#totally not projecting in any way at all

[oliveden]

similarly, angst potentials of keith's appearance

looking human vs. looking galran vs. being able to shift

a) he's never been anything else but human his whole life, right? but there are just the small details, the things that don't add up, the blade that Ulaz carries that's just a little too familiar (canon)

b) he's never going to be human, he's never going to fit in. if he's born on earth, he can't be part of it, there is an entire half of his heritage he can never be a part of. he is monstrous, alien to them in the worst sense of the word

c) he tries to pretend he's human on earth and galra in space but both of those are wrong, even though they’re supposed to both be true, and forcing himself into this box is only hurting. no matter where he is, it feels like he's lying and neither human nor galra customs feel right to him. he's an outlier no matter what he does and there’s nothing he can do to change that

angst potential of keith maturing at galra levels, which are way longer than human lifespans

keith, pre-adolescence, realizing his dad isn't going to live long enough to see him as an adult, that he's going to be left alone at the galran equivalent of a teenager

[seaofreverie]

First day back at the university and I still suck at this exactly as much as I did 4 years ago

[pipperoo]

how the fuck is it already november 25th?!!?!!?

(time is so fucked up)

anyway, happy one year anniversary to my fic “if only there was more time” and posting on ao3 for the first time!

sincerely can’t believe that i’ve been writing for a year, how did that happen???

[houlen-yabusame]

idk

[icewindandboringhorror]

feeling sick constantly in the background all the time is like.. usually negligible-ish.. until multiple various chronic background issues all happen to overlap at once and then it’s like 

[roobylavender]

you know what would automatically change my hatred to love for sasusaku? If their genders were reversed. Majority of the reason why I hate sasuke and sakura relationship is because the type of environment and the culture I grew up in where it's been fed to women since basically birth to always be faithful to her man no matter how terrible he treats her, even after marriage. The pharse, "Just be patient and he will change", infuriates me to another level. Seeing sakura chasing after sasuke throughout the series after numerous rejections and an attempted MURDER on her by him made me roll my eyes so hard like girl just move the fuck on omfg. And even after their "marriage" sasuke's treatment towards her doesn't get better lmao, leaving her alone with a whole ass child to take care by herself?? BYE sakura's patience for him is outmatch cus I would've divorced his ass for that. Though, the more I mature, little by little I begin to understand the complexity of their relationship after putting my gender issues aside for a second and look deep into them. And especially now, after reading your perspective on their whole relationship, it really did made half of my hatred go away and understand the relationship wholeheartedly. Like yeah, I absolutely love the trope of one person saying they don't deserve the other person's love but the other person keep loving them anyway, that stuff makes me giggle and swing my legs in the air and shit. It's just that the only way this trope would work for me if the person loving them has enough self-respect for themselves AND if it's a girl in the former & the guy in the latter. And honestly, I found naruto being borderline obsessed with sasuke annoying too but the reason why I can digest it more well is because naruto can go head to head with sasuke without backing down. Like, I wanted to see at least ONCE sakura having a heated argument with sasuke, or punch him in the face in the series. I feel like sasuke deserves a punch from her at the very least 🤷🏽‍♀️

Sigh, I really did wanna love their relationship and their journey to love (that scene of him catching her when she was about to fall and then having that iconic eye contact had me feeling butterflies ngl) since it has all the tropes I love but the execution is just so...

i mean if it helps any i absolutely hate post-canon and that's where my primary divide with most sasusaku fans lies 😭 i'm not sure if you read the blue-plums post i reblogged but it's a good dissection of why exactly it fails as a conclusion to both their individual arcs and their relationship arc generally. the post-canon we see is a direct answer to what sasuke's and sakura's dreams are at the start of the series, but the problem with this is that sasuke and sakura are nowhere near being the same people at the end of the series as they were at the start. generally, i don't think post-canon really takes the individual arc of any character into much account. its primary goal is maintaining the status quo with a slight veneer of friendship power draped over it for aesthetics. but nothing at the root is changed despite every traumatic development the characters were relentlessly subjected to. resultantly, you're left with a portrayal of sasuke as a neglectful father who glorifies the lone-wolf hero trope, which goes against everything he could possibly have learned from itachi; and you're left with a portrayal of sakura as someone content to keep house despite the bulk of her character arc being grounded in her ability and desire to take initiative not only at home, but abroad. it's not true to who either of them is by that point and, even more than that, it's a disservice to everything they've put themselves through for the sake of the love they were vying for. so while i love sasusaku as it progresses up through 699, i tend to wholeheartedly ignore whatever comes after and relegate that instead to either my own imagination or blue-plums's in her fics

what i will say about the naruto and sakura distinction is that a lot of people are more comfortable with how sasuke reacts to naruto bc they believe what naruto is doing is right. it's kind of like: if the only thing sasuke will realistically respond to is violence then obv naruto can resort to that violence without dwelling on it too much. but if you think about violence in the context of sasuke's entire life, it's not actually helpful at all beyond its ability to physically bring him to a grinding halt. even when naruto finally breaks through to sasuke, it's not the violence that makes things click for him. it's the words he says after, and it's the words he's always said before that that have stayed in sasuke's mind. violence, in contrast, is a poisonous thing for sasuke bc it's the only thing that has defined the parameters of his entire life. it robbed him of every person he cared about prior to his meeting team seven, and inevitably it intimidated him into seeking out more violence once he realized that he was incapable of saving the new people he'd come to care about as well. everything, at the root, was driven by sasuke's traumatically-exacerbated response to love and loss. the idea of losing naruto and sakura to the hands of anyone else was unbearable. so he decided that he'd rather have killed them himself. it was absolutely irrational. but a twelve year old child put through that kind of successive, relentless trauma was never going to think rationally, and certainly not after being exploited by people like orochimaru and obito (and to an extent itachi) in turn

all of this to say: there is of course a gendered aspect to the fact that sakura's response to sasuke is markedly not violence. but i also think people sort of refuse to dissect her response any further and esp in context of the narrative itself. despite being the hallmark of rationality within the team and perhaps even the series, sakura was inevitably always driven by the value she placed on humanity. it would've been so easy and rational and "right" to kill sasuke bc he was an insurgent, a terrorist, a danger to public safety, etc. but sakura knew it was more complicated than that. even without knowing about the intricacies of the uchiha massacre she'd been a witness to his suffering and struggle and helplessness. she was as much unable to kill him bc of her love for him as she was unable to kill him bc she knew it wouldn't be right. bc really, what would it solve. sasuke being written off or dying would accomplish nothing bc he would become one more person in the long line of victims to nationalism and the military-industrial complex. while naruto's desire to retrieve sasuke was driven by his love for him it was also driven by the fact that he was stubborn and relentless and refused to give up on people. if you won't believe in yourself i'll beat the belief into you. it's a very shounen-esque trait. in contrast, sakura's desire to retrieve sakura, while also driven by her love for him, was significantly driven by her ability to see that sasuke needed help. in fact, that's all she ever wanted him to get: help. and it would be one thing for this to be an isolated desire but when you read it in context of her own goals as a medic and a mental health professional, her unwavering belief in sasuke is a lot more striking. she was the only person in the entire narrative who never resorted to violence as a solution to sasuke's problems. and she was angry, to be sure. much as she loves him the struggle to bring him back and convince him that he was worthy of love and healing left her emotionally exhausted. but they're also children at the end of the day. she could've been angry at him, or naruto could've been angry him, and in the end none of it would've mattered in the face of knowing they'd finally gotten through to him. he had a smile on his face, he didn't have an arm anymore, and for the first time in his life he met a loss with utter peace and content. it was a thing of miracles after six years of relentless grief and sorrow, and nothing else could've been on their mind.

at the end of the day, team seven's love for sasuke isn't rational. the farthest thing from it, really. but that's what makes it so radical in context. if love in naruto was only ever meant to be rational then hardly anyone would survive. love was always written as an act of defiance and for however subtle the depiction sakura exemplified it

[todayisafridaynight]

Sorry about the late reply haha, but I'm absolutely thrilled to hear you enjoyed reading my last ask!

About RGGJo (I've been been calling him a variant of that for ages too, but if I ever slip up and call him Jou, it's out of habit; I like to differentiate them by RGGO and 7's different official romanizations lol), I'd actually say it's not at all hyperbolic to describe him as relaxed. If you ever have a moment, I think going through his voice lines is one of the best ways to get acquainted with his character in a short time! (Article might be a little rough, I basically speedran it all in a day just to show you lol; also a lot of them are uh........ let's say borderline flirtatious)

That said, it is much less apparent before the timeskip. To go on a bit (or a lot) of a tangent, I think that kind of relates to something I've noticed about their relationship with authority. Which is to say, it feels like they have a tendency to walk on eggshells with regard to authority figures. I think that might be the single most consistent thing between their characterizations.

You do see that directly with Arakawa, of course. It's something established really early on for both of them. You can tell right away from Jo's sheepish look when Arakawa walks in on the yubitsume fiasco or RGGJo freezing up when Arakawa walks in on the equivalent scene that he's someone they genuinely seek approval from as an authority figure. And, y'know, 7 has that micro-interaction with Arakawa only needing to put a hand on Jo's shoulder to stop him, whereas RGGO has Mitsu directly stating that the only person who's able to calm him down when he's on a rampage is Arakawa. Honorable mention to the substory where Ichi stops RGGJo from killing some guy by saying it'd put Arakawa in a bad mood.

But I think the clearest example sort-of-outside of Arakawa, one that's more insightful with regard to authority in general (since you could say of course he respects Arakawa specifically), is actually from Ryuji's RGGO story. There was a fair amount of confusion, right, because it's canon to the console timeline, but they hadn't implemented the Arakawa Family's 7 sprites, and they used the RGGO ones. So the funny thing is, I could tell right away that everyone was supposed to be their 7 selves based on characterization

I did take the time to look over all of RGGJo's voice lines from the link you provided oh my god you weren't kidding about making quick edits i checked the log date and you were making changes just a few hours ago, bless you and your work fr and yeah no, his voice lines definitely give off a different feel from Y7Jo (and definitely no joke about the more 'flirtatious' lines- evidently as someone who's mostly perceived Y7Jo it's jarring to say the least. Not that I'm complaining, it's incredibly interesting to see the difference)! It's almost funny to me how different their personalities seem, I wonder what made RGG decide to conceal his more 'playful' personality..

In regards to his relationship with authority- or I guess I want to talk more specifically about with Arakawa- the backstory each Jo has offers different avenues for explanation as to why he's so readily obedient.

I have to make a disclaimer right now and say I'm not totally caught up on Ichi's RGGO story (I stopped just after their fight on the rooftop), so maybe more background to Jo is given. Nevertheless, for RGGJo, his reasons for being obedient aren't exactly clear aside from respecting Arakawa's influence/power (as noted by his irezumi, I'm pretty sure). On that note though, I haven't seen the bit from Ryuji's story- something I'm definitely going to look into once I get some time this week (and it's neat that the Jo's are distinct enough from each other that you can discern which iteration it's supposed to be despite the sprite used: I'm excited to see that for myself!).

Inversely, the context that Arakawa has been taking care of Jo's son offers a more concrete form of an explanation as to why he's compliant. It's not bad to assume I think that Jo genuinely respects Arakawa's authority, but it's that added context that adds an extra layer to his behavior.

[heart-democracy]

TDI Advice wanted!

Hi TD fans! I'm planning a rewrite of TDI, the cast will be 18 for in-universe reasons (think legal contracts, I'm not gonna be weird about them). I'm aiming to make it more realistic and in line with the 2007 aesthetic, i.e era appropriate lingo & references, mobile phones are rare, homophobia is a bigger concern etc, but I'm wondering how far I should take it?

In the end I'll write what I enjoy, but should I lean more heavily into the gritty side of reality TV both on and behind the screen, include more notable sexism, potential slurs and creepy behaviours etc? The point is for there to be believable drama in-universe and the topics planned all have some merit to be present. I have some hard lines I'll never cross (see last tags on the post for those curious) and I want people familiar with the themes to feel seen rather than exploited reading it.

At the end of the day the cast are just youngsters getting to know each other and themselves. I want to humanize them and write believable conflicts without demonizing anyone, it is intended as a character driven story after all. But I also want to know what others think would make for an enjoyable read/take on the show.

The cast will inevitably diverge from their canon counterparts, but I am unsure how to handle certain characters, an example being LeShawna. She's clearly based on a racist stereotype, but her personality, background and lingo are a huge part of her appeal and I'd rather portray her in a better light than change her from the ground up. If you have any pointers I can keep in mind for her or anyone else you think is often portrayed poorly in canon or fanon then please let me hear your takes! This goes for non-TDI castmates as well, even if they don't show up in the story I wanna know what people think does and doesn't work for them and their tropes/traits cause it might still be relevant!

[bobzora]

the thing about gamedev that they dont want you to know is that you have to actually dev your game @.@ crazy ! ! !

[snekdood]

people who are like "i never get so angry that i start fuming and stomping and yelling lol" no you're right, you just bottle it all up, never look at it, and then take shit out on everyone else and wonder why you're like this

[enfinizatics]

dear americans,

as a polish queer woman and human rights activist, i know exactly how you're feeling right now and what to expect from these elections. i lived through the 2015-2023 regime of pis, a right-wing populist party that divided families in the same way trump did. i’ve experienced the rise of fascism in poland, the influence of far-right parties like konfederacja, and their “santa’s little helpers”—ordo iuris, an ultra-conservative catholic organization (banned in many countries, mind you) that helped enforce a near-total abortion ban and runs anti-queer campaigns in public spaces. i supported the black protests in 2016 as a middle schooler when they first tried to ban abortion. as an adult, i actively participated in the 2020 women’s strike, running from police tear gas daily after they finally passed the ban. i supported friends who faced charges.

i’ve lived through intense homophobia in poland as a queer teen and adult. i survived the first pride march in my hometown, where far-right extremists threw stones and glass at us. i endured the anti-queer propaganda spread by the ruling party in state-owned media. i survived the “rainbow night,” poland’s own stonewall moment in summer 2020, when police arrested around 50 queer activists following the arrest of margo, a nonbinary activist. i survived the "lgbt-free zones," the targeted violence, the slurs from strangers on the street, and the protests i held against queerphobia. it was hard as fuck, but i survived.

but just because i survived, it doesn’t mean others did. many women died because of the abortion ban—marta, justyna, izabela, dorota, joanna, maria, and many others who didn’t survive pis’s draconian anti-abortion laws. milo, kacper, michał, zuzia (she was 12), wiktor, and other queer and trans kids and young adults took their own lives because of the relentless queerphobia.

despite all of this, our experience in poland can serve as a guide now. here are some tips for staying safe and how we, polish queers and women, organized under the regime:

safety first, always. if you know someone who’s had an abortion, no you don’t. if you know someone is trans, no you don’t. if you know people who help with safe abortions, no you don’t—at least not until you know it’s 100% safe to share. if you are queer or have had an abortion, only share this with people you trust fully. most importantly, not everyone has to be an activist just because they’re part of a minority. if it feels unsafe to share that you're queer, trans, etc., then don’t. it doesn’t make you any less queer.

use secure, encrypted messaging like signal for conversations on potentially risky topics, such as queerness, abortion, organizing counter-actions, protests—anything that might be used against you.

stay anonymous online. if you want to research or report something without surveillance, do not use regular internet. get a vpn (mullvad is affordable and reliable), download the tor browser (for both onion and standard links), and if you plan to whistleblow, consider using a riseup email account.

organize and build networks. community is everything now. support each other, foster independence, because your government won’t have your back. set up collectives, grassroots movements. create lists of trusted professionals—lawyers, doctors, etc.—who can offer support.

to lawyers and doctors: please consider pro-bono work. this is what got us through poland’s hardest times. your work will be needed now more than ever.

for protests or risky actions: always write a pro-bono lawyer’s number on your arm with a permanent marker.

get to know the anarchist black cross federation and other resources on safety culture: "Starting an anarchist black cross group: A guide"; Still We Rise - A resource pack for transgender and non-gender conforming people in prison; Safe OUTside the system by the Audre Lorde Project;

for safe abortion info or involvement: get familiar with womenhelpwomen.

stay radical, stay strong, stay informed: The Anarchist Library

if i forgot to (or didn't) include something, don't hesitate to reblog this post with other resources.

[justjudethoughts]

Just stumbled over this very short video of Peter and Lucy being absolute babies and I think in order to help people understand my soul on a fundamental level, I'll just start showing them this.

[stillgeekingout]

#it's very strange #because i often feel like the culmination of those characters arcs #like if the point is they're ace great but like... #the option of lesbianism just *never* occurs #which--and again not to discredit any ace people or ace readings of her work--is such a common lesbian experience! #like myself and a bunch of other lesbians i know had that journey #of going 'hmm i don't like men... guess I'm asexual! (do not ask me about women i will combust)' #like lady bird... whatever #little women... alright i suppose if you wanted to make a comentary on how lma was forced to add the heterosexual romance at the end #and not suggest anything about a real person and also not deviate from the source material #but barbie was insane #the coding was next level #like c'mon birkenstocks??? #and i argue that barbies acceptance of genitalia could be read as an acceptance of sexuality or the very least exploring it #so why isn't she a dyke??? (other than mattel probably giving a hard no on that)

I don’t know, the thing that really bothers me about Greta Gerwig’s films is that there is just this gaping hole where gay women should be. Like, when you’re making these movies about the trap of heterosexual marriage, breaking free of that, and the only concrete answer is to be a single woman over and over and over again, it feels like an intentional absence. You can watch the movie with a queer lens, but it is egregious that you may only consider homosexuality in her movies in this way. It ought to be in them. There is no reason for it not to be there. Women don’t fuck women in Greta Gerwig’s feminist liberations. Often, they don’t have sex at all.

[alex51324]

Useful article from CNN on election-night misinformation.

Key takeaway is that pretty much whatever happens, Trump will claim it's evidence that the election is being rigged against him.

Some additional things to keep in mind--particularly if you haven't been through many of these before:

The winner may or may not be projected on election night. How long it takes depends on a bunch of factors, having to do with the logistics of ballot-counting and how the statistical analysis comes along. Getting a projected winner by midnight and the count taking several days are both well within the range of normal, and neither one suggests that anything nefarious is happening.

Counting of votes always continues for several days after the election, until every vote has been counted. This happens regardless of whether or not the media have "called" a winner, or a candidate has conceded.

Media outlets project election winners based on the data that has come in and their statistical models--they do not "declare" or "decide" who won. The major outlets are very motivated to avoid an incorrect projection*, so if they make a call, it's because they're really sure they have enough information to accurately predict the outcome of the final count.

Usually, when this happens, all of the major media outlets are making the same projection around the same time--within the same hour, at least, and often in the same 10 minutes or so. If there's an outlier, there's a good chance they're either guessing or propagandizing.

Candidates do not get to call the race in their own favor. There's a decent chance Trump will try, but also it's also normal and expected for both campaigns to talk like they're expecting to win; e.g. introducing their candidate as "the next President of the United States" when appearing before supporters at events. (My guess is that if he does try, the mainstream media outlets will simply sanewash it as typical election-night bravado, which is actually fine.)

The only thing that means anything, coming from a candidate/campaign, is a concession. This will often happen after the media has called the race for the other candidate; it usually isn't a surprise. A normal campaign will often go quiet--stop sending people to talk on TV, etc.--when they're getting ready to concede. (Trump arguably** still hasn't conceded 2020, so no one is particularly expecting him to concede any time this coming week.)

It's normal for the numbers to change a lot. There are always some surprises, but there are also standard patterns: results from the southeast usually come in a clump, and put a lot of electoral votes into the Republican column, early in the night. Democrats usually pick up the west coast states, which of course are the last to close their polls and start reporting results***. For the swing states, where we'll probably see a lot of reporting on very incomplete vote totals, results will start coming in first from the rural areas, which lean red; cities take longer to count their votes--because there are more of them--and lean blue.

The more uncertainty there is about the outcome, the more you'll hear about the evolving numbers--news networks have airtime to fill, and there's only so many ways you can say, "Still too close to call." Try not to obsess over these numbers; the news networks have people specially trained to analyze this exact kind of data, and if they can't say how it's going to turn out, you're not going to know, either.

If it ends up being too close to call for several days, there will probably be reporting on small, county-by-county vote dumps. It's important to realize that this is all still the original count of the votes, not a recount or "finding new votes." We only hear about it when the election is so close that these relatively small numbers of ballots are likely to affect the outcome, but it happens every single election. In 2020, Trump repeatedly claimed that ongoing counts were some how irregular, and sometimes demanded that counts be stopped when the current total showed him in the lead. This is, to be clear, nuts; the full & complete count of the votes always takes more than just the one day, and it's a bedrock principle of democracy that every valid ballot is counted.

(* Back in 2000, the Bush-Gore election with the whole Florida debacle, several major news outlets did project winners too soon, and then had to walk back their projections.

This definitely contributed to the chaos that night, and may have also contributed to the widespread perception that Bush was the "real" winner and Gore was dragging the country through multiple recounts, in those first few days when the initial count of wasn't even complete in some states.

As a result, responsible media outlets are much more cautious these days about election-night projections.)

(**On January 7, 2021 he made a statement that was taken as indicating his understanding that Biden had won, or at least that he knew he wouldn't be staying in office, but he never stopped saying he won.)

(***This often looks like the Republican being miles ahead, and then suddenly California reports in and they aren't anymore. Expect Trump to pretend that this is somehow shocking, even though the last time a Republican won California was 1988.

Similarly, he will also pretend to be surprised when, for instance, Philadelphia turns in their first big batch of results, and Harris's numbers jump up.)

[mcmansionhell]

on neuschwanstein castle (part 1)

This is an essay in two parts.

Neuschwanstein Concept Drawing by the stage designer (!!) Christian Jank (1869).

There exist in architecture clear precedents to the McMansion that have nothing to do with suburban real estate. This is because “McMansionry” (let’s say) has many transferable properties. Among them can be included: 1) a diabolical amount of wealth that must be communicated architecturally in the most frivolous way possible, 2) a penchant for historical LARPing primarily informed by media (e.g. the American “Tuscan kitchen”) and 3) the execution of historical styles using contemporary building materials resulting in an aesthetic affect that can be described as uncanny or cheap-looking. By these metrics, we can absolutely call Neuschwanstein Castle, built by the architect Eduard Riedel for King Ludwig II of Bavaria, a McMansion.

Constructed from 1869 through 1886 – the year of Ludwig’s alleged suicide after having been ousted and declared insane – the castle cost the coffers of the Bavarian state and Ludwig himself no fewer than 6.2 million German gold marks. (That's an estimated 47 million euros today.) The castle's story is rife with well-known scandal. I'm sure any passing Swan Enthusiast is already familiar with Ludwig’s financial capriciousness, his called-off marriage and repressed homosexuality, his parasocial obsession with Richard Wagner, his complete and total inability to run his country, and his alleged "madness," as they used to call it. All of these combine to make Neuschwanstein inescapable from the man who commissioned it -- and the artist who inspired it. Say what you like about Ludwig and his building projects, but he is definitely remembered because of them, which is what most monarchs want. Be careful what you wish for.

Neuschwanstein gatehouse.

How should one describe Neuschwanstein architecturally? You’d need an additional blog. Its interiors alone (the subject of the next essay) range from Neo-Baroque to Neo-Byzantine to Neo-Gothic. There are many terms that can loosely define the palace's overall style: eclecticism, medieval revivalism, historicism, chateauesque, sclerotic monarchycore, etc. However, the the most specific would be what was called "castle Romanticism" (Burgenromantik). The Germans are nothing if not literal. Whatever word you want to use, Neuschwanstein is such a Sistine Chapel of pure sentimentality and sugary kitsch that theme park architecture – most famously, Disney's Cinderella’s castle itself – owes many of its medieval iterations to the palace's towering silhouette.

There is some truth to the term Burgenromantik. Neuschwanstein's exterior is a completely fabricated 19th century storybook fantasy of the Middle Ages whose precedents lie more truthfully in art for the stage. As a castle without fortification and a palace with no space for governance, Neuschwanstein's own program is indecisive about what it should be, which makes it a pretty good reflection of Ludwig II himself. To me, however, it is the last gasp of a monarchy whose power will be totally extinguished by that same industrial modernity responsible for the materials and techniques of Neuschwanstein's own, ironic construction.

In order to understand Neuschwanstein, however, we must go into two subjects that are equally a great time for me: 19th century medievalism - the subject of this essay - and the opera Lohengrin by Richard Wagner, the subject of the next. (1)

Part I: Medievalisms Progressive and Reactionary

The Middle Ages were inescapable in 19th century Europe. Design, music, visual art, theater, literature, and yes, architecture were all besotted with the stuff of knights and castles, old sagas, and courtly literature. From arch-conservative nationalism to pro-labor socialism, medievalism's popularity spanned the entire political spectrum. This is because it owes its existence to a number of developments that affected the whole of society.

In Ludwig’s time, the world was changing in profound, almost inconceivable ways. The first and second industrial revolutions with their socioeconomic upheavals and new technologies of transport, manufacturing, and mass communication, all completely unmade and remade how people lived and worked. This was as true of the average person as it was of the princes and nobles who were beginning to be undermined by something called “the petit bourgeoisie.”

Sustenance farming dwindled and wage labor eclipsed all other forms of working. Millions of people no longer able to make a living on piecemeal and agricultural work flocked to the cities and into the great Molochs of factories, mills, stockyards, and mines. Families and other kinship bonds were eroded or severed by the acceleration of capitalist production, large wars, and new means of transportation, especially the railroad. People became not only alienated from each other and from their labor in the classical Marxist sense but also from the results of that labor, too. No longer were chairs made by craftsmen or clothes by the single tailor -- unless you could afford the bespoke. Everything from shirtwaists to wrought iron lamps was increasingly mass produced - under wretched conditions, too. Things – including buildings – that were once built to last a lifetime became cheap, disposable, and subject to the whimsy of fashion, sold via this new thing called “the catalog.”

William Morris' painting Le Belle Iseult (1868).

Unsurprisingly, this new way of living and working caused not a little discontent. This was the climate in which Karl Marx wrote Capital and Charles Dickens wrote A Christmas Carol. More specific to our interests, however, is a different dissenter and one of the most interesting practitioners of medievalism, the English polymath William Morris.

A lover of Arthurian legend and an admirer of the architect and design reformer John Ruskin, Morris was first trained in the office of architect G. E. Street, himself a die-hard Gothic Revivalist. From the very beginning, the Middle Ages can be found everywhere in Morris' work, from the rough-hewn qualities of the furniture he helped design to the floral elements and compositions of the art nouveau textiles and graphics he's most famous for -- which, it should be said, are reminiscent of 15th century English tapestries. In addition to his design endeavors, Morris was also a gifted writer and poet. His was a profound love for medieval literature, especially Norse sagas from Iceland. Some of these he even translated including the Volsunga Saga -- also a preoccupation of Wagner's. Few among us earn the title of polymath, but Morris' claim to it is undeniable. Aside from music, there really wasn't any area of creative life he didn't touch.

However, Morris' predilection for the medieval was not just a personal and aesthetic fascination. It was also an expression of his political rejection of the capitalist mode of production. As one of the founders of the English Arts & Crafts Movement, Morris called for a rejection of piecemeal machine labor, a return to handicraft, and overall to things made well and made with dignity. While this was and remains a largely middle class argument, one that usually leads down the road of ethical consumption, Morris was right that capitalism's failing of design and architecture did not just lie with the depreciated quality of goods, but the depreciated quality of life. His was the utopian call to respect both the object and the laborer who produced it. To quote from his 1888 essay called "The Revival of Architecture," Morris dreamed of a society that "will produce to live and not live to produce, as we do." Indeed, in our current era of AI Slop, there remains much to like about the Factory Slop-era call to take back time from the foreman's clock and once more make labor an act of enjoyable and unalienated creativity. Only now it's about things like writing an essay.

I bother to describe Morris at length here for a number of reasons. The first is to reiterate that medievalism's popularity was largely a response to socioeconomic changes. Additionally, since traditionalism - in Ludwig's time and in ours - still gets weaponized by right-wing losers, it's worth pointing out that not all practitioners of medievalism were politically reactionary in nature. However – and I will return to this later – medievalism, reactionary or not, remains inescapably nostalgic. Morris is no exception. While a total rejection of mass produced goods may seem quixotic to us now, when Morris was working, the era before mass industrialization remained at the fringes of living memory. Hence the nostalgia is perhaps to be expected. Unfortunately for him and for us, the only way out of capitalism is through it.

To return again to the big picture: whether one liked it or not, the old feudal world was done. Only its necrotic leftovers, namely a hereditary nobility whose power would run out of road in WWI, remained. For Ludwig purposes, it was a fraught political time in Bavaria as well. Bavaria, weird duck that it was, remained relatively autonomous within the new German Reich. Despite the title of king, Ludwig, much to his chagrin - hence the pathetic Middle Ages fantasizing - did not rule absolutely. His was a constitutional monarchy, and an embattled one at that. During the building of Neuschwanstein, the king found himself wedged between the Franco-Prussian War and the political coup masterminded by Otto von Bismarck that would put Europe on the fast track to a global conflict many saw as the atavistic culmination of all that already violent modernity. No wonder he wanted to hide with his Schwans up in the hills of Schwangau.

The very notion of a unified German Reich (or an independent Kingdom of Bavaria) was itself indicative of another development. Regardless if one was liberal or conservative, a king, an artist or a shoe peddler, the 19th century was plagued by the rise of modern nationalism. Bolstered by new ideas in "medical" “science,” this was also a racialized nationalism. A lot of emotional, political, and artistic investment was put into the idea that there existed a fundamentally German volk, a German soil, a German soul. This, however, was a universalizing statement in need of a citation, with lots of political power on the line. Hence, in order to add historical credence to these new conceptions of one’s heritage, people turned to the old sources.

Within the hallowed halls of Europe's universities, newly minted historians and philologists scoured medieval texts for traces of a people united by a common geography and ethnicity as well as the foundations for a historically continuous state. We now know that this is a problematic and incorrect way of looking at the medieval world, a world that was so very different from our own. A great deal of subsequent medieval scholarship still devotes itself to correcting for these errors. But back then, such scholarly ethics were not to be found and people did what they liked with the sources. A lot of assumptions were made in order to make whatever point one wanted, often about one's superiority over another. Hell, anyone who's been on Trad Guy Deus Vult Twitter knows that a lot of assumptions are still made, and for the same purposes.(2)

Meanwhile, outside of the academy, mass print media meant more people were exposed to medieval content than ever before. Translations of chivalric romances such as Wolfgang von Eschenbach’s Parzival and sagas like the Poetic Edda inspired a century’s worth of artists to incorporate these characters and themes into their work. This work was often but of course not always nationalistic in character. Such adaptations for political purposes could get very granular in nature. We all like to point to the greats like William Morris or Richard Wagner (who was really a master of a larger syncretism.) But there were many lesser attempts made by weaker artists that today have an unfortunate bootlicking je nais se quoi to them.

I love a minor tangent related to my interests, so here's one: a good example of this nationalist granularity comes from Franz Grillparzer’s 1823 pro-Hapsburg play König Ottokars Glück und Ende, which took for its source a deep cut 14th century manuscript called the Styrian Rhyming Chronicle, written by Ottokar Aus Der Gaul. The play concerns the political intrigue around King Ottokar II of Bohemia and his subsequent 1278 defeat at the hands of Grillparzer’s very swagged out Rudolf of Habsburg. Present are some truly fascinating but extremely obscure characters from 13th Holy Roman Empire lore including a long-time personal obsession of mine, the Styrian ministerial and three-time traitor of the Great Interregnum, Frederick V of Pettau. But I’m getting off-topic here. Let's get back to the castle.

The Throne Room at Neuschwanstein

For architecture, perhaps the most important development in spreading medievalism was this new institution called the "big public museum." Through a professionalizing field of archaeology and the sickness that was colonialist expansion, bits and bobs of buildings were stolen from places like North Africa, Egypt, the Middle East, and Byzantium, all of which had an enormous impact on latter 19th century architecture. (They were also picked up by early 20th century American architects from H. H. Richardson to Louis Sullivan.) These orientalized fragments were further disseminated through new books, monographs, and later photography.

Meanwhile, developments in fabrication (standardized building materials), construction (namely iron, then steel) and mass production sped things up and reduced costs considerably. Soon, castles and churches in the image of those that once took decades if not a century to build were erected on countless hillsides or in little town squares across the continent. These changes in the material production of architecture are key for understanding "why Neuschwanstein castle looks so weird."

Part of what gives medieval architecture its character is the sheer embodiment of labor embedded in all those heavy stones, stones that were chiseled, hauled, and set by hand. The Gothic cathedral was a precarious endeavor whose appearance of lightness was not earned easily, which is why, when writing about their sublimity, Edmund Burke invoked not only the play of light and shadow, but the sheer slowness and human toil involved.

This is, of course, not true of our present estate. Neuschwanstein not only eschews the role of a castle as a “fortress to be used in war” (an inherently stereotomic program) but was erected using contemporary materials and techniques that are simply not imbued with the same age or gravitas. Built via a typical brick construction but clad in more impressive sandstone, it's all far too clean. Neuschwanstein's proportions seem not only chaotic - towers and windows are strewn about seemingly on a whim - they are also totally irreconcilable with the castle's alleged typology, in part because we know what a genuine medieval castle looks like.

Ludwig's palace was a technological marvel of the industrial revolution. Not only did Neuschwanstein have indoor plumbing and central heat, it also used the largest glass windows then in manufacture. It's not even an Iron Age building. The throne room, seen earlier in this post, required the use of structural steel. None of this is to say that 19th century construction labor was easy. It wasn't and many people still died, including 30 at Neuschwanstein. It was, however, simply different in character than medieval labor. For all the waxing poetic about handiwork, I’m sure medieval stonemasons would have loved the use of a steam crane.

It's true that architectural eclecticism (the use of many styles at once) has a knack for undermining the presumed authenticity or fidelity of each style employed. But this somewhat misunderstands the crime. The thing about Neuschwanstein is that its goal was not to be historically authentic at all. Its target realm was that of fantasy. Not only that, a fantasy informed primarily by a contemporary media source. In this, it could be said to be more architecturally successful.

The fantasy of medievalism is very different than the truth of the Middle Ages. As I hinted at before, more than anything else, medievalism was an inherently nostalgic movement, and not only because it was a bedrock of so much children's literature. People loved it because it promised a bygone past that never existed. The visual and written languages of feudalism, despite it being a terrible socioeconomic system, came into vogue in part because it wasn't capitalism. We must remember that the 19th century saw industrial capitalism at its newest and rawest. Unregulated, it destroyed every natural resource in sight and subjected people, including children, to horrific labor conditions. It still does, and will probably get worse, but the difference is, we're somewhat used to it by now. The shock's worn off.

All that upheaval I talked about earlier made people long for a simplicity they felt was missing. This took many different forms. The rapid advances of secular society and the incursion of science into belief made many crave a greater religiosity. At a time when the effects of wage labor on the family had made womanhood a contested territory, many appeals were made to a divine and innocent feminine a la Lady Guinevere. Urbanization made many wish for a quieter world with less hustle and bustle and better air. These sentiments are not without their reasons. Technological and socioeconomic changes still make us feel alienated and destabilized, hence why there are so many medieval revivals even in our own time. (Chappell Roan of Arc anyone?) Hell, our own rich people aren't so different from Ludwig either. Mark Zuckerburg owns a Hawaiian island and basically controls the fates of the people who live there lord-in-the-castle-style.

Given all this, it's not surprising that of the products of the Middle Ages, perhaps chivalric romance was and remains the most popular. While never a real depiction of medieval life (no, all those knights were not dying on the behalf of pretty ladies), such stories of good men and women and their grand adventures still capture the imaginations of children and adults alike. (You will find no greater fan of Parzival than yours truly.) It's also no wonder the nature of the romance, with its paternalistic patriarchy, its Christianity, its sentimentality around courtly love, and most of all its depiction of the ruling class as noble and benevolent – appealed to someone like Ludwig, both as a quirked-up individual and a member of his class.

It follows, then, that any artist capable of synthesizing all these elements, fears, and desires into an aesthetically transcendent package would've had a great effect on such a man. One did, of course. His name was Richard Wagner.

In our next essay, we will witness one of the most astonishing cases of kitsch imitating art. But before there could be Neuschwanstein Castle, there had to be this pretty little opera called Lohengrin.

---

(1) If you want to get a head start on the Wagner stuff, I've been writing about the Ring cycle lately on my Substack: https://www.late-review.com/p/essays-on-wagners-ring-part-1-believing

(2) My favorite insane nationalist claim comes from the 1960s, when the Slovene-American historian Joseph Felicijan claimed that the US's democracy was based off the 13th century ritual of enthronement practiced by the Dukes of Carinthia because Thomas Jefferson owned a copy of Jean Bodin's Les six livres de la Republique (1576) in which the rite was mentioned. For more information, see Peter Štih's book The Middle Ages Between the Alps and the Northern Adriatic (p. 56 for the curious.)

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[chuluoyi]

✎ to my beloved

- gojo satoru x reader

bad days don't mean the end of the world, and your husband is making sure you know that

genre: hurt/comfort, fluff, fluff, fluff—just gojo pampering you

note: my job has been so hard for me this week :') so yeah it's very self indulgent as i need a lil hurt/comfort and i think you should too~

a part of gojo's love entries

general masterlist

This week... has been a total dumpster fire.

You were utterly exhausted, covered in grime and blood, a persisting headache made you almost black out, all while sitting in the hospital waiting room as survivor's guilt slowly consumed you.

Grueling paperwork, a new project, facing the higher-ups, being substituted to Kyoto for days, and then a sudden attack of a curse user on the loose.

In times of need, you were supposed to protect others— you are a jujutsu sorcerer.

And yet, what happened? Megumi suddenly bathed in his own blood. You barely managed to save him in time, and now you were waiting for the news that he would be okay.

Why couldn't it be you instead? You wanted to break down each time you replayed the scene that took Megumi out. It was so eerily similar to how Haibara was—

"Are you okay!?"

You whipped your head, surprised to find your husband pounding down the hall. Satoru looked unlike himself—he was disheveled, and when he saw you, he immediately dashed towards where you were.

"Satoru..." you voice came out in a croak, feeling the lump in your throat closing in. When he dropped to his knee, put both hands on the sides of your face, and then your body, feeling you over to check if you had any injuries—

You finally burst into tears.

"Sweets, hey..." Satoru immediately pulled you close, trying to soothe you. You were shaking in his arms and he tightened his arms around you. "What happened to you?"

"I-I was... w-with him..." you sobbed, burying your face in his shoulder. "S-Satoru... I-I'm sorry...! M-Megumi—"

Your husband immediately shushed you. "Shh... it's alright, yeah? He'll be okay—"

You were still inconsolable even as he held you in his embrace. He hadn't seen you like this... not ever since tragedies during your high school years ago. And he struggled to reconcile this sight of you with how you were back then.

"I-I s-should've stood in his way— t-that way, he won't be hit—" you hiccupped as you poured your heart out and clutched at his shirt. "I-It would be f-fine if it... was me—"

But all thoughts flew when he heard your words, and suddenly he felt so angry—

"What do you mean?" his voice was so low and sharp that it startled you. "How will it be fine if it was you?"

You stiffened, and Satoru gripped your shoulder, pulling away to look you right in the eyes.

"If something bad happened to you... how is it fine?" he emphasized with gritted teeth. "Where do you get that kind of bullshit from?"

Your lips were wobbling as you sniffled. "At least... i-it isn't him—"

"If you got hurt, how do you think it'll make me feel?" Satoru posed the burning question on you next, his cerulean eyes glinting with silent fury, and you almost recoiled.

"T-that's...!"

"I'll wreak havoc if anything ever happens to you." His tone was harsh and forceful. "So if you think you can just—"

"I'm tired!" you screamed then, and he was stunned, wide-eyed as he took in your outburst. "I-I'm just... I've had enough of this— this shit! I want to quit!"

You were openly weeping, and this time, Satoru felt his heart lurch. You looked so heartbroken and utterly inconsolable that his first instinct to protect you took over.

"Then quit." He rose and took a seat next to you, before cradling you closer and pressed your head against his chest. "Even if you quit, I'm still here. I can protect you well enough. I don't like you being a sorcerer anyway."

You were his beloved wife and he hated seeing you like this. You were supposed to be happy and smiling.

He let out a disgruntled grunt. "Did you know how I was when I heard from Ichiji that you were at the hospital? I thought I might go mad thinking something had happened to you."

You sobbed harder at his words.

"It's perfectly okay if you're tired," he affirmed, patting your back gently. "If you're fine with giving up everything, then I'm on board too. Whatever makes you happy, sweets. Just... don't think of anything that might hurt yourself. Don't think of anything that might make you leave me."

You didn't know you needed to hear it. Right at that moment, your heart swelled with warmth. All your feelings were validated, and even if you chose to let go of everything, Satoru would accept you as you are.

You felt safe, so incredibly and irrevocably secure.

"Whatever happened this time..." he breathed out, feeling the dampness in his chest, his fingers gently combing through your hair. "It's not your fault. No one will blame you. I don't blame you, and Megumi won't too."

Your sniffles quieted down a bit at his words, and your throat still felt tight, clogged with tears.

"H-he... looked s-so much like Haibara... w-when—"

"Shush, he does not. Megumi will be okay. You will too, hmm?"

And just like that, you let go of everything and surrendered your entire being into his arms.

Clinging to him, you finally believed, in whatever shape or form it might take, you would be okay.

A week later, Megumi was discharged after being cleared by the hospital. His wounds were thankfully shallow, and you cried in relief when he woke up.

And after escorting him back, later that night, you laid on top your husband...

Your weight on him felt like a comforting reassurance as he gently patted your back. Satoru couldn't help but smile when he saw how peaceful you looked, like a baby about to fall asleep.

He couldn't resist and planted a firm kiss on the crown of your head.

"Mmm?" you looked up at him, eyes fluttering open, and he cracked a grin.

"What?"

"What?"

"Can't I kiss my own wife? When she's adorable as heck too."

"You..." your lips curved into a bashful, yet exasperated smile, poking his chest in the process.

"Heh."

You drew circles on his broad and sturdy chest, noting how his arms extended and feeling how your toenails only reached a little past his knees. "Your arms and legs are ridiculously long. You are like an oversized plushie."

Satoru snickered. "Well, isn't that good? You don't have to buy them anymore. I can be your personal talking plushie."

"Ew." You hit his chest playfully, and he pushed your bum forward until you were face-to-face with him. He smooched you on the lips, and you giggled afterward.

His eyes shone as he stared at you, breaking to a smile himself. "Finally smiling. Pretty."

"Satoru..." your eyes found his, and you marveled at how sparkling they were. Seeing him so close, even after being married to him for more than a year, made your heart skip a beat. "I..."

"Hmm?"

"I want to keep being jujutsu sorcerer..." You had thought about it ever since, and you still arrived at the same conclusion. "It's true if I give up on it, you'll still keep me safe and all, but..."

Your husband waited for you to continue, still smiling, blinking expectantly.

"...this is something I have to do. I know there will be more hard days ahead, but believe it or not, I... found purpose in doing this," you said, shifting your gaze away from him. "It makes me feel... I can be useful. Even if I'm not special like you, I can still contribute in my own small way..."

How you pressed up against him, the way you looked hesitant and yet convinced at the same time... Satoru thought you were the most precious thing there was.

"Then keep going. I'll still be here too." He hugged you tight then, surprising you. "Just let me know when you feel like you need a long leave, and I'll definitely give you the solution."

"Eh? How?"

"Easy... I can just put a baby in you~ They won't deny you maternity leave or put you in missions~"

"...Satoru, you're—" You shot him a look so unamused, before resigning with a sigh. "Never mind... alright, sure, whatever you say."

"Ooh! So does this mean you want to try now?!"

"—? No, not now yet—!"

"When? We have to try one of these days before some meddlesome aunties ask us when we will have kids!"

Being sillies like this made you so glad that you had him in your life, and that you married him. And if he felt the same way as you... then you really thanked the stars for it.

You huffed, yet wrapping your arms around him in return. "Satoru, you're a clown."

"Your personal clown, you mean. Right~"