#something about how art is inherently political

[midnight-drip]

i look into your eyes, and i

think back to a friend of mine

you're as old as he was

when we left for war

[vampacidic]

LIKE. hear me out. blah blah th e point is that they realize this form of government doesn’t work but here. here. listen to me

student council makes a clear out group: oddballs bad, regular people good. they then blame everything bad on the out-group—bad things are happening in society because this outgroup is attempting to mingle with the rest of us, the normal people, the good people. it’s a selfish desire these bad people have to try and bring us down.

then. what they do. is they romanticize a past that may or may not exist—they say society (yumenosaki) used to be good. it used to bring normal people good things, like jobs and money (and you even see in-text that there used to be more jobs for the average man)

(now you can make a point here how chiaki recognizes it is not the oddballs’ fault for this, but instead how the academy at large has fallen due to a bad reputation, thus meaning he is no longer ‘average’, but that is not my point here. my point is that the ordinary man is struggling to survive), but when the oddballs showed up, things went to shit. and it’s their fault

enstars also makes a…conscious note that this will not solve the problems of the ordinary man. hell, it makes their problems worse, exemplified in ra*bits’ first live, because society still revolves around an upper class—the upper class is now just the student council, not the oddballs.

there are other tidbits, too—eichi mentions in element that he controls the media that gets in and out of yumenosaki, which is a standout feature of fascism (need your people to be loyal to you or else things fucking die)

and on that note of loyalty, keito being so worried about the cultists also makes sense, because fascism also uses religion as a tool, usually via exterminating it; can’t have people loyal to you, the government, first and foremost, if they’re loyal to god!

and my very favorite part. comes from element movie

it’s just….the words tsumugi uses at this point.because he very easily could’ve used ‘strategy’ or something similar in this scene. and the same point would’ve gotten across. the fast-paced nature of the strategy leaves eichi dying. but no—he picks ‘blitzkrieg’. which you cannot divorce from its origin—it’s the strategy used by nazi germany in ww2, featuring the fast, heavy, offensive strategy. so that makes me ask: why? why use blitzkrieg? why use a word with a strong, nasty history behind it when other words could easily fill that role instead?

my answer is that it’s an intentional comparison akira wants the audience to make. he wants us to draw an ugly, nasty comparison between the student council, between such a concentrated government, and a government that demanded complete submission. he wants us to recognize how easy it is to just blame others for our lives, how nasty and ugly humans can be when it gets us what we want. he is trying to show us that this type of ideology will not work and we can apply it to real life politics, beyond that of an idol game.

sorry going insane. okay. okay you guys have to hear me out on this. have you heard of a political ideology called fascism,

[badolmen]

I feel that there’s a world of difference between “fandomizing real world politics and tragedies” (in my understanding - applying ‘fandom’ to, well, real world politics and tragedies eg. shipping war criminals or writing rpf for victims of traumatic events) and “making fandom art which acknowledges real world politics and tragedies” (in my understanding - political cartoons/art with a particular flag/etc.).

I’m not saying that the latter can’t be insensitive or in poor taste depending on execution but also…idk it’s weird to see tumblr activists freaking the fuck out over art of dunmesh senshi bringing food to Gaza. I can’t believe that’s the hill you want to kill (your own allies nonetheless!) on. We have people writing smut for about specific IOF soldiers or shipping Palestinian journalists, like, is the comic imagining a fictional character showing up to help people in a horrific situation really what you want to call tone deaf and insensitive?

[oflgtfol]

i hate the english

[reachartwork]

I'd love to know how you can advance AI art ethically. I'll be perfectly honest and say I'm of the opinion that there's no way to make AI art ethical but I genuinely would like to hear your thoughts on this since it's something you clearly have put a lot of thought in to. Not trying to hate just curious about your opinion.

i reject the premise that it is inherently unethical to perform any of the operations required to do image synthesis. almost every single assumption required to start from the baseline of "it's unethical" (it's plagiarism, it requires no creativity, it smashes two images together, etc.) are all just straight up incorrect.

unless you can explain to me how to fit two (or more) billion images into 2 gigabytes (i'll let you do the math) in a way that preserves their features for later "stealing" (you can't) then i am rejecting the premise. because even if it were some sort of database that smashed pieces of images together (it's not), if your argument is that it's unethical to do that then you have a whole lot of collage and blackout artists that you need to contend with too. (if you think collage is also unethical then you are internally consistent, good for you, and then we just have a garden variety disagreement). generally speaking there is no argument one can take that can meaningfully separate ai art from other forms of transformative artwork except via special pleading, which doesn't convince me.

so yeah, basically, you (the general case you, not You Specifically, Fish Of The Woods) have to do the work to convince me that it's unethical because i am not starting from the premise of "it's inherently evil, except my one exception", i am starting from "it is neutral and you have to convince me that it's bad". and so far nobody who is anti-ai has managed to do so, primarily because (this is not a dig at you) nobody who is anti-ai actually bothers to understand how it works, and thus all their criticisms don't sync up with actual reality. while i'm sympathetic to labor arguments i.e ai art will put people out of jobs (definitely much more salient than the other ones), that is regular old capitalism abusing automation, and not an inherent flaw in the technology itself that renders it Ontologically Evil From Birth.

i get like five of these asks a day so i politely request you send future inquiries to the AWAY Discord, which is full of people who have significantly more patience than i do.

[thedreadvampy]

I mean sure, I can understand this perspective, but I'm not sure whether most people feel less shaken to be thrust into conversations about "self-unaliving" than conversations about "suicide"

and I for one as a survivor would much rather unexpectedly encounter somebody talking about "rape" than somebody talking about how funny it is to have sex with somebody when they don't want to, a normal thing that doesn't need to be named because it's So Normal.

which is to say. this is a post about words. the words are not the distressing thing about the discussion. the distressing thing is the distressing thing about the discussion. sugarcoating, dodging or renaming the distressing thing doesn't make it less distressing but it DOES often make it harder to have a frank discussion about it or address it in serious terms.

[pinch of salt: solid probability from their blog that this person is a Literal 14 Year Old and the perspective from 30 and 14 are very different. I do stand by all the points I'm making but I think this conversation lands a lot different for people at different life stages - there is something to be said for the general issue that the internet has flattened social groups to the degree that I as a 30 year old can make a post to my audience of largely adult millennials that immediately enters the same conversational space as people half my age and still in school. that seems. ungreat. as the primary way we engage in conversation. but I don't have solutions to offer.]

you gotta be able to say "die"

you gotta be able to say "suicide"

you gotta be able to talk about "sex"

they're uncomfortable topics, YEAH for SURE

because LIFE is uncomfortable. Death and suicide and sex and pain are straight up going to happen. not having words for the way it discomforts you doesn't make it more comfortable, it just makes you less able to reach out about it.

even more vital, you gotta be able to say words like "rape", "abuse", "queer" or "racist". cause we fought fucking hard to name those experiences. to identify "rape" as distinct from "sex" and "racism" as distinct from "acceptable behaviour" and "queer" as distinct from "invert"

like the function of communication is not to minimise immediate discomfort. we gotta be able to talk about stuff that's hard or sucks or causes difficult conversations.

[weecherylita]

Thoughts on the Neil Gaiman Allegations

I followed Neil Gaiman on tumblr not because I'm a massive fan of his work (I've read two of his books, and one of those he co-wrote with someone else) but because it was interesting to get behind-the-scenes info about Good Omens.

Because he seemed, for the most part, to be a pretty affable and interesting person.

Because it was nice to see someone so prominent be willing to assert the rights and dignity of lgbt people, and most especially trans people in this era where they are being consistently vilified and used as a political punching bag in my own country and elsewhere.

Because his writing advice was decent, and he seemed to value and support artistic endeavour in all its forms.

Because the stories from readers talking about what his work had meant to them were a consistent reminder of the power of art to connect us all and transform our lives.

Because he consistently advocated kindness.

(I know some people have been saying he couldn't handle criticism and he bad-mouthed other public figures, but I think I must have missed those incidents - my impression was that he was very often complimenting and defending people).

It was a horrible shock to learn that (yet again) a creator I respected fell so far short of embodying the values he spoke up for. When things like that happen it can make you question human decency itself, especially when it just seems to keep happening again and again; public figures who seem so progressive turn out to be abusers. Is human goodness just a story we tell ourselves? Is genuine progress even possible, when those who speak up for it prove themselves to be so incapable of living by those ideals?

I don't know how much of Gaiman's public persona was genuine and how much was just a front for some consciously manipulative and predatory behaviour. To be honest, I'm not sure I care if we ever find out how much of what we saw was real. He's lost our respect - most likely forever, and he shouldn't be put in a position where he can abuse people's trust again.

I'm sorry for the people he hurt, and I hope they get time to heal.

And I think those values that I saw in him are all still true, even if he is false.

Kindness and decency is still something to live by, even and especially in times of darkness.

Art still has the power to move, connect and transform us, whether you want to keep reading Gaiman's works or not (and if you're finding it tough because you've lost that enjoyment and connection to stories that meant a lot to you, know that there WILL be other works out there that can make you feel it again).

Creative endeavour IS still inherently valuable.

Transgender lives and identities still matter. Transgender people are still deserving of dignity and respect. There may be plenty of transphobic people out there who feel emboldened by this, and I'm not gonna pretend to understand exactly how scary and horrible that must feel. All I can say is that there are other people out there who still believe in you, and still want to support you.

Human decency is not a lie. I guess we need to be wary of public figures who come across as too good to be true and remember that everyone has capacity for both good and bad, but not everyone fails as badly as him. Not everyone succumbs to their worst instincts. Not everyone is an abuser. Human goodness is still alive, and something to strive toward and take comfort in.

[regheart]

i'm thinking about how the characterisation of the black family tends to be really difficult to get right and one of the reasons that i can think of is that we don't know enough of wizarding culture, so we try to convey the atmosphere and the dynamics through codes that are familiar to us

that's why they are so victorian in so many fics. they act and speak like they're inside a victorian novel, they only ever wear black and dark green, the high society/pure blood circle is also composed by meeting for tea, and having balls, and discussing politics, and arranged marriages

and that's not bad!!! i read and love some fics like that, but i think this is an aesthetic that completely ignores some of the things we know about wizards and about the blacks

first of all, the clothes. wizards wear robes. not late 19th century clothes, robes. and they're most often dramatic and colorful. this is something easily observed in the very first chapter of PS. so i think the blacks should wear deep purple and emerald green and silver and burgundy and turquoise, make outfits fun!!!

second, grimmauld place tells us some things about its inhabitants. the fact that it's a muggle house in a muggle neighborhood shows that they must have some level of cognitive dissonance in terms of what elements of muggle culture and lifestyle they hold (but i don't think that applies to holding the same patterns of views and behaviors of high society, again, it's about how the writers tries to convey "rich and uptight" with codes that are familiar to them). the decoration choices for the house are also very telling, family heirlooms, big clocks, tapestry... troll leg and house elf heads??? that's morbid. that's camp.

and my point is, black family characterisation lacks on campiness. wizards are inherently weird. anything in which they're overly polite and too aristocratic is inaccurate. they are bigots and lobbyists and one of them was literally headmaster of hogwarts. they are into the dark arts but they don't torture their children. make them funnier and messier and weirder and more like real people instead of a bunch of lines from downton abbey glued together

[undasura]

i made a thread about how all art is political AND meaningful inherently, and someone replied with a picture they drew of an among us with a huge dick and balls to be like "well is this political" and i think they were like. very clearly joking. but its really interesting that... yes actually, the amongus with a huge cock you just replied to me with is not only serving a purpose by making me laugh really hard because you gave him detailed trimmed pubes, but also, when i said a very intense matter-of-fact statement about art as a whole, it inspired some sort of "i have something to say about this" in you. which, is, inherently political. even if its among us huge cock on a note pad

[handweavers]

Cab you elaborate a little on that post about artists of color not having a good understanding of materialism? Like, do you mean that they are unknowingly perpetuating capitalism by being materialistic or something else?????

( This is a genuine question because I misunderstand long posts easily, sorry if it sounds rude ).

when i say 'materialism' i'm referring to dialectical materialism, the marxist theory that political and historical events result from the conflict of social forces - people's access to material needs like shelter, food, healthcare, etc. and their relationship to the means of production. these events can be interpreted as a series of contradictions and their solutions. it is the scientific method for understanding politics/economics and history, and the basis of marxist analysis and of marxism leninism as a framework.

i'm saying that many artists of colour in the west speak a lot about capitalism, imperialism, colonialism, war, etc. from a vaguely 'leftist' but ultimately still liberal perspective, and thus they are not actually challenging anything with their work. they will talk about anything But class, and fall easily for bourgeois politics as long as it's concealed in social justice or "leftist" or antiracist sounding language

and it's because they won't engage directly with marxism leninism, they won't engage with learning materialist analysis, and having this understanding would prevent them from falling for these attempts and allow them to do work that actually has some kind of meaningful impact on these systems they claim to be against. so they are trying to talk and write and make art and organize about capitalism and colonialism without understanding how these things actually function in a literal, material sense...

simply existing as nonwhite people in the west doesn't inherently teach us these things, otherwise all people of colour in the west would be communists. we have to actually do the reading and be open to another framework of understanding the world, to having our worldviews shifted. but i think some people don't want to do that because of their relative class position. it makes them uncomfortable, or they don't want to admit that they benefit from imperialism in some ways. they can't - or won't - decouple an awareness of their class position from morality or their personal feelings.

without a marxist framework for understanding what capitalism is and how it functions, whatever work they claim to be trying to do to challenge capitalism or colonialism or whatever At Best doesn't do anything, and At Worst continues to serve bourgeois interests. the confusion between colonialism and imperialism in particular is easily exploited, so that with the language of anti racism and decolonization people end up agreeing with and promoting US/NATO foreign policy on imperialized nations - these buzzwords can sound pretty good if you don't know better. all this talk about decolonizing our minds and art practices and being anti capitalists but no one can actually explain what capitalism is or how colonialism works or the material role of racism under capitalism, nor do they want to talk about their own relationship to capital, so the talk is just empty lol. all these artists trying to figure out "alternative, embodied ways of thinking and being" and it's all just more liberalism

[mrs-stans]

Golden Globe Reactions

Jeremy Strong

It felt like much of Hollywood wouldn’t touch this film with a 10-foot pole. Were you surprised to see your name and Sebastian’s included today?

A 100-foot pole! I was incredibly surprised and gratified. I found it thrilling, especially Sebastian. You know, his work in this film is as good as any performance I’ve ever seen in a film – and I worked on “Lincoln.” I think it’s that good. For whatever reason, this moment that we’re in, of a reticence in our culture to go to places that are difficult or uncomfortable, or to touch the third rail — people just didn’t want to support this movie. It’s been a battle. Studios didn’t want to touch it. The streamers wouldn’t touch it. Even in the lead up to the election, I reached out to someone who runs one of the studios and said, “What do you think? Can we do this now that Trump has come out against the film and called us human scum?”

I think this film has a lot to say about this historical moment. I think it is capable of moving the needle, in an even infinitesimally small way. It can at least offer insight beyond a Wikipedia page or the way we get our information now. I was told, “It’s too hot.” It’s been dismaying. I was prepared for the movie to be left out of this part of the conversation, so today’s news was just really amazing. For the Globes to recognize this work, just on the grounds of its artistry, that’s been the real hard thing. Ali Abbasi is a visionary filmmaker, and he made a really fearless piece of art. I think this movie has as much in common with “Barry Lyndon” and “Boogie Nights” and “Midnight Cowboy” and “Mean Streets” and a Shakespeare play than it does with any kind of political diatribe. I think a lot of people still haven’t seen the film, because they have a preconception of what kind of film it is. It’s really not what you expect. I think it’s a very bold, an exciting film that also puts its finger on the pulse of where we are right now.

It’s certainly been talked about far more in a political light than in an artistic one. Of course, a Trump story is inherently political in this climate, but the film is really a character study.

We’ve been trying to get people to see the film. We don’t have a studio behind us. We don’t have a budget for any of these things. We can’t participate in some of these bellwether events that you have to pay to participate in. We’ve been excluded from awards things because the publications have not wanted to “support anything to do with Trump.” I feel a bit stupefied by it, because the truth is, if we’re talking about the art form of acting, this kind of stuff is the highest level of difficulty. What Sebastian did in this movie, the challenge that we both had, the size of the limb to go out on … this film exists in this moment that is difficult for people. Anthony Hopkins played Hannibal Lecter and Hitler, as well as Picasso and C.S. Lewis. For some reason, this film has been declared a no-fly zone.

It’s clear how much admiration you have for Sebastian and his work on this film. Have you spoken with him today?

We texted a bit. I’m just so happy for him. I mean, he was nominated twice today! He’s a heavyweight actor. My greatest hope is that today we’ll invite more people to see the film. If both of the lead performances are nominated for Globes, then surely it’s worth watching or just paying attention to. Maybe that will help reframe the conversation around the film, which has been slightly overlooked. If the role of storytelling is to hold a mirror up to nature, as he says in Hamlet, “to show the very age and body of the time its form and pressures,” I can’t think of something that does that more than this film. This is what we’re living through right now, and it is the past as prologue. Kai Bird wrote the “Oppenheimer” biography, and his next book is about Cohn. That alone speaks to how influential he is on this moment that we’re in. Sean Penn hosted a screening for Sebastian and I two weeks ago. Sean said, “Just wait, you’ll see, this film will have a second life.” I hope that’s the case.

[txttletale]

Sorry if you posted about this before and I've missed it but are you arguing with anti-AI Art people (Specifically the ones deliberately ignoring or misrepresenting material facts) just on the basis that they're wrong? Or are you doing it to try to show that AI is going to be used anyway and they need to change the way they argue about it if they actually want to be productive with their goal of not having AI be harmful?

I suppose in truth I already seem to believe you're doing both at once, which is fine, but I guess what I'm really getting at is trying to prompt you for more of your own interpretation of the AI art discourse as a whole and how you feel about people calling you "Pro-AI" despise the fact that your economic beliefs inherently make you (from my very biased perspective) "more" "Anti-AI" than they are!

Sorry for the messy ask lol, you're just getting at a lot of thoughts I've been having trouble putting to words and want to see more!

yea i would absolutely describe my critiques of 'anti-AI' as coming from three separate but related places because there are three separate types of 'anti-AI art' talking points:

talking point type 1 is all the 'not real art / soullless / no effort' bullshit. i'm mostly critiquing these because they are fundamentally reactionary and profoundly silly and because i like talking about art and what art is and how it's made and shit.

type 2 is, to borrow a phrase from marx, "the economic shit". it's here that i think my critiques are more 'positive' than 'negative', as in, i think that these talking points are mostly coming from a reasonable place but are tactically misaimed -- my critiques here mostly amount to 'stop whining about midjourney and start unionizing your workplace because one of those will make a difference when AI comes for your job and the other won't"

type 3 is IP/copyright-brained petty-bourgeois mindset, arguments centering on ridiculously expansive concepts of 'theft' or 'plagiarism' and 'ownership'. they are superficially similar to type 2 arguments but instead of the fundamentally sympathetic and reasonable "i am worried i am going to be fired by my boss / no longer taken on by clients because of this new technology" they are instead arguing that they are either owed the hypothetical lost profits or royalties for every generated image. this is the type of argument i'm most vehemently against, because i think that all of these arguments essentially end in campaigning to strengthen copyright and IP law, something which i'm profoundly and fundamentally against.

sometimes people will make type 1 arguments when they fundamentally have type 2 concerns, but that just makes their type 2 concerns seem weaker and less worth taking seriously by association, which isn't good for us organized labour fans out there. but yeah these are all separate talking points -- i think i try to approach The Economic Shit with the 'you need to change how you think to achieve something productive' mindset, because of the three positions that's the one i have a fundamental political commonality and nominal shared goals with.

[transmutationisms]

Hi Caden don’t know if you listen to Ethel Cain but was wondering what u think abt her subverting the Americana aesthetic since I think she’s often compared to Lana, at least online. I do think she’s doing something different & to me more compelling than Lana, but I don’t really know how to articulate it.

yep i like ethel cain. i agree she and lana are doing very different things. like, i said before that lana uses american nationalism because she's playing off the fact that it makes/has an erotic appeal, and she places herself as the object of desire in that paradigm—tell me i'm your national anthem, etc. my read on ethel is that she's interested in the rural americana 'trad' aesthetic from a very different angle, where she's trying to connect the homestead and american rural social structures to the perpetuation of violence. there's some overlap here in the sense that lana is definitely also interested in sexual violence and sexuality-as-violence, but in her work the violent or abusive man is generally a specific figure who's aberrant from the norm, and a lot of the artistic interest for lana comes (i think) from her interrogating what it is about this man that's appealing to her and how she sees herself through his eyes. with ethel, on the other hand, she portrays violence as coming through the infrastructure of normal and normative social structures, like the family and the church, with abuse understood to be a feature of these and not a bug. family, church, etc are in turn understood to be part of the infrastructure of american rural communities, casting the critique she's making through the ethel character onto this entire social apparatus (& there is some implication here of how this is all a part of westward colonial settlement—which is a potentially fruitful direction to go in, the idea of expansion into the 'frontier' as a narrative of, or narrative prerequisite to, violence).

so for example this is partly why, for ethel, incest specifically is a mode of sexuality & violence that she continually uses and interrogates: she's invoking it as an intensification of the 'normal functioning' of the family, which means the whole family structure gets pretty ruthlessly questioned through the character of ethel and the violence she faces. she invokes the trad aesthetic and the idyllic family homestead, then shows you the brutality that creates and is created by them. for lana, the family is not a concern in this way and is not something she's questioning or challenging the way ethel does (the daddy/girl thing in lana's work is p far removed from even a pseudo-incestuous reading most of the time, even in her lolita references). there's a similar distinction with how ethel examines protestant theology and practice with the explicit goal of pointing out inherently violent aspects of it, whereas for lana, invoking god or christian imagery is generally more on the level of playing off the way that american nationalism resembles and uses rituals of religious worship. lana takes political phenomena like the appeal of nationalism, and expresses them through the erotic configuration of these relationships with older, dominant men. with ethel it's more that she looks at social structures and practices signified by the rural americana aesthetic, and pokes and prods at these structures until the violence inherent to them is glaringly obvious to listeners through the ethel character's story. it's a way of problematising these institutions and practices, not letting them hide in plain sight by presenting themselves as benevolent.

so yeah i can understand why people might want to compare these two artists, but i think they're actually doing very different things. i would probably not say either of them 'subverts' americana or signifiers of nationalism, which is not a criticism, i just think that concept is often poorly defined and less frequently applicable to art than people sometimes think lol. ethel uses her character's story to deconstruct and question the american aesthetics and institutions her work invokes; lana translates these aesthetics and institutions into explicitly erotic discourses and dissects them through the allegorical figures of the people and relationships in her songs. (this is not to discount the importance of erotics in ethel's work as well obvi but this post is already long :P)

[senlinyu]

Hiya— forgive me, this is a big one!

Something I really appreciate about your work on both Manacled and LTDI is your approach to the wizarding world’s oppressive systems. I recently read a bit about how the caste system in India parallels to Jewish and African American oppression (there’s a great film on this too) and it made me go back and re-read Manacled just to look at it from this perspective.

I’m not sure how this fandom usually talks about wizarding world oppression since I don’t really engage, so I apologize if this is rehashing old metas haha. I mostly only see the direct parallels to “wizard nazis,” but I like that your work is more nuanced and detailed. I think it’s fascinating how the blood purity systems of oppression basically operate as a form of caste.

And in HP canon, the statue of secrecy is also very interesting, but you made it so much more engaging. Came for the enemies to lovers smut drama, stayed for the intellectual commentary haha!

I really like what you did in LTDI by exploring deeper how oppression looks like in a magical world, and the history behind the witch trials and dark magic. I *loved* the way dark magic was forbidden for muggle-borns, and the sickening and so realistic rationale that pure-bloods are taught about it.

And HOLY SHIT!—— You do such a good job at showcasing every aspect of this on LTDI through Hogwarts, Dumstrang, the archives, bullies, the press, and especially our two leads! Your depiction of the casual violence of oppression with Hermione and her journey learning about muggle-borns is devastating. and Draco’s absolute misery through the very oppressive system that’s supposed to put him on top is so true and also so brilliantly written. And it doesn’t hit me over the head with a shovel either, it’s just…human. It’s well done!! It reminds me why I like Dramione, besides the tension and the subtext, there’s so much richness that canon simply doesn’t have.

Sorry for the ramble! What I’m getting to is that when it comes to positive societal values (education, riches, peace, access to water and resources) and negative ones (lack of education, poverty, lack of resources, vulnerability to violence, incarceration,) the oppressor class is always going to rationalize that they earned it, and the subjugated second class deserves their lot. Here in America, the rationale was that people of color deserved subjugation because they were dirtier, meaner, stupider than their white counterparts; and these beliefs were upheld by religion, politics and incorrect science. But all of these are rationalizations and fabrications, because there is obviously nothing inherently superior about race (or in the case for white Jews— and here in HP— caste.) I think you translate that so beautifully to pure-bloods; but I was wondering how this works in relation to muggleborns.

On my reread of Let the Dark, I saw that muggle borns that didn’t manifest into Obscurus and went on to become wizards almost always grew into mastering black magic when they have access into the dark arts, while native-born wizards did not. The records of the fic also showed that black magic was corruptive to pure-bloods who tried it, and very hard to achieve at all even when put in similar nurture conditions when growing up.

So I guess this is all a really long-winded way of asking haha—— is Hermione’s muggle-born proficiency in black magic derived from nurturing or nature? and does that mean it’s vice versa for half/pure-bloods? Sorry I know you had a passage on exactly this but I just didn’t really know what you meant.

Anyway, these two are soooo fricking stupid horny for each other, I love the way you write them. Kudos ++ and thanks for all the work.

Can’t wait to see what’s next for LTDI ! ! ! !

Hi, thank you for the long ask. Am I correct in guessing that you saw the movie Caste? It's based on Isabel Wilkerson's book by the same name, which is one of the books that I read that was partially responsible for my inspiration for LTDI. A few years ago now, I was on a sort of journey reading about historical systemic oppression, but I didn't want to be limited to only American oppression and discrimination. I don't feel comfortable drawing absolutely direct parallels from real world in literature just because I feel like a lot of the times such attempts can perpetuate the very things they're trying to deconstruct (looking at you Zootopia), but the story is influenced by various reading I've done on discrimination and oppression throughout various colonial and class heavy cultures.

So as a result, I really didn't want to actually create a 'rational reason' for muggle-born oppression that had a legitimate basis, I wanted it to be a nurture based distinction. Yes muggle-borns have a unique ability that results from the trauma of their upbringing altering how their magic manifests, but that's not because they're actually naturally different, and in fact there's a very simple solution to preventing Black Magic by pre-emptively reaching out to muggleborns and preventing that formative trauma from occurring, but that would necessitate wizarding culture giving up their false sense of superiority and entitlement, and so they won't, and they let Muggle-born children and their families die where they don't have to see it.

[dr-spectre]

Helloooo, just saw the big ol Callie rant and thought I’d share my (albeit not as detailed) thoughts cause the first Splatoon game I played was Splatoon 2 and I took my sweet time on the story mode.

Despite her being your main companion throughout the story mode, I found Marie’s spiteful and clearly discriminatory language towards the Octarians to be consistent overkill, while she was obviously mad about Callie “going missing”, these fellas were only doing their jobs and it was painfully clear that Marie had an inherent dislike for their entire species. Since I hadn’t seen Craig Cuttlefish before I didn’t know that this discrimination came from him, with a distinct parallel between their jabs (aggression being directed and focussed at the Octarian species at a whole rather than the reason you’re here in the first place) and with the fact that I was the one barging in and committing wanton destruction and violence in their territory the universal hate felt incredibly undeserved.

As for Callie, no Squid Sisters songs feel so authentic and genuine as the ones made in Octo Canyon. Even Bomb Rush Blush isn’t trying to sound perfect for any pop lover’s fragile little ears, it’s erratic and fills every silence like a one sided argument. With each song sounding like a vent album and the art showing Callie to be miserable and having to desperately hide it on the surface, she’s seemingly using her distance from Inklings as an opportunity to be completely outwardly honest and express the deeper emotions that wouldn’t be accepted in the media she’s surrounded by. Rather than “I REMEMBER!!!” being some ooga booga the cool glasses magic has been dispelled, I saw it more as Callie accepting these emotions she’d kept from expressing and realising her lifestyle and family meant enough to her that it would be more worth it to try and work through those feelings with them rather than use an outlet that worries them. Additionally, she has quite the opposite view on Octarians to Marie, finding them consistently cute and clearly still being friends with Octavio as they collaborated during the Low Water Party after the events of Octo Expansion (discreet lore but it shows she truly had an enjoyable time there!)

Now I could ramble about DJ Octavio for hours so I will cut this short, while - as you mentioned - Octavio was helping Callie escape the stress of her lifestyle in the interest of his own species, (uh oh the can of worms is threatening to open) insert the fact that Octavio winning means species equality through political negotiations put off for hundreds of years. I know! Oh goodness gracious how terrifying! The spicy beats man has used drastic measures due to neglect and forced poverty of a substantially sized society through giving stressed squid sanctuary! Next he might use his technological advancements in energy efficiency to revolutionise our industrial infrastructure- SHIELD YOUR EYES, CHILDREN!!

oh hey! cheers for reading the full thing!

Oh... oh damn... you just plopped your own rant in here, jesus.

I respect it honestly, i respect the hustle.

You know what's kinda crazy? From my knowledge and what people say online, Marie's hatred for Octarians as a species is a NoA localisation thing and not something in the original Japanese version of Splatoon 2. I could be wrong on that but that's just something I've heard in the grapevine.

Yet another example of poor localisation due to deadlines and rushed development cycles!!! ISNT IT SO FUN HOW IT KEEPS OCCURRING AND HOW PEOPLE BELIEVE IT INCLUDING LOUD VOICES IN THE COMMUNITY AND WIKIS TAKING THE NOA VERSIONS AS THE HOLY GRAIL?!?!?! SO FUN!!!!

(Massive fucking sarcasm.)

I dont have much else to say in response to your ask but, I wanna touch on DJ Octavio for a bit because I think the way that Nintendo treats him as well as the fanbase treats him kinda fucking sucks and flips flops between different personalities and actions he's done.

I swear to god people have such different takes on his personality and what he's done over the three games and it's a real headache to deal with. And the way that a lot of people talk about what he did in Splatoon 2 and the suggestions people say.... ugh... they make him so unredeemable and disgusting.

In Splatoon 1, depending on if you play the NoA version or European/Japanese version, he's either very silly and in your face, making musical puns and being a loud mouth. Or he's trying to be intimating and he gets to the point in his dialogue instead of making musical puns.

The worst things he did in that game was kidnap Cuttlefish and tie him up as bait to fight Agent 3, and stealing the power source for the Inklings. Cuttlefish is a frail old man and Octavio has anger towards him, so it makes sense he would go after him and snatch him up.

And then in Splatoon 2, people wanna fucking say that Octavio kidnapped Callie and brainwashed her, removing all of her memories and making her into a slave for the Octarian army... LIKE... WHAT?!?!?! OCTAVIO IN SPLATOON 1 WASNT THAT EVIL!!! WHY DO PEOPLE SUDDENLY SAY HE DID SOMETHING INCREDIBLY UNREDEEMABLE LIKE THAT?!?! WHY DOES NINTENDO PUSH THAT SHIT TOO?!?! ITS SO ANNOYING!!!!

AND PEOPLE BRING UP THIS PIECE OF CONCEPT ART TOO AND GUYS!!! ITS JUST FUCKING CONCEPT ART!!! ITS NOT CANON!! THERES NO EVIDENCE TO PROVE THAT THIS HAPPENED IN THE REMATCH FIGHTS!!! YOU BRAIN DEAD SONS OF-

You can't just go from "im gonna use Cuttlefish as bait because I hate that guy!" To "neheheh, when Callie isn't looking... I'm gonna grab her and brainwash her!" And then to "IM GONNA GET THAT OLD BASTARD AGAIN! HE TOOK MY ARMY!!!" You can't flip flop between silly old guy wanting vengeance against his lover to enemy Cuttlefish, to a malicious beast that kidnaps young women dude. You can't just do that.

You see the issue here? People give Octavio this ultra dark stain on his legacy and I think it ultimately ruins his redemption in Splatoon 3. He did something unredeemable and you cannot go back from that.

It makes more logical sense for Octavio to use his abilities of propaganda and manipulation out of desperation to convince Callie to join him. Octavio is a general and does things out of rage and vengeance from the past. He is not malicious in his actions and a lot of them can be justifiable. It makes more sense for Octavio to go "I need Callie because my peeps are dying, I'll convince her to join me and then I'll hypnotise her so she's more comfortable in the Octo Canyon to help my troops!"

Octavio is still obviously in the wrong for hypnotising Callie, duh. But, like I've said a trillion times, hypnosis isn't mind control, you cannot force someone to do something against their knowledge and morals. So it's more justifiable for Octavio to hypnotise Callie than to literally kidnap her and brainwash her while she was kicking and screaming, trying to stop him. Okay? WE GOOD SPLATOON COMMUNITY?!?!?!

Ugh.

[localcuttlefish]

A Theoretical Lore Bible of Caesar’s Legion as a Nation

Hello good citizens of Tumblr! I’ve been on a Fallout: New Vegas kick lately, and I recently graduated college with a bachelors degree (major illustration, minor history of art and western civilization). So now that I’m certified to draw dick AND talk about Ancient Rome, I have things to yap about.

Have you ever looked at Caesar’s Legion and wondered how the more intricate aspects of their society model after the Roman Empire? Because I have! And because of those very musings, I have come up with a little dumb idiot theoretical lore Bible on how The Legion might function as a more developed nation, using my back knowledge of western civ and Roman art and culture. Nomenclature, societal structure, industries, imports and exports, the whole nine yards!

DISCLAIMERS: I have not looked through the writers’/directors’ social media accounts thoroughly enough yet to confirm if any of the information I’m bringing to the table is already solidly canonical or solidly non-canonical in the lore of Fallout: New Vegas. There is a nonzero chance I may say something that someone in charge has already said, or something that’s already been disproven or denied. If you catch something I don’t, let me know! I like worldbuilding for fun like this, and I want to keep everything as lore-cohesive as possible to challenge myself. I’ll come back to edit this every now and then if I come up with more cohesive lore pieces, or if you guys have any suggestions that would tie in the lore better. In addition, Caesar’s Legion is an inherently totalitarian nation that supports itself on some pretty sexist and bigoted social structures. There is no universe in which I support, condone, or otherwise encourage any of the ideologies of Caesar’s Legion in real life. Don’t become a tyrant dictator of a military slave nation, kids!

CONTENT WARNINGS: Discussion of slavery, sexism, physical and verbal violence, unsafe medical practices, brainwashing/psychological abuse, and death.

Without further ado, the absolute wall of text that is the theoretical lore Bible of Caesar’s Legion. Enjoyyyyy!!

CHAPTERS:

I: Citizenship

- How To Become a Citizen

- Social Castes

- Names

II: Everyday Life

- Common Social Customs

- Household Structure

- Settlement/Town Structure

- Clothing, Hair, and Accessories

- Languages

III: Industry

- Jobs

- Imports and Exports

IV: Politics, Education, and Religion

- What Senate?

- In The Unlikely Event of a Transfer of Power

- Common Political Beliefs

- Male vs Female Education Standards

Walk and talk with me about the ways The Legion mirrors, juxtaposes, and takes inspiration from Ancient Roman society in a post-apocalyptic setting.

The first time I encountered Caesar’s Legion in game, my initial thought was “What about the American West makes these people think this is the perfect spot to reinvent Italy?” it’s a barren, land-locked desert with only one or two significant water access points. Italy is a peninsula in a temperate climate with high mountain ranges and verdant forests. Most of this was a jokey thought, but then it struck me that a phalanx would actually be an insanely powerful force in a flat landscape. It all started coming together from there in a most dreadful shape

I: Citizenship

- How to Become a Citizen

Caesar’s Legion is a colonialist nation. They gain land through conquest, typically, and have a tendency to try and homogenize the culture to their liking. Generally speaking, after a town has been conquered, people who willingly surrender or submit to The Legion are given an opportunity for citizenship. Any survivors of conquest that aren’t willing to surrender are either executed or sold into slavery. Slaves are not considered citizens, because the rights and freedoms of a slave do not reflect the rights and freedoms that The Legion offers to those who can be put to better use or are complacent with the mission of The Legion.

Once one is offered a chance for citizenship, the highest ranking general in whatever battalion just took over that person’s land will evaluate if the person can be put to work, put on the battlefield, or is generally useless. Remember, an offer isn’t a guarantee. There is a chance someone who is offered citizenship may be evaluated as useless and sold into slavery regardless of their complacency. Protesting the verdict typically increases the chance of spontaneously being executed, or, if one doesn’t like their proposed role of worker or soldier, being demoted from potential citizen to slave.

If the general regards one as fit to work or fit for the battlefield, these “half-citizens” (media populi for plural, and media persona for singular) will be assigned a new legal name after a record of all new media populi is sent from the general to the regional Vilicus (overseer ;) we’ll elaborate more on this in chapter II), and given the task of minimum 400 hours of what we would understand as “community service” before the Vilicus confirms their citizenship. This “community service” is called pentimento, or repentance. It’s a form of brainwashing in which The Legion is in a position to repeatedly reaffirm that the media persona has more value here helping The Legion than they ever did as a free settler in New Vegas before, and instills dynamics that empower and encourage violence against people of “lower status” (slaves and women, usually). Kinda like a Stanford Prison Experiment that’s purposely designed to cause power dynamics instead of accidentally stumbling to the conclusion. Pentimento may include anything from helping re-pave and clear trade routes in Legion territory, to catching runaway slaves. Each media persona is given a number of tasks to complete per month, and each failed task results in more hours being added onto the total pentimento before citizenship is granted. The number of initial hours of pentimento a media persona needs to do may vary depending on the whims of the Vilicus, how much they resisted Legion control in the past, how many tasks of pentimento they leave incomplete per month, and whether they are masculine or feminine presenting, but is never less than 400 to start. Most media populi end up with starting numbers in the 600s or 700s.

Once the pentimento hours are complete and approved by the Vilicus, the media persona becomes a citizen and is expected to continue the service to the growing empire through either the trade they work in, or through service in the army. However, there is a several-month-long window of time in which spies occasionally visit the new citizens’ homes to monitor them for suspicious activity. In this window of time, spies may be looking for signs that indicate the new citizen is an agent from a rival faction sent to infiltrate The Legion. Only high-ranking officials know about this window. One can lose their citizenship and be returned back to status of media persona if they show suspicious behavior during this time, or worse, be demoted from citizen to slave. In cases where there is undeniable evidence that a new citizen is an agent for a rival faction, the citizen is immediately put to death, and their citizenship is revoked (though revoking the citizenship of someone being put to death is a little redundant).

A baby born into a family of two Legion citizens is automatically also a citizen, and must be given a name in line with Legion naming conventions (which will be discussed next segment). A baby born into a family in which the mother is not a citizen and the father is a citizen will also be considered a citizen. A baby born into a family in which the mother is a citizen and the father is not a citizen will not be considered a citizen at birth. A baby born to a family of two media populi or two slaves will not be considered a citizen at birth.

A person who willingly enters Legion territory and requests citizenship will follow the same steps as how a person from a conquered land would be evaluated for citizenship.

- Social Castes

Social Castes in Caesar’s Legion are determined by how useful one is to the empire, and whether one is male or female. The more sexist aspects of the caste system stem from the fact that women in The Legion can’t serve in the military, and the military is a notably higher status than most other castes since Caesar’s Legion is a military state.

Of course, Caesar is the highest on the social pyramid, followed by his chosen officials (take Lanius for example), then chosen guards (praetorian guard). The military comes next, with the social hierarchy of the military following that which was established in the Roman Empire in the early establishment of Caligula’s reign. After that, religious officials (which act as pseudo-indoctrinators into The Legion, and therefore are pretty essential to brainwashing the next generation of Legionnaires). Then, the Vilici, the overseers of each region/settlement. Next, the average male citizen and then, the average female citizen. Media populi come next, and following that social caste is performers (which serve very little purpose in the eyes of Caesar and the goal of conquest), with male performers having marginally more respect among the populous than female performers. Second to last is slaves, once again with males being just a little more respected than females, but what does that matter when both are going to be abused by the upper castes anyways. At the very bottom of the social ladder is outsiders and criminals, which need to be broken before earning even a sliver of humanity in the eyes of The Legion.

Caesar > Chosen Officials > Chosen Guard > Military (with sub-hierarchy of Ancient Roman military) > Religious Officials > Vilici > Average Citizen > Media Populi > Performers > Slaves > Outsiders and Criminals

- Names

The average citizen in Legion territory wouldn’t need to immediately use their new assigned name (since there’s not enough force immediately available to actually push that, the nation is still growing), but The Legion will give them a “legal” name that they’ll be addressed by formally, and in the best case scenario, the original name will be effectively waned out because it simply doesn’t matter in comparison to the new one.

A praenomen acts effectively as a first name one uses around close friends and family, while a nomen (while acting as a last name) becomes what one is more commonly known by in public. The average citizen will usually have a nomen at least, and a male citizen will have a praenomen and nomen.

- MASCULINE: A classical Latin praenomen will be assigned equivalent to the meaning or phonetics of the new citizen’s first name. The nomen will be determined based on either phonetic/meaning equivalent of the last name, or based on the new citizen’s occupation.

- FEMININE: No praenomen will be assigned. The citizen’s title will be a feminized variation of their father’s nomen, differentiated in generation by number nomenclature (Major, Minor, Tertia, etc). If they have no father, they will assume the feminized nomen of a living male partner that is already a Legion citizen. If they have no living Legion family, they will be assigned the name “Romana” and likely be either sold into slavery or auctioned to a bachelor to gain a proper nomen.

For example: Marcus Gaius has two daughters. The eldest daughter is Gaia Major. The youngest daughter is Gaia Minor. Gaia Minor meets Decimus Junius, and they get married. Now Gaia Minor is named Junia. Gaia Major remains unchanged.

Legion soldiers have more dignity in society, and therefore have all the previous conventions, plus a cognomen. Since all Legion soldiers are masculine, differentiation between masc and fem naming conventions is irrelevant from this point forward. The nomen of a soldier may be akin to the structure of how an average citizen’s would be given, or if the soldier shows exceptional prestige and has no remaining male family, a nomen referencing warfare or combat will be assigned to them (Marcus, Augustus, Drusus, etc.).

A Legion cognomen acts effectively as a Roman military callsign. Cognomens follow classical Roman conventions. The cognomen will be used most frequently in a military setting.

II: Everyday Life

- Common Social Customs

Many Roman social customs are adopted into Legion life. For example, the entertainment at the colosseum is mimicked in the tourneys in the various arenas scattered throughout Legion territory. However, because of the key difference in that The Legion isn’t even pretending not to be a totalitarian dictatorship, there are a number of drastic differences between Roman social customs and Legion social customs.

Because of how respected the military is in Legion society, it is commonplace to show soldiers with utmost reverence. It’s customary to allow soldiers to stay in a citizen’s place of residence if the soldier requests it, and it’s customary to refer to the soldier by their military rank, not their nomen or cognomen (especially if the soldier in question is on duty). It’s considered rude or inappropriate to question the motives of a soldier, or prevent a soldier from accessing areas of a citizen’s property. Such transgressions can potentially be met with violence.

One may frequently see slaves struggling to keep up with workloads. It’s taboo, but not punishable to help them, as long as it doesn’t interfere with the productivity of one’s own work. After all, The Legion gains nothing from incomplete work. If helping a slave means increasing efficiency, then it’s appropriate, but a citizen may get strange looks from others for doing so.

Utilitarianism is the ideal philosophy under which everyone should function in an ideal Legion society, but this is clearly not the case nor the environment to foster it. Social norms are based strongly on class, and in most cases, selfishness prevails because selflessness can be seen as weak (or worse, suspicious) by trigger-happy soldiers and spies.

But hey, at least sex isn’t considered a super taboo topic or activity in Legion society. Got that much going for them. Granted, it’s seen more like a conquest, but at least it’s not seen as a sin. Woohoo? Lets go? Kinda? One step forward two steps back.

- Household Structure

A household in Legion territory for a citizen of average means will likely be similar to any other household in New Vegas (with the addition of slaves in wealthier households). Where things start to get confusing is the aforementioned situation of soldiers being allowed to invade households at will. Psychologically, these soldiers are deprived of a lot of comforts the average citizen may have. There is a decidedly nonzero chance that soldiers can show up like stray cats and keep coming back in the event that a citizen is interesting enough to them. Soldiers sometimes “claim” houses or small patches of territory they frequent as a substitute for the emotional interaction they lack. Humans are social creatures. The soldiers might not know why they want to keep coming back, but they do keep coming back. Parasocial.

Generally, a woman’s domain is the household in Legion territory. While the society is by no means matriarchal, it’s customary for a woman to maintain control over most happenings within a household. This often means a woman will need to interact with stray soldiers more frequently. Among female citizens in Legion territory, these soldiers are called catuli (singular catulus) for their presence and tendencies, though this is always in secret due to the harsh punishment of misrepresenting a soldier’s status to his face. A household can sometimes have up to three catuli claim it before fights start to break out among them about perceived territory.

It is expected for a couple in a household to have children. Cultivating multiple generations of soldiers is part of how The Legion grows most efficiently, because children are impressionable enough to instill Legion values without struggle. If a household does not have a child after several years of partnership, it is considered suspicious and the male of the partnership is encouraged to be unfaithful or open the relationship. While there are no consequences for not having children, there is intense pressure to do so.

- Settlement/Town Structure

As mentioned before, the equivalent of a mayor in each region is called a Vilicus, or an overseer. The Vilicus is responsible for tallying the census, assigning names to media populi, approving the pentimento of media populi, keeping track of production rates of resources from citizens, keeping a lookout for disease outbreak so a region can be quarantined if needed, and monitoring the citizens in each region for minor suspicious activity to report to those higher in status. Each town is also occupied by a heavy military presence, to intimidate citizens into productivity and complacency.

Most of the time, Legion towns are made of the previously conquered settlements now added to Legion territories. Building more houses is an avoidable expenditure if they just repurpose the structures already there with a few modifications. Despite the multiple depictions in-game of Caesar’s Legion showing little to no care about what damage they cause, it would make sense that the depictions in the gameplay are actually the outliers in the situation, since it’s far more efficient to leave the settlements intact and just gut and reconfigure the purpose.

There are also multitudes of mobile scout settlements, mostly made of fabric, tarp, and hide tents that can be easily condensed and moved in the event that the camp is compromised. In many cases, these camps are set up as a base to return to in order to stage an invasion of new territories. If possible, The Legion sets them up close to large landmasses like plateaus or mountains for additional cover in the event of an ambush. If that’s not available, The Legion makes settlements like this close to preexisting towns in order to make the wordless threat of “push us back, and innocents die”. Generally, very few citizens are taken on these excursions, but if the plan is to stay out longer, citizens who are medics may be involuntarily drafted into going with the scout team.

- Clothing, Hair, and Accessories

The Legion isn’t a necessarily materialistic society that allows a lot of room for personal expression. Since the goal is to create a homogenous society and culture, self expression through visual cues is often muted at best and absent at normal. Makeup, perfumes, and hair styling products are prohibited if they have any synthetic qualities or materials. In many cases, beauty products are exclusively reserved for performers, and even still, only natural pigments and materials would be permitted. Think the same pigments Ancient Egyptians would make for their makeup.

Protective updo hairstyles are common for long hair, both for practical purposes and for purposes of keeping hair out of reach and harder to pull. Efficiency is key, so in the event of a raid or a threat, everyone is expected to be able to hold their own to some extent. Part of that standard is remaining on guard, so keeping hair up while out of the house is customary.

In the military, hair is expected to be cut short, again, for efficiency. Any soldiers with long hair are expected to keep it in tight braids or cornrows to maintain the same level of efficiency. As long as it stays out of the face.

Most clothing is dull, salvaged from the wastelands. The only exception is clothing reserved for high ranking officials and Caesar, which is quite literally dyed in blood of enemies. Because blood fades to a blackish-red hue over time, high ranking officials will often appear to be wearing darker colors, when in actuality they’re wearing clothes that were soaked in blood as a symbol of power and debt paid to the gods (namely Mars).

Widows are permitted to wear part of their fallen husband’s bloodsoaked clothes through the mourning process, if The Legion can recover and identity the body. With this in mind, as soon as the widow finds a new husband, the bloodsoaked garment piece is burned.

Slaves are deprived of all aspects of individuality, given rags or scraps to wear and marked with red paint. A citizen may give finer clothes to a slave voluntarily, but those clothes must also be marked with red paint.

Jewelry, while rare, is often made of scrap metal salvaged and re-forged from battlefields or old weapons without any further use. Which is why jewelry is so rare. There is seldom ever an instance in which metal can’t become a weapon, so making jewelry is a waste of time and energy.

- Languages

Basically any language can be spoken in Legion territory as it stands, because as The Legion is currently, it doesn’t have enough power or force to totally instill a whole new language system. With that in mind, the groundwork is being laid for an eventual push to make Latin the official language of Caesar’s Legion. Between the commonly used Latin terminology to address people and the Roman theming of The Legion, it’s primed to eventually enforce Latin as the primary language. Highly educated citizens may be fluent in Latin, and most soldiers know commands and codes in Latin.

III: Industry

- Jobs

There are two types of jobs in The Legion, excluding military and slavery. One can either be a worker or a performer. Medics and nurses are highly valued, both on the battlefield and off, since chemical substances are prohibited in The Legion. Carpenters, metalworkers and blacksmiths, engineers, and tanners are some of the more important standard worker jobs, since all of them play directly into expanding the empire more efficiently, making more weapons and armor, or repurposing old material to make new. Tailors, glassworkers, weavers, technicians, and chemists are less valuable to The Legion to some extent because they either involve industries less geared towards conquest, or involve industries beyond the scope of what The Legion finds socially acceptable. Despite the amount of emphasis Roman polytheism puts on naturalistic sculpture, The Legion actually doesn’t find the arts very useful in the immediate future of the empire. What’s most important is conquest, not expression.

On the topic of the arts, performers were seen in a very poor light in The Legion, often oversexualized into objectification or framed as clowns. Most performance art is often seen as a waste of time or an avoidable expense, but it does keep soldier morale up since it gives them something to target that isn’t their fellow man. Being a performer in The Legion is marginally better than slavery, because one can at least have a house as a performer, but the physical and verbal abuse is often daily and unrelenting.

- Imports and Exports

The Legion is definitely not known for being friendly to neighboring factions, so any concept of import and export is often very loosely based in barter (namely, The Legion demanding tithe to barter for leaving a region alone, similar to how some mafias demand payment in exchange for protection from themselves). The Legion has a semi-steady stream of imports from their commonwealths which they pressure into helping them in trade for leaving their towns unburned and their people free from enslavement. However, this is decidedly not a permanent arrangement. This is a way to bide time to grow the nation a bit more before making moves on settlements and regions with more useful resources.

They export nothing unless it’s a strategic play. They pressure neighboring regions into paying them, even though they honestly don’t need it as much as they want the general population of other factions to think they do. Middle school bully nation.

IV: Politics, Education, and Religion

- What Senate?

The big difference between Rome and The Legion is that The Legion doesn’t try to pretend it’s not a dictatorship. There is no senate, there is no board of people to vote, no forum. The only voice that matters is Caesar’s, and it shows in every aspect of how the society is structured, from the strict rules on self expression, to the patriarchal hierarchy of Legion society. Ultimately, this makes the nation weaker, because in the event of Caesar’s death, it creates a power vacuum. No, I don’t think there’s a secret senate. No, I don’t think there is a solid backup plan. I think the closest thing there was to a senate was the two-man power-team that was Edward Sallow and Joshua Graham. We all know how well that worked out. And I think Caesar’s been running on fumes ever since that point, taking this as a sign to expand the nation faster before anyone sees him bleed. Hubristic in nature.

The closest thing there is to a senate are higher officials (such as Lanius) that Caesar hand-picked from Legion ranks to be his personal cabinet that all agrees with him. There is a distinct instability of power when recreating Rome without a senate, and there is the distinct air of trying to hide that open wound.

- In the Unlikely Event of a Transfer of Power

Let’s say, hypothetically, Caesar, the praetorian guard, and all his higher officials suddenly died. The role of Caesar would be up for grabs. In the event that there is no clear successor to Caesar, there is no real backup plan aside from an arena battle between the generals that could potentially succeed Caesar. A simple solution that will clearly show who can spill the most blood for Mars without hesitation or question.

With this in mind, there is one thing distinctly Roman about the potential of a transfer of power. There is always a nonzero chance that Caesar’s killer, be they foreigner or Legion, could become the next emperor. All that matters is who can devote themself to Mars in a way that would honor the fallen Caesar.

- Common Political Beliefs

Politics and religion go hand in hand for Caesar’s Legion because of the cultish way Caesar built the nation. The idea of Mars being the patron deity of The Legion instills a level of gratuitous and overzealous love of warfare among the people. Military expenditures are met with great support, and very little infrastructure on public service is supported as adamantly because of the instilled value of “we are all independent cogs working in a well oiled machine, we don’t need help”. Then again, it’s not like any other voice mattered anyways, since Caesar is the be all end all of political power.

There is a generally nationwide extremism when it comes to dealing with criminals, however. Criminal activity in The Legion is more often than not punished by torture and death, and nobody seems to really protest it to the degree that other factions do. As many of the travelers and traders in Fallout: New Vegas have said, the roads in Legion territories are incredibly safe. There is a level of patriotism in The Legion specifically regarding how safe their lands are, but in exchange, those lands also have an active military presence.

Conquest is also a pretty intrinsic pillar of Legion political beliefs, since the motivation to create a homogeneous society and usher in a new era of perceived piece may make some people accept the totalitarian power for what it is and hope it pans out right.

- Male vs Female Education Standards

Due to the intrinsic divide between male and female Legion citizens, the education of male and female Legion children is vastly different with the only exception being the uniform brainwashing. Male and female children are not only educated on different topics, they are also educated in different locations.

Similar to Spartan men, most male children (even including orphans from freshly raided towns) are give combat training just about as soon as they can hold a stick and swing it. The male children that show combat proficiency continue to become soldiers, and the male children who aren’t strong, but are intelligent are instead divided into training as either spies or medics, depending on the specifics of their skill sets. Male children who aren’t good at any of that end up becoming armigeri (singular armiger), the people who sharpen weapons and tend to the needs of more proficient soldiers. It’s a social tragedy to become what is essentially a pathetic sidekick to some far better soldier. Thankfully, since most of these children are trained from an incredibly young age to be strong, cunning, fast, and durable, very few people end up becoming armigeri. Generally speaking, no boy in The Legion goes without military training. The Legion can capture their blacksmiths and carpenters, there’s no need to train them in-house.

Female Legion children are not given formal education. They are expected to grow up to be housekeepers and produce the next generation of warlords. However, a family still has the liberty to educate a daughter at home with a tutor so long as it doesn’t interfere with the family’s productivity. Usually, female children are given medical teachings more oriented towards patching the injuries of their future husbands. However, girls aren’t left entirely defenseless. Girls are taught how to use ranged weapons and how to escape grapples in the event of an emergency. In addition, girls are given more of an education on finances and practical skills that tie into long-term survival, such as how to use every part of a killed animal for resources, how to patch clothes, and how to cultivate plants.

A Thank You And Some Concluding Comments

Hello hello to anyone who’s made it this far through my ludicrous ramblings! Thank you for reading! This is really just me throwing nonsense in the air and seeing what floats, and most of what I’ve written here will probably be subject to edits every now and then to keep building up what I’ve already put down.

Feel free to use this lore for any fan fictions, fan art, original characters, or whatever else! Please keep building on it!

I hope y’all enjoyed my insane chattering!