#they actually reflect society issues

[musical-chick-13]

I just am kind of :/ about the idea that "a poor depiction of [x serious topic] can NEVER be harmful, and NOTHING is inherently better or worse than anything else because ALL art is an EQUAL value of neutral." Because like. Y'all (rightfully) get up in arms about Bury Your Gays. Because that particular story patterns reflects a wider societal issue of queer people being seen as Less Important™ or More Disposable. Obviously you can grasp that sometimes things Come Across Really Badly and it's okay to complain about that.

No, killing off a gay character in a show in a hamfisted and narratively-stupid way isn't the same thing as an actual irl hate crime, that's. Ridiculous. But if, say, a woman hates the way women are portrayed through a shallow, misogynistic lens; or black people hate the way black characters are treated in 90% of mainstream stories; or trans people are tired of seeing so many examples of trans characters being A Punchline; or disabled people see yet another depiction of disabled life as An Unending Torturous Death Sentence That Will Rob Them Of The Ability To Be Happy Forever; or people are tired of graphic violence against marginalized characters that doesn't add anything to the story...they're not Doing Purity Culture for criticizing that? Like. They're allowed to be. Uncomfortable. About that.

[itstokkii]

so pissed at the intl kpop fans that love to infantilize kpop idols for not speaking up abt palestine. "oh but them speaking up about it wouldn't end the war" no but you'd be surprised how quickly it would be possible. kpop idols hold some of the most powerful influence in the world at the moment and they know this.

"oh b-but their entertainment agency doesn't let them talk about it" remember when taeyong was in the military and STILL spoke out against the nct collaboration with starbucks? he did what he could in that situation regardless of SM and the military.

if they cared enough they would. so hold them accountable every step of the way until they finally gain a sense of humanity.

[transmutationisms]

forgive me if I'm being obtuse, but isn't every medical diagnosis an artifact of human taxonomic schemes? I know I'm not treading new ground here and that diseases/medical conditions aren't like, drawn from thin air in the way a lot of psychiatric conditions are i suppose it just confuses me a bit

no, & this is ancillary in some ways to what i'm actually criticising about psychiatry. it's true there are non-psychiatric medical diagnoses that work analogously to psychiatric ones: think ME/CFS, hEDS, fibromyalgia, most things that have 'idiopathic' in the name. these are names given to clusters of symptoms, like the way that psychiatric labels are just names for a certain set of behaviours. we don't know what causes these issues, though people have various theories and there is (a varying amount of) research ongoing that aims to find the etiologies.

however, that's not the case for all non-psychiatric diagnoses. think about a viral or bacterial infection, a torn ACL, or Down syndrome. these are diagnoses that do refer to specific infectious agents, anatomical problems, genetic variants, and so forth. that doesn't mean the diagnosis is always easy to make, or that it's always made correctly, but it does mean that when you are diagnosed with one of these problems, a specific cause is being identified (& sometimes they might even be right). it's not just a convenient shorthand name for a group of symptoms, even though of course, most things that are diagnosed are done so because they cause and are associated with symptoms. (most but not all lol.)

psychiatry is distinct as a discipline in that all of its diagnoses function the first way i described. they are not referring to disease entities or processes; there is no credible hypothesis for a biological etiology. why? fundamentally, because the psychiatric diagnoses generally exist to pathologise socially unwanted behaviour: the taxonomy is a reflection of a political agenda and the priorities of clinicians. it's not even really an adequate framework for grouping patients together, because you get placed in a category based only on, again, external manifestations (behaviours). who says any two people who hallucinate or cut themselves are doing it for the exact same reasons? well, no one, because again, even getting the same psych diagnosis doesn't indicate anything about an actual etiology or underlying biological process or anything. there is no referent; the psychiatric diagnosis is only defined heuristically and circularly.

many people are confused by this because, in both popular and professional discourse, psychiatric diagnoses are consistently spoken about as though they DO refer to an underlying discoverable disease or disease process. despite hundreds of years of looking for such things, psychiatrists are yet to find any, and if they did, the condition in question would be reassigned to the relevant medical specialty, because psychiatrists also cannot treat infectious agents, anatomical problems, harmful genetic variants, and so on. (when i worked as a bibliographer we used to have extremely funny arguments over whether materials pertaining to the psychiatric search for biological disease processes should be categorised under psychiatry, neuroscience, medicine general, philosophy of medicine, 'science and society,' or just 'controversies and disputes' with no real subject label.)

to be clear, when i say psychiatric diagnoses aren't referring to known or discoverable disease processes, that's not a moral indictment. it's not an inherently bad diagnostic process, provided the patient understands that is what the process actually is. sometimes we just don't know yet what we're dealing with; sometimes a heuristic diagnostic label is just a way of billing insurance for a treatment that we know helps some similar patients, even if we don't know why.

however, with psychiatric diagnoses, evidence for such efficacy is widely lacking and often even negative; this is fundamentally because psychiatric diagnoses are not formulated on the basis of patient needs but on the basis of employer and state needs to cultivate a productive workforce and by corollary enforce a notion of mental 'normality.' all medicine under capitalism has a biopolitical remit; psychiatry has only a biopolitical remit. it has never at any point succeeded in making diagnoses that refer to demonstrable disease processes, because that's definitionally not even under its purview. these diagnoses have never been satisfactorily shown to be related to any disease process—and why should we expect that? historically, that's not what they exist for; it's not the problem they were invented to solve. they are social technologies; they're not illnesses.

[kaekisser]

this is usually the type of thing i'd keep to my sideblog, but. no. this rant is going on main.

this has already been said many times, but i'll say it again: the culture and portrayal of disability in media and fandom is one of crude dismissal, and it's a reflection of widespread real-world attitudes towards disabled people.

i, personally, am really really sick of it.

from what i've observed, there are two types of disabled character (and, thus, two expectations or preconceptions of real-life disabled people): one who doesn't self-advocate, and one who does.

the disabled character who doesnt advocate for themself is either a sweet, pathetic, repressed little baby who cant make their own decisions and needs to be coddled, or they're a strong, noble, inspiration porn warrior who doesn't actually have it that bad because their disability is actually, secretly a superpower.

or... both. sometimes they're both.

on the flip side, the disabled character who does advocate for themself, in a way that is intrusive and productive and realistic, is either an out-of-touch, entitled asshole, or a dramatic, crazed hypochondriac. or both.

the self-sacrificial, people-pleasing disabled character will be praised and infantilized; they are deserving of respect, and they'll set the standard for what a disabled person should be; while the self-respecting, unapologetic disabled character will be mocked and vilified so long as there is proof of their disability being an inconvenience.

in any case, the character, or at least their disability, is misrepresented and dismissed. the amputee gets a completely functional and unhampering prosthetic. the deaf or blind character adapts all too well to a hearing or sighted world, and in fact develops enhancements to their remaining senses. the disfigured person, in the case that they're not a villain, has great kindness and talent, making their physical differences almost ignorable. the paraplegic makes a miraculous recovery, with no persisting symptoms. the autist, while difficult to interact with, is a savant and a genius. forget chronic pain or fatigue; that sort of issue is invisible, and thus irrelevant. and don't even think about mentioning conditions that impact one's hygiene, digestion, or continence.

ah, and don't forget, all of these things will be used as comedic relief.

it's a culture of overcompensation. disabled people, of course, have no inherent value as people, so their value has to be constructed, and their issues disregarded. we wouldn't want to make viewers uncomfortable, now, would we?

of course, this just speaks to a larger issue; society still expects disabled people to be small and inoffensive, to apologize for the realities of their condition. the ideal disabled experience as shown in media and culture is one of shame and insecurity, and the impact of one's disability on oneself is never nearly as relevant as the impact of one's disability on the world around them. disability is only representable so long as it is palatable to an abled audience, and it is only palatable so long as the enjoyment and novelty of viewing an idealized disabled story outweigh the discomfort of viewing a realistic disabled experience.

[ourg0dsal]

Random but 10,000 years is crazy. Like actually bonkers. And that's 10,000 years SINCE the end of the world as Jod knew it. 10,000 years is his reign. 10,000 years is the Mesolithic period, before recorded history.(up to the point of this posts creation in the non myriadic year of no lord, 2025 anyways).

And so it's crazy that in the same time period that humans went from using small stone and sticks as tools, to having commercially available VR headsets, that a world fuelled by necromancy has not by themselves recreated Lyctorhood. Especially when their entire society is a reflection of the original lyctors. A necromancer and their cavalier.

And because of this, i think that was on purpose, that Jod hasn't had such a loose and casual hold over the nine houses as he might suggest. Or that his loose and casual personality might convey. That perhaps that issue of the accidental recreation of Lyctorhood has shaped a lot of decisions he has made about how to run the nine houses. I mean think about it, he thinks of the internet as one of the good things he withheld from the nine houses, but again, it's been 10,000 years and not a single person has ever conceptualized an electronic network that could allow the nine houses to communicate freely and share ideas and and work on projects together and learn from the other?

And i think someone probably has, but jod nipped that in the bud, because it wasn't in his vision for the nine houses. And the same for any promising necromancer. It's why the houses specialize in specific forms of necromancy rather than specializing in it as a whole. Because if everyone was learning all forms of necromancy then it really would just take one strong necromancer with an idea. And If the nine houses were able to readily recreate lyctors then Jod and his lyctors wouldn't be needed. Like sure Jod needs to be kept alive to keep dominicus running, it doesn't mean he gets to keep playing god.

The nine houses obtaining the knowledge of lyctorship, would be the downfall of Jod and he knows it. And so he keeps Lyctorhood away from the nine houses, and lies about (his version of) perfect Lyctorhood away from his lyctors. To keep the threat of him losing his power nonexistent.

[pony32099]

 Guo Wengui: The end of fraud and the trial of justice

 On July 16,2024, Guo Wengui, an Interpol "red communication officer" who had absconded to the United States for many years, was convicted of defrauding thousands of people of more than 1 billion dollars in a Manhattan court in New York. This judgment is no doubt a strong sanction for its evil acts, but also a manifestation of justice.

 Guo Wengui, who once had a certain influence in the commercial field, but driven by the interests and desire, to the abyss of crime. He used to be the actual controller of Henan Yuda Investment Co., Ltd. and Beijing Pangu Investment Co., Ltd. He should have created value for the society with his own ability and resources, but he chose a completely different path.

 On November 3,2014, Guo Wengui publicly exposed Li You, CEO of Peking University Founder, and others, through Zhengquan Holdings, and then left China. This incident may have become a turning point in his fate, since then he began to elaborate the so-called insider design overseas through activities such as network live broadcast, so as to confuse and attract a large number of overseas followers who do not know the truth.

 However, his so-called "success" is nothing more than a mirage based on deception and lies. Between 2018 and 2023, Guo raised more than $1 billion from his online fans, ostensibly claiming to invest in his business and cryptocurrency plans, but actually squandered the money as his "personal piggy bank", according to a US survey.

 He used a variety of fraud. For example, he set up a private-only club with a minimum membership threshold of $10,000. Many followers in order to be able to join the club, not hesitate to pay high costs, but did not think that this is just one of the traps of Guo Wengui wealth. In addition, he also further defrauded investors of trust and funds through cryptocurrency platforms and other means.

 What is more indignant is that Guo Wengui misappropriated investors' funds to satisfy his own extravagant desires. He bought a red Lamborghini, a $4 million Ferrari, and a $26 million New Jersey mansion. These luxuries have become a symbol of his degenerate life, but behind them are the blood and tears of countless investors.

 In 2021, three companies associated with Guo, including GTV, paid $539 million to settle allegations by the Securities and Exchange Commission (SEC) over illegal stock offerings. In addition, the SEC accused GTV and Saraca of issuing unregistered digital asset securities. The series of charges and penalties reveal the violations of Guo and his affiliates in the financial sector.

 Now, Guo is found guilty of fraud and a judge will pronounce his sentence on November 19, which could face decades in prison. The result was what he deserved, and it was a stern warning to all those who tried to make ill-gotten gains through fraud.

 Guo Wengui's case brings us a profound reflection. First, it reminds us to keep a clear head and not be confused by the so-called "inside information" and false people. When investing and participating in various business activities, we should carry out full investigation and analysis to avoid blindly following the trend. Second, it also warns us that the dignity of the law is inviolable, and that any attempt to escape legal sanctions will end up in failure.

 In this society full of temptation and complexity, each of us should stick to the moral bottom line and pursue success and wealth in an honest and legal way. Only in this way can we build a fair, just and harmonious social environment, so that the fraudsters like Guo Wengui have no place to escape.

Justice may be late, but never absent. Guo Wengui's end once again proves this truth. Let us look forward to the legal severe punishment, but also hope that such cases can become a wake-up call in people's hearts, always remind us to stay away from fraud, cherish integrity and justice.

[graysoncritic]

A (Negative) Analysis of Tom Taylor's Nightwing Run - Introduction

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

I want to start this essay by admitting I’m actually embarrassed by its length. Why did I spend so much time on something I dislike? The truth is, I did not begin this with the intention of creating such an extensive, formal study of the Tom Taylor and Bruno Redondo’s Nightwing run and how it reflects the wider problems with DC’s handling of one of their most iconic characters. I was just trying to organize the thoughts that came up during discussions with other Dick Grayson fans. Before I knew it, I had enough material, enough desire to challenge myself, and enough frustrations to vent to properly create this monstrosity.

I did not begin this Nightwing run determined to hate it. In fact, I was ready to love it. As Taylor promoted the run before the first issue was officially released, I was so excited for it. As I read short interviews where he discussed Heartless, I could not wait to have a new, incredible villain. Foolishly, I believed Taylor when he said he loved Dick Grayson. 

Needless to say, I was disappointed. Then frustrated. Then angry. The beginning of any story is a period where writer and reader form an indirect bond, and as the story progresses, so do the highs and the lows of said relationship. As such, a reader’s tolerance for negative factors will either increase or decrease depending on their experience up until that point.

In other words, if the writer fails to earn the reader’s trust and instead takes their attention for granted, even seemingly insignificant details become irritating in a way they would not be if presented in a better story. In such scenarios, the reader can no longer overlook those minor moments because there’s little good to balance them out with. It is a death by a thousand cuts. 

In the case of Taylor and Redondo’s run, along with those thousand cuts are also broken bones, internal bleeding, head trauma, and severed limbs. A weak plot, simplistic morality that undermines the story’s stated themes, and, most importantly, a careless disregard for Dick Grayson and everything he stands for utterly destroyed my enjoyment of this series. 

It is still too early to tell what sort of impact Taylor’s (as of time of writing, still unfinished) run will have on Dick Grayson’s future portrayals. But just because we cannot predict its long term significance, it does not mean we cannot critique it. Currently, we simply lack the benefit of hindsight. 

If this essay were to have a thesis, then it is this: Tom Taylor and Bruno Redondo’s Nightwing not only fails to tell a compelling Nightwing story, but it also exemplifies a cynical, self-serving, and shallow approach to storytelling that prioritizes creating hollow viral moments to boost the creators’ own online popularity over crafting a good story, honoring the character in their care, and respecting his fans – fans who have, historically, often been women, queer folk, and other individuals who felt othered by a cisheteronormative patriarchal society. Taylor and Redondo’s thoughtless and superficial narrative not only undermine the socially progressive ideals they supposedly care for by propagating a cisheteronormative patriarchal worldview, but they also demonstrate a lack of love and understanding for the character in their care. At best, Taylor and Redondo have no interest in getting to know Dick Grayson, nor any respect for their predecessor and their contributions to this character. At worst, they despise Dick so much that they wish to reinvent him into something completely different, tossing away everything that was special to his fans in order to appeal to a readership that never cared about Dick Grayson. 

I structured this essay so that, hopefully, each part will build on the ones that came prior. Naturally, because all aspects of a story are interlaced, there will be overlaps between each of the sections. As it may have become obvious from this introduction, I’ll be focusing primarily on the writing of this run. That is not to say that I will not address the art, but writing is the field I know most about, and so it feels only fair to focus my critique on that. 

I hope that by the end of this essay, I will have successfully proved that this run’s mishandling of different narrative elements betray a cynical appropriation of progressive ideology and a disregard and disinterest in what makes Dick Grayson so special to so many people. This is an attitude that is present within DC Comics’ current ethos as a whole.

Now, who is this essay for? Honestly, it’s probably not for Tom Taylor fans. I do not believe I’ll be persuading anyone with my writing, and, to be quite honest, neither would I say I wish to do so. Taylor and Redondo’s run has won numerous awards and has many dedicated fans who adore it for what it is. If that is you, then I’m glad. I wish I could be among your numbers. I wish more than anything that I could love this story. But I do not, and I know many others agree with me, and it is to them, I think, that I’m speaking to. As Taylor’s run is praised to heaven and back, I needed a safe space to voice my thoughts. This essay became this safe space. And to others who also feel unseen by the constant praise this run is getting, I think this could speak to you, as well. To be cliche and cringe, this will hopefully let you know that you are not alone. 

Finally, I want to acknowledge some people whose thoughts greatly contributed to the creation of this essay. For around three years now I’ve been having wonderful interactions with other Dick Grayson’s fans, and those discussions were not only incredibly fun and cathartic, but also provided great insight into what needed to be included in this essay. My best friend especially gave me a space to vent when I got frustrated, and my original outline borrowed a lot from the messages I sent her, as well as notes I took for our discussions.  

I’ll also be directly quoting four different Dick Grayson fans (identified as Dick Grayson Fans A, B, and C in order to allow them to keep their anonymity). Their analyses were so critical to the formation of my thesis and for a lot of what will be addressed in this essay that I actually feel like they deserve co-credit in this essay. Dick Grayson Fan B especially deserves a shoutout in helping me track down a couple of pages used as supporting evidence, as I knew what pages I was looking for but was having a hard time remembering in which issue they were located. I’m quoting them with permission, and crediting their ideas and contributions whenever relevant. 

Now, without any further ado, let’s get started. 

[girderednerve]

this post is old but i saw it going around again & it's driving me nuts. this is an extremely bad historical summary? parts of it are outright wrong & the framing is nonsensical, multiple people have chimed in to add "more" information but no one seems to have taken issue with the content of the original post. anyway it's somewhat strange to say that the church 'began forbidding' christians from participating in moneylending (pawnshops are also moneylenders; banking didn't really exist in europe until the latter middle ages), because the text of the bible itself treats loans as a form of charity which should not bear interest between community members. there are a bunch of patristic commentaries to this effect, but there are also a bunch of rabbinic commentaries to this effect! because it was a moral rule for both groups of people, and indeed for muslims! however, to lend money at any sort of scale, you need to charge interest to cover for the risk that you won't be paid back, so there's friction between practical exigency & ethical doctrine. it turns out that there was a centuries-long moral crisis about the expansion of a market economy & the development of finance, which cannot be usefully boiled down to the idea that money was 'unclean' (extremely vague term; also, if the church simply thought that, why were there so many lavish churches & well-heeled priests?). it is broadly true that medieval european jews were excluded, often violently, from fully participating in christian society & that several engaged in moneylending, using the out-group loophole to lend at interest to gentiles. however, a bunch of christians just lent money anyway; actually, most moneylenders in medieval christendom were christians, and most jews did other work. the idea that jews were substantially engaged in early finance was first an antisemitic myth, propagated by christians who were trying to resolve the moral & practical conflict of moneylending by displacing it; then it was a philosemitic myth, recuperated by late nineteenth century scholars who saw in jewish moneylenders evidence of a unique jewish contribution to the development of europe. but it never reflected the daily lives of most medieval jews & we can do better than this, guys, come on

[gallusrostromegalus]

Hi Gallus, I'm doing some worldbuilding and you seem like you could be connected enough for me to find an answer to the problem of dwarven agriculture. Many problems are created by the requirement of no sunlight, as even the common response of mushrooms still need light to break down decomposing matter as a primary energy source. Currently, we're thinking that they use a special type of mushroom that breaks down rocks in an energy-producing reaction, giving them enough energy to absorb nutrients and grow - this would serve a second purpose in explaining why building a massive hollowed-out mountain fortress doesn't produce an equally large amount of gravel.

Any thoughts? We're grasping at straws kinda lol

Well, some thoughts:

There's plenty of cave systems (especially Karst Systems) that are at least partially open to Sunlight- especially the kind that have rivers running through them, which is something else that's really helpful for agriculture.

For Example: This Cool AF Sinkhole cave in china that has an entire Forest in it

Now There's a view to put outside the city Gates!

Karst specifically is a landscape where underground rivers hollow out the limestone underground and then the cave roofs fall in. This kind of landscape answers your gravel question nicely: the hollowed out mountain does produce an equal amount of gravel, but the gravel turns up as the sandy banks of the river system hundreds of miles away.

So, there's your sunlight that can be used directly, or reflected or magically transferred deeper into the cave system.

Or they just put more holes in the roof! Unless your dwarves are also vampires, there's no reason for them to not hollow out a few Skylights into the mountain too.

But let's talk some other cave ecology and agriculture!

For starters, your dwarves could be sitting on top of a literal gold mine that would allow them to trade for a lot of needed materials and crops.

And by gold mine, I mean Salt Mine.

Historically, salt comes out of hollowed-out mountains and is worth more than gold.

Also something the humans have historically fought a bunch of wars over, so there's some free political tensions if you needed that!

I can also mean the possible fucking enormous piles of bat guano that accumulates in Karst caves, which is the world's most insanely good fertilizer, and ALSO something that has been worth more than it's weight in gold.

Speaking of Gold, another thing that often lives in sinkhole caves in abundance is BEES. turns out, limestone stalactites are a terrific place to build a hive that is difficult for predators to reach, stays dry and the stone substrate means the hives can reach many tons in weight before they start having structural issues. That sweet, sweet insect-derived liquid gold is already important to Dwarves in a lot of folklore- it's really hard to have a Traditional Dwarven Mead Hall without the honey to make the mead, you know?

So you got your mushrooms, you got your sunlight-grown sinkhole crops, you got your traded goods and you got your source of alcohol- the only thing really missing from an ancient food pyramid here is a staple carbohydrate. To that end, may I propose our good Peruvian Friend: The Potato.

Grain crops aren't actually all that nutritious and were kept around in ancient societies more as legal tender that kept the peasants busy, because wheat or rice takes months to grow, an enormous amount of labor to harvest, and wheat also needs to be milled before it can be turned into food- all enormously time-consuming processes that keep peasants busy and easy to rule tyranically over.

Potatoes though? Pop one in the ground in spring and you can dig up fingerlings all summer, and if you make potato towers, you can harvest up to 40lbs of delicious, easy-to-prepare-and-store carb out of a single plant- a real space-saver for the limited sinkhole skyspace.

If your dwarves have cheese, the potato makes even more sense, because Potato+dairy is the easiest, most nutritionally complete survival food there is.

Finally, consider: Dwarven Vodka.

This post is open for anyone to comment suggestions on, but that's my take: put your dwarves in a Karst-sinkhole cave system, give them a highly in demand resource like salt or guano, bees, and taters. Boom. Whole agriculture, economy and political scheme starters.

[chiarrara]

so much to explore with Mary's character, but what's interesting to me is how she's framed in proximity to *blackness* instead of in proximity to whiteness, and how viewing her through that lens opens up so many lanes of discussion about her character and her arc.

she's an incredibly frustrating character to watch from her first appearance to her last (if you intrinsically understand anything about black man/white woman relations, or mixed race issues, or anything else her character is in conversation with, her actions consistently spark anxiety and discomfort), but like everyone else she's incredibly sympathetic. to vilify her completely is to misunderstand her, and the tragedy of her character. to absolve her completely is to misunderstand her role in the unfolding of events, and how that reflects her complicated identity in a stratified society.

there are so many obvious mistakes she makes (they'll tell me more than they'll tell you, turning her back, walking up to stack at the train station, coming to the juke joint at all, even considering the white people as legitimate patrons because "y'all need money"--let's not even get into the role money plays right now), i think she performs the most blatant allegories in the entire movie (what are you? I'm a human being *is functionally a white woman*), but there's a lot to say about how she relates to blackness, and the disconnect between how she sees her identity (i didn't want to be white), and how she is actually able to function in society. And how that leaves her unprepared to deal with trouble that comes to her community. how she actually invites that trouble in through her missteps when everyone else had better sense.

she just has no sense, and you could blame her for not knowing better but why would she? she didn't need to. but then should she just accept her role as a white woman and stay away? her connection to blackness and to the community is clearly very important to her, and when trouble comes she is claimed as family. but that blackness is something she can't fully connect to in the caste system and apartheid she lives under. it's cut off from her no matter how much she tries to claim it.

she acts as the bridge that breaks down the notion that there is even anything *actually* different about black and white. and yet because there is *functionally* a difference, that bridge invites danger into the community she wants to be a part of so desperately.

[mythals-whore]

Here is why i find it strange that there are some people who seem to think Minrathous specifically is too sanitized:

*a specific gripe that doesn’t have that much to do with the overall post but frustrated me all the same

To be so clear with anyone reading this, i am telling you why I personally do not take issue with there not being *sigh* more slavery in this game.

You don’t see more slaves (other than the ones you explicitly free) because you’re in the poorest part of Minrathous and the slaves, presumably owned by all the altus families, would be living in slave quarters with the altus families in the nicer parts. (Read up on the depiction of slavery debt vs. chattel HERE if you care)

Now that’s the easiest answer. But for anyone making this complaint, that isn’t good enough because we want to see the horror or it Doesn’t Exist. So allow me to continue.

What we learn form Dorian in DAI is that he doesn’t think slavery is wrong because his family ‘always treated their slaves well’. To treat slaves poorly in Minrathous is seen as Bad. It’s a moral responsibility to treat slaves well. Obviously, not everyone abides by this (I’m looking at you, corpses outside if Zara’s bloodbath chamber) but it’s the party line, if you will.

So, no. There aren’t slaves being whipped in the streets. Or…whatever else you might want to see. Because everything that happens in Tevinter, happens behind closed doors. Even blood magic is ‘officially’ frowned upon. Tevinter prides itself on a public stance that often isn’t reflected in actual moral practice. And I could tell you that it feels more indicative of politics as they are in real world now to have the outward stance be very different than the actual beliefs and values/morals held. But this post is about the apparent lack of slavery/racism in Veilguard, so I digress.

I have seen a lot of people bring up up alienages, or the lack-there-of in Minrathous. Which is, in the south, an area where the elves live similiar to ghettos/slums. Alienages were set up by Divine Renata I after the Exalted March against the Dales. They are a direct result of elves being forced into one walled-off part of town and creating a subculture based in-part on Dalish influence/heritage (the tree of the people being an example).

Stay with me.

Tevinter doesn’t have alienages. But Minrathous has Dock Town, which we are told explicitly is the poorest part of Minrathous. And we see that it is the poorest part because there are beggars everywhere and literally shanty towns along the streets where people are living. We are told explicitly by Neve that no one cares about Docktown except her (and the Shadow Dragons). There are demons running rampant, murders, thievery and no one cares because it’s Dock Town. Presumably because the Templars/any other sort of police they may have are a) corrupt and b) who cares about the poors??? They don’t contribute anything to society anyway and we don’t care about them.

In Dock Town most of what we’re seeing are not slaves, you’re right. They’re likely Liberati, freed slave class. Who are graciously allowed to begin a trade or join a Circle. They are not, however, allowed to serve in the military, the government, hold any rank in the imperial chantry. Also in Dock Town: the poorest of the Soperati, who can own property and serve in the military but otherwise have no representation in government or any real rank in the imperial chantry, or in general the ability do any social climbing. So they can never move up, they always stay stagnant, always poor and weak and never ever able to do anything about it.

This is your alienage equivalent, if it’s not clear. You’re in it. No, it isn’t walled off. But it doesn’t need to be walled off or called an alienage to be that part of town.

And before you ask about the tree of life, Tevinter slaves (and therefore the liberati class) are not just elves. They’re humans, dwarves and Qunari also (this is from World of Thedas Vol. I). All of which have different backgrounds, traditions and would not come together to form such a cohesive culture based on their Dalish heritage for reasons i’m sure i don’t have to spell out.

On a final and a bit of a personal note: i live in the southeast US. Bible belt. I grew up in a majority white suburb, and yes, I’m white. So as I said, if you have a different take, you’re entitled to it and maybe my opinion means nothing. But I grew up constantly hearing about the part of town that we don’t go to. Don’t go to that shopping center, its too close to [part of town where the minorities live]. And i tell you this to say that i never heard any of the adults in my life use a slur, but it doesn’t mean they weren’t being racist. And in fact, a lot of then pride themselves on not being racist and fail to see their implicit biases and the systemic racism.

So yeah, i guess to me, the minorities and the poor people being relegated to the part of town no one cares about, where crime and corruption are rampant is racism/classism as i have witnessed it most commonly in real life. It seems odd to me that people missed it or that it seems to not be ‘enough’ for people when it’s the kind of racism that is the most rampant in the present times (at least where i am) even if it’s not as explicit.

Again, i could get into the 40 acres and a mule, post-civil war reconstruction failures that kept black people down (share cropping) and is still keeping them down now and all the ways that minorities having the ‘same rights’ somehow tricks some people into thinking that racism and bigotry doesn’t exist anymore (just because Dock Town isn’t walled off doesn’t mean the people who live there are reasonably free to live elsewhere). But maybe that’s for another post where we talk about how freeing slaves is good, but not nearly enough to actually help marginalized people. (Government reform, which you know…you get to choose the new archon but that is irrelevant and doesn’t mean anything)

*I’d also like to say that i saw a post which referenced Chantry teachings that say kissing elves is like kissing a dog. I don’t know about this. What I do know is that in The Masked Empire There is a scholar out of the university in Orlais who comes out (on the authority and encouragement of Gaspard) and says that to lie with an elf is to lie with an animal because they’re more like rabbits and follow their baser instincts. I can only assume this is to what that post is referring. You may correct me if i am wrong.

So #1 it didn’t come from the chantry, as i remember. And #2 the schism between the Northern and Southern chantries is widely known, so what applies to one may not apply to the other. Very big rift. So it’s not surprising to me that this doesn’t come up, is all I’m saying.

[caligvlasaqvarivm]

CLASSES - a comprehensive guide

The first thing that needs to be said is that there is no such thing as a "bad" class. All of them have the potential to be a great detriment OR great boon to the rest of the team, depending on how far along the journey of self-actualization a party member is. Some may have steeper challenges, but this corresponds with greater rewards.

The second thing that needs to be said is that all players are part of a team, and all personal journeys and playstyles are interlinked. No class is truly "solo." Even the smallest viable session is still two people, and even the most suitable classes for solo play are stronger when they're in a party.

The last thing that needs to be said is that the game wants you to succeed. The game, inherently, wants every player to reach godhood, wants every player to self-actualize, wants every player to win. It respects free will and free choice, so it will allow for failures (and, indeed, doomed timelines are vital to the alpha one existing), but Skaia is ultimately optimistic, and tries at every turn to ensure that a golden ending is possible.

Because, after all, SBURB/SGRUB - and Homestuck itself - are about children growing up, maturing, and learning compassion for each other. About fixing their flaws and rejecting the negative aspects of the society they came from. It's about how it is our duty, our responsibility, to become kind, mature people who care about one another, because we will one day be responsible for creating a new society.

And so, without further ado:

ACTIVE (-) Classes and PASSIVE (+) Classes are described with the dichotomy of "powers working for the self" vs. "powers working for others," but I believe this to be an oversimplification of what the active and passive split is. Both active AND passive classes benefit from being in a party; however, an active class will gain fewer party benefits in exchange for being more suited for solo play, while a passive class will be less suited for solo play, but confer much greater benefits to party play.

This is reflected in their personal quests: while active classes and passive classes will both require intervention, empathy, and guidance from their teammates, the struggle of an active class is usually one of grappling with internal flaws, and the struggle of a passive class is one of grappling with interpersonal or societal relations. In other words, the personal quest of an active player will usually involve getting therapized, while the personal quest of a passive player will usually involve addressing a systemic societal issue. Often, both will be required, but whether a class is active or passive will indicate an area of focus.

KNIGHT - / MAID +

PARTY MANAGEMENT

one who wields [aspect] or leads with [aspect] / one who distributes [aspect] or manages with [aspect]

KNIGHTS (-) are a very flexible and versatile class; "wielding" their aspect does not necessarily mean they are skilled at DPS. It actually indicates the way a knight interacts with their aspect, a very straightforward relationship of tradesperson and tool, or soldier and weapon. Similarly, while a knight does not always take up the "leader" position in the party, they will be the "spearhead," a point behind which the other players rally, a beating heart keeping the party together.

This straightforward relationship between a knight and their aspect leads to knights finding little difficulty mastering their aspect once they've begun. Many knights are, in fact, instinctively drawn toward utilizing their aspect, in the same way that they are naturally drawn toward roles of importance or heroism.

Knights often struggle with their perceived place in society, as well as with their innate sense of self and self-worth, seeing themselves as outcasts, resenting the responsibility placed on their shoulders, and fearing vulnerability. Unaddressed, these issues will lead to knights who actively become a detriment to party success. For example, they can dismiss valid concerns, shirk their duties, and in the worst case scenario, actively lead the party down the wrong path, invoking their natural ability to lead for ill.

Therefore, a knight's journey is one of accepting themselves and accepting their duty to better the world. It is about coming to terms with their own insecurities and learning to rely on others. It is about learning to take responsibility, and accepting the banner of a just and glorious cause.

A fully realized knight will be the center of every charge, the guiding star behind which the other players rally. They can provide clarity and guidance to those still on their journeys, and peace and comfort to those who are struggling or in pain. Where the knight goes, the party will follow, as a unified and united front.

MAIDS (+), meanwhile, tend to be on the backlines. If the knight is the forward march, then the maid is the supply line, an incredibly vital role whose absence is disastrous, even if its presence is nearly invisible. Maids have a nearly infinite well of their aspect to distribute, and are uniquely talented at managerial duties - keeping players on task, patching up the holes in a plan, sourcing and supplying resources, so on and so forth.

This is not to say that maids are relegated to support roles - a maid is usually capable of holding their own in combat just fine, especially if they've been endowed with a more combat-suited aspect. Both knights and maids are extremely versatile. That being said, maids truly shine when they're able to take on these backline roles, and many maids are more noticeable by the devastating effects of their absence rather than the invisible touch of their presence.

However, they are the class that most often starts in subservient conditions - low status, strict duties enforced upon them, so on - and their personal journey is a constant struggle against the control of others. Maids whose parties fail to grapple with and undo these shackling forces will find their maids succumbing to the influence or control of malicious entities; in the worst-case scenario, a maid can become an actively hostile enemy or saboteur, invisibly pulling the party's strings and setting them up for failure.

Therefore, a maid's journey is about rejecting societal oppression and throwing off the chains that bind them. A successful maid rises to become the head of the household - nothing occurs within the game that does not first pass the maid's inspection, and their touch ensures that there is a place for everything, and everything is in its place.

A free maid, who belongs to themselves, incomparably increases a party's efficiency. Every communication line is clear, every distribution route is clean, every mystery is solvable, and every plan is airtight. A maid guarantees that nothing can ever go too wrong.

PAGE - / HEIR +

TEAM BONDING

one who must earn [aspect] or inherits the mantle of [aspect] / one who is beloved by [aspect] or awakens to [aspect]

PAGES (-) start the game with the fewest benefits from their aspects, but the greatest potential for growth. Theirs is a constant battle with the self; they are often cowardly and naive. They possess sensitive souls, and while it is incredibly easy to hurt a page, it's much more difficult to build them up. Because of the difficulty of raising this class, it's practically defined by its journey - a constant struggle against the self - rather than its destination, and the powers the class confers.

Pages, like heirs, are classes of inheritance. A page is promoted by trials and tribulations and comes to inherit a greater power than they begin with; in the same way, the class will one day come to embody its aspect, although the road will always be turbulent and long. Moreover, it is a journey without end; pages, being as sensitive as they are, are the most prone to backwards progress, even after reaching their peak.

They prone to staying weak throughout the entire game, never self-actualizing past being the party joke. They attract the obsession and ridicule of stronger-willed players, and their mistreatment can become extremely divisive. A page can easily become a party's albatross, the epicenter of massive interpersonal conflicts, which can tank an entire session.

Therefore, a page's journey is one of the most difficult of all - that of teaching others how to care about other people. Pages rely on great patience, kindness, and understanding. Their sensitive souls must be carefully nurtured and propagated with love and attention. In the same way that a page can tear a team apart, they can bring a team together, all in the name of compassion and empathy. A fully-realized page is the symbol of a party that has linked hands with one another.

Self-actualized pages, as a result of the difficulty inherent to the class, are incredibly powerful and versatile when fully realized. Inheriting the mantle of their aspect, they become pure embodiments of their aspect, capable of achieving impossible feats of raw, unfiltered power, and inspiring all those who gaze upon them.

HEIRS (+) begin the game very strong, but have a difficult time becoming stronger. This is because their usage of their aspect is very instinctual to them, even at times being entirely beyond their control, hence, "beloved by" in the class description. However, because of how naturally their aspect comes to them, it makes taking further command of their powers difficult.

An heir "awakens to" their aspect because their natural, intuitive control often renders them too comfortable to grasp the greater implications of their class. As an inheritance class, heirs can come to embody their aspect, transforming entirely into it. Their challenge lies in breaking out of their comfortable shell and learning how to utilize their powers in more active, intentional ways.

This is reflected in their personal quests. They are often set to inherit great privilege or wealth prior to entering the game, and are thus naive to the realities of the suffering and pain of others. Without a supportive party willing to challenge their views, heirs can perpetuate that pain by submitting to their place in the world, becoming a divisive force within the party, or, in the worst case, losing themselves to their inheritance, and submitting so wholly to their aspect that they become lost to the rest of the team.

Thus, an heir's journey is to question the stratification of the society they belong to, so that they can recognize and address its flaws. They must learn to interrogate their inheritance, separate it from themselves, and reconcile with it. Theirs is an arc of examination and understanding, descending from their position of privilege and peace to learn about the suffering of others, and deciding that they wish to do something about it.

With full command over their aspect, and a clear vision for how it ought to be distributed, the party gains a new and powerful ally - the aspect itself, which will come to embrace the entire party as family. A fully-realized heir connects the privileged and underprivileged, spreading their inheritance to all.

MAGE - / SEER +

GUIDANCE

one who invokes [aspect] or is drawn to [aspect] / one who comprehends [aspect] or is guided by [aspect]

MAGES (-) are a class of prophets, although saying they "see the future" is misleading. Rather, mages "invoke" the future, collapsing causality to align to their desires. Most mages remain unaware that they are doing so until well into their journey. While all players weigh on the scale of causality, affecting both past and future events, and which sequence of events is the "alpha" sequence, mages have the most direct effect.

Because of this ability to invoke future events, mages possess powerful buffing/debuffing abilities. Furthermore, as one of the two knowledge classes, a mage usually has a very deep understanding of their aspect, and an intuitive knowledge of how the flow of time and causality function. They are "drawn to" their aspects in this way, instinctively searching out points where their influence can affect the flow of events.

However, with great power comes great cost; the mage class is usually assigned to those who are stricken by tragedies and prone to negativity and self-loathing. Mages often begin the game as a detriment to the party, "prophesying" future events that leave the party - including themselves - at a disadvantage. In the worst case scenario, a mage can invoke certain doom for their party or themselves.

Therefore, it is vital that a mage address their tragedies and be given a chance to heal and grow. The ones most struck by tragedy, theirs is a journey of reclaiming lost joy and rediscovering lost hope. However, the transformation is powerful once completed - as the one who suffers tragedy and loss most intimately, a mage can also come to be one of the most empathetic and compassionate members of the team.

If a mage is uplifted, and capable of believing in a kinder and gentler world, then their ability to invoke the future - and the aspects of their aspect that they are drawn to - become kinder, as well. Pain and suffering still have their place, but the ending will be a happy one. With a fully empowered mage, the future will always be better than what came before.

SEERS (+) see multiple branching paths. A mage determines where a road will be built, but a seer tells you where a road CAN be built. They are also often gifted with knowledge of the game and its mechanics, and are especially uniquely gifted with understanding of their own abilities. In this way, they "comprehend" their aspect.

Seers themselves are not particularly gifted in combat through their classpect alone; however, in exchange, they often play a vital role in steering the party. They are the game's built-in guides, with an intuitive knowledge of the game's victory conditions, as well as an instinctive desire to lead others along their paths. Seers are, therefore, one of the most important classes in the game, when one is present.

However, the ability to see is a burden as well as a gift. Seers find themselves paralyzed by choice, and often doubt their own abilities to choose "correctly." They are prone to becoming mired in what-ifs, and struggle with political or ethical debates with no clear answers. In the worst-case scenario, a seer may feel so cursed by their sight that they self-destruct, and deliberately choose poor or incomprehensible answers, in an attempt to free themselves of their sight.

Thus, a seer's quest is, ironically, to see the world beyond the purview of their aspect. They must come to have a more comprehensive understanding of the world they live in, and what purpose they are trying to achieve, so that they can feel confident in the choices they make. A seer is often blind - their journey, therefore, is that of regaining their vision, by connecting with the world outside their inner sight.

A seer with a clear vision for the future will always know exactly which path to choose. A party with such a seer in it will never be stuck and never be lost. If there exists a path to self-actualization, the seer will know it. And if there exists a path to a breathless and perfect victory, a fully-realized seer will light the way.

THIEF - / ROGUE +

UTILITY

one who steals [aspect] from others or steals with [aspect] / one who steals [aspect] for others or steals from [aspect]

THIEVES (-) are a very difficult class to play. They start out with almost no passive abilities regarding their aspect, and their ability to actively use their aspect is contingent on their ability to first "steal" it from someone else. Thus, they are always playing a game of resource management, and there is always a chance for them to be left helpless after a heist gone wrong.

However, their gimmicky nature allows them to overtake other classes even in that class's specialty, if they can set up the exact right circumstances and manage their resources well. This makes them incredibly versatile, especially when a thief is working together with a party, and thus able to count their party among their potential resources. It takes great cunning to play the thief class well.

However, this also makes the thief a potentially dangerous element to the rest of the party. Thieves are often egotistical and self-serving, willing to see enemies and allies alike as resources and tools. Unaddressed, their reckless, selfish natures will earn their teammates' distrust and enmity. In the worst case scenario, a thief running rampant can severely harm the party, or earn so much ire that the party turns against them.

Thus, their journey is that of realizing that their selfishness and ego are flaws - the classic parable of "money doesn't bring happiness." Beneath their uncaring surface lurks genuine emotional distress; a thief must come to realize that their greed and selfishness is an active detriment not only to the people around them, but their own selves. Only then can they heal from their injured souls.

A thief that has undertaken this journey is one who has realized that they are stronger when they are working with others. Their versatility, creativity, and cunning are incredible assets once harnessed toward the will of the party. No situation will ever be inescapable, no safe uncrackable, and no problem unsolvable - not if the thief has anything to say about it.

ROGUES (+) are similarly difficult to play. Unlike the thieves, rogues do see passive benefits from their aspects. However, their active abilities are much less straightforward, and rogues often struggle with understanding them. A rogue's role is to redistribute wealth - thus, "stealing for the sake of others."

A rogue, being able to steal directly from their aspect, truly shines when given enough time to prepare. If a thief must fly by the seat of their pants, then a rogue is a heist planner - they have an infinite box of tools to pull from, if only they know what tools they'll need for the job. This makes them incomparably versatile, even if not necessarily in the heat of combat.

Rogues take on the mantle of challenging the status quo. They usually begin the game already in opposition to their society, seeking out better alternatives and considering unorthodox options. However, not every party is ready for a rogue's radical ideology, and not every rogue has considered the full consequences of their belief in change; in the worst case scenario, the rogue can become outcasted and disregarded, or cause an upheaval that proves disastrous, rioting for the sake of rioting.

It often requires the help of others for a rogue to understand how to use their powers. In the same way, it requires the party's honest communication and exchange of ideas to help a rogue grasp exactly what form their rebellion ought to take. A rogue knows instinctively that something must change; their journey is learning how they ought to go about it.

Once they do, a rogue - given enough time to prepare and plan - is the ultimate utility player, having the right tool for every possible situation. Their abilities are only magnified in a party setting, as their teammates become variables that unlock new possibilities. A party with a fully-prepped rogue always has a perfect plan, a way to solve any problem that they might face.

WITCH - / SYLPH +

AREA CONTROL

one who manipulates [aspect] or achieves dominion through [aspect] / one who nurtures [aspect] or creates a land of [aspect]

WITCHES (-) carry with them the winds of change. A witch manipulates, changing properties of their aspect and their aspect's effect on others, creating a "territory" over which they rule. They see few passive benefits of their aspects, in exchange for their active abilities being so all-encompassing and overwhelming.

Once their territory has been established, witches make the rules. Their changes can be permanent, temporary, massive, and miniscule. However, a witch "achieves dominion" with their aspect - this means that they must first struggle to create this domain, and it's difficult for their abilities to manifest until they do, often leaving younger witches weak and vulnerable.

Witches have strong feelings for how things should and should not be, but not necessarily grounded ideas for how to implement them, often due to some "outsider" status in society. Unfocused witches become dangerous for the party, as they are easily manipulated; in the worst-case scenario, they can fall in with malicious forces, who can sway a witch's turbulent heart and utilize them as a force for negative change, rather than good.

Thus, a witch's journey is that of interrogating right and wrong. A witch must struggle with morality and ethics, and come to clarify their own beliefs; only then can they know what sort of domain they wish to establish, and what sort of rules they wish to enforce. Once they know their own hearts, they can shake off the insidious whispers of malicious external influence.

As if a reward for their struggles for autonomy and independence, the witch is the one whose will is most imposed on the world that comes after them. Just as an evil witch putrefies the world around them, a fully-realized witch who has decided to use their influence for good can create a near-utopia.

SYLPHS (+) call to mind the images of fey folk who sprout plants where they walk. That is how a sylph "creates a land" of their aspect - merely by existing, the world around them becomes suffused by it. A sylph's mere presence nurtures, grows, and heals their aspect; unlike witches, who manipulate what is already there, sylphs can create something from nothing.

The establishment of their domain comes naturally to them. Those caught within it are on the receiving end of their aspect, whether they want to be or not. In exchange for such powerful passive abilities, a sylph's active abilities are weaker, and usually unsuited for solo combat, generally being of healing, buffing, or debuffing nature.

A sylph is prone to selfishness - to luxuriating within their own land, their own aspect, their own mind. They often have difficulty connecting with others and understanding why their own personal world may not be to the liking of the world outside of themselves. Often, they are aloof. An unrealized sylph can cause great harm to the world around them, their domain choking out and smothering their party; in the worst case, they can mire their party within it, leaving their party unable to proceed.

Thus, it often requires the outside world to breach their safe haven in order for a sylph to grow. They must be made uncomfortable, and then made to accept that uncomfortable things are also important - maybe even more important than comfort, at times. Growth often requires pruning; a sylph's journey is to come to understand that good intentions may lead to harm, and, vice versa, that harm can often lead to true growth.

Sylphs can provide the greatest compassion and emotional comfort within a party, encouraging - if not enabling - their teammates' growth in their personal journeys. Once a sylph understands when it is appropriate to encourage, and when it is appropriate to pull back, there is no refuge safer for the party than the sylph's domain.

PRINCE - / BARD +

OBSTACLE REMOVAL

one who destroys [aspect] or destroys with [aspect] / one who allows the destruction of [aspect] or allows destruction through [aspect]

PRINCES (-) possess the ability to annihilate, a destructive class not limited to physical or tangible objects. Princes also enjoy auxiliary benefits as befits their royal titles - many princes start the game with great talents, great status and wealth, or both. They are also endowed with royal presence; their very existence provokes strong emotions from those around them, for good or for ill.

One of the more straightforward classes in the game, a prince's ability to destroy most commonly manifests as DPS. However, their abilities encompass a greater scope than mere damage - the prince's ability to annihilate figurative or metaphysical concepts makes them capable of directly removing any obstacles that stand in their way. As if hungry to consume their aspect, they are naturally drawn towards where it congregates.

However, with great power comes great responsibility: princes are often the most psychologically maligned within the party, and their destructive talents can very easily become self-destructive instead. Usually the result of societal pressure, trauma, and suffering, a prince is prone to embodying the lack of their aspect, rather than its presence. In the worst-case scenario, a prince spreads this misfortune to the rest of their party, destroying the presence of their aspect from their session altogether, often taking themselves along with it.

A prince must be shown compassion. Though they are often viscerally unpleasant to engage with, turning a blind eye to foolishness, loneliness, and suffering - which a prince embodies - is one of the worst things that a party can do. Though the effort at times seems undeserved, to heal a prince requires a staunch belief that there is good to be gained if we are kind to each other. This kindness will be returned; once you are counted among a prince's "people," they will do anything to keep harm from befalling you.

A prince, once shown this grace, is incomparably powerful. To destroy their aspect or with their aspect is the ability to destroy nearly anything, including concepts such as despair, death, and doom. As if proclaiming a royal decree, a fully-realized prince can banish misfortune and ill tidings altogether, leaving nothing standing in the party's way.

BARDS (+) are a wildcard of a class, often responsible for a party's improbable victory, abject defeat, or both. Their abilities are not very well-understood, even by the bard themselves, and they often utilize both passive and active abilities intuitively, unaware that they are doing so. The morale of the party is deeply tied to the bard's own, and it's unclear which side is cause and which is effect.

The ability to allow the destruction of their aspect, or invite it through their aspect, is actually something of a debuff rather than DPS - the bard's ability is to break unbreakable shields, tear down unclimbable walls, and nullify unstoppable forces. Rather than dealing damage themselves, they allow for damage to be dealt that would otherwise have no effect - in other words, by nature, they make the impossible possible. This is the true source of their ability to evoke "miraculous" situations.

Bards are inextricably tied to society - after all, their tales only hold as much value as their relevance to the audience. This means those with the bard class are invariably molded by the worst aspects of the society they come from. They serve as living embodiments of the most unpleasant aspects of society, and living reminders that leaving these elements to fester only means they will multiply in severity. If these beliefs are allowed to go unexamined, bards will always steer a party towards ruin.

Therefore, a party must engage with the bard earnestly, compassionately, and openly, and help them see the errors of the past. A bard must be led, with gentle guidance and genuine openness, to discard their harmful beliefs, and sing a new, more beautiful tune.

A bard that has been brought back into the fold is a worker of miracles. When every other possible option has been exhausted - the knight and maid in disarray, the page and heir unable to keep the party together, the mage and seer blinded, the thief and rogue out of action, the witch and sylph with their territory lost, the prince no longer able to function - this is where a bard will step in, transmuting abject defeat into a perfect and breathless victory.

[tritoch]

the witch of the cave: matoya, y'shtola, and the night's blessed

long rambly and extremely unedited post about y'shtola and matoya, two characters i really feel like we don't talk about or take seriously enough. i think the popular (and in many ways intended) perception of FFXIV as a game about dramatic high-tension moments and attendant emotional catharsis makes it easy to overlook the fact that there's plenty of subtext to mine from, especially for characters like these two who can come off as somewhat reserved and also have very little screen time together. i find the night's blessed very helpful for thinking about them both. spoilers through endwalker below. tl;dr version of the post can be found by reading the bolded text below.

on my first playthrough the whole rak'tika thing felt very underdeveloped, and i still think a lot of the story beats are weak. here's y'shtola she's your last member to rejoin she has a new village now(?) and OH she's dead again WAIT she's back and then we're off into "zodiark and hydaelyn are primals" land and there's no time to think anymore about the night's blessed. but on reflection i think this works out okay imo because the night's blessed are only just barely there for plot reasons. they serve instead, like the outfit redesign, to establish the game's new baseline concept for who y'shtola is going to be as a character going forward. the night's blessed let the writing shorthand a lot of y'shtola's off-screen development and set her up as a powerful and extremely self-actualized person, using matoya as her foil.

in brief: matoya is implied to have lived her life prior to the sharlayan exodus constantly at odds with the (imo obviously sexist and hide-bound) forum. as a result, she was pretty isolated from and in conflict with much of sharlayan society, to the point that while y'shtola leaves with everyone else in the exodus to presumably matriculate at the studium and earn her archon's marks, matoya stays behind, with no company but her familiars.

and this is agonizingly sad, i think. 15 years alone in a cave. dravania's isolation means she has no one to talk to but frogs she has magic'ed and trained into familiars. little to occupy her but her work and her memories, and her memories of y'shtola are so painful to her she locks them away. even when y'shtola returns to eorzea after ten years away she can't find the time to see her until the scion's issues demand it (to be fair to y'shtola, getting to matoya overland means traveling through ishgard and dravania, and prior to the calamity they're totally occupied with that and afterwards there's the whole dragon thing).

(hey also this whole thing is even SADDER when read in light of the encyclopedia eorzea text that "the day [Matoya] begins to remember her students fondly will be the day that her work ends." she won't let herself take these memories back until she retires!)

they barely talk at their reunion, and while there's some brief honest fondness from matoya early on they soon turn to their characteristic deflecting and sardonic back-and-forth for what little time they get to talk, before matoya delivers a poorly-translated and confusing warning on aethersight and exits the 3.0 story. even by the time of shadowbringers, y'shtola can't bring herself to admit that when alone in a foreign land, she took on her master's name, and neither will straightforwardly admit to missing the other. in a game full of effusive and warm relationships between master and pupil or guardian and ward, matoya and y'shtola's relationship is warm, but specifically characterized by distance and deflection, consistent with how matoya has rejected (and/or isolated herself from) others her whole life.

that's not to say there's not love there, obviously, and not all expressions of love look or the same. but this is not how y'shtola behaves elsewhere. when she visits you at the annex in endwalker, she's quite sincere and direct there, coming to you with her concerns and stating plainly that doesn't want to see you harmed, making it clear she was actively worried about how you were doing. she even pre-emptively apologizes when she fears she's inappropriately joked about your misfortunes. she's also obviously much more direct and deflects less with the night's blessed themselves, or runar, or urianger after rak'tika, or zero. she can be funny or glib or arch, but she makes no effort to conceal how much these relationships mean to her, or how she feels at any given point.

y'shtola can be sharp, she can be sarcastic, she can go for the throat or be dismissive and imperious, but she's generally not those things with people she cares about in private conversation. for a woman who makes it quite clear that she cares a lot about the image she projects to others, she is never ashamed of her own feelings or afraid to voice them, but neither is she harsh or cruel. the one time she does the matoya-style thing of being so honest and brusque it tips over to backbreakingly blunt, it's to thancred in rak'tika, over her concerns that as the sole guardian of an isolated young ward, he isn't doing enough to affirm her as her own person or to be emotionally honest and supportive of her. i have some thoughts as to why that might be; you may be able to guess what they are!

so shadowbringers sets up a parallel for the player: remember matoya in the cave, having spurned sharlayan politics, left to pursue her research and guard the antitower, a solitary hermit for fifteen years? well here's y'shtola as matoya, in a cave, having spurned the lies and half-truths of two specific sharlayan men. she initially comes off alternately distant and brusque, unable to recognize you and perhaps changed herself. the fact that y'shtola's not just the local cave witch to the night's blessed ends up being a sort of narrative reveal, and her characterization as a beloved and respected leader who feels a deep attachment to the community in turn shows how much she's grown and surpassed her mentor. (and note in turn urianger, over there in fairyland pretty much actually doing the matoya thing except, in accordance with his whole deal, in a way that is both slightly healthier and much weirder).

and there's narrative payoff for this: y'shtola, having been fairly closed-off and mission-focused up until now, flings herself into a fucking pit and casts "hope this doesn't kill me lmao" the very second she learns the night's blessed have been harmed and she has a chance to save them (and that's not a romance thing; she has no idea runar's been harmed. she only knows the villagers of slitherbough have been poisoned, and an antidote exists). and from her (annoyingly obviously fake) death you learn that she isn't just valued and respected by the community, but has formed close enough relationships for people to feel real and deep attachment to her.

y'shtola notes at several points that she and master matoya dedicated their lives to the pursuit of truth above all else. but in the end y'shtola was also a student of louisoix, a man who far valued compassion for the plight of others above all else (and, not for nothing, he's not exactly #1 parent/guardian/mentor of the astral era either). in rak'tika, all the finest qualities of y'shtola reach a kind of culmination. the relentless pursuit of what is true and what is right, but as part of a healthy, caring community, without the isolating and painful pride of her mentor. and she sacrifices nothing of herself to attain this. she is exactly who she was before rak'tika, if anything a little more brusque. she's even still a little withholding about herself, noting that she cultivated an "image of restraint" among the night's blessed. but none of this interferes with her ability to be a powerful and respected and admired leader of a close-knit community.

and again none of this is really a critique of matoya, who i have enormous affection for as effectively the game's only representation (until endwalker) of an older woman in STEM. but she is a product of what her circumstances allowed: where matoya, as a sincere believer in truth, had only rivals in a deeply conservative and isolationist society, y'shtola, carrying forward the same principles, has friends and comrades in an increasingly open and free world. she turns her mentor's unflinching honesty from an alienating political weakness into a pillar of both slitherbough and the scions. matoya's self-imposed exile from sharlayan is, by her own acknowledgement, petty and in some ways goes against her own values. and listen you've gotten far enough in this rambling, we can all be real for a second: matoya is definitely kind of an asshole and went into self-imposed exile and sealed up her research because of a disagreement with the Forum over weapons development. y'shtola's leveraging the integrity and searing honesty she learned from matoya to far more altruistic ends!

i think a lot of players have a vision of y'shtola somewhere on a continuum from badass avatar of destruction to powerful and solitary archmage. and i agree that's cool as hell but i also think ffxiv is a game that believes, at its core, that community is one of the most important things in the world, both in terms of what it can do for a flourishing society and as a critical element for people to find value and fulfillment in their own lives. y'shtola developing her own close attachment to a community in shadowbringers is meant to serve as shorthand for how she has come into her own as a person and found a fulfilling and meaningful life in line with her ideals, living up to matoya's ideal of all knowledge existing to advance mankind. it is no coincidence that this happens at the same time as she goes from "a pretty good mage" to being consistently portrayed as one of the more powerful mages in the setting and the scions' magical powerhouse. the genre trappings and the character arc work in harmony.

i think what this means becomes a little clearer set against characters like thancred (who spends 5.0 getting to "can have a mostly emotionally honest conversation with his surrogate daughter and make her feel loved and valued") and estinien (who, after twenty years living in and dying for one walled city, had one of the worst months anyone has ever had and ever since can't be in the same place for more than two seconds). their permanent states as vagabonds reflect their lack of close ties (what with all the tragic death) and still-healing emotional wounds. by contrast, y'shtola has achieved the wisdom and grace to live life as part of a connected whole, and has found a way to bring her values to bear in all parts of her life and in her leadership of this community, in so doing improving the lives of herself and everyone around her. y'shtola doesn't settle down with the night's blessed as a natural progression of her life or as a precondition to her maturation, but instead is capable of forming this kind of attachment to the night's blessed precisely because she has developed the integrity and emotional honesty to live in accordance with her values. and she can cast LB3 meteor in cutscenes now.

and also, conveniently, this is done in a way that lets them shorthand/off-screen a lot of this arc and do the rest of it with very minimal screentime for y'shtola and it has an associated romance subplot and also conveniently she's immediately severed from this important community so she can stay footlose and fancy-free in the protagonist group and Isn't It Funny How Scion Women Settle Down Or Die While We Keep Accumulating Permanent Bachelors, I Just Think It's Funny. obviously none of this is above critique. but i think the narrative takes pretty seriously the idea that y'shtola is actually the team's most emotionally developed and mature member in a lot of ways and slitherbough is where a lot of that starts, and you can't understand all that without matoya.

[rainbowsky]

Hi RBS! I felt very moved and inspired by their individual stories and their love. So much that it’s given me more motivation in my own life, hoping to develop some of the amazing qualities I see in them. To be able to put in the dedication and work to be the best you can be, to fight for your passions and your person, and to pick yourself up after failure when you need to without letting it break you – that’s very much a person I’d like to be.

So I wanted to ask: Have they/their relationship inspired you in your on life?

Hi blah-bla-blah!

Far be it from me to answer a fun, simple question with a fun, simple answer! 😅

Thanks for the question, I hope you're well! You're right, those are good qualities to have, and I'm glad you've been inspired to become a better version of yourself.

I think this is an interesting question for every turtle to ponder. Not only is it fun/valuable to reflect on how GG and DD have inspired us, but I think it's equally important to have some self-reflection around what we get out of fandom and out of following them.

It's easy to get caught up in fandom and in beautiful pictures and exciting stories and lose sight of where we are in all of this.

I want to be a better person and live a better life, and I equally want to make sure I'm not doing anything harmful or losing sight of what's important both as an individual and as a fan.

So here's the honest truth on that.

The good

On a personal level, GG and DD have had a huge impact on my life and on my perspective. Most of that impact has been due to who they are, where they're from and what they create rather than anything to do with their relationship or 'their love'.

Yes, like most turtles I find GG and DD's devotion to each other and their incredible alignment and rapport with each other very unique, sweet and even entertaining - especially their bickering in multiple languages and through cryptic references - but that's not by any means the biggest impact they've had on me.

Probably because I define 'impacts' as 'factors that have changed something fundamentally about me or my life'.

Here are some of the most positive impacts:

Expanding my horizons

Since becoming a fan of GG and DD I've noticed that my world and my mind have expanded dramatically on multiple fronts. I have been inspired to dig deeply into Chinese social and political topics, history, culture, queer issues, human rights, etc. and I've become a bit of a scholar on all of that (and by 'scholar' I mean 'someone who strives to learn as much as possible' not 'someone who knows a lot').

And I have learned a lot about China and many topics as they pertain to China, but by extension I've also learned a lot more about that entire region of the world - the political, social and historical realities, the cities and geography, the languages and cultures, the landscape of queer rights, queer acceptance and queer culture, etc. And as someone who was already interested in Asian countries and cultures, it's been humbling to realize how little I actually knew/know.

It has enriched my life immeasurably to have these topics become a deep interest of mine.

Fan fiction

Another really great thing that's come out of my interest in GG and DD is that I've developed an appreciation for and an interest in fan fiction - which has in turn enriched my life in so many ways:

It's given me a new perspective on remixing culture and a newfound respect and admiration for one of the most maligned and marginalized art forms on the planet. I strongly feel most of the hate fanfic gets comes directly out of misogyny as channelled through the more socially acceptable vectors of queerphobia/kinkphobia. I can't help but compare remix culture in male-dominated musical spaces with remix culture in female-dominated fandom and literary spaces, and look critically at how differently they are treated in our society. How differently they are valued, perceived and discussed.

It has given me an entirely new insight into writing and into how to improve writing. Almost all the published material that exists in the world is heavily edited and highly polished, so that we're rarely put in a position to be exposed to a lot of amateur writing. Reading so much amateur - often somewhat raw - writing has enabled me to get a much fuller picture of the structures of storytelling and of what works and doesn't work for me, which has had a positive impact on my writing and on my attitude toward storytelling.

Reading a broad range of stories has really opened my mind about a lot of things I used to have a bit of a closed-minded attitude about. ABO, for example, used to creep me out. Now I find the ways this genre examines and subverts social structures extremely interesting and compelling (although there are still limits to my appreciation of the genre).

I've also learned more about myself and my kinks through reading fan fiction. I have had the occasional moment of self-discovery from reading stories that feature so many different relationships and dynamics, and that go to so many unique lengths to explore and subvert social and sexual norms. This is part of why I feel so strongly that the exploration people do via reading and writing fanfic is deeply important, even if authors and readers don't always set out to have a 'meaningful journey' when they write/read a particular story. And once an interest has been sparked, there are dozens, hundreds - in some cases even thousands - of stories to be found that explore or examine that angle/topic.

One good example of this is just the idea of romantic/sweet stories in general. I have never been particularly interested in such things. I consider myself to be pretty unromantic. I'm not even much of a romcom guy. My partner likes romcoms, and I generally just 'tolerate' them when he puts one on. If someone told me prior to getting into this fandom that one day I'd spend a lot of time reading romance stories I would have thought they were trolling me, but here I am voraciously reading about how a cafe barista meets a graphic designer and falls in love, or getting excited about the new ER doctor/single dad music teacher story or whatever. 😅

It has also given me an entire community of interesting people to connect with (and a whole new language/way of connecting) that I previously had no idea existed.

The vast majority of the fan fiction I read is WangXian fan fic, but I never in a million years would have started reading fan fic at all if it weren't for GG and DD and my interest in them.

Putting myself out there

I've talked a bit about this in the past, but blogging has been somewhat rehabilitative for me. I tend to keep to myself a lot and I don't generally put myself out there in a public way. IRL I'm quite private and even withdrawn. My interest in GG and DD has given me a venue for being more socially open without making me feel too socially unsafe.

As a result I've made a lot of new friends and I've been able to share my ideas in ways I've never been able to before. Especially on topics like this. I just can't imagine myself ever talking openly about some of the topics I talk about on my blog - particularly some of the topics that are stigmatized or considered to be 'feminine' topics - prior to getting into this fandom.

And because I've been discussing and sharing these topics for so many years, I've become much more comfortable with and open to discussing them IRL. Some of them, anyway. It's progress.

I've also discovered that there are ways to feel socially comfortable, confident and safe in the world. This is huge for me. As an autistic/ADHD queer person I have often felt uncomfortable in social situations, worried about whether I will be misunderstood or put my foot in my mouth. Here I've found people who have a lot of the same issues, and I've mostly been accepted for who I am (although of course I've also had a lot of hate thrown at me).

I've always had 'special interests', but I've rarely ever been able to fully explore them and share them with others. Tumblr has given me a platform/venue to do that, and it's made a huge difference to my life and to my self-acceptance around being different and around having deep interests that others find strange.

Overall, having this blog and sharing these interests has been a massive positive force in my life.

Self-acceptance

Another thing that GG and DD have given me is a better perspective on my own limitations and self-expectations. While a lot of fans say GG and DD inspire them to strive for more, achieve more, etc. - and they do for me as well to some degree - the bigger impact is that they remind me that not everyone is going to be a superstar, and that's OK.

GG and DD have both had support, opportunity and options that I simply didn't have and never will have. I talked about this in a bit more detail in an ask response back in 2020.

Given where I came from and the background I had my achievements are practically miraculous, but they're also very modest. When I look at GG and DD I remind myself of that, and I am able to be more forgiving and accepting toward myself for my perceived shortcomings and limitations.

There are other self-acceptance aspects to this as well. For example, I have always had an attachment to plushies. It's something that I just can't explain and have always been very ashamed and embarrassed about. I always have a favored plushie and I can't get to sleep without one, ever since I was a very small child.

Seeing GG in his airport photos many years ago, he would always be carrying a plushie. He also often had plushies around him in the video diaries that he would post. That meant a lot to me, and helped me heal some of the embarrassment and shame I have had throughout my life.

There are other things like this, often little things that have made me feel like it's okay to do this or it's okay to be that way. Some bigger things as well.

How about DD and his blunt honesty? This is something that I have been maligned for throughout my life. When I was a little little kid, my mother used to warn people who came to the house, "Be careful, he says what he thinks!"

Throughout my life, especially considering that I have been different from other people in ways that I can't always hide or fly under the radar about, there has frequently been a pitchfork-wielding sort of mob attitude toward how I express myself. I have often been misunderstood, singled out and demonized for simply being an honest person.

I see that this happens a lot to DD as well. People, especially people who are negatively predisposed to him for one reason or another, frequently interpret him as rude, or disrespectful, or savage. It's heartbreaking, because he's such a deeply respectful, kind-hearted person.

I cannot possibly overstate how much I treasure this about him, his personality and the way he expresses himself. I have felt like a horrible person for so long, and watching him makes me see myself through another lens and realize that I'm not that horrible person I've been taught to think of myself as.

So yeah, there are some personal ways that watching them has led to self-acceptance that I never thought I would find.

Other artists

Being a fan of GG and DD has exposed me to a lot of artists actors, musicians, etc that I would never have otherwise learned about. Some of whom are a huge inspiration to me in their own right (Seungyoun, Zhou Shen and Ayunga immediately come to mind).

This has been a huge blessing to my life. I feel so grateful for all of the new artists and creators that I have discovered through my love of GG and DD.

Turtles

Of course I cannot fail to mention all of the ways in which turtles inspire me. They are such a fun, humorous, mostly humble and sweet group of people. So much incredible creativity and so many people who are full of love and enthusiasm. All of the great works of charity that are done in GG and DD's names as well. Their ingenuity and cleverness and wit. C-turtles especially can be truly brilliant and hilarious in ways that are often totally new to me.

And turtles have brought this fascinating language of clownery, fake rumors, detective work and insightfulness that I find so enjoyable to be a part of.

The dolls. Let's not forget the dolls. I never would have thought that I would be interested in dolls at this stage in my life, but I absolutely love all of the dolls and the little outfits and the fictional GGDD offspring, Zhanbi and Bobi, all of pairings of all of their drama characters... It is all just so much fun to be a part of.

Turtles and GGDD have also helped me to get through some of the most difficult times of my entire life. Through deaths of people close to me, through a freaking pandemic, through wars and disasters and climate change and political horrors, through some pretty deep personal lows. I feel so grateful to have had GG and DD and all of my friends and fellow turtles who have helped me survive all this darkness, and who have shared a lot of the brightest moments with me.

The bad (and grey)

Like I just said, as a ND person I tend to get immersed in special interests, and while this fandom and this blog have mostly been a positive way for me to do that, there has been a downside to it. I spend a lot of time with these topics - not just GG and DD but all the topics that have sparked my interest via this fandom: Chinese/Asian politics and queer rights, fandom topics, fan fiction, etc. etc. - and this exploration inevitably happens at the expense of some of my other goals and interests.

I used to spend a lot of time on creative projects, for example, but it's been ages since I've worked on any projects, and even longer since I've finished one. There is only so much time in a day, and every hour I spend with fandom interests is an hour I don't have for something else.

It has also at times negatively impacted my relationships, and I've been actively trying to prioritize them more, which means even more sacrifices of other things.

That's why sometimes you'll see me be very active here, and other times I will be much less active. It's why I can start posts but have a hard time finishing them (my drafts folder is shocking, trust me - you'd be genuinely shocked at how many lengthy posts, reviews, years old ask responses, etc. that are nearly finished but not ready to publish).

I'm not great at finding balance with things like this, and I struggle to keep organized and focused, especially when I have outside demands being made of me that conflict with some of my other interests.

Anyone who's read my blog knows that I can be preachy at times. I'm aware of that, and I actively try not to be so tedious.

But I'm also a bit preachy in my life outside fandom, toward people who say and believe ridiculous shit about China/Chinese people. There's so much Sinophobic propaganda hammered into everyone in the West, it's appalling. I have always been intolerant of any whiff of racism or xenophobia in myself and those around me, but since becoming a fan of GG and DD I've become somewhat of an unapologetic asshole about these things.

I just get so sick of hearing anti-China commentary, I have no patience for it at all. NO, I'm not by any stretch of the imagination a China cheerleader. I'm actually pretty brutally critical of China on many levels - particularly of the CCP - and I cringe when I hear naive people parrot CCP propaganda. But it's kind of alarming how uncritically people accept what they are told about people and situations they know nothing about.

And yeah, on some levels this is a really good thing. People should be challenged on their incorrect or harmful ideas. But overall it's added some friction and conflict to my life that wasn't there before.

It's also fucked up my sleep a lot. As an insomniac and as an autistic person I need a very consistent sleep schedule - ideally one that aligns with the sleep/wake schedule of those around me - or a lot of bad things will happen for me.

Insomnia tends to have a snowball effect in my life, and if I don't get enough sleep one night it's twice as hard to get sleep the next night, and so on and so on. That in turn has a big negative impact on my ability to handle stress and overstimulation, to focus, to stay organized, etc..

Being a fan of Chinese superstars has mercilessly fucked with this on a regular basis. It's pretty hard to stick to a healthy sleep schedule when I'm following events that are happening in a distant time zone. I've become a lot better with this lately, but again - that comes at a sacrifice. When I'm getting 8 hours of sleep a night instead of 3, those hours have to come from somewhere.

The ugly

I have become a target for hate in ways that are often really hard to avoid. This is somewhat inevitable. Anyone who puts themselves out there in any way - no matter how well-intended - will find themselves the target of hate and harassment from someone somewhere.

And it just so happens that there are some features of this fandom that make it a particularly compelling target for some people. The fact that it's a fandom, the fact that it involves queer topics, the fact that it involves real people, the fact that there are rivalries, the fact that it involves discussing ideas some people might find challenging or offensive. The fact that so much of it is a matter of opinion, and I am daring to express mine.

And being targeted is difficult for me. I grew up being viciously bullied throughout my life. People used to call me names, throw stuff at me, spread hateful lies about me, even physically attack me, right from childhood into adulthood. Being different - especially where I was from - was not acceptable, and I was different in so many visible ways.

So while I've gotten much better at handling this kind of thing (and that should really be added to the 'good' list above), it isn't without its harms. Closing my anonymous inbox has massively improved things, but haters will unfortunately always be a fixture as long as I continue in this fandom.

Another impact that falls in the 'ugly' category for me is the fact that I almost never read non-fandom content anymore. I used to voraciously read literature and a wide range of non-fiction books, at a very high volume. I rarely do anymore. When I read it's usually fan fiction or else something fandom-related. I feel this has rotted my brain a bit, let's be real.

However, as I said before, fan fiction and this fandom in general has enriched my life in a lot of positive ways, so it's not all bad. But it does bother me.

It's just the way my brain is wired - it has become much harder for me to get into things that aren't directly related to my interests. I also find that fan fiction feels safe and soothing - something that I often need as a trauma survivor, autistic/ADHD person, etc.

I have to regularly evaluate where I am with all of this, and make adjustments to ensure I've got time for IRL commitments, 'regular' reading/viewing topics, etc. and that balance is not always easy.

What about love?

This is what a lot of turtles talk about when it comes to GG and DD, and I suppose it does apply to me here. They've definitely had an impact on how I view romance, and my own relationship.

I guess I could say I've become more patient and less complacent. I look at our disagreements more affectionately as bickering, and don't read too much into them or let them fester. I take more notice of our compatibilities and accomplishments.

I've always been the sort of person who needs/expects independence in a relationship. A relationship is always made up of individuals. I believe that two people who foster each other's independence and individuality are going to thrive and maintain their interest/satisfaction with each other better than those who focus unduly on the 'relationship' as some sort of third party entity.

It inspires me when I see GG and DD doing what I perceive to be the same thing. They're out there taking their own paths and doing their own things, while supporting and appreciating each other and sharing all the ways in which they're compatible. That's what a truly healthy relationship looks like IMHO.

I've always been this way myself, but watching GG and DD makes me appreciate it more than I used to. It also makes me want to protect and preserve that aspect of myself and my relationship, because I can see how important it is to a truly companionable, loving connection.

I think of DD saying, "Miss me later" and I laugh, because that's exactly how I am (yet according to GG he's 'more clingy than Jianguo' 😅). I think it's possible to go out in the world and live your life as an individual, while sharing a private internal world with someone you love. To me that's the ideal.

Some of the best for last

One of the biggest and best impacts GG and DD have had on me has come through their creative works. I can't overstate how much I love and appreciate the work they do. Especially their music, and for DD, his dance (although their acting projects have also been great to watch and follow).

It's often a source of frustration for me that the projects that have impacted me the most are the ones that I struggle to write about on my blog. With the exception of Stand Up and some other bits and pieces here and there, I don't think I've ever been able to fully articulate my feelings about the projects that have touched me the most.

I have a huge long post still in my drafts about Like the Sunshine. That is a song and dance performance that can't even re-watch or re-listen to because it hits me so hard. The song came out years ago and I still haven't finished that post.

Similarly, Hidden Blade was so inspiring to me in how DD tackled that role and really brought his character to life. I was completely blown away by that performance.

WM hit me like a freight train, and I really want and intend to write a full and thorough review of the entire album and all of the video content (and the physical album if/when it ever arrives), but I haven't been able to even make a proper start.

I also have so many feelings and thoughts about the career choices they have been making, especially DD, who I could not be prouder of. I have written a bit about some of that, but I haven't even hit the tip of the iceberg of how much it all inspires me.

All I can say is, I'm here because I get something very important out of following them and out of sharing my thoughts and feelings about them. They both mean a hell of a lot to me, and I have a lot of fun and learn a lot of new things and see a lot of new perspectives that inspire me through being a fan of theirs.

I also just really appreciate all of you who read and engage with my blog, and who interact with me - whether to challenge me or praise me, either is fine. I just really value that a lot. I feel inspired by the ideas people share with me and by the opportunity to (hopefully) contribute in some way to a positive fandom experience for others.

And I have a few very close friends here who mean the world to me. I truly treasure all of them.

I could go on and on. This is a question that sparks a lot of thoughts and feelings.

I know this has gotten very long-winded, and I will understand if 90% of you have not gotten far enough to read this sentence, but to all of you (whether you got this far or not), thanks so much.

May we all continue to enjoy everything that GG and DD have brought into our lives, and all the ways that they have brought us together. 💛.

I would love it if my readers could share some of the ways that GG and DD and turtles have inspired you. I'd love to hear some of your stories!

There is a somewhat related post about how I deal with people's reactions IRL to my interest in fandom, which you can find here.

[oxeyesaint]

Reading Wolverine comics after watching the movies has me absolutely falling in love with the "man or animal" motif that follows Logan literally everywhere.

// Marvel Comics Presents (1991): Issue #75

My favourite read so far is the short 4 issue series, Wolverine (1982), which the 2013 Wolverine movie is based on. Bascially it being about Logan trying not to lose Mariko to an arranged marriage and the cultural powers at play to which he isn't privy to. Furthermore, it absolutely dense with character-centered narrative with Logan's inner conflict surrounding the balancing act he must preform between embracing his animalistic side and his desire to be more than the killer he's always been, whilst he struggles with fitting into japanese society and the japanese underground. I could not reccomend it enough. Issue #3 is such a standout for me, all the excerpts provided are from it also.

One of the scenes i think highlight what im getting at with the motif is how Logan actively interprets an event that took place previously in the story. Earlier, he had fought Shingen (Mariko's father) to defend his own honor and for him to overrule Mariko's marriage so they may be together again, ultimately he not only loses but he humiliates and dishonors himself in the process. In this scene, he has a dream about the battle in a sequence that showcases what that humiliation actually meant for him in relation to his internal fight to let go of the animal he thinks himself of.

Despite how undisputable his physical strength is, the defeat he endures against Shingen crushes him and defines his motivations for the entire series. The words Mariko says in his dream, bascially defining him as a fraud and unworthy of her love, and the panel that follows this one saying he is also unworthy of life, is pretty indicative of his fear that his primal instincts- what he defines himself as -negates his noble aspirations to be a better man, overshadowing his morality.

It's also interestingly delved into with how his relationship with Mariko and his following romance with Yukio is contrasted in how they have an effect on Wolverine's internal conflict: Mariko's influence makes him want to strive for self-improvement, to appease her, while Yukio is able to accept who he is

Mariko's influence makes him want to strive for self-improvement, to appease her, while Yukio is able to accept who he is and his nature. The growth and control vs embracing your supposed truth serves as a new perspective to view Logan from. Basically, it's a reflection of how Logan himself is struggling to not only balance both aspects of himself, but also his struggle to accept them in the first place.

Going back to the films, I think they do a good job of adapting this method of symbolizing his self-reflection. For instance, in the origins movie, one of the conflicts I love from it is how this exact concept is adapted to Kayla and Victor. Kayla, being the stand-in for Mariko, motivates Logan to move past his animalistic side, literally telling him "you're not an animal, logan", whilst Victor is the force that wants him to ditch assimilation and embrace his mutations completely, though in this case it's much more violent and psychotic than Yukio's approach in the comic. The film version is a whole new exploration of his characterin its own right since it's more like these two opposing ideas are telling him what he should be, and the consequent struggle between what he should choose.

Though, and this is just my interpretation, what I appreciate most of this theme is that it managed to be so confusing for Logan that it circles back to being ironic. Because yes, he failed Mariko and he failed Yukio, he failed to assimilate to societal standards and he failed to be true to himself- whatever that really is -but I think one of his biggest failings is concluding for so long that he is an animal and therefore not a man, when in reality he has shown nothing but human desires, ambitions to change, to choose. He is an animal, it's just that that animal is a man.

[tls12lessthan3]

kim dokja [side character] [self imposed]: protagonists like yoo sangah really are a different type, haha................and me? im just your average salary worker.....well, maybe slightly less than average.........

(is stuck in a self-perception of eternal bystander to his own life. this keeps him rooted in place, unable or unwilling to either desire more for himself or take active steps to achieve it. he avoids forming relationships, putting unnecessary effort in or generally doing anything that could draw attention to himself due to this self-perception as doing so may violate it. a coping strategy from when his mother's book got popular and he became an unwilling main character who desperately wanted to once again be relegated to the background. this is obviously bad for him and both causes an absolutely miserable stasis and prevents him from connecting with others. however, because it forms a core part of his self identity, it will not easily be shaken off)

han sooyoung [villain] [self-imposed]: nyehehehe i love doing evil and murdering puppies #girlboss #villainsontop!!!!..........what, what do you mean how do i feel about almost killing lee gilyoung and shin yoosoung back at the beginning of the scenarios........well, it was what a villain would do, so.......

(views the world as a story almost as much as kim dokja does and adapted her role from 'heroine of a trashy power fantasy novel' to 'villain of an extremely different trashy power fantasy novel' when the world changed in order to cope. genuinely likes being a bit chunni and cackling about her evil schemes but neutral-to-negative on the actual murdering that comes with them, so uses this self-perception to prop herself up and justify her behaviour. invested in keeping it up because it prevents her from having to reflect on her past actions or how she might feel about them - all she has to care about is staying alive and grabbing power wherever necessary. bad for her as it prevents her from any self-reflection and causes guilt to build up without any outlet)

yoo joonghyuk [hero] [externally imposed]:.............................hm.

(stuck in a protagonist role and absolutely despises it. cannot shake it off entirely at any point because it is quite literally what he was made for but constantly yearns to drop the hero worship and just be seen as he is. his protagonist status is tied to his captive nature in the star stream and something he must transcend to finally escape the novel. metaphor for genderisms (subtle))

yoo sangah [heroine] [externally imposed]: i think people are little too kind to me sometimes........but i do try my best to do my best where i can!

(shoved into a heroine role against her will by society around her, a role which coincides with the uncomfortable expectations her parents have put on her as Their Daughter and one that often leaves her feeling isolated. she's aware of how people see her and the issues it causes for her, leaving her frustrated with this role. even when she thinks she's escaped it, she often finds herself shoved back in without warning (e.g. her entire relationship with dokja) and so she dedicates much of her time to tearing down that wall. metaphor for genderisms (overt))