#this has been an incredibly rare acknowledgement that I do live in a society

[seaweedsawyou]

American embassy and Chevron (the oil company that has been sucking our land dry for the last 30 years) are sponsoring lectures about imperialism and colonialism. Can't make this shit up.

[alienaiver]

omg omg 88 and osamu … i hope it’s fluffy hes boyfie ok ty ty kiss for u too

HI MY LOVE... I AM.... INCREDIBLY, PAINFULLY SORRY FOR TAKING TWO MONTHS...🫡🫡. i am hiding in my attic after this 🤡 KDJSKDJKSD but ehre we are!!!!!!!!!! 🥺🧡🧡 i hope youll like it <3333333

number 88 gave the sentence “I will never stop fighting for you. I will never stop protecting you.”!!!! isnt that romantic!!

this is some fluffy fluff but its a fantasy/royalty au and an assassin involved, but no gore-y mentions of deaths!!! <33333 it came out as 894 words! thank you for sending one in, i hope you enjoy it!!! :')

The room is dark as you sit by the wooden desk, fiddling with all the items laid out in front of you. This is Osamu’s … lair, you could say – and he’s messy. It’s not so much an office as it’s his living quarters. He’s rarely here anyway, only in-between missions. You learned early that he prefers to sleep in the stables anyway, weapon at the ready.

He’s out right now, on a mission sent by your mother, the queen. There’s been upheaval underneath the finer layer of society, mentions of coup d’états and rotten hate. Threats towards you, the sole heir has even been issued. It brings unease into your heart.

Your mother is not necessarily a popular ruler. She’s headstrong with a heightened moral compass that she isn’t afraid to act on and punish those needed, which, in her defense, has lowered the general crime rate. So, she’s not a bad one either.

But alas, she has also created a divide and unknowingly made an underground mob of criminals.

This is where Miya Osamu comes in. He’s hired as the kingdom’s assassin – and he’s currently also the man who receives your affections.

You met in the Gardens for the first time ten years ago, when he was just a stableboy. He didn’t recognize you nor your title as he approached you without apprehension. It delighted you, seeing how isolating being the royal heir could be.

Originally, he only acknowledged you to apologize for his twin’s behavior. You were surprised, thinking it had been the same boy who’d thrown grass at you for telling him off when he pulled branches off of the tree. You’d sat and talked for an hour after that.

You slump down onto the chair with a sigh. Reminiscing your past with him is not going to bring him back earlier – or any safer.

You pick up the fountain pen and fiddle with it, dipping it in ink. You fold up your sleeve so that you can doodle on your arm. Osamu has tattoos – you’ve always dreamt of matching him.

”Is that considered proper entertainment?”

You yelp out as you drop the pen, spilling ink on the fabric of your garments before it hits the floor, rolling off and disappearing somewhere underneath the desk. You’ll purchase him a new one.

You put your palm to your chest and heave in a grounding sigh as you spot Osamu crouched on the windowsill, looking at you. He seems happy to have managed to scare you but he’s trying to suppress the glee. You shake your head and get up from his chair.

“Welcome back.”

He jumps down easily from the sill with a smile as he unwraps his utility belt to place on the big chest next to the window. You’ve always been curious as to what he’s hiding inside. When he nears you, he gently takes your arm and pulls it towards him. He wants to admire your handiwork it seems. You just hope he doesn’t touch your pulse point directly and feel the velocity in which it is pulsing. You’d surely pass out if he ever called you out so directly.

He whistles as he turns your arm, “this one reminds me of my rose,” he notes and your breath hitches sharply. He looks up at you from underneath his eyelashes, hoping you do not see the blush adorning his cheeks. To his luck, you’re much too focused on the part of your body where you connect at the moment. You’re concerned with the sweat emerging from your palms.

“Your majesty?” he asks and you’re pulled back to the moment. You hum out a reply as you retract your arm, straightening your back.

“I have taken care of the threat.” He says, his voice unusually official near you.

Right, the threat aimed at you. You slump and sigh. “I can feel your unease,” he says, reaching out for your arm again. He hides his hurt well when you pull it behind you, out of reach.

He remembers his place. He’s just your assassin.  

You smile weakly before you raise your gaze again to look at him, “I’m happy to hear so, do not misunderstand,” you also raise your arm again in an effort to mend the hurt he thinks you don’t see, grazing his cheek slightly. He can’t help but lean into your palm for a split second before he collects himself.

“But you are correct. The apprehension will not leave me. This is the third one that you’ve been tasked with. Under the woodworks they will continue to emerge and I…” you trail off and silence grows together with the distance between the two of you. Osamu refuses to let it continue like this; he grabs the arm by his cheek and turns his head slowly. With only a few millimeters of air separating his lips from your skin, he makes an oath, “I will never stop fighting for you. I will never stop protecting you.”

Your breath hitches again but your heart relaxes immediately, knowing that he will always support you, even if it’s from the shadows. Before he pulls away, you push your hand against his lips so that they finally, completely connect. To your delight, he doesn’t hesitate or move away.

Everything will be okay, as long as you have Miya Osamu by your side.

[dilukha]

Here I see a countless "how herbivores are opressed" and "how carnivores are opressed posts, and while usually they get uncomfortably too close to paralleling each to a real instance of opression (i see herbivores' opression compared to gender and carnivores to race a lot, for instance), which is not really possible due to the nature of herbivore/carnivore dynamics in the actual text, i do largely agree with a lot of the points. However, a thing I really dislike is how in these posts the struggles of one side are always used to negate the struggles of the other. I don't actually think the point of the manga is "are herbivores or carnivores the ones who have it worse", but rather how these conflicts clash in a way that pushes society's entire narrative.

I think one of the best things about Beastars is how it allows us to analyze some things about our on society without being a complete parallel to it, and how it presents the unique perspectives of each of the characters. In every one of them, we are shown how society at large has affected their sense of self-worth and put them into a box.

For carnivores, their opression is largely focused on society's refusal of adapting to their needs and forcing them into submission to create a more friendly and palatable image. Not only meat-eating instincts are incredibly hard to supress, specially under emotional turmoil or stress, but they're even asked to literlly hide their fangs and claws. I think Riz is the character that represents that opression in the best way. The society he lives in is simply not made for him (breaking things is not unusual), but instead of large-scale adaptation process that help make bears' lives easier, they're forced to take pills with terrible physical AND psychological side-effects that don't even solve the problem to its full extent. Easy solutions that don't account for the roots of each problem are an emblem of the narrative. That's true in the case of bears but it softly extends to every other carnivore, who live in fear of hurting or even killing the very second control is lost, which is something society at large completely fails to adress.

On the other hand, herbivores are characterized by their fear of dying. And it really isn't too prejudiced, it's a completely real and justified fear. You are as likely to be killed by a random carnivore in the street as you are to be killed by a carnivore that actively likes you and enjoys your company. There's no winning scenario other than mantaining your distance. And while it's true that some herbivores have a superior class standing, that goes mostly to middle-sized ones like deer and horses. Small herbivores have none of that privilege, and their lives are seen as expendable - especially in the case of Haru, who is one of the best herbivore narratives imo. There's also the fact that society puts most of their worth in their bodies, both sexually (like Cosmo, who is seeked out by carnivores for that exact reason) and as products (like the cows being exploited for their milk). As a result, specially small herbivores rarely have any authority at all.

I think the best way to explain how their opression goes both sides is with predation cases. Let's take Tem's death for example. His death is manufactured by the media to spread fear-mongering and vitriol against carnivores, and carnivores close to the incident are much more likely to receive bad treatment. However, this doesn't actually come with any benefit to herbivores. The authorities made zero effort to actually investigate Tem's death. Riz did absolutely nothing to actually clean up the scene or his tracks and even Pina acknowledges that catching him should have been ridiculously easy, yet they did nothing. The incident was used to increase conflict between species without addressing the root causes of it.

And it's seen time and time again. The mayor refuses to do anything about Haru being *literally* kidnapped and having her life in danger simply because it might put his image and management under a bad light. Yahya uses his power and influence to get what he wants (cough murder juice), and what he actually does for society (catching criminals) doesn't actually do anything to solve the root causes of those issues, because conflict benefits him. It is "those in power" who can feed from the vitriol in society. And "those in power" cannot be pinned on one or the other either, because just as the company owners with influence over the economy are mostly herbivores, the police who violently enforce society's rules and enjoy positions of power are carnivores.

That's why I don't think that what it is to be taken from the manga is as easy as "carnivores are the most opressed" or "herbivores are the most opressed", but rather "carnivores' and herbivores' opression is used to manufacture conflict in a way that benefits those in power and perpetuates the status quo".

[blackradandmad]

why blippi is rotting yr children's brains

preface: i literally expect no one to read this. it is an essay length, strong opinion piece critiquing a niche youtube-based children's show that i don't expect most of y'all to even have knowledge of lol. but like, i promise that even if you know nothing about what i'm talking about, in my incredibly, super humble opinion, it's a good piece of writing and interesting nonetheless. anyway if you read this whole thing for some reason yr really hot and we should kiss.

i thoroughly vet everything my child watches before he watches it, episode by episode. and we rarely watch youtube for entertainment; we usually just look up educational videos when he has a question about something and wants more detail than i can provide him. and that's mainly because children's content on youtube is so fucking troubling and distressing. i don't judge parents who give their children a tablet at a restaurant at all bc i've been there and sometimes it's easier on everyone to just put on a video and avoid a giant scene, but i do judge parents who just leave their children alone with youtube kids on autoplay.

take stevin john, a literal millionaire who got famous from dressing up as a silly character called blippi and going on tours of places like aquariums, zoos, construction sites, etc and posting it on youtube. this has branched into a whole empire of blippi videos, hulu shows and specials, live shows and tours (that he outsources to another character actor), merchandise and so on. this 30-something year old man cites his main influence as being mr. rogers, but i question if he's ever even seen an episode of that program.

mr. rogers had no background in early childhood development or media production, but he revolutionized the world of children's media, because he respected his audience and didn't shy away from real world situations, all while creating a show with an enormous heart. mr. rogers begins his episodes by inviting the viewer in, literally changing his attire to be more comfortable, and talking about/doing things he genuinely cares about. whereas mr. rogers calmly and maturely addresses the viewer, blippi puts on a high pitched, contrived voice, interjecting every other sentence with a forced exclamation such as, "teehee! we're having so much fun!"

i don't find it a coincidence that john (blippi) is a veteran, either. his videos are completely devoid of the absurd, abstract, childlike thinking that makes children's media fun, creative, and entertaining. his thinking and process is methodical, devoid of emotion, and very superficial. this line of thinking clearly shows the kind of creative sterilization and emphasis on sameness and conformity instilled in the military. blippi simply observes things and interacts with them in a stale, matter-of-fact way. "this ball is purple! this ball is pink! anyway... what's over there? teehee! a car! vroom, vroom!" objects are colors, toy cars don't do anything but drive, curiosity is simply not encouraged.

he uses the "it's educational!" excuse to hide the fact that his show lacks everything that makes media a valuable resource for children to consume in the first place. further than identifying colors, numbers, and the occasional letter or shape, there is just this total lack of children's need for social and emotional development. when mr. rogers breaks the fourth wall to address the viewer and let them know they're special, it feels authentic and natural, because we've spent the last half hour building whole worlds with diverse characters and unique stories in a pretend neighborhood, learning about and enjoying different musical instruments, being exposed to and making friends with (even if parasocially, it is still a real bond to children when done properly) children who are similar to us in character regardless of physical or environmental differences, feeding the fish, making art together, and so on. when blippi tells the viewer, "you are very special, and i enjoy spending time with you!" it falls completely flat and feels unearned, because the last half hour was spent running around a soft play center pointing at bright, colorful objects, visiting interesting locations like farms or fruit production factories while failing to acknowledge the humanity of the humans actually working there (everything is machine or product focused; the human workers are simply an extension of the machine), learning "fun facts" about elephants that just list attributes of elephants, not taking the opportunity to inform the viewers of elephants' intelligence, or diet, or matriarchal society. it is a loud, sensory overwhelming display of a man so disconnected from the social and emotional needs and desires of children that he assumes they're stupid, easily entertained idiots who only need some silly dances and fast-moving cartoon graphics to give their attention (meaning time and desire to purchase products meaning $$$). john clearly views his audience as a means to gaming the algorithm and ultimately a paycheck by the hollow way he addresses them.

the show is so narcissistic, so focused on all the fun blippi is supposedly having, but he lacks any of the character traits that make individual children's show hosts memorable, so much so that he was able to have someone else who doesn't even vaguely resemble him dress as blippi and impersonate him and host the show or appear at live shows, and it went unnoticed by most of his toddler and child audience. the show is so formulaic and the character of blippi is so unmemorable that instead of taking the blue's clues route of developing a story of the host leaving for college and his brother now stepping in, or making some sort of believable excuse for the change in actors, they can simply swap him out with some random guy and not acknowledge it at all. although a comedy show for older children, the amanda show in no way could or would try to replicate the show with the same name but swapping out amanda bynes with a random teenage girl who is clearly not amanda bynes. it's weird and nonsensical and shows that his character is so much of a farce put on for a paycheck that not even his dedicated audience is affected or even cares when he is replaced by a random, unknown person.

this is completely garbage content made by an opportunist with no experience with children who saw his nephew watching children's youtube content, took it at complete surface level and still hasn't realized that while children's content only looks and feels so easy, entertaining, and enriching because it is so hard to do well. even with outsourcing his music, that aspect of the show still sucks. famous and successful children's musician, raffi, is known for his song describing the life of a little white whale, called "baby beluga." it opens with a calm strumming of his guitar, followed by the lyrics, "baby beluga in the deep blue sea/swim so wild and you swim so free/heaven above/sea below/and a little white whale on the go." is it silly and kind of pointless? yes, but the point is that he is captivating children and showing them the fun of listening to music, dancing, singing, and appreciating art. the "excavator song" featured in an episode of blippi about construction vehicles opens with what sounds like a default garageband loop and the flatly sung lyrics, "i'm an excavator/i'm an excavator/hey dirt, see you later/i'm an excavator." i don't feel i have to meticulously analyze the aforementioned lyrics; the stark contrast should speak for itself.

i have a million more criticisms about both blippi specifically and youtube children's content as a whole, but this is already so long and i doubt many people will get this far anyway. it's an issue i was completely apathetic towards until i had my own child and had to wean him off these kinds of junk food shows because i realized the fast-paced visuals and bright colors and repetitive songs/lyrics were putting him in this spaced-out, fugue state, and he thought he could demand this show or that show whenever he wanted. the moment he started regularly yelling things like, "watch! cars!" or "no! click it!" i knew i had to be a lot more invested in the things he watched even if just for entertainment or as a soothing message. i showed him an episode of mr. rogers yesterday and feared it would be too slow to hold his attention, but he was mesmerized, greeting and interacting with mr. rogers verbally, asking me, "what's that?" to different objects on the screen. since purging this low-brow children's entertainment, he has had a noticeable increase in attention span and concentration, can focus on a task for longer amounts of times, is more likely to "read"/look through books without me initiating it, and doesn't throw a fit when the tv/my laptop is off.

i just know that for me, growing up with so much unsupervised internet access definitely led me to real-world pain and consequences, and it seems like now children are born with an iphone as an extension of their arm. if my child is going to be consuming videos, i'm definitely supervising every second and am going to be highly critical of the videos and the credentials (or lack thereof) of the creators and team behind it. but i also know, from pure observation admittedly, that parents letting youtube kids autoplay parent their children for hours at a time is not an uncommon occurrence. and it worries me that a generation of children are being raised on videos that rely on being as loud and bright and superficially enjoyable as possible. what's the use of a child knowing their colors and alphabet if they don't know how to treat people with kindness and empathy and respect? there is something wrong for a children's show host to plug the spelling of his name at the end of his videos ("well, that's the end of this video. but if you wanna watch more of my videos, just type in my name! can you spell my name with me? b-l-i-p-p-i!") after essentially rotting his audiences' brains for a half hour. there's something so insidious about the prioritization of naming different parts of construction vehicles over honest depictions of and conversations about dealing with feelings, or why someone with autism may act differently than you, or what to do when you feel lonely, or ways to make art and express yrself creatively. also, not to mention the blatant police propaganda and outright worship is seriously jarring; as a black mother to a visibly non-white child, i cannot sit there and watch blippi show kids how to be a bootlicker for the shittiest profession on earth, but that could be a whole essay in and of itself.

anyway, thanks for reading, if yr looking for quality children's content, i recommend, in no specific order: mr. rogers, sesame street, the electric company, molly of denali, daniel tiger, bluey!, blue's clues, the odd squad, word party, trash truck, puffin rock, uhh... that's definitely not an extensive list but that's just off the dome!!! ok bye y'all <333

[maybe-homestuck-now-or-something]

I really wanna talk about homestuck in relation to this post but like, idk if I wanna add to it because it might be a total derailment of the topic but homestuck is such a weird apocalypse narrative.

like... the way it handles it is so odd because earth itself is not very well characterized before the characters leave it. the characters themselves are massively well characterized, and that takes up the bulk of the narrative, but like... we never even hear them talk about school? or much of anything more than their shared interests and what's immediately happening to them. and in a way, that is kind of authentic. because when kids get together to hang out, the last thing they ever wanna talk about is dry, boring stuff about their mundane lives. they'll mostly just yell memes at each other, talk about anime, play video games... it's possible to simultaneously know nothing about your friends, but feel closer to them than ever, because you're mostly around for the parts of their life that they want to experience when they're having the most fun. you see them as they are when they have the most agency to choose that. and that might be totally divorced from the reality of how their day-to-day life unfolds.

in this way, homestuck presents these characters as people who have shed that mundane portion of their lives. they are now left with only the part that they typically share with their friends. and in reality, if a SBURB type apocalypse were to literally happen to you, it'd be traumatic as hell. but this is the place where homestuck chooses to ask you to suspend your disbelief. let's just believe that John didn't have any other friends or family to think about when the world ended. let's pretend they left zero people of any interest whatsoever behind. all they are shaking off is the society that they were obligated to participate in so mundanely. they no longer have to make any compromises with anyone... they get to fully center themselves.

okay, so that's obviously not entirely true... playing SBURB is a cooperative experience, and being friends with someone doesn't always mean that your relationship is easy. but homestuck allows the narrative to become self centered. it's about one individual and the tiny sphere of influence they have, among solely the people they've developed meaningful bonds with. it allows them to become a case study.

so when the world ends, the world is not necessarily what matters. what matters is the identities of a few specific individuals who we spend a lot of time cultivating our own connections with as a reader.

and that all becomes incredibly interesting when you consider classes and aspects.

basically, in terms of the post linked above, classes and aspects are the harry potter houses, the factions, the "what bender are you" or MBTI type... they're not the only way you could categorize the characters, but they're the most universally applicable to all of the characters that are important in the narrative. and what's interesting is just like... what classes are for, and how complicated it actually is to know what aspects are, or what they mean.

starting with classes, these are basically a series of archetypes that are specialized so that everyone has a role to play that makes them uniquely valuable to a collective. if we're considering this in terms of DnD, you can think of what classes might make for a balanced party, and how having a balanced party makes it satisfying to play the game. no one player could handle everything on their own, and at the same time, everyone feels needed. nobody is useless.

this already seems fundamentally different from some of the means of categorization that I listed above. a lot of these systems are meant to divvy up the characters into societally recognized in-groups and out-groups... people who can be identified as allies or enemies. even if the groups are ascribed certain archetypal skills, the goal is rarely so explicitly for the archetypes to work together, or cover each other's weaknesses. Avatar is probably what comes the closest to this idea, with its underlying endeavor to find harmony between the elements, but homestuck uses classes both as a way to communicate unique specialization, and as a way to unify the characters by their need for support.

and that's a little weird isn't it? these characters just shed all of their obligations to a broader society, and we're taking that as a freeing event... right? but there is a difference between society and community, and while homestuck might use the destruction of society as a catalyst for adventure, it uses the formation of community as the driving force behind the story's progression. the characters are all motivated to work together and help each other... and that doesn't always mean that it works. even within a community, one person's drive to center themselves and their own personal growth can trample others who were trying to do the same thing. perhaps not everyone in the community consents to being cooperative. perhaps the difference in archetype could drive someone to become competitive instead. and these are all value-neutral observations... no archetype is specifically acknowledged as being evil, even when they have friction with one another.

basically... this is character writing. and I find it funny that these broad categories that kids like to identify themselves with are seen as ways of flattening characterization into broad strokes like "the brave one" or "the sneaky one" or what have you, because in the case of classes, the characterization becomes deeper. and I think that's because the categories are used well... the characters all have specific relationships with the stereotypes they're ascribed by others, and the archetypes they're told they must fulfill. the classes don't define them, but they do give them something to contend with. can they fulfill their role? can they live up to their purpose? is there a place in the story for someone with an archetype like theirs? do they want to be this?

aspects get even trickier, and for this I might just link to a video I really love that covers a lot of the thoughts I've been having. it's kind of front loaded with a lot of technical talk about computer science and philosophy, and tbh I love that homestuck does actually link up those concepts with so much of it's presentation, but the main bit that intrigues me is the way the video talks about aspects as irreducible components of thought. like the periodic table of elements, but for ideas.

this drastically elevates the importance of each character's assigned category, and makes it function so much better as a tool for characterization. because, like, the aspects are actually really abstract. when someone says their aspect is "wind" or "light" you could take that 100% literally if you wanted to... but by the time you've read enough of homestuck to connect those to John and Rose, you probably understand that it's not that simple. and other concepts, such as astrology, have taught you that this is the sort of system that you're supposed to interpret, right? what is a capricorn if not a loose collection of traits that give you a certain vibe? that's what we're working with when it comes to aspects. otherwise, how would you know what void, or doom, or mind are? tbh it's actually pretty genius that astrology was worked into the comic as an aesthetic element, just so we'd all be mentally primed to do this kind of categorical interpretation... hell, even the actual signs themselves constitute a framework with which you could analyze the characters, like, how does Nepeta display typical leo traits, or how is Vriska a stereotypical scorpio... it all still works, even as you understand that each individual is more complex than the traits which support that interpretation.

in this way, the aspects are never really explained exhaustively verbatim, and are almost solely defined by the traits you've observed from individual characters, who act as representatives for what these categories actually are. or at least how they function in this instance, which is what's relevant. it's not just superpowers, and it's not just archetypes... it's both at the same time, and you come at them from a character-first perspective when you're trying to figure out what they mean. the characters inform your knowledge of the categories, and the categories act as a framework for analyzing the characters. and I love how homestuck tricks you into assuming that it has a lot of little rigid categories for the characters to slot into, and how quickly it becomes apparent that everything is way more abstract than it first appears. and yet, it all still means something. and it's really interesting to, say, compare two different time players to try to piece together what is typical for that archetype, while also accounting for their class, and trying to understand how that changes the roles they play and the ways they behave. and then you have the trolls' caste system on top of that, and the astrology angle I mentioned earlier, and there are honestly so many overlapping ways to think about it all, and I think that's the point.

[skipps-writes-for-gojo-satoru]

I'm not sure Gojo has ever even shown an interest to any girls.

He calls Utahime weak and teases her by making fun of her, essentially- which she hates. Mei Mei is incredibly strong and beautiful, and Gojo acknowledges her skill but that's it. I also noticed that in the anime (the manga doesn't have honorifics, so please correct me if I'm wrong) but he calls her Mei-san rather than Mei Mei. Therefore, I don't think he ever tried to get much closer to her than the interactions we've seen. When she asks him if he'd comfort her if she cried, he tells her that's she strong- she wouldn't cry. I thought it was interesting that while Mei Mei's question was slightly flirty, Gojo answered so simply, without any teasing.

He calls Shoko by her first name, which is understandable since they spend more time together being in the same grade. He realizes that her ability is rare and useful, but like with Utahime and Mei Mei he doesn't go any further than that. He mostly speaks to her about work related things and doesn't flirt or tease much at all.

Honestly, I think Gojo actually respects his female colleagues and mostly pokes fun at Utahime because she's so uptight and strict. Shoko and Mei Mei are more relaxed and self-assured, and Gojo recognizes their skills and compliments them for it rather than teasing them. I doubt Gojo really thinks Utahime is truly weak more than he just loves riling her up. Other than that, Gojo's pretty respectful.

Also, in the Hidden Inventory arc, Gojo was bombarded with screaming from all the girls excited to see him. Other than pulling his shades down so they could see his face- after they asked him to, btw- he didn't really do much else. He didn't even react much to the teacher giving him her phone number. His only comment was "what a fun school," and it's interesting to see that while lots of girls do appreciate his looks, he acts only mildly amused.

Other than that one model as his wallpaper, we don't really see Gojo flirt or show interest with anyone. He only really teases Utahime to piss her off- I suspect he hates how much she follows the rules like Nanami does, who he teases often as well. He likely just enjoys annoying people so stern because rules just don't sit well with him (especially because of what those "rules" had done to Geto).

It's just a possibility, but he could be one of those guys who's more interested in work than pleasure- I know, he's handsome, but not all handsome people are players and cheaters. I think that's a horrible stigma and a lot of attractive people irl are judged and criticized solely for their looks. People make too many assumptions on someone just based on their genes, and I think it's pretty shallow to think Gojo's a womanizer just because he's attractive. And he knows he's attractive- but when did being confident in yourself make you a philanderer? Gojo has never used his looks manipulatively at all.

It's definitely a possibility that he would be a womanizer, but I'd say it's unlikely based in what we've seen. To sum it all up, Gojo doesn't show interest in anyone. He teases Utahime often, likely for the same reason be teases Nanami- they're too uptight. Shoko and Mei Mei are both incredibly skilled and beautiful sorcerers, and he does acknowledge and compliment them for it, but he doesn't tease or flirt with them. He's respectful, and he works with them as his colleagues. He didn't get distracted by the teen girls fawning over him either, or suddenly get overtly cocky or show off, only sliding his glasses down so they could see his face, and even then he acted only mildly amused. Also, when Miwa asked him for a picture, he didn't even stay and chat with her or anything (I know she's a minor, but if he truly was a womanizer, he would have at least stayed to hear her compliment him or anything to feed his ego) Maybe ask her "Oh, you want a picture with me? The strongest? How cute~" A flirty comment, a joke, something to fuel his own ego, but he doesn't do that. He doesn't act in a way that conveys he openly pursues attention from women. He just takes the picture with her and walks off casually.

Therefore, other than the fact that he's handsome- and I know many people who would assume things about someone based on their attractiveness, which is a terrible stereotype- Gojo doesn't show much interest in flirting at all. He could be the type of guy who works more than plays- and there's plenty of guys who are handsome but aren't super interested in playing around. Being handsome doesn't automatically mean he's the type to sneak around and have affairs here and there. It's completely realistic for a handsome man to be uninterested in any kind of relationships- not all men are sex crazed, and being a tease to his friends doesn't make Gojo a flirt either. Teasing your friends is perfectly normal.

Therefore, Gojo being a 28 year old virgin is totally possible- not everyone's a sex crazed teen who only thinks about what's between their legs, and basing it on what normal Japanese teens do is unfair. Neither Gojo or his lifestyle is exactly normal, and there's definitely barriers when it comes to experiencing normal youth activities for Gojo's generation- especially Gojo's generation. Yuji's generation definitely has more freedom to do fun things because of what Gojo has done to give the youth more freedom- things he hasn't been able to experience himself in his youth, like playing baseball during the exchange event. That was the first time they ever did something different to tradition, and that was only because of Gojo's consideration.

Gojo's youth was filled with blood, exorcising, and choosing between life and death. The deaths Yuji and co. witnessed were what Gojo experienced as well, if not worse. Gojo's task in his youth was to protect the weak, and he found that burdensome. At least, until Geto betrayed them, and Gojo realized the new burden he had to bear in changing the Jujutsu world because of what it had done to his only best friend.

There are definitely more important things in Gojo's mind than just losing his virginity, like saving people and choosing who to save, whether he should kill or not kill.

Gojo is the strongest, but he also bears the biggest burden- and that burden is something he chose to bear, and being the strongest is something he chose to be. Because before Geto left, it was "We are the Strongest." Now, Gojo worked tirelessly so that he could say "I am the Strongest."

And that's not something you can do while sleeping around. I think a lot of people fail to recognize just how hard Gojo works for himself and others. They just think, oh he's the strongest, so it should be easy for him. But it's really, really not that simple, is it? Especially when you have to do it on your own, and even then Gojo realizes that his strength alone isn't enough to save people. He can't save everyone by himself- It's not enough for just him to be the Strongest, so he works diligently to build and inspire his students to stand with him.

He's actually a very deep and emotional man who cares about his students and especially, even now, his best friend. Everything he does is for their sake- he sacrifices the normal life he could have lived, like Nanami had done, for their sake. And he fights with the higher ups, takes the brunt of their ire, and laughs it off, acting as if he fine, like a dad pretending he's superman for his kid's sake. But Gojo is burdened, and he's tired, and he hardly sleeps, and he has the most missions- he's the Strongest, which means everyone needs him, and he bears it.

Sorry for ranting again tho. I think I went into two different topics lol oops- 🤔

OUR SAVIOR 🤔 EDUCATING PEOPLE pay attention ya'll another thing I've noticed in the latest episode is that in his phone contacts he actually writes Utahime's name properly like formally no emojis or teasing shit he actually sees them as his colleagues people he can rely on his field of work and yes about the whole thing when he bursted into riko's class man was absolutely clueless just silent as a teacher tries to give him his number. I'm pretty sure as a child Gojo wasn't allowed to attend public schools due him being in danger or putting others in danger so he doesn't know much about public schools or normal people in general since he spends all his time with people from the jujutsu society.

That is definitely true just because someone is good looking that doesnt mean he's some cheap womanizer. I see a lot of people shipping him and Utahime together which is understandable ship who you like but I don't think Gojo as any ulterior motives like wooing Utahime by teasing her he just is plainly teasing ya know like friends do but in this case Utahime hates his guts and he doesnt know. I mean it takes some amount of hate to try to throw hot tea at someone 😂

While certainly I agree Gojo's teen like wasn't the best it was like he literally had a full time job at that age but who's to stay he didn't go messing around one time? I'm sure during his teen days he wanted to experience things he didnt get to to but now could because he lives on his own now. But maybe he didnt at all who knows? Which also raises another question, I wonder if he has any romantic experiences? And this was all before what happened in the hidden inventory arc after that I can see him more becoming invested in his duty and with what happened with geto as well would of definitely had a huge impact on him to try harder even though hes the strongest so that the next generation wouldn't have to experience the things he went through.

It's really sad if you really think about it what hes been through and what he has to shoulder all while keeping the facade that he's okay, I bet there were times he cursed his powers and his life....but he bears with it anyways because everyone is counting on him....

And don't be sorry at all! I am actually really learning alot about Gojo from you. Please continue to tell us your thoughts and feelings. I don't mind at all ❤ and thank you for taking the time to write 💕

[codenamesazanka]

Warning: Rant, character bashing, lots of opinions

I'm saying it outright. I hate Deku. He is entirely underwhelming as a character, much less as the main character, the shonen protagonist of the series.

It's a 'different' type of dislike, though. I feel like I could've like his character. There's nothing greatly disagreeable about him, he's as inoffensive as can be, he's an optimistic, considerate, and polite boy, he's as plain as he is said to be, and that's fine.

My issue is that he's not the character he's said to be. I, personally, just don't buy that he "possesses a drive to save others that eclipses all common understanding", or that he's super intelligent with great analytical abilities that he actually applies on the battlefield, or, in general, he's as amazing or heroic or compassionate as he's apparently supposed to be. How can he be inspiring if he barely challenges any aspects of the society he lives in. Deku is a super good example of the terrible use of "Tell, Don't Show". We're told about his amazing traits, but he rarely follows through; when we do see hints of it, it's lauded but frankly I think it's typical behavior and (this though is not quite his fault) written so stiffly and awkwardly I'm not convinced.

(Honestly I might even call him a Canon Mary Sue. He has no interesting or distinguishable flaws, unless having a shit for brains attitude is one but that's not acknowledged by the narrative. Breaking bones is not a personality trait. If he has a Hero Complex, it's not even the interesting ones where he fucks things up even more; or carries crippling guilt about circumstances beyond his control; or focuses completely on saving people to the point of rejecting almost all human connections and keeping deadly secrets - which is All Might's big flaw.) (Well fair, he does this in the most recent chapter but did it need to take 300+ chapters? Plus I sense the way it's framed is that it's the radical, but right course of action.)

Say what you want about Villains and redemption/shouldn't be redeemed/too evil to be saved/justice/etc, but I think this 'Incredible Drive To Save' should've included Villains from the start. Why does Deku want to "Save people with a smile on his face"? Assuming it's empathy, he should have felt some towards everyone he encounters, whether it's sensible or not. "Why are you so angry?", "You shouldn't go about things this way", "What caused them to be like this?", "Why is there evil in the world?" even. I'm still fuming over his Mall Encounter with Shigaraki, where Shigaraki pretty much reveals his damage: "All Might acts like there's no one he can't save"; but ultimately Deku goes "Wow, that sure is an opinion."

What kind of inane response is this??? There's little pushback from the narrative either, so this isn't pointed out as a failing of his (because, again, he has no big flaws). And he's supposed to be smart and caring. Yes, he does ask All Might right after the Mall Encounter, "Was there anyone you can't save?"; but essentially the replies he gets is "Don't worry about it" and Deku immediately largely puts it out of his mind "Oh whew, I was about to do some introspection and reflection". There isn't even the daunting, kinda-existential anxiety that people get when they realize it's impossible to save/help everyone - which is something, like, medical workers have to learn to deal with - that sharp sense of the inevitably of death, of loss, failure, guilt. I'm not asking for him to come to the conclusion that everyone should be saved - he could've decided nah, Shigaraki is too ugly to be saved and I would've been fine with that, it's part of the character role and potential development - just that he should've had a conclusion at all.

There are the latest chapters where Deku decides he wants to try saving Shigaraki first (though killing him is still on the table), true. Him wanting to save Shigaraki after seeing AFO merged with him, after seeing The Crying Child - but see, I don't think it qualifies because I think it's the bare minimum about of consideration, the typical response to seeing the body horror of warped, fused flesh, to seeing a small sad little boy. I think it shouldn't require "You look like you needed saving" for a true Hero to consider saving someone. Not for someone who is supposed to be unique and special in this regard.

*

I've complained about this before, but the trouble with Deku was evident from the very beginning.

Again, Deku wants to save people with a smile on his face, and again, I’m assuming it’s empathy. We're shown this on the very first page, as he attempts to protect a friend(?) from bullies, but imo like it felt groundless because who was the kid he was protecting? We never see him again. Did Deku's standing up to Bakugou work, and the kid was saved? Or did they both got beaten up; but afterwards, being the kind boy Deku is supposed to be, he still gets to his feet to help the boy, to apologize for failing.

But more significantly, this theme of saving was overshadowed immediately by his focus on superpowers - that he was quirkless. Next page, his focus was on ‘Woah, giant villain and superpowers!’ Instead of like. Helping people. (Though I chalk this up to early installment weirdness)

What should’ve happened if the theme was ‘SAVE PEOPLE’ Is something like: The opening sentence being “People are not born equal. This is the harsh truth I learned when I was four. I knew that... but despite my powerless, I still wanted to help. That was my first and last setback.” And the panels/images themselves (of little Katsuki and his friends) implies that people on the world thinks you need power to help people.

When he saw the villain attack on way to school, Deku can be wow’ed by the spectacle! But then he notices a kid crying and offers to help find his mom. He can be interrupted by a Hero saying he (the hero) will take over, he can find the mom and realize he’s late for school (and so that shows he’s willing to sacrifice something of his to help others! Because of his altruistic nature!). A scene like that, of him helping the lost kid, we would know that he wants to help *anyone*. At school, though, he still gets bullied for not having powers. So he’s mulling over that when he meets All Might, and asks the question.

It proceeds as usual for the next few events: When the sludge monster attacks Katsuki, he can still go gawk at the scene. He can still hesitate. In canon, it's only when he realized the victim was his friend that he jumps into action, which I thinks undermines the theme of 'wanting to save indiscriminately'. IMO, it would've been better that Deku sees it’s his friend, but he still hesitates. “There’s nothing I can do right? All Might himself said so...” But when he sees Katsuki’s *face* of fear, he runs to help. Instead of seeming like he helps only because he realizes it’s his friend, he helps because he feels too deeply about trying to save Katsuki.

Admittedly these are minor, personal critiques; but all in all, the first chapter fails to establish Deku is the willpowered, champion of wanting to save people he's supposed to be.

--Which is fine, if it's acknowledged in the story later, that maybe he wasn't the True Blue Hero he's supposed to be at first, but he can change and still become one. But it's not - Deku is apparently special, without anything special to show for it.

*

I read the one-shot "My Hero" - the prototype for this series - that Horikoshi published years ago, before My Hero Academia was created. I also found it underwhelming, but that was due to personal tastes (I wanted more explosions and dumb violence); as a story on it's own merit, the logic and progression was solid.

The Villains Heroes fought were 'Aberrations' - true inhuman monsters that showed no sentience that would eat people - so the focus could be solely on saving humans. The main character - Jack Midoriya - his original goal was less 'save people' and more 'become a cool hero', before learning that saving people is what true heroism is about, hero license unneeded. (Moreover, he really did 'save' someone without being a hero - by working hard, he was preventing the company from becoming ruined completely, which the CEO had confessed and thanked him for. )

This version of Midoriya didn't exactly needed deep empathy or compassion for that, just a strong willpower, which he effectively demonstrated by chasing after a childhood dream even as an adult salaryman in a tanking company, even though he had anemia and no training and no license. He insisted on this, to the point of getting hurt by being dumb, of being petty over someone dissing the Hero who inspired him in the first place, of skipping out of work and going vigilante. Not the most upstanding guy, but he came through in the relevant themes of the story, in being the character the story needed him to be.

Jack Midoriya was an unimpressive, weird-looking, weak, pitiful, somewhat selfish, awkward salaryman with no great aspects that 'eclipses all common understanding'. But he was a far stronger character than his incarnation Izuku Midoriya could ever be (so far).

[thenamesblurrito]

The search function says I didn’t ask this before, but while mutacons don’t have a technical altmode, they can still alter their shape a bit, right? What are the limits? Camouflage? Climbing aids? Shields and crude weapons/tools? Barely functional wings that don’t allow flight Or gliding, but can prevent deaths from falling?

either tumblr's search function is failing as usual, or i genuinely hadn't posted this bit on Mutacons yet!

Makeshift is a Mutacon, which means they are basically half a person in the eyes of functionism. Their t-cog is mutated and their protoform extra flexible, which may have made them a triple-changer if conditions were right, but instead they emerged from their hotspot as a newspark and never developed an alt mode. Their kibble has no coherency, so if they try to transform, it only ends in painful spasms and a nonfunctional, random alt mode that they can’t stay in for very long. However, they do have an inbuilt function that no other Cybertronians have: the ability to trans-scan. For a short amount of time, they can take on the alt mode of another minibot after scanning them. Thanks to the fluidity of their protoform, they can even shapeshift their features to a small degree, which makes it easy to conceal or even steal an identity for as long as the scan lasts. For Mutacons of larger size classes, they can compress themselves down, depending on their strength and durability, and an extremely talented one may be able to go from size 5 to an unnaturally dense and heavy minibot. Mass cannot increase, however, so Makeshift will never scan larger than a minibot. The lack of an alt mode doesn’t actually impact their health very much, but it makes them seem functionless, and thus worthless. To another Cybertronian, their kibble makes it very obvious that they’re a Mutacon, which earns a lot of instant dislike or distaste from the general populace. Despite the fact that Mutacons are incredibly rare and perhaps one in a thousand commit identity theft, they’ve been branded as untrustworthy freaks. Makeshift is honestly lucky to have a home, instead of being thrown out to live on the streets like many mecha who were forged with a disability.

here's a quick n dirty example to show what they can make out of their kibble-

their normal shape is the one that their frame reverts to naturally and can stay in without strain, their "default" body. usually, playing around with their shape has no particular purpose, and thus doesn't have any more of a theme or coherent form than usual, as on the right. they don't often mess around with their shape for fun, though, as this can get paranoid bigots accusing them of trying to steal identity or pass themselves off as another frametype. on the left is what they look like when actually trying to do just that and pretend for awhile that they aren't a Mutacon. it takes practice to shape kibble in a way that successfully imitates a vehicle in a way that looks natural and transformable instead of just bolted on. it might not be super obvious to us, but Cybertronians naturally have an eye for kibble and alt modes, so actually passing as another frametype isn't easy.

holding a shape other than their natural frame for very long takes effort and a degree of concentration, and doing it too long can hurt. they also can't change their colors or optics. Makeshift's personal range of shifting ability gets pretty well broadened by the bleedover of Sixshot's powers. Transmutate is also a Mutacon, in fact from the same group home as Makeshift is, and she messes with her kibble to stim sometimes

this is all manual shifting, without trans-scanning. what trans-scanning does is give the t-cog a template to work off of, which then patterns the entire frame's kibble accordingly, although colors and optics are again left unchanged, small details are often just a bit off, and the voice and mannerisms would have to be deliberately imitated. trans-scanning is a bit invasive though, sort of like if someone were to use "x-ray vision" to peer under clothing and inspect organs. it's part of an inbuilt neurological sensory suite which Mutacons are forged with, a mutation in the processor's morphcore that they have to deliberately trigger, scan a single target, and shift their frame to match (some Mutacons are forged without the ability to trans-scan, making them effectively doubly disabled). this is a more drastic change than scanless shifting, which means it's a greater strain and will take more energy to hold on to, not to mention the social backlash and stigma against it. most Mutacons rarely if ever trans-scan anyone because of this ingrained fear culture has built around them. some people claim Mutacons should be classified as modal frames, but since functionism is founded upon assigning value by function, and they have no alt mode to function with, it's much easier to shove them to the very corners of society instead of acknowledging that they're simply forged differently than most.

so! to answer your question finally, it depends on the individual Mutacon's flexibility and staying power, but most of the things you listed are at least plausible! you might could say they're the only ones with real inbuilt weaponry anymore, because if necessary they could turn their kibble into a facsimile of a sword. the greatest downside to a Mutacon using their abilities to the fullest would not be the physical ramifications or limitations, but rather the social stigma. in fact, if Mutacons were encouraged to practice and push their limits instead of shunned and watched, they might have a much greater range of shifting ability than they do now.

[strangertheory]

After you so thoughtfully answered that last anon, I'm wondering a few things. Most importantly, how do you think The Duffers could write it, if mileven ends up not being endgame, in a way that was accessible and easy to understand and like for casual viewers?

The “shipping war” between Mileven and Byler fans has never sat well with me because I think there’s an elephant in the room that is rarely acknowledged by fans of either ship. I’m unsure if it’s because they don’t want to acknowledge the elephant, if it’s because they haven’t noticed the elephant yet, or if it’s because they have heard rumor of the elephant but have decided to dismiss it as unimportant.

I believe that what is going on in the story is truly not what most fans think. I think there's a meta layer that hasn't been shared with us yet but that will start to be unraveled in season 4 or 5. I cannot say for sure what that layer is: but I'm thoroughly convinced that it is there. Things are not as they seem.

El and Will are mirrors of one another, and there are details that connect each of them in a way that goes beyond mere coincidence. Their stories appear to be intertwined intentionally, and although the reasons for this remain mysterious to us currently, I suspect their connection will become relevant in later seasons.

Yes, I believe that "Byler is endgame" in the sense that I believe that Mike is in love with his childhood friend that he's known since he was 5 and he met them on the swings and that he's played D&D with and that went missing in 1983 and he was devastated upon seeing the body being lifted out of the Quarry and was relieved to find was still alive and that he greeted at the hospital when they woke up.

But I believe that something is going on here that we (as fans) are not completely aware of yet and that El’s story and Will’s story are deeply intertwined.

How do I think The Duffers could write the conclusion of Mike and El’s romantic relationship in a way that is accessible and easy to understand?

I hypothesize that the writers will eventually reveal a very specific connection that exists between El and Will. It will surely be a huge plot twist.

I believe that characters will begin to be more open and honest about their feelings in season 4 and season 5. Season 3 lacked open communication and honesty. In my opinion there was so much lying and miscommunication that it verged on being the main theme of season 3! (You can read my notes on that in this blogpost.)

I think the writers will reveal that Mike has been afraid to allow his true feelings and his true self to show because of his fear of being judged by society and by his friends. I think that we will have a storyline that involves Mike realizing that he's comfortable rejecting society's expectations of him and embracing who he really is and who he really loves.

But we can completely disregard my suggestion that El and Will are connected in some mysterious way and simply look at this as a “boy-meets-girl and boy and girl decide to stop dating” situation too.

Telling a story in which a lead character suddenly realizes that they had feelings for someone else is not complicated and is not unusual. It would only be surprising to fans that have funneled their attention and their devotion into believing that a long-term romantic relationship between Mike and El is an unchangeable certainty.

How do I think The Duffers could write the conclusion of Mike and El’s romantic relationship in a way that is easy to like for casual viewers?

The truth is: there will always be viewers that dislike discovering that a main character has feelings for a different character than the one they hoped they would stay romantically involved with. Add to that the unfortunate existence of homophobia and some fans might also be upset because they don’t like the idea of two teenage boys having romantic feelings for each other, either.

Sometimes the story a writer wants to tell might deviate from the fandom’s expectations. It happens all the time. A writer’s goal is to tell a good story, and sometimes telling a good story involves subverting expectations rather than affirming them. The Duffer Brothers seem the type to enjoy a good plot-twist. I could be wrong, but I think they enjoy layering Stranger Things with secrets and carefully crafting scenarios so that when the truth beneath the surface is revealed everyone watching the series can say "Wow! What a twist! We should have seen the foreshadowing but we can only see it now in hindsight.”

I think that Mike and Will realizing and confessing their mutual feelings for one another is a very likeable story. Mike and Will’s love story can be an incredibly well-written friends-to-lovers, slow-burn, mutual pining, angst-with-a-happy-ending, queer coming-of-age love story in the midst of a supernatural scifi fantasy horror adventure. I find it very easy to like this story. It’s FANTASTIC. And I don’t see why “casual” viewers couldn’t love this story, too. I do think they might have to be open-minded and unprejudiced in order to enjoy it, however. They will also have to be open to respecting that El is more than capable of having a happy ending that isn’t dependent on a teenage boy dating her. I hope that fans that invested all of their hopes and dreams into El dating Mike indefinitely will still have an interest in cheering for El and her new dreams and goals even if (hypothetically) she is no longer romantically involved with Mike by the end of season 5. If they care about El dating Mike more than her happiness, then perhaps they need to re-evaluate how they relate to fictional stories and also make sure that they respect when people in their real lives decide that they are better off as friends.

Whatever is going on in the story: I look forward to seeing what happens between Will, Mike, and El in seasons 4 and 5. I understand that my theories and my interpretations of the series might be incorrect, but these are my thoughts on what has happened so far in the story and what I predict might happen next.

Thanks for Asking!

...

If you’d like to read my blogposts regarding what I think is going on between Will and El and read about the Stranger Things theories that I find the most compelling you can find them all listed at my pinned index post here at this link.

[thatboomerkid]

Giff -- SpellJammer Race for Pathfinder

Giff -- SpellJammer Race [19 RACE POINTS] for First Edition Pathfinder

Known to the gnomes of Markovia as the nilski konj vojnici, to the Hin plantation-owners of Covington Farms as los mercenarios gigantes del río, and to the human field-workers laboring near New Arvoreen most-often simply as “those big goddamn bastards,” the giff -- as they are called in their own guttural, roaring language -- represent a recently-contacted species of huge, violent, powerfully-built, terrifyingly-focused, and dangerously cagey combatants.

In the little-over-a-century since their discovery by the Hin, platoons of giff have already carved a bloody name for themselves across the wilds of Verdura -- and far beyond -- as unparalleled river-guides, rowdies, strike-breakers, mob debt-collectors, private enforcers, heavy-weapons units, siege engines, bodyguards, and elite soldiers of fortune.

Brought to you absolutely free to enjoy, to test & to share – as always – by the fine folks of my Patreon.

original image by the incredible Claudio Pozas, here

Type: Monstrous Humanoid (3 RP)

Ability Score Modifiers: Mixed Weakness (-2 RP)

+2 Strength, -4 Dexterity, +2 Constitution, -4 Intelligence, +2 Wisdom

Size: Large (7 RP)

Giff gain a +2 size bonus to Strength and a -2 size penalty to Dexterity (already included above). Giff also suffer a -1 size penalty to their AC and a -1 size penalty on all attack rolls; they gain a +1 bonus on combat maneuver checks and to their CMD, and suffer a -4 size penalty on Stealth checks.

A giff takes up a space that is 10 feet by 10 feet and has a reach of 5 feet.

Base Speed: Normal speed (0 RP)

Languages: Standard (0 RP); giff speak their own eponymous, curiously poetic language, and most are -- in the modern day -- also conversant in Low Kozah-Talosii (usually spoken with a thick, pompous Verduran accent).

This bastardized dialect, the so-called “Common tongue” favored across Pyrespace for use in international, intercultural, and interplanetary trade, is a degraded mongrel variant of High Kozah-Talosii: the ancient root-tongue of both Arvorean and Brandobarin, still employed by the Church of Yondalla for use in sermons, hymns, and in all official records.

Big Damn Guns: Giff are treated as gnomes for purposes of the Experimental Gunsmith Archetype. (0 RP)

Darkvision: Giff have 60 ft. darkvision (0 RP); giff have relatively poor eyesight while out of water, which is easily corrected with simple lenses -- such as a monocle -- for use while reading. This vision is not poor enough to impart a mechanical penalty on Perception checks or attack rolls made by the giff.

Natural Armor: Giff have +3 natural armor (4 RP)

Natural Attack (Headbutt): Giff receive one natural attack, which is treated as a gore attack that deals 1d8 bludgeoning damage. (1 RP)

Natural Swimmers: Giff have a swim speed of 30 feet and gain the +8 racial bonus on Swim checks that a swim speed normally grants. (1 RP)

Powerful Charge (Headbutt): Whenever a giff charges, it deals twice the standard number of damage dice with its headbutt plus 1-1/2 times its Strength bonus. (2 RP)

River-Sense: Giff can sense vibrations in water, granting them blindsense 30 feet against creatures that are touching the same body of water. (1 RP)

Slow On Land: Giff often select the Clumsy, Easy Target, Magically Inept, Nearsighted, and Slow Reflexes Major Drawbacks (0 RP)

Spell Resistance (Greater): Giff have spell resistance equal to 11 + their character level. (3 RP)

Sporting: The species-wide love of warfare exhibited by the giff draws a sharp line of distinction between “sporting” and “unsporting” combat (see below). (-1 RP)

Sporting combat includes arm-wrestling, fisticuffs, darts, cards, dice, checkers, chess, billiards, cricket, rugby, skeet shooting, tennis, and golf, alongside tests of boasting, carousing, headbutting, toast-giving, swimming, push-ups, and a complex, ritualized sort of thunderous, unarmed mixed martial-art performed solely while stripped down to breeches & undergarments, usually in ankle-deep to waist-deep water, ending in pin or submission, which -- up to a point -- also serves as a type of flirting.

The military mentality of the giff even makes special allowances for a variety of “sporting” duels to the death. Establishing a proper duel requires a huge number of complex ritual elements that -- in the end -- mostly boils down to both giff formally acknowledging that:

Both giff are armed with approximately the same quality of weapons & armor (warhammer, combat knife, pistol, full plate, etc.)

Both giff have equal access to military support, including healing

Both giff have a grievance, no matter how petty

Both giff are suffering approximately the same level of injuries

Both giff have made arrangements for their estate, and for the treatment of their body after death

Once a “sporting” challenge to the death has been agreed-to by both parties, anything up to and including outright murder of one’s opponent is considered fair game.

Several major holidays each year celebrated by the giff include a “violent dueling festival” as part of their celebration; to outsiders, these events have a very bizarre, genteel, 1800s-Victorian-Teddy-Roosevelt-meets-The-Purge sort of feel to them:

“Happy holidays, friend; best of health this year to you and to your kin. And I say, old chap, don’t suppose it’s high time for a kukri-duel, eh, wot wot? Seeing as you got drunk on my finest brandy, made a pass at the missus, wiped your prodigious buttocks with my table linens, and micturated in my hedge-row as of Christmas last, well ... in lieu of an apology, what say I have Jenkins fetch the carving blades, eh? See which of has the moxie, shall we? Cheerio and have at thee then, old sport?”

If this formal challenge to a lethal sporting-duel is declined, the challenger must make all possible accommodations to guarantee the immediate physical safety of the giff she just challenged (at least until such time as the two giff part ways once more): providing the giff with weapons, armor, food, water, medicine, reading materials, a place to sleep, liquor, smoking tobacco, and anything else a gentleman or lady of high breeding could reasonably expect to have access to (even while imprisoned).

In short: if the challenged giff dies immediately after declining a duel, it is considered very embarrassing for the challenger.

For his own part, the declining giff must treat her challenger with the very utmost level of respect ... or risk being guilty of unsporting conduct, a fate far worse than mere death.

Any giff who finds herself about to violate the terms of properly “sporting” conduct instantly becomes aware of the error, just as if she were wearing a phylactery of faithfulness and, at all times, actively contemplating the thought of doing bodily harm to another giff: this behavioral limitation is not built as a trap for players to accidentally stumble into, but -- instead -- as an interesting roadblock to navigate around.

If two or more giff find themselves forced into a position of armed conflict against one another on a battlefield, both groups traditionally retire for at least a day of drinking and sorting-out ranks; on rare occasion, one platoon will join the other; more likely, all giff involved in any part of the operation will quit their current hirings and look for work elsewhere.

Any giff who engages another member of her own species in any type of unsporting combat -- attacking another giff with a weapon, for example, or with magic -- immediately suffers a -2 penalty on all skill checks, ability checks, attack rolls and saves; she continues to suffer this penalty until such time as she is able to make amends: presenting her victim with a formal written apology, or seeking our her victim’s family to beg their public pardon.

Each month, this penalty increases by 2. Guilt is a poison that grows by degrees, after all: ever-gnawing.

While she is suffering penalties in this way, if the giff is presented with the chance to punish herself – or a non-giff opponent! – while presented with something that reminds the giff of her betrayal, she may find herself compelled to do so regardless of the consequences:

Any time her betrayal is directly brought to her attention, the giff must make a Will save (DC = 10 + her character level + the Charisma modifier of the wronged giff). Failure means that the giff falls into a rage of abject self-loathing, completely focused on her own guilt for a number of rounds equal to the DC, above. Until she has finished with this exercise in hate, the giff can take no action other than to harm the reminder of her failure or enable herself to harm it: grappling a human shipmate who mentioned her old friend so that she might headbutt the human while strangling them, for example, or calmly loading a shotgun so that she might shoot the human dead in cold blood.

Note that the giff, while wracked with guilt & grief, is not required to do anything or harm anyone: she may simply stare at an old photograph and feel sad, for example, ignoring everyone around her.

During the fury of this black tempest, the giff suffers a -2 penalty to her AC.

Once the giff successfully makes amends, either with the wronged party or with the victim’s next-of-kin, all of the above penalties are removed. Entire subsets of giff society -- mediators, arbitrators, and negotiators -- are explicitly adapted to making absolutely certain that any errors in sporting conduct among giff are resolved quickly, and to the satisfaction of all parties. 

Should she fail to make amends before her death, any giff who has harmed another giff in an unsporting way invariably rises again as an undead horror of some kind (often a blood knight or graveknight): reborn as a rotting, lurching mountainside of infinitely destructive hated.

Note that the Sporting Racial Trait is not purely social, but rather acts as a species-wide ingrained psychological virtue: two giff living on Fenris who never expect to see the wide rivers of Verdura again are still bound by the rules of “sporting” conflict; neither could shoot the other in the back any more than either of them could grow wings and fly to the moon.

Undead giff do not possess the Sporting Trait, which is seen -- by living giff -- as the most abhorrent and disturbing quality imaginable.

Note, also, that the desire to behave in a sporting manner extends only to fellow giff: Chaotic Evil giff will routinely massacre unarmed non-giff by the thousands, bellowing with laughter as they do so, and even a Lawful Good giff will rarely think twice before sucker-punching a crude human making drunken threats and impolite remarks at the bar.

-------

Giff Timeline:

1603 A.D. (118 years ago): The colony of New Arvoreen is established on Verdura; giff make contact with Hin (and their human servants) for the first time.

1620 A.D.: First generation of giff who have always known about the existence of Hin, humans, and -- most importantly! -- firearms fully comes of age.

1636 A.D.: New Arvoreen is significantly expanded.

1667 A.D.: Nation of Markovia -- the technological-marvel nation named for its Founder, Monarch and Supreme Leader, Dr. Adlai Markovitch -- founded on Verdua; diplomatic trade established with New Arvoreen.

1669 A.D.: City of New Arvoreen significantly expanded.

1702 A.D.: New Arvoreen significantly expanded; land officially cleared for Covington Farms, soon to be the largest agricultural facility in the system; rates of forcible immigration of indentured humans to New Arvoreen tripled.

1721 A.D.: (current year)

original image here

Giff Ranks: Lieutenant, General, Colonel, Major General, Lieutenant General, Lieutenant Colonel, Captain General, Brigadier General, Field Marshall, Major, Captain, Sergeant Major, Commandant General, Wing General, Lieutenant Colonel General, Staff Sergent, Master Sergent, Master General, Grenadier General; note that “Lord” may be added to any military rank, alongside the designations of “First” and “First Class” (for example, “First Lord Brigadier General First Class”)

Giff military ranks are, effectively, meaningless noise to everyone except the giff themselves: every member of the species is a decorated officer of some complex rank within some elite military company or another, but such ranks are largely ceremonial and may be inherited, purchased, or passed through elaborate, bombastic ritual.

Further, the only thing preventing a young giff from forming an entirely new military organization & immediately naming herself -- of example -- Supreme Acting Field Commander and Secretary General of the Armies and Navies at Wartime is -- up to a point -- her own willingness to do so.

Male Giff Names: Any invented male Hin name.

Female Giff Names: Any invented female Hin name.

Giff Family Names: Any invented male Hin first name

Society

The giff are military-minded, and organize themselves into squads, platoons, companies, corps, and larger groups. The number of giff in a platoon varies according to the season, situation, and level of danger involved.

A giff "platoon" hired to protect a gambling operation may number only a single soldier, while a platoon hired to invade an illithid stronghold may number well over a hundred.

The giff pride themselves on their weapon-skills, and any giff carries a number of swords, daggers, maces, and similar tools on hand to deal with troublemakers.

A giff's true love, however, is the gun. A misfiring weapon matters little to the giff (occasional fatalities amongst soldiery are simply to expected); it is the flash, the noise, and the damage that most impress them.

Even unarmed, the giff are powerful opponents. Against non-giff, they’ll often wade into a brawl just for the pure fun of it, tossing various combatants on both sides around to prove themselves the victors.

Once a weapon is bared, however, and the challenge becomes “unsporting,” the giff consider all restrictions off: the challenge is now to the death.

The giff prize themselves as top-quality mercenaries, and to that end take great pride in owning -- if not always wearing -- elaborate suits of full-plate armor. These suits usually include massive helms featuring hyper-detailed, semi-realistic images of exotic monsters on the crests, inlaid with ivory and bone along the largest plates.

Armor repair is a major hobby among the giff, although great skill at the craft is surprisingly rare.

The giff are deeply suspicious of magic, magicians, and magical devices; their legendary foes, the Five Tiger Princes, are despised for their esoteric abilities as much for their wicked deviltry.

image here

Family

The giff are, for the most part, happiest among fellow members their own race, intermingling broadly with the Ghoran -- whom the giff utilize as an edible, inexhaustible workforce -- and the Tengu: another unofficial “servitor race” of the giff, most often used as messengers and household servants.

Ghoran living on giff lands are stoic: dutifully tending the fields of the giff in exchange for protection from ten-thousand other, vastly more predatory dangers. For all that giff treat the ghoran as disposable -- a ghoran living on Verdura produces one seed each year, and can grow a new member of the species in a single month -- the giff do not want the ghoran hunted to total extermination. That, for the ghoran, is saying something,

Tengu, on the other hand, are deeply prized by the giff as staff, usually in the roles of personal assistants, groomers, decorators, butlers, bartenders, man-servants, attaches, major domos, and maids. Since all giff are “wealthy land owners,” to one degree or another, the true power & prestige of a giff can be accurately measured by the number of tengu he employs.

Giff otherwise consider anything larger than them deeply threatening, yet also complain bitterly -- in private -- about the fragility of the smaller races. Outside their own platoons, the giff are happiest among military organizations with a strong chain of command.

For this reason, giff hold the Church of Yondalla in exceptionally high regard.

Giff especially despise the catfolk: although they don’t speak of it to outsiders, a century ago the giff were on the verge of extinction: hunted for sport and trophy by servants of the Five Tiger Princes, their people nearly cut to nothing and their lands held by only a few remaining families. Since their acquisition of firearms -- and the arrival of the Hin -- the catfolk have broadly retreated.

Every giff -- male, female, and giffling -- has a rank within their greater society, which can only be changed by a giff of higher rank. Within these ranks are sub-ranks, and within those sub-ranks are color-markings and badges. The highest-ranking giff gives the orders, the others obey. It does not matter if the orders are foolish or even suicidal: following them is the purpose of the giff in the universe. A quasi-mystical faith among the giff -- who claim to worship, in a vague way, the Golden General Bahamut, who was killed and eaten by the cowardly Five Tiger Princes in order to steal his strength -- confirms that all things have their place, and the place of the giff to follow orders.

This makes the giff very happy.

Giff platoons can be hired from their sprawling, palatial riverside plantations and mountain hunting-lodges by anyone looking for muscle. The social leaders among the giff are contractors: these specially-trained giff review prospective employers according to ability to pay, then make a recommendation to powerful warlords and famous adventurers among the giff. The leaders, in turn, consider the danger of the job, and whether taking it will enhance their giffdom.

Giff jobs are usually paid in firearms & gunpowder, though they often will accept other weapons and armor. Aboard ship, the giff require their own quarters, and will often request to bring on their own large weapons. They favor fire-projectors and bombards for ground work, and will happily blaze away at opponents regardless of the tactical situation.

The giff require the ships of others because they have -- for the most part -- no spellcasting abilities among them.

Giff of both sexes serve in their platoons, and both fight equally well. Giff young are raised tenderly until they are old enough to survive an exploding arquebus, then are inducted fully into the platoon.

The giff practice equality among the sexes in battle and in childrearing. They live about 70 years, but do not take aging gracefully. As a giff grows older and begins to slow down, he is possessed with the idea of proving himself still young and vital, usually in battle.

As a result, there are very, very few old giff.

[gayenerd]

This 2009 interview with Billie is from something called Urban Male Magazine (lol) which is apparently a defunct “men’s interest” magazine in Canada.

In this interview Billie Joe Armstrong talks about his new album ‘21st Century Breakdown’, about the band and his family; how his boys keep him young, and how he’s living his dream.

Here, in the middle of a dilapidated looking industrial zone, only separated from San Francisco by the Bay Bridge, singer/guitarist Billie Joe Armstrong, bassist Mike Dirnt and drummer Tré Cool have established their headquarters, composed of countless rooms for living, working and playing, protected by an automatic gate and barbed wire.  As we enter the 37 year-old Billie Joe's room to talk to him about the new album '21st Century Breakdown', he is sitting at the piano, now black haired following a brief blonde phase, playing 'Last Night on Earth', one of the new songs.

Billie Joe, we have never heard you so romantic. In this piece you sing “You are the moonlight of my life”, and “I'm sending all my love to you”. How touched is your wife Adrienne in light of this declaration of love?

Billie Joe Armstrong: She should be moved by this song, which she is.

Who do you spend more time with? With your wife or the band?

BJA: With my wife. Without a doubt. I mean, I sleep with her. I don't sleep with Tré and Mike.

You have been together for over 15 years.

BJA: A hell of a long time, I know. Adrienne is my closest ally. She is also a very good barometer in respect of my songs. She has a different kind of distance, a different way of approaching our music. She is always pretty objective and honest about what she thinks of our songs.

Your sons Joseph and Jacob are 14 and 10. How do the two of them sharpen your understanding for youth culture?

BJA: At the moment I find it incredibly exciting how my oldest son is negotiating his way through puberty. I think that being a young person today is more stressful and complicated than it was in my day twenty years ago. The Internet has won so much control over the way kids live their lives, it's almost frightening.

You yourself were quite a tear away, a head through the wall type, am I right?

BJA: Right. But my boys are not like that, they are somehow…brighter and more hard-boiled than I was at their age. Their world is significantly larger than my world was back then.

You look 15 years younger than you are. How do you do that?

BJA: When we aren't touring I go to bed at the same time as my sons. Rarely later than midnight.

People, and presumably your children too, now prefer to download their music from the Youtubes and Itunes of this world. And now you come along and release '21st Century Breakdown', a monumental, approximately 70 minute long concept album consisting of 18 songs and encompassing every imaginable style of music. Have you lost your mind?

BJA: I write songs as if my life depended on it. The last album 'American Idiot' provided us with an opportunity, the opportunity to record another really powerful and ambitious album. We didn't want to miss the chance this time around. We had to overcome our uncertainties and really pull out all the stops to complete this album. But that was what motivated us. We weren't interested in shying away from success again, as we did with our albums at the end of the nineties. Now I can understand it when people say that we started pulling our punches after 'Dookie' (the 1994 breakthrough album with 'Basket Case'). We are proud of what we have made out of Green Day.

In 'Horseshoes and Handgrenades', you sing “I am gonna drink, fight, f**k and push my luck”. As one of the biggest rock stars on the planet, do you still have time to rip it up?

BJA: One should always make time for a bit of excess. However, I have become more cautious. A sense of responsibility towards myself and my family.

When was the last time you were drunk?

BJA: The day before yesterday (laughs).

It has taken you three years to write this album and record it with the help of the Nirvana and Garbage producer Butch Vig. Was completing the follow-up to 'American Idiot' something of a Herculean task?

BJA: Yes, it was. '21st Century Breakdown' demanded much more from us, was far harder to realise than 'American Idiot'. Originally we had the idea of shooting an animated film with us as the main figures, and then write the soundtrack to it.  In the end we didn't do this. Instead, we set off to climb new creative heights and to write the best fucking songs we could.

The songs have turned out very musical and melodic. Much of it is reminiscent of Bruce Springsteen, the Beatles, and even Meat Loaf.

BJA: We acknowledge all our influences and really enjoy painting with a broad palette of colours. John Lennon, Bob Marley, U2, The Clash and many more. Songs are the result of patience and concentration. You never know when a song will gently tap you on the shoulder or hit you on the back of the head with a lump of wood. I get my ideas for songs everywhere - when playing the guitar, in the shower, on the toilet or when going for a walk.

The central line in the title song '21st Century breakdown', says: “My generation is zero. I never made it as a working class hero”. Isn't that a damned pessimistic view on life?

BJA: You should view it a little more discriminatingly. The song is about the American Dream, which says that you can make it if you really want to, if you push yourself. Society is increasingly trivializing this dream of our forefathers. Today it is only about winning the next Lotto jackpot and becoming stinking rich. That is not enough for me. What I miss is people striving to be better, to perfect themselves, this sense of hunger.

Have you realised your dream then?

BJA: One hundred percent. I am the happiest boy in the world. I love my band and my work. If there wasn't Green Day, then I would be washing plates.

Is society, especially in light of the current economic downturn, too materialistic?

BJA: No, I don't think it is. I don't have anything against prosperity. This pursuit of money regularly lands our country in trouble. But it also helps us to pull ourselves out of trouble again. America is very inventive when it comes to generating wealth. However prosperity should only be one aspect, a society built exclusively on money will break down. But I'm not pessimistic. We now have our first Afro-American president, which is a tremendous thing. And in the long run this means that the voice and the desires of the people will not be ignored.

What will Obama achieve? Save the world?

BJA: He won't save the world, especially not on his own. But this is the best thing that has happened to America in a very long time. There is a new crisis every week, a new catastrophe. However at the end of the day the central statement of the album is: There is light at the end of the tunnel.

Is Billie Joe Armstrong in 2009, what Bruce Springsteen was in the 80's or Bob Dylan in the 60's?

BJA: I can't deal with that. I don't want to be the voice of a generation. I wouldn't feel comfortable with a label like that. I want to speak for myself. However, if people discover something in my songs for themselves, then I have succeeded in what I set out to do.

Are you secretly thankful to George W. Bush? Ultimately he inspired 'American Idiot' and played a considerable role in its success?

BJA: That may be true, but no! Not at all. Thank Bush? That would be really beneath me.

[gffa]

Hi!  I went through a similar phase as several of you--I never really connected the dots between my own aro/ace qualities and my gravitating towards the Jedi culture until someone else pointed it out and then everything just sort of clicked together in my head in a way that made so much sense. And I think it can be really useful to view the Jedi through this lens of aro/ace culture, not because people are obligated to agree to this interpretation (they absolutely are not obligated to do so!) but because it provides a framework of reference for why not being drawn to romance and/or sex is not a foundational flaw in characters.  That there might even be an entire group of people who find that to be really satisfying and fulfilling--I mean, look at how many people gravitated to this discussion (or were already here) in just one day on one person’s blog on one social media platform.  It’s not hard at all for me to think, yeah, I’m looking at us building aro/ace culture of our own, it’d be easy for an in-universe group of people to do the same, and the lack of romance and/or sex wouldn’t be them suppressing their feelings or lacking something fundamental about the human condition, either. That’s part of why the Jedi mean a lot to me--there are other things as well, I greatly value their “face the shit within yourself, acknowledge that shit, and then let that shit go, because holding onto it is poison that will hurt you”, as someone who came to the same conclusions long before I was ever a Star Wars fan.  I love the worldbuilding, I love the psychic space wizards aspects, I love how goddamned extra they are about everything, etc. But a culture that not only doesn’t prioritize romance/sex, but actively values other things and finds meaning in those things?  That we see they have friendships and connections all over the place, that they find joy and meaning in teaching their students (and learning from their students, just as much as they teach them), that they find joy in helping others and protecting others, that they love through different ways, that they love the galaxy around them, they love their brothers and sisters in the Force, that they love their community and their culture?  That they just don’t seem to really want love and romance? Even those that do feel romantic feelings (setting Anakin aside, of course) still find the Jedi path to be a fulfilling one.  Obi-Wan may have had romantic feelings for Satine (which was apparently fine, it’s about his commitment and where he places it, I’m pretty sure that was the whole point of the Obi-Wan/Satine relationship, to be a narrative foil for Anakin/Padme, where Anakin does prioritize his feelings for Padme over his morals and judgement, which results in disaster of epic proportions) but he is a fully realized character without them.  He loves--we see that with Qui-Gon, Ahsoka, Luke, Anakin--that he cares deeply, that he’s a compassionate person, that he lives a life that he considers satisfying.  He becomes a Force Ghost and we can see him looking out over Endor, at the things that have finally been set back to rights, and he’s happy. Even within canon, the Jedi that feel restless and like something is wrong in this galaxy, they’re not restless because they want romance/sex, but because they want to do more as Jedi.  They want to help more people, they want to do more good in the galaxy, and do you know how much that means to me?  That even those who are dissatisfied (setting aside those that leave the Jedi Order because they want to have romantic relationships, which are treated warmly by the Order and by the people who left, like Tula’s grandmother) don’t have to be shoved back into the same box so many mainstream properties shove the characters into?  That it’s not about how, oh, they want traditional nuclear families, but instead that they want MORE of what the Jedi are--more love as shown through service to others, more love as shown through helping others. Do you know what a relief it is to have a group of people who find fulfillment in the same kind of things that I do?  Friendships and helping others and learning/teaching about the galaxy around them and self-reflection/understanding and accomplishments the like?  That these are treated, not just as valuable, not even just as valuable, but more valuable to these specific people?  Without demonizing that they’re totally cool with other people wanting romantic love?  DO YOU KNOW HOW MUCH THAT MEANS TO ME? DO YOU KNOW HOW MUCH IT MEANS THAT THE JEDI DON’T REALLY SEEM INTERESTED IN ROMANCE OR SEX AND INSTEAD FIND SATISFACTION IN OTHER THINGS?  THAT IT’S NOT ABOUT SUPPRESSING YOURSELF, BUT THAT PEOPLE SOMETIMES JUST REALLY DON’T CARE ABOUT THOSE THINGS.  SOMETIMES EVEN LARGE GROUPS OF PEOPLE. That the Jedi aren’t just “hey, this one Jedi can be read as aro/ace, that’s neat” but instead the Jedi said, “Hey, how about an ENTIRE CULTURE that vibes hard with aro/ace culture?”  That it’s the one mainstream culture that I can think of that really can be interpreted to say, “You’re not just an outlier, but YOU’RE THE NORM in this fictional society.”  Do you know what kind of value that has to me, as someone who only has the tiniest scraps of representation for this character or that character who maybe might be like me, but are rarely confirmed and are almost always The Different One?  Do you know what kind of value it has to me that it’s not just one or two of them, but that THE CULTURE ITSELF is where I would fit in?  That they built an entire society where nearly all of them seem to be Like Me? AN ENTIRE SOCIETY OF PEOPLE I WOULD FIT IN WITH? Which isn’t even getting into the worldbuilding specifics that are so much fun to play with--like, can you imagine what it would be like to have this psychic connection to this vast field of energy in the cosmos?  To be able to sense the feelings of others around you, to feel their presence even when they’re halfway across the galaxy, to just know what they’re feeling?  To be constantly surrounded by the lights of those souls that are gently nudging up against your own?  The warmth and peace of the Jedi Temple that isn’t just what you see/hear/touch, but also what permeates your very thoughts, the soothing balm on your soul that it would be? Can you imagine what it would be like to have this in your head all the time?

A familiar sense of warmth, of belonging, of finding himself part of an endless lattice of connections that held him and everything else, each fixed in its proper place.  A Force. Romance and sex can be wonderful.  But they are not the sole defining qualities of what it means to be sentient or what it means to be fulfilled.  The Force being described as an endless lattice of connections and warmth, that sounds incredibly wonderful and human to me, that sounds incredibly fulfilling and like everything I could possibly want. That is what the Jedi seek and have found.  That is the foundation of their culture.  That is the culmination of their lives. This is why their relationships are so wonderful and I’m so glad that the iconic Jedi relationships, whether we as fans turn towards shipping them or not, whether we joke about how much you can read into them or not, are ones that are all about other aspects that are just as epic and important. Obi-Wan’s most iconic relationships are with Luke, Anakin, Qui-Gon, Ahsoka.  They’re all incredible ones and it’s not to disparage his feelings for Satine (I love them as a pairing, too!), but that his character is defined more by familial and platonic relationships being just as galaxy-shaking as romantic ones might have been in another story?  That means a lot to me. Anakin is, of course, driven by his romantic relationship with Padme, but think about how important his relationships with Obi-Wan and Ahsoka are, ones that don’t have to be seen through the lens of romance.  That the ultimate climax of the prequels was Anakin’s fight with Obi-Wan, a familial connection.  That the ultimate climax of TCW was about Ahsoka’s relationship with Anakin, another familial/platonic connection. Ahsoka is a rising star in the SW franchise and her most iconic connections are with Anakin and Rex, both of which do not have to be interpreted through the romantic/sexual lens, that are complete just as they are presented.  That even when she can no longer be a Jedi, even when that possibility is stolen from her, she still doesn’t need to be defined through romance or sex. Yoda has many important, iconic relationships and is such a central character to the mythos and mythology of Star Wars.  His relationship with Luke is one of the most foundational of the OT, his relationship with Obi-Wan is important when you dig further into the supplementary material, his relationship with Anakin creates some of the most memorable scenes of the prequels.  All without ever having him desire a girlfriend.  Hell, the movies had Yaddle right there and you know what?  She wasn’t Yoda’s girlfriend, he wasn’t her boyfriend, that’s not what they were to each other, because they didn’t really seem to have any desire for that. THAT’S ONE OF THE REASONS I LOVE THE JEDI.  They show compassion and care and love all over the place, but they do it through George Lucas’ views on how people should strive to be, and they do it not through romance, but through friendship and helping others and seeking greater understanding of self-knowledge and artistry through the Force, and none of that should ever make them lesser, just as aromantic and asexual people seeking those same things does not make them lesser. We are people who love just as much as anyone else, we have fulfilling and wonderful lives, I don’t know any aro/ace person who would really even want to change themselves, we find ourselves to be perfectly fantastic the way we are.  I don’t feel some part of me is missing, I don’t feel I’m less interesting because I’m aro/ace, I love being the way I am.  I love how much my friends and family mean to me, I love how much joy I get out of caring for animals or helping other people or even simply yelling about Star Wars with them.  My connections to people are just as wonderful as anyone else’s, regardless of how they’re not in the romantic/sexual category. And, so too are the Jedi.

[jewish-privilege]

Taika Waititi’s Oscar win for Best Adapted Screenplay for Jojo Rabbit is a win for Jews and Māoris alike. Waititi, as you may know, is a mix of Māori and Jewish — his mother is Jewish and his dad is Māori, a part of the Te Whānau-ā-Apanui tribe. He has referred to himself as a “Polynesian Jew.”

This may seem like an uncommon mix, but actually there are plenty of mixed Māori Jews out there. I should know, as I am one of them! My mom’s heritage, on both sides, are Māori, from the Ngati Maru iwi (tribe) from the Thames area of New Zealand’s North Island. Through her father’s side, I also have Assyrian Jewish heritage.

Those of us with mixed roots may look more like a particular branch on the family tree than another, but what does a Jewish person look like, anyway? Our spirit is a mix, belonging both to New Zealand and the people of Israel. Waititi’s wit has deep Māori roots, while his Jewish heritage is evident in his social commentaries. Given that Waititi comes from two cultural groups the Nazis felt were “subhuman,” his Oscar win for writing an “anti-hate satire” — in which he portrays Adolf Hitler on screen — is the ultimate middle finger to Nazism. As Waititi himself said, “What better way to insult Hitler than having him portrayed by a Polynesian Jew?”

I couldn’t be happier about Waititi becoming the first Indigenous director to win an Academy Award. I grew up with stories of being a descendant of a Māori chief. (I suppose I am actually a Jewish princess!) It’s an integral part of my family’s oral history, and it goes like this: Back in the 1850s, the Nga Puhi, a rival tribe, supported the British colonization of other Māori by raiding tribes and taking their lands. (As a result of these attacks, they are the largest iwi left in New Zealand today.)

My family was part of the Ngati Maru tribe, which had extensive territory in Thames and a subcamp in Mangawhai. As the story goes, one evening, when the men were away from the Thames community, the Nga Puhi conducted a deadly attack on the women, children, and elderly who remained behind. Two of the chief’s daughters escaped, along with a few others, but everyone else was slaughtered. The few survivors of the attack — including my great-great-great-grandmother, Te Mapihi — trekked to Mangawhai at night, where they sought refuge.

For generations after, Te Mapihi and her surviving sister’s descendants would wake their children at night to practice “seeing in the dark,” just in case. My own mother, Te Mapihi’s great-great-granddaughter, in the safety of 1980s Australia, where I grew up, continued this tradition, in case we ever needed to flee in the middle of the night. I didn’t realize until I was older that not all children had such training, and that not every child prepared for a possible genocide.

On both sides of my mother’s family, the threat of becoming a target of violent hatred was real. This, to me, is a story that interweaves with my Jewish and Māori heritage, rather than being an odd mix. I come from two cultural groups that have endured displacement and genocides — both understand the need to stand up for themselves, and not expect Western governments to look after them.

In 1911, Te Mapihi’s daughter, Lillian Pirimona, married Joseph Francis, an Assyrian Jewish migrant from Lebanon. As the laws in Lebanon in the late 1800s made life increasingly difficult for Jews and Assyrians, Joseph, as a preteen, left Lebanon for New Zealand. His uncles were headed there in search of opportunity, and his mother asked if he could accompany them.

...For the Jews and Māori alike, each child, grandchild, and so on, is a triumph over those evildoers who deem one group more deserving of life than another. As a mom, it is important to me to continue my Māori and Jewish lines. I have two sons: One is the spitting image of Joseph Francis, and my other, although light-skinned, has very Māori features. We live in Sydney, Australia, but I’ve taken my children to New Zealand and Israel in an attempt to instill pride in their heritage. They have a strong sense of both cultures, and I feel like I’ve done my ancestors on both sides proud.

When Waititi dedicated his Oscar to all the indigenous kids out there, I felt a little teary, as if he was speaking to my boys directly. (“I dedicate this to all the indigenous kids in the world who want to do art and dance and write stories,” he said. “We are the original storytellers and we can make it here, as well.”) Being mixed race but presenting as “white,” I’ve been subject to casual racism more times than I’d care to remember. I’ve been in awkward situations when people have expressed negative stereotypes about Māori and Pacific Islanders. I generally let these people dig a large hole before saying, “Wow, that’s so interesting. Did you know two of my great grandmothers were part Māori?” The only other time I’ve seen people backpedal as fast is when they’ve shared anti-Semitic tropes with me, and I reveal that I have Jewish heritage. This happens less to me, as people expressing racist views about Māori will usually follow up with, “I thought you were Jewish or Italian or something.” As if that makes it better.

...But the more I learn about these parts of myself, the more I realize they are incredibly similar, despite the Middle East and New Zealand appearing to be worlds apart. Jews have been exiled from their homeland, with intricate diplomacy leading to them achieving statehood in Israel. Māori have been involved in a fight for land rights and compensation. Last year, I voted as a member of the Ngati Maru iwi to receive monetary compensation for programs to keep the culture alive and an apology from the government. This was a proud moment for me. Much like people question the legitimacy of Israel, I am sure there are parts of New Zealand society who don’t understand why this acknowledgment of being wronged is so essential.

Rarely do I see myself reflected anywhere in society with my ethnic mix, which makes Waititi’s win — and his moving acceptance speech — all the more special. Like Waititi, I come from survivors who have survived genocides and displacement, from warriors across the globe. All of this is entangled in the rich tapestry of my DNA — and his, too. His Oscar win is extra sweet for Māori Jewish families like mine.

[whetstonefires]

Your post about romance was so spot on and this is from someone who really likes reading romances some of the time. I just wish there were more books where friendships (which after all make up the majority of people's relationships!!) were given the same weight and importance as romance gets unthinkingly. Like, I want books or fic which show the development of two (or more) new friends *as the plot and main part of the book*, and the same thing for the progression of pre-established friendship.

Human relationships are varied and complex and interesting and limiting writing to mainly concerning romantic or dating ones is infuriating! I enjoy reading character driven stuff, which is why I like some romances but I really want to see similarly detailed deep studies of friendship. Friendships are so important, and romantic relationships do not supersede them.  Obviously there is gendered bias against romance as a genre but that is not the only reason to be uninterested in romance damnit!

Sorry for ranting in your inbox about romance and thanks for the post

Hah thank and welcome. Very true!

Yeah, the problem is not just how ubiquitous romance is but the inevitability of it. So many people are so much in the habit of hanging their emotional investment on ‘couples getting together’ that not putting one in is a risk, as a creator, and the faint suggestion of a possibility that a romance might eventuate between two characters constitutes a promise that the audience will be outraged to see not followed through.

So making a story focus at all on a relationship between two people who are considered valid potential romantic partners means having to go through incredible backflips and contortions as a writer to get away with not pairing them up, or there will be outrage. There will be outrage anyway, but hopefully on a contained scale that doesn’t have people throwing your book away.

(The easiest way, of course, is to give one or both of them an alternate partner, but then you either have to build up that relationship as the central focus instead, because you aren’t allowed to love anyone that much and not be romantically involved or be romantically involved For Real with anyone but whoever you love most, or accept that you’ve plastered on a beard of some kind in a way that at this point makes your main duo look even more romantic to people who are looking for that in the first place, even if it lets you write a plot that doesn’t acknowledge this.)

This has contributed enormously to the cultural truism ‘men and women can’t be friends.’ They aren’t allowed to be. And this weird intense romantic pressure is now increasingly extending to same-sex friendships, and it’s like...it’s good that gay visibility and acceptance are growing! That’s great!

But it means that all relationships are increasingly exposed to this honestly fucked up set of expectations. That every single love of any intensity is romantic and probably sexual. That that’s the only love that’s real, or that really matters. With occasional exemptions carved out for parents.

And that’s cultural, I want to say. The inclusion of and an interest in the romantic lives of characters in fiction is definitely natural and practically inevitable, but the outsize role it occupies in our current media culture is abnormal and totally non-compulsory. The central role of romance in so much of narrative is just...a pattern, a narrative schema that currently holds sway, born of an assortment of historical accidents and trends, and I don’t think it’s a good one.

I think it would be better for us as a culture and all our individual relationships for that particular social construct to be broken down.

Because this cultural obsession with The Romance in media mirrors and continually recreates the obsession with The Romance in real life. You know how many people are making themselves miserable by either being in a relationship predicated on the need to have one, any one, rather than actual mutual affection, or about not having a love interest currently at any given moment?

Like, quite separately from the actual frustrated romantic feelings themselves, people feeling like they are less or failures or just...unfinished somehow, because they don’t have a romantic partner. It’s so harmful and absurd! We all know this!

And there are of course a lot of sociological factors that have led to that point as well, but it’s linked particularly closely I think to the atomization of modern society.

You’re not likely to retain any particular community for long--we move around so much over the course of our lives, anything you have is designed to be taken apart. School friends are only rarely retained after school, work friends are only until you get a new job, family is quite often something to be avoided or something you have to leave behind, and not usually an extended network anymore anyway.

We are always moving into new contexts, or knowing we might be moved, and holding onto relationships from one context into another is generally regarded as an unusual feat betokening particular, though not lionized, devotion, and leaning on these relationships ‘too much’ or pursuing them with ‘too much’ energy is regarded with deep suspicion.

This, too, is not particularly normal in the human experience. We are not psychologically designed for this level of impermanence. And we have developed very few structures as a culture thus far to make up for it, which is why the modern adult is so famously, dangerously lonely.

But we have all these social protocols for acquiring a person and holding onto them. A person who’s just yours, all yours, who it is promised will fulfill all those gaping needs all by themselves, and if they don’t it’s because you or they are wrong, and need either a different partner or fixing.

The fact that this is insane and not how romance works over 90% of the time is irrelevant to the dream of it, and the dream overwhelms and controls the reality. I agree that codependency is really fucking romantic, and having a kind and supportive mutual one is a lovely fantasy! It’s just...

A lot of harm eventuates from pursuing this fantasy in reality with a media-based conviction that it is 1) a reasonable thing to expect and 2) a necessary precondition for wellbeing and worthiness.

But we have poured so much cultural freight and need into this one single relationship format. At this point having need in any other direction is regarded as disordered and suspect and probably a misdirected application of sexual desire.

The law, too, has put a lot of energy into supporting the focus on seeking the romance as life goal, because the nuclear family is built on the codependent marriage, and capitalism likes the nuclear family very much. The nuclear family is extremely vulnerable to market pressures and bad at collective action, and tends to produce new tiny humans whose main social outlet has been within the school system, which is specifically structured to condition you to accept abusive workplace conditions as a normal precondition of existence, and not to attempt too much intimacy.

Ahem. Spiraled there. But! It’s all connected! Many of the privileges piled onto the institution of marriage were put there specifically because the nuclear family was considered desirable for the expansion of the economy. That’s clearly documented historical fact.

So yeah, the modern cultural obsession with the romance is a symptom of collective emotional disorder, and it chugs along at the expense of the more complex emotional support infrastructures most of us need and deserve.

It’s not just about me wanting representation, wanting an image in the narratives of my culture where I can see myself with the potential for happiness. Everyone needs this. We learn so much about how to be, how to relate to others, from media at this point, since the school system and other weird age-hierarchy stuff keeps us largely segregated from human society for a majority of our growing years and limits our exposure to live examples.

So the paucity of in-depth explorations of friendship, of mutual support, of widespread narrative acceptance that you can have a good life without a romance as its central support pillar, is harmful to people in general.

-

It’s funny, I get frustrated about this periodically, when a piece of media lets me down, or even when I’m following along a funny piece of meta and then the punchline is ‘and the ace character is obviously in denial about how they’re already dating their favorite person’ or whatever.

(The meta is annoying on a surface level and distressing on a deeper level because it’s a threat; so many times a good platonic relationship will buckle under public pressure and it doesn’t matter how asexual, how uninterested in romance, how emphatically platonic the affection has been established as being, The Romance arrives in the next installment of the story because it’s what people expect. Which reinforces the general perception that any other love is illegitimate, lesser, and as soon as it’s meant to be taken seriously it has to be crammed into that one valid shape, and invalidates future insistences in the same mode.

Seriously people stop doing this, we long since reached the point where a character saying in words ‘I have no romantic interest in [person]’ is perceived as a glaring neon sign that they’re destined to get together and that does not do good things for fostering a culture of consent. Obviously people are in denial sometimes but it should not be understood to be the rule.)

But I don’t get upset about it until someone starts in with reasons I’m bad and wrong for not liking these norms.

Like, whatever, media does not cater to my needs, I’ll cope, but when people start trying to get in my head and make me not only responsible for my own discomfort that I’m managing thanks but dishonest and malevolent I...get upset. There’s history there, okay.

‘You don’t care about this ship because you’re homophobic’ ‘you don’t want a love interest in the sequel because you’re racist’ ‘you don’t like romance in stories because you’re a misogynist’ fucking stop.

And occasionally it’s like ‘i guess you have the right to feel that way but how dare you talk about it where other people might hear’ which...well, is particularly common and particularly ironic in the context of people hung up on gay representation.

If we as a society had a healthy relationship with romance, there wouldn’t be negative side effects to that crowd’s pursuit of their worthy goal of applying that schema in places it has been Forbidden, but as it is we don’t, and there are.

[ariparri]

MC Patronus

I was tagged by @carewyncromwell on a post for MC patronuses! I, sadly, don't really talk about most of my characters because I'm hyperfixacted on mostly one character 😅

I'll only do this for my Hogwarts Legacy and Hogwarts Mystery MCs. Anyways, let's get to it!

I can't find the original docs I made for my MCs' patronus so majority of this was a copy paste from the site I use to figure out their patronus.

What's My Spirit Animal?

Image Source

McQuaid/Mac Uaid

I mentioned in the Mac Uaid family crest that the wolf is part of the emblem and how every McQuaid's patronus is a wolf.

As a spirit animal, the wolf comes to support and teach us about matters of personal power, balance, self-control, and our animal instincts.

Wolves are misunderstood by many to be aggressive, vicious animals who attack with no provocation. Nothing could be further from the truth.

In fact, wolves go out of their way to avoid fights. However, when they want to be heard, when they want to stave off or deter an attacker, they will stand their ground.

Wolves are incredible examples of standing in the seat of your own power. They let predators know that they can fight to the death and are prepared to do so but they rarely initiate combat.

The wolf sometimes appears when we face challenges for which we feel less than prepared. The wolf reminds you that you have all the tools in your spiritual treasure chest to handle this effectively.

For seekers who feel afraid or threatened, the wolf reminds us of how those feelings put our entire psyche off balance. Yes, fear plays an important role in personal safety unless it becomes all-consuming or is baseless. Don’t let the darkness consume your spirit.

Sometimes the wolf calls on us to become the Lone Wolf, who breaks away from the pack to discover the Sacred Self. During times of aloneness, you rediscover your dreams and passions. You also start uncovering the true self and voice that howls at the moon with abandonment!

Humans are animals, and sometimes we overlook the gifts from nature that are already within us. Life has an order and rhythm. When you run with a pack, there is a sense of community, and when you’re alone – liberation.

Those who walk with the wolf sometimes don’t trust themselves as much as they should. When you find yourself falling into that emotional pattern, rely on your keen mind and logic to renew balance.

The key caution for wolf people is your predatory nature. Now, here’s the thing about a wolf’s “predatory” nature – they mostly focus on taking down the weak, sick, and elderly.

Rarely will a Wolf prey on a strong, mature adult. Surely nature has a reason for this, but in terms of symbolism for humans, the lesson here is to make sure that you do not choose to prey on those who are not able to stand against you.

Rohan Mac Uaid (Hogwarts Legacy)

The Gray Wolf is Rohan's patronus. As his patronus is the gray wolf, he is constantly transforming himself, improving himself as he encounters the lessons and challenges of life.

The gray wolf is the wolf who stands at the Western Door. The winds of change will gently flow through the life of the gray wolf soul, stirring him to greet the change with the knowledge of the lessons that such transitional times will herald. The gray wolf soul understands that change is merely growth, an essential part of life, and thus, embraces change easily.

McQuaids with the gray wolf patronus doesn't strain to see what is not yet visible on the other side, merely acknowledges that the changes will surely take place and that the choices he/she makes, will fashion the path they take.

The individual with the totem of the gray wolf understands the importance of protecting and nurturing life in all of its varied and brilliant forms. He is the soul that desires to be of service to others and thus enters a profession which will be in alignment with these principles. She is the soul who desires to nurture the spark of soul awareness in the other members of her society, so as to ensure the survival of the species. In whatever form this urge of guardianship manifests itself, the gray wolf totem will always strive to be of benefit to the whole.

The wolf soul is one who understands the depth of connection with another, be it mate, friend or family member. These individuals will tend to be monogamous in nature. If a mate is not found that shares this same sense of loyalty, then the wolf totem will choose to live as a solitary wolf yet will still have deep and abiding bonds with friends and/or family.

The gray wolf totem is drawn to individuals who possess the ability to employ rational thought coupled with intuitive understanding. As he walks through life, wolf soul uses his keen intelligence to assess issues and situations which demand resolution. He then follows the prompts he receives from his own higher sense of knowing to achieve necessary growth and learning.

Rohan has quite a fierce temper and often scolds others for their incompetence. After meeting Avis, her gentle nature melting his heart of ice, Rohan shows more self restraint in terms of his emotions. He cares little about status or tradition, and merely judges others solely based on their knowledge, skill and loyalty.

Coby McQuaid (Hogwarts Mystery)

Coby's patronus is the Arctic Wolf. It is said that at the door of each of the Four Winds, a wolf keeps silent vigil, each bringing change to the life of those who walk the good Red Road and with the change, a lesson unique to that wind.

The arctic wolf is the Wolf of the North Winds. He stands quietly in rigid determination, unyielding at times, much as the barren landscapes of his home appear to resist the beginning of Spring.  She is a soul that is comfortable with her surroundings and therefore sees no “reason” to change.

Yet the promise of the North Wind is wisdom unfolding through gratitude and acknowledgment. This is the direction in which wisdom is sifted from the sands of experience and then fashioned into a red staff of manifestation that wields personal potential. Therefore, if the white wolf soul can accept change when it appears, yet remain true to his/her values, then the higher vibration of wisdom and truth can emerge from beneath stubborn resistance like shoots of sweet summer grass bursting forth from a blanket of winter’s snow. Thus, personal power can be embraced, understood and ultimately, the soul’s individual potential manifested.

The individual with the arctic wolf as their power totem is one who is capable of withstanding numerous challenges and setbacks, only to emerge stronger than before. It is little wonder that these souls will often face adversity in their lives in order to build the resilience with which to overcome obstacles? Paradoxically, they are also gentle souls with a great deal of emotional sensitivity . . . and this is the area in which they are likely to encounter their greatest lessons. Yet by calling upon the inner strength and resilience of the arctic wolf, they can triumph and raise their heads with gratitude to the loving rays of the sun.

The arctic wolf soul is an individual who is capable of performing nearly miraculous bouts of stamina that would weary other souls as he travels the good Red Road. He possesses within him the ability to push his body and mind to the limits, and in fact, can appear to even derive pleasure from doing so.

With each new goal that has been met, the arctic wolf individual will then set his/her sights on the next task at hand. Preferably the new goal will be even more challenging than the one just completed, as this engenders the acknowledgment within their own reasoning that they are worthy of that which has been given to them, yet the truth of the matter is that anything they have received, has been honestly won.

Veruca McQuaid (Hogwarts Mystery)

The Arctic Wolf is Veruca's patronus. Although she shares the same patronus as her brother, the patronus takes on a different meaning. The Arctic Wolf patronus Veruca has, is the shadow to the alpha Arctic Wolf. So even with her patronus, Veruca is still in Coby's shadow.

When manifesting as a shadow totem, the arctic wolf brings lessons in life experience that will tend to build up a defensive wall around the shadow wolf soul. These individuals enter onto the Red Road with a good deal of vulnerability, in many instances a higher degree of sensitivity to their environments than most. Yet, as time goes by, extremely painful circumstances are met that will either construct a fortress of solitude or a friendly barrier that keeps others at a “safe” distance, thereby decreasing the chances that the individual may once again be hurt.

McQuaids who have the arctic wolf patronus are stoic and resolute individuals who appear to bear any storm with a spirit of strength and perseverance. And indeed, they are quite capable of enduring many hardships, yet the true lesson for the arctic wolf is the act of maintaining a certain measure of vulnerability in the face of the brutal lessons they encounter.

Though those with the arctic wolf patronus are naturally geared toward a mostly solitary existence, they will have a couple, to a few close & trusted friends that will be more like family members than their own biological family. The reason for this is due to the fact that the shadow arctic wolf soul will often grow up in a family that is either highly dysfunctional, or in circumstances where one or both parents are absent, be this as in the sense that the parental figures are deceased, or where the mother and father are emotionally unavailable.

Veruca isn't as close to her mother as she is with her father. Though she loves her just as much, she can't help but feel like a second thought compared to Coby. Carson is a close friend to Veruca that they consider each other siblings. Veruca even refers to the Iveys as her second family and addresses Mr. and Mrs. Ivey as mom and dad.

Again, trust is hard to earn from those who own an arctic wolf patronus, and bonds once forged in trust will rarely be broken unless there is an extreme betrayal on the part of their loved one. The ultimate challenge of these individuals is to learn to be open, vulnerable and trusting in the face of a lifetime of lessons in rejection, disillusionment, and betrayal. Yet it is interesting that these people will often be the ones to break off relationships, and are seldom the one to be “left behind.”

Right after graduation, Veruca leaves everyone behind to find her own peace and come to terms with everything that has happened. After finding her peace, she comes back to reconcile and reunite with everyone else. While on her own journey, her patronus ends up changing to match Diego's patronus.

Carson Ivey (Hogwarts Mystery)

Carson's patronus is the owl, specifically the Brown Owl. The owl cannot be deceived, which is why this spirit animal reminds us to remain true to ourselves, our voice, and our vision. The owl spirit does not tolerate illusion or secrets.

Being Veruca's best friend, it's a given Carson knows what's truly going on with her. Though it's pretty easy for him to read the moods of someone, he's not one to pry into someone's personal affairs.

The owl is a symbol of being able to navigate any darkness in our life; this spirit brings clarity, prophetic inklings, and a strong connection with the mystical world.

Those with the owl patronus have the opportunity to become far more observant. Being able to notice a lot of important details that previously eluded you. The world is filled with layers of symbolism and meaning, and the owl gives you “new” eyes with which to see those.

As a spirit animal, the owl often calls on us to release the past and put down burdens that hold us back. You have to face your shadows and fears, then move beyond them to find true happiness.

Owls don’t just honor us with the ability of “Second Sight." These majestic birds have hearing that is quite literally “perfect stereo." The owl as a spirit animal guide can aid you in hearing what is really being said despite the words and emotions coming from the messenger.

The owl spirit can help support you when the time to speak your truth has arrived. Remember, owls are birds of prey, and little stops them when they set their sites on “the prize.” What or whom do you have your heart set on? Focus, patience, and stillness can win the day.

Invoke owl energy when you need to see all the details of what or who is coming toward you and what is right in front of you.

Carson may be chaotic with his personality, but he can be patient to analyze and assess a situation. He's quite stubborn, might be because his childhood friend is Veruca and he picked up on her own stubbornness, but he will continue to push for what he stands for.

In Celtic mythology, owls knew the way to the underworld and were fierce defenders of truth and honor. The owl has no tolerance for deception, even when we are deceiving ourselves.

The Celtic Owl was tied closely to the ancient Goddess of fertility. It frequently appears in knotwork and bestiaries, being revered for its ability to see in the dark and acting as a messenger between humans and the Divine.

Avis Ni Conraoi (Hogwarts Legacy)

Avis' patronus is the butterfly. Those with the butterfly patronus means it's time for personal growth and greater awareness of mental, physical, and spiritual rhythms. Change can sometimes be challenging and daunting because it moves us out of our comfort zone.

You cannot embrace a “new you” until you release the old. With the butterfly spirit, you’ll find that you can fly gracefully above the barriers that would otherwise hold you back.

The Conraois are quite a spiritually oriented family one can say. They don't appear to worry over minor things that can cause someone to stress out to the point of exhaustion. Avis, herself, lives her life freely with no worries. Life is too short for her to take a slow path and be cautious of everything. She simply goes with the flow, following where the wind takes her on a new journey.

The butterfly as a teacher puts great emphasis on movement: Be it blossom-to-blossom, home-to-home, or one state in our spiritual exploration to another.

An old Irish blessing says,

“May the wings of the butterfly kiss the sun, and find your shoulder to light on.

To bring you luck, happiness, and riches today, tomorrow and beyond.”

Throughout Celtic regions, the butterfly represents prosperity, joy, good fortune, and honor. Butterflies also symbolizes the soul. So much was the case that harming a white butterfly was against the law in Ireland because of the belief it bore a dead child’s spirit.

The butterfly often turns our thoughts inward to review elements of our character, morals, and habits that weigh us down, keeping us stuck in a mire of negative energy.

The goal of the winged ally is restoring lightness in your being so you can dance life’s dance with unbridled joy!

People with a butterfly as their patronus have a natural lightness of spirit! They love the beauty of nature and are guided by the greatest good when it comes to maintaining balance with the environment.

Avis is normally against violence, opting to be an advocate of peace. Though if that peace has been disturbed, she will take on a more passive aggressive attitude to protect that peace.

With the butterfly patronus, you’ll find that you’re better equipped to look at difficult situations from another angle. As you fly on her wings, your perspective becomes more global and hopeful.

Butterfly people are naturally social, colorful, and vibrant. They endeavor to live each moment to the fullest.

[rascheln]

spoilers for evangelion 3.0+1.0

- i always felt bad for not really liking asuka in the series (even though i understood why she is the way she is) and i’m really glad that the rebuild movies and especially this last one made me appreciate her so much more. a lot of asuka’s growing up was done off-screen simply through the passage of time. she didn’t get to be fully human, but she did get to grow and make new connections (mari and kensuke especially felt super important!!!). the fact that both her and shinji acknowledged their crushes as kids, but also that it was clearly a sign that their relationship had moved beyond that?? yeah, holy shit. also, out of all the EVA pilots asuka has always been the most warrior-like. she trained for this, she dedicated her life and existence to it and in exchange got immense loneliness. shinji coming to save her and making up for his indecisiveness so she could finally live in a world without EVA was very much the ending she deserved.

- i really loved not-rei’s time in the village. it was like a mirroring of the previous rei finding out how to be human, but doing so within a community. it was so beautiful and heartbreaking, an acknowledgement of the humanity of a person who was never meant to exist as a person. previous iterations of evangelion have these rare moments in nature, but its world has always been overwhelmingly focused on the city, on work environments and closed-in spaces (apartment, school, offices etc) and has been marked by a stark absence of a feeling of existing within a larger community and nature, of just people living and working in the same space. both domestic and work life flowing into each other, a neighborhood instead of a nameless apartment complex separate from others. and within that community, not-rei may not have been ‘ayanami rei’ when she arrived, but she came very close to being her all on her own, without anyone disregarding the fact that she wasn’t really her.  idk, it was an incredibly beautiful section of the movie and while it ended exactly how i expected it to end for her, it still felt incredibly important to see her go through that journey. but goddamn was it still painful to see her go :((

- that said, it was also important that this time around, it’s rei reaching out to shinji and offering him kindness. she gifted that kindness to him and the realization that not just she, but other people care for him- that his existence is worth caring for. i think him seeing her die was also important. it transformed her into a reflection of ‘his’ rei as well and allowed him closure for losing someone so dear to him. not-rei’s short life was filled with meaning she got to create for herself and in her final moment she chose to gift shinji with that experience she gained.

- another aspect of the series that i think the rebuild movies have shown beautifully is misato growing from being a young adult who gets thrown into a parental role for shinji (and mostly failing miserably at it) to not just becoming a mother herself but actually taking on that parental role for shinji (even if it’s still in a fucked up way lol). i think her letting her son grow up on earth is also very, very different from gendo abandoning shinji, because she clearly made sure her son was well taken care of and grew up happy. she keeps tabs on both boys and while she can’t take on the traditional role of mother, she still shows especially in this movie that she very much sees herself as carrying a responsibility for their lives.

- kensuke and toji growing into adults and treating shinji with so much kindness and patiently waiting for him to return to society felt so right. and kensuke being one of the people to be asuka’s friend was such a wonderful way to show how asuka has also grown up, even if she physically doesn’t look to be the same age as them. 

- kaworu saying his and shinji’s names are written next to each other in the book of life, i- ......!!!!!!!!!! i really liked the comparison of him and gendo, because in a way kaworu too is so hell-bent on only reaching the person he loves, to the point of destroying himself over and over again because he has no idea how to achieve happiness for them and is so set in this one way that he can’t see any other solutions. but, y’know, that’s exactly why shinji needed to be the one to grow up just enough to find that happiness himself and in turn break the cycle to save kaworu. in my head he and mari and running to meet up with everyone else at the end of the movie haha

- they made gendo apologize to shinji and they showed him and yui reuniting through her remnant in unit 01 and in a way giving shinji the ability to live by becoming one and sacrificing themselves in the process was!! so damn good!!! i think evangelion has so many big themes to it, but especially 3.0+1.0 is an exploration of parenthood and creating life and the many different ways people choose to be or not to be parents.

and gendo always had to recon with his choices.

i think the word “kejime” (taking responsibility/setting things right) is mentioned to shinji, but it very much also applies to gendo.