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curioscurio · 2 days

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Why we have to start being nicer to eachother:

I know it sucks and is hard, but I think we really do need to start treating techbros and incels and our fellow humans with a bit more compassion, empathy, and understanding before we jump to bad faith interpretation. Especially when seeing a bad take online used as bait for arguments. We have to give other people the opportunity and knowledge to think for themselves, and make the choice to become a better person on their own.

"Hold on! Why should I be nice to people like that? THEY'RE the ones who are being bigoted to US!"

Well, I'll try and answer that question below! I ended up writing a lot, so check out the "read more" if you're curious. At the end of the day, I'm not an expert or a professional on human behavior, so keep that in mind. This is just something I've been thinking about based on my own past experiences.

Conspiracy theorists, the far right, gun enthusiasts, and even MAGA's all operate on the belief that modern society hates them for who they are. They think the entire world is against them.

And, looking at the kind of hate rhetoric and harmful ideologies they talk about; the cruel acts of casual and extremist violence that stem from that community, it easy to see why the world has turned its back on them. Right?

It makes you wonder: "Why are they like this?"

The easy way out is to simply hold on to the belief that they are behaving this way because they are bad people. Bad people do bad things, after all.

But when the world turns its back on a group of people, those people turn their backs on the world. They will naturally gravitate towards whichever group of accepting humans they come across first. Whoever validates their feelings and makes them feel accepted and safe instead of rejected and fearful.

The far right preys on young men who don't know know any better because they are never treated any better. They have influencers, exactly like Donald Trump, that make you feel safe. They also are lying to these people and using their fear of rejection to control them.

It's very similar to how the Church will help you out and feed you if you're homelss... as long as you join the church and donate 10% of your earnings to "God." (The churchs bank account. )

That is to say, people don't usually pop out of the womb with these prejudices and fears programed into their heads. It's something that has to be taught to them by somebody else. Their parents, the church, their school, their friends, youtubers, etc.

"So, what do we do? How do we save future and current generations from being sucked into this hateful spiral of far right bigotry?"

"How do we help our conservative parents, who we know love us but are absolutely convinced that they need guns to keep their families safe? How do we help our Trump Train family members who used to be loving, compassionate, people?"

Well, you're not gonna like the answer. We have to start being nicer to everyone. We have to be nicer to incels, dude bros, techbros, Karen's, and yes, even your average Republican voters. We have to show them compassion and empathy when they're expressing their fears, without immediately attacking them for it. We have got to prove to them that there's a place for them to come back to.

Their fears are being taken advantage of by a system that benefits from pitting the general population against each other. If we're too busy fighting eachother, we can never join forces and fight the system.

And so it turns into a self-sustaining system of fear and reactive lashing out. They start believing that everybody is against them, except the few people who understand. Until the only safe place left for them is the Q Anon message boards. Quite literally an orobourous of hate.

"But Curio! They literally want us dead! These people are violent and irredeemable!"

Many of them are. So many of these people are groomed into believing that the only way they can keep themselves safe is by killing anything they think has caused them harm. It's an intentional system maintained by those in power to control those who are not.

Some of them, however, are just normal people who got in with the wrong crowd or are too young to know better. Some people were never given the chance to be better.

"So, what SHOULD we do? Be nice to our oppressors? Let them get away with hate crimes and bigotry?"

No. But we DO need to stop thinking of "them" as this massive malevolent demographic who have no souls and are inherently evil. The majority of these people were lied to and manipulated and groomed into these beliefs.

We have to try harder to stop ourselves before we start calling them names and attack them, regardless of if they deserve it or not. We have to engage with them on good faith. Learn about WHY they believe conspiracy theories and why it stems from fear.

"Why? What will this help?"

Because you're quite literally showing them that there's another option available for them to take. You're showing them that, if they do change their minds and want to change their behavior, that you are a safe person to approach with these thoughts. You have the power to create a space for them where they're allowed to think for themselves without punishing them for it.

Once you create that connection, it's like you're showing them another road in life they can explore. They now can see a new future for themselves. A future where their kids start talking to them again. A future where they're not terrified of being humiliated for being soft. A future where they feel listened to.

And that's all. You just have to give them that chance. It's not your job to change their mind, or to tell them that they're wrong for thinking thoughts. In fact, trying to do just that will usually encourage them to double down.

But what you CAN do is build an environment where they have the OPPORTUNITY to change their mind. You can be kind, empathetic, and educational. Be patient and listen and have a respectful conversation with them.

It is especially important for people with privilege to step up and be those kinds of diplomats. People who are able and willing to look past the surface bigotry to address the scared humans underneath. People who can do this without endangering themselves or their community. This may be other cis straight white people who can get away with bringing these topics up gently, without triggering reflexive defensiveness. Who then have the patience to gently educate them and steer them towards a better path.

"But Curio, I can't do this. I've been hurt too many times by these people, and doing this would cause me significant mental distress."

Then don't. You're not obligated to be the better person for every situation and circumstance. Nuance must be taken into account. You don't have to be nice to every troll or ragebait Twitter post. I certainly don't want you to put yourself in a situation that causes you emotional, physical, or mental harm. Hell, you don't even have to give them the time of day. It's your own responsibility to make the judgment call regarding your health.

But people simply won't change if there's no room for them to change. And some people have the power to make that room for them little by little.

"I've tried everything. I've begged, cried, been nice, and shown them that we won't reject them. They won't change their minds no matter what."

And that's also ok! It can happen. When you give people the opportunity to make choices for themselves, there will always be people who still choose to believe the system they were groomed on. They can do that because thats free will, baby. There will still be people who will not change their minds and who will actively choose to become more radicalized.

And it's sad to see. But you also have to respect that sometimes people aren't ready to change at the same time that you're ready to help them change.

But you should try to do it for all the young men and children who are being taught by their parents that White Genocide is real. You should do it for the parents who love their kid so much, but are so terrified when they say they're transgender because they don't know what to do. Because they know the world will not treat them fairly or are afraid of ruining everything.

You should do it for your 10 year old nephew who watches Andrew Tate because their mother doesn't give a damn enough to check what kind of YouTube videos their kid is watching. You should do it for the depressed and hurting teenager who thinks they have no option left but to buy a gun and shoot up their school, because no ones listening to them. You should do it for the tradwife who's alone and hurting after her conservative husband cheated on her and left her with nothing; because she thought she would be the exception.

"...How do you know this will work? What if you're wrong, and nothing changes?"

I don't! I'm just a random person on the internet. I dont know who might read this. It's just my opinion.

But at least, at the end of the day, you tried your best to be a good person to another human being, and I don't think that's such very a bad thing. For me, I'm going to try because I don't want to lose my father to that kind of environment. I want to be able to have a normal conversation with him again.

There's some good in this world, Mr. Frodo, and it's worth fighting for.

#long post #us politics

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talenlee · 3 days

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Game Pile: Kentucky Route 0, One of Three Games About America

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Script and Thumbnail below the fold!

Kentucky Route Zero is a magical realist point and click game of what I’d normally call Narrative Adventure, which came to kickstarter in 2011, then came out in 2013, 2014, 2016, and 2020, because you can’t have nothing for free, even things you pay for. The game is a text-driven game without any of the trappings of your typical point-and-clicker where you jam a ladder in your pants and try to work out why you want to put green dye in the water fountain. Instead it follows the haunted mind of Conway, a trucky driver and his interactions with small handful of people on a part of the Kentucky Interstate, while he to find the place he needs to do his delivery, despite being utterly lost.

I enjoyed what of Kentucky Route Zero I played, but the thing that stands out to me in hindsight is its sound design. It’s a beautifully defined game, audio-wise, with all sorts of thoughtful foley for its environments, and the way that even the pieces of the interface that Conway interacts with have their own sort of specific authentic sounds, chonks and thunks and ch-zzzzses.

It’s also visually splendid, beautiful in what it tries to represent in the heightened reality of its setting but also the format of a videogame. These places look good from the angle that’s chosen, creating lines of artwork and bars of cages, depending on what you’re focusing on, and by being a fixed-camera story of its type, Kentucky Route Zero takes on traits of theatre, with blocking and careful positioning and timing all making up part of how the story unfolds.

A story I haven’t finished.

See, I don’t feel like playing Kentucky Route Zero Act V.

Sit down, traveller. Let me tell you a story.

There’s a chance you’ve heard this story before. I’ve anonymised it here, not because I think you shouldn’t be able to work out who it is, but because the idea of focusing on the who runs the risk of ignoring the what. Plus, I don’t want to direct anyone to a person who said something stupid and encourage fights. That’s not the important issue.

This is the story of when someone perfectly represented something, and probably never realised it.

You will sometimes hear me talk about the take that ‘there are three games about America,’ with a tone of utter revulsion and derision. This is from an incident back in 2020, when a game developer and advocate for inclusive games, had an opinion, on the internet. This advocate is well-established and has a big audience, but also, he’s crucially, not a white guy, not a Christian guy, and not an American guy. These are factors that play into what he said, which was, in summary, that while Kentucky Route 0 was no doubt phenomenal, he wasn’t interested in playing it right now.

To this, an actual adult responded with:

This is legitimately the worst take you’ve ever had. There are only about three games that are actually American, and this is one of them. Everything else is designed for export. Kr0 is a precious and valuable thing. It is of immense and intense personal importance.

Now, resisting the urge to argue with a tweet, which is just generally a bad practice that leads to doing things like wanting to be on twitter, and setting aside this tweet conflating ‘this is of personal importance to me’ and ‘this should be of importance to you,’ this position describes the idea that there are only three games that are ‘actually American.’

What does it mean to be ‘actually American?’

America is a pretty pervasive presence, if you’re not aware of it. Most people in the world have to know about what’s going on in America. We know about your Presidents and your Senators and your Constitution, to the point where people can be more aware of how your country’s laws work than their own country’s laws. I’ve often seen it held up as an example of how poorly educated people in say, Canada and Australia are that we believe we have, say, a ‘first amendment right,’ but the thing is you have to ask why there is that.

We watch so much American TV.

We listen to American music.

We try to make our news broadcasts look like yours, because that’s what real and legitimate news looks like. We try to retell your stories in our local languages because that’s what real media looks like. Our children sing songs in your accents because that’s the culture that a multi-trillion dollar economy has pumped into the whole world.

America demands we attend their wars and surrender our living to become their dead and when we are done America sells the survivors a cheeseburger.

This is not a remarkable or controversial statement. You must know, this is not even vaguely challenging to know about. Everywhere in the world is replicating parts of the American empire, because America exports and enforces the vision of the American empire. McDonalds may sell curry in India, but it’s very important that the curry being sold is McDonalds curry because that is how you know it’s an American style curry.

What this means is when someone tries to assert there are only really three games about America, that’s a kind of specialised brain rot that requires you to consider games that are very much about America as not being really about America. And thus we see the other thing about America, which is it’s not enough for America to be the most important place in the world that everyone else in the world needs to recognise, but also, most of America is inadequately America for this vision of America. You saw this in the wake of 9/11, and the election of Barack Obama: huge amounts of American media resurged in extolling the values of ‘real’ America, as opposed to the parts of America where the vast majority of Americans lived, which just so happened to paint a lot of marginalised people living in the cities as ‘fake Americans.’

I am not bringing you unique information. This is just obviously true things if you don’t live within the boundaries of an environment that flatters you as the most normal thing in the world. The vast majority of the world is not America. There are eight billion people in the world, more or less, meaning that America is about 4% of the world, and yet, it is catastrophically, overwhelmingly, deleritously the common touchstone for how things are ‘supposed’ to work. This is through media imperialism, which is mostly supported by American companies exporting all their media to foreign markets extremely cheaply.

‘about three games that are actually American.’

This fascinating piece of doofusry still, even now leaves me agog. ‘Actually American.’ Kentucky Route 0 is actually American, you see, as opposed to… what? Is America’s Army one of them? You know, the game financed by the American Army? What about Call of Duty, a franchise that is in part subsidised by American military complex manufacturers? What about Grand Theft Auto, a videogame that tells the rags-to-riches story of American excess in criminality, setting aside the way it’s made by a Scottish company. Actually American, because American doesn’t mean America, it means one tiny little pool of ‘America’ where the speaker can imagine there’s a realness and an authenticity to the America-ness that doesn’t involve all the messy realities of what it is to be America. It’s the towns of hard-working people, that suffer under your particular description of oppression, whether that’s cities full of nonwhite people or corporations bleeding the country dry, always eliding the social cruelties and terribleness of these places, as if giving people money stops them from being bigoted (for example).

This is then used to recruit these poor, superior Americans, the you know, America Americans, whose sufferings are noble and whose authenticity cannot be impeached and they are then used as a defense against criticism of, you know, America. It’s the same speech Charlie Daniels gave about how foreigners may think they could push around Barack Obama (a dude who bombed a lot of shepherds with the most elaborate and brutal military ordinance in the world) but they were going to have a harder time taking on Americans who wrestled alligators, who at this point have exactly zero recorded drone strike kills.

This is because America America isn’t real.

‘Real’ America is a nebulous nothing that you can project whatever you want onto, and which is also not responsible for anything terrible that America does. It’s not the American Empire, it’s not the exporter of culture, it’s somehow purer, better, a sort of individualised folk who are to be protected and extolled, shriven of all the things about America that make it anything but its perfect idealised form of America.

I could go on.

I really could.

This is something that defines the world I have to live in. I speak English. I’m white. I’m from a coloniser state. I should be able to integrate easily and smoothly into the white supremacist capitalist hierarchy of American culture, but we are told, that no, we are not acceptable. We are only valid as long as our differences are invisible. We, a real people, do not get to have opinions on America, because we do not know True America. When you spell colour wrong in a chat message, when your accent isn’t quite right, when you don’t know the difference between junior and sophomore year of high school, then you are shown, you are evinced, and you are made very aware that you are other, you are outside, you are wrong.

And really, there’s no good reason for it. We send our soldiers to America’s wars, we buy America’s submarines, and we sing your songs. Our currency mimics America’s, our culture permeats with America’s, we even have such a crushing inferiority complex about the empire that there’s an academic term for what we feel about our own media compared to the media of the truer, proper empire to which we are vassal.

The term is ‘cultural cringe,’ and it was coined by Henry Lawson, who you, odds on, have never heard of. In 1894, he wrote:

The Australian writer, until he gets a “London hearing,” is only accepted as an imitator of some recognized English or American author; and, as soon as he shows signs of coming to the front, he is labelled “The Australian Southey,” “The Australian Burns,” or “The Australian Bret Harte,” and lately, “The Australian Kipling.” Thus no matter how original he may be, he is branded, at the very start, as a plagiarist, and by his own country, which thinks, no doubt, that it is paying him a compliment and encouraging him, while it is really doing him a cruel and an almost irreparable injury. But mark! As soon as the Southern writer goes “home” and gets some recognition in England, he is “So-and-So, the well-known Australian author whose work has attracted so much attention in London lately”; and we first hear of him by cable, even though he might have been writing at his best for ten years in Australia.

This is imperialism. This is a way in which we have been induced and brought by the empires around us to accept their ways as correct, as the normal, as default. And that is the mindset you must have if you want to look at the breadth of videogames, with their American ideas like health insurance, readily available guns, the importance of freedom, the ubiquity of air travel, the branding and iconography of types of food and the sports metaphors and then say ‘yeah, this doesn’t have anything to do with America, not really.’

Anyway, this thread, this incident, was a big deal at the time, in that there were a lot of people from within the community of game developers and journalists who seemed very happy to line up and get mad at a brown foreigner for being inadequately enthusiastic about the possibility of playing a videogame. But don’t worry, after a day or two, an apology was forthcoming for all of this fracas, by which I mean, the original developer apologised for being so thoughtless as to, again, express honest lack of enthusiasm in a videogame.

For me, this was a kind of break point, where I started just blocking indie devs on sight. I don’t want to know what they’re involved in, I don’t want to promote their work, and I will hold tiny grudges against them that I do not seek to transfer or encourage in others. This was one silly incident in which a lot of people said something silly because they don’t know better, or they’re arseholes.

None of this is fair to Kentucky Route 0. It’s a game with its own intentions and its own perspective. It’s not trying to make this conversation happen. Kentucky Route 0 has been choked and gripped by this position around it, where to talk about an American game, someone put a cross on it that made it the avatar for All Things America. The wild thing to me is that I had, prior to this point, played two episodes of Kentucky Route 0. I thought it was pretty good, and I liked what it did with the negative space of dialogue options – when a character you’re controlling makes excuses, the excuses you choose show you other things you could be making excuses about that you, the player, didn’t know beforehand. That’s some good Narrative Storytelling Design, I like that a lot. But now I can’t really engage with Kentucky Route Zero because the main thing it makes me think about is how this final chapter, meant to round out the game’s story and present a conclusion and a point, became this flashpoint for a lot of people to be very casually racist.

Which kinda poisons the whole thing for me. It’s an authentic thing, I’m sure, it’s a thoughtful thing, too, but the people stepping up to say I should care about it did so in a way that made me hate them.

Any time you see me say ‘three games about America’ I’m talking about this, and the attitude of a particular kind of American that America is, as always, exceptional. It’s real easy to not realise when you’re just voicing your self-centeredness and how easy that is to ignore the opinions of people around you and what they’re saying. This is what I’m talking about when I mention ‘the three games about America.’

[fade for credit text]

By the way, the three games about America are Crash Bandicoot, Sam & Max Hit The Road, and Bust A Move.

#Game Pile #Games

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hollowed-theory-hall · 2 days

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ok so what are some of the changes you would want in the upcoming harry potter hbo series. and since your blog is Harry centric so I'll ask how do you want him to be portrayed in the series ? what traits of him do you think the series makers should shine more light on ?

Okay, I have, like, a list of things I didn't like in the movies and could be improved upon by the show. The list I have here isn't just about things the show could improve, but also things I want to see in the show in general. I think most of my opinions are pretty common, though.

(Also I'm not sure how good the show will be, like, I'm somewhat hopeful, but also very cautious with my expectations. We should start getting casting announcements around in a few months, which could help indicate where this show is going)

Regardless, here's my list of top concerns for the upcoming show:

Harry's character

This is the one you questioned specifically and one that could make or break the show for me. I want Harry's sass and anger, I don't want him to be a self-insert for the audience the way he was in the movies. I want his actual character. The sass, anger, and tenacity that is Harry Potter combined with his kindness, compassion, and sometimes clueless awkwardness. Let him be smart, clever, and talented.

Harry in the books is so much more than "just Expeliarmos" and the fact people could think that about Harry is a legitimate crime against his character the movies committed. Truly character assassination that Harry isn't an exceptional wizard with the world's lowest self-esteem and cheeky attitude.

(Also, for the love of god, give him green eyes, please. Contacts exist for a reason and it'll be a good way to differentiate the new actor from Radcliffe)

2. Ron & Hermione's characters

I could probably just put a "make all characters like in the books" category since this is true for a lot of them.

Specifically for the other two members of the Golden Trio, I want Hermione to have her flaws, and Ron to be smart. He is talented and smart and just as skilled as Harry and Hermione. He isn't the dumb comic relief and I'm so mad the movies made him such. And Hermione isn't a perfect Mary Sue who can do no wrong. Let her put Rita in a jar. Let her show how much she actually appreciates Ron and Harry and their approach to problems, different as it is to hers.

3. Voldemort's everything

I didn't like Voldemort's design, I didn't like his characterization, I didn't like how he spoke, how he walked — none of it felt like Voldemort to me.

I want Voldemort to be scary, not some odd caricature of himself. Give me a Voldemort design that looks scary. Give him the red eyes, and make him look actually skeletal. And let him move elegantly, talk softly. He isn't shouting and throwing tantrums, usually, he is very deliberate in what he says and does.

Also, give him his weird sense of humor. In the books, he makes bad puns ("Wormtail is here to lend a hand"), I like my villains a little campy with bad puns but also terrifying.

4. Dumbledore's everything

Well, honestly, I have no complaints about Dumbledore in the first movie, my problems started after he was recast.

I want Dumbledore to speak softly. I need an actor who could say "Nitwit! Blubber! Oddment! Tweak!" and make it work. I want an actor who'd smile like he knows things you don't as his eyes fucking twinkle, but could still look intense and even intimidating for the later seasons. I also want him to look whimsical and dress in the most absurd eye-catching robes you've ever seen.

5. On the matter of robes — wizard fashion

I want wizarding fashion. I want long robes, silly hats, colors, and patterns. I want the costume designers on the show to have fun with it. I want them to go wild.

The wizarding world should look whimsical and campy — that's part of the magic. I want it to look like a foreign world. Even the most purebloods of purebloods (like the Blacks) are more like the Addams Family than any serious drama. They have a sense of campiness and whimsy. Let wizards be weird as shit and show it in their dress and interior design (I mean, the Blacks hang house elf heads and have a troll leg umbrella stand, the Ministry of Magic has paper airplanes flying all around, they're weird).

6. About the more filler-y sections of the books

I want all the silly little plots that were removed from the movies. I think some of the more filer-y things add a lot to the books and to the whimsy of being a student at Hogwarts. I want the trio to sneak out Norbert, I want to see Peeves, the deathday party, all of these things that make Hogwarts truly feel like a magic school.

7. Hogwarts Castle

I love the castle of the movies and that of Hogwarts Legacy. Honestly, I think Hogwarts Legacy did a good job of capturing the feeling of the movies castle while making it its own new unique thing. I think the TV show should do something similar and kinda create a Hogwarts castle amalgamation of all previous iterations that would feel familiar and allow them to still use some of the same merchandise but also be new and unique at the same time.

8. Time period

I think this is a pretty common opinion, but I want the muggle clothes and sets to clearly be set in the 1990s. I want the show to be a period piece. I don't want to see smartphones, or modern fashion, or modern cars — none of that.

9. Age-appropriate casting

I'm not the only one who says this, but as great as Allen Rickman was, he was too old for the role. Part of the tragedy of Snape and the Marauders is how young they actually are. I think it'll just be much more heartbreaking if the actors looked as young as they're supposed to be.

(Including James and Lily in the flashbacks!)

10. Worldbuilding & extra scenes

Since it's a TV show and not a book, which opens up more perspective options, I would like to get, maybe, some extended Pottermore facts into the show. Like, to flash out the world in a way the movies didn't.

Additionally, I wouldn't mind if some extra scenes were added to build up characters we don't get as much of in the books and it could serve the plot. Like, as long as the scenes are added in a way which is like 'they might've happened in the books, we just didn't see them cause Harry wasn't there', that sort of thing without subtracting from anything else and without retconning or contradicting anything. Like, with good writers, this could be really well done, I'm just worried about them adding anything because I don't know how much faith I have in the whole project. But it could be cool if done well.

#harry potter #hp #hollowedrambling #harry potter tv series #harry potter tv show

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spjohnv-blog · 3 days

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If you're familiar with the South Park Archives, pretty much the only SP fansite still online - there's over eighteen years of history there, pages and renders for tons of characters and locations, thousands of screenshots, a pretty dedicated staff, transcripts of every episode, and so much more. When I made my start writing shitty fanfics, it was a super useful resource, and that was a small chunk of what it is today.

FANDOM has today unveiled a new Offensive Terms Policy which continues a trend in the last few years been suggested in events like Community Connect, where it has previously been suggested wikis avoid references to canonical sex. The avoidance of slurs is something I would be super supportive of generally -- we don't need to see that kind of stuff on Wookiepedia or like, a wiki for Bluey. It'll keep people from vandalizing children's wikis with adult content for kicks. I am generally in favor of content filtering, especially for family-friendly-oriented content.

...but, this is going to cause a lot of problems for the South Park Archives, a show with a major character who frequently uses slurs and is firmly anti-censorship. You don't need to be an editor to think about that. If you're a fan, you know what kind of show we're talking about.

This is a show with episodes called "The Biggest Douche in the Universe", "Major Boobage", "Reverse Cowgirl" and "Titties and Dragons". There are songs like "Fuck the Police" and "Jacking it in San Diego". There is a character called 'Retarded Fish'. The names of these songs and episodes, bear in mind, are legally registered copyrights, not our choices -- how do you change that? Move an article to Episode 1601? What about "Fuck the Police", which isn't even a South Park original song?

You can clean up a synopsis, and formalize language on a character page, I've done both of those things when I was an editor, but you can't undo all of this. How do you?

That's not even getting into the transcripts pages, which are intended to be 100% accurate to the actual dialogue, continuing the tradition from the good ol' South Park Scriptorium...

Within the day of the policy change, FANDOM has already started to make changes to remove slurs from the transcript pages that are unable to be modified as it is directly related to global policy. I don't know that the staff were communicated with about this personally either, but I'm not in the know like I used to be.

No doubt some of this move is prompted by advertisers - FANDOM previously cited advertiser feedback as a motivation for inserting all sorts of videos on top of wiki pages (similar to their later push to include AI-generated content) and understandably many advertisers may not want their brand name mere inches from a discussion of cartoon eight-year-olds using slurs. I mean, shoot, I wouldn't if I were in charge of a major company, and I get someone needs to keep the lights on, but...

I don't know man, it's a shitty position to be in. It's a well-intended policy that I'd support in almost any other context but literally this narrow exception, and I definitely hate the thought of looking like I'd be defending use of offensive terms, but like, how do you cover "everything" about South Park, an explicitly adult show that is so firmly anti-censorship, that builds entire episodes around these kinds of jokes, or even analyze it from a critical perspective, in such a family-friendly, sanitized way, without betraying its spirit and creative intent?

You can imagine how many staff members there are probably scratching their heads or bashing them into lamp posts, trying to figure out what to do or how to move forward after this. They could apply for an exception, but would it even be granted? What would the alternative be? Are restrictions like this worth it or do they render the whole thing moot? How much responsibility lies with FANDOM? Are advertisers forcing the whole internet down this road? There are so many questions in the air on this. I certainly don't have answers.

#south park #south park wiki #wikis #fandom #wikia

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ittybittyremy · 7 hours

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bells hells' points about the archheart conversation (c3e108)

I organized everyone's points so that it would be easier to analyze them

This may look a little messy so sorry in advance

Note: I am only including the conversation and not anything afterwards (i.e. Braius' interaction with Asmodeus)

Conversation starts at 3:19:30 on Beacon

Chetney

Reminds the team that there is another god who has a similar opinion to the Archheart

Reminds the group that the last bit of the lock on Predathos shared a similarity with the Divine Gate. He wonders if they break down the gate, would it pull the pin on Predathos, keeping them back for a bit. And if that was the case, it could be fair game

Agrees with Orym's “I don’t know that we need to decide that we have to throw the switch instead of him when we at least have a chance to cut off his hand before he pulls it”

Asks Imogen and Fearne “I’m not Ruidusborn, so it’s not really up to me. How do you feel about the notion that one of you or both of you could be asked to be a vessel? Where are you? How are you feeling about that?”

Says “I don't know” at Imogen's “but there’s no way I’m more powerful than some of the Exaltants up there already”

Thinks it’s crazy that the gods could see BH as their last ditch effort

Says “right” (Regarding Braius’ “At the end of the day, whoever succeeds, whoever has power, whoever accomplishes their goals, they can make things right. You have to win first”)

“The weird part is all these different parties have the same goal, to push the reset button, to grab the reins. We all have different perspectives. The Unseelie want the chance to do it and wipe the slate but they want to be in charge. Ludinus, same thing, but he wants to be in charge. I’m not saying we’re wrong. I think we’re better, but we’re really no different.”

“I was asking if he had talked to Ludinus or done this before, like a catalyst, like a voice in your ear. I don’t know”

Feels like they’re having their strings pulled

Thinks that they should talk to the Matron because “conversations are important. Everything breaks down when people don’t talk.”

Laudna

“I really liked [the Archheart]”

“The other scary thing is if he’s sending Ruidusborn to their deaths, is he testing the boundary or are they testing who’s powerful enough to possibly take Predathos into them?”

Agrees with Dorian's view that releasing Predathos is inevitable but wanting to be there when it happens

Mentions that the Matron may be the one that has similar ideas to the Archheart

Wonders if Ludinus will be successful in broadcasting the gods destroying Aeor

Thinks there’s a chance that the gods strike back if the broadcast is released as there powers wanes

Reminds the group that Archheart said “a second Calamity”

Reminds Imogen that she’s very capable when she says “but there’s no way I’m more powerful than some of the Exaltants up there already”

Thinks that “being Ruidusborn doesn’t necesarily gives them godlike or god eater powers…”

“If it’s not [Imogen’s] mother, it’s probably one of the two of you. And that makes my stomach turn”

Doesn't think the gods are a monolith

“We’re the worst. Like just kind of in general, like we are a bunch of fuck-ups. We’re kind of the worst. Strangely, I think that’s the quality that everyone sees in us that makes us the best for this job” (Regarding Orym saying that the gods could see BH as their last ditch effort)

Agree’s with Chetney's “I think we’re better, but we’re really no different [from the others who want to release Predathos]"

“We learn more everyday. We’re still on this journey. No decisions have been made. We’re not speaking in absolutions.”

Thinks the RQ ”has a reason to take all of this very personally more so than any of the others”

Dorian

Thinks that Predathos being released is inevitable. He would rather be there when it happens

“Cowards are often honest” (about the Archheart)

Wonders if there’s a chance that the gods strike back if the broadcast is released as there powers wanes

Nods at Orym’s “Ludinus is at the end of the road no matter what.”

“Faith’s a hard thing to let go of” (regarding Imogen’s “but a lot of people on this world depend on [the gods]”)

“It’s hard to believe but there is real evil in the world. I’ve seen it. Not everything deserves a second chance… But maybe you’re right, I wish you were. I wish the world were the way you saw it but it’s got to be done, but that’s not a chance I’m willing to take either” (in regards to Fearne saying that Predathos potentially being good)

“I think Predathos is a weapon. Do we want to have the power to wield it? I don’t know. But I trust us more than anyone”

“It was so ugly the way we did [the mission], but we did do what we came here for.”

Asks Chetney if he thinks “we’re getting our strings pulled”

“I think (the Raven Queen) is motivated by fear as well. I would imagine if you could see the future, the one future you couldn’t see is the future where the gods come to an end.” (Going under the assumption the she can see the future)

Braius

He saw the deal as the vessel “being” Predathos

Makes an affirming sound at Orym’s “it can end at job one, if you do it successfully”

Doesn’t think they went to far with the mission. “We’re on a mission to save the world. Some stuff is going to happen. It’s all in service of a greater good”

“At the end of the day, whoever succeeds, whoever has power, whoever accomplishes their goals, they can make things right. You have to win first”

Fearne

“The deal is that we would [release Predathos]”

Thinks most of the world believes in the gods

“What about the other gods? What if they have different ideas?”

Wonders if we should get the opinions of other gods

Thinks the Archheart seemed tired

Doesn’t answer Chetney’s question about how she feels about potentially being a vessel

“I mean, listen, If it’s something that’s got to be done. It’s got to be done. Personally, I think- I don’t know, I think if something is captured up there, this Predathos. Does it make us any better that we’re keeping him caged up just to save other people and other things?”

“What if [Predathos] just want[s] to go back and be with his family?”

Agrees with Dorian's “Not everything deserves a second chance.” (regarding Predathos)

Strongly agrees with Imogen’s “What the Archheart is trying to convince us to do is the exact same thing that everyone else is trying to do.”

Imogen

“[The Archheart] made some really amazing points”

“Do we really want to follow?”

The deal is that we would still wake up Predathos. That’s the deal they want; wake up Predathos.”

She highlights that the people who believe in the gods wouldn’t get what they want

“The Archheart made it pretty clear that taking Predathos would be [deadly]”

Thinks the Archheart seemed tired

Agree with Ashton’s “I do think that most scenarios in this current situation lead to just the worst that we can imagine”

Agrees with Orym’s “Ludinus is at the end of the road no matter what.”

“I haven’t really thought about it yet, Chet. I’ve been of the notion that I don’t want to let Predathos free. I know so many people disagree with what the gods do, and so many in our group do. But a lot of people on this world depend on them. To throw that all away seems callous.” (When Chetney asked about how she feels about potentially being a vessel)

Wonders if they went to far with the mission

Agree with Dorian’s “Faith’s a hard thing to let go of”

“It’s not like, you know, their faith would be shattered because they don’t know. Their faith would be shattered because their gods abandoned them. Their gods would have run away from them in their time of need when all of their Ruidians or Reilorans are destroying their lands and demons from the depths are breaking through portals. I don’t know what will happen, to Orym’s point. So I don’t know how I feel about back that play up. But I think if it’s going to happen, if it has to happen, if there’s no stopping it, if it comes down to it and he’s coming out, then I would gladly step up and at least try. But there’s no way I’m more powerful than some of the Exaltants up there already”

“I think us (Fearne and Imogen) combined, there might be some hope”

Wonders if Predathos could be like Gloamglut. “He’s just young”

"Well, I kind of sensed him. He wants to eat” (Regarding Fearne wondering if Predathos just wants to go back to his family)

Thinks that they should talk to the Matron of Ravens to see what she has to say

Agrees with Dorian’s “It was so ugly the way we did [the mission], but we did do what we came here for.”

“What the Archheart is trying to convince us to do is the exact same thing that everyone else is trying to do.”

Wonders if the RQ knew her champions would become the catalyst for the key

Orym

“We’ve yet to see one thing that proves to us what will happen after that thing is let loose. We’ve had people tell us it will be fine, we’ve had people tell us it would be destructive. We’ve had a god tell us to fight. We’ve had a god tell us to burn it all to the ground.”

He wouldn’t risk it because he doesn’t think anyone, including Ludinus, knows what will happen when Predathos is let free

Disagrees with Dorian statement of “I think it’s coming, one way or the other, and I’d rather be there when it does”

Highlights that they’re making a play for Ludinus because taking Predathos on would be deadly

Acknowledges that the gods may have different ideas

“It’s a big coin toss, guys”

Agrees with Dorian’s “There’s no one I trust more than us”

Thinks that “Ludinus is at the end of the road no matter what.”

“I don’t know that we need to decide that we have to throw the switch instead of [Ludinus] when we at least have a chance to cut off his hand before he pulls it”

Thinks that it can/could end with cutting Ludinus’ hand before he pulls the switch “if you do it successfully”

“There’s nothing saying that you have to flip that switch and turn reality upside down. None of you can tell me what will happen if one our friends does what Ludinus wants to do. None of you have any evidence, proof. Intuition doesn’t cut it. Your gut does not cut it. You are putting the population of this world at risk. So I hope you are all fucking sure at the end of the road. I’ll be there to get you there. I’ll stand by your side. I will do my damnedest to keep you all alive. But don’t let it be a coin toss or ‘let’s see what happens,’ because you just don’t know”

“I also just over the last months have the feeling that we’re walking some line and that’s why so many of them are paying attention to us. Maybe they see us as a last ditch effort”

“It is, but it’s uncanny.”(Replying to Chetney’s “it’s crazy” that they’re the gods’ last ditch effort)

“No one said it was going to be easy” (Regarding Imogen asking if they went too far with the mission)

Ashton

“It’s a deal I can get behind”

“Everyone gets what they want”

Does not think most of the world believes in the gods, just “a lot” of them do

“They get to live” (In response to Fearne talking about other gods having other ideas)

They trust Archheart the most (of all the gods) because “he’s the only one who had clear misgivings. Everyone else was hand wringing. He was the only one who was actually - He was the only one with a big picture”

Trusts Archheart because he sees them as a coward. He thinks cowards are honest

“Big coin” (when Orym says that it’s “a big coin toss”)

Feels that they would know if Ludinus was broadcasting the Gods vs Aeor already

“I do think that most scenarios in this current situation lead to just the worst that we can imagine”

Says the they trust Imogen and Fearne (after Laudna reminds Ashton of the potential second Calamity)

Thinks that “it should be us”

Agrees with Orym’s “Ludinus is at the end of the road no matter what.”

“Job one. [Ludinus] doesn’t touch the switch” (Regarding Orym's “I don’t know that we need to decide that we have to throw the switch instead of [Ludinus] when we at least have a chance to cut off his hand before he pulls it”)

Responds to Orym’s “don’t let it be a coin toss” (Regarding releasing Predathos) with “Well, then we’re very lucky that we no longer have anyone who believes and puts their faith in a coin toss” and leaves

#chetney pock o'pea #laudna #dorian storm #braius doomseed #fearne calloway #imogen temult #orym of the air ashari #orym #ashton greymoore #cr spoilers #critical role spoilers #critical role #bells hells #c3e108

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thecoolerliauditore · 3 days

Note

Pls tell me about Scott's views on women in general pls I'm begging you

o7 and I'm sorry

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

fyi, the post itself isn't NSFW, but I'll be getting all gender theory in this bitch so I'll be referencing a lot of things and putting in pictures of naked ppl sometimes. maybe skip this one if you don't like that

(long post)

Disclaimers

An explanation for the tweet up there

I usually don't write these because I assume the people on my blog have enough sense to realise when I'm talking about the characters vs the CCs or are comfortable enough being a little confused, but I feel the need to extra-clarify here and expand on how I specifically view C vs CC because I think it differs a little from the average person.

To me, C and CC are two separate entities but not entirely disconnected. What differs (e.g. the exclusion of irl relationships -- their wives, kids, etc.) is poignant enough to severely detach them from the people they originated from, at least in my eyes, but there's also the fact that these are not scripted characters, just creators being themselves with a hint of behind the scenes drama-adding and improv thrown in.

For example, CC Pearl is a car nerd. So I assume her character is too.

This is where I state very clearly that yes, a lot of these thoughts come from things I've seen on Scott's twitter, which is undoubtedly the CC and not the C. However I, to me, am still talking about the C because any observations/judgments I could make on actual irl youtuber CC guy Scott Major would be tabloid at best and slightly invasive at worst. I'm seeing these statements within the context of "the death game guy would say this too and I'm writing this based on that", not "this is the inner psychological workings of the youtuber because I, as a fan, can totally tell".

TLDR I don't consider this post RPF but you might. This is a little more RPF-y than my usual stuff. If you don't rock with it we cool.

Everyone is weird about women, and that's okay

One short-hand I've used in the past to talk about Scott and women is just by saying that he's "weird about women" which I'm sure isn't exclusive to him.

(shitpost I made awhile back)

I see a lot of people now who love "villains" and "evil" but when it comes to any traits resembling real life evil (e.g. misogyny in this case) they suddenly become insecure. Just a couple of days back a saw a post on twitter essentially asking for permission to continue liking CC Scott in spite of the "bad things" he did.

And I think, in order to present an analysis like this, I must address that mindset first.

This is not a judgment on Scott's morality, nor is it trying to dissuade you from liking him. This is not saying that he is any more misogynistic than any other player in the series. This is just me pointing out Scott's attitude towards women and what I read it as, nothing less or more.

The feelings that me pointing these things out - be they apathy, disgust, anger or, what I would hope to see most, interest - are your own. I'm not here to tell anyone how to feel and never will try to police that on my blog.

Scott's Relationships with Women

aka. oh yeah this is about minecraft.

Scott and Cleo || "Yeah, you can kill me."

Scott and Cleo's alliance is arguably the strongest in the entire series, spanning through all five seasons and remaining unbroken with no (serious) drama attached. You'd expect from this that they two have a very settled and stable understanding of eachother, yet this isn't a case.

Their power dynamic shifts dramatically from one season to the next.

3L's initial Widows Alliance began on fairly equal footing, built on the mutual agreement that they were waiting for their respective partners to die. Both understood they were eachothers' "plan B" and felt comfortable in that arrangement.

Come LL, Cleo does what she couldn't in 3L, and initiates that plan, going to Scott after her last alliance, the fairy fort, fell apart. Scott requests nothing from her in return.

DL is the longest the two spent as eachothers main ally. Cleo is the one who initially proposes teaming up to spite their "cheating" soulmates and Scott agrees. Cleo admits to Martyn in private that she's aware she's taking advantage of Scott (which I've always interpreted as her talking about all seasons, not just DL). Due to the time they spend together, it's here where it becomes apparent that their initial assumptions during 3L were not entirely accurate, as Scott shows a level of gameplay competency much higher than Cleo's (e.g. teaching her how to axe-crit) but despite this Scott never berates her or thinks any less of her value as his ally.

LimL is probably this pairing at their most unhinged, as Scott, despite once again asking for nothing (or very little -- I'll be honest I'm a bit fuzzy on this) in return from Cleo, allows them and their allies to butcher him repeatedly for time. He gives more time to the Clockers than he does to Martyn, his closest ally that season. Despite this, Scott is never ever considered as a "family member" by the Clockers, despite them giving that title to even temporary allies (like the Bad Boys being their cousins) -- even Martyn gets a title with Scott completely unattached.

SL is relatively more chill, but shows that the two inevitably end up teaming together even despite their oath to avoid eachother that season.

The point being -- again and again, we see Scott literally and metaphorically making sacrifices for Cleo, with the only real transaction he requires from her being that she continues having his back when times get rough. This is despite that he's aware she isn't any more capable than he is and the fact that so far it has only been Cleo in rough times (LL, LimL and SL) and never Scott.

Speaking from a purely transactional perspective, Scott is not getting a bargain here -- and even Cleo seems acutely aware of it, judging by her comment during DL as well as the way she tends to speak of her survival capabilities very lowly in general ("rubbish pvp skills and spiffy one-liners"). I'm speaking in this sense because I've seen discussions in the past about the transactional way Scott views relationships but rarely does Cleo get brought up.

This is at stark contrast to how he treats Jimmy, whose predicted death was what spurred on Scott and Cleo's alliance in the first place.

Scott assumes Jimmy is "incompetent", where he assumes Cleo is capable. When Jimmy messes up, he reprimands him, when Cleo struggles to crit him, he patiently teaches her. When LL begins, Scott's first instinct was to look at Jimmy's lives and note that he was "useless to (him)", but holds no objections to Cleo joining his alliance despite her already having enemies being a potential liability. In SL, he jokes about how Cleo and him being allied is a given and pretty much expected of them, whereas in LimL he explicitly requests from Jimmy a recognition that he still cares ("say love you back!") before he will help him.

Scott and Gem || "You HAVE TO kill me, Gem,"

In SL, Gem settles in very easily in a leadership position within Gem and the Scotts due to her trying to live up to her reputation but also due to Scott and Impulse's more laid back, passive playstyles.

Both Scott and Impulse let Gem kill them for extra health this season, although Scott is arguably much more subservient than Impulse is, with him not only insisting that she kill him in the final episode but also not fighting back (and only yelling for her to stop) when she starts hitting him with a sword during the episode where her task was to literally kill everyone on the server.

Once again comparing her to Jimmy, Scott in 3L had a tendency to brush aside Jimmy's concerns over alliances (e.g. Jimmy questioning if they could trust Cleo) while in SL Scott runs his plans by Gem (and Pearl and Impulse) in terms of who he wanted to team up with (specifically excluding Joel from the potential mounders alliance) implying he held her opinion in some form of regard.

Before this becomes less of an analysis of Scott's treatment of men vs women and more of Scott's treatment of Jimmy vs everyone else, I think it's notable enough to mention that he and Martyn also lacked this sort of communication in LimL. He would inform Martyn of his plans, but rarely was it ever framed as a request.

SL almost feels as if Scott has slid Gem into the slot he had previously designated for Cleo in 3L (his girlboss ally) as he provides her and pretty much forces onto her by the end the acts of service he'd become accustomed to performing for Cleo.

Scott and Lizzie || "You killed her! I don't.. I don't know what to even say!"

Relatively shorter section because this is the one woman he hasn't teamed with, but there's still some interesting stuff I wanted to touch on.

In LL, one of the first thing Scott does is yell at Pearl to revenge-kill Joel for boogey-killing him. Pearl does as she's told and Joel's wet miserable pathetic LL life gets worse from there.

Several episodes later, the roles are reversed -- Lizzie lies to both of them and manages to isolate and boogey-kill Pearl. Scott, instead of reacting with the anger he had for Joel, is almost in a state of shock as he asks Lizzie to let him down so he could collect Pearl's belongings. He doesn't act aggressively towards Lizzie at all, with his most antagonizing act against her being to lie about his intentions when giving her a wither skull.

In SL, he's the only one aware of her early permadeath, but keeps quiet about it almost as if he's in a state of shock akin to when he saw Lizzie kill Pearl in LL. It's not until the others have noticed when he finally brings it up.

Scott and Pearl || "Tilly death do us 'part"

I wrote a whole post just for their relationship alone so for the sake of my sanity I'll be leaving this here.

So now I get to dedicate this section to the meat of this post -- how the way Scott treats women in general impacts his relationship with Pearl and how I view his heel-turn on her as seeping with relevance to Pearl's perceived gender.

In all three of the previous sections, the running theme is that Scott is 1. kinder and more patient with women, regardless of their competency and 2. someone who likes to be in a supporting role to women, occasionally aiding them more than he aids himself and his closer male allies (e.g. Jimmy and Martyn). As shown with Cleo, he assumes that girls have it together, but even if they don't it's not a big deal. When a girl's actions are truly disastrous, such as with Lizzie's, he goes into a state of shock and doesn't really react, preferring to swallow it down and not acknowledge it.

With the amount of times he sacrifices himself, I don't think it's a reach to say that Scott values his own life less than he values the lives of his (female) allies. This specific point actually does extend to his male allies too, shown when he's happy when Martyn literally backstabs him in LimL, but just as with the Martyn post where I point out his victim status-ing doesn't end at only women but includes all the women, Scott has pedastal-ed all the women he's teamed with.

Lizzie is, once again, the exception here due to his limited interactions with her. However that's actually somewhat patched over if you look at adjacent series (such as x-life) where he definitely shows her a level of admiration and respect.

Back to Scott and Pearl.

Their relationship during LL is very standard of how Scott treats women. While the power dynamic between them is obviously more caused by the initial life trade agreement, I don't think it's a far reach to say that Scott is somewhat comfortable in the arrangement.

However, this is also the first thing that sets their relationship apart from Scott with Cleo or Gem -- Pearl is the one making sacrifices, not Scott. She is the one "sacrificing" her lives to him, just in a more non-violent way as allowed by the season's mechanics.

When viewed through this lens, Scott trying to make it up to her and wanting his effort acknowledged makes even more sense. This is suddenly uncharted waters for him. His assuming that Pearl doesn't value him as a person goes hand in hand with him valuing himself less than her.

What Scott has with Cleo or Gem, situations where the other party is clearly uncomfortable with how he treats himself (Gem) or actively aware they are taking advantage of him (Cleo), is equalized to him because he is inherently worth less. What he has with Pearl, on the other hand, looks more equal to most people (lives vs labour) but is wildly imbalanced to him.

It's one of the many factors I see going into Scott's weird decision to abandon her in DL.

An Interlude, Before We Get to DL

La Pieta, Michelangelo

So this has been a lot of words so far and some of you might be wondering at this point: why say Scott is "weird" about women when so far this has been describing how he values women more, is kinder to them, is more patient with them, etc.? How is any of this behaviour remotely misogynistic?

And I would feel horrible if I forced you to read through all of my DL thoughts before I clarified this -- Scott is not your classic wifebeater "women are lesser" misogynist, Scott is someone who subscribes to misogynistic schools of thought and probably considers himself an ally to women, when in reality his beliefs are still rooted in dehumanizing them and these beliefs end up harming the women around him as well as himself.

After all, seeing women are your superiors is still not seeing them as your equals.

I know it's a bit of a meme on this blog at this point. But. Sigmund Freud identified what we know refer to as the "madonna/whore complex", which he described as a pattern of behaviour in men who separated women into being madonnas (pure, holy and admirable) and whores (debased, sexual, deviant). We'll be focusing on the former, the madonna, as it is more relevant to Scott's character.

Freud proposed that the madonna figure was something men projected onto women as a replacement for maternal love. These women are sacred and untouchable, literally as the projection of the maternal role onto them also makes it so that the sufferer cannot feel any sexual attraction towards her (keep this in mind for later).

Scott projects the madonna figure onto his female compatriots -- they are to be protected, served and supported. They are goddesses, queens, but they are never human. The madonna role in of itself is not inherently harmful to the woman, as seen with Cleo who takes control and advantage of it. However, it is enforced, as seen with Gem who at first revels in the superiority but almost breaks down when Scott offers him up as her sacrificial lamb one last time.

I linked this Utena AMV awhile back when vaguely talking about Scott and women, and this was the point I was alluding to.

youtube

Girls are beautiful and pure. They don't spit on the street, they don't piss on the street, they don't build hierarchies -- they subvert all the expectations of masculinity that I hate having to deal with. They are my escape.

But what about the girls who do spit on the street? The girls who piss on seats? Who build social hierarchies, who size up their competition?

The girls Scott interacts with are all painfully human. Cleo weaponizes his beliefs and take advantage of him. Scott is smart enough to know and accept this. Gem's playing into a role she has been assigned into by not only Scott but everyone around her. Scott supports the character she plays. Lizzie reflects traits he hates in Joel and Jimmy, but for her, he looks the other way.

Are they "demons", as the song says, or are they no longer girls at all?

(demons, gods, but never humans)

Weaponized Femininity and Women In Total Control of Themselves ;)

Hylas and the Nymphs, John William Waterhouse

Historically, weaponized femininity I'd argue is one of the oldest tropes in storytelling. Whether it's nymphs or sirens or witches or succubi or even more roundabout cases like Helen of Troy, there's countless stories of men's sexual attraction to women leading them to disaster.

One way to view these stories is to see them as warnings, don't let womens allure be the end of you.

There's a lot of good writing done on the femme fatale trope both in the context of weaponizing femininity and as a sexist way to argue against victims of sexual assault, as these stories often say that men who experience attraction to these "evil" women no longer have agency over their own actions.

Look at the painting above, for example - is it the nymphs who are responsible for drowning Hylas, or is Hylas climbing into the lake of his own accord?

Despite the fact we all know sirens, nymphs and succubi aren't real, the belief that men will simply lose control of themselves when encountering a particularly alluring woman persists to the modern consciousness. That there's something inherently dangerous about women and attraction to them.

(this is not 100% applicable to Ninja saying he won't stream with women, but it's the real life example I felt most comfortable putting in here)

Now, let's combine this with what's been said so far -- let's say you don't hate women. You love women, in fact, and you hate the way men treat women. You hate men, in fact.

Yet, you still believe in this inherent power women hold by being female and the loss of agency that men experience when attracted to them -- how disgusting.

It quickly becomes easily to not only demonize men for sullying the holiness of women, but also men, masculinity and attraction to women as a whole.

(apologies for using twt discourse in the meta post but this flew by my TL and i had to grab the irl example of mens non-violent attraction to women being used to frame them as misogynistic before the stupid app refreshed and i lose everything forever)

youtube

"To Venner" is a student film exploring a world set within this belief, where all the women have vanished and the men have become monstrous figures as a result of their pent up sexual frustration. fyi this is one of my favourite student films (and ive watched a bunch), but I do think its messaging is worth breaking down (especially its juxtaposition of dirty horrible monstrous sexuality vs pure and beautiful romantic love)

NOTE: this film is super graphic, lots of violence and nudity. have fun. or not

I admit this section is a bit hard to gauge as everyone in the series is gay as fuck. The closest in-series example I can think of is Scott reacting to Martyn's antics in DL with a sort of indigence but otherwise I can't really think of an example of a man expressing attraction to a woman at all, let alone one Scott reacted to. However, I do think it's still worth talking about because it opens up some interesting trains of thought in regard to Scott and Pearl.

For Scott, he himself has never been part of the picture. He's gay, after all, which gives him an edge over the bad straight men who objectify and assault women. Likewise, there's little evidence to suggest he finds the expectations of masculinity frustrating, but I don't think it's too far a reach considering how common of an experience that is for gay men and his adapting of more feminine mannerisms.

Double Life and Corruption

As mentioned in my previously linked post about Scott and Pearl's relationship, I do think Scott experiences what he would name as attraction towards Pearl, so my writing will reflect that.

Pearl is. ahem. not like other girls.

Not actually. But to Scott, she probably isn't like other girls.

She remains unaware of his different standards for her (how could she when she had nothing to compare them to), she acts out, sometimes violently, against Scott's urging (such as when she stole from Scar's wagon). She maintains their already irregular dynamic, and while she appreciates his care for her, she never quite falls into seeing him as a source of subservience the way Cleo or Gem do.

At the end of LL, right before the 1v1v1v1, she monologues to herself that she no longer has to feel bad for killing Scott. Which, in turn, implies she expected Scott to give it his all against her as well.

She entirely fails to embody the madonna with her immature naivete and her questionable morals. She is unpredictable, she doesn't take what she is owed, she is a monster in a lot of ways.

Scott, too, is a monster, to himself, for how he feels about her.

The very foundations of your understanding of yourself being ripped apart aside, let's rewind to the madonna/whore complex. To sexualise the madonna is to corrupt her and make a monster of yourself. Suddenly, you are no better than the men around you, the ones you've grown to hate. Suddenly, you are the grotesque figures in films like To Venner. You are Hylas and she is the nymph. And you are so stupid. Your worldview crumbles around its flawed foundations.

Scott is, however, immune to this corruption. This is a theme that appears in Empires as well, but throughout the traffic series he's prided himself on being loyal and kind and good. His monologue leading up to LL's 1v1v1v1 summarizes it quite well.

He can't let himself or anyone else see this side of him, but the energy needs to go somewhere. To defy fate, abandon your soulmate, is to admit you had a fate in the first place, is to acknowledge that she was your soulmate in the first place.

I've previously talked about how fate and romance are very ingrained in Scott's belief system, if it was anyone else it would've been amazing. He could've been like Bdubs and Impulse or Ren and Bigb, diving into domestic life and performative romance with a stranger. Or the world could've made his happy ending from 3L real, as he got to be Jimmy's husband all over again. I think it says something that he accepts Cleo as a "soulmate" before Pearl.

So what do you do with all that energy and tension, clearly apparent to yourself and everyone else, when you can't let them observe your feelings?

You project them.

Shout-outs to @/legally-allowed-to-slime for pointing out Pearl's comment early on in DL that she "feels like (she's) been broken up with" confirms she never saw Scott in a romantic sense. The "crazy ex-girlfriend" and "this is why I'm gay" comments really did come out of thin air, or perhaps insecurity.

Pearl is the crazy one. She's insane, because she wants me. She wants to be with me, so she does all this crazy stuff. She's lost control of herself because she wants me. She's disgusting.

I mentioned before that Scott is not your classic misogynist, but this is where the gears start turning. Scott's views of Pearl echo that of other players, most prominently Ren and Martyn, that Pearl has been overcome with some sort of corruption. She has become the witch, the demoness, the whore, in their eyes. Scott does not want to be the same as these men and I think his overcorrecting his behaviour in SL makes sense when you view it from this angle, but for now he has to rely on more traditional misogyny in order to navigate this new obstacle.

"Corruption" also implies that she had to have been pure (or at least pure-er) beforehand, something Scott personally knows is not true, but it falls in line with defaulting women to being "madonnas".

This is a Scott post but. shout outs to Ren for being all of this about Pearl but without the complexity of Scott like he literally accuses Pearl of seducing Bigb what the fuck man.

Pearl is, of course, none of that. But she plays into the role of being the witch much better than she fared playing into the role of the madonna.

Sidenote: I know I'm looking at this from a Scott/Pearl POV but I do feel like you can omit Scott's attraction if you look at it from a purely "pearl not performing to standards of femininity I expect and she makes me realise I don't view women as a whole as human which makes me feel weird so now we have to do this" POV. Like idk I think the exact reason he abandoned Pearl is going to be lost on everyone forever so any analysis I could perform is going to suffer at least a little bit of making-shit-up-itis.

I do also think there's something to be said about Pearl being pushed until she performed a role, any role and generally failing at Being A Girl tm but that's another post i think. yknow shes um. a bit. 🏳️‍⚧️ (but also very much not at the same time idk that's gonna need its own post)

anyway yeah uh the minecraft movie looks crazy huh

#asks #random thoughts

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zer0brainc3lls · 3 days

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Dps yap session about how Todd’s relationship with Neil and Mr Keating (mainly Neil) grew his character because I’ll never stop thinking about it (spoilers for the book)

In the movie we all know Todd has issues with public speaking but in the book, it’s not just public speaking. It’s speaking to almost anyone in general. He stutters and pauses between sentences, even being unable to finish what he’s trying to say.

“I… would…. Prefer…. Rowing….. sir,” - Todd “rowing? Did he say rowing? But here it says you played soccer at Balincrest?” - Mr Nolan “I…. Did…. But….” - Todd

The dots are not exaggerated if you haven’t read the book. That’s how it’s shown. Now he doesn’t speak to everyone like this, mainly if he’s asked about an opinion or something of that nature, despite this he speaks softly almost all the time in the start of the book.

But as time goes on and he becomes closer to the dead poets + Mr Keating he opens up, he may not speak much in meetings and in classes doing anything publicly still scared him but he opens up more nonetheless.

Towards the halfway/end of the book he watches Neil find his own voice through acting, standing up to his father and watching Neil grow confident in himself he too becomes more confident. Even putting a lamp shade over his head just for fun, in front of people, being silly. (The lamp shade part is never talked about omg.)

When Neil is performing he even mouthes the lines to himself, even though he knows Neil needed no help. And at the end of the play TODD starts the standing ovation (I think? He’s definitely one of the first.) with a smile on his face, no embarrassment, no shame. Just happy for his best friend for standing up and finally being himself.

This was never shown in the movies but after the play he reaches out for Neil, trying to tell him how well he did and when Mr Perry’s car drives off he screams Neil’s name. In front of a crowd of people.

After the car scene they go back to the cave, not just the dead poets, Chris is there to (someone Todd barely knows!!!) and you know what Todd does? He expresses his anger. In full.

“Todd suddenly jumped up and pounded the walls with his fists. ‘Next time I see Neil's father I'm gonna smash him. I don't care what happens to me!’ ” after this, HE RECITES A POEM IN FRONT OF ALL HIS FRIENDS, MR KEATING AND CHRIS. (THIS WHOLE CAVE SCENE WAS SUCH A PIVOTAL MOMENT FOR TODDS CHARACTER IM SO MAD THEY FUCKING CUT IT)

Todd gained his own voice watching Neil and the dead poets gain theirs.

Then Neil died.

After Neil died? Todd lost his voice. Almost. He almost went back to stumbling his words, he almost went back to speaking softly. But whenever someone tried to speak ill of Neil or Mr Keating? HE WAS ON THEIR CASE.

“You don’t seriously think his father…” -knox “not with the gun! Damn it even if the bastard didn’t pull the trigger he..” - Todd

“ ‘Who else do you think, dumbo? The administration? Mr. Perry? Keating put us up to all this, didn't he? If it wasn't for him, Neil would be cozied up in his room right now, studying his chemistry and dreaming of being called doctor.’ - Cameron ‘That's not true! Mr. Keating tell Neil what to do. Neil loved acting.’ - Todd

And in the books he took a large punishment instead of signing the note to get Mr Keating fired and of course we cannot forget the desk scene at the end of the movie. Todd may never be the same as when Neil was alive and Mr Keating was still his teacher but he grew a confidence from them, even them no longer being apart of his life could take away the impact they had on him.

Idk if this yap session is a “yeah no shit” kind of thing but thanks for coming to my ted talk yall

#the dead poets society #dps fandom #dps #todd anderson #neil perry #mr keating

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abbysimsfun · 2 days

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Sims In Bloom: Generation 2 Pt. 48 (He Had Him At Hello, Bromance Edition)

Leaving her friends in Old New Henford after dark, Heather, Ash, and Conrad returned to her childhood home with her parents.

They found River and Cassandra still in their work clothes, the two having spent most of the evening trying to get their infant son to sleep. "Doctor Scott says its a phase, it'll pass, but when he doesn't sleep well, we don't sleep well," lamented River. "These days we're thrilled if he sleeps for more than two hours at a time."

Conrad already felt at ease around her siblings, and Heather left them chatting upstairs while her parents showed her the new plants in their always impressive garden. When Michael woke up fussy, she soothed him back to sleep to give his tired parents a break.

Upstairs, River studied Conrad with keen interest. His sister's taste in men had always been a little...off, and he wanted to be sure this one deserved her. "Driving between San Myshuno and Brindleton Bay must not be easy."

"We make it work," said Conrad. "We're waiting for me to get a transfer, but all that driving can be pretty tiring."

"Sometimes I dance just to keep myself awake," said Cass, grooving a little to the music. "Since I left the art studio to help my mother-in-law with her floral business, it's been a bit easier working from home. I never realized the artistry involved in floral arranging, but I can be just as creative with a bouquet of flowers as I can with a palette of acrylics!"

Conrad couldn't relate, but he empathized with their lack of sleep. "I don't know much about raising kids, but Ash likes a story I tell him that my mom used to read to me when I was a kid. The Giving Tree."

"I love that story," Cassandra mused. "I think I saw a copy at the bookstore in the square."

River nodded. "I'll try anything. I'll pick up a copy tomorrow." Despite his fatigue, River's wall crumbled as he got to know Conrad. "What made you think our sister was worth risking your career?"

The question was sincere. Conrad had asked himself the same thing a thousand times. "At first I thought it was because her son needed her more than the Landgraabs needed a win, but then they dropped the charges and I couldn't stop thinking about her. I booked a vet appointment four hours out of the way just to run into her again."

"Why didn't you ask her out, then?"

"River, stop interrogating him," Hazel pushed, but Conrad smiled.

"I wanted to, but I knew she'd been through a lot and I wanted her to be sure she was ready. I sort of knew it would be it for me if I knew she was interested."

"It's a good thing Holly intervened," said Hazel, smiling. "You might still be waiting for her, otherwise."

River grinned. "He definitely would be."

Hazel left to meet Nicola and some friends at the Gnome's Arms, and River and Cassandra finally changed and sat down to dinner. Because they could know no peace, Ash talked their ear off about dinosaurs. "Conerd say t-rex no swim, we safe," he babbled. "T-rex roar!"

"You know there were less scary dinosaurs," River said. "Smaller ones who ate plants. Also big ones. Like brontosaurus."

Ash listened with intense curiosity. "Bront-so-us?"

"Yeah, they were even bigger than your dad's apartment."

Cassandra stifled a laugh. "River, hush."

They were interrupted when Michael woke again from his nap, wailing from the bedroom. With her plate still full of food, Cass left to tend to her son as Heather walked into the kitchen. "We should probably head out. It'll still be an hour on the Simmerloop at this time of night, and we should get Ash to bed before midnight."

Cassandra brought Michael outside for their goodbyes, but the fussy infant didn't last long in the cool autumn air.

River, meanwhile, had found a new best friend in Conrad. "When I found out my sister was dating a cop I wasn't sure what to think, but now I'm pretty confident you've never played bad cop in your life."

Conrad shrugged. "I mean, I don't see the point. It doesn't get me to the truth any faster. But I admire what you and your father do. Building green infrastructure for your community is just as important as what I do."

River laughed. "Please, don't flatter me. You deal with hardened criminals like my sister."

Daisy turned to Heather as they watched River bond with Conrad. "Riv grew up with a house full of sisters, but I think he always secretly wanted a brother."

When Conrad left to get the car, River turned to Heather. "I recognize the way he looks at you, and he's not going anywhere unless you tell him to. I know you like to think you're better off single, protecting your independence, but he's the guy who's perfect for you. You and Conrad finding each other is one in a million, like the day I met Cassandra. He's your Cassandra."

(Can confirm, Jane Simsten's Soulmates mod kicked in for these two way back on the night they ran into each other with Holly and Kris in San Myshuno, but Heather's unflirty and she's been burned in the past, so it's had to be this way. I'm sorry!)

River's beautiful wife gazed at him with love while he spoke. They were so sweet together, and their love used to make Heather feel like she was missing out. Now she had Conrad, who was as close to perfect as anyone she'd ever met, and she couldn't shake her insecurities.

"I know raising Ash with his father isn't easy and you're afraid to get hurt again," River said. "But that is a guy who's waiting for you to say 'I love you' so he can say it, too."

Neal frowned. "Huck, you don't know that. Don't test your sister's emotions-"

"I do know that, and I'd die on Old Mill Hill defending that take!"

"He makes me so happy," Heather admitted. "But what if he moves in and I find out he's a criminal mastermind masquerading as a detective?"

"Then you're even more perfect for each other than I thought."

Heather couldn’t deny her feelings for Conrad, as afraid as she was to put them into words and make them real.

Despite her fears, she was grateful for her family's approval, and she embraced her brother warmly when Conrad brought his car around. ->

<- Previous Chapter | Gen 2 Start | Gen 1 Summary | Gen 1 Start

NOTE: This got it's own post because Conrad and River literally said hello to each other and were basically best friends (they became official best friends later, when it mattered for Conrad's Friend of the World aspiration. tbh by then I thought they already were but either something glitched or broke with the Lovestruck patches or I never bothered and forgot). Their instant bromance felt so right - River looks up to his older sister and wants the best for her even though he can't help but tease her, and he and Conrad are both responsible guys focused on bettering their communities. It's a perfect match and I loved this development.

#sims 4 #sims 4 gameplay #sims 4 screenshots #sims 4 legacy #sims in bloom #ts4 #ts4 gameplay #ts4 legacy #ts4 screenshots #sims 4 story #ts4 story #legacy challenge #sims legacy #ts4 legacy challenge #gen 2 #henford on bagley #cassandra goth

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a-killer-obsession · 2 days

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🔞 Minors DNI 🔞

A search for a rumored Vegapunk weapon leads the Kid Pirates to an unexpected new crewmate, with a bloodlust that rivals their own and an incredible power.

CW: Please check AO3 for all current warnings, but general warning for smut, slow burn, serious gore, and really dark themes. AFAB reader, she/her pronouns.

Masterlist || AO3 || Chapter 1

Chapter 50 - Enemy

With Kid successfully rescued, it's time to go find Killer.

Word Count: ~4k

“So, what's the plan then?” Kid asked, chomping on an apple from your very quickly dwindling food stash, “they're gonna wake up and discover I'm gone soon.”

“We need to find Killer,” you replied, “I'm hoping he knows where the others are. Either because that's where he was, or because he's… working with the Shogun.” Kid sighed at your forlorn expression as you curled your knees up to your chin. “Last time I saw him was in the Flower Capital.”

“How far is that from here?”

“About a day’s walk,” you replied, laying out your map for him to see and pointing to the relevant areas, “we're somewhere around here, Heart Pirate base is here, capital is right here in the centre. I was thinking though, maybe we go to Law first, so we can get your seastone off.”

“Absolutely fucking not,” Kid growled, “I don't need that smug cunt's help. Kil can pick the lock when we see him.”

“Sure, if he wasn't a whole different person right now,” you sighed, “he's more likely to fight you. We're gonna have to subdue him, maybe bring him back here. Can you carry him with one arm?”

“Aye,” Kid responded confidently, “ye of little faith, I can take him without my devil fruit.”

“It's not taking him down I'm worried about,” you explained, “his fighting is off right now. He's manic and sloppy, I can take him down no problem with my fruit. The problem is getting him all the way back here, keeping him restrained and trying to get him to talk. I don't know what they did to him but they convinced him that we're the enemy.”

Kid examined your face carefully, seeing how lost and defeated you looked. Your expression reminded him of the way you looked after you lost your baby, something was hurting you deeply, that much at least was clear to him, even if he himself was emotionally stunted most of the time. “There's something else bothering you, isn't there?” He pried. You blinked away tears and sniffed, only sparing him a short look before hiding your face between your knees. “Talk to me doll, what is it?”

“I don't even know if everyone else is alive,” you sniffed, “what if Heat is dead? I should have told him I loved him earlier, I shouldn't have made him wait. He could be rotting somewhere for all I know.”

“He knew long before you said it lass,” Kid soothed, pulling you into his lap and resting his chin on top of your hair, “he's alive, they all are, we're gonna find them Yin. Just stay strong. You've done so well on your own, you don't have to suffer on your own anymore, I've got you. We're gonna find everyone.”

“What if we don't?” You cried, “what if we're too late? What if I took too long? What if we can't bring Killer back to his senses and everyone else is dead already?”

“Shhh, shh,” Kid soothed, holding your head against his chest, “I'll have no talk of that, you did everything you could, we're gonna save them. Together. You're not alone anymore, I'm right here Yin, don't cry. You're a Kid Pirate, you've gotta be brave.”

Kid took your face gently in his hand, tilting your chin up with a crooked finger, before running his thumb softly over your cheek to catch a tear as it ran over your scattered purple freckles. “You're not alone,” he said uncharacteristically softly, “let me hear you say it.”

“I'm- I'm not alone,” you sniffed, watching his amber eyes flick between your eyes and your lips, overly aware of how close he was and warm chest against yours. “I'm not alone,” you repeated, softer, almost a whisper as you leaned towards him. He made a quiet grunt as you pressed your lips against his, but he quickly took possession of the kiss, pressing back with a harsh need and forcing his tongue in your mouth. The kiss turned frantic, moans swallowed as Kid fisted his hand into your hair and you rolled your hips to grind against his growing erection.

“Not alone,” you whined, “Kid, I need you.”

“I know baby, I know,” he groaned back, shifting you to lay on your side next to him so he could hitch your leg over his hip, holding your ass firmly so he could grind his clothed length against you. “Gonna help you, gonna take good care of you till we get your boys back, I promise. They'd want me to take care of you.”

Desperate to feel full and distract yourself from the anguish still potentially waiting for you, you pushed Kid onto his back and straddled him. You made quick work of his belts while he groped at your tits, pushing up your shirt and bra to reveal the soft flesh underneath. He squeezed them purposefully to make you release your milk, groaning as a thin line shot out somewhat violently and hit him in the face, which made you giggle a little at his surprised expression. His eyes rolled back as you freed his cock and took it in your hand, pumping him and admiring the precum beading at the tip. You shuffled to squat over him, too impatient and needy to properly prepare your cunt, pulling aside your panties and whining as you sunk down on his length, letting the painful stretch and the pleasure that followed distract your mind from your stresses. Things didn't seem so bad with Kid's fat cock buried in your cunt.

“There you go sweetheart,” Kid groaned as you rode him, “let yourself go, all will be well. Fuck, you're so tight. Good girl, such a good girl.”

Kid's praises made you whine and ride him faster, and you wondered if Killer had shared your pension for praise with him. “S-say it again,” you whined.

“You're such a good girl,” Kid cooed, guiding your hips with his one good arm, the stump of the other moving like it longed to reach out and touch you as well, “such a very good girl, Yin. Doing such a good job taking my cock. Looking after your captain like a good sweet thing. You gonna be a good girl and cum on my cock?”

“Yes!” You moaned, coil pulling tight far too quickly thanks to his praise, “c-cumming!”

Kid groaned at your walls squeezing around him, his balls tightening as he realised it was the first time you'd cum on his cock, and it drove him wild. You were trying to come down from your orgasm but he began to piston up into you, making you scream as your orgasm seemed to continue on forever. “Good girl, good girl, good girl,” he chanted before making an animalistic roar and unloading inside you. The moment he stilled you collapsed against him, panting into the scarred crook of his neck, his hand still on your hip, his grip a little lighter now, keeping you sat where you were to warm his cock.

“Do you think they'll hate me?” You whispered. Post nut clarity was a real bitch.

“Who?”

“Killer and Heat,” you clarified, “do you think they'll hate me… for sleeping with you.”

“Not a chance,” Kid soothed, pressing a hard kiss into your hair, “they know you sweetheart. They know your heart is theirs. This is just a comfort. They won't hate you for just trying to feel a little comfort after all you've been through.”

“Okay..” you resigned, not entirely convinced but trying hard to trust your captain.

“Don't sweat it Yin,” Kid insisted, “you're okay, everything is gonna be okay. I'll tell them myself if you're worried about it. I promise they won't care.”

“We should get going soon,” you sighed, letting his softened cock slip from inside you and rolling off him, “it's a day's walk to the capital, we should get moving.”

“Yin,” Kid crowded behind you as you gathered your things into your duffle, stilling your frantic movements with a firm hold on your arm, “we're going to find them. When have I ever let you down?”

You let him pull you into a tight hug, his arm rubbing your back soothingly while your arms struggled to wrap around his thick waist. “I know captain,” you sniffed, “I'm just so worried.”

“Let's get going then, aye?” Kid suggested, giving you a reassuring pat on the back before separating himself, “let's go put those worries to rest.”

You slipped your visor on with a nod and threw your duffle over your shoulder, then you led your captain out of the crumbling shack, onwards to find your friends and lovers.

Your biggest concern right now was how to stay unseen and avoid fights on your way to the Flower Capital. Until now you'd been travelling under the cover of night, when you were at a visibility advantage and it was easier to hide. But with the guards at Udon no doubt having discovered Kid's escape by now, the two of you couldn't afford to stay still for any longer than necessary. You'd both allowed a few hours for a nap, but the sun was now risen, and soon there would likely be Beast Pirates out searching for the missing captain. You couldn't wait till nightfall, you had to keep moving, but that left you both exposed.

Some of the Beast Pirate Gifters were able to fly, and would spot you from a distance, especially now that they were no doubt actively searching. That left travelling under tree cover as the best option, though it would greatly slow the journey, and not all of the route had trees to hide under. You could use your devil fruit to cloak, but it would need to be used sparingly to conserve your energy in case it came to a fight, and you had no way to hide Kid's seastone cuff. If the two of you got caught out with nowhere to hide, the floating cuff would stick out like a sore tooth.

The best option, after checking with the map Kin’emon had given you, was to take a longer route via the neighbouring region of Hakumai, instead of going directly to the Flower Capital. It would take longer, but you would still hopefully make it before night. After that the plan was to search the capital after dark, being that it was the most likely time for Killer, or rather, Kamazo, to appear. The plan was less clear after that, but you hoped you would be able to disable him again so that Kid could carry him somewhere he could be bound, until you both figured out how to fix him. Or at the very least get information out of him so you could find where they were keeping the rest of the crew. You weren't keen on giving Killer another concussion, a man could only take so many knocks to the head before it resulted in permanent damage, or even a death-inducing brain bleed, but if it came to it you didn't have much choice.

The two of you made your way under the treeline, Kid refusing to let go of your hand. He felt responsible for you, as more than just a captain. He felt a responsibility to look after you on behalf of his best friend, and his long time friend Heat. Kid knew how sad and stressed you were, so he was trying to do what he thought they would do in this situation. He was no good with dealing with feelings but he was trying his best, and not to be too humble, but he thought he was doing a pretty good job. You appreciated his effort though. After more than a month on your own, a simple thing like having a warm hand in yours gave you a great deal of comfort. Just knowing you weren't alone anymore did a lot to soothe your anxiety and give you hope.

“How much further?” Kid huffed as he stomped along behind you.

“Why, tired already, captain?” you teased.

“Oi, some of us have spent the last month in a labour camp,” Kid scowled, before quickly remembering you hadn't had things much better, “Sorry, I'm fine to keep going for now, I was just curious.”

“It's still a few more hours, I think,” you hummed.

“You think?”

“I didn't have to take the long way last time,” you sighed, “have some patience, Eustass. This country is fucking crawling with Beast Pirates, and some of them can fly. We have to stay hidden.”

“Fine, whatever,” Kid grumbled.

The edge of the treeline came into view as you worked your way through the brambles, and you pressed your spare hand against Kid's chest to indicate for him to stop, the two of you squatting behind a bush. You adjusted the settings on your visor, searching for any nearby sounds or heat signatures that would indicate enemies. The next treeline was a good five hundred metres away, it was a decent distance to go without cover, so you needed to be extra careful, making sure to scan the skies as well. A group of warm bodies heading your way caught your attention, making you glad you'd taken the time to stop and check.

“Incoming,” you whispered, “big group of them, prisoner escort on their way to Udon I think, I can see one with shackles on.”

The two of you hid in the bushes, thankfully with no need for your devil fruit with the thick foliage, you could only hope that there would be nobody with good observation haki among the group. Even if you cloaked the two of you, you couldn't mask against decent haki. You heard Kid take a deep breath and hold it as the group came into view, maybe you should have warned him you'd masked sounds, to keep any accidental rustling from giving away your positon. Based on their clothing you could see they were all Beast Pirates, led by one on horseback, who dragged behind him a prisoner led by a long chain. Your breath hitched as you saw who they had, grabbing Kid's forearm and gripping it with a strength that told him something was very wrong. He hadn't seen him yet, or perhaps hadn't recognized him, given how wildly different he looked, and even moved, compared to the man Kid had been raised by.

“Killer,” you said in a hushed tone. Kid's brows, or lack thereof, shot up, amber eyes flicking between you and the blonde being forced to walk behind them.

“You're sure?” Kid replied with gritted teeth.

“One hundred percent,” you stammered. Kid made a move like he was going to stand, and you gripped him harder. “What the fuck are you doing?”

“Freeing him,” Kid growled.

“And how are you gonna do that?” You hissed back, “you're unarmed, literally, without your devil fruit. All you've got is me and I'm just as fucking exhausted as you are. I don't have the energy to take that many. Not to mention we don't know if Killer will fight them or us. We're outnumbered, it's better to let them take him and free him later.”

“Fuck that,” Kid growled, “they're not taking him to that shit hole. I'll fight them on my own if I have to.”

“Kid! Don't!” You pleaded, “look, they have guns, even if you can take them hand-to-hand, you can't do shit if they shoot you. You're strong but you're not fucking bulletproof.”

As you argued with your captain the group got closer, the two of you turning to watch as Killer walked by. He stopped for a moment, staring directly at the bush where the two of you were hiding, and you knew full well that his haki told him the two of you were there. The horse-mounted pirate tugged at his chain, forcing him to continue, and he threw back his head and laughed as his feet moved again. It wasn't a happy laugh. It wasn't a laugh that said ‘my crew are here, and they're going to free me’. No, it was all pain, mixed up in his brain by the defective SMILE fruit, his true emotion was only fear and hopelessness, you could sense it in his brainwaves. Your chest felt tight watching him walk, and Kid made a soft growl beside you. There was no doubt in his mind now that it was his friend, and that something was very wrong with him. Killer never laughed out loud around strangers, let alone enemies. He hated his laugh more than anything, suppressed it except in the presence of those he loved and trusted most. Everything you'd told Kid was true, as much as he hadn't wanted to believe it, and if it weren't for his bubbling rage, he would have cried.

Kid moved to stand once again, pushing you away when you tried to stop him. “Kid, please,” you begged, “listen to reason, you can't help him right now, they have too much advantage.”

“Who's the captain here?” He bit back, “either you're with me, or you're against me. You're gonna help me free him, or you're gonna stay the fuck out of my way.”

“Kid, please!” you shouted, glad for your power masking the sounds of the argument, “you're just going to get us both captured!”

“Then don't fucking come with me,” he growled, “stay here like a fucking coward.”

Tears welled in your eyes as your hand dropped away from him. His heart hurt seeing your expression fall, but his anger was still in control of him. It always was when Killer wasn't there to show him there was a better way, only Killer had ever been able to convince him to stop and think. Kid had a one track mind to get his best friend back, and he wasn't going to let anyone stop him, not even you. Which only gave you one choice.

“Kid, please, if they take you again I might not be able to free you this time,” you reasoned, “I can't let you go out there.”

“Let me?” Kid growled. He grabbed your face and pinched your chin between his fingers hard, and you whimpered, immediately going back to that dark place in your mind that you thought you'd never have to return to. The one where every man in power was a threat to you, and you had to behave, or face the painful consequences. “You don't let me do anything, you fuckin’ hear me? You're my subordinate, and you're gonna do as you're fuckin’ told. Or you can find yourself a new crew.”

Something in your brain snapped then, images of Thompson's body under your knife flickering behind your closed eyes. His blood and piss pooling on the floor, the fearful expression on his face, the way he cried out when you cut him. His life draining from him as he choked on his own dick, the light in his eyes fading by your hand. ‘Never again,’ your mind chanted, ‘never again, NEVER AGAIN.’

“Fine,” you spat back, your voice laced with venom, “you can find yourself a new weapon. I'm fucking done. I'll find Heat on my own, you already know full fucking well he'll choose me over you. And as for Killer, you can explain to him for yourself where I am, why his girlfriend and daughter aren't back on the ship. See if he stays by your side after that.”

Kid let you go quickly, shock evident on his face. He didn't think you'd be so quick to quit, he thought he would be able to convince you to help him if he just threatened you. In the blink of an eye he'd ruined the months of trust he'd built up with you, and he immediately regretted it, but it only served to make him angrier. His anger was misplaced though, it wasn't you he was angry at, it was himself, and Kaido for tearing his family apart in the first place. But right now the only person here to receive his wrath was you, and he'd never been good at holding back when he was mad.

Multiple things happened in the blink of an eye. Before you could register it, a seastone-cuffed fist was flying at you, landing square in your gut and knocking the air out of you. You went down hard, wheezing and struggling for air as your arms wrapped around your stomach. In your struggle you groaned loudly, revealing Kid to the enemy, who spotted him immediately. You had the self-preservation to mask yourself with invisibility, but in your anger and pain you decided to leave Kid on his own. He'd made an enemy of you, he wasn't your problem anymore. He insisted he could hold his own, so he could fucking hold his own.

Next came the laughter, Killer turning manic as chaos unfolded, barely masking the two gunshots that rang out. Your vision was blurry as you lay on the ground, but you could see enough to watch Kid go down, a smug smile on your face as he realised too late that you'd been right. As soon as he went down, he knew it was over, as the pirates used the butts of their guns and swords to beat Kid until he was too hurt to fight back, all the while set to the eerie sound of Killer's mania. Your smug smile was wiped from your face as you watched them drag Kid to his feet. A new chain was attached to his cuff, which was then linked to Killer's, and the two of them were forced to walk again.

You laid shell-shocked on the ground, releasing your cloaking as soon as they were far enough, all your energy now going into the harsh sobs that racked through your body as you realised that once again, you were alone. You stayed there until night fell, curled up in a ball with your knees to your chest, wheezing as the sobs agitated your bruised ribs, twigs and stones digging into your side. The temperature dropped and you began to shiver violently, until you had no choice but to get your shit together. You had to keep going, at the very least you had to help yourself, and if not for your own sake then for Dawn's, and for Heat. Even if you couldn't get Killer out of prison on your own, you could at least sneak in and get information out of him, find out where they were keeping Heat and the others, rescue the rest of the crew, and then guide them to rescue Kid and Killer. Once you freed the rest of the crew, your commitment to them would be over, and you would leave with Heat and Dawn. Steal a ship and leave this awful fucking country for good. Maybe Killer would come find you, but you couldn't let yourself hope right now that he would even ever be himself again, hoping would only lead to more heartbreak.

With shaky breaths you struggled to your feet, your mind set. You would go to Udon, but only for information. For now, you just needed to get somewhere safe, and without Kid you could now move much faster, cutting back to your abandoned shack as fast as your legs would take you, relying on your devil fruit to keep you hidden. You ran for what felt like hours, collapsing immediately as soon as you made it inside the dilapidated building, and quickly passing out from exhaustion.

[NEXT CHAPTER] - link soon

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all-pacas · 2 days

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Can you talk more about Chase's moral stand in The Dictator and what made him do such a shift? While Chase did care about people outside of his immediate circle at times,it was (almost) always by the way of him relating to said experiences and/or bonding with the patients.

I really don't think it's that complicated. As fun as it is to joke about Chase's utter lack of morals and empathy, that's never actually been true. He reaches out to Foreman in Family with empathy and an offer to go drinking; he reaches out to Cameron in Cursed with offers to do work so she can go home and to… go drinking (Chase has one move). He is very upset when he loses patients in Maternity and Forever (both babies; still). He cries over House's "cancer" in Half Wit even before the hug. He falls very hard for Cameron; he reaches out to 13 in After Hours, his pro-euthanasia stance in Informed Consent is about easing pain. One of my favorite little moments is in Cane and Able: the child patient's parents are exasperated and unsupportive of their son's alien abduction delusions, and Chase makes a point in talking to them, telling them pretty frankly that they need to support their son, even if they think he's nuts. He didn't need to do that. He was absolutely right. When he finds out House lied to the transplant committee in Control, he does rat to Vogler… but he doesn't do anything to undermine the transplant, which proceeds. Generally speaking, he knows right from wrong and doesn't approve of "harming people" (in particular children) or "hurting people." Yes, we mostly see that with the people he does care about, but. He doesn't really like Foreman much. Foreman is often quite dismissive of Chase. Chase still offers to go drinking. Is he the nicest and sweetest guy ever? Nah. But he's not evil.

Where his "lack of morals" comes in is that Chase puts himself first. He's not selfish in the way we usually think of it; he does care for other people, and quite a lot at times. But he's a survivor, he looks out for himself first. The rare times he refuses an order from House, it's because he thinks the risk to his career or license is too high. If a task requires him to go out of his way when he doesn't care about it, he won't do it. If a task leads him into an uncomfortable situation, as in Safe — faced with the choice of revealing to the patient's overprotective parents that their daughter is sexually active, or just billing them for a test and letting them find out on their own time — he chooses the easier-for-him option. He doesn't really care that House is on drugs. He doesn't really care about all the shady things his job comes with, as long as he doesn't risk losing it, getting arrested, or the end result. Lying to a patient? Why not, if it gets the job done. That doesn't mean he's pro murder. It just means he's lazy and pragmatic. Again, the rare times he defies House, it's when House is asking him to do something that is too "high risk" for Chase.

So the thing about Dibala is that Chase actually feels that murder is still wrong. He has morals, and those morals are: don't kill people, it's wrong. He makes it pretty clear.

CHASE: You can't want to kill anyone, especially not your own patient. CAMERON: It's only natural to feel he should – CHASE: No, it's completely unnatural. Only psychopaths can kill other people without having some sort of breakdown. CAMERON: Not when it's justified. Look at soldiers. CHASE: Even when it's justified.

Except the entire episode, all Chase is hearing is the opposite. I'm not saying Cameron pushed him into it or anything: he made up his own mind. But Cameron keeps telling him he's evil and should die. Dibala's would-be assassin tells him, twice, that Dibala is evil and should die and here is what he witnessed and did.

So let's look at the scene where Chase decides to do a murder. Cameron has been going through her own Arc in this episode, passive-aggressively hinting someone should kill Dibala but not making any moves on her own. Dibala gets sick of this and grabs her, challenging her to act, not just talk, but Cameron can't do it and backs down, leaving Chase and Dibala alone.

CHASE: If you touch my wife again, I'll kick your ass out into the street. I don't care who you are. DIBALA: I did her a favor. I showed her her true character. CHASE: She's a better person than you are. DIBALA: She is too weak to act on her beliefs. That is not her fault. Most everyone is. Even my own advisors. My own colonel. All they do is negotiate and debate and sign treaties. They are appeasers. And all the while, we are beset by assassins and traitors, the scum – CHASE: Cockroaches? What are you going to do about them? DIBALA: What is an enemy to you? Some younger physician who covets your office? In my world, there are dangers and bloodshed and death. And that makes you a man. And men make choices. CHASE: And your choice is to send bands of drunk, crazed children to massacre an entire people? DIBALA: Don't ask me questions you don't want to know the answer to. CHASE: I saved your life. I deserve to know what you're planning to – DIBALA: Whatever it takes to protect my country.

Chase is mad: he just hurt Cameron, and more than that, Chase is a little betrayed. He and Dibala kind of got along before this. I wouldn't say Chase liked him, but they bonded. Until this moment, Dibala was polite. He was complimentary. He offered Chase excuses, and Chase probably wanted to believe them. Not anymore! Dibala just hurt Cameron, called her weak, and told Chase blatantly "I'm planning another genocide."

Chase is angry: I saved your life, you need to be honest with me, you shouldn't be like this.

Until now, Dibala had polite excuses: it wasn't his fault, he had bad subordinates who killed people, he made mistakes. Weak excuses, but the kind of excuses Chase probably did believe, kind of wanted to believe. Not anymore! This nice old man has just revealed himself to be planning more murders!

That's what makes Chase act. What tips him past "I'm not getting involved" into "time to do a murder." He spends the entire episode hearing everyone talk about how someone should kill Dibala. And then Dibala betrays his (very misplaced) trust, reveals himself to be just as evil as everyone has said, and even gives Chase a nice little speech about how strength is to act, how to be a man is to make a choice, not just sit back and do what's easier.

It was never a matter of lol Chase is fine with murder, he doesn't care about anything. Chase cares about quite a lot of things. The trick was getting him to care enough to put himself at risk and act.

#robert chase

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