#that tells even more about the western world

[da2supremacy]

Essentially the ethos of a dragon age game has always been something you can roll around in your hands and interrogate. Dragon Age games have never been some great awesome piece of art that belongs in the MoMA or whatever. Honestly, I haven't really enjoyed the gameplay of a single one except Veilguard and the OG devs personal prejudices are glaringly obvious with even just a cursory read. But the World Building is magnificent and the game let's you disagree with it. Some people hate that. It's why they're constantly whinging about the "all sidesism" or whatever. I don't really think the rampant centrism and borderline fascism was present until Inquisition. CAN you be a fascist in 2? Terrible in origins? Sure. But there's a world around you that reacts to that and when you're a truly awful prick there actually are gameplay and story consequences.

The Inquisition is a righteous religious army taking over sovereign lands for the greater good and the only person who ever questions that gets treated like he's gone insane. Yet even Inquisition gives you more opportunity to interrogate the justness of the Inquisition's existence than Veilguard allows you to question the merits of Solas' goals.

Because some of his goals (as stated in Trespasser anyway) DO have merit. While I may not personally agree with the notion of tearing down the Veil it IS a wound that he carved onto the world and he probably is the only person who could get rid of it. Not to mention they've spent 3 games all but telling us that the Veil was falling apart already anyway. If Solas did nothing the reckoning with the fall of the Veil would have to be addressed eventually because it was happening whether he did anything about it or not. Maybe his method actually would have been better than him sitting back and letting the Blights and the blood magic and the all the other things that were weakening the Veil collapse it naturally. We've seen places where that happened and it's always been pretty bad actually.

But the game never lets you sit with that. I am willing to believe that the 10 years and the region shift could have allowed enough events to equalize most world states but in trying not to say anything about Worldstates they straight up didn't engage with ANYTHING that came beforehand at all. John Epler's insane misunderstanding that people sympathizing with Solas is a FEATURE and not a bug, this is the franchise that gave us Meredith and Loghain and Anders, decided that the pathos of the game's supposed main antagonist and final boss could not be mentioned at all???

The game proves that the Chantry is based off of a woman's misinterpretations of visions she could in no way have ever understood (if you squint you can kind of see the shades of both the Evanuris and the Titans in the the story of the Chantry. Add that to the theory that Andraste was an OGB and well...) and the game itself doesn't mention the Maker or the doctrine of the Chantry at all. All sides of the Western Schism were still Catholics. Being in Tevinter does not actually justify why apparently no one is devout to the Chantry.

This game is great but it's a standard hero's journey. Rook grapples with nothing and sacrifices nothing. Even the one mandatory Companion death really isn't Rook's fault. I don't know how Solas ever thought that prison would hold them. I never actually have to think or question anything. I never actually made a difficult decision. You could replace the place names and file Solas off of the narrative and this could be literally any other fantasy title. The things that made Thedas unique are not there.

I am not calling this game poorly written. It's fine for what it is. It's not a WRONG decision to not include things that weren't directly relevant to the game's narrative and all things considered this game only actually got 3 years of real development time. There's probably a lot that got cut. But I do think still centering Solas as the final boss and the preservation of the Veil as the final obstacle to overcome and then not actually engaging with WHY he is really doing what he's doing and WHY that's actually wrong is a bizarre choice. It really does seem like John Epler was scared they couldn't convince the player as to why they needed to not rip it down and so they sidestepped the question entirely.

The thing about Solas in DAtV is that because they were fundamentally unwilling to engage with the question of whether or not the Veil should actually come down (which is a symptom of them refusing to engage with anything remotely 'problematic' in the franchise to date: slavery, elven oppression, treatment of both city elves and Dalish etc.) he goes from a character who is supposed to be the embodiment of wisdom to a character who is kinda stupid. And further, it affects our questions surrounding his motives and relationships, his actions in inquisition and how compelling he is.

Like, there's a lot of people arguing ATM about whether or not a romanced Lavellans relationship with Solas was meaningful/if she knew him compared to how Rook knows him/if he loved her more than Mythal. And I think the answer is very tied up in this particular issue with the writing.

Because if Solas is a revolutionary who believes that the veil must come down, not just to fix a perceived wrong he did, but for the good of elvenkind...if we take a Solas who says 'people are always dying, it's what they do' and realise that he's saying that because PEOPLE DIDNT USED TO DIE and the way their lives are now so short is terrifying to him, if we take a Solas who says that the world today is full of those who seem tranquil to him and take that SERIOUSLY, if we get a Solas who is sickened by the way spirits are yearning for the world the way it was but are stuck in the fade without any contact and that's twisting them into demons and those willing to possess others to taste a glimpse of what was denied to them by HIS actions...

Then we get a Solas whose actions don't just make sense but we can see WHY they make sense. We get a Solas who is, yes, committing an act of horrendous violence by tearing down the veil but is doing so to literally save the world rather than just fix a regret or because he's bound up in Mythal somehow and what she would have wanted for the world.

THAT Solas who leaves Lavellan because of his revolution he must lead, who leaves Lavellan after seeing what this world does to those who are left of the people, that Solas...I think that we could then argue more than the relationships he formed in inquisition were real and he was tragically forced away from them by his own goals. That in some way he is doing this FOR Lavellan.

There should be a sort of semi-horror tint to this world for us through Solas's eyes because we can see a world of tranquil walking around like he does, a world where life is too short, a world of injustice and pain and reasons to go ahead with his plan

But Solas....kinda lacks agency in DAtV. I don't hate the Solas Mythal plot stuff I think it's quite interesting, but mix it with us never considering the merits of what Solas wants to do, of EVERYONE unilaterally deciding it's evil with no real debate or queries, with ZERO elves in the narrative siding with Solas or taking what he has to say seriously...THATS where adding the Solas and Mythal plot rubs me the wrong way. I don't want Solas to need to be released by Mythal before he can let go of his evil plan...I want a Solas who doesn't have an evil plan but instead a complex one. I want the conviction of Anders in Solas; that what he's doing is RIGHT and the ONLY WAY to fix a great injustice. I don't want to redeem Solas or even understand him I want him to CONVINCE me and me BELIEVE him. Otherwise the Solas we see in inquisition is more shallow and the Solas we see in Veilguard through Rook...maybe Rook does know him better than the inquisition did.

[h-sleepingirl]

You Are A Wizard, So Pour Over The Tomes

Hypnosis is magic. It is not just “the closest we can get to magic.” Trance practices in all kinds of forms have served as the basis for mysticism across cultures and human history -- thousands of years. It is not new. It is not western. It did not start with Franz Mesmer or James Braid or Milton Erickson or Wiseguy.

Modern hypnosis stems from a rich human history of fascination and spiritual veneration of the mind’s power. We are practitioners of a comparably new discipline where we can literally change the way that other people experience the world. Their innermost selves are as leverage to us -- putty to us, when we know what we are doing. We can transform others freely. We can give pleasure or pain. We can facilitate experiences that seem to defy reality.

People talk a big game about respecting that power. What they usually mean by that is respecting EACH OTHER. That’s crucial, obviously -- not manipulating, not harming, being a good person.

But what about respecting the discipline itself?

It’s tempting to see what we do as disconnected from the “historical” and “outdated” methods of hypnosis. But we are a part of that history. We are likely hilariously wrong about a lot of things related to trance, hypnosis, the human mind -- what will hypnosis and psychology look like in 100 years? And even as we innovate, we are always building on the techniques and ideas that came before us -- in ways we are often not even aware of. We reinvent; we use ideas from the past unknowingly.

We have a right -- and a responsibility -- to OWN our magic. I am not here to gatekeep and say that this magic is not yours. It IS yours; it’s unequivocally yours. But as a whole we could do more to respect it.

“Any sufficiently advanced technology is indistinguishable from magic.” And hypnosis is not even a technology that we UNDERSTAND. The only real reason we DON’T see ourselves as wizards is because there is a huge motivation to legitimize hypnosis as a scientific discipline -- and non-rationalist perspectives are looked down upon in our culture. I’m not anti-science (maybe a little -- tongue in cheek) but I do think that labeling hypnosis as “just psychology” is dishonest about how much we actually objectively know about it -- and does a disservice to the phenomenon itself.

I’m not saying hypnosis is literally metaphysical. But I am saying we practice something very powerful without knowing its nature. There are secrets we have tried to suss out about this magic through history that we have written down -- past and present. We actually have tomes of knowledge, records of past experiments and modern inventors.

In the last couple of years, I’ve started teaching/facilitating “text studies” -- classes where we sit down with an excerpt from a hypnosis book and parse through it as a collaborative group. I desperately want to show people that there is value in just critically reading the resources available to us. The clinical texts -- especially older ones -- are hard to read, like they are almost in a different language. But it is amazing the insights we have come to by tackling them together.

These old texts are not pure truths -- there is a lot we’ve improved on over time. But we can learn a lot by learning what hypnosis was like historically. The entire discipline of hypnosis is extremely susceptible to change -- it is defined SO MUCH by how we view it culturally. I just recently was amazed at re-reading some Erickson where he talks about making his subjects daydream autonomously -- as a primary mode and result of inducing hypnosis. Contrast that with today, where if someone’s mind wanders for even a moment, they feel like they’ve failed. There’s something really important here -- a technique from 50 years ago that tells us something we’ve lost in modern practice.

And there are countless examples of this, of people losing and reinventing methods over and over. As I’ve watched our kinky niche grow over just the past 13 years, I’ve watched ideas phase in, out, and in again -- there is both growth and regression of our collective body of knowledge. That’s the nature of things, especially when we operate partially disconnected from the resources that are available to us.

We CAN be connected to the rich human history of trying to unravel the secrets about our minds, and about this thing that gives us enormous transformative powers -- powers that we take for granted.

You are a wizard -- so pour over the tomes.

Read a book. Read an article. Set aside some time and view yourself with the respect of being someone who can study and suss out a magical text. Take notes, look up words and concepts you don’t know. Or just absorb what you can on a first pass and go back later. Read a chapter or just master a single page. Romanticize the aesthetic of sitting with the scent of paper, or as the technomancer with words appearing on a screen.

Read. Own this art. And bring that respect of this art to the people you share it with. I promise you can do things with hypnosis that you have never thought possible.

------------------

This is a little motivational piece (for you and me!) as I gear up to teach "Analyzing Erickson" at Charmed. It's something I feel really passionately about, and I wanted to share it.

Permanently linked/free on Patreon.

[whywoulditho]

not saying the holocaust wasn't bad. but i need people to understand that it wasn't the only genocide that happened in the same period of world history. not because i want you to pay less attention to holocaust but because i need you to ask why it's the only one we ever talk about. it wasn't the longest occured massacre of a marginalized group, it wasn't the most gruesome, it wasn't the one with the most casualties, it wasn't the first and it wasn't the last one. i need people to think about why we didn't pay much attention to all the other holocausts after WWII that happened simultaniously and were just as horrible. it says so much about media, the news we are fed, and that our empathy is BOUGHT by the same people that keep funding genocides all over the world.

[supercantaloupe]

saw that stupid "if it sounds like the music is trying to make you go deaf it's beethoven 🤣🤣" post again. i'm totally normal and cool about it and definitely not grinding my teeth or clenching my fist so hard my knuckles turn white. anyway unrelated have you ever heard of the heiligenstadt testament

[things-methinks]

Talking to [leftist/socialist/progressive/whatever] white people as a brown girl is always an experience

[ablednt]

Tumblr giving me zionist adds: Israel under attack!!

Me: good. Attack it harder

[trainsinanime]

I wonder: Do Americans know about american school buses? Not their existence in general, but how they're seen overseas.

Over here, they're one of the symbols of America, on par with the Statue of Liberty, the flag, the Eagle, and well ahead of any chain restaurant you can name. People won't know any US states, but they will know these vehicles.

The thing is, here in Germany, we don't have dedicated school buses. The general idea is that kids go to school on their own. When that's not practical, they're expected to use (and given free tickets for) public transit. Public transit is designed around this requirement; there are many places where there is a bus, and anyone can get on it, but the route and timetable really only makes sense for school children. In case a dedicated school bus is really needed, that's generally subcontracted out, and the lines either use something like a Sprinter Van for smaller routes, or a normal city or interurban bus (often a used one that's a bit older). School trips are normal public transit, or a rented bus, typically a coach or regional bus.

It's not a perfect system, in the past couple of years there's been an epidemic of people bringing their kids to school in their cars instead of letting them walk, which is less than ideal. It is what it is. But building a dedicated network of public transit lines only for students, and building dedicated vehicles only for that, has never occurred to anyone here.

Of course we know about these buses, from movies and such, but they're as foreign here as cacti or pick-up trucks (actually we're seeing more and more of these here) or yellow cabs (all europeans will assume all cabs in the US are yellow until they actually visit).

You do see these buses here at times, because people still generally like the idea of the US, even if they have a lot of issues with a lot of details, and so folks bring them over, along with stretch limos and stuff (also not really a thing here). And of course, if someone goes to all that trouble, they don't do it to haul school kids, they rent it out for city tours or as a party bus or whatever.

So you see these yellow things as a symbol of faraway places, scenic vistas, some vague undefined idea of freedom that doesn't necessarily hold up to any contact with reality, and it's just a huge part of the whole US aesthetic.

And then you go to a student exchange with the US, and you finally get the chance: You yourself get to ride in one of these iconic chrome yellow buses! It looks just like in the movies! You get in, you drive in them a little…

…and you realise they're shit. Just the worst buses in the western world. Terrible suspension. Uncomfortable seats with weirdly high backs (so they don't have to put seatbelts in, they just restrict how far kids can fly in an accident). Everything made out of the cheapest materials. Turns out the reason why the US uses school buses like that instead of normal modern city buses, which the US has, is to save money and because they just hate kids.

And then it hits you why US Americans say "as American as apple pie", a dish that is made and enjoyed literally anywhere in the world, instead of "as American as yellow school buses". Of course the Americans already knew all this. They got tortured by these things forever. It would never occur to them to see this as a symbol of America, it's just a normal part of life for them. It's a symbol of school and school life and sometimes normalcy, and tells us that these actors getting out of it are supposed to be teenagers, nothing more.

But most people in Europe have, of course, never ridden on these buses. So when they see them in movies and TV, that's a giant big yellow signifier that we're not in Hessen or Wallonia or wherever anymore. A symbol of a different world, one that may be at most a once-in-a-lifetime-experience for most people, just like a picture of a tropical beach, Mayan Pyramids, the Great Wall of China, or Hildesheim (there's no reason to go there twice). And I think Americans don't know that, and that's fascinating.

[adragonsfriend]

To expand on a particular point, but slightly to the left, I sometimes see the argument made that “Jedi are partly inspired by Buddhist beliefs, so to criticise Jedi is to critics Buddhism, so critisizing the Jedi is inherently prejudice, so stfu.” None of those things necessarily follow from one another.

(Please note: there are many, many words for how much I love the Jedi and believe they are right about how their world works and how to be good in that world, because I have written both essays and fics about it)

First, the world building of the Jedi involving significant inspiration does not in any way make them representative of Buddhism in the real world. A couple of movies could never contain the depth and breadth of any religion—at most SW attempts to communicate a few principles, with varying success. (Besides which, argument that Buddhism is the sole religious inspiration for SW and the Jedi when everyone or almost everyone involved it their creation grew up in a Christian culture, the main writer explicitly says their thematic opposition is “like the Devil,” and lots of the people involved probably have totally other religions in their lives as well, is frankly foolish)

Second, while a fan-base similarly steeped in a wider Christian and Western culture is certainly likely to be less knowledgable about and quite possibly prejudiced against other understandings of the world, people are allowed to criticise real religions. It should be done with the weight and understanding of what that means—telling millions or sometimes billions of people they are living they lives wrong in some way, and either tacitly or explicitly asking them to change it—but it is not inherently prejudiced to do so. Buddhism, like any other religion, is not some magical mystery thing which is above becoming part of societal or personal strife.

The difference comes in, like OP says, with how well you understand what you are arguing about. For me, criticising my parents Christianity is fairly easy to do with nuance: I used to believe, I went to the services, I read the book, I experienced having a church as a center of community, I’ve seen some good and some bad come of it. I could not say the same if I was critique any other religion, so if I wanted to, I would have to take far more care and do far more research.

There are many arguments about what went on in the SW universe, some of which come down to the ambiguity on interpreting fiction, and some of which come back to real world issues. Some of those arguments are fun, some of them are ones you and I have opinions on, and some of them are dumb; “Jedi are partly inspired by Buddhist beliefs, so to criticise Jedi is to critics Buddhism, so critisizing the Jedi is inherently prejudice, so stfu,” is one of that last group.

There are far more interesting rephrasings of it to explore, including but not limited to:

“I think your view of Star Wars is being limited by growing up in a Christian/other non Buddhist culture.”

“Well if you go and read this text, you’ll see that Buddhism actually says something similar to what Jedi say, but the text has a little more context…”

Or even, “clearly we both know fuck all about Buddhism, so let’s try talking about SW and the Jedi in their own rite, without drawing on real religions to make quippy one liners about how right we are.”

And remember, both-sidesism is always a lie—not just in that two or more “sides” are very rarely equally good—but in the very assumption that any issue of real importance has any inherent “sides” to it at all.

I don't and never will mind posts that criticize the Jedi, their beliefs, etc etc. I myself have pointed out the fact that many other people in the Pro Jedi community do not acknowledge or "allow" others to point out that, yes, the Jedi did have flaws as an organization, and they definitely had some very flawed members. What I do mind is when those posts (and their points) are made with a complete lack of understanding of the material being talked about. You are not building a good argument on the Jedi being wrong about attachments if you do not understand that attachment and love are not the same thing. You can be attached/develop attachment to something you fucking hate. Even then, attachment in the Star Wars universe, as in Buddhism, is defined by feelings of clinging or an inability to let things go/allow change.

You are not building a good argument on the Jedi having a slave army if you are not willing to bring up how they were put into that position, how they themselves dealt with that situation, and make an argument for what they could have done differently that takes the complexities of the entire situation into account. You are not making a good argument about the Jedi being wrong to hold Anakin's fear against him if you cannot and/or will not acknowledge that Star Wars' entire power/magic system is based upon negative emotions and our reactions to them. I could go on and on and on, but I would be beating a dead tauntaun at that point. My point is, approach the media and your arguments in good faith, with clear knowledge on what it is you are talking about, and you'll find people more receptive to hearing you out. That goes for both "sides." Just be good to each other, always.

[jadevine]

Preindustrial travel, and long explanations on why different distances are like that

Update March 1, 2024: Hey there folks, here's yet another update! I reposted Part 2a (the "medieval warhorses" tangent) to my writing blog, and I went down MORE of the horse-knowledge rabbit hole! https://www.tumblr.com/jadevine/741423906984951808/my-post-got-cut-off-so-i-added-the-rest-of-it Update Jan 30, 2024: Hey folks, I've posted the updated version of this post on my blog, so I don't have to keep frantically telling everyone "hey, that's the old version of this post!" https://thebalangay.wordpress.com/2024/01/29/preindustrial-travel-times-part-1/

I should get the posts about army travel times and camp followers reformatted and posted to my blog around the end of the week, so I'll filter through my extremely tangled thread for them.

Part 2 - Preindustrial ARMY travel times: https://www.tumblr.com/jadevine/739342239113871360/now-for-a-key-aspect-that-many-people-often-ask

Part 2a - How realistic warhorses look and act, because the myth of "all knights were mounted on huge clunky draft horses" just refuses to die: https://www.tumblr.com/jadevine/732043691180605440/helpful-things-for-action-writers-to-remember

Part 3 - Additional note about camp followers being regular workers AND sex-workers: https://www.tumblr.com/jadevine/740604203134828544/reblogging-the-time-looped-version-of-my

--

I saw a post on my main blog about how hiking groups need to keep pace with their slowest member, but many hikers mistakenly think that the point of hiking is "get from Point A to Point B as fast as possible" instead of "spending time outdoors in nature with friends," and then they complain that a new/less-experienced/sick/disabled hiker is spoiling their time-frame by constantly needing breaks, or huffing and puffing to catch up.

I run into a related question of "how long does it take to travel from Point A to Point B on horseback?" a lot, as a fantasy writer who wants to be SEMI-realistic; in the Western world at least, our post-industrial minds have largely forgotten what it's like to travel, both on our own feet and in groups.

People ask the new writer, "well, who in your cast is traveling? Is getting to Point B an emergency or not? What time of year is it?", and the newbies often get confused as to why they need so much information for "travel times." Maybe new writers see lists of "preindustrial travel times" like a primitive version of Google Maps, where all you need to do is plug in Point A and Point B.

But see, Google Maps DOES account for traveling delays, like different routes, constructions, accidents, and weather; you as the person will also need to figure in whether you're driving a car versus taking a bus/train, and so you'll need to figure out parking time or waiting time for the bus/train to actually GET THERE.

The difference between us and preindustrial travelers is that 1) we can outsource the calculations now, 2) we often travel for FUN instead of necessity.

The general rule of thumb for preindustrial times is that a healthy and prime-aged adult on foot, or a rider/horse pair of fit and prime-aged adults, can usually make 20-30 miles per day, in fair weather and on good terrain.

Why is this so specific? Because not everyone in preindustrial times was fit, not everyone was healthy, not everyone was between the ages of 20-35ish, and not everyone had nice clear skies and good terrain to travel on.

If you are too far below 18 years old or too far past 40, at best you will need either a slower pace or more frequent breaks to cover the same distance, and at worst you'll cut the travel distance in half to 10 or so miles. Too much walking is VERY BAD on too-young/old knees, and teenagers or very short adults may just have short legs even if they're fine with 8-10 hours of actual walking. Young children may get sick of walking and pitch a fit because THEY'RE TIREDDDDDDDDDD, and then you might need to stay put while they cry it out, or an adult may sigh and haul them over their shoulder (and therefore be weighed down by about 50lbs of Angry Child).

Heavy forests, wetlands and rocky hills/mountains are also going to be a much shorter "distance" per day. For forests or wetlands, you have to account for a lot of villagers going "who's gonna cut down acres of trees for one road? NOT ME," or "who's gonna drain acres of swamp for one road? NOT ME." Mountainous regions have their traveling time eaten by going UP, or finding a safer path that goes AROUND, so by the time you're done slogging through drier patches of wetlands or squeezing through trees, a deceptively short 10-15 miles in rough terrain might take you a whole day to walk instead of the usual half-day.

If you are traveling in freezing winters or during a rainstorm (and this inherently means you HAVE NO CHOICE, because nobody in preindustrial times would travel in bad weather if they could help it), you run the high risk of losing your way and then dying of exposure or slipping and breaking your neck, just a few miles out of the town/village.

Traveling in TOO-HOT weather is just as bad, because pushing yourself too hard and getting dehydrated at noon in the tropics will literally kill you. It's called heat-STROKE, not "heat-PARTY."

And now for the upper range of "traveling on horseback!"

Fully mounted groups can usually make 30-40 miles per day between Point A and Point B, but I find there are two unspoken requirements: "Point B must have enough food for all those people and horses," and "the mounted party DOESN'T need to keep pace with foot soldiers, camp followers, or supply wagons."

This means your mounted party would be traveling to 1) a rendezvous point like an ally's camp or a noble's castle, or 2) a town/city with plenty of inns. Maybe they're not literally going 30-40 miles in one trip, but they're scouting the area for 15-20 miles and then returning to their main group. Perhaps they'd be going to an allied village, but even a relatively small group of 10-20 warhorses will need 10-20 pounds of grain EACH and 20-30 pounds of hay EACH. 100-400 pounds of grain and 200-600 pounds of hay for the horses alone means that you need to stash supplies at the village beforehand, or the village needs to be a very large/prosperous one to have a guaranteed large surplus of food.

A dead sprint of 50-60 miles per day is possible for a preindustrial mounted pair, IF YOU REALLY, REALLY HAVE TO. Moreover, that is for ONE day. Many articles agree that 40 miles per day is already a hard ride, so 50-60 miles is REALLY pushing the envelope on horse and rider limits.

NOTE: While modern-day endurance rides routinely go for 50-100 miles in one day, remember that a preindustrial rider will not have the medical/logistical support that a modern endurance rider and their horse does.

If you say "they went fifty miles in a day" in most preindustrial times, the horse and rider's bodies will get wrecked. Either the person, their horse, or both, risk dying of exhaustion or getting disabled from the strain.

Whether you and your horse are fit enough to handle it and "only" have several days of defenselessness from severe pain/fatigue (and thus rely on family/friends to help you out), or you die as a heroic sacrifice, or you aren't QUITE fit enough and become disabled, or you get flat-out saved by magic or another rider who volunteers to go the other half, going past 40 miles in a day is a "Gondor Calls For Aid" level of emergency.

As a writer, I feel this kind of feat should be placed VERY carefully in a story: Either at the beginning to kick the plot off, at the climax to turn the tide, or at the end.

Preindustrial people were people--some treated their horses as tools/vehicles, and didn't care if they were killed or disabled by pushing them to their limits, but others very much cared for their horses. They needed to keep them in working condition for about 15-20 years, and they would not dream of doing this without a VERY good reason.

—

UPDATE January 13: Several people have gotten curious and looked at maps, to find out how a lot of cities are indeed spread out at a nice distance of 20-30 miles apart! I love getting people interested in my hyperfixations, lol.

But remember that this is the space between CITIES AND TOWNS. There should never be a 20-mile stretch of empty wilderness between City A and Town B, unless your world explains why folks are able to build a city in the middle of nowhere, or if something has specifically gone wrong to wipe out its supporting villages!

Period pieces often portray a shining city rising from a sea of picturesque empty land, without a single grain field or cow pasture in sight, but that city would starve to death very quickly in preindustrial times.

Why? Because as Bret Devereaux mentions in his “Lonely Cities” article (https://acoup.blog/2019/07/12/collections-the-lonely-city-part-i-the-ideal-city/), preindustrial cities and towns must have nearby villages (and even smaller towns, if large and prosperous enough!) to grow their food for them.

The settlements around a city will usually be scattered a few miles apart from each other, usually clustered along the roads to the city gates. Those villages and towns at the halfway point between cities (say 10-15 miles) are going to be essential stops for older/sick folks, merchants with cargo, and large groups like noble’s retinues and army forces.

Preindustrial armies and large noble retinues usually can’t make it far past 10-12 miles per day, as denoted in my addition to this post. (https://www.tumblr.com/jadevine/739342239113871360/now-for-a-key-aspect-that-many-people-often-ask )

[cheyisagirlkisser]

"She Gets the Job Done!"

Cowgirl Ellie x Fem! Reader

Content: Cowgirl Ellie, Fem! country reader, Ellie is western type of cowgirl, reader is southern, badly written accents(guys I am southern but idk how to write a western accent), smut, clit rubbing(r! recieving), scissoring, making out, biting, some implied homophobia, reader is written as a lesbian, modern AU, reader has female anatomy, very loosely based off of Chappell Roan's unreleased song.

Word Count: 2.4k

Resource Credits: Here and Here!

Description: You're a true southern girl who is fed up with these country boys who just can't please you. What you really need is a woman, but that's kind of hard to seek out in a small southern town. When Ellie Williams moves into your town along with Joel Miller, she ends up working at the farm nearby, and you really want her. It's true: only a woman knows how to treat a woman right.

Wow, you really hated living in the south sometimes. You mostly loved the summer heat complimentary with trips to the creek on the weekends. You always loved going to rodeos where you obsessed over the dandies. You loved southern food, the nature, the farms and the small town life.

What you didn't love was the men.

You were always a romantic at heart, reading steamy western novels with a flashlight under your blankets at the age of 14 or writing love letters you'd never send to cowboys in town. However, as you grew up into a woman, you realized you'd slowly started replacing the men with cowgirls. You spent your nights wondering what it'd be like to be actually satisfied in a relationship. You grew up in a traditional-minded town, so you tried to push down those desires. You had a couple boyfriends, but men just weren't it for you. They were too rough, too awkward with you in bed, too greedy. None of them knew how to please a woman, at least not a woman like you. After a while, you gave up on the dream cowgirl you had in mind. The novels became difficult to pick up once you began to believe you'd never get the chance to experience real passion or real pleasure. That was what you'd felt like, at least until Ellie moved into your town.

Ellie Williams wasn't much for the south. She was a western girl at heart, adorned with thick leather boots and messy auburn hair. You'd seen cowgirls before, so that wasn't what surprised you. You just felt a calling to her, you adored her from her freckles that faded out in the sun to her messy hair that had a tint of red when light hit it in the right way. She was strong, that was for sure. Her biceps looked so firm, like they could handle if you sank your teeth down into them. She wasn't an extremely strong-looking girl, but that only enticed you more. Her eyes told a lot about her, said she wasn't looking for anything funny, but you wondered if she was silly under all the bravado.

She moved from the west side of the states with Joel Miller, who wasn't a wealthy man by any means, but grew up in your home town. At first, you couldn't tell if Ellie and Joel were related or not. Joel was more friendly, talked to older folks in town, but Ellie often kept to herself. She'd spend most of her time helping out with the farm next to your father's. It was when you were walking to the farmer's market that you noticed her for the very first time.

Your father was a nice man, well known in town. You were living with him until you had enough money to afford your own small place. He owned a farm and wasn't the most rich man, but he made ends meet. Today was a nice day, which mean he unfortunately encouraged you to walk to the local farmer's market instead of stealing his truck for the errand. Of course, you kept your complaints to yourself. Your dad was a sweet old man, and you should've been thanking him anyways, cause you met the most gorgeous girl the world had to offer.

Poor Ellie was too busy herding in sheep to notice your stare, to even notice you pass the road. It only made you more intrigued, that she was such a hard worker.

After that day, you'd always look out for her presence. You avoided using your dad's truck when you needed to run errands, saying it would be a quick walk. You just liked being able to pass by her as she worked on the farm, get the extra few seconds to admire her. You really felt like a creep, but this was the first time you really felt such adoration for a person. Such attraction.

The first time you spoke to her, she was driving Joel's truck down the dirt road after she had finished up with your neighbor's farm. You at the time were walking, coming home from the market with a bag of peaches for a peach cobbler. Ellie noticed you, and that was really when the two of you clicked.

She was used to pretty girls, the west and south had no shortage of them. However, you were perfection for the cowgirl. You wore a cutesy pair of overalls and a pink t-shirt underneath, and Ellie had a soft spot for feminine girls. She came to a slow stop on the dusty road, putting the transmission in park.

"Hey, you! Need a ride?" She shouted with a smile plastered on her face. Your heart melted. You'd expected her to be more serious or smug, but she seemed almost nervous. It was only making your heart beat faster.

"I only live next to this farm, it's really no problem." You assured, though you really hoped she'd push the matter. Thankfully, she did.

"Really, Joel would kill me if he found out I let you walk home. It's getting late."

You, an utterly hopeless lesbian, couldn't resist. You said fuck it and let her reach over to open the passenger door for you, and your boots reached up into the truck to plop down into the passenger seat. You placed the brown paper bag of peaches in your lap and gave her a quick thanks as she began driving. Small talk felt more like two old friends hitting it off, and you liked her accent. It made you a tad more comfortable.

The two of you grew really close after that day. She'd be in the local rodeos and you looked forward to the sleepovers that came after. A few months of friendship helped you get to know her in a way that you could confidently call her your best friend. You still liked her though, feelings only growing the more the two of you bonded. You noticed that while she was a bit shy, she came out of her shell when she was around people she knew. She was quite sarcastic to Joel, and you loved the way she made fun of you at times. It made your heart flutter, and you imagined she was saying the opposite of whatever insult she had created for you.

Ellie wasn't much like what you'd imagined, and you partially felt bad for the feelings harbored away for her. She was a cowgirl who loved horses, sure. But she shared some private interests with you that shouldn't have made you want her more, but it did. One night, Ellie and you were sitting outside in her cow field, a blanket laid out beneath the two of you. She turned to you with a genuine smile, the warm look that she only gave very few people, and spoke in a quiet voice.

"You know, I've always wanted to go to space."

You turned to face her with slightly raised eyebrows. "Really? You? In Space?" You couldn't help the surprise in your tone.

She laughed softly at your expression. "Yes, dumbass. I used to listen to the first moon landing recording on repeat. Somethin' about it was really magical, ya know?"

You couldn't help but melt a little at her confession. The thought of Ellie being obsessed with astronauts was really endearing. But you couldn't stop the teasing, either.

"Is that why you have those nerdy space comics on your shelf? You told me those were Joel's!"

Ellie scoffed and swatted your arm playfully, but her hand lingered on your skin. "That's a topic for another time. Be grateful I share my secrets with ya."

You felt the warmth of her fingers, the way they softly traced patterns on your bare arm. Right then and there, you suddenly needed to risk it all.

"Ellie...I..I really need to tell you something." You sounded shaky and uncertain, but you needed to get your feelings out, even if it meant facing a possible rejection. This girl was too perfect to let get away.

"Yeah, what's up?" She sounded curious, unaware. That made you feel uneasy.

"I just..well, when I first saw you, I thought of you as a completely different person. And I really liked you. I liked you in a romantic way. I got to know you, though. The thing is, I think I like you even more. And I'm so sorry if you-" You were suddenly cut off when her plush lips met yours.

You were shocked, but quickly kissed her back, hands grasping at her everywhere, pulling her to lay on her side so you could tangle your legs with hers. It felt so nice to be kissing her. She tasted like fruit and smelled even better, and her tongue felt hypnotizing against yours. It made you crave much more.

Soon, you were rolled onto your back so the cowgirl could lay on top of you. Her hands were trailing from your sides to your stomach, her hand pausing above your shirt, her eyes meeting yours to search for any hesitation. When you nodded, her hands slid up your shirt to massage your tits through the fabric of your cotton bra. You let out a quiet whine, the feeling of her weight pressed on your body, and she leaned in to press her lips against your neck. In response, you tilted your head back, desperately craving more of her. You could feel the shakiness of her breath, and it reminded you that she was just as nervous as you were.

"Do you wanna keep going?" She asked, and you really noticed how different her tone was from when she was usually speaking to people. One of her hands trailed down the button of your jeans, and she didn't continue until you nodded.

Her hand quickly unzipped your jeans, her eyes meeting yours. She thought you were just too beautiful, looking up at her with wide eyes. She adored you. Her fingers slipped into your panties, and she let out a little "fuck" when she felt the damp patch in your panties. You laughed with a tinge of embarrassment.

"Please, Ellie." You sounded so desperate, Ellie quickly leaned up to plant a kiss on your lips. This one was much more confident, more sloppy and hungry than the first. She took your tongue into her mouth, giving it a hard suck which made you buck up into her hand, trying to get her to just fuck you.

"Patience, mkay?" She said softly as she pulled away, a shaky exhale leaving her mouth at the sight of the string of saliva the kiss had pulled from the two of you.

You nodded even though you weren't the most patient person. Ellie kept you at bay by rubbing at your clit with the pad of her finger, swirling moisture around the soft bud. You made one of the most heavenly sounds Ellie had ever heard, your eyes fluttering shut as she touched you. For the first time, someone actually focused on you. She struggled to pull your shirt off with just hand but you helped her out and soon, your bra was quickly unclasped. Ellie continued to rub at your clit as much as she could through your jeans, but she eventually gave up and pulled her hand out of your jeans, eliciting a cute whine from you.

"Off, please?" She requested, her voice so sweet and yet so demanding. Now that she knew you wanted her, she wasn't playing around. You nodded eagerly and lifted your hips as much as possible to pull your jeans and panties over your hips. Soon, you were left naked on the blanket. Ellie sat up to strip off her own clothes and you admired the sight.

Something about watching the girl strip, her pale skin coming into view in contrast to the stars above the two of you, it was perfection. Her body was slim and she was lean but had muscle on her. There they were, those perfect biceps..you couldn't help but sit up with her to plant kisses on them which soon turned into hungry little bites.

She let out a shaky laugh at your biting and joked with you, even in the heat of the moment. "You're gonna take a bite outta my arm, jesus."

You ignored her teasing and instead moved your lips to her pointy tits, smiling slightly as she shuddered. You found her weak spots. You dragged your tongue over both of her tits, feeling her nipples harden against your touch. She was getting impatient now. She pulled you closer so you were sitting with your legs tangled together, moving to slot herself between your legs. You let out countless desperate pleas as her wet cunt came into contact with yours.

You couldn't help but buck your hips into her no matter how much she tried to stabilize you, both of your moans filling the field. Her cunt was so wet against yours and you could feel her clit and lips both rub up and down all over your own clit. The stimulation felt so good but it had you desperate in ways your body knew, your whines getting louder when Ellie would lean in for wet, lazy kisses and trail her lips all over your neck, hands snaking around to squeeze your ass.

"Fuck, Els. Please, I'm gonna cum..I want you, please.." You pleaded with her, your orgasm building up inside you. This would be the first time you actually came from another person's actions.

"Cum with me, mkay? Cmon baby, you can cum for me.."

You'd never heard Ellie speak so filthy before. Sure, she had a sailor's mouth. She'd swear and curse even on her death bed. But just hearing her beg you to cum, it really sent sparks down into your pussy.

You frantically ground against her pussy, words coming out probably incoherent to Ellie's ears. "Fuck, I'm cummin', I love you Els.."

Your orgasm hit you like fireworks, all of the butterflies you'd felt for Ellie over the months released into intense bliss. She came with you, your juices mixing together, wetness coating both of your thighs.

The two of you spent the next few minutes catching your breaths, a comfortable silence exchanged. You were collapsed against her, arms around her as she held you close. She was so warm, and it was now a comfort more than a turn-on.

Soon, she spoke up in a soft, quiet murmur just for you.

"I love you too, by the way.."

[fairuzfan]

The thing with news sources and deciding what's trustworthy and what's not is that when you see criticism of Aljazeera (which to be clear is not a great news source about anything other than Palestine) is that they completely neglect to mention that each regional section of Al-Jazeera has different people in charge of it, different contributors, different sources.

By all means, analyze your sources and understand what information you're getting but to say outright that ALL of what AlJazeera reports EVER is wrong is inherently meant to discredit Palestinian journalists in a way that no other journalist who is not Palestinian and NOT directly experiencing the war in Gaza has been discredited. Surprisingly (not really but), a lot of Palestinians in Gaza are employed by AlJazeera because it's difficult for them to find employment elsewhere.

And again, I do not love AlJazeera. I think they do plenty of faulty journalism and reporting and I actively avoid them for most news sources. But RIGHT NOW with everything going on in Gaza, they're probably one of the most trustworthy ones because of their first hand accounts and willingness to publish Palestinian voices, which many, MANY news stations refuse to do. I especially encourage the Arabic version of AlJazeera!

Like Haartz has like... 4 Palestinians on their editorial team max, and they have EVEN LESS people on the ground in Gaza whereas we have dozens of reporters from Gaza on Al-Jazeera, many of which have died. The way to fact check your news is you find how many times they link factual evidence (like videos of experiences, primary accounts, primary quotes) and compare it with circumstance of publishing.

Here are some ways to fact check and questions to ask, even when looking at Al Jazeera:

Is this a first hand account? If not, does it name a person who experienced this first hand?

If they cite/name a person who experienced it first hand, are they a trustworthy person? What are their ties to the situation? Why would they report this, have they reported situations like this in the past?

What would the person reporting gain from reporting this? A Palestinian with an Instagram post about their life in Gaza has much less to gain than an Israeli soldier publishing their experience in Gaza, for example.

In the first hand account, are there actions or evidence that is corroborated? IE: There was a video of an Israeli soldier abducting a blonde Palestinian, and there was a Human Rights Org that reported child abductions from evidence gather by an on the ground reporter. There is less of a chance that this is false, therefore.

If you don't see other news sources reporting this (ie, you don't see CNN/NYT/BBC/Fox/any other western-led media outlet) then ask: Why would they not report it? Does that mean it's false? Maybe not. Many Euro-american sources spend MONTHS before they talk about an issue (think: Washington post article "questioning" the evidence of Hamas in Al-Shifaa hospital more than a month after the raid happened)

Defining "Trustworthy":

What is their history on reporting events? Are they someone who is well known in whatever community they represent?

Think: Ghassan Abu-Sitta, a world renowned doctor. When he reports something with his name attached, he is putting his entire reputation on the line. Therefore, it is more likely he is telling the truth.

Are they someone who has any real, structural power over the situation? Maha Hussaini, for example, cannot change her circumstances because a ceasefire relies on other people separate from her, a journalist. Therefore, she has less of a reason to lie about things happening to her.

For the news source: what are their ties to the situation? CNN, for example, has stated they have their content reviewed by the IDF. Wael Al-Dahdouh, before he was evacuated, was providing first hand accounts of situation, meaning its difficult for him to fake anything or misrepresent.

What else has this person/news source reported? What are their political leanings — not just left/right, but what are their general stances on a variety of issues?

How many people who are part of the community impacted are part of reporting on this (IE: How many Palestinian POVs are shared, how many Israeli POVs are shared, what are the POVs of the people shared in general?).

Can someone I personally trust vouch for this person? If not, can I ask someone I trust to look over this person/agency and tell me their opinion?

There's for sure more I'm forgetting but these are some ways I personally check my facts and information as a quick rundown. And I see this issue of not knowing how to fact check happen ALL OVER the place, on both sides. So I really, highly encourage everyone to engage with sources more honestly!

You'll make mistakes, everyone does! I do as well! But try to be vigilant about these things so we can ensure that we're spreading accurate information and try to correct information when possible! There's no 100% unbiased source so I encourage you to compare/contrast information and your understandings of the world to fully comprehend the situation!

Please use these questions when checking ANY news source, even Al-Jazeera!

[inkskinned]

hello. you left a neon pink post-it with pgs 194-359 due 9/12 in the book, by the way. it is now May 23rd and the library's printer is running out of ink. it jammed and tore my passport application. one of the librarians dutifully blacked out all my information (front and back!) before proceeding to use every unmarred inch as scrap paper.

i think maybe our (plural, inclusive) lives are connected. all of them. i have been thinking a lot about borrowing. about how people move through the world in waves, filling in the same spaces. i have probably stood on the same subway platform as you. we held the same book. all of us stand in the same line at the grocery, at the gas station. how many feet have stood washing dishes in my kitchen?

i hope you are doing well. the pen you used was a nice red, maybe a glitter pen? you have loopy, curling handwriting. i sometimes wonder if it is true that you can tell a personality by the shape of our letters. i'm borrowing my brother's car. he's got scrangly engineer handwriting (you know the one). it's a yellow-orange ford mustang boss. when i got out of the building, some kids were posing with it for a selfie. i felt a little bird grow in me and had to pause and pretend to be busy with my phone to give them more time for their laughing.

i have a habit of asking people what's the last good book you read? the librarian's handwriting on the back of my smeared-and-chewed passport application says the glass house in small undercase. i usually go for fantasy/sci fi, but she was glowing when she suggested it. i found your post-it on page 26, so i really hope you didn't have to read up to 359 in that particular book. i hope you're like me and just have a weird "random piece of trash" "bookmark" that somehow makes it through like, 58 books.

i wish the concept of soul mates was bigger. i wish it was about how my soul and your soul are reading the same work. how i actually put down that book at the same time you did - page 26 was like, all exposition. i wish we were soul mates with every person on the same train. how magical to exist and borrow the same space together. i like the idea that somewhere, someone is using the shirts i donated. i like the idea that every time i see a nice view and say oh gosh look at the view, you (plural, inclusive) said that too.

the kids hollered when i beeped the car. oh dude you set off the alarm, oh shit is she - dude that's her car!! one was extremely polite. "i like your car, Miss. i'm sorry we touched it." i said i wasn't busy, finish up the pictures. i folded your post-it into a paper crane while i waited. i thought about how my brother's a kind person but his handwriting looks angry. i thought about how for an entire year i drove someone to work every day - and i didn't even think to ask for gas money. my handwriting is straight capital letters.

i thought about how i can make a paper crane because i was taught by someone who was taught by someone else.

the kids asked me to rev the engine and you know i did. the way they reacted? you would have thought i brought the sun from the sky and poured it into a waterglass. i went home smiling about it. i later gave your post it-turned-bird to a tiny child on the bus. she put it in her mouth immediately.

how easy, standing in your shadow, casting my own. how our hands pass over each other in the same minor folds. i wonder how many of the same books you and i have read. i wonder how many people have the same favorite six songs or have been in the same restaurant or have attended the same movie premier. the other day i mentioned the Book Mill from a small town in western massachusetts - a lot of people knew of it. i wonder if i've ever passed you - and didn't even notice it.

i hope whatever i leave behind makes you happy. i hope my hands only leave gentle prints. i hope you and i get the same feeling when the sun comes out. soulmates across all of it.

[psychoticallytrans]

There's this idea, fairly common in society, that mental illness is for teens and up. Children are happy little creatures, generally, right? Sometimes they're abused and the trauma can make them mentally ill, but that's not common.

There are two fundamental problems with this attitude. One, it's incorrect to assume that trauma is the only reason a young kid can be mentally ill. Two, trauma is more common than people think. I'll be covering the first problem in this post through the lens of my particular experience.

Where I live, you can be diagnosed with bipolar disorder at 18 years old. You cannot be diagnosed with bipolar disorder as a minor. This poses a problem because my age of onset was in first grade, roughly six years old. Because of the fact that I was very young and new to the world, this was also the age of my first suicide attempt. Thinking I wouldn't be able to pass a spelling test genuinely felt like something worth trying to die over. So, I ate some hemlock, since I'd read about Socrates being killed with it. Luckily, I ate western hemlock, an unrelated species, and just felt kind of sick.

I'm not recounting that for fun or pity. I'm recounting it because children with mental illness are in genuine danger because they have little to no experience with managing their emotions, have little to no concept of the idea that their life can change and improve, and are dismissed by adults. I told a teacher that the test made me want to die, though not that I'd attempted to, and it was brushed off as little kid hyperbole. If I had used a method that was effective rather than one I thought would be, I would have been dead at six years old.

I would not receive medication that worked even a bit for another two years. I would not receive treatment for bipolar disorder specifically for ten years, and that required my PCP fudging the reason for the medication because she was afraid I would die if she didn't, and diagnosis was still two years off at minimum. I received a formal diagnosis at age 19, thirteen years after onset.

But surely that's uncommon, right? This story is a huge edge case, right? I actually have no idea, because age of onset and age of diagnosis are massively conflated for most disabilities. Policies like the one in my area that restricted bipolar diagnoses by age can artificially raise the age of "onset", in my case by thirteen years. The general idea that children are somehow immune to mental illness can also delay diagnosis by several years, perpetuating the idea that young children can't be mentally ill. The data on when people start experiencing mental illness is inherently skewed upwards, and I frankly don't have a good estimate on how bad that skew is. If anyone does have that data, please chime in.

Listen to children. If they're saying they're sad all the time, that they don't care about anything, that they don't see a future for themselves, those are signs of depressive symptoms. If they say that tests make them feel sick, that they can't do anything because they're scared, that they can't breathe and freeze up, those are signs of anxious symptoms. Many children talk about imaginary things, and that's just fine, but slip in a question or two about them to make sure that the kid is just playing, and not experiencing psychosis.

Children are new to the world and vulnerable, and they don't know what's normal and what isn't. They need people who are more experienced watching out for problems they might be having, and listening when they talk about having problems. If you can, try to be the person who perceives them, and tells them that things can be better.

[yandere-wishes]

⭒ㅤׂ ɪ ᴍɪɢʜᴛ ᴊᴜꜱᴛ ʙᴇ ɪɴ ʟᴏᴠᴇㅤׂ ⭒

⭒ㅤ𓈒 Yandere!WuWa! Men x Reader 𓈒 ⭒

゜⌒ヽ❥ Dark Romance

°•❃•°

꒷꒦꒷Scar | 伤痕

Your fear tastes like nectar, thick and sweet, and sacrilegious. Scar gulps down your apprehension in starving strides. Cradling the burn between his teeth, savoring the sensation of the embers coiling and seething inside his veins. You're too perfect, thrashing underneath him, caged and defiant his little lost lamb. trying to flee, begging for freedom like a fever dream high. He licks your iridescent tears with zealous maniacal jubilation. Relishing in the soft warm flesh of your cheek marinated in your woe. He wants to taste them every day, force them from your pretty petrified eyes with scorching kisses and touches that shatter your very bones.

Scar's talons etch jagged filigrees across your body engraving terrors and torments all parodying "I love you". But he can't love, not really, love is too gentle too vain, he needs to consume, to feel the reverberations trapped between your bones. Scar's kisses burn wakes down your spine, slipping between the vertebras. Hollowing out your essence piece by piece, his hunger knows no bonds, refusing to dwindle until he's bled every delicious part of you dry. Until he feels your heart between his teeth.

˚✶˚Jiyan | 忌炎

You trace his markings, nails gliding gingerly through the jagged crystals of his tacet mark. He kisses the hollow of your palm, basking in the sweet giggle you gift him. You're his precious treasure, a sweet gem imported from the silk roads themselves. He'd do anything to keep you safe binding your soul to his tattered one. Jiyan is the Qingloong that everyone looks up to, the indestructible pillar of Jinzhou. And yet a simple smile from you is all it takes to shatter his illusion of strength.

Between patients, his mother would sometimes grace him with fables about Dragons, not Loong, not the creature their nation worshiped but Dragons monsters from the western nations. She'd tell him How they hoarded exotic treasures from all corners of the world. Growing powerful in the light of other's envy. They did anything to protect their gold coins and pearl necklaces, kill, and maim in the name of obsession. Back then he'd found such creatures disgusting, dubbed it blasphemy to even mention them in the same breath as the deific Loong. Now he thinks he's more dragon than Loong. Hoarding you away keeping you only to himself. Promising to maul any who try to rob him of your sweet kisses and angelic laughter.

𒆜Calcharo | 卡卡罗

You come prepackaged with a soft smile and a docile heart. Calcharo thinks it's all from the privilege of having lived a satisfactory life. Cherished, overfed, protected. All the things stripped of him so young. He shouldn't be jealous though, after all, he has the complacency to thank for turning his darling into such an ideal doll. Jejune and helpless, shivering under his cold touch. He harbors you between his thighs, enjoying the way your pearl-kissed dress pools on the floor. An ivory testament to the innocence he so craves. Calcharo's calloused fingers entrap the hollow of your hips pulling you harshly against him, he can't get enough of you. His lips kiss the dip of your neck nose bumping the back of your ear. Enraptured by the floral scent of your perfume.

You tried to run again today, flee when he'd been out escorting a merchant across the desert terrain. His men had caught you, binded you all pretty and left you in his chamber. He flashes you a crooked smile upon entry. Watching as you struggle and glare knowing damn well it won't change a thing. "Really little rabbit? I thought we had ceased playing such foolish games." He grasps your chin pulling you closer, your knees slide across the wooden floor scuffing from the friction. His cold lips trace your own as he whispers degradations laced with romance. Calcharo leans down for the kill, a lethal crushing kiss. Trapping your lips and engulfing your essence. Laughing when you're foolish enough to return the favor. You shiver and moan and it takes every bit of willpower not to devour you right then and there.

☄Mortefi | 莫特斐

The universe reverberates to a familiar tune when he first sees you. Singing a melody he swears he's heard each night when he lays his wry head to rest. What kind of creature are you? A cacophony of starsongs and golden echoes. He longs to touch you, to permit his flames to traverse your body searing you until you shine with the purity you all so deserve. He loses himself in the melody of your voice, the lost tune of a fading nova. Something too ethereal to be of this crude world.

Mortefi fancies himself a scientist and takes utmost pride in the way his mind curves around a problem. Floating through the riddles seeking answers in the dark. He can fix anything, create anything. And yet you stand before him defiant of his understanding. Mortefi grabs you by the collar, cradling a rogue sun within his palms, kissing its rays trying to grasp comprehension between his teeth and swallow it whole. It doesn't work by the end of the kiss you are still an anomaly and he is still a scientist wearing the heart as some hapless love-struck schoolboy. The need to understand you grows claws tearing at his mind, desperation pierces his throat whenever he catches a mere glimpse of you. He needs to understand, to tear you open and choke your secrets.

҉　Aalto | 秋水

Aalto's fingers weave through your hair, silk traversing through bone and flesh, flowing free in the aero he produces subconsciously. He cradles you delicately in his arms, trying his best to ignore the sour frown etched upon your face. He creates fables, spinning stories out of silk and air trying to win your interest with tales of stray sheep and fallen stars. Of lost treasures on the jade road and little girls with fire flowing through their veins. Your frown doesn't falter.

He kisses you again, and again and again. Trying to pry out adoration and devotion from between your bones. He struggles, whining about detesting and freedom. It sounds so trivial especially when he can give you everything your heart desires. He can't let you go, not when his very essence aches to feel you between his arms. Aalto wonders what stories he must make to erase that blood-curdling frown of yours. What information does he need to lay out your feet for you to grace his lips with your own? A lover's kiss, not whatever this is. I love you he whispers, he doubts you even care.

Let me know what you think. Should I do yandere Jiyan x reader x Yandere Calcharo next? ~💜

[communistkenobi]

but seriously though you people are fucking demons harassing Palestinians and other SWANA bloggers on here for just stating that they hate the US and have directly experienced how utterly identical both parties are when it comes to terrorising and destroying non-white non-western countries, you come in condescending to them about how uniquely special and complex the US election system is, how uniquely deprived and helpless you are. “but still the other guy is still worse” “what are we supposed to do if not vote” is such a profoundly vile & self centred response to someone raging at the genocide of their neighbours, friends and family. they don’t even have to mention elections, you’ll just bring it up anyway because you fully believe you’re the main character of the world and that, simultaneously, your elections both mean nothing and are also existentially important every four years. people telling you to kill yourselves, to fuck off, calling you an idiot, is the least you deserve. I hope you know that every time you talk like that, there are thousands of people rolling their eyes at you because you are so deeply unaware of how infantile and uninformed you sound that you genuinely believe you of all people are saying something remotely unique, insightful, or “nuanced.” your opinion is the common denominator of the west, it is the single least original thing to ever come out of a human being’s mouth in all of world history. you may as well be a Bethesda npc reciting your one of three pre-programmed lines, made more comical by the fact that unlike a video game character, you actually have the choice to keep your mouth shut, and yet at every opportunity you make the decision to grace the world with the trillionth iteration of “I… I don’t think you understand how fucked the US voting system is…”

[horse-girl-anthy]

Revolutionary Girl Utena: Gender in Context

beneath the cut, I discuss the RGU's portrayal of gender in the context of 1990s Japan.

in Ikuhara's interview with Mari Kotani, he stated that in traditional Japanese society, "prince" meant "patriarch." the same is true in Western societies--there was a time when a prince would be an heir to a royal line. by 1997, this meaning had died out of large parts of the world. even the association between princes and traditional masculinity was fading. Saionji, the weakest, most pathetic man in the show, is a parody of historical Japanese masculinity, with his kendo and his blatantly regressive beliefs about women.

in RGU, prince may still mean patriarch, but in a far more subtle fashion. Ikuhara and Kotani discussed the changing expectations for men in the latter half of the 20th century--it became gauche to fight over a woman with one's brawn, so instead, power struggles were played out in the arena of looks and sex appeal. one can see this reflected in the character Akio, whose power as a prince arises from his ability to turn "easy sensual pleasure based on dependency" "into a selling point with which to control people."

Akio has his moments of showboating masculinity, but when preying on Utena, he operates by making himself seem non-threatening and soft.

not only that, but he purports to want to allow students to express their individuality and thus approves of Utena's masculine form of dress. this is a front--by the end of the show, he's telling Utena that girls shouldn't wield swords. thus, through Akio's character, the show argues that traditionalist patriarchy in Japan isn't gone, but instead has only been papered over with false progressivism.

with all that said, there seems to be more to the character. he's taken the family name of his fiance, Kanae, and whatever material power he has in the school is dependent upon her family. in Japanese society, this is considered a humiliating position to be in, something that only a shameless man would do. the show never gives the audience any insight into how Akio feels about this--is he unbothered entirely, or are his actions against the Ohtori family an expression of his repressed anger? does he harm the children under his care to compensate for his humiliation?

this aspect of Akio's character may seem irrelevant in light of the larger, immaterial social forces at work in the show. however, I would argue that it was included for a reason. Akio, despite his status as ultimate patriarch of Ohtori, is in fact a highly emasculated character, to the point where lead writer Enokido even said that he is driven by an infantile mother complex.

to explain why Akio was portrayed this way, we have to discuss Japanese history. the nation suffered a major defeat in WWII and was forced to accept whatever terms the United States laid out for it. for an examination of how the Japanese have never truly processed those events and have plunged into modernity with reckless abandon, I recommend Satoshi Kon's Paranoia Agent. to sum it up briefly, in a very short period, the nation regained its economic footing, and by the 1980s had the largest gross national product in the world. this economic boom may have allowed Japan to maintain a sense of sovereignty, dignity, and power, but it was inherently fragile.

the infamous "bubble economy" lasted from 1986 to 1991. during this time, anything seemed possible; financial struggles appeared to be a thing of the past, and capitalist excess reached new heights. the ghosts of this period can be felt across Japanese media; for instance, think of the final shot of Grave of the Fireflies (1998), where the two dead children look down on Kobe, glowing an eerie green to imply its impermanence. the abandoned theme park from Spirited Away (2001) is explicitly referred to as a leftover from the previous century, when many attractions were built and then tossed aside in a few short years.

the bubble popped in 1992, leaving an entire generation feeling cheated. the bright futures they'd been promised, which had actually materialized for their parents and older siblings, had been lost to them overnight. economic crises are often accompanied by gender panics. to quote from Masculinities in Japan, "The recession brought with itself worsening employment conditions, undermining the system of lifelong employment and men’s status of breadwinners in general. The unemployment rate was rising, and although it never reached crisis levels, men could no longer feel safe in their salaryman status. Their situation was further complicated by the rising number of (married) women entering the workforce."

with this in mind, Akio's character can be taken as a representation of masculinity in crisis in 90s Japan. he's forced to rely on women for his position in life and has failed to save his only relative, Anthy. he tries to escape his misery through hedonism, perhaps an allegorical representation of how men tried to maintain their old standard of living after the economic bubble burst.

but of course, Akio is not the main character of RGU--the story is about girls. mangaka Yamada Reiji discussed the series in the context of the 90s, stating the following:

while I opened this essay by discussing the prince, the same points could be made about the princess. despite the increasing irrelevance of royalty, princess is still an important concept. how does it relate to the socioeconomic landscape of the 90s?

in Yamada's view, RGU is full of relics of the 80s; for instance, the figure of the ojou-sama, an entitled young woman who never lifts a finger for herself. during the economic bubble, it was increasingly common for women to be entirely taken care of by the men in their lives. Yamada names Nanami as a clear ojou-sama type character: she weaponizes her femininity, demanding to be rescued, doted on, and served.

however, by 1997, the ojou-sama could no longer expect to get what she wanted. from the 80s to the 90s, the percentage of women in the workforce increased around 15%; it was no longer viable for most women to be "kept" by their families. as the men experienced the humiliation of not being able to provide for their wives and children, women were undergoing a disillusionment of their own.

Yamada blames Disney for creating the ideological structure which led women astray. obviously, the company is known for its films about princes rescuing princesses. in Yamada's recounting, during the 80s, the company was infiltrating Japan through its theme parks as well; across the country, Disneylands were opening up, and people were buying into the escapism the corporation offered. Japan, as America, became a country of eternal children. its people were waiting for a prince to appear and save them.

but fairy tales can't stave off reality forever. Yamada claims that RGU embodies the rage of young women who woke up one day and realized that they had been raised on a lie. this anger pervades the work from beginning to end.

though RGU was created in a particular social context, its lessons can be extrapolated to any time and place. as the first ending tells us:

I hope this essay helped provide more context for the series. thanks for reading!