#these are also discussed in the resources linked above

[sysmedsaresexist]

Alright, friends, it'sssss

SHITSTORY (SHIT HISTORY) WITH 🌟 SAS 🌟

Before we get into it, I've checked in with OP, and we're going to have a nice, respectful conversation, I don't want anyone sending any crap to OP, from here on out it's sources and discussion, not argument

This post may be a bit jumbled, but I hope it's largely clear

The vast majority of this information has been archived on @pluraldeepdive, we thank them for their service 🙏

So, I think a timeline might be best

Many Voices was a newsletter for pwMPD. It was started in 1989 and you can read all of it!

In 1991, alt.sexual.abuse.recovery was created, and hosted a very large community of CDD systems. In 1994, this usenet group became ASARian incorporated, and it would become host to peer support, web hosting, unix shell accounts, and DID/MPD resources.

Also in 1994, alt.support.dissociation, would go on to become the longest running group for people with dissociative disorders. It's still active today!

I bring these three up because of another post I saw.

1995 is when we start running into problems.

Astraea's web would be the first website to discuss non-disordered plurality. Go and search everything you can, use every search term you can think of, check every archive you can access. I assure you.

It starts with Astraea.

(This conversation does not and will not touch on spiritual and religious plurality as used in the DSM, that's a different conversation that I'm happy to have, but exists outside of the history of endogenic and non-disordered plurality, up until much more recently when it was twisted to infer proof of endogenic plurality (it's not))

Astraea would go on to coin "natural multiplicity" around 1996. They theorized that multiple personalities were not a disorder and occurred spontaneously instead of developing from trauma and dissociation [x] [x]

Astraea was, and still is, one of the biggest names in syscourse. They started the movement and maintained it. What's important at this point in time is specifically what they're saying to and about CDD systems. At first glance, it sounds good, but when you actually look into their sources, when you put it all together, it paints a picture of extreme ableism and saneism. It showcases highly dangerous ideals that has harmed many, and will continue to do so. There are highly credible claims of plagiarism, misattribution, and a strong anti-psychiatry bias on Astraea's Web.

@pluraldeepdive the above link is broken, any chance you can get one that works?

Thank you!! Working link

This is the start of the endogenic community (see 2014, when natural multiple is replaced with endogenic because "natural" implied, often directly by those using the term, that CDD systems were unnatural). The name changed, but the ideas did not. These ideals are ingrained in pro/endo talking points, to the point that many of the plurals I've spoken to don't even realize that what they said hurts.

Natural multiplicity wasn't just about non-disordered plurality, it was actively anti-DID.

Astraea and the natural multiples would go on to boycott the diagnosis and take steps to try to remove it from the DSM. Keep reading, we'll get there.

In 1997, natural multiplicity would morph into a monster. Out of the natural multiplicity movement would spawn the "empowered multiples."

Empowered multiples put a huge focus on functionality and were separate from, what they called, 'survivor multiples'.

Tumblr doesn't like when I try to edit paragraphs with links, so here's dark personalities. It's gross. You won't enjoy.

I'm trying to pick some choice quotes, but they all kind of suck, and I can't quote the whole thing, so... this, I suppose.

However, if you were to meet [an empowered multiple] in real time, you probably would not even realize [they] were a multiple because most people expect multiples to be either psychos or sniffling babies who can't handle anything.

They have a very low view of people who find use in the medical model and therapy.

In 1999, MultiGardens formed, but it was short-lived. Shortly after, the person who originally coined empowered multiplicity would make a statement that it was never meant to exclude survivors and they hadn't meant to cause so much conflict. Despite saying that, they continued to bash survivors and those who wanted fusion and therapy.

In the early 2000s, things take a sharp turn for the worse. The push to separate plurality from CDDs starts with Astraea. This is the article you linked, and we've barely started. We still have 20 years to go.

I highly suggest you give this post a read about Dr. Allison and the way Astraea presents the article.

It's at this point that natural multiplicity becomes a "movement." The purpose of this movement was to establish that plural experiences were not pathological. Participants in this movement often insisted that childhood trauma or abuse could not cause plurality or multiplicity.

Even today, the plural association continues to push that pwCDDs are just looking for someone to blame for something they already had (that they were multiple prior to abuse and would have been multiple without it-- with heavy implication that we're simply broken versions of endogenic systems that hate ourselves because we're pluralphobic. No really. That's the entire article.).

The problem is that those in the movement adopted the DID diagnosis despite acknowledging that it wasn't what they were experiencing (or could it be that plurality and CDDs are two different things?), and rather than talk about it, they just took to boycotting the diagnosis as a whole.

And they thought that the medical terminology was dehumanizing and derogatory, and rather than create new words, they just continued to encourage everyone to boycott the diagnosis as a whole.

I'm just going to quote PDD directly here.

Psychotherapy for DID was also denounced despite many participants never receiving such treatment. For example, the Astraea group had stated they were not diagnosed and had never been to therapy at the time [4:"Is it possible to know or discover that you are a multiple without ever having been diagnosed by a professional?" section]. Yet, on an essay encouraging the boycott of diagnostic labels, Astraea claimed that "[a]s a diagnosis, MPD/DID does not help multiples in the long run. Doctors and insurance companies make $$$ off us but are WE helped?" [3:"Removing Diagnostic Labels" section].

Discourse and REAL political activism to remove DID from the DSM continued for the next TEN YEARS. I highly suggest this post and this one for seeing what Astraea was up to, with screenshots and direct links.

Ah, fuck, this one, too.

We haven't talked about the misinformation yet. I don't know that I can cover all of it. It would take an entire blog-- oh. Pluraldeepdive exists!

None of this even touches on Lancers or Pavillion-- the cruelest of the entire natural and empowered multiples.

Wait, is that the layman's guide you're trying to link to?

The one created by these guys?

Why yes, it is.

The association between non-disordered plurality and the natural multiplicity movement was solidified, and the damage was done. "The primary messages given by the non-disordered multiples [...] is that multiple personality is not a disorder and the anti-survivor message that multiplicity is natural and not caused by abuse." [X]

In 2014, endogenic was coined, as mentioned above, to be less offensive. The past was never addressed and buried. People deny all of this happened.

For a large chunk of the community, endogenic then became synonymous with the movement, with all the same issues as before. Just with a nicer name.

And here we are, in this great year of 2024, linking to Astraea.

This post is directly adjacent to this entire conversation-- plurality being coined as the anti psych alternative to multiple, and how everyone is going back to multiple again so we can do the whole song and dance one more time.

I think... that's it??

Violently slamming the fact that DID and other "Dissociative Disorders" related to Plurality were made by Ableist doctors who believed in "False Memories" and had MANY patients come out about being abused and/or the Integration forced upon them causing them to be unable to function due to the lack of their Headmates

Anyways, please read This, I feel it helped give a lot of light on why you honestly shouldn't bother interacting much with 'Anti-endos' and 'Sysmeds'

I know we posted the link before but certain,, posts keep popping up on our dashboard.

(The link outside of text: https://www.astraeasweb.net/plural/allison.html)

Also, for anyone who does read that I feel the need to say (if the information does actually reach you): Do NOT be ashamed at using the term DID for yourself, or anything mentioned to be "Bad" in that text. If you can go without using it, obviously it could be great if you would, but if it's the most comfortable term for you then you're under no obligation to stop using it for others comfort. Same goes for plenty of other stuff.

Also: Go check out the other plural post we made, Specifically the one mention Layman's Guide To Multiplicity. (Though, if you can't find it, here's the Link) ((Note: The website doesn't load very well on Mobile, so you may have trouble reading it on a phone. It's still able to be read, but it may feel a bit annoying))

[curlicuecal]

playing science telephone

Hi folks. Let's play a fun game today called "unravelling bad science communication back to its source."

Journey with me.

Saw a comment going around on a tumblr thread that "sometimes the life expectancy of autism is cited in the 30s"

That number seemed..... strange. The commenter DID go on to say that that was "situational on people being awful and not… anything autism actually does", but you know what? Still a strange number. I feel compelled to fact check.

Quick Google "autism life expectancy" pulls up quite a few websites bandying around the number 39. Which is ~technically~ within the 30s, but already higher than the tumblr factoid would suggest. But, guess what. This number still sounds strange to me.

Most of the websites presenting this factoid present themselves as official autism resources and organizations (for parents, etc), and most of them vaguely wave towards "studies."

Ex: "Above And Beyond Therapy" has a whole article on "Does Autism Affect Life Expectancy" and states:

The link implies that it will take you to the "research studies" being referenced, but it in fact takes you to another random autism resource group called.... Songbird Care?

And on that website we find the factoid again:

Ooh, look. Now they've added the word "some". The average lifespan for SOME autistic people. Which the next group erased from the fact. The message shifts further.

And we have slightly more information about the study! (Which has also shifted from "studies" to a singular "study"). And we have another link!

Wonderfully, this link actually takes us to the actual peer-reviewed 2020 study being discussed. [x]

And here, just by reading the abstract, we find the most important information of all.

This study followed a cohort of adolescent and adult autistic people across a 20 year time period. Within that time period, 6.4% of the cohort died. Within that 6.4%, the average age of death was 39 years.

So this number is VERY MUCH not the average age of death for autistic people, or even the average age of death for the cohort of autistic people in that study. It is the average age of death IF you died young and within the 20 year period of the study (n=26), and also we don't even know the average starting age of participants without digging into earlier papers, except that it was 10 or older. (If you're curious, the researchers in the study suggested reduced self-sufficiency to be among the biggest risk factors for the early mortality group.)

But the number in the study has been removed from it's context, gradually modified and spread around the web, and modified some more, until it is pretty much a nonsense number that everyone is citing from everyone else.

There ARE two other numbers that pop up semi-frequently:

One cites the life expectancy at 58. I will leave finding the context for that number as an exercise for the audience, since none of the places I saw it gave a direct citation for where they were getting it.

And then, probably the best and most relevant number floating around out there (and the least frequently cited) draws from a 2023 study of over 17,000 UK people with an autism diagnosis, across 30 years. [x] This study estimated life expectancies between 70 and 77 years, varying with sex and presence/absence of a learning disability. (As compared to the UK 80-83 average for the population as a whole.)

This is a set of numbers that makes way more sense and is backed by way better data, but isn't quite as snappy a soundbite to pass around the internet. I'm gonna pass it around anyway, because I feel bad about how many scared internet people I stumbled across while doing this search.

People on quora like "I'm autistic, can I live past 38"-- honey, YES. omg.

---

tl;dr, when someone gives you a number out of context, consider that the context is probably important

also, make an amateur fact checker's life easier and CITE YOUR SOURCES

[blindbeta]

Exploring How Toph Beifong Could Be Played By A Blind Actress and Refuting Reasons Some People Believe She Couldn’t

[Image Description: Toph Beifong from Avatar: The Last Airbender. She is waving her hand in front of her face after joking that she spotted the great library, tricking the Gaang only to remind them that she is blind. She rides on Appa who is flying above a desert landscape. End I.D.]

The live-action adaptation of season 2 of Avatar: The Last Airbender is underway. This means people are discussing Toph again, much like they did during pre-production of season 1. I have seen and even participated in promoting the idea of Toph being portrayed by a blind actress. Similarly, I have come across push-back against the idea.

Instead of if Toph Should Be Portrayed by a Blind Actress, Let’s Focus on How She Could

(should and could are bolded for emphasis)

This post will address common misconceptions that serve as barriers to the idea of a blind actress portraying Toph.

A Few Notes Before We Start

These points come from posts on online forums, YouTube comments on videos related to the casting of Toph, and tumblr posts. No one will be specifically called out here, as while these points may be attributed to certain individuals online, they represent much wider views that are shared by many, even without malicious intent. These common misconceptions stem from unchecked ableism and general lack of information. Keep in mind that my intention is not to call out any individual person, as ableism is a widespread, collective problem. The reasons I refuted in this post showed up repeatedly and were not isolated opinions of one or two people.

1. No, it would not be too difficult to find an actress who is Asian, blind, and the right age

[Image Description: Toph as The Blind Bandit uses earthbending to create three pillars of rock that shoot at an angle from the ground and smash into her opponent, throwing him against the arena wall. End I.D.]

This point suggests that it is difficult to find candidates fitting Toph’s description. I suspect this is due to racism and ableism, in that a white and abled person is considered default and therefore believed to be more common, especially by Western studio standards. This is not truly the case. People of color and disabled people are auditioning, especially for the comparatively few roles that seek them out specifically, such as Avatar: The Last Airbender.

Blind Asian people exist. Some of these people are also actresses. Some have backgrounds in dance or martial arts, especially because many actors do similar activities to increase endurance and versatility. Finding a pre-teen or teenager to play Toph would not be as challenging as many people believe, especially those who already underestimate the amount of blind people in the world and their abilities.

Those who argue this point may be under the impression that a blind actress would be out of reach due to low numbers and lack of interest in auditioning. Blind people are auditioning. The reason you don’t see them on screen is because most of them are ignored in favor of abled actors. For example, in this video, Molly Burke discusses not being chosen to play a blind character whom she was told was based on her own life. The actress chosen to play the character was not blind. You can watch it here.

Additionally, Netflix has the ability to hold a widespread casting call. They are not a tiny studio doing productions in someone’s backyard. They have access to a wider pool of actresses than the average person might think, particularly if said person is not familiar with the resources big studios often have at their disposal.

In fact, Netflix is doing just that. Below is a link to their casting call, which encourages blind and low vision actresses to audition.

Link to casting call here with alt text.

2. Some people believe Toph isn’t really blind and therefore the actress who plays her needs to be able to see

[Image Description: Toph as The Blind Bandit using bending, with shots showing her hands and feet. As her bare foot slides sideways across the ground, the camera zooms out to show her sensing vibrations. The image turns greyscale, with circles of white vibrations emanating from around Toph’s body, where they expand and flow outward. End I.D.]

The rationale behind this is probably the same as it is for Daredevil, meaning some don’t consider Toph to be blind because of the way she uses her bending.

An argument could be made that Toph’s powers erase her blindness or that her powerful abilities make her less relatable to the average blind person. However, I suspect that many sighted people engaging with these discussions of Toph’s casting are not also concerned with questions of erasure or relatability. In discussions questioning her blindness, the evidence given mostly centers on Toph’s physical abilities rather than relatability to real blind people.

Her bending aside, Toph is certainly blind. She experiences ableism from her parents and general community. Blindness shaped her life in a lot of ways, even with her bending, which is also influenced by her disability.

We see Toph being guided while running on the airship, needing assistance while walking on ice, and struggling to travel in a desert. She uses her other senses, including hearing and tactile senses. She has limitations regarding how she is able to interact with an unaccommodating world, such as inaccessible reading and writing systems.

There are also lifestyle and cultural implications of blindness extending beyond the inability to see. Being blind is not only about what one can and cannot do, which is true of Toph’s experience as well. Blind people may have different values, experiences with family and friends, different senses of humor, or may place higher value on other sensory experiences compared to sighted peers.

Whether or not Toph is good blindness representation can be argued. However, she is still a blind character. Her blindness influences her whole life, even as she is more than her blindness at the same time. Her life as a blind person is about more than limitations and abilities. Reducing her, and any blind person, for that matter, to only these facets of her experience oversimplifies what it is like to be a blind person.

Claiming that she isn’t a blind character because of her ability to do x, y, and z can be incorrect for a lot of reasons.

Blind people are more than what we can do or what we produce. Our experiences are rich and varied. Our lives are inherently meaningful no matter our abilities or limitations. It is both ableist and inaccurate for sighted people to attempt to put us all into boxes.

Additionally, blindness is a spectrum. [Bolded for emphasis.] You can read about it at the following posts on my blog:

here

here

here

and here.

Here is a good list of legally blind YouTubers with various types of visual experiences.

According to various sources on the blindness spectrum, about 85% to 95% of blind people have some remaining vision:

93% according to RNIB

This Perkins School For the Blind fact sheet estimates about 90 to 95% of blind have some remaining vision

American Foundation for the Blind estimates about 15% of blind people are totally blind and discusses the spectrum of blindness here

The spectrum of blindness is important because our experiences become even more diverse when the spectrum is considered. This means that assumptions about what we can and cannot do become even harder for sighted folks to guess accurately.

This accuracy is important if sighted people are going to try to put limitations on blind people, which they have no business doing anyway. They are not the authority on what blind people can do, what we cannot do, or what is good for us. Only blind people can answer that for themselves.

Lastly, blind people are already used to navigating and interacting with their surroundings. They have had anywhere from months to a lifetime of experience, which would translate better to Toph’s ease with her blindness and confidence in her bending.

While an actor wearing contacts to obscure their vision might stumble around and have difficulty on set, someone who is actually blind could lend Toph’s character a much more relaxed, confident attitude in addition to possessing experience navigating in a way that works for her. She is used to being blind. Therefore, an actress who is also used to being blind brings a lot to the performance in terms of physicality, attitude, and the ability to focus on portraying the character, rather than simulating blindness.

Which leads me into the next point.

3. The idea that Toph doesn’t move like a blind person relies on stereotypes of blind people

[Image Description: A GIF from the episode “The Runaway”. Toph, Sokka, and Aang all con some con artists and cheer after their victory, Toph raising her arms high before snatching the prizes. They all run away. End I.D.]

There is no specific way of moving like a blind person. Like sighted people, the way blind people move may be influenced by many factors, such as level of vision, how long they have been blind, their mobility aid, navigation techniques, familiarity with their environment, level of confidence, feelings of safety, other disabilities, energy levels, cultural factors, and more.

While there are mannerisms that are recognizable to blind communities, there is no one way to move like a blind person. Just as there is no one way to look blind.

The ideas of “not moving like a blind person” or “not looking blind” come from stereotypes of blindness. In fact, these ideas can be so pervasive that blind people who don’t fit stereotypes may be accused of faking. I explore this subject here.

In this video, Sam from The Blind Life discusses the experience of performing blindness or being pressured to act more blind than he is. Link here. He explains while he has some vision, he uses his cane to indicate to others that he is blind. This is one of the main functions of a cane. Sam explains feeling pressure to adhere to certain stereotypes about blindness or risk being accused of faking.

Similarly, in this video linked here, Molly Burke discusses the stereotype that blind people’s eyes look noticeably different from sighted eyes. This includes the inaccurate belief that all blind people have cloudy eyes, blank eyes, eyes that are always closed, or eyes that simply must be covered in dark sunglasses to protect the sensibilities of sighted people. Molly explains that while blind people can certainly have these attributes, not all of us do. Molly laments that the phrase, “You don’t look blind,” is either used to invalidate her or to praise her for passing as a sighted person, which is ableist.

Just as blind people don’t look the same way, we don’t move the exact same ways either. That applies to Toph as well. For example, she prefers to keep her feet on solid ground for bending purposes, orientation, and possibly due to cultural factors valuing stability and connection to the earth.

4. The idea that accommodations would be impossible to provide is rooted in ableism

[Image description: A GIF of Toph and Zuko sitting beside each other on the floor at the Ember Island theatre episode. Toph punches Zuko’s arm. Metaphorically for the purposes of this post, she is punching ableist ideas that have nothing to do with Zuko. End I.D]

Here is a thread I shared in the early days of this blog, wherein the topics of blind actors and accommodations are discussed. The entire thread might also be helpful for this post, as I explore the same points, which shows how common these misconceptions are. While this may seem to be an isolated online disagreement, none of these arguments are new. That is why I believe this topic is important— these arguments about accommodations being too difficult or a burden on others also pop up in conversations about other workforces and other disabilities.

A blind character not being played by a blind actor is one thing. A blind person not being hired for a job they are qualified for due to resistance to providing accommodations is not so easy to ignore, not so seemingly isolated a concern. These barriers don’t only apply to blind actors looking for work. They apply to all blind people looking for work.

That means most of this isn’t really about Toph, nor the opinions of random people online. Instead, I hope to highlight common patterns in ableist thinking and dispel these ideas using a character people care about. This is, of course, in addition to my own desire to have a blind actress play Toph.

With that said, let’s explore what work accommodations might look like using examples of blind actors.

Dionne Quan is a blind actress who has an extensive filmography for voiceover work, including popular characters such as Kimi from Rugrats. In this article from when the character was first introduced, she discusses how she performs. Link.

Quote from the article: “Most of the recording was done in a studio with just a mike and a stand for the script. I had the lines in braille, and I would read them on the way over to get into character. You have to have your bag of tricks ready to go.”

Most of the work Quan discusses involves typical acting stuff. The accommodations given to her are similar to adaptations that might be made in an office setting. Additionally, with all the technology available now, it is easy to make a script accessible through large print, VoiceOver and memorization, Word document instead of a PDF, a Braille display, etc.

And as of August 2024, Quan can add adult Toph Beifong to her list of characters. Which is super exciting and, I thought, an appropriate fact to include in this post. You can read more here.

To continue the discussion of accommodations for actors, I would like to discuss Ellie Wallwork. Wallwork is a blind actress who has performed on Doctor Who.

She describes her experiences on set, such as blocking scenes and using tactile accommodations in this short video from the SeeSaw podcast. Link here.

Transcript:

Elie Wallwork speaking:

“Obviously, markers are just normally flat bits of tape on the floor. I had to have some sort of tactile ones so I knew where I was stepping onto. And it takes longer. It definitely takes a bit longer. I guess the thing that frustrates me about the industry is that sometimes casting directors will think, ‘Well, how could a blind person possibly do this, do that? How could they do stunts? How could they even navigate around set?’ But it’s perfectly possible if you— for example, with the crew that I had on all the productions I’ve been on, they’ve all been really kind, really patient with me and able to understand that, yeah, okay, it might take me five minutes longer to block a scene, but that’s fine because it means it’s authentic.”

End transcript.

You can listen to the full episode here.

Lastly, I find that many sighted people are not generally knowledgeable when it pertains to what blind people can or cannot do. Examples of this lack of knowledge include frequent questions about how blind people read, exist in online spaces, cook, etc—and these are simply from posts on my own blog.

Here is a link to a discussion thread that explores ableist assumptions people often make what blind people are or are not able to do. It particularly relevant for this topic. Link can be found here. Please remember that while I did respond to some folks who expressed opinions colored by ableist assumptions, that post is not about them. Just as this post is about addressing ableism in general rather than from a specific source.

The point is: consider why abled people are so comfortable stating what blind people can and cannot do, when one of the most common questions about blindness is still “how do you use a phone or the internet?”

People who aren’t blind often fail to grasp what our limitations actually are. Many people are still surprised to learn that technology or accommodations exist for us, despite having access to various forms of technology themselves. They struggle to understand that we can live our daily lives, possibly because they personally cannot imagine themselves without the vision they rely on, such as that time a professor asked blind content creator Stephanie Renburg [quote] “How do you live?” when the conversation was supposed to be about school accommodations [Link here].

This brings me to an assertion that is often made when sighted actors obscure their vision in order to play blind characters. It is often noted that it was too hard for them emotionally, mentally, and physically. Because of this reaction, the assumption is made that a blind person cannot possibly perform the role.

For example, in the article linked here, this is stated about Jamie Foxx in his role as Ray Charles. “Some actors, including Jamie Foxx as Ray Charles in “Ray” (2004, best actor) and Blake Lively in “All I See Is You” (2017), have chosen to wear ocular prosthetics, rendering them literally blind during their performances. But this creates a new problem: Unlike real blind people, who can spend years honing their orientation and mobility skills, the blindfolded sighted person becomes lost, confused and frightened with the sudden loss of sight — Foxx told interviewers he began hyperventilating as soon as his eyes were glued shut with the custom prosthetic eyelids that the filmmakers affixed over his eyes.”

Being blind is different from a sighted person temporarily obscuring their vision. Blind people have a better handle on being blind because we’ve been doing it longer. Blindness is part of our lives. Of course blind people are going to have an easier time portraying blind characters. This means most of the concerns people bring up when discussing sighted actors struggling with being unable to see won’t actually apply to blind people who have been at this for far longer.

I also wanted to address the idea that hiring blind actors would cost more, according to the assertion made in that thread about hiring blind actors, which you can read here if you haven’t already. While I can understand why someone might believe hiring a blind actor would cost more, I believe it would actually cost less.

Blind actors can use their own canes or other assistive devices used by the character, which saves money on expensive materials

Blind actors likely already have experience with O&M training, saving money and time that would otherwise be spent training a sighted actor, such as described here

Blind actors don’t need contacts or prosthetics, which may otherwise be used help an actor simulate blindness

And blind actors would have an easier time navigating sets, dancing, or doing required physical activities while blind, which reduces the learning curve that sighted actors with obscured vision need

A few Disclaimers:

1) Blind people learn from our communities and through life experience. While we naturally have more experience being blind, our knowledge is enhanced through learning from other blind people and participating in training designed to improve our life skills. I maintain that a sighted person obscuring their vision for a few hours will not have the same level of experience.

2) Reminder that blindness is a spectrum that a blindfold cannot replicate.

and 3) This post is not to say that sighted actors cannot do well or cannot put effort into their performance. According to the article above, Charlie Cox won an award from the AFB for his commitment to portraying Daredevil. However, just because there are sighted actors willing to put in the work does not mean blind actors can’t. I wanted to include this disclaimer in case someone sees the AFB article I shared and worried I’m trying to disparage actors who have already portrayed blind characters and happened to do a good job. After all, I love the original performance we received from Michaela Murphy, who originally voiced Toph. That doesn’t mean studios should not make an effort to cast more blind actors moving forward, nor does it justify any of the silly or explicitly ableist reasons people give for why sighted actors must be chosen over blind ones.

Let us return to refuting those excuses with the last thing I wanted to address.

5. Some people are concerned that a blind person might get hurt doing martial arts, but so can literally anyone else

[Image description: GIF of Toph dressed in Fire Nation attire. She punches through a rock.]

Kids can get hurt in any kind of sport, yet society doesn’t try to keep children from these activities for their own safety. However, disabled kids—and adults for that matter—are often reminded that we are being kept out of spaces for our own protection. Which we didn’t need, nor ask for.

This need to protect disabled people can be not only infantilizing, but hypocritical as well. For example, a blind person might be discouraged from playing recreational sports in a misguided attempt to protect them. Conversely, structures that keep blind people at risk are allowed to stay firmly in place, such as discrimination around transportation, inaccessible infrastructure, and poverty.

Blind people play sports anyway. Often, these sports carry their own risks of injury, as most sports do. Blind people have the agency to understand this and consent to it. Examples include blind football [link] and goalball [link].

Here is a video of Sadi the Blind Lady discussing goalball with Eliana Mason, a Paralympic athlete who plays goalball professionally.

Transcript: “Goalball is sport for blind and visually impaired athletes. It was created after World War II for blinded veterans and is now a Paralympic sport. The coolest thing about it is that everyone wears eyeshades so no matter what your level of vision loss is—because blindness is a spectrum— it equalizes it. The ball has bells in it and the court is straight with tape over it. It’s on a volleyball sized court. It’s three on three. And basically in offense, we are throwing the ball as hard as we can with a lot of technique involved, about 30 to 45 miles an hour to have it hit the ground and roll and hit the other players on their bodies. And on defense, you are throwing your body out and diving in front of this 3 pound ball and blocking it. So essentially you want to get hit with the ball.”

End transcript.

Getting hit with a ball, especially in the face or stomach area, is going to hurt. That is okay, because as long as safety precautions are taken, pain might be part of the experience depending on the rules and anticipated possibility of injury.

Martial arts and dance, which are backgrounds sought specifically in the Netflix Toph casting call, can also lead to accepted forms of pain or discomfort. While one could argue that sports injuries could and should be preventable, this post is more concerned with the expectation of pain, injuries, and what steps are taken to prevent them, such as protective gear or an experienced coach / teacher.

A blind person auditioning for Toph knows that martial arts will be involved. She will spend time learning choreography, building trust with co-actors, and figuring out works best for her. This structure is similar for blind people playing football or goalball or tennis or fencing or whatever else they want to do.

Lastly, people who aren’t blind also experience pain or injury during sports. Same with martial arts or dance.

The actress who plays Toph might get hurt. She might not. Some pain might even be an expected part of training. That is no reason to exclude a blind person from participating. That is no reason to say Toph couldn’t be played by a blind actress. [Bolded for emphasis]

Lastly, anyone training actors on fight choreography already knows how to do so safely. That fact that this is choreography is also helpful, allowing for memorization of actions and reactions. Conversely, the sports and physical activities I listed above are not choreographed, with the exception of dance, and are therefore less predictable. Therefore, if blind people can get head injuries playing on a recreational blind football team, a blind actress can handle fight choreography.

Closing

Thank you for reading all of this. My points still stand whether or not a blind person is actually cast for Toph.

Too Long, Didn’t Read:

Unchecked ableism can lead to oppression even if it is unintentional

Blind actors exist

A blind actor would better capture Toph’s ease and confidence with her blindness

Blind people can do a lot more than sighted people usually think they can

Blind people also face discrimination and limitations that sighted people may not have considered

Blindness is a spectrum and most blind people can still see something

There is no one way to look or move like a blind person

Accommodations are not that difficult to provide

Hiring a blind person would actually cost less money

Most of the popular reasons people believe Toph cannot be played by a blind actress are rooted in ableism

This post is not only about Toph or actors, but an example of how unchecked ableism can be harmful

For example, low employment rates for blind people, inaccessible online resources, or Toph-related posts shared without image descriptions

Toph Beifong could totally be played by a blind actress

[lyesander]

Not crazy about people writing off the Titan submersible incident as some schadenfreudic buzzstory they can rag on for a handful of internet funny points. I get the frustration, I really do. At least three of the passengers had to shell out $250,000 a ticket for a glorified deep sea Disney ride. The CEO of OceanGate is a capitalist wackjob who has been complaining about and bypassing safety regulations for years, despite multiple warnings, and now the retrieval is taking up time and resources from multiple countries that could have been put to better use. But one of the crew members on board was also the nineteen year old son of another passenger. I doubt his involvement extended much beyond “I’m going on a fun trip with my dad.” Another was an unaffiliated researcher who joined the expedition to collect environmental samples for DNA analysis. Not everyone on board was a high-rolling corporate yuppie. (And even if they were, it’s still a pretty objectively horrific way to die.) Instead of memes, I’d rather see this prompt a discussion on the ethics and potential regulation of scientific tourism.

The above also doesn’t change the fact that this is dragging media attention away from more pressing issues, such as the sinking of the Andriana. I guess “THE TITANIC CLAIMS ANOTHER FIVE VICTIMS” is a more colorful headline than “the EU’s xenophobic migration policies have led to the deaths of hundreds of migrants seeking asylum in Italy, and an active cover up is now taking place, headed by Greek authorities.” Seeing all this energy be funneled towards dragging this tiny capsule out of the Atlantic when up to five hundred refugees - mostly women and children - were locked in the hull of a ship and left to suffer the exact same fate, while Coast Guard vessels looked on and did nothing (or even had an active role in the capsize after a botched attempt to tow it, according to some testimonies), illustrates the sway money and race have in what we pay attention to. It’s a gruesome example of inequity in action.

I had compared what happened to the Titan to the Kursk incident, but the Andriana doesn’t have the luxury of being a freak accident. Over 25,000 migrants have disappeared or drowned trying to cross the Mediterranean since 2014, with over 2,000 deaths taking place in 2022 alone. Those are staggering numbers. Protests have broken out across Greece over the past week in the wake of the tragedy, advocating for migration reform.

While these sorts of mass casualty events tend to leave us feeling disheartened and helpless, there are ways to help. Below is a link to SOS Humanity’s donation page. Reputable search and rescue organizations such as SOS Humanity or SOS Mediterranée built their mission statements around helping migrants like the ones on board the Andriana. Donate if you can, spread the word if you can’t.

[lytefoot]

I love this concept, and would love for this play to exist. But also, I have to link to this here:

Ask a Mortician - Protecting Trans Bodies in Death

There are absolutely legal ways that you can ensure that, when you die, your loved ones are the ones that bury you.

The video above is specifically directed toward trans people, but crucially, they also apply to anyone else who is estranged from their birth family and/or legal next of kin. The resources linked from the video are mostly for the US (direct link to a breakdown of relevant funeral laws by US state here), with a note for those in the UK. For those in other countries, look into your options even if your country is not especially progressive on queer rights--funeral planning rights benefit cis straight people, too.

I binged a lot of Ask a Mortician at the start of the pandemic, and it left me so much less afraid of death. (She also has a wonderful video about funeral options for fat people that is just beautifully straight forward.) Please, if you worry about who will control your body when you die, and how you’ll be buried and remembered, find out what tools the law gives you and use them. (Note that, at least in the US, you will probably not need to hire a lawyer if you are able to fill out moderately complex forms alone or with the help of your loved ones.)

Idea for a play: A custody battle of a corpse. A man - estranged from his birth family and deeply loved by found family - has unfortunately died. His parents that threw him out to the street, siblings who encouraged it, and extended family who never sided with him and simply allowed it to happen, now want to bury him in a family grave, under a name he didn't use anymore, with the ceremonies of a religion he never truly followed. The people who actually knew and loved him are trying everything in their power to stop this.

The deceased, himself, is there, watching this with popcorn. It's clear that no-one but the audience can see him. He can pause the action whenever he wants to monologue, and often stops the show to tell the audience the backstory of a claim, or what really happened when someone is blatantly lying. And one time, just to call his grandmother a bitch.

He is mainly indifferent to the show, simply entertained, no longer personally touched by anything that happens in the mortal world, but once, with tears in his eyes, takes a time to monologue about how deeply he loved his wife - whom he could not legally marry, but called wife nonetheless. Once, when his own cousin questions her presence here, as she was "nothing to the deceased", the protagonist throws the rest of his popcorn in the air, as - being incorporeal - he can't throw it at his cousin.

(most of it lands into the audience. better not be wearing anything expensive in there, and if the friend who brought you to see this play didn't warn you about this part, that's kind of a dick move from them.)

In the end it turns out there is some legal way, some previously forgotten document, new evidence, that allows the dead man to be buried by loved ones, and not his legal family. Despite of the fact that he has spent the whole play insisting that the events of the mortal world no longer concern him at all, and that he doesn't care what the outcome of this will be, his spirit dissipates from sheer relief.

It's deliberately left ambiguous where souls go when they're gone.

[chaotic-archaeologist]

https://nypost.com/2024/08/28/world-news/boy-4-accidentally-smashes-bronze-age-jar-that-was-at-least-3500-years-old/

Your thoughts?

Personally, I'm kinda sick of museums being required to cater to kids so much. If you're going to do this open air exhibit, kids who don't know how to keep their hands to themselves just shouldn't be allowed in. The glass is there for this very reason.

Actually, I'm with the museum on this one. Is it unfortunate that the vase was broken? Yes. Was the vase a valuable piece of the past? Also yes. But I think the museum did something very cool by not having the artifacts behind glass and are handling this with good grace and the sense to make this a learning opportunity.

Sometimes we overlook the fact that museums often attempt to arrest or freeze artifacts in time. They are kept in controlled conditions to prevent them from deteriorating and even treated to reverse damage. Many things on display on museums are elevated beyond their original value, alienated from their original purpose, and closed off from interaction.

It's incredible that this jar survived as long as it did—and its age is what makes it special—but at the end of the day, it is still a jar. It has now experienced the thing that happens to pretty much every jar that has been or will be. After all, decay is an extant form of life. (If you want to read a very well written and interesting take on decay and archaeology, check out this article by Caitlin DeSilvey.)

The article I linked above provides some important context and the update that the museum is planning on using this as an opportunity to teach about the conservation process. The jar's story is not over; it is being pieced back together and in this next chapter in its life it will be able to tell two stories: one of its life and the other of its rebirth. The museum's approach embraces that, exactly like the Japanese art of Kintsugi.

I also agree with the museum's decision not to punish the child or his family. Things go wrong in museums all the time despite their highly controlled environments, and this is why they have artifacts insured. Sometimes the thing that happens is a child, and by and large museums do not seek damages.

I would encourage you to rethink your stance on museums and children. Museums are for everyone. Children have a right to experience museums and what they have to offer just like anyone else. There are also many studies that discuss how going to museums benefits children.

In this case, perhaps the exhibit design was slightly flawed, but the four year old boy accidentally knocked the jar over because he was curious about what was inside and wanted to investigate. Curiosity is exactly what museums should be encouraging. In an ideal world that curiosity would have been channeled into some other kind of engagement, but the folks who work in museums have a lot on their plates and cannot plan everything perfectly all the time. Even if they could, they often do not have the resources to do so.

Finally, the AP article mentions that the boy and his family were visiting the museum to get away from Hezbollah rocket fire. Regardless of your opinions on the current conflict, everyone deserves to have a safe place to exist. That museums can serve as those spaces is an honor.

I commend the Hecht Museum and the people working there. They 1) successfully provided a place of learning and refuge, 2) opted not for a punitive approach—which is often the default Western model for justice—but a compassionate one, and 3) are using this twist of fate to create programming that will further engage the public.

@museeeuuuum and @museum-spaces would you care to comment?

-Reid

[turtletaubwrites]

Bend Until You Break ~ Masterlist

This completed series means a lot to me, so I've made this masterlist to keep it all in one place, as well as to include asks from those who relate the story, and some resources for those who related to the reader's pain a little too much. I've also included a link to a post where I share my intentions with this story, as well as my feelings about how bad our bad doctor really is. THIS FIC CONTAINS DARK CONTENT. 18+ ONLY. MDNI.

Pairings: YANDERE!Trafalgar Law x Fem!Reader

Ao3 Link

Summary: You have struggled with mystery pains and injuries for most of your life, and had resigned yourself to suffer after every doctor told you there was nothing wrong. But when a world renowned doctor/pirate comes to town to offer aid in exchange for supplies, you decide to give hope one more chance. Maybe you'll finally find a doctor you can trust.

Author's Note: PLEASE heed the tags below, and do not read this fic if you aren't comfortable with these topics. Some of these medical issues may or may not have come from personal experience 🙃

*I am not a doctor, and this is not meant to be educational, or to contain any health advice. Please seek a health professional. Hopefully you'll have better luck than the reader 🙄

Thank you so much @anemptypuddingcup for this request. You helped me write one of my favorite stories 🙏🏼🖤

Part 1 ~ (2679) | Part 2 ~ (4447) | Part 3 ~ (3208) | Part 4 ~ (3451) | Part 5 ~ (2974) Part 6 ~ END ~ (4224) | Author's Notes About the Message & Law's True Nature

If you relate to the chronic pain symptoms and joint issues that the reader has, you might want to learn about hypermobile Ehlers-Danlos Syndrome and hypermobility spectrum disorders. Here's a couple links to get you started: The Ehlers-Danlos Society The Ehlers-Danlos Support UK hEDS Diagnostic Criteria *Once again, I am not a doctor. Please seek advice from a medical professional. I hope that you find one that supports and listens to you. You deserve to be treated with respect and compassion. I believe your pain. 🖤

Rating/Warnings: Explicit Sexual Content, 18+ ONLY, MDNI, AFAB!Reader, She/Her Pronouns for Reader, Reader-Insert, DARK CONTENT, DUBCON, Dubious Consent, Swearing, Eventual Smut, Yandere, Manipulation, Power Imbalance, Hypermobility, Medical Examination, Medical Trauma, Medical Conditions, Chronic Pain, Injury, Physical Disability, Physical Therapy, Doctor/Patient, Abuse of Authority, Kidnapping, Possessive Behavior, Other Additional Tags to be Added, (Reader is described as having hair "above her shoulders" that she can brush), Needles, Drugs, Arguing, Massage, Praise Kink, Pain, Dissociation, Humiliation, Gaslighting, Non-Consensual Drug Use, (Implied), Birth Control, Menstruation, Discussion of Pregnancy, Brief/Implied Discussion of Sterilization Surgery, Teasing, Dom Trafalgar D. Water Law, Hand & Finger Kink, Blood, Spit, Dacryphilia, Vaginal Fingering, Penis in Vagina Sex, Unprotected Sex, (Be Safe Out There), Multiple Orgasms, Rough Sex, Creampie, Pet Names, Overstimulation, Cunnilingus, Biting, Bruises, Hair-Pulling, Aftercare, Inappropriate Use of Akuma no Mi | Devil Fruit Powers

Asks from People Who Relate to the Story: | Ask 1 | Ask 2 | Ask 3 |

| masterlist | about me | rules | ao3 | ko-fi |

[cripplecharacters]

Heyy, I have an idea to make my blind character work as a chef, but I'm not sure how to make the environment around him, as in what help and accessibilities he should have in that setting...

Hello,

So, I am not blind, but here are a few sources you may find useful;

This post by blindbeta in which they answer this exact question and talk about how a blind person would navigate a kitchen and cook.

This video is by Christine Ha, a Blind chef who won the third season of Gordon Ramsay's Masterchef (and he really liked her, so you know she's a good chef if Gordon Ramsay of all people thinks she's awesome at cooking,) talking about how she cooks. She can manage a very large portion (around ninety-five percent) of cooking without additional accessibility equipment as long as she knows the layout of the kitchen and uses her other senses to determine how her work is coming along. Keep in mind that Christine Ha is completely blind due to an autoimmune disorder, so a lot of tools meant to help people with varying degrees of blindness in the kitchen may not help her

And then this video talks about some of the adaptive equipment Blind people will use in the kitchen! This video by The Blind Life, who has a lot of really great resources on his channel, discusses his accessible kitchen and how each piece of adaptive technology works, how they help him. His are more for a non-chef kitchen, but several of them will also be helpful in a chef's kitchen. This video, by Can See Can't See, discusses how she chops vegetables as a Blind person. This video by Sightless Living discusses thirty different pieces of adaptive technology for cooking. It's an in-depth video and a bit over an hour long, but very informative.

There's a massive amount of adaptive technology to aid Blind people in the kitchen, professional or domestic. The videos listed above are only a few of dozens of videos by Blind people talking about how they cook and navigate their kitchens.

(Thank you to Mod Sasza for helping me find some of these links!)

Mod Aaron

[recently-reanimated]

Cw: Discussion of Suicide

James Somerton, a youtuber who recently has been under heavy criticism for plagerism, has released a post on his private Twitter account that appears to be a suicide note. There are posts by other accounts saying they are attempting to contact the local authorities to do a wellness check. Whether or Somerton has passed away or any information about his current physical well-being is unknown.

The reason I have brought this up is because there are guidelines that should be followed when discussing suicide on social media. The American Foundation for suicide prevention recommend these guidelines from Orygen for discussing suicide. I have the full sources linked, but I have also provided images of what I believe is the most relevant section to this situation.

I am sincerely hoping for the saftey of James Somerton. As it states in the guidelines above, suicide is complex, and many factors contribute to someone ending their life. If you or someone you know is struggling, here are some resources. Recovery is possible for everyone. Regardless of what someone has done or has had done to them, it's a beautiful world, and no one should have to miss it.

[daarka]

Actually fucking nuts. Capitalism ruins everything.

Push back against this. Be loud. Use #OpenDnD liberally.

Staying in 5e and ignoring 6e/"OneDnD" is not an option. I'll try to summarize below the cut, but I'm not an expert, so please seek out resources that aren't me for full info. This link is a good start. This is the full deep-dive I read up on a few days ago. Listening to the community is also worthwhile to understand from the voices of those affected most. To be more involved in the discussion yourself, a lawyer has set up a Discord server for the community to gather and converse in regarding this issue.

Again, for full context and information from more knowledgeable sources than me (including actual professionals), please go to the links I included above. If you don't have the time/patience/spoons to read those articles, scroll a twitter feed, or poke around a Discord server though, here are the things that made the most potent impression on me and why you should care about this issue.

As mentioned, staying in 5e and ignoring 6e/"OneDnD" is not an option. While OGL1.1 was made for 6e, the extensive parts of the document that have been leaked make it clear that with OGL1.1 going into effect, OGL1.0a (which has been the OGL for the past decade) will no longer be functional. 3rd party creators must choose to either sign the OGL1.1 and comply with it's insanely restrictive and predatory terms, or face legal repercussions for publishing the content they have made their livelihoods off of the past decade.

Per the leaked document, all 3rd party creators must register themselves and their creations with WotC. - 3rd party creators making over $50,000 USD per year must also report their earnings to WotC. - 3rd party creators making over $750,000 USD gross per year must also pay WotC a 25% royalty. This means it is not 750k in profits, it is 750k before any expenses that they are taking the royalties from. Anyone whose profit margin was 25% or less would be financially invalidated by this royalty, and can even end up losing money. Furthermore, the nature of Kickstarters for example is that there is no upper ceiling on earnings, so a KS for a 3rd party sourcebook will suddenly be facing a massive expense they may not have planned for if their campaign exceeds the 750k mark, potentially destroying their ability to deliver on the rewards when they otherwise could have. While currently only a small number of creators are known to make over 750k/year (gross, not net), that does not mean this will not affect you. It creates a very dire argument for why 3rd party creators should not even make the effort in the first place, especially with crowdfunding where too much success can suddenly ruin them.

Remember how those who make over 50k have to report their earnings? Well, the 750k threshold is one WotC says they have the right to change at any time in OGL1.1. This means they can see what people are making when creators are forced to report their earnings over 50k, and use that data to lower the threshold of income for their royalty fee, and they can do this at any time, however much they want. Per OGL1.1, they are telling you that they can decide on a whim that actually, anyone making over $5,000 USD gross a year has to pay the 25% royalty.

D&DBeyond / OneDnD are working towards creating a VTT to host OneDnD/6e. While Roll20 is licensed by WotC if I'm not mistaken, virtually no other VTT is. Platforms like Foundry VTT (my personal favorite and most beloved VTT) will not be able to host the D&D system on them under OGL1.1. What does that mean? Hard to say. But it will objectively become much harder to play D&D outside of WotC-approved spaces in the near future, and that is by design. They want to monopolize how this game is played, and that means making it difficult, inconvenient, or even illegal to play the game outside of their personal playground.

Under OGL1.1, WotC claims full and complete ownership over any and all 3rd party content created for D&D, and the rights to use it however, whenever, and wherever they want without paying you royalties. You made this? Hasbro made this.

I've only ever played 5e. But this link I put up above was very informative about prior editions and the drama surrounding them. 3e had an OGL, and the community began to flourish with 3rd party content. WotC didn't like that people who weren't them were making money off a passion for D&D, and they regretted the OGL--but that OGL was irrevocable, and could not be cancelled, removed, or in any way undone. So they put together 3.5e. They promised 3.5e would be backwards compatible, and all your resources for 3e would still work for it. So people jumped to 3.5e, only to find all their 3e content was now worthless, because that hadn't been true. And 3.5e, of course, did away with that open and welcoming OGL from 3e. Sound familiar? "OneDnD" is touted to be backwards compatible. And yet also comes with crushing restrictions in their OGL1.1 that make it impossible for the D&D community to exist as it has been. It is transparently clear that for WotC/Hasbro, an ideal world would be one where all the money people have spent on flourishing this community over the last decade would have gone exclusively into their pockets. D&D makes hundreds of millions every year, but it's "under monetized" according to their new CEO. It doesn't matter if "Honor Among Thieves" flops at the box office, WotC has already green-lit the production of multiple D&D movies. It's not about fanservice, it's about fan exploitation. Because they can't fucking stand that the game they made can be played obsessively and passionately for decades with only the one-time purchases of the DMG and PHB. And instead of fixing the apparent "under-monetization" problem by publishing more official content, they choose to poach 3rd party creators. The very lifeblood that has caused D&D's success. Because capitalist greed is a soulless poison to whatever it fixes its attention on.

The only way the community has any shot in hell to fight this is if the pushback is intense and loud. WotC has released statements mentioning an openness to listening to the community and revising their choices based on feedback; whether that proves to be lip service or not remains to be seen, but either way: the only thing they seem to care about is money. Fine, let your money do the talking, then. Wholeheartedly support the boycott. Proclaim your support of it loudly. Let Hasbro know that their attempts to milk more profits out of this franchise will be the very thing that kills it if they don't ease the fuck back and allow OGL1.0a to persist. They apparently didn't learn shit when this happened in 3e/3.5e. They can either wise up now before they fuck up beyond repair, or they can be fully destroyed by their own greed. Time will tell.

Edit:

Good catch, thanks! You're right, I must have had some wires crossed when writing that bit. They couldn't revoke it, but they did publish new content for 3.5e that made 3.0e content feel worthless; this is not something I personally lived through, but is based on the reporting from this second article I linked. Likewise, that article explains how 4e did not have an OGL and was consequentially a bit of a wasteland, presumably prompting WotC to bring the OGL back for 5e. Which flourished. And now we're here.

Edit II:

I'm Super not the best source of information for this because I'm absolutely all over the place, but 2 things.

Please check out OpenDnD.games for full, proper info and a place to give your signature in support of the community's pushback.

Something else I failed to mention above: OGL1.1 has a "poison pill" clause. Anyone who signs it permanently forfeits their right to publish under prior versions of the OGL, even if they are unable to take down those prior versions. DO NOT SIGN ANYTHING FOR OGL1.1. Even if the community pushback yields results, you may have trapped yourself. "Predatory" does not even begin to cover it.

[asexualityinhistory]

Welcome back!

Today I will discuss “CHAPTER IV Gender and Asexuality in Academic Sources” by Petra Filipová. Today's post will shine a light on how asexuality has been addressed in the past. Following the outline of the previous post, I will provide a summary of the material as it may not be accessible to the public. I highly recommend exploring this source if you have access through your school, university, or other means. It references several resources that go into great depths of today's material and are beneficial in an academic stance and in personal interest.

Richard von Krafft-Ebing provided research or a study on sexualities. in doing so, he considered asexuality and physical/sexual dysfunction and gave it the term anaesthesia sexualis meaning the lack of sexual feeling. It was not considered a sexual identity and was often treated as a physical illness. Outside of this, asexuality, along with other sexualities, were diagnosed as mental illnesses. There were strides made to find a link between sexuality/sexual behaviors and mental illness. Such treatments and diagnoses were apparent in and around the 1880's (Krafft-Ebing published his research in 1886).

Filipová then addresses Alfred Kinsey and the Kinsey Reports. As a refresher or as newly learned information for some, the Kinsey Reports were made to create a scale of sexuality from 0 to 6, 0 being completely heterosexual and 6 being completely homosexual. Asexuality had no place on this scale and Kinsey made it its own category termed "X". One way to look at this is alienation of a group of people, which fed into the negative connotations of asexuality known today. After a later review, the Kinsey Report showed that women were more likely to be asexual compared to men.

Although there is no clear data on why this is, this source does provide some assumptions or speculations. The main argument was how societal pressures were presented during different historical points. It was often expected for men and women to be 'coupled up'. Women were most likely expected to engage in romantic and intimate relationships with men as our society has always been heavily heteronormative.

One particularly intriguing section is Asexuality in Diagnostics. This section discusses how our society was and is considered hypersexual. Continuing the discussion from above, asexuality was deemed a mental disorder as well as a sexual disorder. The diagnoses within the diagnostics were different for men and women. They were put on a scale of asexuality where women were assumed to experience "a lifelong lack of sexual desire". Whereas men were expected to eventually "be a man" and be sexual. In the past and the present we see the expectation of men to be sexual because that is what defines a man in the eyes of our society.

This chapter also has a section on discourse on asexuality. I encourage you to take a look if you have access as there are multiple discourses regarding the study and understanding of asexuality. For those who may not have access to the material, I will provide a brief summary of the section. The many surveys and other discourse material had flaws that were not taken into account to create fully reliable data. Certain studies did not take into account other gender identities such as non-binary. This mistake left out a potentially key group in their demographics. Filipová includes one study done by Brotto and Yule in 2011 the ‘Physiological and Subjective Sexual Arousal in Self-Identified Asexual Women’. I want to specifically mention this study because it is different and addresses a matter that some may not consider. Brotto and Yule hypothesized that regardless of sexual orientation, women would experience sexual arousal from an erotic film. The concluding results of the study proved that their hypothesis was true. They stated that asexuality is not a lack of sexual arousal but rather a difference in sexual response. These results show that asexuality is less of a dysfunction than it is made out to be.

This source provides multiple resources and insights into the historical research and studies of asexuality, making it an excellent reference. Societal expectations have led to a near alienation of acceptance of asexuality. Such expectations include gender roles/stereotypes, heteronormativity, and hypersexualization. This source provides insight into how research and studies have been used to define and better understand asexuality while acknowledging limitations and room for improvement.

This post is a continuation of defining and understanding asexuality in its historical and modern context. The significance of asexuality will continue to be examined in later posts. The next post will discuss a different perspective of asexuality once more. Thank you for following along and feel free to share your insights!

Bibliography:

Petra Filipová. “Gender and Asexuality in Academic Sources.” In Gender in Focus: Identities, Codes, Stereotypes and Politics, edited by Andreea Zamfira, Christian de Montlibert, and Daniela Radu, 1st ed., 108–22. Verlag Barbara Budrich, 2018. https://doi.org/10.2307/j.ctvddzn5f.7.

[thevixenwitch]

Cernunnos - A Confusion of Aspects

Introduction

This was supposed to be a simple bit of research that I was going to do as a devotional act to Cernunnos, but over the course of the night I kept encountering the same dead ends that pointed to the same singular source of misinformation. So do not expect this to be entirely objective.

Let's begin with a simple question: Who is Cernunnos?

A Gallic deity, with difficult to trace roots. Depicted sparingly, there is debate on whether or not various depictions can actually be attributed to him. Particularly, one of the most famous supposed depictions – the Gundestrup Cauldron – has been theorized by Celtic scholar John Matthews to depict a Shaman and not the god himself, according to his book The Celtic Shaman. Depiction variation and debate is not uncommon in discussion of older religions and cultures, particularly when Romanization and Christian censorship were at play. Not to mention Wiccan appropriation and repurposing of beliefs without regard for earlier context.

Others have made fantastic deep dives into potential depictions and discussed them at length, and I am no historical scholar, so I have little to add in this case. I highly recommend the essay The gods of Gaul: Cernunnos by @mask131 [1] for a piece regarding depictions through history.

Upon reading the previous essay, I was inspired to dig deeper into Cernunnos, from historical contexts to meditating on my own UPG via my connection with him. My own connection with him was something that happened casually over time, ranging from dreamlike interactions to conversing directly through divination. I am an incarnate Fae, and worship him as the King of the Fae, in addition to other aspects and epithets such as:

Cernunnos

King of the Fae

Master of the Sacrificial Hunt, The Horned God, and other Wiccan Concepts

Master of the Wild Hunt

Pan

The Green Man

Herne the Hunter

This list is influenced by a resource post of druidry.org[2], but I will be researching each of these titles for further insights into their sources and how they do or do not connect to my own practice ahead.

[1] mask131, Tumblr

[2] https://druidry.org/resources/cernnunos - this is not a reliable resource

^ Cernunnos depiction on the Gundestrup Cauldron

Cernunnos

As learned in the previously linked essay, the name “Cernunnos” originates from the “Pillar of the Nautes” or the “Pillar of the Boatmen”, where the name is placed directly above a depiction of an antlered figure on the Block of Four Divinities[3] alongside the deity Smertrios. Many Gaul artifacts can be found in French museums. The Pillar of the Boatmen is attributed as a Roman-era inscription[4], so that gives us only enough information to hypothesize.

My takeaway from this is that the name Cernunnos is a modern approximation because of lacking, provable historical records, but rather serves a purpose as a modern placeholder. I came across information claiming that worship of Cernunnos as a deity was brought into modern belief by neo-pagans and popularized by Wiccans, particularly through Margaret Murray’s writings. During her studies of folklore in the early 20th century she put together a Witch-cult hypothesis that stated how a variety of horned deities were aspects of a “proto-horned god”[5]. In addition, this belief was adopted by Gerald Gardner and formed the basis of the concept of the Horned God within Wicca.[6]

“Sometimes also known as Carnonos, his name has firm Proto-Indo-European origins. It stems from the PIE word *k̑r̥no-, and is thus cognate to Germanic *hurnaz and Latin cornu, all meaning “horn”. In the Celtic Gaulish language, this word was karnon, and the connection with the name of Cernunnos is clear - it reflects the deity’s stag antlers, growing from his head. Thus, Cernunnos literally means “the horned one”.”[7]

Gallic history is sparse and difficult to pin down due to a lack of written records or literature. Multitudes of visual depictions dating from the Roman era have been attributed to Cernunnos by Archaeologists, having been retrieved from northern Gaul. These depictions are hypothesized to be this deity or others of similar archetypes. In addition, sites tend to use the words “Gallic” and “Gaelic” semi-interchangeably, despite the regional difference. Gael meaning a Celtic tribe from modern Ireland-Scotland, and Gaul meaning a tribe located in modern France. There is speculation that Cernunnos was a proto-Celtic deity, and could have had roots in any or all Celtic practices and beyond, but that is speculation because there is a lack of evidence to support the theory in any substantial direction.

[3] Name sourced from Athena Review, Vol. 4, No. 2, which also sources Huchard, V. (ed) Archéologica. 2003. “Le Pilier des Nautes Retrouvé. Histoire d’une Métamorphose.” Dijon, France. Éditions Faton S.A

[4] An observation attributed to Hatt, Jean-Jacques who recorded that the artifact was originally erected in 1st century AD.

[5] Margaret Murray, The God of the Witches

[6] Kathleen Sheppard Forced into the Fringes: Margaret Murray’s Witch-cult Hypothesis 21 April 2017

[7] According to Aleksa Vučković via ancient-origins.net

^Cernunnos's face as depicted of the Pillar of the Boatmen

King of the Fae - UPG

This title is predominantly UPG and relates to my own existence as an incarnate fae.

I find him similar but above other more location-based wild gods, beings like boar lords, and other guardians and rulers of nature. There is a loose hierarchy within fae politics, for lack of a better word, that is predominantly power based. Not as in subjugation over other beings, but rather quantified by expanse of control or domains. Finding the words for this section proves difficult, but he is simply above all of us, with a connection to all Fae. Cernunnos does not view himself as better than any of his subjects, he is not preoccupied with anything like that.

Does this title equate him with the concept of Oberon? No, I don’t believe so. He also exists outside of the seasonal courts, as he goes through a physical shift with the seasons instead of remaining in one form.

Master of the Sacrificial Hunt & The Horned God

Many modern depictions and associations with Cernunnos took their form via Wicca, as previously mentioned. The now heavily discounted Witch-cult hypothesis led to the adopting of the name as a common main aspect of Wicca’s concept of the Divine Masculine or the Horned God that absorbed many horned deities into one being, losing their individual status and becoming “aspects” of a central pillar. This is a theme often seen within Wicca and expands to their depiction of a central Divine Feminine deity as well, the pair often referred to as The Lord and The Lady. This is a simplification that I do not agree with. The epithet “Master of the Sacrificial Hunt” is unable to be sourced beyond the previous essay on Druidry.com and a repost of the same write-up on witchesofthecraft.com, so this title isn’t possible to verify. Although, mentions of Cernunnos identify him as a being that has a seasonal cycle of death and rebirth, which this epithet may be indicating. This belief appears to also have its basis within Wicca and lacks historical evidence. To quote from Wikipedia, “Within the Wiccan tradition, the Horned God reflects the seasons of the year in an annual cycle of life, death and rebirth

and his imagery is a blend of the Gaulish god Cernunnos, the Greek god Pan, The Green Man motif, and various other horned spirit imagery.”[8][9]

While I am large proponent of UPG, I do not abide by stating such concepts as strict facts. I will explore this further in future sections.

[8] Farrar, Stewart & Janet Eight Sabbats for Witches

[9] Doreen Valiente The Rebirth of Witchcraft pg 52-53

^The plaque I'm sure we've all seen in our local metaphysical store

Master of the Wild Hunt

The Wild Hunt is a concept that permeates the history of many European cultures, including the Celts.[10] Myths of Wild Hunts would most often include a central figure flanked by hunters all in pursuit of some kind of special quarry. Within Germanic legend, the mythical figure is often Odin, but there were many other figures that have been featured across cultures and belief systems, sometimes historical and other times religious. The hunters were often depicted as fairies, the souls of the dead, or otherwise inhuman participants. Witnessing the spectacle as a mortal was thought to bring calamity[11], death, or abduction to magical realms.  The concept and term were popularized by German author Jacob Grimm, originally as Wilde Jagd.[12]

This mythological concept existed in various aspects of Germanic and European folklore, across multiple cultures. Despite this, the lack of Gallic literature means that we are unable to directly connect Cernunnos to any historical uses. The prevalence of this type of myth, though, presents the obvious opportunity to incorporate our modern understanding of him into the framework to explore our own UPG. This is a topic I may meditate on further if I do further research into the concept of the Wild Hunt.

My own personal experiences with the concept are much more play oriented. If you’ve ever been to a Beltane festival, you probably know the heady feeling of being chased through the woods before being caught and celebrating the season. This interactive ritual-made-game is a fun staple you may find on the schedule of any fertility event these days meant to drive up sexually charged, excited energy. It’s a simple enough concept to incorporate into any individual practitioner’s holiday plan, if it suits your preference. Especially as a Fae, I find the concept of the Wild Hunt to be something fun to engage in with a special partner or community, and find no harm in inserting anyone into the role of Master of the Wild Hunt, as the prevalence of the format leaving the form of individual story to expand into a genre.

[10] Stith Thompson (1977) The Folktale University of California Press pg 257

[11] See, for example, Chambers's Encyclopaedia, 1901, s.v. "Wild Hunt": "[Gabriel's Hounds] ... portend death or calamity to the house over which they hang"; "the cry of the Seven Whistlers ... a death omen".

[12] Deutsche Mythologie (1835)

^Johann Wilhelm Cordes: Die Wilde Jagd (The Wild Hunt)1856/57

Pan

The conflation of Pan with Cernunnos appears to be predominantly based in the view of all male horned deities being simple aspects of a larger presence – the Wiccan Horned God. As previously stated, I do not support that concept and will use this section to study Pan as a separate entity and cover where in my UPG they overlap.

Pan is the Greek god of the wilds, music, and a guardian of shepherds and their flocks. He also was usually in the presence of nymphs.[13] Unlike the Stag depictions and associations of Cernunnos, Pan sported the legs and horns of a goat and appeared similar to a Satyr. His domain expanded to agricultural and wooded areas, as well as the realms of sex and fertility. The sum of those parts was to present him as a god of the season of Spring. He had a Roman equivalent in the god Faunus, and was also conflated with another known as Silvanus at times. Pan became a popular god during the 20th century neopagan revival[14].

Even before that, worship of him was brought back by a festival originating in Painswick, Gloucestershire by Benjamin Hyett, who also constructed various holy places in the god’s name.[15] Other popular occultists of the early 1900’s such as Aleister Crowley also crossed paths with Pan, as he built an altar to the god and wrote a ritual play about him.[16] After that point, his image and general description was absorbed into the Wiccan Horned God concept after Margaret Murray’s The God of the Witches posed the idea that he was simply one part of an overarching whole.

But who was Pan outside of this, particularly who was he before the Witch-god hypothesis altered how future generations would see him?

Pan is considered by some scholars to be a reconstruction of a Proto-Indo-European pastoral deity[17], as well as Pushan, a god originating from Rigvedic that also shared goat traits.[18]

Beyond these source hypotheses, there is evidence that Pan was first worshipped in the mountainous, isolated area of Arcadia. In that area, if a hunt wasn’t satisfactory, disgruntled hunters would scourge, or whip, the statue of Pan.[19] At this time, there were no formal temples to Pan, and worship was instead pursued in woodlands and other natural spaces. While exemptions from this rule did exist, they were few and far between.[20] He predates the Olympians, like many Grecian nature spirits. I won’t go too in depth regarding direct mythology, as its difficult to do that with the Greek pantheon without tangents.

Pan was viewed as a height of sexual prowess, and agricultural success. He had a history of dalliances with Nymphs, to put it lightly, often depicted as being controlled by his lust and anger. Such as in the myth of the Nymph Echo, whom he ordered killed when she denied any man. In some versions, the pair even have two children, or perhaps chose Narcissus over him, no matter the variation he is usually painted as rash and jealous. I’m sure we’ve all seen that statue of Pan and the goat that resides in the National Archaeological Museum in Naples.

The word “panic” can trace its sources back to him, but I was surprised to find that “pandemonium” does not.[21]

In my personal view, Cernunnos ages with the seasons, being at his most virile in the Spring, then maturing into his form as a guardian of the dead come winter, appearing dead himself. This is relevant in that I find the depictions of the lustful, energetic Pan to be inspiring of how I see that Spring form. Beyond that, the agricultural and animal connections are similar, but seem to take very different forms upon closer inspection.

Within actual historical context, there doesn’t seem to be anything connecting Cernunnos and Pan in any way beyond neo-pagan labelling.

[13] Edwin L. Brown, "The Lycidas of Theocritus Idyll 7", Harvard Studies in Classical Philology, 1981:59–100.

[14] The Triumph of the Moon: A History of Modern Pagan Witchcraft, Hutton, Ronald, chapter 3

[15] Hutton, Ronald. The Triumph of the Moon: A History of Modern Pagan Witchcraft pp 161–162.

[16] Soar, Katy (2020). "The Great Pan in Albion". Hellebore. 2 (The Wild Gods Issue): 14–27.

[17] Mallory, J. P.; Adams, D. Q. (2006). The Oxford Introduction to Proto-Indo-European and the Proto-Indo-European World. Oxford, England: Oxford University Press. p. 434

[18] H. Collitz, "Wodan, Hermes und Pushan," Festskrift tillägnad Hugo Pipping pȧ hans sextioȧrsdag den 5 November 1924 1924, pp 574–587.

[19] Theocritus. vii. 107

[20] Horbury, William (1992). Jewish Inscriptions of Graeco-Roman Egypt. Cambridge, England: Cambridge University Press. p. 208.

[21] Coined by John Milton in his poem “Paradise Lost” coming from the Greek pan- “all” and daemonium “evil spirit”

^Mask of the god Pan, detail from a bronze stamnoid situla, 340–320 BC, part of the Vassil Bojkov Collection, Sofia, Bulgaria (It is shockingly difficult to find art of Pan where he's not rock hard.)

The Green Man

Viewed as more of a motif or concept than a deity, the Green Man originated in England and was usually depicted as covered in leaves and sometimes armed with a club. One might encounter these visuals in parades, festivals, or painted on the signs of many pubs come the 17th century. This changed with the introduction of Julia Somerset, who claimed in the Folklore journal that the design often seen on church walls actually had pagan origins as some kind of fertility deity.[22] There is no evidence to support this claim, and it has been contested by many folklorists.[23] This assertion by Somerset was then absorbed into the Wiccan Horned God despite being described as distinctly “20th Century Folklore”.[24]

That’s pretty much the extent of this one and was honestly one of the most shocking to read about. The Green Man was at best a regional icon used in local festivities but was never any kind of deity. That title was misrepresented and incorporated without research.

My personal association would be the visuals of Winter, but Cernunnos’ Winter form appears very differently to me. More skeletal stag, less old man with a holly beard.

[22]  Centerwall, Brandon S. (January 1997). "The Name of the Green Man". Folklore. 108 (1–2): 25–33.

[23] Livingstone, Josephine (2016-03-07). "The Remarkable Persistence of the Green Man". The New Yorker.

[24] Olmstead, Molly (2023-04-08). "Is the Green Man British Enough for the Royal Coronation?". Slate.

^A sign for the John Barras Pub Company

Herne the Hunter

After the last section, it is a relief to move on to something that has always been presented to me with its original fictional context intact. Herne the Hunter was a character originally depicted in The Merry Wive of Windsor written by Shakespeare in approximately 1597. Supposedly, Herne the Hunter is an antlered spirit that occupies the Royal Forest in England, occupying himself with tormenting cattle and rattling chains. While the character may have been based on local legends to some degree, it is unknown just how much verifiable connection has ever existed. Attempts to connection him to other deities or legends were made often after he was written.

There is an old tale goes, that Herne the Hunter (sometime a keeper here in Windsor Forest) Doth all the winter-time, at still midnight Walk round about an oak, with great ragg'd horns; And there he blasts the tree, and takes the cattle, And makes milch-kine yield blood, and shakes a chain In a most hideous and dreadful manner. You have heard of such a spirit, and well you know The superstitious idle-headed eld Receiv'd, and did deliver to our age This tale of Herne the Hunter for a truth.

— William Shakespeare, The Merry Wives of Windsor, Act 4, scene 4

Despite Herne being a location-based character appearing only in the areas Windsor Forest occupied, certain books published in 1929 and 1933[25] attempted to identify him with Cernunnos and other horned deities. This is again the connection through which Wiccans incorporated Herne into the Horned God.[26]

[25] The History of the Devil – The Horned God of the West by R. Lowe Thompson; The God of the Witches by Margaret Murray

[26]  'Simple Wicca: A simple wisdom book' by Michele Morgan, Conari, 2000

^Illustration of Herne the Hunter by George Cruikshank (1840s)

Romanizations

There are theories mentioned in mask131’s essay regarding attempts at identifying what Roman deity or deities was meant to be the equivalent of Cernunnos, but there is sadly only speculation on that front. Opinions vary from person to person, but parallels are often drawn to Dis Pater and Mercury for shared traits. I did find instances such as the Lyon Cup and an altar from Reims that feature Mercury and Cernunnos depicted side by side, so I believe it is safe to say that they were at least at some point considered fully separate beings.

^1st-century CE altar from Reims with Cernunnos, accompanied by Apollo and Mercury. Mercury has a cornucopia, while Cernunnos spills grain.

Aside – Misinformation is Rampant

This one book, this one fucking “hypothesis”, changed the entire face of what would eventually become modern neopaganism. The damage of the Witch-cult hypothesis is far reaching and permeates every resource I could find while writing this piece aside from the explicitly scholarly. It is extremely discouraging how quickly you can trace something that feels off back to this one woman’s massively disproven theory that was adopted by a man that wanted to make a religion based on occult foundations because he admired ceremonial magic. The frustration I feel as someone trying to do research now after this misinformation and pseudohistory has seeped into every aspect of the path has me constantly on edge and second guessing everything I read until I can find a source.

Stating UPG as undeniable fact that others must agree with isn’t great at the best of times, but the sheer level of ignorance to historical record seems to be running rampant within the modern Pagan community. I’m all for believing something unverifiable, something that’s only true for you, or for the world from your perspective, but there is and must be a difference between that and presenting easily disproven statements as unbreakable law, especially with they come hand in hand with any dressings like, “this is actually true because I was told so by this person, who learned from this other person.” And the process is traceable to the source they borrowed from and how it was completely disproven.

We must think critically within paganism, research beyond the books with flashy covers in Barnes & Noble and question the things we are told by others are just the way things are.

Your relationship with the gods is yours alone and can take any form you want it to. Don’t let yourself be trapped by ignorance. Learn about historical contexts, question sources, seeking mentoring from those who revel in your questions and help you find the answers.

Conclusion

Cernunnos is a deity that is beyond valuable to communicate with directly due to the lack of concrete historical and folkloric information, and the prevalence of blatant misinformation that uses his name. Context is important, and even if you choose to exist outside of it, which is a perfectly valid choice, it should be a conscious one.

In addition, while attempting to research this, I actually stumbled upon sites not just with AI generated cover images, but what fully appeared to be AI generated writing. Be vigilant against information that looks like someone just skimmed the surface and made an assumption, this page had a lot of almost correct or just flat out made up information that contradicts historical fact. Especially in this modern era where people use automatic programs to make summaries of summaries for a game of unverifiable internet telephone, be aware. No matter what your personal stance on AI is, I'm sure we can all stand against information atrophy.

To me, Cernunnos is a supportive, ever-present god that helps me through things in his own way, meaning that its usually something intense and then coming out the other side putting out a fire on the back of my head. He's hands-off, and wants me to admire the turning of the seasons from new angles. He's opened my eyes to a deeper respect for other belief systems, and encouraged me to do this research so that I could better understand him as well as our own connection. He wants me to be observant and always keep learning and questioning and growing in my faith, in my magic, in my role as a faery.

When it comes to the belief systems that you rely on in life, ignorance is not bliss. Seek knowledge deep in the forest and on the frozen boundaries of a lake or standing barefoot in a grassy meadow, but also in historical records. Anyone who wants the best for you will want you to research and learn more.

Genuinely as I was finishing this up last night, adding this section to the post version the next morning, I considered becoming a YouTube essay person. Maybe someday! Perhaps an actual blog. Researching and writing this kind of thing was actually very fun. I never even did something like this while I was in school, so maybe I'm just not traumatized by the concept. Anyways, I hope this was informative and you enjoyed a peek into the journey I took while putting this together.

Now I'm gonna go light up some green in dedication to Cernunnos ✌︎︎♡⃛

^The Lyon Cup, sometimes identified as Cernunnos

[sunflowerchester]

It's week 2 of A Sam Girl Retrospective and this week your host, Audree, is joined by guest host, Vic (@peanutbutterandbananasandwichs)! They discuss the next two epsiodes of season 1 and all the wonderful elements that make the early seasons so special. Be sure to find visuals for this episode on our Instagram, including graphics showing the break down of how we rate these episodes. 

Acknowledgement: Episode 2 of Supernatural does deal with a creature from indigenous lore and we want to be sensitive to that. I've included a link discussing how to be respectful if writing your own story, should you decide to include one. We also want to acknowledge that the show may not have been as sensitive in how it included this creature, so I've added a chapter break in case anyone would like to skip past our discussion straight to "Dead In the Water."

E2 discussion begins at 9:10 E3 discussion begins at 43:16

Thank you to Tumblr user eruthiawenluin for talking through concerns about this with us! We definitely want the podcast to be accessible to everyone. 

Writing With Color on Tumblr

Episode Resources:

The rosery beads post Vic mentions

The terrifying moment the ghost boy looks above the water line

Fangasm

Sam Winchester Caps 

Find us on all platforms!

Follow us on IG for visuals and updates. Follow us on Tiktok for clips and memes.

Subscribe to the show on:Apple Spotify Youtube Patreon And anywhere else you listen to podcasts!

[gatheredfates]

It's been a little while since I've prompted my server! With Sea's Community Compendium not needing an update this week (unless...?), I thought it might be the perfect opportunity. ⭐

What is SEAFLOOR?

SEAFLOOR's purpose is two-pronged! The first focuses solely on my community projects including, but not limited to; Compendium support, question-drive updates, miscellaneous resources and other bits and bobs. We also have dedicated channels for user sourced/submitted content including:

Resources, prompts and commissions! Every time I see a commission post, gpose prompts or resources that I think will benefit the community at large (especially if it doesn't fit in the Compendium due to time constraints), I'll add it there.

An affirmations channel! Exactly what it says on the tin. You can link positive words and encouragement to people and they can look in the channel if they need a boost.

Fics, drabbles & asks! If you want to promote your writing/work, especially from my question drive, you can do that there.

There are also a few channels specific to the social role.

An events channel! I try to link any upcoming events I see on the dash, though event owners can promote their own specific venues if they want.

Character profiles for RP and writing!

GPosing, LFG and modding discussions. ✨

The second purpose is what's implied above — a social aspect! I struggle with a lot of one on one conversations, so this server lets me reach out to lots of people without the pressure of missing messages. You do not need to join the social aspect to have access to my projects. It is entirely optional and there for people who want to say hi or meet other people in the community. If you just want to be pinged when a question drive is open or I have updated the Compendium, you're more than welcome to utilise the server just for that.

However, because of my time constraints, I have a series of rules that must be adhered to in order for people to participate fully in SEAFLOOR. Though they're explored in more depth in the server, the main crux are below —

SEAFLOOR is adults-only, 21+. This is entirely because I don't have the time to moderate a server that is friendly towards minors and I generally don't allow them in my space. This is for my own comfort, sorry! You're still welcome to utilise my projects.

As this is a server for adults, I expect you to act like adults. This includes, but is not limited to; enacting your own media literacy in muting, blocking and disengaging with people/topics you don't like; doing your due diligence to protect yourself and others with proper content warnings, spoiler tagging and triggers; keeping to Discord's ToS and respecting people's boundaries and privacy. If I have to moderate, I will be harsh in implementation because I don't have the time for it. Like all my projects, if it becomes too much of a chore or detrimental for my mental health, I will delete it without hesitation. This might be a 'public' server, but it is still my server. I won't hesitate.

In sum: 'Be excellent to each other'. Treat others how you want to be treated, don't start discourse and sort your shit in private. Use your common sense and don't be creepy/weird.

If this sounds like something that might be up your alley, you can give the server a shot here! There's a lot of fun, supportive people and I really enjoy the little community that's been cultivated. I hope you will too!

[coollizzylou]

Hey gw2 peeps I recently learned that this interview exists (it’s from late December last year)

And I think reading through it gives a lot of context for why the latest update(s) may not have hit the mark for more story inclined people.

(My own thoughts/analysis under the cut. I’ll try to be vague spoilers but it comes with the territory)

Ok first to get it out of the way: my thoughts. I like this update! I think the new part of the map is beautiful as always, and it feels a LOT livelier than the first part. The new meta is less intensive than The Road to Heitor and feels fun to drop in and to replay, which is nice. I love all of the events that focus on helping civilians. I’m glad we have a portal from the Wizard’s Tower now, too! I haven’t really dug into all of the new weapon proficiencies on all classes, but I am enjoying engineer shortbow in WvW! I think this update has a lot more than a lot of people are giving it credit for, because what’s here is more mechanical gameplay than story instance content. I’m ok with the player character being A Hero and not THE Hero, but I do wish the commander had more speaking lines because it’s the little things that make the story so immersive and fun for me.

Speaking of, I want to highlight a quote from the interview I linked above. The rest of it is really fascinating, but this part stood out as specifically relevant to the discussion being had.

We’re learning a lot about how we develop and release content on this cadence, which absolutely has a downstream effect on the player experience. The overall shape of development between expansions 4 and 5 are very similar (timelines, resourcing, etc), even if the content and features are not. This means that we’re able to focus more on refining our development processes than reinventing them. The better that we can identify production issues like undocumented dependencies, bottlenecks, resourcing issues, etc, means that we can proactively address those issues in future dev cycles.

From our experiences with Secrets of the Obscure alone, we’ve adjusted development schedules, review processes, dev resource allocations, documentation and communication practices, and more. All of these contribute, to some degree, to improving the quality of what we deliver.

So basically what I’m getting here is that SotO was a huge adjustment, and if I’m reading between the lines correctly, I would guess that the adjustment was probably a little rough (to put it mildly).

I think this is why the story instance content was weaker than what other updates have provided. It makes sense that if a speaking part had to be cut/diminished, it would be the player character’s. 10 different voice actors for each line of dialogue is a lot more difficult to plan logistics for than a single voice actor reading ten lines.

But it also makes me hopeful that the devs at Anet will continue to learn from whatever might have gone wrong, and I am really excited to see what’s next!

[wouldtheybecomeafearavatar]

Hello everyone! This blog will create polls for everyone to decide if [character] would become a servant to or otherwise aligned with [one of the Fears from The Magnus Archives podcast].

*See explanations of Avatars and different Fears here.

Submission rules:

(by "submit" we mean "send an ask"; submissions are turned off)

1. Please submit a character with 1) their source and 2) one Fear you hypothetically assign them to. If the source is eponymous with the character, please still specify it! We don't like to doubt ourselves. If you don't do the second thing, we will not assign them myself and will, therefore, not make a poll.

2. You can submit OCs if you link a resource with information about them.

3. You can submit real people based on a media/stage persona, but must include a reason for submission. No billionaires or politicians please.

4. Your ask can include one or two sentences of propoganda. If you include more, it will be posted as a comment on the poll instead.

5. You can submit a character that already appeared, but with a different Fear.

6. Please limit yourself to 1-2 asks at a time (as in, wait until they get their polls then request more). This way the turnover time for each person will be smaller, and we'll have more fun!

7. You can now also submit a character, place or object to be polled as a manifestation! These can be real or fictional and pretty much the same rules apply as for avatars.

The wonderful inspirations and the blogs I will humbly ask to promote me: @bracketsoffear @canyourfavesurvivecastledracula @sexiestpodcastcharacter @couldtheycatchkira @wouldtheybecomekira @couldtheydestroythering @can-they-beat-goku

You can check what polls have already run or look at the data in this spreadsheet:

Options that will appear on polls are under the cut!

The polls will assume that a character will by default have a relevant experience or otherwise be exposed to the Entities' existence. "No, there would be no reason for it to begin happening" will not be an option - what's the point and the fun of this blog then?

Yes, willingly: the character would embrace the possibility of getting some sick nightmare powers.

Yes, by coercion: they would go through with it, but only if threatened with a loved one's life or something along those lines.

Yes, by unawareness or conditioning: they wouldn't realize until it's too late or would be raised to be an avatar, unaware their way of existence is not normal.

No, they would decline/resist from the start: they have enough fortitude to not act on any of their changes and/or decline any offers of such changes.

No, they would go along but stop before the transformation: willingly or not, they would be on the right track but would stop before the point of no return.

Introduced on 07.02.24:

No, they would already be an avatar for another Fear: they would display another alignment long before the one discussed, with the choice between them unlikely to occur in one of the above ways or at all.

I don't know this character/See results: self-explanatory.