#these identities are all more complex than we make them out to be

[invinciblerodent]

While I'm on the topic of being hopelessly in my feelings about these characters, I just finished the last part of the Gloom Howler quest, and I'm thinking about Davrin and names at the moment.

I really, really love how, once we learn the truth about her, Davrin seems to make a point of always referring to Isseya by her name (mostly on its own, but sometimes in conjunction with calling her "The Gloom Howler" when necessary), and even correcting others who would refer to her only by the latter name. (Which, honestly, both Solas and the Inquisitor could also talk at length about a title that all but replaces your name- it definitely feels significant that Davrin would pointedly reject the thought of doing that to someone, but I digress.)

And that reminded me of how I previously made an idle, kind of shitposty little post about how nice I found that during his recruitment mission, Davrin calls out the specific names of each griffon if you interact with their cages, and he attempts to comfort them like that- by reminding them who they are, that he's there, and promising that he'll be back for them.

In retrospect, I think that's so interesting, how his core story seems to boil in part down to... well, in part to the burden of duty, the questioning of tradition and authority (he questions both Dalish- and Warden traditions from very early on, one by joining the Wardens and the other by joining Rook) and, yes, living past what one thought to be their purpose, but also... to these moments, that invite some contrasting of his elven-, and his Grey Warden identities.

Isseya being an elven Warden is a very direct parallel, and a very clear image- it, I think, is meant to show what happens when authority goes unquestioned, and one side (the Warden) triumphs over the other (the person). His uncle then acts as a counterpoint and a thread of connection to the past- he shows what happens when tradition goes unquestioned, and while peaceful, how that existence is not one Davrin wishes for himself.

This all comes to a head in the final choice concerning the griffons... which, I can't say what a "correct" choice is, but I find it really cool how one option embraces a more rigid tradition and acts as a vow for reforms within them, honoring them, while the other embraces a different tradition, one born of fluidity, choice, and change- a more personal freedom.

Purpose and nature, respect for the past and hope for the future, all strain against each other sometimes (in multiple companions' stories, I feel), and it's often a name that represents the complicated harmony between two halves.

Be that Assan, noble descendant of a hero Warden's griffon wearing an Elvish name, Isseya, the monster and mage brought to peace, the idea of "turlum", harmony and understanding forged between vastly different minds, or just... Davrin, the Dalish Grey Warden, who is not more one than the other.

Maybe that's why calling people (and animals, and feelings) by their proper names seems so casually important to him. Because if you give something complex, messy, and muddled up a name, it's easier to just live it.

(.......... and yeah, that makes it a bit ironic how so far he's been calling Rook, "Rook", but, yknow, technological limitations. I've a feeling I've at least one important scene to go still, but honestly, the name "Rook" does also kind of represent a similarly complex matrix of ideas condensed into a person. It could be that "Rook" feels more accurate than any "friend", or "love", or "boss", or even "vhenan", for what they are to him, or it could be that he's still looking for the right name, but either way, I'm looking forward to seeing how it all ends.)

[lokielly]

hot take: it’s up to the aro/ace person whether or not they’re lgbtq. if they want to be included, go ahead. if they don’t consider themselves lgbtq, that’s fine too!

Trying to prove a point

REBLOG IF YOU THINK AROACE / aro/ ace PEOPLE ARE A VALID PART OF THE LGBTQ+ COMMUNITY , LIKE IF YOU DON’T

[oblique-lane]

Spy tf2 and his identity

Character analysis (or at least my vision on him, if you believe my reasoning)

What do we know about Spy? He's a disguise mastermind. He can pretend to be anyone in order to infiltrate into the scene to do his job - quite literally, stab people on the back. But when he's not in the battle, what is he to his teammates? A suave Frenchman, a gentleman with taste, somewhat a leader.

At least, that's the persona he prefers to show. But is he really..?

What if I tell you that this person never drops his disguise?

For a man who always wears a mask and who's identity being secret is a sacred part of his role in this job, isn't this persona too much to show if it is real? Frenchman, rich, ladykiller... Wouldn't it be too easy to decipher his identity with so much clues provided? Wouldn't it be dangerous?

While Miss Pauling and the Administrator definitely know Spy's real identity, hiding it is a major thing for whatever reason. One could assume it might be because of Scout (obvious guess) but I doubt he's a sole reason. Spy very much enjoys being the Spy all by himself. Do what's the deal?

Let's start from the beginning.

Why did Spy join Mann Co. in the first place?

Let's take this assumption as a fact: people come here out of desperation. They are professionals in their field, yet in their past/casual life there is a pattern of them having difficulties that push them into joining this service. I don't see why Spy would be an exception.

The reason for joining is usually money. Some people question why Spy, a wealthy man from higher society, would join Mann Co. if he has it all already.

Well, probably because he really does not.

Have you ever met an aristocrat? Wealthy people don't get so protective about their expensive suits, they can afford cleaning or a new one. Regardless, rich people don't usually get stingy about material goods, especially if they're mass produced.

At least, not those who were born into wealth.

Spy's defensiveness about his "wealthy stuff", his pomp-ness, disgust and arrogance towards "plebs" gives off a man who knows what it means to live in poverty and who doesn't want to be associated with it ever again.

(Not even talking about his own filthy habits such as not washing his mask and pissing on walls? Jesus Christ)

Dare I even guess that he might be not French at all? His French is so broken. (Although, so is Medic's German, but at least he uses his language much more frequently and in more complex sentences, while Spy only uses French to say some basic expressions, occasionally confusing them with other languages). Definitely not a native.

If anything, he's not giving "rich man" at all, he's giving con man. And that fits my picture perfectly.

So, poor upbringing. How old is Spy? If he's Scout's father (and he was young when he was conceived), I'd say he's no less than 20 years older than him. I'd give him a few more years actually. So, approximately Spy is around 50 at the events of the game (1968-1972). Let's assume he was born somewhere in the 1910s.

Even if he's not French, I still agree that he's probably European. Hmm, what was happening in Europe at the time Spy was a kid?

Oh yeah. The Great Depression.

See my picture: imagine, a child from a lower class family during the Great Depression, his parents were most likely to not take good care about him (both because of the economical situation AND as an echo to Spy's struggles with his own fatherhood). He has to run away from home early and start to make money. Any way possible.

Unavoidably, it leads to crime.

Petty theft, blackmail, scams. Changing identities. Selling low quality products and services. Changing identities again. When older, seducing rich women to stay at their homes overnight, be fed and supported. Running away from the police. Walking into a trap of the mafia, and then joining them as their goon.

In this nightmare of a life he just had to keep pretending to be someone else, someone better and stronger, in order to his ego to not completely shutter. He had to imagine he was an invincible mastermind trickster of some sort, not just a poor boo-hoo victim of poverty who has never knew normal life and care.

And if you pretend for long enough, you become your role eventually... Right?

His true self was long lost forgotten under many layers of new identities. Worse, his true self was never known. And he didn't want it to be known in its ugly and disgusting vulnerability. Narcissism became his lifeline.

It's so much better to be Spy. To be rich and elegant and respected. His ego rebuilt.

[hurtspideyparker]

Tony doesn't tell the Avengers about Peter's secret identity, but Peter starts coming over constantly and chilling around the tower, helping Tony in his workshop or eating dinner with everyone.

Since Tony is weirdly secretive about who the kid is, and the fact that Spider-Man is still a small unknown (presumably adult) hero who isn't on any Avengers radars, they all collectively come to the conclusion that he's Tony's illegitimate child.

Bruce: They do have the same eyes...

Steve: This is an inappropriate conversation to have. If Tony doesn't want to tell us then we shouldn't pry

Natasha: Tony doesn't even like kids. There's no way he would tolerate one if it wasn't because of his guilt complex. I'm surprised there isn't more little Starks running around considering his previous lifestyle

Clint: *cough* drunk slut *cough*. Oh excuse my throat, I meant to say he was a drunk slut

Natasha: Steve they're the exact same. Talk too much, too fast, genius brains that go right over our heads, stubborn, like to cope with humor, same body language. They'll have the same smile lines when Peter grows into them. The only difference is that Peter was raised with manners

Steve: I'm not saying I don't agree, I'm saying it's none of our business. Anyone with basic observational skills can tell they're desperate to fill father and son roles in each others' lives, but Tony's really weird about it, so we should let him keep it private

Clint: We probably make him nervous

Bruce: Because he thinks he's a bad dad?

Natasha: I think he's kinda good at it. Which is extremely unnerving

Steve: Honestly out of all of us I had bets on Bruce having a secret wife and kids hidden somewhere. Tony stepping up to be a father was lower on my list than Nat

Natasha: You have a list?

Bruce: You think I pull?

Steve: That's irrelevant. I think it's nice that they're so close already, but we don't need to press. It might mess up a good thing

Clint: Wait can we go back to this list business. Are these like pragmatic, military leader lists, or are these for pleasure? What other kinds of lists do you have? What about which one of us is most likely to turn on you. Or what you'd turn for. Oh! What about a list of all our weak points based on accessibility and intensity, with contingency plans in case of defection or aliens or brainwashing or alien brainwashing causing defection

Steve:

Natasha:

Bruce:

Steve: This is why Tony won't share his personal life with us.

They last another week before Clint, Natasha, and Bruce team up to steal a strand of Peter's hair and test it for paternity. Steve knows something is up, and follows Clint to Bruce's lab.

Steve: What are you doing...

Natasha: Admit it, you know exactly what we're doing and you want to see the results

Steve: I... well if you already have them there's no point keeping it from me

Clint: Tony Stark is not the daddy!

Tony: Which of my exes have you been talking to?

Clint: AH oh hey Tony didn't see you there

Steve: I'm not apart of this

Tony: Is this about Peter? He told me something plucked his head when he was walking down here. Which of you murder twins was hiding in the rafters

Natasha: Y'know he's not your kid, whoever told you he was lied to you and I hope you get your child support back

Tony: My kid? He's my intern. What funky kool-aid have you all been drinking, that boy is sorting my tool drawer right now. He has slightly better dexterity than Dum-E, it's been quite helpful

Bruce: You have really poor professional boundaries if he's just an intern

Tony: Okay fine. He's actually Spider-Man. I didn't wanna tell anyone cause the Accords were still fishy, but everything should be good now. Anyways, he really wants to train with you guys so you'd have to know eventually

Clint: Who the hell is Spider-Man?

Steve: That guy in Queens who helps bring in peoples' groceries?

Tony: Well, yeah—listen, he's like 14 and he just got his powers. I'm not exactly sending him to fight armed terrorists yet. He'll grow into it, but trust me, there's potential. I'm kind of like his mentor

Steve: You really don't need to do that

Bruce: Yeah we'll all help out from now on

Natasha: Don't take too much responsibility for the boy

Clint: Oh god what have you been teaching him?

Tony: Thanks for the vote of confidence guys. Whatever, now that you all know he'll be hounding you all day for advice anyways. Good luck with that. Friday tell Pete to come down here, the Avengers are gonna train with him

Tony leaves them all, snickering to himself as loud footsteps come crashing down the hallway. If they didn't know any better they'd say several elephants were tripping down the stairs. Then, the doors burst open, Peter's mouth already running a mile-a-minute.

Peter: Really, you guys know, you guys will teach me? Can I use the shield, Ms. Romanoff can you show me how to kick, show me with Mr. Barton, or, or Mr. Rogers. I can take down someone bigger than me, I'm actually really strong. Wanna see? Why are we in Bruce's lab, is that my first lesson! Can I touch this? What are you making here, how long has this been distilling, what about my webs, have you ever seen my webs? I did them myself, but I bet we could make them even better, watch out it's really sticky—

Steve ends up with webs all over his face, several of Bruce's beakers broken from the white spray, one reacting poorly with it and exploding all over Clint and Natasha. Bruce immediately shoves them into the decontamination shower, leaving them as two drenched rats wearing skin-tight combat gear. Natasha is already fuming at the thought of trying to peel it off.

Peter: I'm really sorry, I didn't know it was on ricochet... the splitter webs were just 'cause I panicked

Steve: This is why I told you all to leave it be.

"Noted," they all say in unison.

[welcometothejianghu]

We! Rate! Eunuchs!

Sure, we all love eunuchs. But have you ever found yourself with an emptiness in your heart because you were unable to objectively measure your eunuchs? Well, now you can! Thanks to our handy Eunuch Measuring Scale, you can visualize your eunuchs and even see how they stack up against other eunuchs. Enjoy this handy demonstration of how it works!

The Sleuth of the Ming Dynasty

Sleuth's eunuchs are absolutely unmatched in the complexity and fuckability departments, and also get full schemesy marks. Their style is sharp but not particularly varied, and while they do call on their beloved emperor, they don't particularly get a good solid holler going about it. Still, Sleuth's little meow meow eunuchs are high-quality, top-of-the-line eunuchs, practically the industry standard.

The Blood of Youth

Imagine -- eunuchs that not only have stunning outfits of their own, but that coordinate with their coworkers! Hats with architecture that defies logic! It's the style score that makes the Blood of Youth's eunuchs truly stand out. While they are admittedly less fully realized than their Sleuth counterparts, one must chalk this slight deficiency up to how difficult it is to get any screen time in a show with eight billion other characters. They're still full of schemesy goodness, though, leaving you always wanting more.

Nirvana in Fire

Nirvana in Fire presents a special eunuch challenge, as there's only really one eunuch to speak of: Gao Zhan, the emperor's loyal attendant. While his primary function in the show is to feign ignorance so he doesn't get into trouble, he can fretfully wail for his head of state like none other. It's tough to singlehandedly bear the responsibility of all eunuch represenation in a property, but Gao Zhan performs admirably in all areas an emperor could desire.

Story of Yanxi Palace

In contrast to Nirvana in Fire, Yanxi Palace has a substantial number of eunuchs, and every one of them is absolutely plotting something at all times. While the sex appeal of these identically dressed eunuchs is on average low, Yuan Chunwang brings the fuckable score up single-handedly by being the rare canonically fuckable eunuch. Note that the Yanxi Palace eunuchs lose a few points on a technicality: By the time they're around, the emperor is a huángshàng, not a bìxià, and it's much more difficult to get a good mournful cry going when you can't exploit the natural trajectory of two falling tones in a row.

Sleep better at night knowing you can now objectively measure your eunuchs along these six important axes! I know I will!

Eunuch Measuring Scale: because dudes gotta measure something

[miraculouslbcnreactions]

If you were to write Lila would you keep her being a con artist criminal with multiple identities but hinted at/revealed it earlier than S5 or would you cut that part down of her character entirely ?

It would really depend on how much space I had to fill. Gabriel is not the kind of villain that you can draw out forever. His story needs to have a clearly planned ending right from the start. In fact, I think they drew him out at least a season too long. So, if I also had to fill eight seasons, I could see myself going the Lila route. I'd just make a few changes. Off the top off my head, here's how I'd handle serious villain Lila as opposed to what canon wrote, which is petty school bully Lila who is entirely unbelievable as a serious villain.

First of all, Lila wouldn't be introduced at the end of season one. While her and Gabriel probably need to have some overlap, that's way too soon. In my version, she shows up at the start of season four and she'd be heavily toned down. We'd know that something was off about her, we may even keep the liar thing, but it would be a lot more subtle. Lies like, "Ladybug rescued me" and "I got to go backstage at a Jagged Stone concert" instead of "Ladybug is my bff" and "Jagged Stone wrote a song about me." Her goal would no longer be gaining peons, but instead gaining true close friends who like and trust her. The reason for this is that Lila is replacing Optigami as Mayura's last sentimonster.

See, season three ended with all those identity reveals and most of the revealed identities are in the same class. That's curious, so it makes perfect sense for Nathalie and Gabriel to want someone undercover in Adrien's class, but they can't do it. So Nathalie makes a sentikid of her own, gives her the power of manipulation, and sends her off to try to find Ladybug and/or Chat Noir by whatever means necessary.

This would give a clear reason for Gabriel to trust Lila, a clear reason for Lila to know all about the miraculous, and a clear reason for Lila to hate Ladybug. In this version, I wouldn't do Nathalie's lackluster redemption. Instead, Nathalie stays bad right up to her death. Perhaps her last act is getting the butterfly to her daughter and ordering her to get revenge on Ladybug and Chat Noir should Gabriel fail. After all, Gabriel can't wield more than six miraculous at once, so it makes sense for him to send Nathalie off with at least one of them while he enacts his master plan just in case it fails.

That's just one potential path to take. I also like the idea of having Lila be someone who came to Paris in order to find the miraculous, but who has no ties to the Agrestes. That would require some pretty big changes to her character, though, as I can't see that type of character caring about things like dating Adrien or being a model or all the other crap that has nothing to do with gaining a miraculous and everything to do with popularity and social clout. Lila canonically doesn't know that Gabriel even has a miraculous until the final of season four, so she basically just lucked into finding one instead of doing anything logical to find it because this show has no clue how to actually write smart, clever characters.

In summary, I'm totally fine with complex, master-manipulator Lila, it's just hard to figure out the best way to make her work when we don't know anything about her backstory or motivation. The version proposed above is just the best I can do to fit her into the role canon placed her in. A role I could easily see later seasons flat out ignoring.

[felassan]

Snippets 🐺💜

John Epler quote: "There’s a difference between playersexual and pansexual. All companions are canonically pansexual." [source]

The opening cinematic Varric narrates at the start of the game plays before CC. "Following character creation, Varric's narration continues, revealing that he's put together a group to stop Solas, having recruited our character and a handful of others so far." [source]

Despite the action-heavy focus, positioning is absolutely key, and using careful timing to hit multiple foes at once can be the difference between victory and defeat [source]

"In-between fights, Varric and the other characters, including your fully-voiced protagonist, discuss events that are unfolding and different things that have led up to this moment. Epler notes for the preview that with how much time has passed since prior games, the team wanted to carefully throw in some reminders without it feeling like ham-fisted exposition." [source]

"The Dread Wolf's ambitions have already been laid bare, but I strongly suspect there's more going on, and Epler cryptically hints that not everything will be as it first seems" [source]

 Mages can move instead of standing in one place, allowing them to get up close and personal with enemies - a major game-changer for magic users [source]

Faction choice affects in-game moments between other factions and locations, as well as characters [source]

"When they were creating this area, they kept that in mind and looked at other locations to figure out how they could make it more grand. They developed the entire area based on a comment someone said in a past game, and if that isn’t dedication to lore, I don’t know what is" [source] (re: Minrathous)

In this demo the press saw femme Rook! [source]

The standard three square hotkeys look like an updated version of past ones [source]

"It sounded like there is also a system that allows hints during battle, like when something is a certain range, etc., that they said could be turned off" [source]

"In cutscenes, rain dripping down a building, blood on someone’s hands, or stepping into a puddle looks outstanding". "Things like clothes and hair are dynamic and move with you" [source]

"what at its core is a beautifully told story of revenge, regret, and the complexities of good and evil" [source]

During the interrogation scene in the bar with the shady bartender, Varric pins her to her own station with a crossbow bolt in order to interrogate her. Rook and Varric then go scrounge the city for clues [source]

Re: using body sliders in CC - "It looked incredibly easy to maneuver around and create a body that is either close to that player's real personage or their ideal fantasy self" [source]

Companions "will not only be influenced by your decisions in terms of how they treat you outside of combat, but closeness to party members will also change how they fight, with those closest to Rook more useful and lethal in battle" [source]

"Our presenter said that each specialization was pretty much as deep as a job" [source]

The game will not be available in India. [source]

The game has a Quality mode and a Performance mode on PS5 and Xbox Series consoles. it runs the latest version of Frostbite, targeting frame rates of 60fps in Peformance and 30 in Quality [source]

They will have more to share on both graphics modes for consoles in the coming months. [source]

David Gaider quote on the portrayal of Anders' orientation in DAII:

DA2 writer David Gaider told Kotaku in February this was meant to distinguish Anders’ relationship with male or female versions of Hawke, but recognizes this comes off like the mage’s identity was a switch to be flipped in hindsight. “Unfortunately, we just didn’t have enough time to get enough feedback and iterate on those situations,” he said. “We would hit a particular interaction, we would make a judgment call either as a group or the writer on their own, and that was it. There was no time for anything more than one gut-check, which is probably not the way to go.”

edit: forgot to add src for last one sorry. its here

[genderqueerdykes]

the easiest way to tell if someone knows literally jack shit about lesbian history & community is if they try to tell you masc, male, ftm, genderfluid, multigender, genderqueer and/or non binary lesbians don't and can't exist. it's saying you haven't interacted with the lesbian community & its history outside of small isolated internet circles without ever having to even say it. you might claim that lesbians can't be men, mascs, multigender or non binary, but our history & community loudly and proudly states otherwise.

no matter how many times you tell people transmasculine, male, masc, genderfluid, genderqueer and nonbinary lesbians can't be lesbians, we will always be here to prove that's not the case. you can say it until you're blue in the face, it won't change reality. it doesn't matter what you believe a lesbian "should" be, it will never change reality. ideals don't work like that. you can think and think and think about what you Want a lesbian to be all day long, but that doesn't control anyone else who identifies as a lesbian.

you can sit there and bitch and moan and cry about how lesbianism is for women ONLY and that won't change our rich history of male, genderfluid, genderqueer, ftm, masc and genderfucked lesbians. no matter how much it pisses you off that these people exist, we will continue to do so for the rest of time. you can throw a fit, but it doesn't change how people identify in practice. sure you can sit there and say the Ideal lesbian is a 100% cis woman, but we don't live in an ideal world. we don't live in an isolated bubble

real life is complex and nuanced. you can sit there and spitball about queer theory all you want, but it's not going to change how complicated real identities are. it doesn't matter if it bugs you that there are lesbians out there that aren't women. what should be more important is caring about that person and making sure they're accepted. someone who is more invested in telling you what lesbians CAN'T be than what we CAN be is not here for queer COMMUNITY. they're here to try to be right and die on a hill and it's not worth our time. "lesbians can't ever be men ever" is not a hill to die on. it's historically inaccurate and it's just not worth stressing over. move on to greener pastures.

you personally as a lesbian don't like the idea of a lesbian man and don't want to date them? i have fantastic news for you: you don't have to! you can accept lesbian men and mascs even if you're not attracted to them. whether or not someone's identity is taken seriously shouldn't hinge on whether or not you personally are attracted to them. that's not your business, and not your experience. you're not the arbiter of that lived experience- you have no room to comment.

lesbian men, mascs & enbies are not your enemy: we are your family. we have been fighting for lesbian rights since the inception of the modern community. this community has been built off the backs of ftm, transmasc and male dykes and you can't ignore us any longer. if YOU want to be in the lesbian community, you have to understand that there will be people with identities you don't like. you don't have the right to tell them they're not a lesbian. it doesn't matter whether or not YOU like it- their identity is not about you.

[raven-at-the-writing-desk]

OMG RAVEN YOU’RE INTO EVER AFTER HIGH? I love it but can’t talk about it bc none of my friends have seen it 😭 I wish it was talked about more, especially with how deep their lore runs. I love EAH’s dynamics with the complexities of destiny. If twst followed the same logic as eah’s world it would be so interesting. How would you feel if the worlds were to mesh together and how it would work? You can interpret that in any way you want; the characters meeting or twst being bound to the same rules and societal expectations of eah, or whatnot.

Also who’s your favorite eah character compared to your favorite twst character (Leona)?Jade, right?

And have you read the eah books? I haven’t, but I’m going to try to sometime!

Eah alt account when?

I'm still salty that the Monster High x Ever After High crossover movie never saw the light of day-- Part of the reason why I don't like Disney (I mean the faceless corpo, not all Disney products) is because they have such a strong association with fairy tales that it pushes other interpretations out of the market or it leads to people assuming Disney "owns" those fairy tales. Ever After High's lore and themes run so much deeper than most other fairy tale reimaginings I've seen (and I've seen a lot). It's such a shame it doesn't get the respect and recognition it deserves even though EAH is the one out here challenging the status quo whereas modern Disney is content with mediocrity that appeals to the masses.

I think EAH and TWST, at their cores, share similar ideas so combining them would work well. Friendship, self-identity, defining your own future, questioning what "good" and "evil" truly are... It's all there. I'd imagine that if Twisted Wonderland (or at least NRC) followed the same rules as EAH, then everyone would be descendants of their Disney counterparts. (This is actually a common misperception of what TWST was to new fans; people mistakenly believe the TWST characters are children of the classic Disney villains. This has never been canon.) Unfortunately, I'd have to take away the Disney villains being twisted to be "good" guys in Twisted Wonderland's world in order for this to work by EAH rules, so... There's that to consider. This, in turn, can result in the student body splitting into Royals (pro-following one's destiny) and Rebels (anti-following one's destiny). Perhaps RSA and NRC could be one school in this AU...? Just so we have a mix of "good" and "evil" descended children in the same vicinity as one another. A must-have are the constantly bickering Narrators!! It's only really when Yuu shows up that the majority opinion starts to shift. Maybe then Crowley becomes concerned with students rising up and fighting back against the system that relies on them being complacent to keep the cycle of stories going. I've seen some readings of EAH which theorize that Royals guaranteed a happy ending is a stand-in for privilege, and that interpretation leads into very interesting conflicts when we also consider that magic in Twisted Wonderland is a privilege afforded to few.

To cover just the dorm leaders (because covering all the TWST characters would make this post way longer), I definitely see Riddle, Kalim, Idia, and Malleus as Royals and Leona, Azul, and Vil as Rebels. Here's my thought process:

Riddle is pretty self-explanatory. He comes from a background where he's used to being told what to do by his mother and so he also heavily relies on her strict, unyielding teachings to play by the book when he goes out there in the real world. Riddle is inflexible and hesitant to go against the grain--and, more importantly, he fully believes that following the rules will lead to his happiness... that doing as his fairy tale ordains will lead to a happy ending. What happens to the Queen of Hearts is dubious in the end since it's framed as Alice's dream, so I think that vagueness gives Riddle hope that by behaving himself, he'll earn the happiness he desires.

Leona is a Rebel, and not just because that's the aesthetic of his dorm. Being that he is highly intelligent and demonstrates a lot of foresight, he'd be aware of what future is in store for him and aggressively fighting against that. It would make him more desperate than ever to prove his worth, because not only does everyone see his powers as terrifying, but they also see him as a future brother murderer and dictator that will bleed the land dry of resources. It'd make the situation with his family even more strained than it already is, not to mention the extra jealousy he must feel toward Cheka, who is still too young to understand what's going to happen later.

Azul is someone who acts like a Royal but is actually a Rebel. He acts polite and like he plays by the rules, but clearly he doesn't behind the scenes. I see Azul as the kind of Rebel akin to Duchess Swan... as in, he believes he can steal away someone else's destiny for himself. Azul would constantly be looking for loopholes to save himself. He's put way too much stock into becoming a better, stronger person and he'd want to defend this new life he has made for himself. His obsession with protecting his contracts could translate well here.

Kalim is a Royal because he's mega rich and has been sheltered from the concept of bad things that happen to normal people; he has nothing to worry about. It also helps that Kalim is twisted from a character that doesn't meet a bad ending. I think he'd be aware of Jami's doomed destiny, but Kalim is so ignorant that he thinks it'll just be fine and it'll work itself out. Part of his growth could be being forced to reckon with the reality that Jamil is suffering under the legacy assigned to him and accepting the role that he plays in that by not acting.

Idia is a Royal--or at least pre-book 6 Idia is. He's a very pessimistic guy and repeatedly expresses hopelessness about the future, bemoaning the curse he and his family have to bear. Idia doesn't want to try to fight his fate, he's already accepted that it will happen and so closes himself off from others to save himself that heartbreak. Post-book 6 Idia will have swapped over to the Rebel side thanks to Ortho reviving the hope in him.

Vil is a Rebel simply for the fact that he fights social conventions. He's already out here shattering gender roles, but finds it much harder to breach that expectation that villains are just villains and nothing more. Vil keeps getting rejected at every turn, told that it's impossible to rewrite his story, that his frustrations are the natural result of jealousy and an ugly heart that festers in side of him. He steels himself to prove that notion wrong, working himself to the bone to get up on that stage and stay on it, waiting to be lavished with praise that he truly is the fairest one of all. I feel this would be so fascinating for Vil's own arc about self acceptance; maybe he wears himself down emotionally because he HAS to basically be perfect due to his job but also denies himself normal feelings like anger and jealousy because confessing that you have such "ugly" feelings only validates that you're shallow just like the stories say you will be.

Malleus is a tough one, but I settled for Royal in the end. Maleficent is doomed to be slain by a sword, right? So am I saying that THE Malleus Draconia, who is infamously arrogant about his magical abilities, would lie down and take a stab like that? Of course not! However, I do think that Malleus is initially someone who values tradition and living up to noblesse oblige. As the future ruler of a nation, people's stories are relying on him to play his expected role out, which he'd be fully cognizant of. I also think Malleus would be afforded the luxury of not having to face his destiny as soon as his peers are due to his long life span. This is in part because the person destined to slay him doesn't come into his life for literally hundreds of years. Then when book 7 arrives, Malleus has to deal with his loved ones leaving and/or betraying him as well as the realization that this is his destiny: dying alone and unloved. That'd just break him.

ahdbiqwdbqwli I COULD TALK ABOUT THIS AU FOR FOREVER BUT I'LL CUT IT SHORT OR ELSE I'LL NEVER SHUT UP 😭

EAH has so many good characters and interesting storylines, it's hard for me to pick a favorite! I of course love Apple and Raven's dilemmas, but I feel like it's cheating to pick one of them as my favorite. The whole Wonderland gang is also fantastic... I'm a sucker for their aesthetic, but they're so fun and silly in general. Kitty, Lizzie, and especially Madeline are 👌

Mmm, when I think long and hard about it, I think my favorite EAH character has to be Briar Beauty, daughter of Sleeping Beauty. Firstly, I love all the pink, roses, and bramble in her design. Secondly, I love the layers to why she is the way she is. Briar's a party girl not because "lmao, wouldn't that be a funny haha subversion of Sleeping Beauty" but because she wants to live life up before she falls asleep for 100 years and literally loses all her friends and family to the natural passage of time. That's seriously so smart and such an inventive way to think about the trauma a descendant of Sleeping Beauty might have. Seeing Briar transition from one of Apple's besties and biggest supporters to an outright rebel is satisfying as heck. (Gotta take a moment to shout out this classic moment :3)

I don't know if I would compare Briar to Jade since they're entirely different characters. However, looking at the source material, I'm actually surprised I like Briar as much as I do since I have never cared for the story of Sleeping Beauty. A part of me finds this ironic since Malleus harbors a similar fear as Briar (losing loved ones) yet I see Malleus's desire as way more selfish and self-serving than Briar's. I believe that's because Briar doesn't have the same arrogance as Malleus, so I'm more forgiving with her. EAH's actual equivalent to Malleus is Faybelle, daughter of the Dark Fairy, but I don't like her as much as I do Briar (hence why I'm comparing Malleus and Briar, not Malleus and Faybelle).

I haven't read the EAH books but I want to one day! I'd prefer to borrow them since I don't have enough space in my room for more physical books, so as soon as I find copies at a library or something...

This blog has kind of become a place where I occasionally talk about my other interests, generally as it relates to TWST, my main interest. I'd like to keep it like this since managing multiple blogs can be so draining. It already takes quite a bit of time to regularly write responses to asks just on one blog!

[meeks-just-wants-to-scroll]

RDR2 fantasy AU art dump

Grimshaw and Reverend get to be small class griffins because i thought the swanson pun was cute and i love goose grimshaw <3 i dont ship it but they share a unique little friendship what with them both being griffins. Susan tries to help Rev. so he can spend more energy helping himself rather than spend it all preening and etc. she wont go soft on him tho, she will wing smack him if needed of bump her spur against his butt.

Hosea is a manticore, tho he came out looking like an odd goat, cat, fox, lizard, scorpion vibes. He stands the same shoulder height as dutch but his shorter neck hangs lower.

He lost one horn from being captured and nearly killed by hunters in his youth. It was yet another reason he struggled to enjoy blending in with humans, even if he was a wonderful trickster and could blend in with humans easily (and he did try and live a human life alongside Bessie). Even after everything, he still keeps a level-headed approach to when the gang has conflicts with humans.

MARSTONS,!!!!! Currently only have designs for Abigail and Jack. John is just a lanky ratty werewolf with bad posture and even worse paternal skills.

abi is a vampire, but in this au that just means giant vampire creatures that can disguise as humans. Abigail, because of her orphan-childhood, her being forced to disguise as human and make money through prostitution, is almost always in her human form. The art depicts her as a bat for the sake of design exploration. She turns into her bat form when extremely stressed (like when jack goes missing). She has a lot of complex feelings about her son being resistant to living his childhood disguised as a human. She thinks he’ll be safer if he’s mistaken as human and ignores, as opposed to being hunted for being a mythical creature.

jack is a mix of bat and werewolf. As he got older, he grew more and more detached from his creature identity because his parents lived as humans (from 1899-1907, even to rdr1 and onwards). So many body issues and self hatred for being stuck between a bat and a wolf; for being stuck between human and monster.

( i love jack so much god please someone give him a happy ending)

And then one drawing of arthur that will likely change when we have a better idea of deer-taur lore and designs.

AU is a project between me and @eggsaladsweetie

[star-anise]

The thing about "parents' rights" and "protect the children [from hearing that other ways of life than ours are possible and okay]" is that it is literally, in the purest sense of the word, patriarchy.

The word literally means "rule by the fathers". We're generally used to hearing it describe how adult women can be dominated by adult men. However, that's not where patriarchy ends; feminists have been less eager to address how within that system, women can exercise power and domination of their own through the traditional gender roles of motherhood. Their maternal rights to power and dominance may have traditionally been lesser than paternal ones, but they were never less than their minor children's. Even single-mother or female-only families can be, in this sense, patriarchal.

Patriarchal families are a complex system that grants parents complete legal and practical control over nearly every aspect of their children's lives. The patriarchal family controls where the child lives, who takes care of them, what rules they have to follow, how they are educated, who they associate with, what healthcare they receive, what religion they practice, and whether they can work or control any money they earn or that is given to or for them.

Normally discussions of patriarchy are a lot more abstract. But right now it's very concrete and real: we are fighting to limit the family's control over children on issues where we can observe that families sometimes tend to make decisions that are bad for the children's welfare or that disrespect their human rights.

Whether a minor child can get an abortion. Whether they can receive gender-affirming care. Whether it's okay to lie or coerce your child to ensure they follow your religion. Whether they deserve to be educated about factual histories or scientific theories that are necessary to understanding the world around them. Whether they deserve to learn accurate, age-appropriate information about consent, setting boundaries, how their bodies and the bodies of other people work, what a normal range of gender and sexual identities look like, what healthy or unhealthy relationships look like, and what sex is, how it works, what its positives and negatives are, and how they might navigate the world, whether or not they ever want to have it.

Hell, on some levels we're still arguing about whether it's okay to hit your kids, or whether children have the right, similar to the rights adults have, not to be assaulted or abused.

Because there are a LOT of people who say: No. Parents should have 100% control over any or all of those issues. If the parent says no, the child is not allowed to do or have any of those things, and nobody else should be allowed to interfere and provide them to the child without their parents' consent.

Pointing this out often results in parents saying, "Oh, so you want just ANYONE to be able to go up and talk sex with kids? You want kids to be able to decide to jump off cliffs with nobody stopping them???" As though parents are the single protective force in the universe, the only thing standing between their child and the ravages of absolute chaos.

On the contrary: most of the time the argument is for children to receive care and guidance from adults who are monitored to ensure they treat children in safe and appropriate ways, who have spent many years studying the best and most rigorously tested of our collective understanding of how to prepare children for happy, healthy lives.

And we are arguing against people who believe that the only important qualification needed to refuse children that kind of care is to be ranked above them in their family hierarchy.

In conclusion...

Fuck the patriarchy. Children have human rights too.

[aroaceleovaldez]

i know a lot of people talk about the Cupid Scene as not being great as Nico's coming out story (which i think is a complex matter but that's a rant for another day), but I personally find it way more compelling if it's just not Nico's coming out story at all - it's the beginning of Jason's.

Because it doesn't really work or make sense to be Nico's, right? It's not Nico's pov. Nico doesn't have a POV at all in this book. And in House of Hades, the Cupid Scene is one of the first major things Nico gets to do right out of the box jar. Why introduce a character, have him be outed as gay, lead the crew around, and then leave to go travel with someone else all in one book where he's not even a POV? It's also contrary to the way Nico generally functions as a character - he's either exposition, dues ex machina, or damsel in distress. He's kind of a damsel here, but ultimately he doesn't need anyone else to save him - or even be there. He handles it on his own. Jason is mostly just a witness.

But, if you view the Cupid Scene as being about Jason, it narratively fits a lot more; Jason at this point is dating Piper, and they're three books deep into their relationship. TLH they start dating and are relatively happy with it and where they are. SoN is a skip but we know they're happily dating during that time, and then Mark of Athena we get a slight shift. Jason and Piper see Percy and Annabeth and go "Oh! They're perfect. Their relationship is perfect. We could be happier if we were more like them." Piper and Jason are also both characters who go through an identity turmoil in general - particularly about how both of them want to be perceived by others and who they are as people. The things they identify with - their parents, their heritages, etc etc. Their orientations. Piper's get more focus earlier in HoO, and Jason gets more later.

The Cupid Scene is from Jason's POV, in a book where he is beginning to struggle with his identity and what people expect from him - particularly him not feeling like he perfectly fits with "either camp." He's too "Greek" to be "Roman" but too "Roman" to be "Greek." He's not quite one or the other. He doesn't meet the expectations either has for him. (This is bi-coding, if you couldn't tell. Just replace "Greek" and "Roman" with "Straight" and "Gay.") It starts with Cupid addressing Jason first, before Nico, very directly - asking him if he's so sure he's happy in his relationship? Does he really think it's perfect? Even Favonius very pointedly asks him if he really forget that guys can date guys? Do you have some internalized bias around that, Jason? Hm? Heck, they're both specifically in their Roman forms, not Greek. Why would they appear in their Roman forms if they're there for a Greek demigod? And very notably, they have this exchange:

(remember what I said about the bi-coding with Jason's Greek/Roman identity crisis? I don't think it's coincidence that this so pointedly comes up during the Cupid scene.)

Favonius' introduction to the Cupid scene sets up Nico's portion of it, but Cupid almost exclusively speaks to Jason for the first half of it. Then Nico steps in. He diverts the conversation away from Jason and focuses the attention onto him. Nico's the one Cupid wants, he insists, not Jason. He's the target, not Jason. This is very in line with Nico's character - practically one of his core character traits is he trusts and starts caring about people very quickly, probably quicker than he should or even wants to, and will put himself in harm's way to prevent others from being hurt. The Cupid Scene isn't the start of Nico's coming out story - Nico already knows he's gay. He has no internal doubts about that. He's known it for awhile. He's just in the closet. And he starts coming out of his own free will in the next book, first to Reyna and Coach. The Cupid Scene is Nico recognizing that Favonius and Cupid are pushing Jason for something he's not ready for and hasn't figured out yet, but something Nico has and just hasn't said out loud yet. The Cupid Scene is Nico taking the proverbial bullet/literal arrow for Jason (Jason consistently describes the arrows as whizzing by him before striking near Nico, interestingly) and being outed so Jason isn't. And that presents Jason with the path to begin questioning his identity further. (Jason also then directly compares Cupid to Aphrodite, specifically her Greek form, which also ties into Jason's greek/roman stuff.)

And I don't think it's coincidence that Jason and Nico mirror each other so much, and that their arcs in HoH are so intertwined. The Cupid Scene functionally, on a meta level, establishes an explicitly queer character to parallel Jason and for him to bounce off of during his own arc. (And, also on a meta level, establishes to the audience to be sympathetic to queer struggles, with Jason's arc then proceeding to be a queer-coded struggle.) Jason is presented as having this strange level of isolation from how others perceive him in a positive way/the expectations people have of him that wraps around to something akin to Nico's ostracization as being an outsider and atypical demigod in general. Nico is a rouge - he explicitly expresses how he feels like he doesn't fit in at either camp (something he expresses explicitly during the Cupid Scene, mirroring Jason's simultaneous questioning his own place at Camp Jupiter) and a core part of his character is that he does function outside the rules and expectations of both camps. He operates on an entirely different realm to them. If the camps are an expectation of normative concepts of acceptable relationships, Nico is outside of that. And he recognizes that he operates outside of that and will never fully fit into the mold either expect of him, and he recognizes he doesn't need to fit in, even if he theoretically could force himself to fit that mold. Jason, meanwhile, is still locked within those boundaries, and grappling with this idea of how he can exist between them.

Nico hands Jason a goblet of poison and says "how much do you trust me?" and it's Nico challenging Jason to take his own advice about trusting others about their identities, and almost immediately after that Jason gives up his praetor title to Frank. Jason's Greek/Roman arc is directly tied to Nico and the Cupid scene. BoO ends with Jason asking Nico to stay at CHB so they can hang out that summer. By TOA, we learn that Nico has started dating and is staying at CHB (is exploring the niche of expected and socially accepted relationships) while Jason has broken up with Piper and is living away from both camps (rejecting hetero/allonormative expectations), still struggling with his own identity. They functionally swap places. And that's fascinating.

Anyways i think about Jason's bi-coding a lot.

[certifiablyinsanez]

Today, I want to talk about Charles and what is likely his own struggle with suppression and denial. Now I know I’m not the only one rooting for Charles and Edwin (Chedwin???), but I will put a disclaimer here that I will be pleased with whatever route their relationship takes. Because not every tale of unrequited queer love ends with a happily ever after, and the confession and the response from both Charles and Edwin was so beautiful and graceful that I can’t even be mad about it. So with that said, let’s talk about it.

Edwin and his case of suppressing his queer identity is blatant. He’s from the prim and proper era where queerness is so taboo that Edwin doesn’t even say “I’m not gay” but rather, “he is a boy and I’m a boy.” He’s likely spent all his existence not even knowing queer terms, but only that such things were unspoken and unacceptable. That it’s not even possible. However, he’s easily clockable and always has been. He is prissy and “unmanly” and is the spitting image of repression.

With that in mind, it makes it easy to overlook Charles. Who is a lot more modern compared to Edwin and less innocent (the handjob debacle), but we have to remember that he’s still pretty far removed from modern times. His story speaks to me in a way different from Edwin because in Edwin’s times, you simply did not speak of it. Charles is from the times of the front for gay liberation and the AIDS crisis (forgive me for not knowing much UK queer history), the point being that it was no longer hiding. But that means that it would be actively persecuted and snuffed out instead of swept under the rug. He’s an 80’s punk. You can’t tell me he doesn’t know anything.

His father reminds me of my own Uncle, who had three sons and thought a heavy hand was the best way to raise them. Now, all three of them are addicts in their 30’s with little accomplishments, but the story of my cousin is a sad one. His childhood could be summed up as a failure to “beat the gay” out of someone. I’d imagine Charles’ father would be quite similar. As of right now, we don’t have full reasons why Charles’ dad would beat his son so severely.

But aside from the idea that Charles would have had any gay beaten out of him, Charles was likely too caught up in his own survival to even consider the complexities of things like sexual orientation. It likely never crossed his mind. And it’s likely a sign of the times he was in, because while the 80’s are closer to now than the 1910’s, they still are far off in a progressive sense.

I’m curious to see the development of Charles in the next season, to see how he navigates these complexities, if at all.

[splatsvilles-fashionista]

The appeal of One Piece

I know everyone's a bit sour on One Piece after the clown stunt tumblr pulled, but with the live-action series out and the anime popping off on social media, there's more eyes on this goofy pirate story than ever, and I've been dying to talk about it, so now's the time.

A lot of the conversation around One Piece is steeped in hyperbole, and it's hard not to be hyperbolic when you're talking about a work of almost unprecedented length and popularity. With that in mind, I wanna try to explain what makes One Piece so good in a way that is concise, spoiler-free, and that will give you an idea if this might actually be a story you'll enjoy.

And I do actually think a lot of people who would enjoy One Piece are currently writing it off, and I think a lot of the blame lies on assumptions people have about shonen as a genre. One Piece is no doubt a shonen, with young and teen boys as the primary demographic, but it is also first and foremost an adventure story about a group of quirky outcasts setting out to follow their dreams, despite (or often in spite of) the crushing weight of reality.

But you can't have an adventure story without a world to set that adventure in, and what a world Eiichiro Oda has crafted. One Piece manages to feel like it has fully realized an entire planet, with every island we travel to having a very distinct sense of culture and visual identity. A lot of care has gone into building the history and politics of these places, and the mechanics by which their more out-there elements, like the sky-high ocean geyser or the mountain with an upside-down waterfall, function. As such, it is a setting that afford its story a lot of variety, while also being able to tackle a lot of very heady topics like authoritarianism, racism, and abuse in intelligent, nuanced ways.

But just as important as all of islands we visit are the wonderful characters we meet. A lot of people aren't into One Piece's exaggerated cartoon aesthetic, and I respect that, but it does lend itself to a lot of very unique faces and body types that make its cast of 1000+ characters a joy to behold. This is admittedly less true of the more conventionally attractive women, many of whom look very similar, but this is does not extend to their writing. Oda is very good at imbuing his characters with life, pulling on their histories to give them personalities and quirks that are often as funny as they are sad. Everyone I know that reads One Piece has a side character that they stan hardcore for, be it the lovable klutz Donquixote Rocinante or the petulant ghost girl Perona.

And all of this is especially true for our protagonists, the Straw Hat Pirates, each one of which is a deep, multifaceted character whose drive and dreams can be traced back to their often heartbreaking origins. I know I mentioned it at the top already, but at its core, One Piece is ultimately a story about a group of hurt, lonely individuals who find in each other not just friends, but a family that will support and protect them as together they chase their dreams in the face of a world whose systems have been built to squash them underfoot.

All of this is brought together by Oda's exceptional artistic skill. While as mentioned earlier, One Piece's cartoony artstyle isn't for everyone, it's by no means an accident. One Piece is a story set in a cartoon world, and Oda is able to give even his most ridiculous characters and places a tangible sense of physicality, making everything feel real within the confines of the page. While Oda has a team of assistants to help him, he still does the brunt of the art himself, and his dedication to his craft means the comic is full of panels that are breathtaking in their complexity and visual density.

But it's not just his technical skill that makes the art of One Piece so good, it's that Oda is also very good at letting his art speak for him. Compared to a lot of other big shonen manga, One Piece doesn't lean as heavily on the dialogue to give the readers all the necessary information, but can convey a lot of what is happening and how characters are thinking and feeling through its artwork. There's some sections where this doesn't hold as true (and they are frequently less well-liked as a result) but it makes One Piece a far lighter read than its soon to be 1100 chapter-count would make you believe.

But the thing I think makes One Piece the most exceptional of all, and what makes me recommend it despite its length, is that as a story, One Piece has a remarkable clarity of vision. One Piece has a stance and a worldview that it does not waver on, and it is present from the very beginning. It's is romantic story, about the power of faith and dreams, about people's right to be free and be who they want to be, and about how the beauty and wonder of the world makes its worth its danger and uncertainty.

One Piece knows what it wants to be from the very beginning, and because of that you don't have to wait for it to get good. A problem that a lot of longform media struggles with is that the opening hours are a slog to get through, because it doesn't show you its hand early enough for you to know if it's something you'll like, and that is not a problem One Piece has. It is exactly what it is going to be from the beginning, only in a simpler, cruder form that it is going to expand upon to become the sprawling pirate fantasy epic it has grown to be. This clarity of vision also makes One Piece very rewarding for attentive readers, as it frequently hints at future places and characters, and plants story seeds that it pays off hundreds of chapters later. It does a lot to make the world feel big and interconnected, and makes One Piece very fun to re-read as you pick up on things you missed the first time around.

It is frequently recommended that new readers start with the initial 100 chapters, the East Blue saga (which is what the live action series adapts, for the record), to see if One Piece is right for them, and that's the note I am going to end this post on, as well. East Blue uses its 100 chapters to tell a fairly self-contained story that introduces the first half of the core cast, setting the stakes and building its world while giving you plenty of interesting places, bizarre creatures, and wacky action all the while. It is One Piece showing you its hand, with the promise that if you like what you see, it'll have so, so much more in store for you

[kiragecko]

The Canadian Shield

Apparently, the Canadian Shield is a “geologic province”. That just means a large area with a lot of geology in common. I like it because it’s really WEIRD.

The Shield was created by glaciers sliding through. They scraped off all the topsoil and softer rock, and messed up all the watersheds. What developed in the ruins was a maze of endless rivers and lakes, large rocks covered in mosses and lichens, and trees. Lots of trees.¹

There are several things that I think are cool:

the rocks, moss, and lichen

the deranged drainage system

the endlessness

Rocks, Moss, and Lichen

Much of the Canadian Shield is covered in boreal forests (also called taiga). At least, wherever there’s enough dirt. But there is a LOT of exposed rock. And growing on those rocks are the coolest plants/animals in the world – lichens.

Lichens are a symbiosis of algae, fungi, and yeast! Some look like moss – all soft branched stalks. Some look like crunchy fungi or seaweed – growing off the rocks in weird ruffles. Others look like … paint? You know how some rocks will have coloured crusty spots that can be peeled off? Those are lichen! (Some are even powdery, but we don’t get many of those in the Shield.)

Then there’s ACTUAL moss. And moss is almost as cool as lichen! All wet and squishy and ridiculously complex if you look at it closely. Gorgeous stuff!

And finally, there’s the rocks themselves. If you live in an area with rocks, possibly you do not find them breathtaking. But I remember excitedly talking to my parents for SEVERAL MINUTES after seeing a rock in a field, because here in the prairies, you don’t see them.

And these are COOL rocks. Bedrock. Super hard igneous rock that doesn’t wear quickly. It forms cliffs and ravines, despite the fact that the area is quite flat on the macroscale. Canoeing under a cliff face that leans over you is an awe-inspiring experience. Staring down into the depths of the lake below you, seeing that it goes straight down, and then a few feet later the water is shallow. The rocks are big, and full of neat cracks, and pretty coloured, and … they’re good rocks.

Deranged Drainage System

Since the land is made of super hard rock that weathers slowly, and all the watersheds got messed up by the glaciers dumping rocks around the edges of the Shield, water struggles to form normal drainage systems. Rather than starting as small rivers and then combining  as they flow downstream, water just collects in every lowpoint. Thousands of small lakes form, connecting to each other at odd, sometimes hidden, points, with very little predictability. Rapids and waterfalls are common. Shorelines are very irregular, with all sorts of hidden coves. It becomes difficult to figure out what is an island, and what is the mainland.

Looking down from the air, the landscape seems fractal. Sitting on a rock, staring at the opposite shore, it’s obvious that this is true.

Navigating these waterchannels takes a LOT of skill. Mapping them barely helps – the maps are complex enough that it’s hard to absorb the correct information. The Nîhithaw (Cree) navigate by attaching stories to the landmarks, which makes it fun to travel with a guide.

Endlessness

The Canadian Shield is HUGE. It covers over half of Canada! The features that make it up are small, and complex. Most of it is sparsely inhabited. There are few roads; and a lot of areas, travel is either by boat or float plane.

The effect is that of an endless landscape. By plane, you can see more lakes than you can count, all difficult to identify. They stretch to the horizon in every direction.

By boat, you can see many, many interesting  and unique-seeming features. But half an hour later you’ll discover yourself in a spot that looks identical. You’re frequently slipping around blind corners and into narrow, hidden channels, which increases the sense of covering ground. But because you’re rarely going in a straight line, it’s difficult to figure out how far you’ve actually gone. It’s a maze, and it’s possible to travel it for days without seeing a single other human.

(Or you can see multiple groups of people over an hour long trip. It’s very unpredictable.)

That combination of isolation, scale, constantly changing view (that still stays the same TYPE of view), lets me truly  FEEL the vastness. Everything about me gets quiet in the Shield. I’ll suddenly find my face aching from smiling so big for so long. The world is endless and peaceful and not designed for me in the slightest.

It’s exhilarating.

-

¹ There are a few different biomes in the Shield. But the main one, and the one I’ve mostly experienced, is the boreal forest. So that’s the part I’m focusing on. Especially the landscapes of the Whiteshell and northern Saskatchewan.

[carionto]

A new Human fad called "Sunwalking"

Humans have miniature star technology for their power generation - true fusion. Encased within a stupidly complex yet impossibly durable spherical containment unit is, by all measures, a proper star. But you can't see it because it would kill you - solar radiation, and extreme magnetic fields, and all that other good stuff that stars emit.

Lots of people really want to see their stars up close, for reasons we refuse to acknowledge. It is literally suicidal. Doesn't stop deathworlders though. Guess that makes sense if nothing else.

One of them has, sort of, succeeded.

A group of hobbyist engineers calling themselves "Walking on the Sun" offer to experience what it's like to, well, walk on a star. But not really. What they offer on a technical level is still insane - first they generate a very tiny star, only about 40 centimeters across, then release it.

Normally, it would immediately melt the exposed sides of the container and explode, but it's kept mostly stable with several massive gravity hooks and tractor beams. This consumes more power per second than the star being held puts out, making it impractical for military use even by Human standards.

Once they've got a stable "loose" star, the "attraction goers" can disembark onto a semi transparent platform only 400 meters from the star. It blocks most of the heat, light, and radiation, but leaves enough to make it impossible to survive more than two hours of exposure, which is insane. Just because the star expires in around twenty minutes doesn't make it better.

Everyone has a mandatory radiation scrub afterwards. No one is allowed more than two visits within a five month period. Doesn't stop some from trying. One man faked his identity SEVEN TIMES to, now using his words - "Maintain the perfect tan."

After his sixteenth visit in a month he was rushed to a medical station and treated for cellular mutation and second degree burns. The "attraction" was forced to change to a once per year visit, and to implement a full biometric scan for all visitors.