#tl;dr i think about things too much for my own good but it's fun in a weird little way

[leafofkudzu]

What does your commander canon timeline look like? Is it all the same commander (or co-commanders), or is there a point at which they pass the torch?

Teekzi is and has been my canon Commander all the way through! The only other character to officially have the title is Rhenwyr, though she's more of an AU version exclusively for use during streamed story replays and hasn't seen much play time recently.

Unofficially though....I never get to talk about the crazy laps I run all my other characters through to involve them in different parts of the story without bumping them into The Commander™, so let's do that.

Roughly speaking, where it makes sense to do so I have every choice from chapters 1-3 of the personal story playing out at once, just by different characters. Looking back, someone was doing each path, just not necessarily the one who would go on to become The Commander. As characters split off the canon into their own stories, the pool of potential Commanders dwindles until there's just Teekzi left by the time The Battle of Claw Island wraps up. If a character then dips their toes back into the main story, the universe (aka me) conspires to make it so they never directly encounter The Commander™, allowing anyone to theoretically insert their own Commander should they read any of my (nonexistent) fics about it.

It does mean Teekzi is my loneliest character since everyone else gets to freely interact with each other, but nobody else gets to interact with the main cast of NPCs, so it's not all bad I suppose. :3

[the-moon-ate-my-stardust]

Okay literally no one asked but as a former Hobbit movie hater who has since experienced character growth, I feel compelled to share my thoughts on the movies on my gay little blog.

Listen. There are legit reasons to be critical of these movies. They were made on a rushed timeline, at time where CGI overuse was the thing and there are definitely unnecessary moments. But despite those issues, these movies still have a lot of heart and character and some really wonderful acting! To compare them to LOTR, is unfair I think because LOTR was such an unimaginable success and I truly believe no other movie franchise can do what those movies did. To expect the Hobbit movies to be the same caliber considering the behind the scenes drama and massive difference in timeline is just not it.

Truly I think that the Hobbit could have been much more than it was and it’s sad to see the amazing moments and realize that we could have had movies that were maybe closer to the level of LOTR, but that doesn’t take away from all of the great things that the movies gave us! Despite what he may be like irl, Martin Freeman was a great young Bilbo, Richard Armitage was insanely good as Thorin (despite the change in age) and the other dwarf actors brought a great sense of loyalty, brotherhood and shared loss to their roles. The music is still dope as hell and there are some beautiful shots despite all the CGI.

This is way too long and I’ve not said anything that hasn’t been said before but honestly, I’m so glad that I stopped hating on these movies and have seen the special things about them. Nothing will ever compare to LOTR, but that doesn’t make these movies bad. They’re fun, they’re emotional, they have great characterization and it’s super valid to enjoy them.

Final gay thoughts because I’m obligated, but I struggle with people who argue against Bagginshield with the whole “why does everyone have to make everything gay?” thing. Because Hollywood is so deeply homophobic that we see so little genuine queer representation, so forgive us for enjoying the chemistry we find and making it our own since our society gives us breadcrumbs. If you’re not into Bagginshield, totally legit and fine, but don’t hate on other people (especially queer people) trying to find some romantic love in media that we enjoy. Also no one can convince me that Richard Armitage wasn’t at least somewhat intentionally putting his queer energy into this role, I will die on this hill.

Anyway, TL;DR there’s no shame in liking or loving the Hobbit movies despite their faults and there are lots of things to appreciate and enjoy and I for one, am glad to leave my LOTR purist hater days behind me

[local-hyena]

SO I'VE JUST WATCHED THIS AND I AM GOING TO GIVE MY THOUGHTS ABOUT EVERY LITTLE THING

First of all, here's the synopsis.

We got a lot of details here !! Tube's Tube. I don't really understand why, but it sounds funny. 12M viens and 12,000,000 likes. Why 12 ? Is it a hint towards à 12th game ? There are currently 11 Ace Attorney games. This vidéo recaps pretty much everything (except the prof Layton crossover...), so it MIGHT point towards a new game :). On the right of "Likes" and "Share" there is "DL|6" :). We cannot see how many subscribers Nick has, but since the video has lots of likes, I think it's safe to assume that he has a good amount of subscribers and that he is possibly a youtuber (in this version of the AA universe at least). On the right we can see 3 other videos : MUST WATCH - Top 3 Bedtime Picture Books by Laurice Deauxnim-Scented Adventures with 3.8K views uploaded 2 weeks ago. We don't know when Nick's video was uploaded (most likely more recently than two weeks) but maybe Larry is a more successful youtuber than Nick ?? Also, I'm pretty sure that Franzy's Whippity-Whip Trip is in this video :). Then we have Her Benevolence dances the Panic Dance by Kingdom of Kura'in Embassy with 3.15M likes and uploaded 1 (idk) ago. Idk who this character is so uh, idk what to say. But "Panic Dance" sounds fun heh. Then we have No Objections Judge's gourmet courthouse specials by His Honor Eats with 2 views uploaded 21 years ago. Poor old Judge :(. Also, Capcom is plastered everywhere. I mean, this video is part of marketing so of course.

Now, let's move on to the actual content of the video !

You. That's you, Phoenix

Wording, Phoenix. Wording.

So Klavier can canonically produce guitar sounds out of thin air ?? I thought it was extradiegetic. Well I guess that's handful when he has to do a concert but forgot his guitar, heh !

This is peak comedy right there. Man I love Ace Attorney.

ACE ATTORNEY AND GHOST TRICK CROSSOVER WHEN ??? (Still gotta play Ghost Trick and finish AA lmao)

This image is cool.

Oh, Nick, honey... that's the kind of reference that I like heheh

I WOULD LIKE TO DISAGREE. ALTHOUGH YOU *COULD* START AT THE APOLLO JUSTICE TRILOGY (I'vo only played the first of this trilogy) WITHOUT BEING TOO LOST, YOU WOULD MISS A LOT OF CHATACTER DEVELOPMENT AND WOULD NOT QUITE UNDERSTAND HOW THE CHATACTERS GOT THERE IN THE FIRST PLACE.

YES PLEASE MILES TELL US ABOUT THE STEEL SAMURAI <3 <3 <3

ALSO ! Turns out that ERIC VALE did Phoenix's voice. ERIC VALE the anime voice actor !!! Thatcis so cool. I didn't recongize Edgeworth's VA (cuz i've only watched the first anime episode + the bloopers) so... idk do your own research I don't care that much honestly. How about the "Objection!" Voiceline actors tho. Who are they. They're the closest to their official voice actors.

Anyways, tl;dr : this is a recap of all of Ace Attorney (minus the Layton crossover) + Ghost Trick. There is the number 12 at the beginning and Ghost Trick is mentionned, so my theory is that they're planning a 12th game which is a Ghost Trick crossover :)

[phantomarine]

Hey what were you trying to say in your “it gets good at page 1001” post

Was it more of a comment directed at yourself ( self degradation), is it satire about perfectionism,

Is it supposed to be inspirational for Beginners webcomic creators, or we’re you just in a bad mood?

More of a warning against self-sabotage, because I see it so much. Sometimes it's tied to perfectionism, sometimes it's the opposite - people surrendering to imperfection when they don't really have to.

Creator chat incoming. I'll put it under the deelybob for anyone who wants to read it 👇

I've been in the webcomic sphere for several years now and I've seen so many people introduce their comic with 'I know it's very long and not easy to read, and I won't be going back and changing anything about what I've already made - but please critique it so I can make the rest of the pages better and attract a bigger audience from now on.'

And that's a hard thing to respond to. If a reader can't get through all those existing pages without being confused or bored, then how can they get to the good stuff that lies past them?

So much of gaining an audience is about actively making it easy to 'fall into' a work. Without that easy entry point, it's always going to be an uphill battle to build an audience, no matter how good the later chapters get. There are outliers, but most webcomics won't be those outliers, especially with thousands of them available nowadays. Some people love the grind, but most people will jump to a new tab and try to find something less frustrating.

And webcomic creation is particularly cursed by its very nature. Creators are hesitant to go back and edit pages, even once they've figured out more details about their craft or story structure. It's mostly because of the seeming permanence of it all - the art takes ages and the words feel unchangeable if even one other person has read them. To go back and edit is to publicly admit your failings, right? That's how it feels. What do you MEAN you didn't get it right the first time? You were supposed to do it live, and do it PERFECTLY!

But ideally it shouldn't be any different than prose writing, which is ALL ABOUT finding the story in those edits. And because your story is digital, you can go back and change things whenever you feel like it. A webcomic is fluid.

And if you're thinking 'I should just redraw my whole first chapter' - NO! Hell no, old art can be a part of the appeal! It's far more about finding little tricks to convey your story/characters more clearly. I have read some first chapters with janky art that made me fall completely in love with the story and cast. It's not about the art - as with all things comic-related, it's about conveyance.

Examples I've seen and some I've used myself: A single extra page with a meaningful interaction can solidify the theme of a character's arc. One additional 5-to-10-page scene can help add visual context for an offscreen event where there was none before. Adding a map can tell people where the characters currently are. Changing a character design can help if they get often confused with another character. Redoing your lettering to make it more legible is a huge one too.

In the end, I just don't want people to be afraid of small edits. When I got feedback about the bad clarity of my own work, I knew it would take some time to fix those problems. It wasn't fun to think about or to do, but I'm glad I did it in the end - because it would have limited my audience tremendously. With just a bit of extra effort, I opened a door that wasn't there before, and it now leads more people even more easily to 'the good stuff.'

tl;dr You started your webcomic for a reason, and you're learning more things about its characters, story, and craft every day. Don't be afraid to go back to old pages and inject some of that wisdom through editing. Even a little can go a long way.

***Caveat: If your goal is to just create chaotically, with no goal of gaining an audience, you are a wild and free little thing, and I am in awe of you. This whole rant doesn't apply to you, and you are stronger than me.

[thecurioustale]

Worldbuilding: Something I Learned About Planetary Surface Gravity

Last year (hehe; it's always fun to say that at the start of a new year; actual time about 4 months ago), I made a strange discovery!

I won't slow-roll you. Here's the bottom line: In reality, i.e. based on observational data, there appears to be a plateau of surface gravity for planets up to about 500 times more massive than Earth. Most planets between 1 Earth mass and ~500 Earth masses have a surface gravity that is close to our own, i.e. 1 g. So if you're worldbuilding, and need a planet with a surface gravity that is more than a few percentage points higher than Earth's, be careful.

All right, on to the story!

I had need of such a planet for Galaxy Federal. About 125% percent or so, i.e. 1.25 g. And it was in the back of my mind that Neptunian planets often have a "surface" gravity similar to that of Earth's. "Okay," I figured, "that's probably because their giant atmospheres reduce the average planetary density. On a rocky world that wouldn't be an issue. But I'd better check to be safe."

Oh, it is always a good idea to check!

I found a paper which was reporting the plateau that I mentioned in the TL;DR. Here's what it looks like:

Gravity vs mass for Solar System bodies and exoplanets. Ballesteros, Fernando & Luque, Bartolo. (2016). Walking on Exoplanets: Is Star Wars Right?. Astrobiology. 16. 10.1089/ast.2016.1475.

What they found is that Super Earths, i.e. rocky planets with a mass greater than Earth's, did not exhibit the increase in surface gravity seen in smaller celestial bodies. There is this "plateau" where increases in planetary mass and radius are such that the surface gravity essentially levels out for a while.

This isn't something I think you could predict from amateur astronomical principles. What you would predict (certainly, what I predicted) would be what we see on the left side of the above figure, where more mass equals more surface gravity. All of the small rocky bodies in our own Solar System fall onto that left side of the graph. The plateau only really begins in the Earth range of planetary mass. You can see how Venus is included in the plateau almost perfectly, but the much less massive Mars is not.

This is a truly remarkable finding about planetary formation, and has serious implications both for fictional worldbuilding and someday for planetary colonization. That is, if these observations are truly representative of the Universe. This is a pretty big "if" that I don't have the knowledge to be able to check, except to say that there may be some bias unaccounted for because of how we detect exoplanets, such that perhaps the ones we detect are not representative of the ones we do not—so take it all with a grain of salt. This paper is 8 years old but I couldn't find anything newer following up on it.

Fully understanding how it would work is still a question mark for me. I mean, it's a question mark for the professional planetary scientists, too, so there's that, but, in addition to the unknowns that curtail their comprehension, there's a lot I don't know about astronomy that further curtails mine. My understanding is that this isn't really about the intrinsic density of the materials (i.e. substances that are more massive or less massive per mole); it would mainly have to be a consequence of how planets form, how the geological processes change in different planetary mass categories; that sort of thing. But I don't really know! I'm out of my depth.

Anyway, you can download a copy of the full paper on its entry page on ResearchGate; look for the button that says "Download full-text." And the website Centauri Dreams has a nice write-up which is where I originally discovered this.

[liulith]

Cis man Vox is great, trans man Vox is great, trans woman Vox is great... But hear me out: bigender Vox.

As a human, Vee sees herself as an ambitious cis woman in a rich men's world and weaponizes femininity to her advantage while cursing the glass ceiling. She loves being a woman as much as she hates it and often wishes she was born male, fantasizes about how her life would be if she was a man, stares at men's clothes with longing... (🥚)

As a demon, he is reborn in a body that makes it easy to pass as a man: he can use a binder and change a few settings to make his voice deeper. He tells himself that "playing pretend" is simply the logical thing to do to protect himself and ascend to power (nevermind that there are several female Overlords. Yep, he's in denial)

Over the years, he slowly comes to terms with the fact that he enjoys being perceived as masculine in a way that has nothing to do with social status. Vox the businessman isn't just a persona, a performance, it's a real identity that brings him joy and makes him feel good about himself.

He finally figured it out! He was a trans man all along! He decides to fully transition, and it feels great, for a while. Gender euphoria, baby.

And yet... As much as he loves being a man, some days, he misses being called a lady and wearing dresses. Isn't that just ironic? Suddenly, the longing is back. He feels just like he used to when he was human, only this time the genders are reversed.

He starts second-guessing himself, frustrated and anxious, and his internalized misogyny and old-timey perception of gender roles are NOT helping him process the situation at all. He starts overperforming masculinity to try and compensate for his doubts. Was he just faking masculinity so well that he fell for his own lie?? That can't be true. He loves being a man. He just... she, she just wishes she could sometimes be perceived as a woman, too. (and no, he can't settle for something in the middle or outside of the binary: it has to be one extreme or the other, like a binary signal of 0 or 1)

Thankfully for Vee, she's got an incredible adaptable biomechanical body. Once she finally figures out that she can be a woman one day and a man the next (because she can do whatever she wants, forever), and that her fem gender expression doesn't invalidate his masculinity in any way, she gets SO MANY upgrades <3

tl;dr: "cis" woman with strong gender envy and internalized misogyny -> "cis" demon "pretending" to be a man -> gender crisis -> transgender man?? -> wait a second -> gender crisis #2 -> bigender Vox <3

Also I think it's a fun parallel with Alastor, who is agender in my heart

It also works pretty well, thematically speaking: Vox as a symbol of change, constantly switching performances (+ binary signal jokes)

[dunmeshistash]

G'day, I hope you're doing well on this fine Saturday!

A while ago, I began writing and sketching a Dungeon Meshi OC by basing him/her (haven't decided, though I might take the liberty of making it a guy) on my own characteristics, continent of residence and my play style in games like D&D to see what race, country and occupation would best fit that description in the world of good ol' Dungeons & Diners. In all honesty, the parallels I drew are somewhat superficial, so I could technically bullshit my way into being one of many things, but it's been a very fun way to kind of craft an OC that I think fits me the most regardless.

BUT, I have run into an epiphany! I need a hero, a guiding light, an archiver of Dungeon Meshi trivia! I need someone to save me! Super Meshi, will you answer my call for help?!

You see, I settled on making my OC an elf as I drew the most parallels with them on all fields and so far my characteristics are translating over quite well, but the problem lies in the fact that I'm above average in terms of tallness, but I don't really know how much I'd need to shorten this feller to make him pass as a right proper elf, y'know? I have dark hair too, I suppose, but you already answered a question regarding that a while ago. However, I can't find anything here on tallness other than a chart for every story character's height and that Mithrun's teammates are all taller than average, which... well, almost answers my question! Almost.

I guess I could just wing it, but with how much thought I already put into this character, I felt it was a good idea to ask you this; how tall can the average elf reasonably be based on all the information we have? Is it at all possible for them to reach or exceed tall-man heights or would that be far too unusual? Lycion is roughly 170cm, but I can't remember if any elf is taller than that, and while I've perused a great many ancient scriptures in search of precious knowledge, I believe you might be the hero I need to solve this relatively minor conundrum that may not even have a clear answer! I think the question might be a bit silly, but I hope you'll indulge me regardless. You'd have my infinite gratitude! I uh, I prolly coulda and shoulda condensed this ask into a single sentence. Pleasedon'tkillmethanks-

TL;DR: How tall can elves reasonably be based on what we know?

Oh, while I'm at it—and I say this every time I'm here and will continue to do so 'til the cows come home—your blog is a blessing. A wonderful, nice-looking, tidy blessing. The fact you're maintaining all of this is a boon to all of us. Thank you so much for keeping this up! I hope you have a delightful weekend!

Hello! That's really cool! I thought about making a Dungeon Meshi oc based on myself too before (a dunmeshisona?) but then I didn't lmao. Making characters is hard

Anyway I think "how tall can an elf be" is pretty subjective cause even irl humans vary a lot. I think one way to guess would be to do what people tend to do with their ages and compare the average proportions??

Average Male elf is 155 and Average Female Elf is 150 Average Male Tallman is 180 and average Female Tallman is 170

I did some doubtful math and came up with *0,86 for male and *0,88 for female (that's for tallmen height to elf height, if you want to calculate from elf to tallman it would be *1,16 for male and *1,13 for female, both of them you can round up the result)

I don't think that's very correct tho cause using that math on the tallest elves, Lycion who is 170cm and Cithis who is 165cm, it puts him at 197cm and Cithis at 186cm as tallmen that doesn't sound right but maybe it is. (Edit: I got flamela's height wrong she's 140cm I was still asleep I guess, changing it to cithis who IS 165cm I double checked)

It probably doesn't really work cause tallmen average in dungeon meshi is WAY taller than irl human average (google tells me the global average is 171 for men, and the average where I live is even shorter than that) and also cause the height difference between male and female elves is really small, which fits with how androgynous they are in general, there's not much difference between male and females so as a tallmen might be way taller than you'd expect for a woman but for elves Cithis and Lycion being so tall is probably about the same amount of striking.

I ended up rambling but this might help somehow? or just make you even more confused. Anyway I wouldn't worry too much about how tall to make your elf, if I were to make one I'd just make it like a bit taller than average cause that's what I am irl. I'm really bad at explaining math but if you need me to I can try (I tried and ended up making the post double the size and I don't think it made any sense LMAO)

And thanks! I love reading your comments it's very encouraging!

[splatsvilles-fashionista]

So over the week I've been replaying Return of the Mammalians, because I haven't played it since the week Splatoon 3 launched and I wanted to see how I felt about it without the excitement of playing a brand new game clouding my critical judgement.

(spoilers for RotM below, just in case)

That said I didn't feel like it changed my opinion very much. RotM's biggest problem is that it feels like the developers thought of a couple of really cool ideas (The fakeout in the intro, Deep Cut being bosses, the lore in the Alterna Logs, the final fight against Mr. Grizz) and then put them all in the game without really trying to connect them all in a very tangible way, and as a result Alterna is a very nebulous space that doesn't make any sense from a narrative standpoint (if it was a human settlement why is it full machinery and tests only inklings and octolings can use? What even IS the treasure we assemble except "a tool that just happens to solve the current problem?) but only really exists for gameplay.

The story also suffers as a result of this, too. Narratively nothing really happens until the very end of the game, where we end up just kind of stumbling into Mr. Grizz's plot to fuzzify the world right as he puts it into motion. Octo Expansion got around this by using its lore snippets to give the supporting cast a story of their own that unfolded as you progressed through the game, and ultimately it's Agent 8's actions that push the story of OE forward. In RotM we just happen to be there when things happen.

But despite all of its problems RotM also just plays really well. The combination of OE-style shorter trial levels with Hero Mode-styled hub areas you have to explore for levels and secrets work really well together, and those hubs in particular are an absolute blast to dig around in for secrets and open up a little by little. Deep Cut are incredibly fun as ineffectual Team Rocket-esque villains, and the whole final fight against Mr. Grizz is really good, especially the music. I don't even think Calamari Inkantation is especially good by Splatoon standards, but 3MIX is genuinely just an astounding track.

But I think what ultimately makes me feel more positive than negative about RotM is that I think its' thematic undertones actually really work for me. Mr. Grizz's actual involvement in the story might have been mishandled but as a villain he works. I've already written about him a bunch so keep things brief Splatoon has always been about the dangers of clinging to the past, and Mr. Grizz pushes that idea to its limits, because he is the past. He is a relic of a lost age, and he is so desperate to return to the world he knows that he will burn the future and turn back time (metaphorically) to achieve it.

But there's also the Alterna Logs and the reveal that it was human dreams of seeing the sun that drove sealife onto dry land. I think there is a compelling argument to be made that they didn't need to explain any of that to begin with, but I also think the explanation works with everything the series has been setting up on a thematic level. Humanity is gone, and will never come back, but our dreams lived on in the minds of the inklings and the octolings (and the jellies, and everyone else), and while they didn't know why, they reached for the sun together, and by achieving humanity's dreams they earned the right to take our place.

TL;DR: RotM good actually

[bunposting]

House Rabbit Society Bullshit - 5 Years Later

I considered just reblogging the OG post (check it out if you haven't seen it - the Masterpost of House Rabbit Society Bullshit) and adding this to the reblogs, but then it got long enough to be its own post. So! Without further ado...

Thank you to @/threefeline for mentioning this in the tags of the original post! Man, has it really been a whole entire 5 years?!

Well, I got curious and decided to check it out so that you, dear readers, don't have to! (or like. you could go do it yourself anyways. but why give them the clicks?)

Man. On the surface, has a lot changed. In fact, it changed so much that I almost fell into the trap of believing that maybe the organization itself has changed. But let's talk about what I found...

Time for one of my famous rambles! Oh boy! (there will be a TL;DR at the very end lmao)

The organization hasn't changed in any way that really matters. They are still essentially PETA for rabbits specifically, but the website has changed an awful lot (I barely recognized it). And, I have to admit, they made a teeny tiny bit of progress on at least one of their stances.

That tiny bit of progress pertains to diet. On their diet section, they are no longer strictly advocating for a diet of 80% hay, 10% veggies, 5% pellets, and 5% fruit/treats. Thank goodness!!!!! What they have isn't too much better but.... it's progress. Here's the update:

This is the first graphic on the diet page. There's. A lot to unpack here.

First is unlimited hay. That's standard of HRS, we've come to expect that from them. Offering unlimited hay to your rabbits won't kill them (though it might screw up their teeth in the long run, according to some studies), but if you're giving your rabbits a complete feed pellet, you'll probably just end up wasting hay because they won't end up eating a ton of it.

Next is "minimum 2 cups chopped vegetables." UM. THAT'S. DANGEROUSLY VAGUE MY GUYS. At least before they specified it should be leafy greens?????? If I was just the standard civilian looking to adopt a rabbit and I saw this, I might think this includes things like cucumbers, carrots, peppers, etc. Feeding a rabbit 2 cups of vegetables like those per 6 lbs of body weight per day would KILL a rabbit. Holy shit.

After that is 1/4 cup pellets. First of all - 1/4 cup is much more than what they used to advocate for, so I guess that's progress. But uh. Fun fact. The average serving size of a good quality complete feed pellet for a 6 lb rabbit when on a maintenance diet is... get this... just a bit over 1/4 cup (roughly 1/3 cup, but it also depends on breed/activity level/management style/etc.). Mind you - that's for a good quality complete feed pellet. Meaning technically the rabbit doesn't need to eat literally anything else. But HRS in this graphic is saying that a rabbit should be getting almost a full serving of pellets on top of 2 cups of unspecified vegetables on top of unlimited hay per day??????? Again, what a fantastic way to kill a rabbit. If the GI issues don't kill it, the obesity certainly will.

But hey, at least they are now specifying that treats should be given sparingly rather than making up a whole 5% of a rabbit's diet.

What an absolutely insane graphic to start this page with. It gets better, though.

After this graphic, they go into a bit more detail. Of course, they still believe hay helps to file down a rabbit's teeth better than pellets or chew blocks. Lol.

But then we get to the thing about the vegetables and here's where things get really interesting (and also extremely contradictory).

Quote: "Rabbits should get a minimum of three different types of leafy green vegetables daily to help them obtain the vitamins and nutrients they need." Ok, glad to see we're specifying leafy green vegetables now at least. That's cool I guess.

Quote immediately after that: "Eliminate any vegetables that cause your rabbit to have soft stool or diarrhea. Every rabbit is different, and you’ll need to find what foods work best for your rabbit, based on their health and sensitivity to certain foods." Sooooo what you're saying is that fresh vegetables can be risky to feed, considering diarrhea can be a death sentence for a rabbit. Interesting. But I'm supposed to be feeding 2 whole entire cups of this stuff per day, right????

Quote immediately after that: "Take this list along with you the next time you’re out shopping for vegetables to try feeding your rabbit" (list of safe vegetables for rabbits was after this.) Oh! Try feeding vegetables! So it's not a requirement! Thank goodness.

Next sentence: "Leafy vegetables should make up about 75% of the fresh portion of your rabbit’s diet. Non-leafy vegetables should make up no more than about 15% of your rabbit’s diet, or about 1 tablespoon per 2 pounds of body weight per day." 75% of the fresh portion of my rabbit's diet should be leafy greens... ok... so I'm guessing the fresh portion they're talking about is those 2 whole entire cups they mentioned before... which supposedly aren't super required I guess??? I have no idea. But now they're saying that 15% of my rabbit's diet - not 15% of the fresh portion, but 15% of my rabbit's entire diet - should be non-leafy vegetables. That's a lot. And also another really great way to kill your rabbits via GI problems.

The next sentence after that: "Due to the emergence of Rabbit Hemorrhagic Disease Virus Type-2 (RHDV2), House Rabbit Society recommends washing all vegetables for at least two minutes, in a bowl, changing the water several times." MY RABBIT CAN GET RVHD2 FROM EATING VEGETABLES?!?!!?!?!?!??!?!?!? WHY TF WOULD I FEED IT VEGETABLES THEN?!!?!?!??!?!?!?!?

Wow. That was a whole lot of contradictions. I'm all worn out. But let's see what they have to say about pellets. This should be good.

HRS' official current stance on pellets is (*drumroll*): "A good quality pellet should be relatively high in fiber (18% minimum fiber). While nursing mothers and young rabbits need to eat a lot of pellets, it should make up less of their diet as they grow older. Alfalfa-based pellets are fine for young rabbits, but timothy-based ones are preferred for adults."

YIPPEE WAHOOOOOO THEY ACKNOWLEDGE THAT PELLETS ARE GOOD ACTUALLY!!!!!!!!! (*the crowd goes wild*) There's that progress I was talking about!!!! I mean, 18% is low for a pellet feed but I guess if you're feeding mostly hay and giving less in terms of pellets that's fine for maintenance. But like. Why not just take the guesswork out and feed a higher fiber complete feed pellet to begin with. Anyways, nitpicking aside, I actually really like that they aren't vilifying pellets anymore, are acknowledging the importance of pellets for young rabbits and nursing does, and aren't saying that alfalfa-based pellets are going to kill your adult rabbits like they used to. Timothy-based pellets can absolutely be preferred for adult maintenance, that's totally fine, but preferred doesn't mean required. That's a huge win imho.

The next section goes on about treats and fresh fruits. They for some reason still say that fruit can be up to 10% of your rabbit's diet (yikes?????? that's actually even more than what they used to say??? at least they're not requiring it now I guess) but they do specify that it shouldn't be much more than a teaspoon per day, and they acknowledge that hay-based treats are healthier.

OK. Diet section aside, not much else has changed. They still say rabbits should have a ton of room and that wire is "dangerous for rabbits' feet" (lol), they still advocate for spaying and neutering, etc. etc. I will say I'm not seeing anything about needing to have rabbits in bonded pairs anymore, so that's a bit of progress too, I guess.

Initially, I was really impressed that it seemed like they weren't continuing to spout anti-breeder and anti-meat rabbit rhetoric anymore........ until I scrolled down on their "about" section. I'll say, they're hiding it better than they used to, because when you look at the about page at face value, it doesn't look like there's much else to see other than their "how we got here" statement. Then we get to their mission/value statements:

Mission statement, save and improve domesticated rabbit lives, eh. If I was an average person I'd be like yeah ok, typical rescue behavior. Then we get to the vision statement: Improving their legal status certainly raises alarm bells for me. As soon as we get legal status involved, that's when we start venturing out of animal welfare and moving more towards animal rights. But again, average citizen would still be like yeah ok. Cool I guess.

But further down, we get their actual list of values... waaaay past their whole board of directors that no one will want to read and will probably click away from the page immediately after seeing rather than reading further.

Again, all of this is hidden AFTER their board of directors list. Which is interesting.

Their policies, their beliefs, and what they are striving for has not changed whatsoever. A quick glance at their website might have you believing that it has, but no. This proves it has not.

Further down, we finally get to their position statements, which you can only find by clicking a hyperlink at the very bottom of this page - there is no easy way to get to it.

Their statement on meat rabbits is... exactly what you would expect: They are against raising rabbits for consumption by anyone for any reason.

Their statement on fur remains that they are 100% against fur, though they have amended their statement on angora wool to specify that, if someone is spinning wool gained from grooming their pet angora, that is perfectly ok to use in their opinion. That seems like it should be a no-brainer, but I saw someone keeping an angora 100% to HRS standards who posted something they made with the rabbit's wool get absolutely torn to shreds in the comments by HRS supporters for using the wool at all, saying that the wool should have been thrown out because the angora owner was "exploiting" their rabbit. So. Having this be specified hopefully at the very least prevents that from happening again. They are still against angora wool from literally any other circumstance, though. Because of course they are.

Then comes their statement on breeding. They specify multiple times on multiple occasions that they believe all rabbits should be spayed and neutered (again, if that happens, no rabbits would be able to breed, and we would no longer have domestic rabbits), but in their statement on breeding they simply say that they believe breeding rabbits should not happen whatsoever until the "overpopulation crisis" has been solved. I shouldn't have to say what a flawed stance on breeding that is. If there aren't rabbits being bred, if all rabbits are spayed and neutered, then there will be no rabbits left to breed once the "overpopulation crisis" is solved the way they want it to be solved (i.e. by all unhoused rabbits being adopted as pets). They can say all they want that their real goal is to make sure no more rabbits end up in shelters, abandoned outside, or (in their words) as "snake food" (poor snakes), but unless the ultimate end goal is to eliminate all domestic rabbits, the way they are advocating for solving this problem will always hurt more than it helps.

WHOOF. What a journey. Thanks for taking this journey with me, folks. Remember: a reputable breeder who gets their information from experience, from other reputable breeders, and from well-conducted scientific studies will always be one of the best places to learn about rabbits from, NOT a group that can't even create an agenda that won't ultimately harm, kill, or even eliminate domestic rabbits entirely.

TL;DR: No, House Rabbit Society really hasn't changed. They have updated some of their statements for the better, such as changing their stance on pellets from "pellets are trash" to pellets are actually a good feed option, but their positions on rabbits, rabbit meat, and rabbit breeding remain the same albeit even more hidden than they were before.

[don-dake]

So I've been playing around with Cāngjié…

And I thought a post like this (similar to a post on Zhùyīn done by linghxr) may be of interest to some.

Edited: 10 Sep 2023

This post has gotten a little popular lately and on scrutinizing my own post again, I've come to the conclusion that I had made some mistakes in my given character examples.

Amended now. Namely, 「唔」 and 「龍」 have now been swapped over in the examples.

「唔」 is really the “3-parts”, and 「龍」 is indeed a “2-parts” character! Amendments are reflected in orange.

What (and who) is Cāngjié?

For those who may not know, Cāngjié is another way to input 漢字/汉字 (Hànzì — Chinese characters). It is way less popular than Pinyin (or even Zhuyin) but it still has its fans, and has a few advantages over the other two.

Cāngjié is also the name of the mythical figure in Chinese legend who is said to have been the inventor of 漢字/汉字, for which Cāngjié (the input system) was named after.

Would I recommend it?

Yes, if you think you have already acquired a good (enough) understanding of 漢字/汉字, and/or just like a new challenge.

(TL;DR at the end)

Why am I learning Cāngjié (and why you may like to, too)?

1. Mostly for fun.

Have long been intrigued by both Cāngjié and Zhùyīn, and since I finally mustered up the courage to tackle Zhùyīn not too long ago, I thought I'd finally give Cāngjié a try.

While learning Cāngjié does require more effort than learning Pinyin or Zhuyin, it can also be really fun! Inputting 漢字/汉字 with the Cāngjié method is almost like doing a jigsaw puzzle.

The euphoria derived from figuring out and piecing together the radicals that make up a word is something that learning Jyutping (Cantonese equivalent of Pinyin), Pinyin or Zhuyin can't quite match.

And while I know I'll never be as adept with Cāngjié — my knowledge of 漢字/汉字 is nowhere near good enough to ever use Cāngjié efficiently — as I do Jyutping or Pinyin (or to some extent, Zhuyin), it'll still be fun to use Cāngjié every once in a while!

2. Helps with thinking and typing in Chinese.

The upshot of relying too much on using Jyutping/Pinyin/Zhuyin is, I'd tend to think in Roman letters or ㄅㄆㄇㄈ before I'd even think about the actual 漢字/汉字.

But with Cāngjié, because it's based on knowing radicals and joining them together to form actual characters, it'll encourage thinking of 漢字/汉字 first, so I think that would help some with 漢字/汉字 memory retention.

Now you may be thinking, why not just you know, practise actually writing then? That is the tried and proven method to better remember 漢字/汉字 after all?

Yes, of course I can do that — and am doing so occasionally — but we live in a digital age now, and the probability and opportunity to type things out is much higher than actually writing stuff by hand.

The idea here is, more looking to think of and envision characters fully in my head, and trying to lessen over-reliance on Jyutping/Pinyin/Zhuyin.

And this is where I find Cāngjié can be useful, which leads to my next point…

3. Haunted by “What if” scenario.

What if there comes a day (however improbable) where I'm presented with only a Cāngjié keyboard to use for typing Chinese? It has happened with Zhùyīn for me!

That means, no Pinyin or Zhuyin keyboards, no Handwriting tools/touchscreens to write with fingers/mouse, no speech-to-text, and no option to copy-and-paste characters from somewhere else either! What then?

4. Able to type without knowing pronunciation, and with more accuracy.

Cāngjié is shape-based. Unlike Jyutping/Pinyin/Zhuyin, where you have to know what a character sounds like before you can type it out, with Cāngjié, you can type out (again assuming no Handwriting or other tools available) characters without needing to know how to pronounce them at all.

With shape-based typing, you'd also get more accurate hits in the first few 漢字/汉字 that show up, versus sound-based methods like Pinyin where for e.g., typing out “wan” will get you a whole list under the same sound and you may have to scroll through a whole lot to get the exact “wan” you need.

You can also type both Traditional and Simplified characters without having to toggle something or switch keyboards.

So how does one begin learning Cāngjié?

Install a Cāngjié keyboard.

Duh…but of course! Heh! Gboard offers one, banded under Cantonese language input (Android user here, don't know about iPhones, sorry).

There are two versions of Cāngjié that are prevalent currently. Cāngjié 3 and Cāngjié 5. Cāngjié 5 is supposed to be an improvement over version 3 but I don't find there's much; having a slightly altered version just adds to the confusion and unnecessarily complicates matters, in fact!

If you have a choice, I'd recommend selecting Cāngjié 3 as that is more supported. Some operating systems may not be too compatible with Cāngjié 5 still, for some strange reason.

You may also come across something called “Quick” (速成) aka, “Simplified Cāngjié”.

This is simply a scaled down version of Cāngjié, it's still based on Cāngjié's formula. So you still need to know how Cāngjié works in order to use “Quick” efficiently.

You'd then need a chart like this. ↓

* the 重 (Z) key doesn't really come into use. I don't really know what it's for, but it seems to be used (paired with other keystrokes) mainly to type out various punctuation marks.

There are variants out there, some having a little more, or less, radicals shown than in the above example, but I'll say the chart here is one of the more comprehensive ones I've found so far (and sufficient enough) — other charts often fail to highlight the 難 (X) key and what it corresponds to.

You don't have to memorize the chart all at once. Just always have a chart like this on hand to refer to and with enough typing practise, you'll eventually remember which key corresponds with which radicals.

Remember the rules. ↓

“1 part” character (e.g. 寫) = first 3 & last (radical).

“2 parts” character (e.g. 唔龍) = first & last, first 2 & last.

“3 parts” character (e.g. 難) = first & last, first & last, last.

e.g. 寫 ↓

With radicals 宀，丿，臼 (first 3) and 灬 (last).

Corresponding keys: 十，竹，難 and 火。

寫 → 写 ↓

With radicals 冖，卜，㇆ (first 3)，一 (last).

Corresponding keys：月，卜，尸 and 一。

e.g. 龍 ↓

With radicals 亠，月 (first & last), 卜，コ (first 2)，ヒ (last).

Corresponding keys: 卜，月，卜，尸，and 心。

龍 → 龙 ↓ (Simplified 龍 → 龙，a “1 part” character)

With radicals 丶，ナ，ヒ (first 3).

Corresponding keys: 戈，大，and 心。

e.g. 難 ↓

With radicals 廿，人 (first & last)，亻(first & last)，土 (last).

Corresponding keys: 廿，人，人 and 土。

難 → 难 ↓

With radicals ヌ (first & last)，亻(first & last)，土 (last).

Corresponding keys: 水，人，and 土。

Occasionally, you may get a character that looks like a “2 parts” but is actually a “3 parts”. ↓

e.g. 唔 ↓

With radicals 口 (first & last)，一，一 (first & last)，口 (last).

Corresponding keys: 口，一，一 and 口。

Or looks like a “1 part” but really a “3 parts”. ↓

e.g. 奪 ↓

With radicals 大 (first & last)，亻，土 (first & last)，丶 (last).

Corresponding keys: 大，人，土，and 戈。

奪 → 夺 ↓(Simplified 奪 → 夺，a “1 part” character)

With radicals 大，寸 (first 3; the 丶 is the 3rd component).

Corresponding keys: 大，木，and 戈。

But these are exceptions, and don't occur that often.

And you can start practising!

You can try out this pretty good app called 『五色學倉頡』 (learning Cāngjié with 5 colours), for practise. It's on Playstore, just search for “Cangjie Dictionary” and it should show up.

You have to pay to unlock higher levels, unfortunately. ↓

Anyway, each character comes with colour coded hints and you can opt to turn them off if you like more of a challenge. There are also hints (提示) and the chart (字根表) to refer to if you're really stuck. Also has a dictionary component (查字典) to check out the Cāngjié input for characters.

Another option would be a website called HKCards. ↓

You can use it to check the Cāngjié input for any 漢字/汉字, and there's section for practise (倉頡輸入法練習) as well. After inputting your answer with Cāngjié keys (手田水口廿卜), you can click on the “Answer” (答案) button to see how right or wrong your answers were. ↓

There are 8 characters each time, and you can just hit “Practise Again” (再做練習) to refresh for another 8 to practise with. I've yet to hit a limit.

Unfortunately, this website has lots of ads popping up. And it only supports searching in Traditional characters (Cāngjié was initially catered more for Traditional).

Or you can just try practising randomly with a Cāngjié keyboard and check for mistakes with a Cāngjié dictionary (『五色學倉頡』 app's dictionary comes in really useful here — it appears to support searching in Simplified too).

TL;DR

Cāngjié could be useful (and fun) to know if your 漢字/汉字 knowledge is already adequate, and/or you just like a new challenge.

And if watching videos is more your thing, here's a really helpful YouTube tutorial on how to use Cāngjié (has English subs)!

[lavend-ler]

BORDERLANDS: DEBT OR ALIVE BOOK REVIEW

I have read the new Borderlands book Debt Or Alive. I did not like it. In fact, I hated it so much I needed to pour out my thoughts in this review. It’ll be very long, so bear this in mind while reading through it because it’s been a while since a piece of media has made me this angry.

There will be spoilers to ALL of the book so you’ve been warned. I am going to analyze this book very thoroughly so everything that can be spoiled will be spoiled.

TL;DR – I hated this book. I accept Borderlands 3, I think it’s fine and I really like aspects of it. I wasn’t enthusiastic about New Tales From The Borderlands but in the end, I thought it was fine. But Debt Or Alive? It’s probably the only piece of Borderlands media that I won’t consider canon from this point forward. Half-assed story with shallow characters and ham-fisted message which retroactively ruins the events of the game(s). Don’t buy it, don’t waste your time on this just to see the worst version of characters you love.

A more detailed review will be under the cut. It’s over 10k long.

1. Tales From The Borderlands made even worse

I have a complicated relationship with Tales From The Borderlands. I think my best friend had put it in the best way – Tales From The Borderlands is good when you don’t think about it for too long. For me, it’s a fun game to play once every 4 years, remember the story and move on. The more you think about it, the more apparent the cracks get and the worse it becomes.

Debt Or Alive REALLY makes you think about Tales From The Borderlands in the worst way possible.

I have always thought that Fiona’s part of the story is weaker than Rhys’. It’s told in a way that sort of meanders until it’s reached its conclusion. The first sin Debt Or Alive commits is that the ending of Tales is its beginning. What should be the conclusion, the nice ribbon to tie the story is now the jumping off point. In my opinion, it’s always a terrible narrative decision to make your sequel start where the story left off. It always implies the fact that your conclusion is meaningless and that your characters didn’t learn anything. To write a new story, you need more challenges which also means that characters need new struggles. In Debt Or Alive’s case, it means that everything that happened in Tales isn’t worth a thing.

To me, nothing was more apparent of it here than the Vault scene. The Vault of the Traveler grants a wish to everyone who steps there. The Vault should be the conclusion to what we know of the characters and sort of “off screen” this happens to Rhys. We see Fiona hear that Rhys wishes for Atlas and that’s the end of his story in Tales. Though I will touch upon why I didn’t like this later, it does make narrative sense, he was supposed to be more independent and choose his own path instead of following others. It’s a ribbon that ties to his character in Borderlands 3 and New Tales From The Borderlands.

Then it’s time for Fiona and… Oh, yeah. What would SHE wish for? Throughout Tales, we see Fiona evolve as a character from the ragged con-artist who wishes to just go by, to the independent and certain Vault Hunter. Or do we? Yes, there is a moment in which Sasha dies which would be traumatic for Fiona but she’s from Pandora. She should know the dangers of living and instead, she should be happy that she came back as the hero. In the ending of Tales, we can hear Fiona say “This [Vault hunting] life…suits me” so she already reconciled the danger and in fact, she welcomes it. But to make this half-assed story be a thing, we have to disregard this entirely.

So in the Vault, Fiona is given a chance to wish for anything she wants. What does she wish for? Nothing, actually. Presented with an opportunity of a lifetime, Fiona has no idea what to wish for. I can’t even begin to tell you how bad of either an opener or an ending this is for her character. For an opener, we have a protagonist who doesn’t know what she wants and where she needs to go. Sure, it’s a start for an arc but not for Fiona who already DID have it. It’s an arc she had earned, so why would she have a restart and go through this all over again? And as an ending, it’s a terrible reminder that Fiona probably didn’t learn a thing. The time in the Vault was for nothing, Athena didn’t teach her anything. Burch doesn’t know his character well enough to think of anything for her to wish for.

Hence the whole journey moving forward truly is just a bad rehash. If Fiona didn’t learn a thing about herself and needs to do it again but worse, what’s the point of this story? To see her come to the same conclusion as she did at the end of Tales but worse? The answer is yes. As this story suggests Fiona is a protagonist who doesn’t know what to do with her life and just wants to protect her sister and that’s all. Which is the exact same point her character was at, at the beginning of Tales.

Actually, why did the Vault have to grant wishes, anyway? It doesn’t make sense for neither Fiona nor Rhys and even later, Gaige cements that this didn’t have to be the case. Part of the charm which Tales From The Borderlands brought was the story of everyday people. This wasn’t a story of glorious Vault Hunters with great stamina and luck, who chose the adventure for the guns and glory. This was a story of a middle manager and a con artist, two unremarkable people who were basically forced onto this adventure from outside forces and because of their will became heroes of their own stories. It’s a story of normal people who have made their own self-made destiny.

Debt Or Alive, of course, scoffs at this idea. Rhys’ Vault wish for Atlas makes no sense as he already has Atlas and already probably works under this trademark. It doesn’t mean a thing that he wishes for the whole legal action thing, when his character progression to have Atlas from Jack would be so good. But no, it’s cosmic power that grants him that wish fully. Fiona too, she was supposed to be a self-made Vault Hunter but in the end (or the beginning), she rejects this and doesn’t know what to wish for. Just an absolutely horrible way of planning out her character. No one wants a passive character and this is what this story makes Fiona to be – a bystander, rather than an igniter.

I also want to point out that the events of Tales and characters she meets are truly nothing but cameos. A big part of Fiona’s story was gaining independence when her father figure Felix turned out to be a snake who sold them out. Within Tales, it’s very clear that Felix was abusive towards Fiona and Sasha, forcing them into roles they didn’t want, favoring Fiona and making them live such a strict life, they thought it was the best they could get. Of course, none of this is ever touched upon in Debt Or Alive. It’s never mentioned that Fiona is an abuse survivor and how it would shape her as a person with her protectiveness and willingness to give up greatness for simply “good enough”, and being held to impossible standards. There are also barely any mentions of Athena and their time together. At no point does Fiona use tactics she had learnt from Athena or recounts their time. Those are passive mentions which make Fiona look like she didn’t learn a thing.

My own ribbon that ties this section will be the funniest thing that for me exposes how much Tales is made worse. Tales From The Borderlands is a game in which choices DO NOT matter. There are no consequences and each choice will yield the same outcome. Again, it’s just meaningless and it’s so funny to me that this book wants to wink at the audience becoming a “choose your own adventure” book in two sections, which both lead to the same result. It truly does not mean a thing.

2. Anthony Burch cannot write women and Fiona’s character assassination

Anthony Burch cannot write women. This is a fact that I wanna point out every single time I can because it was never more apparent to me than in this book. Let’s start with women in Borderlands and the stories which he had written for them. Maya has a good theme but falls flat when she’s only an object for Kreig to lust over. Nisha is Burch’s sexual fantasies coming true in a gross way. Athena in Tales is made only stone cold, no-fun character who is a liar to someone who loves. Janey in Tales is made to be an overbearing girlfriend trope but it’s progressive because she’s a lesbian. Vallory is a collection of tropes. So on and so forth.

Hence right from the beginning, I was very skeptical of a book by Burch which will have the most female-driven cast in all of Borderlands. My skepticism was proved not only to be right but also that it was much worse than I had realized. Because I haven’t even shown you the issues of Fiona and Sasha and trust me, there are some even in Tales. However from Tales I could very easily tell you what character traits Fiona and Sasha have and what differentiated them.

Fiona, as described in Tales promotional material is a con-artist with a heart of gold. She has been raised on streets, she loves money and she has a silver tongue to get out of every situation she’s in. Fiona also cares about those she loves a lot, as an older sister she can get overbearing but her situation in life made her realize that it’s justifiable. She can also be a nerd, she’s curious and fun, likes to joke around. Sasha is a character who loves danger far more than Fiona. She likes guns and has great knowledge of them, she’s more a doer than a talker. Sasha doesn’t want the con life and longs for something tangible, rather than just be a prize in the books. She also has an inferiority complex, due to Felix’ abuse which she masks with her forwardness and action personality. She shines through when she can do things she loves, becoming headstrong, honest and independent.

Do you really think we’ll get any of this in this book?

The answer is no and it’s very easy to tell it right from the start. I know I keep getting back to the Vault scene but trust me, this is the culprit from which I knew this book will be a failure. In this scene, Fiona doesn’t know what to wish for, so she “wishes” that Sasha was there. This wish is granted and it’s now both sisters in the Vault. From this you can see the issue – this book does not treat Fiona and Sasha as separate characters. They ALWAYS have to be together, always mention each other, they’re basically never given a room to breathe because whenever a scene calls for just Fiona or just Sasha, their internal monologue will keep mentioning the other.

I can’t even really make a case for either of the characters individually because this book itself makes such a bad case with them. I’ll give it my best shot because when these moments occur they are, well, bad. I’ll start with Sasha because I have less to say since the book itself had less to say about her too. There is a certain moment in which Sasha, being tired of Fiona’s carefulness, goes Vault hunting with Gaige. I was very happy at this, since I have shipped Sasha and Gaige before and I thought their personalities would mesh well. Yet, in this particular instance, Sasha isn’t enjoying anything regarding Vault hunting and the danger, while constantly thinking of Fiona. Why is that, why wouldn’t she be thrilled for the adventure and getting to know another person like Gaige more? They could bond and start a friendship but in the end, they barely talk and Sasha isn’t into it. Even guns don’t excite her that much. What happened to her?

I think even her reflections towards life after death are very much shallow and omitted. We get a sense of it, we get that Sasha is terrified that there’s nothing when she dies but we’re not given anything of it. I figured this would be her turning point, that Sasha will realize that if there’s nothing afterwards, it’s best to live her life to the fullest, going on adventures, not wasting chances. But nothing like this has happened. Sasha doesn’t enjoy Vault hunting, she shrugs at guns, she can’t have her own fulfillments, her relationship with Rhys is wishy-washy. You’d think that with sudden realization of death, Sasha would have a breaking point and start thinking if it’s all worth it and how her life should now be like. But that would require interesting philosophical questions that Burch doesn’t want to answer. Not when they lose the life-giving crystal, nor when Sasha dies a second time when she chooses to. It’d be such an interesting discussion of the meaning of life, how Sasha approaches life and what it all means to her but no. Not given any thought to this. At the end it’s not even unique to her as Fiona dies and is brought to life too so again, no point.

Another faucet to her character is the on and off relationship with Rhys and just… I was never a fan of shipping Sasha and Rhys together and this book reminded me of it in the worst possible way. Sasha is disinterested with Rhys’ world and they never mesh well together, having such different goals in life. She doesn’t even want to acknowledge their relationship, leaving Rhys to look like a sad wet sock (more on that later). It’s described how she’s used to acting a certain way and that’s fair, that’s a huge roadblock in a relationship. But we never see this roadblock get pushed. Sasha at the end of the book is still terrified of the potential relationship and doesn’t want this. We only learn that one time she calls him her boyfriend off screen, which is just such a cop out I can’t begin to describe it. I’m so sorry, Sasha, you deserve an actual relationship not just Burch’s fantasies.

So I move to the main character of the story, Fiona. And oh god, how badly has Burch treated Fiona, words cannot describe it but they will try. From the beginning, we see one of Fiona’s traits be amped up to 11 – her protectiveness which turns into overbearingness. Constantly, we are reminded that Sasha died and Fiona can’t forgive herself. Which is fair but again… We saw her happy and fulfilled at the end of Tales. But since Tales doesn’t matter and probably it’s better if it didn’t exist, it gets shrugged off. May I remind you, this book starts right as Tales ended. Which is a year later from the start. Which means Fiona is 30 and Sasha is 25. Their actions do not portray two characters of this age, especially Fiona’s towards Sasha’s.

Look, I’m 24 and I have a sister who’s 33, so close-ish range to them. If my sister would do the things that Fiona did to Sasha I would be pissed off as all hell because guess what, my adult sister does consider me an adult woman. Unlike apparently Fiona and Sasha. Because for Sasha’s “safety” Fiona puts her into a fucking jail on a planet they do not know, just towards her “safety”. Yes, it’s regarded as dumb and wrong in the book and that Fiona knows that Sasha would pull through but it’s just mind boggling to me that Fiona would even do that. She should know her sister. But then throughout the book we see Fiona acting like know all be all authority to her, constantly second guessing her actions and opinions and being completely overbearing. I’m sorry but her apology at the end doesn’t make it remotely okay to be so controlling of Sasha.

I guess that’s the point. In my opinion, this book is a character assassination for Fiona. People will whine and moan over how Rhys got ruined in Borderlands 3 and New Tales but no, I had and will always disagree with this. But Fiona in Debt Or Alive? Burch truly showed how he has no clue how to write female characters because she is completely ruined here. None of her actions make sense, neither do her choices, the little character she has is so unlikeable and I just can’t believe he thought it was all good.

The best way to show you how Fiona got ruined is to have a little overview of Fiona as a character before and her background. She is a Pandoran, born and “raised” there, through the life of crime and bribery. Her biological parents died, she only has Sasha with her. Thus she feels responsible for her and their wellbeing. Fiona also had Felix, a man who brought her and Sasha with him and raised them in a very abusive manner. Fiona all her life had lived in poverty, struggling to get by with her cons, constantly having Felix make her think she’s responsible for the failures or successes of the group all on her own. She lived in a caravan, she barely had any money to her name. She’s no stranger to the climate and cruelty of Pandora, having lived there all her life, though she herself prefers the “word” combat.

Got it? Well, now forget it because that’s what Burch did in his book.

I know that wealth can change people, I really do and the sum of money Fiona and Sasha received is enormous. What I don’t understand is that they both did a complete 180 on their perspectives. I do realize that living in poverty all their life, Fiona would start spending money on dumb things but to hammer home this fact, Burch tries really hard to show us how dumb some of the purchases are. But would she really act like this in this setting? First, it’s hard for me to believe that she would willingly move to Eden-5, seeing the corrupted system and life in which it operates. It’s just Pandora but with chrome paint on it. Yet, Fiona doesn’t see red flags and just continues on living, buying dumb shit. We don’t learn anything new about her through this either, it’s just a dumb thing after dumb thing. Why couldn’t it start with things that she really wanted and then move on to unnecessary things? I think it’s because Burch couldn’t even establish what her wishes would be from Pandoran times.

What also made me just want to throw this book away was that it took Fiona around 200 pages to realize that people who work for her are also bound by debt. It’s such a nearsighted thing, I cannot believe that she would do it. Especially since I think we’re led to believe that this book happened in the span of 4-5 years. For Fiona to be this bound by greed and wealth doesn’t fit her character at all. How could she just not see that people who work for her have been tortured by poverty? Up until this point, Fiona lived in poverty herself, she should KNOW that this is a thing people struggle with. Not to mention, in the book there are talks about how people have multiple debt cuffs on them. It’s unacceptable that Fiona wouldn’t care about those who were beneath her. And if she really did, do you think this makes her character any more likable? And do you think that her turn around is a moment of triumph when we’re led to believe she ignored those people for YEARS?

I think the story itself just makes you shrivel at one moment in particular. Fiona purchases a sapphire kitten, which shatters. Classic Borderlands humor, right? This moment truly disturbed me but not in a way that Burch wanted but for the implications. Fiona spends money on bullshit she doesn’t want just to have it. Who else spent money on unneeded bullshit just to show wealth? Handsome Jack. And when you’re comparing your hero to the most vile villain from the series, I don’t think it’s a good sign. Especially since in canon Handsome Jack loved and cared for Butt Stallion. Unlike Fiona.

Even the breaking point moment of Fiona, the destruction of Rustville, felt shallow. Reading this, I couldn’t help but to go back to the moment of Helios’ destruction in Tales. It was such an incredible moment for Rhys, seeing the destruction of a place that was close to him, death of people who he knew and respected. And seeing this “reprise” of sorts with Fiona just felt shallow. At this point, Fiona was in Rustville around 3 times if I can recall? She met people but didn’t form any meaningful relationships (because Burch doesn’t want either of the sisters to have meaningful relationships besides each other) or got to know anyone better. These were all one off interactions with random people. Unlike Rhys, it wasn’t Fiona’s choice to destroy Rustville. It was only an act that she maybe sort of allowed to happen but it was an action of one rich woman. Fiona had no agency in her actions, there was nothing she could’ve done to neither prevent it nor cause it. Thirdly, Fiona is a Pandoran. She should know the carnage, death and destruction, as it is ingrained in Pandora’s system and society. For her to act so devastated and shocked, it simply doesn’t make sense.

Another thing is that this story really dumbs Fiona down, to the points that I couldn’t comprehend how dumb she was. She goes alone to Tetanus Wilds, even if with Sasha she’d have more chances. Especially since she was going to Gaige’s stash and let’s be real – Sasha knows guns, Fiona does not. Fiona goes to destroy Rustville without any weapons and without any protection which of course results in her basically getting killed. Fiona takes a leap of faith thinking she’d die in the ditch but forgets that Deathtrap can fly and catch her. How would she forget if she was tinkering with him before? The same way she’d forget her weapons it seems.

I also wanted to mention how it always made sense to me that Fiona and Sasha would have a falling out in some part of the story, so both of the sisters would become independent and chase their own destinies. It would require Burch to stop thinking of them as a singular character, which does not happen. This part in particular made me especially angry. A skilled writer would make Fiona’s overbearingness and constant promises to be a start of Sasha realizing she needs to live her own life, Fiona as well. Anthony Burch is not a skilled writer so nothing of such happens.

Within Debt Or Alive we don’t learn anything new regarding neither Fiona nor Sasha. We are spoon fed information that we already know, seeing characters we love either devolve to their pre-Tales state or make terrible, nonsensical decisions. There are no moments in which  either of the sisters can breathe on their own. They are thrown into situations where something just has to happen. Thus, we don’t learn anything about them as people.

I also want to point out that the writing of Gaige is fine. I’ll talk more about this later but she truly was fine and I didn’t see issues with how her character was carried. Granted, I think it’s very hard to screw up writing Gaige but it’s Burch, he can do it all. I’m still sad that she’s a lonely outcast like in Borderlands 3 but in general, I didn’t have issues with either her writing or the story.

3. There will never be another Handsome Jack and the death of a good villain

Some of you have already started to roll your eyes at the mention of Handsome Jack but trust me, I have a point here to make. Whenever you hear people talk about Handsome Jack a special kind of sentence emerges – a villain you love to hate. I think this sentence is a great guide to creating your villain so that they’re impactful, fit the story, be likable enough to want to be with them but you’re happy when you get to kill them. And nothing made me feel like it’s a craft long gone than reading Debt Or Alive.

Countess Holloway is a nothing villain. She truly doesn’t represent anything and I can’t tell you anything of what she is as a person. Actually, it can boil down to one sentence – she’s rich and she’s evil. That’s all there is to her character but I guess it goes to show that even then, Burch cannot write women.

Going a little deeper, we gotta discuss the parts that make a good villain. I’m sorry for the comparisons to Handsome Jack but we really need to talk about what makes him great and what makes Holloway shallow.

On the surface level, the points are there. A villain needs to be connected to your heroes in a specific way, having an impact on their lives. Holloway does meet that quota, as she’s not only the motor for this story but also is actually the reason why Fiona and Sasha got rich in the first place. She is a vain person, who loves to live for shallow things and doesn’t care about the rest. From this point of view, we could think that Holloway serves as a reminder to Fiona and Sasha of “be careful who you can become” but neither of them have this revelation. Throughout the story, Fiona and Sasha basically do turn into Holloway, yet nothing of it is neither stated nor explored. It’s not a revelation that characters have, it’s what we think when we connect the dots.

When we start to think more, it all begins to fall apart. The key thing that lacks here is motivation. Looking back at Handsome Jack, it was clear how his goals were stated – he was a nobody who became somebody by his charisma and cunning ways. Now he projects his awful world views on others and it’s your job to stop him. There’s also the fact that his daughter Angel works for him and killing her for Jack is the breaking point. You see him be cruel, vain and abusive but you see his more “human” side that does not excuse his actions (I am looking away from Tales) but makes you understand how much of a terrible person he is and how he deserves to die. It’s effective and fantastic storytelling and his personality makes you want to be around him, even if he’s an awful person who deserves to die.

Let’s go back to Holloway and examine her as I described the traits of a good villain via Jack. Holloway’s motivation is that 7 years ago Gaige murdered her daughter Marcie and now she wants revenge on her. This is already a problem, as this is a passive goal. Holloway is presented as an arrogant woman who doesn’t like to get her hands dirty, hence she can’t kill Gaige on her own. Understandable but also she doesn’t seem very interested in it anyway? She wants to kill Gaige but passively. There’s a bounty on Gaige but Holloway doesn’t have a squad to look after her. Wouldn’t it be more interesting if Holloway had people looking for Gaige and when they die she swiftly replaces them with another one? It would be active but instead we’re presented this information as “well, maybe Gaige dies or maybe she doesn’t, idk, it’s alright either way”.

Another point is that Holloway is a very shallow character. In general, yes but in her actions too. What do we really know about her? She is rich, vain, vengeful, powerful and likes to spend money on frivolous things. Sure but that’s so basic you could tell this about so many other villains it wouldn’t make a difference. There is nothing in her nor in her behavior that would be an indicator of any interesting persona or character. Holloway just exists and we’re told that she’s evil. Wonderful character writing, gotta say.

We’re introduced to Countess Holloway in a way that she is the potential buyer of the Typhon DeLeon Vaultlander figure. Why would she want this? We’re not told nor shown. Thinking of it logically, we could say that it’s supposed to show us that Holloway likes to spend money on whatever bullshit she wants, which is fair. But wouldn’t it make it more sense if after the death of her child, Holloway became obsessed with Vault Hunters, knowing the murderer of her child became one? How did she start researching stories of Vault Hunters and think about how much she hates them, which would lead to her gaining knowledge? This way, Holloway could’ve been prepared for the attacks of Vault Hunters and Vault Hunter wannabes, since she would predict it all. Or even set a lure with a promise of amazing loot. Nothing like this happens.

Even the death of Marcie isn’t exactly a driving point to Holloway. When Angel dies in Borderlands 2, you see the impact it has on Handsome Jack. You know he’s an abusive parent yet even within this, he still acts as sort of father of the year type and constantly manipulates you, saying this is your fault. For Holloway, it seemed that the death of her child just happened and yeah, she’s pissed but you know, things happen. She doesn’t mention who Marcie was, even in her shallow understanding of it. It could’ve made a very interesting character bit where she would tell lies about Marcie, as she was more of a commodity to and of Holloway than anything else. Instead, Marcie’s death isn’t really a drive for Holloway, it’s just a thing that happened and she’s kinda bummed about this.

Is Holloway an imposing force, a ticking clock of sorts? No, she is not. We’re told that during all their stay on Eden-5 (again, around 4 or 5 years), Fiona and Sasha are neighbors with Holloway and nothing is done with it. They’re not anxious that she could strike at any moment or that she could catch Gaige. They don’t care about Gaige actually. That’s why Holloway makes a very poor villain in the imposing sense. There’s no impact of hers and her power felt throughout the book, when Fiona and Sasha can happily live next to her and nothing happens.

The only interesting display of her power is during the gala at Fiona and Sasha’s place, where Holloway shows that she can very easily change the whole Elite’s perspectives regarding the sisters. Yes, it’s a good moment for Holloway but it also truly makes me think how shallow she is as a character. First, the fact that Fiona fell for the Claptrap Vaultlander is another testament of how dumbed down she was. Burch, you made a whole joke about how Claptrap sucks at the beginning and how Fiona hates him, the least you could do was to think that she’d immediately throw this away (especially since you’ve established that Fiona is frivolous with her possessions now).

Second, it’s such a bait and switch moment for Holloway and the whole Elite. I get what it was trying to accomplish, it was for us to see that the Elites are stupid and will follow anyone as it goes. But wouldn’t it be better that out of her hatred for Fiona and Sasha she would work behind the scenes, telling other Elites how they are just stupid Pandorans who can’t achieve anything? It could’ve been a carefully plotted plan with instances that the blackmail was happening hinted at throughout the story but that would require the time when Fiona and Sasha spent on Eden-5 to mean something (it does not) and Holloway to have an ounce of personality and planning skills (she does not).

Another thing that Holloway for me lacks is the backstory. To create a good villain you must make us believe that they had a reason to do all that so we can hate them even more. I think in general, Borderlands does a great job with this, with Knoxx, Handsome Jack, of course, Colonel Zarpedon and the twins. But Holloway? We do not know anything about Holloway’s life. It was probably done so the billionaire character is just a shallow representation of this world but it makes for a very boring and one note character. We don’t know how she got this money, if she lived all her life like this and hates outsiders who she thinks are unworthy of this. Or is it a thing she got later in life thus is so cutthroat about this because she doesn’t wanna go back to poverty. No, you just get a one note shallow villain with no motivation and nothing to play off of.

Even her death is such a nothing death too. Throughout the book we see everyone trying to get at her and eliminate her and not succeed. It’s why Gaige is here, it’s a whole moral dilemma for Fiona and Sasha to grasp upon. As much as Holloway is baiting them to do this but calling them cowards and the sisters just lamenting over how they should’ve done this, you’d think Holloway would get her way. Possibly being quite literally torn to shreds by the sisters, Gaige and the poor people of Eden-5. I mean, it’s Borderlands, deaths like these could happen! But no, she just falls to her death. Even Gaige didn’t deserve to get a shot at her, it seems.

4. The themes of why all billionaires deserve to die or lack therefore of

In a now deleted tweet, Anthony Burch describes Debt Or Alive as a book about how “all billionaires deserve to die”. Why he had deleted this, I have no idea and I’m not here to speculate. However, I did not forget this tweet and throughout reading Debt Or Alive I kept reminding myself of itt. It should be the credo of this book, right? Or at least it once was. That is why, I wanted to simply sit down and speculate, what does this tweet actually mean for the themes of this book.

(This screen isn’t mine, I didn’t get to screenshot it when it was up)

I am a leftist, my politics are very much so on the left. My expertise lies in environmental issues and I know less about socio-economics but it’s fine because it seems that Anthony Burch himself doesn’t know much about this. Hence while reading Debt Or Alive, I asked myself the same question over and over. Let’s say I’m a person who likes Borderlands, likes Fiona and Sasha, isn’t too involved in politics and now I read Debt Or Alive – will this book convince me to learn more of the theory or think that all billionaires should die? In a way yes but in none of the right meaning of such speculations.

On the planet of Eden-5, it seems that life is determined by money and social status. Even the smallest crimes (or rather inconveniences towards the wealthy) will result in you getting a debt cuff. The imagery is already very ham-fisted but let’s go forward with this idea. What are the debt cuffs? I can’t really tell you how they work. While reading I couldn’t have deduced how exactly they operate with that premise. 

First thing is that a person can have multiple debt cuffs but it is never specified if the cuffs ever reach their limit in amount of money on it. As we see Fiona and Sasha get their cuffs and then we learnt you can get multiple, it truly got me thinking – how is that possible? How is it possible to get another, if the screens are digital (and they are described to be digital) how can they reach the limit and be forced to get another? In a highly technological society like Borderlands, nonetheless? How are the body parts chosen for this process? Fiona gets one on her ankle (I think, either this or arm, I forgot) but Sasha gets one on her neck. There are people who have so many cuffs they can’t walk anymore. How can they have so many?

Truth be told, we won’t learn anything about the cuffs or how people operate with them. We simply know they are very common and every citizen of Rustville is described to wear one. Even children, in an incredibly not subtle way, are described to wear “debt cuffs 4 kidz!”. We’re told the cuffs are very heavy but people live with them. We won’t learn who manufactures them, who is in charge of the law to give them away. We’re not even told about the ones who have paid their debt without help from Fiona and Sasha.

The moment when the book takes us to debt prison and the guard says there are some prisoners who can’t even walk because of their cuffs, I realized what these truly were. The cuffs were nothing but the least subtle visualization for us for the statuses of Eden-5 citizens. A literal ball and chain to be exact. For me it just serves as a very ham-fisted metaphor for what could’ve been an interesting concept. We could’ve seen someone pay up their debt but the cuff stays on because the Elites don’t want anyone to be free. We could’ve seen Elites wearing some as a “fashion statement”, mocking the suffering of the lower class. We could’ve seen an Elite who has an actual debt cuff and can’t pay it away, resulting in them hiding it from others. We could’ve had anything but the complete disregard Fiona and Sasha had for their workers and not realizing all of them wear at least one.

For all it’s worth, the book has a very black and white approach towards wealth and money, one that is very unusual for Borderlands. Though we get the usual for Borderlands “everyone is an asshole”, we have such a divide between Rusters and the Elites, it’s hard to mistake it for anything else. Because of this, world building suffers with this incredibly. There are only the poorest people around or the richest people around. There is no nuance or a conversation, there is either this or that. Even Gaige doesn’t offer any insider information towards it, even if she was born and raised there. Nowhere does her very outspoken politics mention the structures and Elites of Eden-5 which she should be completely against. And the fact that she knew Marcie and that she doesn’t wear any debt cuffs that are omnipresent on Eden-5 and the fact that Elites don’t want anything to do with Rusters makes me wonder – is Gaige actually rich? Because everything shows this, and if so, great work, Burch on creating a character whose identity is all over the place.

That was my big issue with showing the problems of wealth and social structures it creates. With no middle class, the conversation lacks another point of view. There are either the wealthiest around or the completely poorest lowest class imaginable. With getting rid of the middle, Burch fails to show us how daily life operates and robs us of the potential conversation. Where are the people who chase wealth and fortune? Where are those who would betray their whole class just to have that taste of top dog life? The only thing we are offered in this conversation are Face and Pick (you don’t have to know anything about them), who want to give Fiona and Sasha away for Holloway, just for the money. But that’s treated as a plot twist, rather than an actual plot point and the siblings already paralleled Fiona and Sasha, so there’s no conversation, just a very shallow shock.

Another point is how the Elites are presented to us. The Elites are the villains, of course and just like billionaires in real life, they aren’t good people. It’s more of how they are presented to us or lack of such presentation. Debt Or Alive doesn’t show us insides to the minds of the Elites because frankly, they don’t have any. I do understand that Burch wanted to show that these are stupid, cruel people, I get it, but even in real life, billionaires are stupid but not necessarily unintelligent.

In the book, we don’t see much of Elites, actually. We see them on the gala Fiona constructed and on Holloway’s gala at the end. At first, they are mindless people who cannot think for themselves. They’re either doing what Fiona wants or what Holloway wants. Secondly, they are quite literally used as meat shields for our heroes to hide behind. So in all senses, they have no personalities, either as a group or individuals. I think the biggest crime is that even in their rich years, Fiona and Sasha don’t interact with the Elites. We could see them be cruel to the lower class citizens, purposefully making them do things that would rank up their debt. We could see them spending money on idiotic things which Fiona and Sasha would point out as dumb. We could even have descriptions of Holloway’s house that are garish and grotesque because she has so much money, she doesn’t know how to spend it anymore.

Truly, the only billionaires whose mind we can read are actually Fiona and Sasha. But for this kind of story, you need a strawman, which is absent. I genuinely thought that Gaige could become their strawman but their relationship is so shallow and so one note I quickly realized it’s impossible. In stories like this, usually when the protagonists become rich and get to make stupid, meaningless purchases, there are already signs that something like this is bad. And though there are plenty of moments in which the girls make stupid choices over their greed, it takes them so damn long to wake up from that dream.

There’s also no critique of overconsumption or consumerism in general. It should be an easy task, regarding how Fiona and Sasha spend their money but though we never see the effects on them, for example throwing away new things or we don’t see the workers (besides that one lady) in such conditions. It’s all a very interesting subject that is brushed away at rich ladies’ boredom. Though we are told that these purchases are stupid, we aren’t given an answer to what they should do instead. And the only point of activism Fiona and Sasha do is to finally free the workers from cuffs. Took them long enough.

I simply can’t understand why this plot even had to involve the sisters, since it truly makes them worse by association. All throughout Tales we hear that Fiona and Sasha hate Hyperion and don’t want anything to do with Rhys. It’s a fair assessment, they’re Pandoran and Hyperion destroyed Pandora as they knew it and is personification of greed. So… Why were they so eager to live a rich and boring life? Was their issue only with Hyperion? Even more so, why were they so hateful regarding Hyperions? For all we know, Rhys is just a simple white collar worker who also gets screwed over by the system, yet they hate him for being part of the system even when it’s to also get by. Reading this story, I had a feeling that Fiona and Sasha simply hated Rhys for being a white collar worker and they had no problems with greed and destruction of lives via riches.

The story also really doesn’t want to take sides in this whole debacle. Fiona and Sasha lose all their money and want to start a revolution, killing all the Elites. This thought isn’t given any time to sink in or develop. At some point, the sisters realize no, we shouldn’t kill the Elites because that is how we’re gonna liberate the people, with their money. But then Gaige tells them they’re wrong? It’s very all over the place and the story really doesn’t want to take sides in this. 

That does make me think, what kind of impact will this story even have on both Fiona and Sasha? All in all, it seemed that they didn’t learn anything. They have to be on the run because the Elites want them dead but also they’re still into the riches and spoils of the Vault. Since Rhys is rich now, wouldn’t they not want to associate with him? Or are we gonna play the “not all rich people” card? I love Rhys and I actually like fictional rich people. But while writing a story like this, you have to stick with your principals and make them call out Rhys’ practices, not side with him because he’s one of the good guys. You can’t lead a revolution and then make puppy eyes towards a rich capitalist.

I have left out the discussion of race, because I am white and I feel like this isn’t my place to be talking about this. Don’t listen to me regarding this, listen to people of color. I want to, however, point out that Burch stayed within the racial ambiguity of Fiona and Sasha and their racial identity is not spoken of, while we learn the ethnic identities of two white characters (Gaige and Felix). Not to mention that I can criticize that having two women of color be painted as rich assholes and drawing parallels between Fiona and Handsome Jack who is in canon called a fascist is incredibly insensitive. And within the revolution literally having them be called out on being “outsiders who want to lead revolution that isn’t theirs and they talk over the native people” is so bad I can’t believe Burch thought of this. 

All in all, would this book convince me that all billionaires should die? With its heavy-handed metaphors and subtlety equal to a trainwreck, I truly don’t think it would. It’s a mess of themes and missed chances on having actually said something regarding the fact that billionaires should not exist and that they are vapid people who can’t look out for others. The story is just complicated when those people you criticize are also your protagonists, like Fiona and Sasha here.

We could’ve had interesting stories of class struggle and differences. The Elites could’ve been destroying the land, long before that laser hit Rustville. Destruction of land and resources for people to live is one of the oppression strategies real life rich people do. And just like the environmental issues won’t be solved with only everyday people making a change, it doesn’t mean we shouldn’t try to make things better. Write better stories with better themes. Maybe it’s just a tie-in novel for a game from 10 years ago but it could’ve said something instead of giving us a caricature of a rich person who spends money on little whale serving dishes.

See how I mentioned my passion for environmental issues at the beginning and it came back here? Set up and pay off. Something this book lacks.

5. Writing not just a better story but A Story in general

I am a writer. Sure, I write fanfiction but that doesn’t disqualify what I’m about to say. Not everyone is a showrunner, you need screenwriters too. What is this book if not officially commissioned fanfiction regarding Fiona and Sasha? When I myself am writing a story to explore, I always ask myself what is my theme, what am I building towards. Every story is fundamentally about change, right? That was why, when I stopped asking myself if I think all billionaires should die, I started asking myself – what did I gain from reading this story? What did the characters gain from this story being told? The answer is actually nothing.

Some of you probably had thought “this is just a tie-in novel to the games, it’s not supposed to be high art” and I agree with this but it is supposed to be art, no matter what. You could’ve said the same thing about the original Tales From The Borderlands, it’s nothing but an addendum to the main stories within the Borderlands. Yet, it moved a lot of people, inspired them, wanted them to create and follow the stories of these characters. For years, I’ve seen people longing for a story of Fiona and Sasha post Tales and this is what we get. Maybe in this regard Debt Or Alive is a high art, since it’s been making me nothing but angry these past couple of days. Or maybe it truly is a nothing piece of art, since at the end of the day, the feelings are just of shallowness.

Coming back to the fact that every story needs change to be worthwhile, I mean it even in the smallest of sense. It doesn’t have to be a huge change, but there has to be one no matter what. After I read Debt Or Alive I realized there was completely no change involved in the process. We start this book with Fiona and Sasha not knowing where they are in life and at the end, they decide to be Vault Hunters. You can say it is a substantial change but think about it like this – it’s the same kind of character arc they’ve had in the original Tales From The Borderlands.

Nothing had changed, they’re still at the same point they were almost 10 years ago when we finished episode 5. What Burch does is a classic shitty storytelling technique of the sequel that is just forgetting everything that had happened before and rehashing the character arc from the first one, just worse. Fiona goes from a self-reassured con-artist to a confident Vault Hunter. Sasha goes from a closed off younger sister to someone with agency. Those are the same kinds of stories we’ve already been told but when there’s no one to bounce off of, you realize that the sisters didn’t need this journey to realize it, they just needed to think for 15 minutes.

There’s also no change to the dynamics between Fiona and Sasha, and every attempt at it is shallow and pointless. At the beginning, we see Fiona being anxious that Sasha literally died before her eyes. Fiona is basically patronizing, Sasha goes Vault hunting but dislikes this, goes back and they make up. There’s no sense of change between them or maturity. I’ve already discussed the sense that their “class consciousness” is meaningless when they at the beginning were lower class. But even between each other, it’s the same song and dance. Fiona is a little overprotective, Sasha wants to show that she’s not just the younger sister. I’ve seen this already, Burch, you’ve told me this in Tales.

It doesn’t help that Fiona and Sasha really are treated constantly as the same entity, so their “changes” just don’t appear. They’re bound by the hip, unable to grow because of their limitations of the relationship. It’s too bad that a story about siblings has to treat them like they can’t exist without each other, when it could be an interesting story about independence. What if Sasha decides that Vault hunting is for her and actually goes away with Gaige? What if Fiona realizes that she’s been too caught up in her sister’s life that she forgot how to live her own? Those are all interesting questions that get tossed off the window, when you realize you have to do Tales but worse.

Just like that, the sisters can’t form any meaningful relationship. Not with the cardboard cutouts of the supporting cast, not with Gaige, there really is nothing. Fiona and Sasha don’t interact with their environment in an interesting way, it’s just a ham-fisted need to show that rich people are bad. Yes, I know they’re bad, I just want to see them discover it on their own. But we get nothing.

You can also argue that Sasha’s story regarding Rhys is just a rehash. As I’ve said, I was never a fan of this couple but I can’t imagine being satisfied with a solution that Burch brings to the table. Through the story, we see Sasha denying her feelings, not being ready for a relationship until Fiona steps in and says “actually, you are or you’re not” and off-screen we see that Sasha decided on their relationship. It’s truly insulting to see the “will they, won’t they” scenario with adult people and solved not before us.

What you have to understand is that this period of life that we’re seeing, with Fiona and Sasha is not a brief period of time. Maybe Burch doesn’t want exact numbers but this is clear when you think about a certain fact – Rhys has a mustache. I’m bringing this up because in Borderlands 3, Lor is actually surprised to see him like this, which means that the Maliwan invasion is well on its way. Which Rhys doesn’t bring up, of course. But deducing from this single comment we can calculate that between the beginning of the book and the ending, 4 or 5 years had happened. That is a damn long time and the fact that during this Fiona and Sasha do not resolve anything, do not develop and only go forth with their very surface level resolution is just a slap in the face.

We finished when we had started – it’s just that Burch doesn’t want you to realize that we had started at the ending. And this itself has consequences that he doesn’t ever want to acknowledge.

6. Show me my silver lining

I think at this point it’s very clear to see that I very much so didn’t enjoy this book. It’s just that I can’t bring myself to give a fully negative review, when there is one thing that I have to actually compliment. That thing is the arc of Gaige and what she’s been through in this book.

How we see Gaige is an actual arc and change of the character. We start with her being petty and bitter, returning to her home planet of Eden-5 for revenge. She wants to kill Holloway for destroying her and especially for the fact that she had imprisoned her father. We see Gaige’s smarts play the role against Fiona and we actually see the unbeatable Vault Hunter lose. Her father died at the prison. She has to hide, plotting her revenge. At the opportunity to bring her father back with the life crystal, she takes it immediately. But when it fails, Gaige is avoidant and quiet. Not wanting to see that she had failed yet again.

What was a terrible point in Fiona’s characterization, the destruction of Rustville, is the moment where Gaige shines through. Being presented with a choice by Holloway, she actually altruistically chooses to get caught, so she won’t hurt anyone. Sure, Holloway doesn’t keep her promise but it’s what Gaige is doing what is important. Instead of her usual snarky demeanor, we see her give up, something she had never done on her own. And in prison we see her still fighting for her life, screaming at the top of her lungs, even if at that point both her father and Deathtrap are gone.

The one genuinely great moment was when at the gala, Gaige gets a chance to open up about her feelings to her ECHOtube (I think that was what it was called?) subscribers. She talks about her love for her dad and how much he meant to her. How she misses him but wants to avenge him and wants him to be proud of her. It’s a very powerful moment, in my opinion, the best in all of the book. Gaige, surrounding herself with cheap thrills and adventures, seeks something that is real and opens up. It’s a beautiful moment of humanity for her that is just lovely to see.

Why she decided to take up the job of a party planner, I have no idea. Even with her explanation it still didn’t mean much to me. Thinking of how sad and once more, avoidant and lonely she ends up in Borderlands 3 does make me feel regret but I wanna hold onto that moment. Of Gaige’s sass and positive spirit, the only thing that made me go through that book.

Also there was a moment in which Rhys admits that he had a voice surgery. Made me go “what the fuck” at first but then I kinda laughed. Nobody needed that but whatever. Also fuck Troy Baker, all my homies hate Troy Baker.

7. Lightning round of criticism

Having said all of that and more about this book, this little section is about criticisms I had but didn’t want to dedicate a whole section to them. It’s just a list of things that bothered me as hell there but that will be shorter to sum up:

-        The humor of this book was unbearable. After several of those “jokes” you could very easily predict how the next one would go. It’s one person making a statement, another person contradicting it and then the outcome is a contradiction or first person admitting to the contradiction. Imagine this dry explanation but repeated over and over again and you get at least 40% of the whole dialogue. I don’t think it’s a good thing when you can sum up your entire humor in a descriptions like this

-        The new side characters are so paper thin, I cannot tell you anything about them. I can guarantee that if you ask me who they are in a month or two, I simply won’t know. All of them were characterized by a gimmick and not given anything real to do. The sisters, too, don’t have interesting interactions with them. Side characters here exist for cheap scenes that sorta progress the bad plot. In the words of a streamer Oboeshoesgames “Katagawa Jr. What a crazy character. He’s almost as memorable as Chet Smith.”

-        The way this book handled Rhys is horrendous. Equated to the kicked puppy who desperately wants Sasha’s attention, constantly described as stupid and worthless and then acting like a teenager when he’s pushing 30. I don’t think Borderlands 3 ruined Rhys. I don’t think New Tales ruined Rhys. But this? This is the worst written Rhys I’ve seen in years

-        Speaking of, Burch trying his damn hardest to write as if he’s a gen z person throws out words that make him look like Steve Buscemi “how do you do fellow kids” moment. In one moment, he even calls Rhys a himbo. Burch, do you know what words even mean

-        The narration style suffers from “tell don’t show”. Look at this example, here. Not only is this just flat out bad writing, we don’t need to be told three different times how badly Holloway treats people. A good writer would just show it to us via her actions towards her staff and juxtapose it with how Fiona treats her staff but of course, none of this happens

-        Being a video game writer, Burch doesn’t know how to progress a story. For him, the more important things are side quests and instant gratifications, not real emotional bits. The story rushes to the next point and leaves no room for you to breathe. You can’t spend time with those characters, you can’t learn anything new because you have to do another thing

-        Maybe that’s just me but I hate the non descriptive narration style. The world of Eden-5 feels shallow and pointless because the sisters don’t explore it and we don’t get any descriptions of it. Those are just empty phrases of wealth and dirt and nothing else

-        Last but certainly not least, I gotta ask, what the hell was Burch thinking with making this healing watch be the same thing as the healing crystal from New Tales? I always hated the deus ex machina of the watch but here it just had gotten ridiculous. It makes no sense, it’s a contrived way to bring it together. How does it connect? We never know, it is never explored. Maybe in Borderlands 50 or something

8. Conclusion

I hated this book. I wish I could’ve said something more profound but sometimes being direct is better – I truly hated this book and I won’t consider this canon to the Borderlands storyline. You can take my word that the canon won’t acknowledge it either. It’s a shallow cash grab directed at people who love Fiona and Sasha, engineered to be as meaningless as it could be and not to say anything either about its themes or its characters. It’s not a character study. It’s not a jumping off point for meaningful class structures and struggles discussion. It’s not even a fun popcorn adventure for fans of the series. With huge letters stating that it was written by the writer of Borderlands 2, I think we gotta ask – maybe it’s time to stop relying on the past and have someone write a spectacular story on par and better than Borderlands 2? Just anyone but Anthony Burch. 

[batmanisagatewaydrug]

Jessie lying wetly encouraged me to actually work on my WIP instead of just daydreaming. I hope you keep working on it and having fun 👍. Unrelated, but how long would it take Jessie to get cancelled online/has that already happened? She has big 'tumblr deity for two weeks until people realize she's an actual person and get Tumblr about it' energy

wowwwww yay yay yay let's go writing energy 🔥 🔥 🔥

also wow love this question thank you. to my mind Jessie is EXTREMELY online frequently to her own detriment. she spends a Lot of time name searching herself and Jonas and Ricochet to see what people are saying about them and she will start snippy little fights with anybody over anything, especially right now when she's extra sad and just needs to feel something.

crucially she is Not doing that as Frostbite but as some random fan who just comes across as extremely obsessed. the only place where she publicly posts as Frostbite is on twitter (or whatever this universe's equivalent of twitter is, I do want to go through and scrub all the real social media names and replace them with cutesy alternatives eventually), where people do regularly get extremely extremely mad at her for both the actual crimes and for being a hot fat girl having fun. she actually doesn't get in fights much on that account because she keeps it very "in character" and Frostbite is Not supposed to care, but she does have like half a dozen rigorously maintained sock puppet accounts for harassing people who piss her off.

she is def on tumblr but I think that's pretty detached from her villain stuff, and I think she used it much less now than she did as a teenager; she probably dipped for a while around the porn ban but will still come back from time and time. she's into a lot of superhero RPF smut (NEVER about anyone she knows) that's extremely controversial so you Know she's getting in fights about that but she'll also throw down with people over, like, Ru Paul's drag race opinions.

most of her online activity these days is spent in the trenches of superhero reddit and like old school forums built by her reddit buddies, where nerds fight about various heroes and villains and try to figure out what their costumes are made of, how their powers work, who's hooking up with who, etc. Jessie's not out as Frostbite in any of those spaces; she's been active since she was a deeply obsessed teenager and only got more involved after she started supervillainy herself.

tl;dr she's not AS cancelled as you'd think but she is extremely extremely confrontational pretty much everywhere. Jessie hasn't realized it yet but she's kind of like a herding dog, by which I mean she's too smart for her own good and just starts destroying things when she's understimulated.

I hope this is like. a somewhat coherent answer.

[pokituu]

I’m so impressed with how many styles you have and that you use them regularly (realistic, semi realistic, 2d, and 2d, 3d & pixel animation)! How did you learn to balance this many and get so good in all of them?

THANK YOUUUU this compliment means so much to me because so often i feel so worried I will stagnate since I basically like to draw the same subject matter over and over again 😳 but I do like to periodically try new things that I'll become invested in for chunks of time.

i guess advice more than just 'practice' is to be willing to try out new things that you have an interest in, even if it doesn't work out at first and is frustrating. you gotta be persistent to learn something new BUT if you get bored then just move on! if it sucks hit da bricks.... I really like this bjork quote abt creativity

idk throughout my life in art i just try to learn about stuff i'm interested in and practice what i wanna practice. like i wanted to get good at pixeling when i was like 14 so i kept practicing and trying new ways to go about it until i started to figure it out. same with digital painting when i was 15 and i just kept trying again and again until it clicked, even though i was frustrated a lot, i never actually lost the interest when i saw people's pretty paintings and that feeling of 'man i wish i could do that!'.... so i literally couldn't stop myself from trying over and over at painting. it goes beyond just drawing too. planet earth is fun because ANYTHING u are interested in you can try........ i make fursuit heads and other crafts to see if i can! this year i started making my own songs and also learned leather-working because i saw a cool craft and wanted to try :3

part of it is letting yourself age too because as you get older you will grow interested in new things. i am 27!! i've been drawing since i could hold a pencil. that's a long time to encounter a lot of stuff to get obsessed about and wanna try out for myself. SUCCESS TIP!: i typically pursue things that are adjacent to other skills i already have invested in, like drawing to 3d sculpture to digital modeling, or start blending them like sculpture + coding skills = 3d animation rigging. The reason is because a lot of these skills are transferable and make it easier to pick up. like a skill tree in a video game... and you'll end up in weird places like sculpture to sewing to leathercraft. It's nice to have creative hobbies you can be sorta be mediocre at without attaching your self worth to it, but other people still often find it impressive anyways because it's stuff they've never tried to do. It's really healing and easier to like what you create And yourself by extension when you're just having fun and learning without having to worry about the end product being "good". Anything you try is not a waste because you are learning new skills and more often than not, something you've learned is transferable to some other area of your life!!!!!!!!! nothing is ever a waste of time.

this is also the secret cure to art block btw well actually there are two secret cures. a) is you have to embrace the art block and go get obsessed with some other creative thing for a bit. either that or b) go absorb other people's creativity to a bit and watch some shows and read books or talk to people. c) is a mix of both. eventually you'll return to art again feeling fresh and motivated if you're willing to give it a few months. I think art block really just means you're bored and need a change of scenery one way or another 🤔 that's just my onion though

TL;DR have fun pursuing things just because you like them. as you keep doing it you'll just get better at it through practice whether you really intend to or not.

[not-poignant]

Hi Pia

I have 2 separate questions that are unrelated but share a subject matter.

Would a woman omega or trans man omega who was infertile/sterile be allowed at Hillview?

And 2) Have you thought or would you ever write an mm pairing where one of them was a trans man?

I'm trans masc and I find it so hard to find good trans fics that deal with trauma recovery or aren't just pwp. And I love your writing so much that if you ever decided to write a transman fic I'd literally cry from happiness.

So, I was going to write a big long world-building response to this but instead I'm gonna take it back to something personal - you're asking me to consider worldbuilding for and writing for stuff I feel pretty dysphoric over in my personal life. I go out of my way to really, really avoid writing heterosexuality of any kind for a start, so I don't want to think about all the fringe cases where I can make heterosexuality possible at Hillview or the sister site. That's just...icky to me.

As for trans folk, being that I'm also transmasc, I'm mostly team 'if you want to see it happen you can write it happening. I have zero problems with that. But there's stuff I'm not writing about either for reasons relating to dysphoria, or for reasons relating to 'this is not actually why I enjoy writing in the first place.' This is why I don't do self-inserts, for example. I don't like seeing myself in my own stories, I prefer seeing myself represented in other stories.

So -> If other folks want to write it, they can! If they want to solve those worldbuilding issues, they absolutely can! If they want to write fic about it, I'm gonna set off a confetti cannon for them in celebration.

In terms of worldbuilding, the answer would just always be: It depends. If you want to find the fringe cases then sure, there would always be exceptions! But if there was any chance of fertility/pregnancy with their companion, then no. So it would absolutely need to be not just a hormonal transition (a lot of things can impact consistent hormonal uptake and I think omegaverse hormones in the Underline universe would actually impact them a lot too), but one that covered bottom surgery as well.

Is that like, a problem in honouring someone's gender? Absolutely!! The Underline universe isn't perfect. But preventing pregnancy is their biggest concern at Hillview and the sister site. I know in regular/standard ORFs, they only care about the fertility issue, and care about literally nothing else, and yes, that can be a huge issue re: trans folk. This world is a dystopia, it doesn't pretend to be anything else.

The fun thing about fanfiction, is that other people can erase all of that with a sweep, come up with some magical contraception, and just make it happen. :D

As a transmasc person myself, I have stuff I just don't like writing. Just like everyone else does. You are absolutely welcome and completely have my blessing to imagine whatever you like for Underline, to write it in fic, to daydream about it, to bend and change the rules that already exist or to make up new ones that don't exist yet, that work for a world you want to read about.

But for me...it just comes too close to 'if I have to change or figure out these things I also have to think about how to set up 'woman omega and man alpha' heterosexuality and I just don't want to.'

I'm so sorry anon. I'm going to circle this one under competing needs. Sometimes the thing another person needs to find gender affirmation, is the thing that will harm another person's experience of their own gender, even if that gender shares the same general name, even if that changes down the track. (This is how we get some trans people who hate genderbending in fic and say it's dysphoric, and other trans people who love it and say it's affirming. It's true for both, neither should impose their views on the other).

The TL;DR being: I write what I want to be writing. If I'm not writing it, and have never written it, it's because I don't want to write it. In the matter of heterosexuality: zero interest, I'll leave that for other folks. In the matter of being trans, dealing with my own gender stuff irl is already a nightmare that I don't want to have to write out a version of that again in fiction, because I can't live it twice, and I don't like writing fluffy stories.

[irelandseyeonmythology]

Hey, I know you focus more on Irish material than Welsh, but I was wondering if you knew any good books/articles about the mabinogion and its composition, especially the supposed influence of pre christian elements? I often see it brought out as clearly pagan mythology in circles I'm in, which from what I know is... problematic, but I never have enough context to challenge it much.

To be clear, no worries if not, but I figured I'd ask in case there's some edition or monograph that treated that heavily that you knew of.

I do! I don't do as much with Welsh, you're right, and I talk about it on here even less, but this is actually something that I am equipped to handle.

So, mandatory "if anyone who reads this worships, venerates, or otherwise has a connection to the figures I reference here, my job is NOT to dictate anyone's religious beliefs, to make fun of them, belittle, etc. etc. etc. My job is to give my own personal impressions of the material, which is shaped by the current scholarly understanding."

Alright, now that that's out of the way.

So, your instincts are right, the tl;dr is that, while there are still some scholars (including people I deeply respect) who do work with the Mabinogi as a source for Pre-Christian beliefs, and that approach was very popular up until the 1990s, but that number is dwindling, and the current general scholarly consensus is that the Mabinogi is a thoroughly medieval text. You'll get even fewer Welsh experts who are willing to consider pre-Christian elements than you will Irish experts. There are a few who will say that MAYBE there is something going on beneath the surface, but the problem is whether it would even be possible to undergo that kind of excavation and whether...you lose more than you gain when you try it.

Like, Howard Shliemann, when he excavated Troy, was so eager to find the OLDEST, most ANCIENT part of the city, that he took dynamite to it, which blasted away significant parts of the city. He didn't care about anything else but finding his idealized version of Priam's city, and as a result, he wasn't able to appreciate it when it was right in front of him and, not only that, damaged it. While no one is (I HOPE???) asking to put a lit match to the Red Book of Hergest, we have started to believe that, maybe, by constantly focusing on the pre-Christian elements of the Mabinogi, writing everything else off as a corrupted form of a myth written by later authors who were too stupid to understand what they were dealing with...perhaps we were overlooking a genuinely great work of medieval literature, and that it was time for us to change that.

There are a number of reasons why this "excavation" is difficult if not impossible, but one of the strongest is that, frankly, Wales was converted before Ireland and it became VERY thoroughly Christianized early on, as well as, in general, us not having many early examples of Old Welsh literature. (Y Gododdin is traditionally seen as the oldest, but, honestly, even though it's controversial, due to its key role as a piece of Welsh cultural history, I've had a lot of Welshicists tell me that they think it's more likely a ninth century poem at the earliest.) Even things that people often think of as being indicative of pre-Christianity in Wales, like the Mari Lwyd are...well. We have no references to them before the 19th century (though it's clearly being described as an established tradition by then) and they very likely go back no further than the 16th century. Middle Welsh literature is also very, very difficult to date unless you have some sort of external feature to help you out, it doesn't have quite the same linguistic markers of Old Irish. (A trained Celticist who has had training in Old and Middle Irish can tell you an approximate date of an Irish text with a quick look, which can then be made more exact by analyzing key features, down to the century. You cannot do that with Welsh. We still do not even know when the Mabinogi was COMPOSED beyond "very likely between the 11th-13th centuries") Additionally, we do not have a large collection of Welsh folktales, so we cannot know how these stories might have been told IN Wales and whether they had a significant oral transmission. (It does seem like there might have been a few folky Mabinogi things but it is REALLY hard to know without a unified database.) I can't emphasize enough how lucky we are to have the Irish and Scottish folk collectors, because it means we can compare oral version of medieval texts and see how things change in the oral version. This doesn't inherently mean oral=pre-Christian, but it gives us a further range of how these stories have been used.

ANYWAY, you're here for recs, not my ongoing anger at 19th century archaeologists, so here are some of the best studies of the Mabinogi as literature (a lot of them don't directly interact with the myth, more directly pointing out how deliberate the Mabinogi is as a work of literature. One thing that no English translation of the Mabinogi that I've ever read can convey is how PRECISE each word is, how...there are layers upon layers upon layers and it's *brilliant*.)

Bollard, J. K. “The Structure of the Four Branches of the Mabinogi.” THSC (1974–5): 250–76. (Considered to be one of the definitive pieces of literary scholarship around the Mabinogi.)

Davies, Sioned. ‘“Venerable Relics”? Re-visiting the Mabinogi’ in Joseph Nagy, ed. Writing down the Myths, edited by J. F. Nagy, Brepols, 2012. 157-79

Hamp, Eric P. ‘"Mabinogi and Archaism’"," Celtica 23, 1999. 96-110

Hemming, Jessica, “Ancient tradition or authorial invention? The ‘mythological’ names in the Four Branches”, in: Joseph Falaky Nagy (ed.), Myth in Celtic literatures, Dublin: Four Courts Press, 2007. 83–104.

Hutton, Ronald, “Medieval Welsh literature and pre-Christian deities”, Cambrian Medieval Celtic Studies 61 (Summer, 2011): 57–86. (In general, while Hutton isn't a Celticist by training, we do consider him One of Us because he is VERY good.)

McKenna, Catherine, “Revising Math: kingship in the Fourth Branch of the Mabinogi”, Cambrian Medieval Celtic Studies 46 (Winter, 2003): 95–118.

McKenna, Catherine, “The colonization of myth in Branwen ferch Lŷr”, in: Joseph Falaky Nagy (ed.), Myth in Celtic literatures, Dublin: Four Courts Press, 2007. 105–119.

McKenna, Catherine. ‘"Reading with Rhydderch: Mabinogion Texts in Manuscript Context", in: Anders Ahlqvist and Pamela O'Neill, eds., Language and Power in the Celtic World: Papers from the Seventh Australian Conference of Celtic Studies, The University of Sydney, September-October 2010. University of Sydney, 2011. 205-30

Rodway, Simon. "The Mabinogi and the Shadow of Celtic Mythology" Studia Celtica 52(1) (2018). 67-85. 10.16922/SC.52.4.

Sims-Williams, Patrick, Irish Influence on Medieval Welsh Literature, Oxford: Oxford University Press, 2010. (It's interesting because you do have figures from medieval Irish literature, like Cú Roí, popping up in a way that suggests that medieval Welsh authors were highly familiar with them...which also throws a wrench in the old "Celtic or an example of medieval cultural exchange" problem.)

Wooding, Jonathan. Tyrannies of Distance? Medieval Sources as Evidence for Indigenous Celtic and Romano-Celtic Religion’ in Ralph Haeussler and Anthony King (eds.), Celtic Religions in the Roman Period: Personal, Local, and Global, University of Aberystwyth, 2017. 57-70

As for what I personally think....some of these sources are going to be softer than I would be and some of these sources are going to be harder on the concept than I would be. I don't HATE the idea of Pre-Christian elements existing in medieval texts, I just think it should be done carefully, cautiously, and with full knowledge of the limits of such an inquiry, without ALSO being disrespectful to the medieval context while ALSO not, in our attempt to right past wrongs, fall into the pitfall of thinking that Christianity = sophisticated elements, pre-Christian elements = unsophisticated. It's a delicate tightrope to walk, but I do want to see a day when we can have these conversations in the field without either ridicule or ad hominem assumptions of ill intent. We could do so much more if we would just listen to one another instead of leaping to prove one another's wrong. I don't believe there's evidence to suggest that Pre-Christian myths have been substantially preserved in the Mabinogi, and I think we should be wary and aware of the possibility of cultural exchange. I think that past scholars did the medieval writers a great disservice when they made the Mabinogi out to be some sort of corrupted, derelict scrapbook instead of one the greatest works of medieval prose narrative in Europe. I also think, for that matter, that the assumption that we are dealing with a mythic text that prescribes proper behavior that mortals are meant to follow has negatively impacted literary criticism of the text, particularly with regards to the female characters, whose abuse by men is justified as just punishment as opposed to something that is FRAMED as being horrific. Still, there are some things, such as a Donegal folktale (collected by Jeremiah Curtin) in which Lugh has to get Balor to give him a name and arms, similar to Arianrhod...I have never found a satisfying explanation for, from either side of the aisle.

What should be clear, from how many qualifiers I'm having to put up, is that it is even more difficult to assign FUNCTION to the Welsh figures than the Irish, not the least because, while the Tuatha Dé are explicitly supernatural....the Mabinogi is about a bunch of people who have superpowers but are also fundamentally human. We do not have the little signposts saying "BTW THESE GUYS ARE GODS!" that the Irish so nicely provide to us. If someone feels called to worship Arianrhod as a moon goddess, it isn't like I can stop them, nor would I *want* to, but I will say that there is no evidence for it FROM the Mabinogi. Or that Blodeuedd is a goddess of springtime (despite the unusual circumstances of her birth...she isn't really supernatural) or love. Or GOD FORGIVE ME, that Rhiannon is the goddess of forgiveness and understanding, which I saw one time. (Normally I do not judge people for how they view these figures, see all of the above disclaimers, but I do with that one. Just a little. Because I think that might be a tiny bit sexist to reduce her entire role in the Mabinogi to her abuse and then make her story one of forgiveness instead of one of a woman who is put into a horrific situation by the laws of the society she has married into.) I wish that there was a convenient listing of pre-Christian Welsh and Irish deities out there with their functions, but they don't fit that cleanly, and I doubt they ever did. It's one more reminder that they really, really aren't like Greek Mythology, and you can't go into this like Greek Mythology. (Though arguably, Greek Mythology isn't like Greek Mythology, but I digress.)

Anyway, thank you for sending me this; I do love the Mabinogi dearly and it's been ages since I've had the chance to talk about it.

[crehador]

brother crab's fall 2024 parting thoughts: uhhhhh basically everything

doing these all in one batch because i have been falling behind big time this season orz

long post under the cut

acro trip & kabushiki gaisha magi lumiere: the two magical girl series i picked up this season, both delightful! my only gripe is i wish acro trip had also gotten a season two, but thrilled to have more magilumi coming eventually

sengoku youko: after the wreck that was biscuit hammer THANK FUCKING GOD THIS WAS GOOD, and it was really. really. really good. it's not the, like, shiniest thing you'll ever see in 2024 in terms of animation, and the story isn't exceptionally unique or anything, but it's a great, classic adventure fantasy that has a really nostalgic feel to it

haigakura: ummmmmmmmm the less said the better. let's move on

tasuuketsu: was it good? no. was it compelling? also no. did i watch all 24 episodes? well. man idk the beginning was a mess, and not even the fun sort of mess, and the situation did not really improve. however i do feel like there's some potential in the characters and death game mechanics here, just fully unrealized potential, which is just... frustrating. anyway. do not recommend

touhai: this one's rolling onwards into a second cour but this is the fun sort of mess. it delivers on its gritty-dark premise in all the ways that yakuza fiance (i'll get to that) doesn't. do i even necessarily like its gritty-dark premise? ehhh... but i do respect it for being just. balls to the wall ridiculous

raise wa tanin ga ii: mannnnn this one probably warrants its own post because i could go on and on about what i found lacking here if anyone wants to hear it, but the tl;dr is i just don't feel like they committed to the yandere-ness of the yandere relationship quite enough. but i did love yoshino and i did love kirishima... 's voice (basically picked this up solely for ishida akira lol) so it was fine. whatever. it was fine

rekishi ni nokoru akujo ni naruzo: surprisingly decent villainess series! for a while it seemed like it was going to fall into the boring old trap of actually the villainess is Good and the heroine is Evil. while our aspiring villainess is clearly not Evil in this, she's at least going about her supposed 'villainy' in a somewhat interesting way

kimi wa meido-sama.: i... i don't know. i think overall i did enjoy this, i remember it having a really strong start, the main characters were both really charming and fun, but it sort of fizzled out for me. i don't really have a problem with the flagrant wish fulfillment-y vibe here, it's just i guess i feel like it didn't really strike a steady balance between the romance, the slice-of-life bits of yuki trying to lead a normal life, and the looming hints of her ominous history. it's not that these things can't all coexist, the show was just a little clumsy about balancing them imo

kamonohashi ron no kindan suiri s2: honestly i don't think this has gotten worse, i think it's just gotten to be not my thing. when ron said "this is the last case i'll ever thought" i said out loud "promise? 🥺" so... i probably shouldn't continue if they make another season. but they did just get suwabe in here so. we'll see

blue lock s2: lol. lmao even

goukon ni ittara onna ga inakatta hanashi: an absolute delight! all the characters wound up being really fun to follow but for me fuji and asagi absolutely stole the show. they were just too good

maou 2099: this has one more episode to go, but i can't imagine my thoughts on it changing much. and my thoughts are it was fun! nothing mindblowing in the end, but solidly fun. you can feel the hpmi all over it

natsume s7 & bleach tybw cour whatever & beastars final season pt1: lumping these together since pretty much all i have to say on them is it's more of the same, which is a very good thing. bleach and beastars quality is staying up, and natsume is still the same natsume we know and love which is exactly what i want it to be forever and ever

dandadan & ranma 1/2 & ao no hako: grouping these together because they're clearly the big names of the season (well idk about ao no hako but i certainly hope it's one, because it deserves to be) and there's not much i can say that hasn't already been said. they look great and were/are (ao no hako is continuing into a second cour) a delight to watch. dandadan does a great job of portraying not just kids being kids but weird kids being weird kids, which is a somewhat rare delight. ranma 1/2 and ao no hako are both peak romance. ranma is also such a visual joy to watch

of the three... ough... i feel like i have to give anime of the season to ranma because it was just such a pleasure to watch, but i have such a soft spot in my heart for ao no hako right now. it's just gorgeous, and the characters feel so wonderfully real. the only thing knocking it down a bit is i don't enjoy love triangles in general, but like if there has to be one, ao no hako's is not (currently) that annoying

anyway this is not my anime of the season post so more on that later

i think... that's... everything? maybe? chi and slf s2 are both excellent, but more on those after their second cour. the one thing i will say about slf s2 for now is nothing has topped the wethermon fight for me yet and phew. it's gonna be tough because that fight was peak

tsumasho, mecha-ude, and murai no koi i've already made separate posts on. some other two cour stuff i'll also save comments on for next season

oh wait

kinokoinu: this was cute but not all the memorable i guess, as evidenced by the fact that i. just. nearly forgot it lol

anyway! i'd say overall this was a very solid season with some seriously underwatched sleeper hits like mecha-ude. anime of the season is... going to be fun to think about. much to consider