded" characters and abilities--aka, not just showing them as evil. Show them as people (for characters) and tools (for abilities)!

This is actually kind of personal to me. Autism and other disabilities have historically most often been relegated to villains because we're somehow "worse" than everyone else. Even I fell into that trap in the past, accidentally making a villain autistic-coded before I got my diagnosis. Now, I love putting people with questionable traits, powers, and backstories on the good side while the typically "good" things end up as villains. Something something, humans want freedom and freedom is chaos, something something, order is forcing things into boxes they might not particularly fit in because "otherwise, where else would they go???"

✦ Learning!!!

This might be weird, but I have a genuine love for just learning! (Not school, just learning.) I go down rabbit holes researching things all the time--and not just for writing! Obviously two of my favorite subjects are history and language, but I also love earth science and the ways our planet regulates itself to try to maintain balance! (And then we humans screw it up but.) Even in general, I love learning about random things, so if you ever have a weird infodump you really want to share, feel free to tag me in it and I'll check it out!!!

Yeah, by the way, this is linked to my actual intro post!

Divider by @cafekitsune

[ersetu-gazette]

Mother of Learning: A Love Letter to D&D and Downtime

There are so many influences to Mother of Learning’s narrative that you might not be able to list them all. Fantasy novels, real world history, anime, fanfiction, thrillers, video games, and time travel science fiction easily come to mind. But the one major influence that is the most prevalent in my perspective is Dungeons and Dragons.

The world building, the character design, the culture, and the plot itself are grown from a soil fertilized by Dungeons and Dragons. Spells have levels (called circles), cephalic rats were called cranium rats before it was changed to not step on WOTC’s toes, liches are a bloodthirsty and dangerous memento of past norms, dragons are intelligent and powerful threats, and the creation of dungeons are a natural phenomena connected to the origin of the world. I could go for hours on the obvious connection this story has with D&D, but there is one particular facet that interests me. Downtime is a component of D&D that isn’t as well established in some games, but is absolutely vital for having a realistic and spaced out campaign that goes from low level to high level. For those that don’t know, it’s the game play shift from “what to do we do day to day or round to round” to “what do we do over the next few weeks, or months, or sometimes years.” It’s when characters have chance to accumulate resources, enact social change, chase down mysteries, build organizations, or further develop their personal power. It most importantly gives players narrative breathing room to imagine their characters when tension isn’t at it’s highest and live a more reasonable life. Some d&d players don’t care if they level up every day from constant adventuring would be great, but for others it ruins the immersion by presenting them with a world in which anyone can become a god in just a month of adventuring.

Mother of Learning is very much in love with this aspect of D&D play in how it serves the character development, but also the greater narrative and suspension of disbelief.

Let’s look at how a “common” D&D party uses downtime and how Mother of Learning does. The iconic d&d party (acting in a stereotypical manner) would have a wizard that was either researching magic spells or building magical items, a (let’s assume good) cleric would either be performing acts of community service or spreading the word of their god, the fighter would be either training or establishing political/social power for an order/organization, and the rogue would be planning a heist or investigating a lead in the underworld. The DM in this situation might just let the players make progress in their personal interests outside the context of the campaign/adventure hooks, or they naturally set up some of the party’s downtime to lead in the direction of a new adventure.

Either the wizard discovers some dungeon that the whole party wants to go through, an NPC the cleric cares about is in trouble and needs a lost medicine formula to be saved, the fighter needs to go on a quest for some noble, or the rogue discovers an imminent problem brewing that needs to be taken care of right now (or yesterday if possible). The details and specifics don’t matter, the overall point of downtime is to allow players breathing room to pursue what interests them, and a good DM will take that investment to weave it into an engaging and compelling campaign to be shared with the party.

Now, let’s look at some of the activities Zorian does throughout the narrative. Zorian at the beginning focuses on training and research. Some of the research is regarding the time loop itself but with his low level he’s not making much progress. Zorian at one point makes enough progress that he impresses Ilsa which gives him the job of escorting Kael and Kana, allowing him to properly meet one of the important side characters. When Zorian invests in his relationship with Taiven it lets him meet the aranea in a sewer run, characters integral to the plot and investigation and mentors that help him understand and develop his empathy. When Zorian invests in his relationship with Kirielle by bringing her to Cyoria he is able to further develop his relationship with Kael (which later gives him the opportunity to learn about the Sudomir subplot but meet many interesting soul mage characters), but also makes a connection with local shifters, which will be his clue and plot hook to the invasion needing primordial essence. He investigates the spider webs to learn how to read araenea memories and make memory packets, which allows him to learn about the Ghost Serpent’s web that is key to the time loop mystery.

Now, I could go through the rest of the plot but I think it’s clear now how Zorian’s “narrated over” activities map very cleanly onto tricks DMs use to make downtime more engaging. It’s a mixture of Zorian responding to pressing needs and investing in things he likes, and those actions leading to threads connected to either the greater plot or compelling subplots. But most importantly during this is that Zorian’s actions seem to be based on what he as a character would do, what he thinks is a solution, not the only one presented by the hypothetical DM. Multiple times Zorian is presented with a problem and decides to solve it and investigate in his own way instead of a clearly “obvious” solution. If this were an actual D&D campaign and I was Zorian or Zach’s player I wouldn’t think that I was being railroaded at all. This method of narrative and how long it takes is believable, and engaging, and importantly, helps with the suspension of disbelief.

A problem a lot of DMs have with D&D story is that if any group of schmucks can take adventuring jobs every day/week and level up after every other one, then why isn’t everyone level 20? If power scales so quickly and so easily for the heroes, what is keeping everyone from following the same path? Some DMs solve this by having the adventuring party have access to a resource that lets them level up (that not everyone has), or by making every adventure ridiculously deadly, but the solution a lot use is with downtime. Adventures and high sources of xp aren’t easily accessible, and you have to wait long periods of time in between each one. Downtime is what people do while they wait for, or look for, the rare chances of issues that are difficult enough to warrant leveling up.

In a way, Mother of Learning’s plot structure does the same thing, force Zorian to go through downtime before he is able to “access” the next plot point. Many people complained that sometimes Zorian would announce that he had to solve (plot point x) as soon as possible, and then he’d go and dick around with something else. While some people say this is him being easily distracted or whimsical, it was very clearly understood by me that Zorian recognized that he couldn’t solve (plot point x) right then with his information & skill level. Zorian can’t solve a mystery, or make fast enough progress in a magical skill, or anything, and decides to better spend his time in making more meaningful progress in other fields, in the hopes they’ll tie back and help with the “pressing” issue (But few issues are truly pressing in a time loop, not until after the second arc). It’s also believable from the perspective of a D&D metaphor because do you know what’s the most boring thing about downtime? When one player dedicates all their time doing one thing only.

You ever sit at a table trying not to look at your phone while some player is making 50 craft & profession checks with no interesting progress after the fifth? It’s boring as shit. The most interesting downtimes I’ve experienced and done are when a pc does a handful of meaningfully different tasks split out across the time given, and investing enough focus to have something interesting happen in the narrative or in any character interactions. And Mother of Learning simulates this very faithfully.

Overall, even with the occasional flaws of Zorian acting a bit oddly during these periods of investigation, practice, and social connection, Mother of Learning faithfully and skillfully integrates downtime into it’s narrative in a way I fucking love. A lot of what makes fantasy adventuring engaging isn’t just the adventuring itself, but the downtime in between and consequences of both.

[togglesbloggle]

Is it just me, or is there a pretty under-explored niche for a massive D&D fantasy franchise along the lines of Star Wars and Marvel? The sort of missing third genre leg beside science fiction and comics, so to speak.

They've clearly tried this with Tolkien, at least as far as extending the LotR movies to the Hobbit trilogy and the Amazon show which is kinda-sorta in the same lineage. And those things had more than none traction. But the Tolkien estate isn't making it easy with rights licensing, and there's an awkward founder effect they have to contend with- the Jackson LotR trilogy gave the entire franchise a very distinct 'vibe' in the popular imagination, and in practice it seems to be hard to recapture given current production constraints. It seems like it's really hard to make a Tolkien movie or show that 'feels like' the Jackson movies unless you sink a lot in to costuming and practical effects, but the current trends are in the opposite direction, with elaborate greenscreening and digital everything.

But in any case, Middle-Earth really isn't the brand you want for a mass-media culture juggernaut, is it? It's literary when it needs to be pulpy, mournful when it needs to be exciting, pensive when it needs to be strident. The world is vast, but delicate, and written by a single author exploring a narrow, coherent set of themes and styles.

Surely D&D- which is to say, the Forgotten Realms, realistically- is better for this all-around. It has a truly massive baked-in fanbase that's clearly (through 'actual play' podcasts etc.) already chomping at the bit for high production value experiences, a vast backlog of source material to draw on owned by corporate entities rather than a single brittle family estate, a wide variety of scenarios allowing for multiple sub-genres and directoral styles all under the same umbrella. It's just as popular but less sacred, meaning the audience will be more tolerant of failures. It has merchandising options for days, already has beautiful examples of video game and multimedia tie-ins, and has established and successful writing patterns for epic-scale crossover movies, long-running multi-season campaigns, one-shots, and everything in between.

There's one weakness, which is that compared to Star Wars and Marvel, individual characters are less central in the existing property. D&D has some, such as Drizzt, that rose to prominence in the novel spin-offs, so of course this isn't totally wrecked. However, the brand was originally built fundamentally as a game system and as a set of places, with the heroes to be assembled by the consumers themselves; it must be said that iconic characters are somewhat sparse, and awkwardly spread across multiple settings and continuities. But I think if you got the thing really roaring, this might give it longevity that Star Wars and Marvel ultimately lack- Robert Downey Jr. is Iron Man, Mark Hammil is Luke, and notwithstanding AI representations, once those actors are gone, the franchises themselves flounder awkwardly. But if audiences come to identify their enthusiasm for D&D franchise movies with the world and brand itself, then the turnover in the cast is much less damaging to that brand, because the whole thing is already built from the ground up without overly relying on a specific group of 8-10 actors as a lynchpin of the whole operation. Even the leveling mechanic allows for franchise tentpole actors to grow in prominence as they emerge as audience favorites, then conveniently transition in to CG apotheosis or some other suitable end as the actors age out and new favorites are found.

I mean, far be it from me to give advice to the goliaths of culture, but I'm genuinely puzzled about why Disney hasn't bought D&D yet, or why Hasbro hasn't made some kind of big push to do this outside the single (pretty good!) movie. I think I'd even kind of enjoy it.

[phoenixcatch7]

The thing with stories of any type is that everything is a translation. Sometimes literally, from the author's own head, from another language, from book to TV.

Then there's things like visual metaphors, props and fake backgrounds, set pieces, onomatopoeia, paragraphs of description that everyone will visualise slightly differently, animated contortions, unrealistic but helpful sound effects, camera angles to emphasise mood.

In fantasy or scifi settings you can't even assume they're speaking the language you do. That their culture is exactly what's shown and nothing more.

So much of what makes up good world building is shorthand, is making it work to the audience, is using something in the right context rather than digging up every detail that would make or break the illusion.

A character in a magical world, or even simply a non English speaking country, would not use the same curse words. Leather could be presumed to be cow but could just as easily be any number of bizarre creatures. Booking a hotel could require a very different system to one we're used to. Champagne, the word, wouldn't exist without France but it carries the meaning of expensive alcohol for celebrations and parties, the readers would understand what it means.

Tolkien did it with LOTR and it was a masterpiece. The prevalent themes of dark and light being mere shorthand for expansive good and evil, used to convey the messages it needed rather than entirely new words the readers wouldn't intuit? The characters not even going by their actual names? A whole entire conlang that never even gets mentioned in the actual story??? That's a man who has a grasp on how tightly interconnected the world, history and culture all reflect each other. I mean of course he did, it was his job, but what he did was nothing short of fantastical.

All this to say, I believe this is the root of all world building. Cohesive, well balanced, feasible, detailed-but-not-too-much, no words that'd break a reader's/viewer's immersion, expansive enough, realistic, resonant, coherent, believable. All of it, whether fantastical or realistic, stems from one thing.

Is this a good translation of what you had in your head?

[wondereads]

WLW Book Recommendations

Happy Pride!

Recommendations are under the cut due to the size of this post. The books listed below are:

The Priory of the Orange Tree by Samantha Shannon

Crier’s War by Nina Varela

The Jasmine Throne by Tasha Suri

The Winter Duke by Claire Eliza Bartlett

Ace of Spades by Faridah Abike-Iyimide

Seven Devils by L. R. Lam and Elizabeth May

Malice by Heather Walter

The Priory of the Orange Tree by Samantha Shannon (high fantasy)

Yes, this book is a monster, but it is well worth your time. Told from multiple perspectives spanning a huge fantasy world, an ancient evil is waking up, and humans must be prepared. This book does a great job of blending many different cultures into one narrative, and the way it deals with organized religion is better than any other book I've ever read. While this is a fantasy over a romance, the sapphic relationship in this book is top tier. It develops slowly and naturally; it's not big and sweeping like a lot of romance in fantasy, but the smaller things really come through.

Crier's War by Nina Varela (high fantasy)

In a fantasy world, humans are ruled over by automae, artificial beings that were initially created by humans but have now taken over as the 'superior' beings. Ayla's family was killed by the king, and she vows to take revenge by killing his own family, his only daughter, Lady Crier. I find the history of the automae very interesting in this book, and Crier's story in particular has a lot of good reveals. While this is an intense high fantasy, there is a bit of humor in it. Told from both Ayla and Crier's perspectives, I find it incredibly funny that a human girl is scheming how to assassinate a princess while said princess is experiencing her first crush on said human girl.

The Jasmine Throne by Tasha Suri (high fantasy)

This book is set in a world inspired by ancient India, and tells the story of a maidservant and princess. The maidservant has a dark past that involves illegal magic and old societies, and the princess has been imprisoned by her cruel and despotic brother. This book is very much on the slower side, but some people prefer that. Similar to Priory, this book is told from multiple points of view, not just the two main characters. The unrest in the kingdom is slow and creeping but happens steadily and realistically. Also, concerning the romance, I actually quite like that the two main characters, Priya and Malini, don't exactly have a very healthy relationship.

The Winter Duke by Claire Eliza Bartlett (high fantasy)

One of my favorite books, The Winter Duke is about Ekata, one of the many children of the duchy of Kylma Above. All she wants to do is leave this place and her family to pursue her dreams of scholarship, but when her family falls into a permanent sleep the day before her departure, she must step up to rule. As someone who loves political fantasy, this book is right up my alley, and yours too as long as that's something you like. I really like that this book explicitly states that Ekata has zero interest in men romantically and is only interested in women. Her romance with Inkhar definitely brings out the YA aspects of this book. Ekata is forced to grow up so quickly, it's nice to see her have a crush and get flustered over it like any teenage girl.

Ace of Spades by Faridah Abike-Iyimide (mystery thriller)

At a predominately white private school, the only two Black students are targeted by an anonymous texter, Aces. Though they have nothing in common, they team up in order to uncover Aces and protect their secrets. Plot wise, this is by far my favorite thriller I've ever read. It's tense, it'll keep you on the edge of your seat, and it discusses institutionalized racism, especially in academia, masterfully. One of the main characters, Chiamaka, has a great sideplot of coming to terms with her sexuality. However, when it comes between her safety and her romance, I love that she keeps a level head on her shoulders and always chooses the former. (There is also MLM rep in this book with the other POV character.)

Seven Devils by L. R. Lam and Elizabeth May (space opera sci-fi)

An intergalactic empire spreads across the universe, and it's up to a ragtag group of rebels to stop it. Eris was once heir to the entire empire, but she gave that up to be part of the Resistance, and one mission may be the deciding factor in the universe's continued freedom. While Eris is technically the main character, this is fundamentally an ensemble cast with multiple perspectives. This book has quite a bit of LGBTQ+ representation, including a sapphic relationship between two of the POV characters. While not a huge focus of the book, their relationship is sweet and touching.

Malice by Heather Walter (high fantasy)

Malice is a retelling of Sleeping Beauty following Alyce, the Dark Grace, who is reviled but used by all in the kingdom of Briar. Alyce dreams of escaping Briar until she starts to master her powers and meets the Princess Aurora. I will admit that I prefer the plot to the romance in this book for the most part, but the ending really gets me sometimes. Alyce's powers and her people's history are so interesting, and Aurora is a great, understanding, and kind love interest.

Stay tuned for more pride recommendations all throughout this month!

[faithfromanewperspective]

sugar coated brain (the fluid ain’t to blame): unraveling Conor Aurelian

I don’t know if this is me admitting to have read embarrassingly little in terms of Actual Books since I turned 18 but. Wow. I loved sword catcher, and for once I was there eating up the plot rather than only relating to the characters so much I was obsessively hoping for a happy ending for them. 

I’ve said before that sword catcher was good, so good it’s almost above fandom discourse (like a Beethoven symphony perhaps, you think twice before making arrangements of a masterpiece like that) but even the best symphonies deserve, actually they’re honoured by, critical analysis of the phrasing and melodies and that which are used. And this is a Cassandra Clare book after all. The beauty comes from beautifully (read: realistic, somehow more human than real humans idk I’m blown away every time) constructed characters, and then from the plot. Which was character-driven and so, so delicious, but we’re not talking those kind of spoilers this early in the game. 

While I’ll admit that Kel was the most relatable character, followed by Lin or maybe Ana, there were some things about Conor that just cut a little too close in ways I hadn’t thought about in years. Taking me back to some worldbuilding of my childhood, a ‘reluctant princess’ I came up with based on feeling trapped and overprotected and that fantasy world has long since been archived in my head and it’s entertaining to think this weird kid in western sydney who didn’t get to run quite as wild as some of the other kids (but still did get to run quite wild) felt like that when we were the furthest thing from royalty. I didn’t expect to be reminded of that in an adult fantasy book, but here we are, and I’m being entertained to see all the different takes on Conor: some driven to fascination, some to annoyance, and somehow in the 5 of us who’ve actually read sword catcher already everything in between. 

But let’s be real for a second: who hasn’t heard the ‘oh you can’t be depressed you have everything you need’ and been like. Really hurt by it?? Who hasn’t sat among know it all adults in their younger years who would just judge the hell out of other young people who supposedly ‘never got to hear no’ and now they have ‘no resilience’ and ‘no wonder they’re having problems’? Referring to people you actually relate to and thought, well this definitely isn’t a safe space to be vulnerable I’ll just suffer in silence? I’ve grown up enough now to see Lin’s trauma behind the way she says this about Conor but part of me is still a little mad at her. As for Conor?? He’s everything I’d expect from someone in his position and I actually don’t think the majority of it comes from ‘never hearing no’ and ‘getting everything he wants’ but rather the things that those try to make up for: a lack of real autonomy over his life, not being allowed to feel Normal Child Feelings, having no one he can relate to and see as an equal, a heavy burden of responsibility before he was ever old enough to understand it, and the many levels of fuckery that’s all done to his parents making them not just emotionally unavailable but frivolous, trying to maintain their own autonomy and connection doing silly little rich people hobbies that just make the divide between and resentment of them vs Every Other Person greater (constant stargazing or Decoration and Control). Sugar-coated brains: how could they not be when everything revolves around you but there’s so little you can actually do but pursue the pleasure you’re told you’re entitled to? 

I didn’t expect to be this mad at the royal family culture within SC but when I look back on it I’m not surprised. Not when the setting of the book is on the edge of a revolution, the unraveling of a society that feels so much like today and allows me to zoom out in a way that makes my little revolutionist heart happy. But oh, the angst and the bad decisions as the world teeters on that razorblade. The lives that are lost in the fray. I don’t know what’s happening in our world now but after Cast Long Shadows and an arc I know that she’s proud of (our dear Matthew Fairchild) I do trust Cassie. And in the meantime I’ll let her convince me of what I already know: the lives of nobility are simply pawns in a much bigger game no one (except maybe Ana) knows how to take the reins of, and the life of a pawn, no matter the luxuries, is a sorry life indeed. 

This little revolutionist brain of the 2000s had one thing right, and I feel vindicated to see it in such clarity here: the relationship between social class and genuine connection. From the stark contrast of the opening with Cas and Kel, even also Mari and Lin, against the disaster that is the royal family, it couldn’t be clearer to me: when you’re nobody, when there are no expectations of you, you can be who you really are. Maybe not in the eyes of the authorities, and that’s an important distinction to make, but there’s no need to pretend around your nearest and dearest and sometimes that’s worth so much more than hypothetical safety. Because yes you can get away with things when you’re rich but you’ve also got more people trying to assassinate you for who you are specifically rather than just running the risk of getting killed because you’re unlucky and too unimportant for anyone to think you’d be missed. When you’re royalty (or just have parents with really high expectations or are a gifted kid even) you’re given a mold to grow into and no one really asks if that’s who you really are: why would they, when their worldview depends on you being exactly who they want you to be? So if you’re not it you pretend and even with those, like your children, who are close enough to see behind the ruse, you never quite show them who you really are either. You can see how that would drive one insane. You showcase that the only way to exist is to mask until you snap, or lose the ability to be yourself at all. Which leads me to the second type of sugar coat. 

(And I’m quoting songs as my inspo behind this post as always, title quote is empty wallets by 5sos and I’m about to move onto sugar coat by little big town aka the band with an irl fairchild in it): this sugar coat is politeness and etiquette. There’s a quote somewhere in Kel’s narration I believe that I can’t find but basically views social etiquette and the like as you know. War strategy or something, which is another little segment of the reminder it’s cassie writing this and there’s a lot of accidental neurodivergence, or neurodivergence existing in a world so very different to ours, because that’s a very neurodivergent way of viewing it imo. And in this case, the sugar coat is like a constructed mask you spend your whole life trying to perfect, wear it as it’s handed down from your predecessors: in Conor’s case, lilibet (passed down from my mum, she wears it so well, put it on my shoulders said it’s colder out there than you think/would I recognise myself, would anybody else, if I took the damn thing off and burned it up?) who does make the frivolity and politics of being queen into her whole personality. She’s equally a pitiable and annoying character for that. 

But as for Conor? He’s a Cassandra Clare Created (TM) young man. Of course he can’t quite manage this kind of sugar coat business. The politeness, the etiquette, the little social dances: he longs for real connection (and now we’re back in empty wallets territory, get you high when I’m high, so we see eye to eye: to me this sums out how he makes connections with those who are nowhere near his equals but he wants to have some sort of equal footed connection with: Kel and *[redacted minor spoiler, see below cut]). He’s snapping from the pressure of it, and that’s exactly the kind of driving force for the narrative Cassie uses excellently. We see him coming undone, and hate it (or at least I do) but hope maybe, maybe it’s the path for liberation for him from the life that’s obviously making him (more) depressed (than he otherwise might be), and as the audience we don’t care if the kingdom burns down for this, as long as it doesn’t cause too much collateral damage. And we know it’s going to be a wild ride to get there. 

I don’t reckon this is obvious to everyone else but it is to me, with my experience of Christianity and life and just everything that if you’re a leader in any way, you’re a better leader for being liberated in yourself, having autonomy and appropriate boundaries and Conor has none of that and he’s coming undone and yes there’s a lot of other characters (who I will post about later) with their own arcs and A LOT going on (seriously it’s so deliciously complex and so much more so than tsc ever was with maybe the exception of tec which is kind of adult fantasy anyway). But oh. She really knows how to deliver, all through the first book and I can’t wait to see what the next one has to offer!! And to me the characterisation of Conor is just proof on how expertly the whole world of Castellane and it’s stories is being carried out. 

BIG GAP CAUSE CUT ISNT WORKING

*and Lin later on, kind of

tagging: @daisymylove and feel free to mention anyone who might like it in comments/reblogs!

[thesorcerersapprentice]

10.02.2024

Worldbuilding: Worked on a post on the geography, flora & fauna of The Sorcerer's Apprentice universe which I meant to publish last week, but was unable to finish due to life circumstances (my favourite aunt went to intensive care, and I caught a nasty stomach bug while visiting her). At any rate, it's almost done, so it should go up sometime next week.

Continued Researching Colonialism, Neocolonialism, Coloniality as a Concept and Decolonial Practices: I've been reading Edward W. Said's Culture and Imperialism for the last few weeks and I'm making slow but steady progress. My plan is to pick up Said's Orientalism next, which I've heard is also a go-to text on colonialism. In addition, I also read A Decolonial Feminism by Francoise Verges, which I found quite eye-opening and will be incorporating into Altaluna's storyline (namely, I'll be showcasing how some forms of feminism are used to further colonial aims through interactions between Altaluna and her supposedly 'transgressive' peers); The Good Die Young: The Verdict on Henry Kissinger, a compilation of essays on how Kissinger (who I met in his declining years) used and abused human rights discourse to further US economic control (capitalism with US supremacy incorporated) over so-called 'third-world' regions, and how this is the standard practice for US foreign policy to this day (I'm borrowing this two-pronged approach for interactions between the Empire and it's subordinate 'independent' states); and Toussaint L'Ouverture: The Haitian Revolution, a compilation of Toussaint's (and a couple others, including Napoleon's) correspondence during Toussaint's fight for independence. The book features an outstanding introduction by Jean-Bertrand Aristide and offers a stark contrast to Kissinger's views on Human Rights; in Toussaint's letters and speeches, these rights come with no strings attached and are pursued on principle, out of the genuine belief that they are inalienable to all (at one point the British offered to 'make him' King of Haiti and he refused, which I have to admit, I was pretty impressed by). I also did quite a lot of follow-up reading on Haiti, as an example of the colonialism-to-neocolonialism pipeline. Given that The Sorcerer's Apprentice is set in a neo-colonial world, reading up on Haiti's history helps me better portray the continuity between these two systems and indirectly criticize the idea that today both my readers and I live in a post-colonial world. BTW, if you're unfamiliar with the horrors visited upon the Haitian people (did you know that up until 2015, when France 'forgave' them their debt, the government of Haiti had been paying the French compensation for their loss of slave labour?), check out this article. Likewise, if you're unfamiliar with the difference between colonialism and neo-colonialism (as I was for 99.9% of my life lol), take a look at the iconographic below.

Researched Fiction Genres in 'Post-colonial' Literature: The various iterations of The Sorcerer's Apprentice I've written so far have experimented with two main genres, fantasy and horror. The first iterations were straight-up typical high fantasies with Kings and Queens and dragons in a UK-style setting; the second were more realistic but much more eerie psychological horror stories set in modern-day New York City (if you scroll back far enough on this blog, you'll find evidence of both). Although I like some elements/scenes from both genre adaptations of The Sorcerer's Apprentice and, indeed, although I intend to incorporate some of these in the current draft, ultimately I abandoned the aforementioned versions because, at their core, they failed. Why? Because, while they nailed the interpersonal struggle between Valeriano and Altaluna, they did so without addressing the reason that struggle even exists in the first place. Namely, they failed to go beyond the personal relationship, to its systemic causes. The truth is that a person like Valeriano doesn't exist in a vacuum. He's a product and embodiment of a world with certain values. Yes, Altaluna may have defeated him in a high-fantasy royal skirmish for power or its modern-day equivalent inheritance drama, but engaging (even embracing) the system that produced him (royalty, birthright, etc.), undermines her victory. What was she in these earlier versions of The Sorcerer's Apprentice, but another shade of Valeriano? What did she represent, in her victory if not the desire to be the oppressor? The deep self-depreciation of the oppressed? Even the aesthetics of these earlier versions glorified Valeriano's world, with little mention of Altaluna's. This was my fault. I did not understand that these things were in me. I am beginning to. In any case, I don't intend to make the same mistake twice, so I'm doing a little research into how different literary genres have been used to tell stories about colonialism/neocolonialism/post-colonialism. I read a pretty good article from Globalization, Utopia, and Postcolonial Science Fiction: New Maps of Hope by E. Smith entitled "Third-World Punks, or, Watch out for the Worlds Behind You," and I'm trying to look into Afrofuturism and Latinfuturism.

REMINDERS:

Answer pending asks. Yes, I am bad. I admit it, I am very bad. (why am I so bad *sobs*)

Publish that promised worldbuilding post on the geography, flora & fauna of The Sorcerer's Apprentice universe.

Survive this stomach bug.

TAG LIST: (ask to be + or - ) @the-finch-address @fearofahumanplanet @winterninja-fr  @avrablake @outpost51 @d3mon-ology @hippiewrites @threeking @lexiklecksi @achilleanmafia

© 2024 The Sorcerer’s Apprentice. All rights reserved.

[haleigh-sloth]

I'll take the bait. How is rei's hospitalization not supposed to be something that helped her? The reason she was put there was crazy sure (the one that needed some hospitalization was always endvr) but its not like her kids forgot about her in the end. Also I believe the long time she was there was just for narrative purposes because hrks wanted her to be away.

Sorry I was gonna get around to posting it, I was tired yesterday lol.

I understand it's shown that she got better there. But I don't think enough people understand that 10 years being locked up in an institution is very fucking abnormal.

There is NO type of psychotic break or mental health break down that should lock you up for a fucking decade, unless it resulted in something serious like someone's death. And there is a reason that there is a shift from hiding people away to shifting them back into their community as soon as possible in several countries (not just the US), OR keeping them out of the hospital in the first place with research based protocols. Rei shouldn't have been separated from Shouto for 10 years. That is insane. That literally will make any parent more ill. Every mental health model you read up on will have an emphasis on a support system which usually consists of friends and family.

Endeavor put Rei in a hospital to get her out of his way, not because he gave a shit about her wellbeing.

Idk if Caleb put a twist on this or not, but it doesn't matter because the obvious tone here is "Oh, I got rid of her, she was getting in my way." Not positive. Then:

This is not a happy picture. I mean hopeful yes, but Shouto saying "I'll save her" while she's sitting in this small ass room, alone, staring out a window? I mean this is not...good. TEN YEARS???? I just cannot fucking fathom anyone justifying keeping someone (especially with Rei's circumstances) there that damn long. Holy shit.

And I mean, this isn't even a cultural debate. This is straight up not good for a person's wellbeing, to be separated from the real world, including your damn children only to have to wait for your older kids to decide to come visit you--and only when the hospital will allow it-- for ten years. But if we're gonna talk cultural, look up Japan's average psych bed ratio in comparison to other countries. Their reputation is not great lol. And I've seen plenty of commentary saying Rei's character kinda represents Japan's poor mental health care. It's just commentary so it's not fact or anything, but it's interesting I'm not the only one who thinks this about Rei, and I wouldn't be surprised if that was the intention.

BUT, anyway honestly the reason I said that is because I see a lot of "I hope the villains get what Rei got 🥺". And I hate it. Because...she was locked up. Away from her family, no freedom.

Like if the manga is going to go for a "I'll save them no matter what" ending, then why end it by putting them in a place where Shouto felt like he needed to save his mom from?

Also...I mean please. This is shonen, it's a fantasy. We don't have to stick to realistic irl answers to shit. Jail is just stupid, but the hospital ending is even dumber imo. Especially if we're talking ten years like Rei--who was put away by her husband for the purpose of keeping her away from his children.

I mean, let's say we stick as close to realistic as possible without going the jail route--hospitals aren't therapeutic, that's not a healing setting. Mental health care is a community action and the idea is to get people back home with their support systems as quickly as possible. AND! If that's the case then damn, at least show ALL of the UA kids getting their damn counseling sessions too since they've been in two wars? And seen dead bodies of their loved ones? I mean, go all the way with it. But! I have 0% expectations of that happening. So...it's STILL dumb.

Just, I'd rather Horikoshi just go balls to the wall with the fantastical power of love and friendship and acceptance ending. Personally I have no desire to see Tomura or Touya or Toga or anybody end their story in a freaking hospital bed. Just, why. Give them hugs, hold their hands, and send them on their merry, unrealistically sappy way.

[automatisma]

Discovered the allure of Topsters & made a chart of the games that significantly influenced my tastes. Not really a top 25 although I believe most of the games of the list are good. Ramblings under the cut.

TLOZ: Twilight Princess was my first Zelda as a child & while not a particularly interesting Zelda gameplay-wise it cemented my fascination with that kind of dark and decadent aesthetic.

Persona 3 is again the first Persona I've ever played. Not the best & with many larger-than-life sterotypical characters but it does have a lovely apocalyptic atmosphere and the sexiest dungeon concept bar none (sorry persona 4 tv world you were not It)

Hexcells is my favourite puzzle game. Perfect difficulty curve, minimal & functional aesthetic, little spatiality sense required to finish it. The whole trilogy is honestly brilliant.

Disco Elysium literally what is there to say about DE that hasn't already been said. Masterful dialogues and characters, deeply political while being smart and complex about it, it has one of the most interesting fantasy worldbuildings of recent memory.

Final Fantasy X was my first FF. Bizarre & unique if nonsensical world, great party interactions and often dumb but really really rich with overarching thematical meanings so

We Know The Devil I believe it's up to personal taste in the end whether you'll like this or Heaven Will be Mine more, but to me the minimal religious setup & the very realistic teenage dialogue take the cake. Also Saturn is #so me #releatable #girlsbeinggirls

Boku no Natsuyasumi 2 I bet everyone's sick of seeing it on their dash but what can I say I adore its day-to-day routine and the character subplots and its sound design and the beetle battles and

The House in Fata Morgana is maybe my favourite visual novel of all time. Often cheesy, frequently melodramatic, the epic highs and lows of its writing did not stop me from loving its intricate fantasy plot and multifacted characters.

Valhalla cyberpunk ok too long of a name. The bartending part was fun, the fauxanime thing is well MY thing and the #quiet cyberpunk adult disillusionment of its dialogues stuck with me in some way. Not great but really solid & it worked a lot for me for reasons I am not entirely sure of to this day.

Danganronpa is a terrible and complicated horror b-movie with cartoon characters and stupid but captivating mysteries. I genuinely believe the trials are absolutely cool and adrenaline inducing though & I would love more of this except better I guess

Darkest Dungeon a game in which every inch of its systems and aesthetic choices works in perfect synch to convey the hopelessness of this brand of lovecraftian horror. Also the turn-based combat is soooo fucking good

Final Fantasy VII THE final fantasy ecc ecc what can I say. One of the few games I played when the stereotypical version of the characters I saw in popular culture was so much less interesting than the actual story beats and the direction the plot went in. Packed with genre-defining moments and lovingly mystic at times.

Pyre is probably my favourite Supergiant game even though Hades is far superior in gameplay terms. The peculiar worldbuilding and the choices you make are really something unique to this one and they very much stick with you during your playthrough and even after that.

The World Ends with You when I played it Neku and Joshua were on my mind 24/7 I was on that fujoshi grindset which is quite peculiar for me. Weird and fun gameplay too but to me the main thing was the killer premise, its characters and its commitment to peculiarity in the JRPG landscape at every turn.

Valkyrie Profile 2: Silmeria weird ass sequel of a game I didn't play that spawned my love for this kind of combat. Perfect blend of tactical and reaction-based that's usually a mess but here it works and its glorious. The story was whatever but frankly who cares

Black Closet is probably the most obscure game on this list & I love it. I adore the setting, the writing of some of the subplots, the tight mechanics and even its wonky UI designs. Try it and be captivated by the playful eroticism of mystery and power NOW

Ib foundational as everyone knows. Kind of tied with Yume Nikki in my mind but in the end I played Ib more and I was in awe of its finale systems and the genuinely anxiety inducing gameplay moments. Epitome of you're a kid and something fucked up happens.

Analogue: A Hate Story my favourite Love game even though it's only vaguely sci-fi. Funniest thing about it it's probably that its title works even if it's a silly pun on her previous game

999 I like Danganronpa so this one was a given since it's even less stupid. Puzzles are ok but I was here for the characters & plot because I am a mystery junkie at heart.

Lisa: The Painful managed to work with the legacy of Earthbound without making a lol so random uninspired clone. Profoundly different in its subject matter while incorporating a lot of the bizarre & offbeat humor of its inspiration. It also deals with its themes in a quite brutal and blunt if not at all tactful way which i really respect.

The Stanley Parable is one of the first things I've played as a returned prodigal PC gamer and it blew me away at the time. Full of neat little secrets & mysteries and with a lot to say about the relationship between the player, the game and the narrative frameworks we encase our lives in.

Earthbound is my love and joy and nothing else will ever come close to recreate what I experienced playing it, which is why I never played Mother 3.

Digital Devil Saga yeah I've never played an SMT to the end but I played this duology and I was deeply impressed by its combat system and its weirdass apocalyptic world and even my party of broken people. I was on board for that Gainax ending baby

Dragon Age: Origins was the only good DA actually. I am also the only person who hasn't played it for the worldbuilding and the lore because I'll be frank it's run of the mill fantasy stuff except for some things but I adored my party and the choices I could make and some plot moments so yeah. Still a fan of the saga despite everything

Opus Magnum is the only Zachtronics game I've played but I'll have to play Hackers one of these days. I still have all the gifs saved and I am NOT a minmaxing person irl but this one sinked its claws into my skin and for thirty hours I was an engineer

[galaxyofhair]

Realism, Fantasy, and Suspension of Disbelief

Just a heads up, I'm salty-balls right now so I apologize if I seem bitter, I really do want to foster conversation, but I came straight here from the cesspools of Reddit and I am mad at some of the shit people there be saying.

I'm coming to you from the Helldivers subreddit right now because I don't feel like writing all of this only to have the people of Reddit understand precisely 0% of it.

One of things that pisses me off to no end is when something throws up their hands and immediately launches into the very bad-taste, bad-intentions argument of "Well if it's going to be Realistic, then we ought to remove ALL of the fantasy and turn it into a mil-sim you nerd!" or "Well if it's going to be fantasy, then we should just make everyone bright pink/cyan, and have all forward movement be done via front-flip, while magical unicorns ride off in the distance!"

No.

Every story, and I mean every story, involves an unspoken contract between the audience and the writer that creates suspension of disbelief---and this contract always exists somewhere between realism and fantasy. It's not strictly possible for a story to be truly perfectly realistic without becoming reality itself, nor is it really possible for a story to be complete and pure fantasy without losing its sense of cohesion.

Every story is grounded in some realism: whether that's the simple realism of depicting human beings being human, or something small like realistic swordplay or realistic outfits---not even necessarily historical outfits, just outfits that make sense for the setting and therefore confer a sense of "real."

Every story is grounded in some fantasy: Even mil-sims aren't capable of complete realism and require some suspension of disbelief on the part of the player so that we can brush past the things that don't make sense (like having to navigate a menu to dig out an item rather than reaching into your backpack by hand) and get back to the things we're there to enjoy.

Helldivers is a perfect example of this: It's not pure fantasy, it's not pure realism. It's suspension of disbelief is based on a mixture of elements that make it a valuable bug/bot-killing fantasy while also bringing the frenetic nature of war to life in a way few other games are able to.

I try to use alternative words to describe this phenomenon because too often 'realism' calls to mind things that are hyper realistic, or even the pop-culture 'realism' of the 7th console generation (the era of gray/brown games)---and the best terms I can think of are things like verisimilitude and interactivity. A good for instance: The ability to switch the various settings on the gun, or the way that you have to be mindful of tossing out half-full mags creates a strong sense of verisimilitude in Helldivers 2. I especially love that there are animations attached to ever small thing that you do, so you rarely feel like you're menu surfing, you always feel like your little soldier is actually having to put hands on their equipment to use it.

I'll also use the word 'tactile' to describe certain things---like, I love it when a game lets me press buttons, and flip levers, and handle objects myself because it feels like I'm really holding that thing, or pressing the button etc.

And not to get into semantics but like, these are all just forms of realism simply because they help make the game feel 'real' to the player experiencing that game---but again, I think too many people are thinking of games like ARMA and Chivalry when it comes to realism.

At this point, I'm losing the plot---just stop making shitty, bad-faith arguments like this. If bringing the ARs in Helldivers closer into alignment with how real-world ARs work creates a game that feels more real and weighty, then it's probably the right move for that game. Believe it or not, real weapons have a real meta behind them and their designs---a meta that is getting easier and easier to replicate in games as time goes on. Just because the guns are %40 realistic doesn't mean the game is suddenly 0% fantasy.

[battyaboutbooksreviews]

🦇 Threads That Bind Book Review 🦇

Rating: ⭐⭐⭐⭐

❝ The firstborn was the spinner, who could weave new threads. The second was the drawer; she could elongate or shorten a thread, intensifying or weakening the corresponding feeling. And the youngest was the cutter, able to cut whatever thread she desired, even life threads. ❞

❝ There is violence in kindness, and kindness in violence. ❞

❝ "I think the people we love can be cruel. Our love doesn't absolve them. Nor should it. ❞

❓ #QOTD Do you believe in fate? What Greek deity is your favorite? ❓ 🦇 Io Ora is the youngest of three sisters, each a descendant of the Fates: one to weave, one to draw, and one to cut the threads that connect people to the things they love and to life itself. When she learns someone is abducting women, cleaving their life threads, and setting them loose as wraiths to exact revenge, Io puts her skills as a private investigator to work. The half-sunken city of Alante is filled with descendants of the Greek gods, leaving Io with a long list of powerful suspects. Can she work alongside Edei Rhuna, the boy she shares a fate-thread with, to unveil secrets in the darkest corners of Alante?

💜 Oh. My. Goddess. I've struggled for two days to put my thoughts to page. This book hangover is going to haunt me for a MONTH. Kika Hatzopoulou wove a spell-binding world inspired by Greek mythology, lore, and above all else, sisterhood. Every thin thread (pun intended) Io follows connects to another; no page is wasted, no detail unnecessary. This captivating tale of family betrayal, fate, political power, and societal inequality snares readers from Io's first page and keeps them enthralled to the bitter end. Hatzopoulou uses her well-developed characters, vivid world-building, and carefully plotted murder to give us so much more than a mythology retelling or mystery. This fast-paced YA novel features an innovative culture and history unlike anything we've seen in mythology-inspired masterpieces before it. As someone who wrote her own mystery and mythology retelling in the past, I can only hope to reach Hatzopoulou's level. Io is a real, raw protagonist with faults and scars, making her all more realistic even in such a magical setting.

🦇 Despite having annotated this book more than any other in the past year, I do think there's room for growth in Hatzopoulou's prose. A certain amount of poetic prose would contribute to the mythical magic of Hatzopoulou's world, captivating readers even more. I know I'm nitpicking, but a few word choice changes could have made all the difference. This is a stunning debut, though, and a fantasy novel you CAN'T miss this year. My only other issue was the antagonist's reveal. We're given the mastermind's name, but when they walk into the room, Io skims them from the floor up, then names them again. Removing the antagonist's name and focusing on the description (showing, rather than telling) would have made for a stronger reveal. There are a few pages where Io's narration runs in circles, repeating details as she works to solve the mystery. Repeating certain details ensures readers are on track, piecing together the clues as Io does, but there's more than one occurrence when it's unnecessary. Beyond that, this is a powerful debut with the potential for a wow-worthy sequel or series.

🦇 Recommended to fans of Lore, Song of Achilles, or any mythology retelling. An engaging read for fans of Sherlock Holmes or Nancy Drew who love unraveling a good mystery.

🧵 Greek Mythology 🪡 Soulmates ✂️ Murder Mystery 🪡 Sisterhood 🧵 Prejudice / Equality / Social Change

🦇 Major thanks to the author and publisher for providing an ARC of this book via Netgalley. 🥰 This does not affect my opinion regarding the book.

[tozettastone]

In my reading of YA works for my project, I took the time to finish Legendborn by Tracy Deonn this long weekend. I doubt I'm the intended audience for this book, and there were a couple of moments at which the text kind of lost my attention because of that, but given that, I enjoyed it and I think it's competently written in mostly-unobtrusive (if dramatic), relatively-realist prose.

The core concept around which this novel is arranged is the idea of magical (mythological, folkloric) ancestry. The people who are the first born scions of the knights of the round table now borrow the powers and characteristics of those ancestors. There is a whole secret society court set up around this system, and it protects the mundane world from monsters. It also does a lot of other, more fucked up, stuff.

It would be impossible to comment on this book without discussing that the main character is Black and the novel very much concerns itself with the legacy of slavery in the USA. Even when it's not directly under discussion, it's the elephant in the room. The main character, Bree, enters the world of the round table as an outsider who was never expected to be allowed inside. One of the key ideas explored in this universe is that magical ability represents a secret cultural wealth, and it allows dispossessed people to connect with their ancestors in defiance of the cultural depredations of institutionalised slavery. I expect an Australian adult is not the immediately intended audience for this very US American YA novel, and I don't really feel qualified to comment on this part of it, but it is very central, so I will tell you only that I think that part of the story is satisfyingly delivered and makes good thematic sense within the scope of the novel.

In terms of criticisms, most of them boil down to stuff to which you could respond, "But, Tozette, they're into that in YA!"

One criticism I do think is worth nothing is that Legendborn suffers from what is apparently a YA trend of addiction to categorisation. It ends with an appendix of specific bloodlines and their roles just as Lore did, and you probably need it. There are many minor characters about which it's bloody hard to care, but the major ones all have motives that make sense and characters that are distinct.

It's a good title for you if: you like female led fantasy YA (it is firmly, firmly YA), you aren't going to be a massive pedant about getting the details of The Matter of Britain right, and if you like that thing people do where they develop worldbuilding around the categorisation of particular types of power. Must tolerate present tense!