#when there's a much more interesting personality and story to be seen in the perspective of

[tismcosmology]

the release of the ithica saga has inspired me into writing more of this because hooooly shit. im so normal about this musical. anyways have the first two sections that ive spent the last few days rewriting and editing. enjoy ig? idk when im gonna actually finish this due to my perfectionism issues but ive really enjoyed writing the past few days

Intro

A culture’s myths often closely reflect how their people view and interact with the world around them. They have many purposes beyond entertainment, from explaining the unexplainable, to outlining cultural values and morals, to creating and strengthening social cohesion. In sociology, it’s well understood how mythology reflects the emotions and circumstances in the collective unconsciousness of a people.

As these stories are passed down generation to generation, they become altered by the experiences of the people telling them, being seen through new lenses over and over. Any person familiar with Greek mythology will be aware how many different versions of the same myth there can be, fractured from each other as they participate in a many generations-long game of telephone. Myths are not stagnant, but growing and evolving alongside the societies they inhabit.

In western culture, references to our place of origin in Greece are exceptionally common. In recent memory, examples include Hadestown the Musical, Percy Jackson and the Olympians, God of War, Disney’s Hercules, Troy, and in more distant memory, Shakespeare’s Hamlet and Macbeth, Dante’s ‘Divine Comedy’, and the artwork of Leonardo da Vinci. And of course, the up-and-coming musical retelling of the Odyssey and center of this essay: Epic the Musical. Epic is a unique product of the age of the internet, with most of the voice actors being cast online, and the fan base emerging organically as the creator, Jorge Rivera-Herrans, documented the several year long process of composing his passion project.

While many modern adaptations make clear commentary on our present society (eg. capitalism and climate change in Hadestown), the message Epic presents is much more subtle. As stated by Jorge, the theme of Epic is ruthlessness. This can be seen clearly through the sagas as Odysseus continues his journey, however, this writing is much more interested in what this says about our current society. This essay will be reflecting upon the sociological and cultural implications of Epic in the public consciousness, and how we in modern times view ourselves as equal to, or above, the ancient gods, because of the rise of science.

Background

Greek mythology is often misunderstood by modern readers, largely because of the lack of cultural knowledge. I think it’s safe to argue that the majority of people have never read an original Greek poem, such as Homer’s epics, and rely mostly on cultural osmosis and pop culture as their source for these stories. As such, the relationship that the ancient Greeks had to their gods is easily misunderstood.

In my own experience, I find many people consider the Greeks unintelligent or lesser for believing that a man in the sky threw lighting bolts when he was angry. On the contrary, the Greeks (and other early polytheistic civilizations) knew that there was order to the chaos. They were aware, whether consciously or subconsciously, that nature followed patterns, and ascribed names to these patterns. The gods were not an explanation of the natural laws, but a personification of them, evolving from the Minoan and Mycenaean cultures and reflected through new worldviews.

In modern adaptations, the perspective of gods as personifications of nature is thoroughly discarded. A large portion of that is due to how our media is presented; plays, movies, and shows require a human to physically represent a god, as opposed to oral storytelling, poems, or written stories. Another telling factor is how the gods are portrayed or written. In the myths the gods appear unchanging, a constant and deadly force of nature that must be respected, whereas in recent adaptations, they’re allowed to grow and evolve throughout the story just as every other character - they're allowed to be wrong. It’s possible it was sacrilegious in ancient times to even imply the gods change, as they were seen as eternal, but as western society grew and learned, so too must their gods.

The other factor that contributed hugely to the disconnect between the gods and the natural laws was the rise of science and public education. As the perception of our universe transitioned from ‘unknowable’ to ‘knowable’, we needed to rely less and less on divine explanations. Evident in the rise of natural philosophy later in Greek history and the presently continuing separation between science and religion, humans never fully abandoned religious thought, but adopted it to the new scientific worldview. The relationship between science and religion is complex, and will be discussed more later on.

so ungodly unrelated to school but im very strongly considering writing an essay for funsies about epic the musical and how jorges interpretation of the gods is a reflection of how we in modern times view ourselves as closer to the gods and the gods as more mortal than in the ancient mythos. am i going to procrastinate studying for the two midterms i have today in favour of writing the outline? mayyyybe but shh ive run out of things to study so its fine

[lord-squiggletits]

unpopular opinions meme: anything on Earthspark?

(Haven't watched Season 1 part two yet so take this with a grain of salt)

I avoid looking at fandom tags generally since I tend to not like a lot of popular takes in general, but people's takes about Optimus being brainwashed/shadowplayed/replaced by a clone in Earthspark really annoy me because it demonstrates a couple troublesome things about self-professed Optimus fans (or anyone really interested in OP in general):

People can't handle the fact that Optimus might make mistakes

Because of this, they then rush to remove agency from him (to make the bad things that happen not his fault)

In doing this, they completely erase, downplay, or even lambast as flaws the very traits that make Optimus who he is.

To take this from the top, Optimus "freedom is the right of all sentient beings" is, and has always been, a person who cares deeply about the rights of other species. This is a trait he's had in EVERY continuity: he values all lives, even small and fleeting ones, as equal to Cybertronian life, and he strives to protect uninvolved aliens from the horrific consequences of the Autobot-Decepticon war. This is one of his primary traits. This is a GOOD TRAIT OF HIS and it's LITERALLY ONE OF THE FUNDAMENTAL PARTS OF HIS PERSONALITY.

In Earthspark, we specifically hear Optimus say "we are guests on this planet" with regards to living peacefully alongside humans. GHOST is a suspicious organization and not only do we see this as the viewers, OPTIMUS HIMSELF acknowledges this by choosing to hide the Terrans from GHOST and openly saying that he doesn't know if GHOST is trustworthy, but it's currently the best option they have and he's trying to find another way.

Earthspark Optimus has no shortage of nuance. He's not a dunce; he acknowledges on multiple occasions that he doesn't completely trust GHOST, that he's willing to hide things from them, and that he would do something else to live peacefully with humans if he knew of a way to do so.

But the fandom seems to get one whiff of anything "problematic" happening due to Optimus (not just Optimus, literally every Autobot and even Megatron collaborates with them too, but for some reason blame for working with GHOST only ever falls on Optimus) and they immediately jump to this bizarre headcanon they have that Optimus is a total idiot and couldn't possibly be aware of any negative consequences of working with GHOST. People seem to think that if anything bad happens because of Optimus working with GHOST, it HAS to be because he was literally brainwashed into working with them.

Optimus believing in the rights of all sentient beings? Optimus being willing to make compromises for the sake of other species besides his own? Optimus knowing that he's making morally gray choices/questionable allies and doing it anyways because he thinks it's his best option? Nope. Nope, clearly he has to be brainwashed or a clone or something.

It's really frustrating because people jump to this black-and-white view of Earthspark's plot where they're like, "GHOST is evil and this clearly means that Optimus is an idiot for even attempting to work with them." But like. What else is he supposed to do? Just let the Decepticons run around stealing from humans, damaging their property, and killing them? Is Optimus supposed to grab a random piece of human land and go "this is mine now, me and all my people are gonna live here now." That would be literal colonialism, and keep in mind that humans had nothing to do with the war to start with-- Earth is just the unfortunate planet that the war happened to land on, dragging humans into a Cybertronian conflict.

It's just.... so fucking frustrating as an Optimus fan lmao. It's gotten to the point that I don't even look at Optimus content made by other Optimus fans because too many of them have this idea that Optimus can't be a normal person who makes bad choices (knowingly or unknowingly), he has to be an eternal paragon of goodness and this means that in order for him to be Good (TM), he can't be responsible for anything Bad And Evil, which means that if anything Bad happens (inevitable in any plot involving conflict, drama, or conspiracy), we have to swoop and take away Optimus' culpability for the situation. Because having Optimus be responsible for bad things happening would make him Not The Perfect Good Guy, and if Optimus isn't The Perfect Good Guy then we don't care about him and we hate/ignore him (which is exactly what people do with IDW OP btw: throwing out a perfectly good/interesting character who's no more bad or good than anyone else in the story because Optimus Has To Be Good).

Another example of people taking away Optimus' agency is the all-too-common TFP/Aligned headcanon in which people like to say that the Matrix literally turned Orion into a different person, Optimus, therefore none of the decisions OP made as Prime were "actually him" and it was just Primus imposing his will on him or something. Really annoying! Ideas like this don't make Optimus any more interesting, they just make him a helpless victim to forces outside of his control who manipulate his every action!

TLDR: Earthspark Optimus is fine actually, people just refuse to take his perspective and instead default to "Optimus is stupid/brainwashed for working with GHOST" instead of coming to the rational conclusion that maybe OP is doing the best he can in a bad situation.

[lgbtlunaverse]

I've seen a good number of people ask a question along the lines of "why do characters like Falin and hate Laios when they're so similar?" and i've also seen good analysis on the differences in how the touden siblings carry themselves that would, despite their shared traits, make a person gravitate to one more than the other.

But i feel like we've overseen one very central thing here.

People don't like Falin

Like... the average person in dungeon meshi doesn't like Falin. She was deeply ostrasized by her home village, in magic school she had zero friends before Marcille and the others generally saw her as strange and a bit offputting.

Characters like Namari and Chilchuck like her well enough but not necessarily more than any other member of their party, including Laios. Neither Kabru nor his party think much of her. The canaries don't give a fuck about her. Toshiro's retainers don't see her as anything else than the weird foreign girl their boss has a crush on.

The reason we think everyone loves Falin is because, despite all the indifferent side characters, the 2 most important and central characters of the story are Laios and Marcille. Who are NOT representative of the average attitudes to Falin! But necromancy georg number 1 and 2 are our main eyes into the story and they love Falin so much that it colours our perspective of the whole world.

The only side character who qualifies as liking Falin and not Laios is Toshiro (at least at first, as he ends the story on much better terms with Laios) and that says a lot about his character, with him drifting to the quiet Falin precisely because of her oddness but being both uncomfortable with and deeply jealous of Laios' much more open expression of that oddness. Because he's a repressed guy from a culture where etiquette is incredibly important.

But like I said, that's a specific aspect of him, not to the world at large.

Because there's also people that click more with laios than with Falin.

Kabru, for one, who is initially distrustful of laios but clearly also deeply fascinated by him and drawn to him.

Minor spoilers, and you don't have to read too deeply into this, because I don't think Kabru particularly dislikes Falin or anything. But it's interesting that when he talks about his distrust of the toudens in ch.32 he's talking about them both. But his big friendship declaration in chapter 76 is aimed squarely at Laios, he doesn't say "you and your sister" he says "you"

And Senshi!! He instantly clicks with Laios, well before he does so with anyone else in the party– who he also becomes friends with, it just takes a bit longer– specifically because they bond over their shared special interest in monsters!! Senshi is kind towards Falin and cares for her wellbeing, but he also... doesn't know her. The reason he is even here, helping to save her, is because he and Laios bonded over monsters and he wants to help his new friends out!

Of course, the theme of neurodivergent isolation is very present in Laios' story. I'm not denying that. He does turn people off, without meaning to and unable to fully understand why! But so does Falin. And just like there are people who like her despite of or even because of those traits, there are people who do the same with him.

In conclusion: "Average person loves Falin and hates Laios" factoid actually statistical error. Average person is neutral on both Falin and Laios. Georcille, Laiorg and Geoshiro, who live in the dungeon and think over 10,000 Falin-loving thoughts a day, are statistical outliers adn should not have been counted.

[ambrosiagourmet]

I've been thinking about Laios' succubus lately. Mulling it over a bit.

Because I've seen these pages brought up a fair bit, but almost entirely in the context of shipping (on all sides, really). And I really want to understand what they are doing for the story beyond that.

When I went back to reread the scene and section, a few things caught my interest: the way Laios responds to both forms of his succubus, the themes of the volume the chapter is found in, and the other events of the chapter itself.

So let's dive into those three things, and what I think they say about the succubus scene's purpose.

Laios is never fully frozen by the succubus

So. If you compare Marcille and Chilchuck's reactions...

to Laios':

-

There is a difference. Sure, the basics may look the same once it turns into Scylla Marcille, but even then, it functions differently.

Chilchuck and Marcille are completely frozen once they catch sight of their succubus. Izutsumi, as well, isn't able to look away, and completely freezes up once her 'mom' starts talking to her. As Chilchuck describes, "just looking at them makes you unable to move."

And yet, Scylla Marcille has to actively convince Laios to comply. He even looks away from her at one point!

Laios accepts this succubus, but he is never actually helpless to it in the same way. Taken in? Convinced? Sure, at least enough to let things happen that he probably should question more than he does. But magically compelled? Not really. Not the same way as everyone else is. So that's interesting. But let's move on for now.

2. Volume 9 is all about drive and desire

I don't often look at chapters within the context of the volume they are included in, but I think there's some really fun things to be found with that perspective in mind.

For one, volume 9 starts with an exploration of what desire brought Laios to the dungeon:

And ends with a question of what desire brought Laios to the dungeon:

It's also very concerned in general with questions of why people do what they do. Why they are in the dungeon, why they are with the people they are with, why they stay, what they fight for.

In addition to Laios, we see it with Marcille...

Izutsumi

Kabru

and Mithrun

Hell, we even get it for the demon!

It's certainly not the only volume concerned with desires and motives, but it is particularly focused on these ideas.

The succubus scene fits quite well into the ongoing question about desires, especially Laios' desires. It is even placed at an interesting spot within the volume. The volume is six chapters long, and the scene takes place at the start of the 4th chapter. It's almost smack-dab in the middle.

With all this in mind, it is interesting that, with both versions of the succubus Marcille, it's not totally clear which parts of her Laios is rejecting.

The first version of Marcille looks human, but Laios attacks when he identifies her as a monster. The second Marcille looks like a monster, but he seems to believe that she is the real (human)(ish) person that he knows. So is he rejecting the monster at first, and then accepting the person? Or is he rejecting humanity and only interested in the monstrous?

Something to consider as we look at the next point...

3. the rest of the chapter is a seduction, too

This is one of those things that might not be apparent on a first reading, but is crystal clear on a revisit. We see the succubus try and charm Laios over 7 pages, and then see the Winged Lion do the same thing for the next 19.

Much like the succubus, it offers the mingling of monsters and humans. Much like the succubus, it offers belonging.

(and this is the point where I absolutely must also link this post by fumifooms on the succubus, which has some great ideas on how the scene is informed by Laios' trauma and desire for acceptance!!!)

But, back to the point. The Winged Lion wants to feed on Laios just as much as the succubus did, and it uses similar strategies to try and make that happen. Though this chapter isn't really the turning point for the next Lord of the Dungeon (it is Marcille who will, eventually, become the Lion's next victim), it certainly behaves like it is.

Laios is convinced. The succubus gets its meal. By the end of the volume, the reader begins to understand how concerning his desires are. Together, it is all very good at building up that sense of dread and pending disaster, as we see exactly how and why Laios might just fall into the Lion's open arms and bring about the end of the world.

-

So that's the three things I noticed. But there's still something I want to touch on by looking at the way these observations overlap, and what they reveal, together.

As I said, by the end of the volume, you can feel the tension growing. Just as Kabru and Mithrun do, you look back for an answer to the questions that have been built, chapter by chapter: why is Laios here? Where will his loyalties fall? This chapter, and scene, seem to prove the inevitable truth: he will choose the monster, of course. He will choose the seductive, easy power of the Winged Lion.

But the details of what actually happens tell different story: one in which the Lion is wrong.

First, as a reminder - even in Scylla Marcille mode, the succubus never fully entrances Laios. It convinces him, but it doesn't have him completely under its thrall.

Similarly, in the dream, the Lion does convince Laios to embrace the world he is offering. But even within that dream, Laios continues to ask questions that will be vital to him later. It is because of those questions that Laios comes to a new understanding about Thistle.

And it's this realization that he cites later as part of his reason for refusing the Lion's offer.

He is thinking through things the entire time, just like he continues to question the succubus even after it turns into Scylla Marcille.

Laios also expresses an interesting reason for why he wants to see the future of this world. He's not just invested because it would mean people liking what he likes, or him getting to spend time with monsters. The thought that comes immediately before his acceptance is about what he wants for monsters and people.

I don't think it's a coincidence that this statement - "we're living beings that share the same world, but all we can do is keep killing each other" - can apply to the various humans races just as much as it does to humans and monsters. The thing he is thinking about here isn't just a matter of his personal daydreams. It's an idea that underpins every conflict in the story.

Laios caring about how people as well as monsters in this manner is something that the Lion gets wrong every time. Even at the end, he still frames Laios' desires entirely around hating people and loving monsters.

The Lion has heard him express an opinion about the future of the world! It happened right there in the dream, right in front of him! He just didn't take it seriously, and didn't view it through any lens other than "Laios likes monsters more".

He's convinced that he understands how to get to Laios. Maybe the Lion can't truly see everything, or maybe his vision into everyone's deepest desires has made it hard for him to realize how much choice still matters. That people can, and do, choose which desires to act on, and how to act on them.

Whatever the case, he's wrong about Laios, and the story shows us this over and over again.

After all, look at how the succubus interaction plays out:

A monster uses Marcille to appeal to Laios...

He realizes that something about the situation is wrong, and rejects her.

It changes strategies, and makes new offer: to turn him into a monster.

It also assures him that his friends are, or will be, taken care of.

He accepts. Or rather, allows the monster to have its way with him.

But Laios is not as helpless as he initially appears, and what the Lion thinks is a successful seduction also contains the seed of an idea that will allow Laios to later resist him.

We even get to see Izutsumi playing a similar role in both instances, as the one person fully able to take action in the face to the illusion.

The story lays out what is going happen, and then explicitly tells us that the demon and the succubus are thematically related.

The chapter performs a great sleight of hand here - everything about it seems to indicate that Laios is doomed give in to the option to have his deepest desires realized. But if you look closer, it also contains the evidence that he won't. There's a lot more going on for him.

Yes, he still falls for obvious tricks. He is still extremely into monsters, and he still doesn't feel like he fits in with other people. He may, deep down, crave to surrender to the monstrous - to let it absorb him. But he questions more than he seems to. He considers more than people realize. He cares so much more than anyone gives him credit for.

And I think this is part of why we see the succubus called back to so many times, especially with the wolf head addition to his Monster Form, which he specifically added due to his encounter with the Scylla Marcille.

This all stays with Laios. It doesn't just foreshadow the path of the story, it is fundamental to how and why he walks that path. It's not about him choosing monsters, and it's not about him choosing people. It's about how he considers both, and cares about both.

And it's about the forces that think they already know his answer. Mithrun and Kabru. The Winged Lion. The succubus.

It's about how they are wrong.

[fishofthewoods]

I see a lot of people clowning on the people of Pelican Town for not repairing the community center themselves or clowning on Lewis for embezzling and. like. Those criticisms aren't entirely unfair. But I think instead of coming at it from a perspective of "why can't the townspeople do this" we should be asking "why and how can the farmer do this?"

Like. Think about it. The farmer arrives in Stardew Valley on the first day of spring. By the first day they're obviously different. By day five the spirits of the forest who haven't been seen by the townsfolk in years or generations are speaking to them. By the second week they've developed a rapport with the wizard that lives outside town.

In the spring they go foraging and find more than even Linus, who's spent so many years learning the ways of the valley. Maybe he knows, when he sees them walking back home. Maybe he looks at them and understands that they're different, chosen somehow.

In the summer they fish in the lakes and the ocean for hours on end, catching fish that even Willy's only ever heard of, fish that he thought were the stuff of legend. They pull up giants from the deep and mutated monstrosities from the sewers.

In the fall, their crops grow incredibly immense; pumpkins twice as tall as a person, big enough that someone could live inside. The farmer cuts it down with an axe without even batting an eye. Does Lewis wonder, when he checks the collection bin that night and finds it full to the brim with pumpkin flesh? What does he think? Does he even leave the money? Does he have the funds to pay the farmer millions of dollars for the massive amounts of wine they sell? Or is it someone--something--else entirely?

In the winter, the farmer delves into the mines. No one in Pelican Town has been down there in decades. No one in living memory has been to the bottom. The farmer gets there within the season. They return to the surface with stories of dwarven ruins and shadow people, stories they only tell to Vincent and Jas, whose retellings will be dismissed by the adults as flights of fancy. People walking by the entrance to the mines sometimes hear the farmer in there, speaking in a language no one can understand. Something speaks back.

The farmer speaks to the the wizard. They speak to the spirit of a bear inside a centuries-old stone. They speak to the shadow people and the dwarves, ancient enemies, and they try to mend the rift. They speak to the Junimos, ancient spirits of the forest and the river and the mountain. They taste the nectar of the stardrops and speak to the valley itself. They change Pelican Town, and they change the valley. Things are waking up.

And what does Evelyn think? She's the oldest person in the valley; she was here when the farmer's grandfather was young. (How old *is* she, anyway? She never seems to age. She doesn't remember the year she was born.) Does she see the farmer and think of their grandfather? Does she try to remember if he was like this too, strange and wild and given the gifts of the forest?

And does their grandfather haunt the valley? He haunts the farm, still there even after his death; his body died somewhere else, but his spirit could never stay away for long. Does Abigail, using her ouija board on a stormy night, almost drop the planchette when she realizes it's moving on its own? Does Shane, walking to work long before anyone else leaves their house, catch glimpses of a wispy figure floating through the town? Does the farmer know their grandfather came back to the place they both love so much?

Mr. Qi takes interest in the farmer. He's different, too; in a different way, maybe, but the principles are the same. They're both exceptional, and no matter what Qi says about it being hard work and dedication, they both know the truth: the world bends around the both of them, changing to fit their needs. Most people aren't visited by fairies or witches. Most people don't have meteorites crash in their yard. Most people couldn't chop down trees all day without a break or speak to bears and mice and frogs.

The farmer is different. The rules of the world don't work for them the way they work for everyone else. The farmer goes fishing and finds the stuff of fairy tales. The farmer goes mining and fights shadow beasts and flying snakes. The farmer looks at paths the townspeople walk every day and finds buried in the dirt relics of lost civilizations.

The farmer is a violent, irrepressible miracle, chosen by the valley and destined to return to it someday. Even if they'd never received the letter, they would've come home.

They always come home eventually.

[nachobsns]

Hello - I was impressed and extremely relieved by what you wrote in the post about the cult mentality of the Left RE Israel and accusations of genocide. You mentioned that you bought into the mindset until recently. If it's all right for me to ask, what was it that helped you break out of it? (Please feel free to delete/ignore if you'd rather not answer!)

thank you!! and no worries about asking— i think i put something in my pinned post about how people are welcome to send asks about this stuff, although my story isn’t super interesting. i fell down the typical online rabbithole, a couple weeks after october 7; i knew what had happened, at least vaguely, but the posts trickling onto my dash were all about the (undeniably tragic) loss of life in gaza, with little to no acknowledgment of the hamas atrocities that had started the war, so my narrative was pretty one-sided from the beginning. it just continued to snowball as the months went on and people became more radicalized, calling into question the reality of the 10/7 attacks and the humanity of all israelis. i never went all the way down the pipeline to full-on endorsing hamas or justifying their attacks, at least on a personal level, thank god, but i would reblog other people’s posts referring to hamas as a “resistance movement” and calls to boycott starbucks and mcdonald’s and condemnation of the “zionist media” etc etc etc. what pulled me out of it wasn’t any one thing— if someone had directly called me on my flawed logic and antisemitic biases while i was in this mindset, i doubt it would have done much, just reinforced my belief that i was on the “right side of history” and zionists were aggressors who couldn’t be reasoned with. it was mostly just passive observance and a slow exposure to other perspectives. i’m pretty sure the first post that led me to question my thinking was an ask on jewish-vents, which popped up on my dash in like, late july. this led me down another rabbithole, first scouring every single post on jewish-vents, then moving on to more popular jewish blogs that i had seen on “zionist blocklists” (applesauce42069, xclowniex, and spacelazarwolf were probably some of the blogs that influenced me the most, though i told myself i was just hate-scrolling at first, lol). i felt incredibly guilty seeing all the harm the movement i was a part of had caused to random jews and israelis just trying to live their lives and i realized how it went against everything i believed about how minority groups should be treated. from there, the aspect of actually undoing my thinking and changing my behavior for the better still took several weeks. denial of jewish indigenity to the levant in the face of tantamount archeological and cultural evidence was the first to go, as well as any ambiguity in my feelings about hamas. after that, it’s mostly been a slow process of redefining the idf’s actions from a “genocide” to a “war.” i still believe that what’s happening in gaza is unconscionable and horrific, and that too many innocent civilians have died, but i also understand how difficult it is to fight against a terrorist group that systematically embeds itself in civilian populations, and that the ratio of militant to civilian deaths is incredibly low compared to most urban warfare. i quietly deleted my old blog in early august— if i had directly engaged in harassment against jews, i likely would have kept it to make amends to the harmed parties and put a face to my actions, but as was, i had just contributed to the larger atmosphere of antisemitism on this site, and i felt uncomfortable knowing that i had a blog full of sentiments that no longer matched my values and beliefs. i decided i would be better if i took my endorsement out of the equation entirely, because when you’re looking through the notes of a post, it obviously doesn’t matter if someone who’s reblogged it no longer agrees with what was said— their notes still count as tacit approval, and i did not want approval of this “activism” attached to my online presence. i still have unwanted kneejerk reactions that crop up sometimes, particularly around the fundraiser posts from people “in gaza”; even though i know logically that they have all the markers of scams, there is still a part of me that really wants to believe i could help.

[zzencat]

Your Best Qualities - Current ⏳

From left to right. Breathe and choose.

Some of your best qualities in 5 bullet points! Decided we’d get a post to remind you of your best qualities, in case any of you guys are feelin’ down or going thru some tough weather. Let’s bring it back and focus on the good :)

To enhance accuracy before choosing: Clear your mind. Time is now patient and still. Close your eyes, inhale deeply, fill your chest up to the fullest, feel the soft air brush up against the ridges of your nose. Breathe out.

—————————

Pile 1. Feels like family…

• you’re definitely capable of bringing peace to others or keeping harmony within your own relationships, whether they be platonic or romantic — mediator skills or a person with good judgment

• you think twice before making moves or saying things — able to find balance between being the listener and being the speaker

• your resilience is unmatched!!!! — emotionally stable and can manage finances well

• loyal and uncaring of what others think — you stick to your crew and keep good people around you

• you’re super creative and your sense of timing is impeccable — you grab opportunities like it’s nothing. it’s like you always know what to say to make others feel good, reassured, comforted, confident

Points of Interest: good natured person or has good intentions in general; balanced af; leadership skills; a good head on your shoulders; extrovert-ambivert/very healthy introvert; entrepreneurial skills; ceo/vice president/secretary vibes; the type that listens to both sides of the story before acting; calm and peaceful; bounces back easily; thoughtful; considerate; family oriented; cares for others as well as oneself; clear minded; good work-life balance; open-minded; cautious in decision making; “confident” - justin bieber; good self esteem; good attitude; faith in your abilities; optimistic; creative; cares a lot for animals; people like being around you; possible mbti: healthy exxj, enxp, ixxj

—————————————

Pile 2. I got your back.

• intimidating and classified as a loner, but in the best way possible — you either have an expanse of knowledge OR do a great deal of self-reflection — very intuitive person (EXTREMELY)

• BIG, BIIIIIIG defender energy. when it comes to defending yourself or those you love, no one can do it better than you (have you ever considered being a lawyer btw?) — potential to be materially abundant and wealthy

• you empathize and feel for others easily, even when nobody else sees it or thinks that you do (but I’ll tell ya rn, most of the time you’re the most empathetic person in the room) — in a world full of evil, you’d make villains cry and can actually help them turn a new leaf — your level of empathy and understanding is on a totally different level

• independent and mature — if people come to anyone for advice or counseling, or just a good ear, it’s you

• you are very deep and insanely caring under the surface — you might approach things logically first and try to see things from all points of view before making a decision or advising other people — you really do have the biggest heart and only those who are close can see it

Points of Interest: introvert; very smart; spends a lot of time alone; VERY LOYAL !!!!!! (almost to the point of possessiveness); may need to work on control issues and rebalancing social life; communicates differently from others; sees things from a different perspective; offers good advice; good listeners; prone to pushing people away bc you start caring too much; knows who to trust and who not to; selective; secretly creative; very nurturing but kinda doesn’t want to show it; humble/modest/doesn’t want to be seen; wants to help people but doesn’t want to be put in the spotlight for it; you’ve felt more hurt/seen more trauma than those around you; defending like their lives depend on it; perfectionists; behind the scenes, extremely intuitive; possible mbti: inxj, healthy exxj

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Pile 3. Life of The Party

• confident, outgoing, charismatic, funny as hell — there’s a lot of charm to you — you carry the energy fam, no you ARE the energy — you laugh/smile easily or cause others to

• highly ambitious and have the will to fight for what you want — you’d prob be the last one standing in a mr. beast challenge

• you light up the room !! (i keep hearing “baby, you light up my world like nobody else by 1D 😂😂😂) — potential for fame/someone in the public eye/someone in a position of power

• mischievous and fun to be around/has the most jokes — always up for a challenge or touching grass activities lmfaooo you’re always down to hang out — you don’t care if you look like an idiot as long as you’re having fun or are out with friends/family

• you don’t give up easily and take opportunities as they come — persistent, stubborn and strong-willed — you’ve achieved many things or definitely will in no time

Points of Interest: A-Class comedian; daredevil; extroverted or highly energetic; prominent fire energy, possible zodiac signs that are prominent in your natal chart (sun, moon, or rising): aries, leo, sagittarius; mistakenly seen as the leader of a group; impulsive; instigator; jumps on opportunities immediately; wearing what you want; impatient/bored easily; fast-paced; has the most friends/wants to have the most friends; easily sociable; questionable decision making, but has the most experience; likes to experiment; has seen a lot in life/plans to see a lot in life; probably a fan of fast and scary rollercoasters; among leaders, you’re the “fun” leader; confident with self-image

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Teddy note: what is guuuuuuud guys!!?!?! I’m feelin pretty nice today so I thought I’d put this out for you all as a reminder of your good qualities 😊👍 we’ve all been working pretty hard lately!! Whether that’s on your physical, mental, emotional health—it’s all very draining to do SO I hope this reminds you of things you should remember to be proud of!! It’s a checkpoint! I hope it resonates with you and if not, leave it. Thank you v much guys 😎😎

Feedback through likes, comments, and feedback and very much supported!!

[fiddleyoumust]

Let’s talk about queerness and High School Frenemy. There’s a large portion of BL fandom that refuses to engage with the show, and while that rubs me the wrong way, I do understand it. If you only wish to consume queer media, it’s easy to dismiss HSF since it is not explicitly queer. It’s also a show that on a surface level, looks like classic queerbaiting. And before I get a bunch of HSF fans in the tags or comments, I am a huge fan of this show. It is possibly the best thing I’ve watched all year. But on a surface level, it is doing the literal definition of queerbaiting even if I personally do not think it is. 

As a person who is OLD and came of age in the 90s, I do want to talk about this show from a queer perspective. I grew up in a time when queer characters were not abundant. If they did show up in media, it was newsworthy. These characters were always support characters and seldom had love interests or explored what it was like to be queer. None of them looked like me or made me feel seen or represented. Heteronormativity was the standard, as it is today, but back then, a queer kid seldom encountered anything that made them question that heteronormativity. 

HSF, and Shin and Saint specifically, resonate with me more than most queer media I’ve consumed, and I’ve consumed a lot. The intense, obsessive love that Shin and Saint have for each other under the guise of friendship IS my story. For me, it was a wild girl named Jennifer, who I was attached to the hip with from 6th grade until our early twenties. I loved her. I was obsessed with her. I was probably in love with her, but it never occurred to me until years after we’d stopped speaking that what I felt for her was more than friendship. The heteronormative brainworms are real, and they infected me until my late 20s when I suddenly had a revelation about myself. 

Hindsight is 20/20. Suddenly, my obsession with Charlize Theron in Two Days In The Valley, Helen Hunt in Twister (1996), and Kate Winslet in Titanic made so much sense. My relationship with Jennifer was also at the forefront of my mind. Ah, I thought. That’s what that was.

HSF is a show about friendship, a show about community, a show about the ways adults fail their children, a show about class and poverty. It is also a show about unrealized queerness. The director, Fon, told that story purposefully through music, lighting, and dialogue, she told a story about two boys who can’t live without each other, but don’t have the knowledge, the vocabulary, or the self-awareness to understand what they are to each other.

In every choice Fon made, she dangled queerness without explicitly naming it. I would call it queerbaiting in any other media,  but for me, she made one other choice that I believe is purposeful and elevates this show into the queer category for me. She completely stripped the show of heteronormativity. There are no couples. None. We never see Chatjen’s parents. Any parents we do see are single - Ken’s father, Shin’s mother, Saint’s father, Cable’s mother.

In any other media, the male and female homeroom teachers with clashing teaching styles would  be an enemies-to-lovers side plot. Here, they grow into supportive co-workers and friends who become better versions of themselves to help the children in their class. In any other media, there would be talk of crushes among the teenagers. Here, we see them grapple with the pressures of academia, abusive or absentee parents, bullying, drugs, and the hopelessness of poverty. In fact, the only mention of sexuality or romance at all comes from Eve, a girl who befriends Airy, a girl from their rival school, and confesses that she had a crush on her when she was younger. Nothing comes of this revelation, even though we see Airy become curious and seek out Eve’s company prior to this revelation, and we see how pleased Airy is about Eve’s confession. But this is a show about unrealized queerness and even Eve and Airy, two girls who understand what they are feeling for one another, still can’t bring themselves to name it.

The lack of heterosexuality creates a void that is filled by Shin and Saint’s relationship. It’s purposeful, and Director Fon uses other friendships in the show to highlight the ways Shin and Saint are not the same. Knot, Nate, and Ken are extremely close friends. They, too, have a “no one left behind” friendship pact. They fight for each other and get hurt for each other and very obviously love each other. Chatjen and Shin’s friendship is also very deep. Chatjen considers Shin his best friend. He hero worships him a bit and sees him as his protector and savior. Yet, anyone watching can understand the ways the producers use music, lighting, costuming, and dialogue to elevate Shin and Saint’s relationship above all the other ones. 

High School Frenemy is queer. Shin and Saint are purposefully queer coded in a world devoid of heterosexuality. You are seeing what you are supposed to see, and it's a hill I’ll die on. If you were on the fence about this show, I can not recommend it enough. It’s great and will leave you feeling warm and happy and loved. If you only consume explicitly queer media, I still encourage you to watch it. Sometimes, our queerness eludes us. Sometimes it’s hidden under other words like “friendship” because we haven’t learned the right words for it yet. I enjoyed watching a show that reminded me of my youth and gave me a glimpse of the girl I used to be. She was still queer even if she didn't know it yet.

[bluemooniegif]

Soukoku's first meeting could not have been written more perfectly. Allow me to explain

A quick note on the manga panels: these are fan translations from BSD Bibliophile. At one stage they refer to Dazai as 'the youngest boss in Mafia history,' and the executive meeting as 'a meeting of five bosses.' This is just a stylistic choice! All of the panels shown here are from chapters 8 (volume 2), 10 & 11 (volume 3)

I love this scene more than life itself, because it is literally the PERFECT introduction to Chuuya, his character, and his relationship with Dazai. Let's talk about it!

First: some context. Dazai seems to be in a bit of a predicament- he's walked right into a trap set by the Port Mafia, an organisation that we don't know much about at this stage in the story. What we do know, and what we can observe, is this:

Dazai is a former executive, and appears to have walked into the trap on purpose

He is now being held in a room that Akutagawa describes very negatively- the fact of being here is dangerous

Dazai reveals that Akutagawa was once his subordinate, and that he thought very lowly of him at the time. He claims to still think of him this way. Akutagawa has a violent reaction to this.

This is a PERFECT example of 'showing, not telling' within a story. Rather than making a bunch of asides, describing what Dazai and Akutagawa are feeling and why, Asagiri & Harukawa have plopped us into the middle of a rather awkward reunion. I feel like I've walked into my friend's Christmas dinner and am now witnessing family politics unfold real time. It's like watching a car crash.

Now, we move between settings a bit, jumping around to watch Yosano DESTROY Kajii, Atsushi rescue Kyouka, and subsequently be injured and kidnapped by Akutagawa. We watch the Agency fall into disarray when Fukuzawa demands that everyone go looking for Atsushi- interesting, considering that Dazai is IN THE BASEMENT OF THE PORT MAFIA RIGHT NOW.

I've had lots of discussions and arguments about the meaning and significance of this. I won't delve too deep into it for now, but the way I see it is this: something the ADA is really REALLY good at is splitting up Mystery-Inc. style and working to solve cases etc., together, but apart. Dazai is also something of a stray dog (... cat), regularly wandering off and reappearing of his own accord. He's been with the ADA for several years at this point, and they would understand the way he operates well. Even if there's no indication whether he explicitly told anyone what he's doing or where he's going (which honestly, does that matter, when Ranpo would know immediately anyway?), we can safely assume that this is more or less a regular thing for them.

Anyway, back to the point. the Agency is not fazed by Dazai's disappearance... and neither, for some reason, is Dazai. He stands chained to the wall in the PM's basement- the same one, we discover later, where he's brutally tortured countless victims and traitors, and he's humming a little tune to himself, smiling, totally relaxed. We as the audience know he's pretty unflappable, and Akutagawa's expression when he sees him confirms this, too.

But. BUT. This doesn't last.

With the ADA descending into chaos, we switch perspectives back to Dazai again. He's bored at this stage, and thinking to himself that they must be searching for Atsushi soon (an indication that he was riling Akutagawa up earlier, btw) when he hears it: A voice that makes his resolve crack. A look of panic on his face that, at this stage, we haven't seen yet.

He turns, and we see Chuuya for the first time! He's got this strange smug look on his face, something deeply vindictive. Here's a current mafia executive, and he's so happy to see Dazai chained to the wall of their Torture Basement that you can't help but wonder... is there something that Dazai did to him, personally, that makes him feel this way? Or is this guy just so deeply involved with the PM that the fact Dazai left is like a personal slight against him?

Now, we don't really have long enough to truly panic over this predicament, because almost immediately these two fall into their old habits. Dazai isn't PLEASED, but he isn't afraid. He goes right into bantering with Chuuya, who surprisingly meets him right in the middle. Their regular dynamic shines right through: it's quick-witted quips, inside jokes, and knowing looks. It's this odd relaxation in their posture. In all of this, we have an acknowledgement of what they were, and evidence to suggest that they still are... whatever that thing is. Whatever you wanna call it: partners, boyfriends, best friends, buddies. That much is up to interpretation; the only undeniable fact is that they once knew each other better than themselves, and still do.

Then, the fight. This, to me, comes across as more of a way to display how powerful they both are individually: Chuuya punches concrete so hard it shatters in several places, Dazai snaps his fingers and breaks out of handcuffs.

We have front-row seats to what is in my opinion one of the best action sequences in early BSD, not just for what physically transpires, but what it tells us: they deeply understand each other on multiple levels. They're constantly predicting each other's moves, and they know where each other's weak spots are.

But there's also been a lot of growth. Dazai surprises Chuuya a few times, and vice-versa. Despite their apparent closeness, it's still clear that they haven't been together like this for a long, long time.

Then, they reach checkmate. It appears as though Chuuya has won, and we're fed some more Dazai lore- he was the youngest executive the PM ever saw.

This is how Chuuya remembers Dazai. Again, I want to remind you that this is the first time so far we're seeing PM-zai, and he is worlds away from the Dazai we've grown to know so far.

Though Chuuya seems to have driven Dazai into a corner, the roles are quickly reversed when Dazai claims to know something about a meeting between all five of the Mafia's executives. Chuuya quickly realises this is one of his 'predictions,' further proving the depth of their mutual understanding.

With hindsight, we know just how big a deal a meeting of this scale is, and knowing a certain stormbro (who I won't reveal just in case of spoilers) will be there makes me lose my mind, personally. It clearly affects Chuuya, as well, which was undoubtedly Dazai's goal.

With the power balance disrupted again, they quickly fall back into that same bantering dynamic. The volatile nature of their relationship is so perfectly portrayed within this short scene that it actually makes me sick, I genuinely don't think it could have been more perfect

Anyway. Chuuya has realised, at this stage, that Dazai had multiple goals when he allowed himself to be kidnapped, and one of those was to piss Chuuya off (which is something I think he could've managed even if Chuuya wasn't physically there). This, in turn, pisses Chuuya off, especially when he realises the predicament Dazai has left him in- let him escape, or the Mafia suffers. A test of loyalty, Chuuya's greatest weakness. Do you understand why I am tearing my hair out and howling at the moon??? This is fucking insanity.

And then, the final moment! The part we all know and love! Not only does Chuuya choose to err on the side of caution, allowing Dazai to escape- he also leaves with the repetition of another inside joke. And Dazai laughs- he looks genuinely happy, too.

That is all. I'm gonna go cry now ಥ_ಥ

read this original thread on twitter

[nekropsii]

ALPHA TROLLS RANKED BY HOW WRONG THE FANDOM AT LARGE IS ABOUT THEM:

This is a personal challenge, based entirely on my own experience and perspective, and also ranked from Most to Least Correct. I was bored, and thought this might be fun.

Putting this under a cut, because it's long as hell.

MEULIN LEIJON

People get her mostly correct, from what I’ve seen… Most of the time, fan content of Meulin is absolutely recognizable as Meulin, but her pride in her deafness + joy of learning new ways to interact with the world through/due to her disability is always removed, and I do not often see people tackle the Toxic Positivity aspect of her character. That seems less like character assassination, though, and more like a combination of people not actually playing through the Openbounds, people not being able to fathom disabled people (especially those who gained a disability later in life rather than being born disabled) being happy, and general fandom distaste for the idea of touching anything uncomfortable, especially when that uncomfortable topic is highly mundane, normalized, and potentially applicable to them or their loved ones. Meulin’s toxic positivity was, of course, commentary on Tumblr’s ecosystem at the time, so… It was much harder to touch back then.

ARANEA SERKET

People tend to get her general, broad strokes personality right, but unfortunately she gets treated pretty roughly for the crime of Being A Serket. People refuse to understand her motivations, and she often gets demonized for what she was doing around/during [S] Game Over, even though that was something she’d gotten pushed to and also was cool as fuck to watch. God forbid a woman do anything.

DAMARA MEGIDO

People are right about the racism, 100%. It is completely despicable, hard to look at, and extremely blatant. She does, however, have character outside of that. No, it isn’t “whore”, it’s more like “angry, dysfunctional abuse victim”, and she’s genuinely a very interesting and tragic character. But, again, people are right about the racism, so she gets to be placed way up here.

MEENAH PEIXES

She is such a chaotic little bastard. I love her. I really do. Please understand that she genuinely does not understand the concept of consequences. This girl didn’t have a Lusus, she didn’t have parents, it was functionally illegal to tell her “No, you can’t do that.” That would fuck up literally anyone’s moral compass. That’s not me hand waving away all the fucked up and bad shit she’s done, we all know what she did, but people tend to forget this aspect of her character and it pains me deeply, because it is a very genuinely interesting concept that I want to see more of. She’s capable of regret, we’ve seen her feel it, I just don’t think foresight is her forte. No one raised her to consider consequences, or help her experience them in a healthy way, because nobody raised her period.

Also, her ass is not butch, she is the girliest girl in the entire comic. She is about hot pink and glitter and kiss marks and unicorns and cute little puns and you will respect that. She is not masculine. Her ass is not masculine nor is she butch. Let her be her hyper-feminine self.

LATULA PYROPE

Please for the love of god there is more to her character than “Gamer Girl” and “Mituna’s Girlfriend”. You are falling for her fucking ruse. Please. Please. Please recognize that her entire character is about internalized misogyny, and being forced to overcompensate for misogyny in gaming circles as a gamer who happens to be a woman. Please. I’m begging.

KURLOZ MAKARA

His character is not that deep, it’s mostly just a string of events he is mysteriously, inexplicably involved with. The Makaras are extremely Function Over Form- their characters practically do not exist, they're mostly just plot devices that exist to push the story along. I'm sorry to Makara fans. You just invented a guy in your mind and decided he was real. He is also not that soft, though, and his relationships with both Meulin AND Mituna are not healthy. Hard to stop people from ascribing cutesy squishy lovey dynamics to random men who happened to have looked at each other once, though. Some people truly haven't graduated from 2012.

HORUSS ZAHHAK

I am begging people to consider that maybe the biggest issue here is not that he is “Bad Otherkin/Therian Representation” and is in fact maybe the fact that Hussie was actually making fun of Systems when he was writing Horuss. Because Horuss is canonically a system. He uses the word system. He uses the word switching. He uses the word host. He literally talks about his Plurality at length in extremely upfront, plain terms. I don’t know how him being “Bad Otherkin Representation” was and still is the main discourse about him. It makes me insane. That is a commentary that truly writes itself. Talk about having your priorities out of wack, honestly...

PORRIM MARYAM

No, she is not a MRA, she’s just a regular feminist who happens to live on a different planet with different politics and social hierarchies from Our Real World Earth’s USA. Whatever argument you’re about to pull out of your ass to say that she sucks is bad. She already explained what she meant by that, in more detail, very clearly, and she was right. Half the time she’s literally just giving you factual information about what Beforus was like, and literal plot synopses. She isn’t saying anything insane. She’s literally normal. I don’t know why people cannot handle or process this. Porrim has not ever said anything controversial. If you disagree with this you’re either misconstruing her on purpose or you fell for Kankri’s bait, and that’s just fucking sad at that point.

Also, she’s more than a sex object, and her tits are not huge. Honestly, half the shit she was saying was just “I am more than my sex life”, and so many people took that and made her main character trait her sex life. Just pathetic.

RUFIOH NITRAM

This man is a fucking war criminal and I will stop at nothing until he is behind bars for his crimes against Damara. Raging misogynist. Total fucking cunt. Just the worst. If I talk any more about this, this part will be 1,000 paragraphs long. But also, I’m begging people to recognize his relationship with disability, too. He was similar to Meulin in the sense that he didn’t mind his disability, and his biggest gripe with it was the way that Horuss tried to “fix” it… Which is an interesting way to expand upon how Beforus’s culling system is not only very explicitly ableist, but mimicking real world systemic ableism. I also want people to recognize that Hussie is actively having a conversation about the reclamation of slurs with Rufioh’s character, and how not letting people reclaim such language is doing nothing but giving the word power against them while stripping away their own personal agency. Rufioh’s a complicated guy, and he’s interesting and also the worst, and I am really tired of how he gets watered down to nothing but “Pretty Boy Victim Of His Inexplicably Psycho Ex”.

MITUNA CAPTOR

Holy Fucking Shit, You Guys Are Ableist.

KANKRI VANTAS

To this day I see people saying he was just Hussie making fun of SJWs. To this day. To this day people think Hussie was trying to make Every Tumblr Leftist look bad, and that he hates them Because They Are Leftists. When will people recognize him as a bootlicker to the oppressive class and the violently bigoted. When will people recognize that. When will people recognize that this is more of a commentary on the legitimate real flaws of Tumblr’s politics at the time. When. When.

When will people stop portraying him as a lovey-dovey Catholic Whore. I’m going to stab my fucking eyes out and then kill everyone in this building. Me when it's based and cool to ship an aroace character with a sexual predator. I GUESS.

CRONUS AMPORA

I say this with every ounce of sincerity I can possibly muster as a person: What the literal actual fuck.

[iz-star]

About Zayne's possesiveness...

With Sylus calling us "kitten" all the time, I've seen Sylus mains being torn between if they like being called that or not, for some It's totally fine but for others is such a mood killer and I'm not a Sylus main but I'd be the second one for sure.

Then I remembered that Zayne once mentioned that I was his "favorite kitty" or that I was "his pet..." something like that? And I was like "where did he say that and why didn't I cringe when he said that? Maybe this is the effect of love (xD) maybe I understand Sylus mains better? I need to find out"

Then I remembered:

If Zayne is my personal Mr Kitty Cat, then I don't mind being his favorite kitty, we were basically the ones that initiated it and even put cat ears on him... So yeah, the whole vibe of this is totally different from Sylus' pet names.

However... He calling us "his pet" was a whole different story:

The way he lets his possesiveness slide for a second? You know, all of the guys are possesive somehow, they only show it differently, in this case, Zayne's possesiveness doesn't show too often cause he's aware that to be possesive of something is to allow yourself to show your weakness, to implicitly say "This person has a great power over my feelings or my behaviour bc It's mine..." that's why he stops himself when he says "Don't leave it with anyone else or I'll—" and then changes the approach "Do you want to leave it with someone else?"

And as the player, it leaves us hanging... Thinking "What would you do, Dr Zayne? What are you willing to do?"

We have to think about these questions from the perspective of Zayne's persona, of the kind of guy he is. We know the other guys have a bounty and have committed crimes/ killed people, while Zayne has done none of that and it's on the completely opposite side of things: He's a well respected doctor, has saved tons of lifes, is obssesed about saving people, a workaholic cause he knows the world needs him. The worst thing he's done (as far as we know) is that he had to kill his friend William when he was turning into a Wanderer and even so, it was William the one who asked this of him after Zayne desperately tried to save him against all odds.

Zayne is not someone who would even think of hurt others easily, even if he's quite able to cause others harm, just as much as the other LIs, but all versions of Zayne have in common that they're really kind. Sure, Dawnbreaker is a serial killer but we know he doesn't kill people out of joy but instead mercy. Sure, Foreseer was quite severe when MC first met him but It's not as if she didn't deserve it when she literally intruded his place, lied to him and tried to steal his powers (lmao) and we know he was wary of Astra all the time so he didn't want anyone to enter the Tower for their own sake and he paid with his life the price to keep MC alive. Master of Fate was supposed to kill MC but instead he chose to seal her powers to give her another chance to keep on living the life she told him she wanted to live (even without him).

So it's interesting to think what would Zayne do for MC? Us? If he decides to be selfish and fulfill his desires, what would he do? It seemed like he was even questioning himself, showing too much of what he's not used to show (And now with SS we just know how much he needs MC/us).

So that's why he changes the approach. His feelings are involved in this sudden and unexpected show of weaknesses, so he asks us "Do you want to leave it with someone else?" Now asking us about what we feel but not quite giving us time to reply.

The way he calls us "his pet" comes now more like he's gained control of his feelings again and is calling us that as a punishment for making him go through this unwanted jealousy but he's so ambiguous and smooth about it, that is giving "if It's too much don't take it" vibes because he neither confirms nor denies that he was talking about us.

Zayne is the kind of guy that would spoil you and shows his love through different ways: taking care of you and your health, acts of service, affirmation, sparing time for you, having you as his top priority, always offering his time/ himself (Have you notice how Zayne says "My free time is all yours, do with it what you want" while Sylus says "Who is your free time for if not me? " or how Xavier asks "Do you want to sleep with me?" while Zayne asks "Do you want me to sleep with you?"), he gives and gives (and lord knows how much he's tried to change and be more careful about his words and actions so they don't come across as alof, bc yes, Zayne hates to be mistaken as a heartless person) but of course he's also willing to do all that as long as you work for it and earn it too and if you misbehave, he makes you pay for it and knows how to give you a firm "No" when you try to backpedal or get away with it.

He knows (or tries) to balance his depth love by spoiling you while at the same time letting you know that nothing comes for free (even if he'd give it for free). Balance is a word that fits him best in all the aspects of his life, especially when it comes about love. He shows his feelings if you show them too (he both says "I never thought I'd have only one person in my eyes" accepting you're the only thing he sees and he also says "I want to be the only one in your eyes and for you to be mine" expressing what he desires too in a soft way) and when he shows his possesiveness, he's letting himself to lose this balance and he probably knows that you are the only thing that could make him completely lose this balance. His evol seems to be an analogy of this behavior, Zayne is always hyperaware that he could lose control of it at any given time and maybe, when it comes about his feelings, does he feel the same? ("It wouldn't be love if I could control it"). He's scared of hurting you but is he scared of the things he'd do for you?

Especially bc, all his other lifes and the current Zayne have always shown the opposite of possesiveness, they sacrifice themselves and their happiness for your own happiness and your well being. When MC asks Foreseer Zayne "Didn't you say you don't want to lose me again?" his literal reply was "I will never lose you as long as you're alive and well" and when Master of Fate was supposed to kill MC, he chose to seal her powers away even if it also meant to sacrifice his presence in her life (even after he promissed that they would always be together and promissed not to leave her and desired fulfill those promises). Dawnbreaker's only solace is MC, he only yearns for her and nothing else, a powerful quote they say in his anecdotes is "It's better to die with clarity than living as a walking corpse" referencing to ppl that turns into Wanderers but this quote applies to Zayne too, in the sense that he's basically a walking corpse cause he doesn't live his own life. MC is the only thing that keeps him alive somehow and she's not even in his own world. Dr Zayne says "When you and the world wake up, I hope we do not meet again" bc he knows this is the best for you.

All Zayne's are filled with pent up yearning, want, need, desire, to a point It's seems it is about to overflow and he does a goddam good work at hiding it; no wonder why Dr Zayne is taking all the available chances with MC, but even he seems to be aware that this won't last forever and even in such period of time, why he seems so afraid to loose up... lose control of himself? Especially cause Dr Zayne seems to be the balance amongst all Zayne's, he's not as dark and depressive as Dawnbreaker, nor as cold and severe as Foreseer, nor as happy and carefree as Master of Fate but at the same time holds a little of all of that.

So the question here is, how a showcase of the loss of this balance would be? For now we can only imagine and come up with assumptions but I'm quite curious to see it playing fully ingame, you know? Altho I'm not sure if I'd like it if it comes at the cost of him getting hurt again.

[thesiltverses]

Hello! Writing first to thank you for such an extraordinary creation - as a piece of writing and even more so in performance. Every episode manages to somehow build on and outdo the last; you navigated that transition from a smaller scale story of grisly mysteries and personal crises of faith to a grand scale of war, revolution and political satire with absolute aplomb, and never lost that throughline of exceptional characterisation and sharp writing, always steering to the most interesting conflicts. You are always very humble in your public comments, but I hope you allow yourself a little pride, because this is absolutely top notch stuff.

I was struck by Paige's final words, that she hopes what they left would be found 'flawed, inadequate, yearning'. As the show went on, I was surprised - in a good way - that the show's politics gradually crystalised into a full-on nihilist anarchism, something perhaps even along the lines of Monsieur Dupont. (Muna used the 'a' word in one of the Q&As but it was pretty evident even before that). Taking these gods as a metaphor for ideologies and social systems, the scope of it becomes pretty universal - and unsparing. And, equally, hard to answer.

I wondered when the Many Below/Wound Tree was introduced what answers they would find: what political movement could truly resist cooption or becoming its own horrible self-sustaining egregore. And in the end the answer you express I suppose is a negative one: that even Paige's god of victims is a tool, one that must eventually be discarded to go into some unknown place beyond it all (to walk away from Omelas), towards something that narrative fiction - as a form of the 'endless words' that are derided so much in the third season - can no longer address. Which I respect - to pose the question is vital, even if the tools can't reach any answers if they even exist.

I think this struggle exists in many stories that address themes of making a break from the rapacious society that created them (and take it seriously) - your Baru Cormorants and Mononoke-himes. We can describe the problem vividly, but since we do not have a counterexample to hand, any story we tell about ~what is to be done~ and what it will look like when it is feels like it will be just as hollow as the spins and angles and parasitic fantasies that so many characters advance in the Silt Verses. (How could there possibly be a time where it finally works out, after we have seen all this? But then, what are we living for?)

To try to make this a question and not a ramble, I wanted to ask - what do you see as the role of fiction in addressing the horrible machinery of this world? Is it enough to pose the question particularly sharply, skewer the bad and inadequate answers, and leave the readers/listeners to figure out how to make the killing of gods concrete? How do we punch through the bounds of it all being Content, another product to be bought and sold? What does it mean to sit here and fantasise about people making that revolutionary break when there is no revolution to be had?

I don't know what answer I'm hoping for here, but given the themes of the show, I feel like this must be a kind of thing you've thought about, and probably have a far more developed line of thought than I do. And if this is a bit too much to drop in your inbox on a Saturday morning, I will say again thank you for writing this story and all the actors for making it so strikingly concrete - it truly means a lot, and I will treasure it.

Hi, and thank you for listening and for a beautifully written and thoughtful ask! ('Horrible machinery of the world' stopped me dead in my tracks.) And I am very proud, genuinely.

I don't have a good enough answer to your questions, and for me a lot of TSV is very much about trying to figure those answers out, but let me try and sum up my perspective bit by bit.

Is it enough for fiction to pose the question, without also proposing the answer?

I don't think it's enough for fiction as a collective body of work.

I'd argue there's probably a tendency towards open-endedness and irresolution in these individual narratives simply because it feels like a more honest acknowledgement that in real life, the foe has yet to take a real body blow and will not go down easy; that the foe, in fact, is the marketplace for the work itself and ironically profits from the popularity of stories with easy heroic victories over villains who represent capitalism. That these stories inevitably become a pleasant consumable that serves our complacency within the belly of the beast, a kind of daily tonic to reassure us that good always triumphs and regular people always come out on top.

I also think that the sheer scale and scope of the topic creates its own challenges; you probably can't engage thoroughly enough with both the dystopian question and your ideas for a utopian answer all in a single story, without ultimately turning the latter into that false reassurance, a quick handwave of a happy ending.

You mention Omelas, and I think we could illustrate the problem by looking at how LeGuin handles her two successive masterpieces:

The Ones Who Walk Away From Omelas, which gives us the titular resource-rich u(dys)topia built on invisible suffering, and the dissidents who turn their backs on that world and walk out into the inhospitable wilderness in search of something better.

The Dispossessed, which as its premise gives us Anarres, an imperfect but sympathetic anarchist society whose adherents turned their backs on a neighbouring world of capitalist plenty to live out in the inhospitable wilderness in search of something better.

Anarres can very reasonably be viewed as LeGuin's direct answer to the question posed by Omelas, and she would have likely had it in her mind already as she wrote Omelas. But if the short story had ended with 'I hear that against all odds, the ones who walk away have successfully founded an anarchist utopia where hardship is everywhere but it's shared as equitably as possible. THE END', the amount of lazy shorthand and empty comfort involved in that happier ending would inevitably make it a dishonest and unserious offering.

Instead, Anarres is a starting premise to be interrogated at length over the course of a separate story, rather than a happy ending to simply reassure the reader that better things are possible - and even at the end of the novel LeGuin's unresolved questions are still very similar to the ones that we're left with in Omelas (and the same questions that I feel like we were knocking about in The Silt Verses, and which I guess you could argue are all lingering concerns at the end of Mononoke, as well): how and where can we find space to create and sustain a genuine alternative when the narrative environment of capitalism is so powerfully all-subsuming and constantly growing to fill the space? Do we need to disconnect entirely, vanishing as if dead? If we disconnect, how can we possibly survive and what inhumanities or ethical compromises will be required of us? If we do survive, is our isolationism a dereliction of human responsibility to those left behind?

All of which is to say that I think present-day fiction absolutely can make the attempt to meaningfully explore potential alternative-utopian solutions in more depth and with far more tangibility than we attempted with TSV - but that dystopian fiction like ours which concludes with the unexplored promise of a revolutionary utopia and the vague reassurance that the irrepressible human spirit will figure things out from here on out (Chewbacca gets a medal, everyone's in the streets wearing a Guy Fawkes mask) doesn't do much more than dramatically undermine its own goal of disrupting the audience's comfort.

That said, one of my big regrets this season was that we didn't succeed in more engagingly exploring and articulating the Woundtree camp's development into a flawed but functioning society in Dispossessed fashion ahead of the ending. That was my intention, but what quickly became clear was that in a dramatic format, with a limited cast, it was just endless static meeting-room scenes with Paige and Elgin discussing difficult responses to impossible challenges, while everyone else was out having dynamic and exciting adventures with lots of fun and exciting gods. Dystopias remain too entertaining for utopias' own good.

What do you see as the role of fiction in addressing the horrible machinery of this world?

I believe that absurdist horror fiction specifically, founded on the principle of 'people in a world that makes no sense, deluding themselves that it definitely does make sense' can play a very powerful role in that stated purpose.

Many horror traditions carry the baggage of inbuilt or inadvertent conservatism - the concept of a peaceable, passive, safe, middle-class Normality which is then disrupted by a terrifying outside threat (alien, ultra-foreign, ultra-low-class, underworldly, wild, etc). But absurdist horror very directly identifies Normality as the true source of our terror and very directly confronts our human response to it. It creates the right environment for us to ask all of the good questions. Isn't this an unsustainable nightmare we're living in? Why are we expending so much energy pretending it isn't? How do we get out and what do we do if we can't?

Probably the only listener reaction that's genuinely frustrated me about both of our shows is the folks who come away turning their noses up at the bluntness of that approach and acting like they've Solved The Art simply for figuring out where our broad sympathies lie. "Hm, just listened to The Silt Verses and I understood it at once; it's clearly trying to say that capitalism is bad. A little heavy-handed in its messaging for my liking, hm-hm!"

Not to go full Garth Marenghi, but for me the directness of the provocation and the obvious outrageousness of the nightmare is the point; it then allows us to go to places that other genres (or more understated critiques) generally can't.

How do we punch through the bounds of it all being Content, another product to be bought and sold? What does it mean to sit here and fantasise about people making that revolutionary break when there is no revolution to be had?

God, I don't know.

Maybe it means nothing; maybe we can't punch through; maybe there is no story unruly enough to be truly unco-optable, and therefore even the most radical fiction ultimately serves as a distraction, a placebo, a reassurance (that we are not alone, that better things are possible) which will impact the wider world more by keeping us subscribed to the Kindle app than by any action we might feel inspired to take.

Amazon is paying Boots Riley to make TV shows. Disney won much praise for delivering a revolutionary fantasy in a Star Wars shell. Apple is funding excellent, discomfiting and furious corporate satires about how we happily ignore invisible worker abuses for the sake of our own lifestyles, but they also cannot be considered accountable for the deaths of Congolese child-labourers in the global cobalt supply chain. The Dispossessed is in development as a limited series and the LeGuin estate are closely involved.

The master doesn't just own the tools, he's been buying up the guillotines as well.

What if, as with the unknowable nothingness outside of Omelas, the only art that cannot be reduced to product in net service of the status quo is the art that's so invisible and inaccessible and disconnected as to not exist at all? Does being relatively small and ramshackle really lend us any ideological purity, any genuine detachment? You can listen to The Silt Verses on Apple and Spotify and Amazon Music. Brought to you by Acast.

Chapter 36 with Dev and Seb was to a large extent intended as an articulation of that worry. To what extent can we still trust in the integrity of a sincere love story (one that we want to believe in) it if takes place in an insincere and predatory environment? Can any meaningful story be told honestly within such a space?

This stuff really worries me. I think it's probably right to worry. I don't know the answer. I do know that there are some folks for whom the show has made a tangible difference in terms of their life's direction, and that's a huge comfort to me.

There was someone who said it helped them find their faith, strangely and wonderfully. Someone else who said it contributed to their decision not to go down a more lucrative career path within what they view as an exploitative industry. (I hope they don't regret that decision; I hope it makes them happy.)

So there's something there. Maybe.

[kiirotoao]

An argument I see against Byler that irks me, specifically about Will’s storyline, is that some people think that Will’s story is about him accepting himself. Acceptation is absolutely not part of his storyline, and here’s why.

Will has been established as a queer character. Quick as it was, Joyce mentioned Lonnie’s remarks about Will in the very first episode of season 1. Will has also been drafted as a kid dealing with his sexuality. Will knows about what people say about him, and he doesn’t seem to outwardly fight it, alongside much other forms of confrontation towards himself.

Will deals more with the struggle of being different, not of misunderstanding, not of doubting, being.

A great contrast in another series that shows a character learning to accept himself is none other than Nick Nelson in Heartstopper (Webtoon or Netflix - but for the sake of finding scene packs more easily, though, I will be quoting from the Netflix adaptation).

Nick outwardly deals with uncertainty regarding his sexuality. He’s covered in doubtful characters’ judgements, clearly a jock of whom are stereotypically straight, and as Elle would say it, he’s “the straightest person I have ever seen.”

He’s not established with a queer lens. In fact, for a very long time, Charlie thinks that he has no chance with Nick because he doesn’t think that Nick could ever like him like that. But then, in comes Nick’s perspective. He realizes that he’s getting really close to Charlie, and his mom tells him that he’s “much more himself” around Charlie. Then, of course, the meme of Nick taking the “am I gay?” quiz and crying over his result. And then in comes the day after his and Charlie’s first kiss when Nick expresses that he’s “so confused,” not that he didn’t like it, it’s just difficult for him when he’s only ever seemed to like girls before.

That is how you explore an arc of discovering one’s sexuality: show confusion from other characters, self-doubt, and how the character feels working through it. Will Byers has received no such treatment.

He’s not confused, self-doubtful, nor shown working through his sexuality. It’s just always been, and the other characters around him reinforce that. The fact that other characters make remarks. The fact that other characters know without Will telling them anything. The fact that Will has never continued returning any affection to a girl who showed interest in him. The fact that Will never gets a girlfriend. The fact that we know that Will was making that painting for Mike alone.

Plus, if being accepted is Will’s whole storyline culmination, where does he go now that Jonathan in season 4 has accepted him and promises to love him no matter what? That’s it? He’s going to have nothing greater happen to him in season 5 and/or they’re going to reinforce a point they already did so sweetly? Yeah. I mean, I’m not a writer, but, yeah. Sure.

Byler is endgame because Will is going to learn that he no longer needs to just accept himself but see himself in who he is.

[xoxo-ren-xoxo]

Hermitcraft / Life Series Fic Recs

Because I love so many of them...

I'll split the fics into completed and updating fics, and try to only recommend currently updating fics (i.e., not abandoned). I'm going to write a little about why I like each fic and what the general vibes are - so this is also a kind of review I guess?

I've tried to @ the authors if they have a public tumblr. Sorry to anyone who didn't want to be tagged, I can remove any @ if you ask (or if I have embarrassingly tagged the wrong person). Anyway, enjoy, and I appreciate reblogs because I want as many people to see these fics as possible!!

This ended up being incredibly long so I'm putting a divider here. Click to keep reading!!! Also, fair warning: shipping ahead! Some fics will have mild sexual content, please read the tags if you are unsure <3

Updating Fics

I have already recommended Help Me To Breathe, lost in the dark (he's got a heavy heart), and There Are Monsters Nearby in this post, so I won't explain why I like them a second time, but definitely check them out!!

Death's A Good Gig by @mawofthemagnetar is probably going to be finished by the time this post gets to you, reader, but I'm putting it here anyway. It's short and sweet, one of my favourite representations of Zedaph (or, Zedeath) I've read, and just a joy to experience. If you like grim reapers and discussions of unions, this one is for you. Also I need more Zedaph in my life.

Look, I'm Sorry, Please Stop Scaring Everyone by @cat-in-the-desert reminds me a lot of a particular TV drama I liked when I was younger, which followed a similar premise. This fic follows Mumbo (vampire) and Grian (ghost) as they get up to various housemate shenanigans and meet their local magic-expert and salesman Scar. This fic is fun, but still includes a nice amount of Feelings and hinted-at Angst which I really love. It's lighthearted, but never boring.

It Hurts To Hope by Inquillitory is my favourite of the "Grian crash lands into Hermitcraft and causes problems for everyone" genre. Seeing how many fics there are with that premise, I think that says a lot. It handles Grian's weird Watcher stuff really well. Honestly, I just want to know what happens next!

killing the boy in the tv by @raspberrystruck is like a sickfic on steroids. If you want Grian with so much past trauma he forgets how to function in society, this is basically the fic for you. I really love how hybrid traits affect the characters' interactions in this fic, and how everyone is kind of messed up because of the imbalance Grian brings. It is wonderfully descriptive in all the right places!

Love Me Like I'm Dead by @daniofcrows is such a gem. You know how hard it is to find good Xisuma whump? It's impossible. I absolutely love how Xisuma and Evil X are characterised in this, and I am obsessed with the unique take on hanahaki disease which I have never seen handled in this way before. The balance between flashbacks and present day is maintained wonderfully and I cannot wait to continue reading this one. Wow.

Oh, you wanted me to do a verse? by @bugbbear is... kind of indescribable. It's horror. It's comedy. It's the apocalypse. It's boatem. Scar eats someone. One of the most interesting and unique apocalypse stories I have read. Slowly updating but worth the wait, in my opinion. This one NEEDS more attention.

So Much For Stardust by @a-plethora-of-peters is basically one of my all-time favourites. Which is a damn good achievement seeing as I don't usually read ZITS fics. Like, ever. In this fic, Skizz is a human abducted and hurt badly by aliens, now recovering in the care of good aliens who don't know how 'sentient' he is. Every update of this one makes me smile, it is wonderful. I love how the characters are written and how the different perspectives are shown. It is just great.

Solar Waltz by @raspberrystruck and aroundtheclock is a brilliant and very very sad regression fic. I love fluffy regression fics as much as the next guy, but this one just... hits different. The hurt/comfort levels are off the charts. Grian is so damn cute the whole time, while also being harrowingly complicated and sad. I am so ready for whatever comes next.

Tango's Castle of Cards by @evilrat-sabre is the one where Tango is a BUG. He's just a little guy (horror). This one is so beautifully written, with poetry-type interludes and perspective changes that really make everything feel so much more impactful. Finding out your buddy is a murder bug isn't the easiest thing in the world. I love this so much.

Traveling Thieves {Dark Fantasy AU} (series) by @amethystfairy1 is basically one of the series of all time. I know I keep saying that but it really really is. I love a good fantasy au, and I love an au with hybrids even more. In this world, hybrids are treated like slaves, but it isn't all doom and gloom for the main characters of each installment. There is a lot of hurt/comfort and the different stories feed into each other in really interesting ways. I try to read as much as I can, though I've missed a few because my emails are buggy. Definitely worth reading these fics, especially since now they're all starting to come together!

Completed Fics

Solving Counting Sheep by @theminecraftbee might have rearranged my brain chemistry a little. Another strong contender for 'fics that inspire me to kill Grian', this time with a more concrete notion of "replacement". Three is my favourite fucked up living weapon. It's so rare to find Evo fics in this day and age, too. This fic had me immediately clicking on every update as soon as I got the emails.

Rescue Fire by @imaginethat0327 is one of the most unique takes on a fictionalised life series game that I have ever read. The whole concept is explained in a realistic and easy-to-follow way, as we learn what's happening with the characters. There are several brilliant storylines happening in this one, but my particular favourites are Jimmy & Tango, Joel, and of course Scar & Grian. This fic is full of whump and, well, read the tags, it isn't always pleasant, but those are my favourite things ever. Definitely worth checking out this fic and its currently updating sequel.

don't you know about me? by takenbadgering is a wonderful comedy of errors with just the right amount of angst for a realistic setting type of fic. If you enjoy polyamory miscommunications, rave aesthetics, kandi, school teacher dynamics, and a lovely blend between grumbo, cubscar, and mumscar, this is the one.

Eventually the Birds Must Land by @milo-hypno follows a polyam ship I would have never thought of, and I cannot believe how much I loved it. This married-as-friends fic premise is wonderful, and captures the main trio (Grian, Mumbo, Impulse)'s personalities so well, while balancing them with the incredibly terrifying descriptions of the Watchers and their power. There's a lot of angst here, but it is ultimately hurt/comfort to the maximum degree. I loved reading it as it updated. Yay for gay marriage!

From The Archives (series) by @sixteenth-days was the absolute inspiration for my own Comms AU, and I will never forget its influence on me. As someone basically unfamiliar with TMA, I thought this series might be hard to follow, but it was not! I read all 57 parts in the span of two days, and I think it altered my brain chemistry. Please read it, even if (especially if) you don't know anything about TMA. The Cleo and Grian storyline lives in my head rent free. I mean it. This is horror at its finest. Also there's an audio series of this fic being released rn, which is very cool.

SUPERCRITICAL by @masque-of-plague hits different. It is such a wonderful take on the superhero/HotGuy trope, and it gets so super dark at some points! This one really takes swings at it's fictional government, which of course I love, while at the same time building this brilliantly emotional relationship between Scar and Grian. I do enjoy a bit of enemies to lovers, but the actual plot mixed into the story makes this one extra special. It is thrilling, with action that I don't get to see too often! Great work.

I am weary with contending! is one of the mumscarian fics of all time. From 'this house has people in it'-type horror, to magic gone wrong, to childhood trauma, to attempted assassination, to gender fuckery, this fic has it all. Usually I don't go for convex siblings, but this one is good enough to get a pass from me. Amazingly detailed worldbuilding alongside a brilliantly creative story.

It Spreads by @foxxology may not count as a fic, actually. It's a comic. But it's posted on ao3 so it counts. I was obsessed with this one as it was updating, honestly. It rocked me to my core. The art is phenomenal. The writing is brilliant. I love sculk.

Luck of the sea by Sleepy_Duck is a lovely take on mermaid and human interactions, with Grian as a marine life conservator and Scar as a very neglected mer. This one takes us emotionally in all sorts of directions, and offers lots of hope for the future of the characters. I heavily enjoyed this fic - if you like mermaids and marine biology, check it out.

there are many downsides to being a marine biologist by donnerstag is another mermaid fic but with a pretty different vibe. First of all, it follows what I would consider a rarepair Doc/Martyn. Second of all, reading this as it updated was a thrilling experience that nearly made me cry at certain points. I love how the relationship builds in this fic. It is honestly amazing. The whole idea of experimenting on a sentient sea creature, learning that he can communicate, then losing funding and having to save him from being dissected?!?! It's crazy. I love it.

Thus concludes my fic recommendations. I hope you enjoy at least some of these, and consider reblogging to spread these wonderful fics around <3

[goodqueenaly]

I'm rereading Jon's chapters, and I was wondering why Ygritte was so drawn to a "crow" in the first place? I understand the purpose of that relationship to his arc and the plot but can't quite work out why, from Ygritte's perspective, she's so incredibly persistent seemingly a very short time after meeting him. Does it all come down to the fact that she thinks he stole her?

It’s of course important to point out that in discussing romantic attraction, even in the context of a fictional narrative, we’re discussing a topic that is to some extent inherently mysterious and unexplainable. Too, as noted, I don’t think we should discount the tradition among the free folk for men to “steal” women, as indeed Ygritte teaches Jon about the custom to insist that Jon “stole” her in turn.

However, I think we should also, and not mutually exclusively, look to the circumstances of Jon and Ygritte’s first meeting, not merely to understand how Ygritte might have seen this moment as a sort of wife stealing but to analyze how Jon and Ygritte developed their personal connection. From the first moment the two interact, I think Ygritte would have noticed, and appreciated, how Jon defied her expectations for how a “crow” should or would act. Not only had Jon asked her to yield - repeatedly refusing Stonesnake’s command for Jon to kill her - but he almost immediately supported her against his own comrades: when Ygritte insisted that the dead free folk be burned lest they come back as wights, it was Jon who seconded the notion, even as Stonesnake remained unconvinced - a sign that Jon recognized the universal but long lost truth of the Others as the enemies of all mankind. Too, as Ygritte informed the Night’s Watch brothers that “[e]verything below the Wall’s south to us”, Jon quickly agreed that “it’s all in where you’re standing”, another recognition of their commonality. Indeed, that shared humanity between the two, picked up on by Ygritte and somewhat encouraged by Jon, was at the heart of the story told of Bael the Bard; Ygritte even echoed Jon���s borrowed identification of his mother as “some woman” not only to describe her own mother, but to inform Jon that he had “Bael’s blood in you, same as me”. To Ygritte, Jon likely seemed, if you’ll forgive the turn of phrase, Not Like Other Girls Crows, a much more interesting and likable sort than she perhaps expected.

All of this, however, might have been moot had Jon not shown himself truly different in the moment it mattered most - that is, when he was left to execute Ygritte. After all, despite her assertion to Qhorin that if he, Qhorin, were to surrender to one of the free folk his only reward would have been “[a] slower death than elsewise”, Ygritte herself yielded to Jon Snow as soon as he asked if she would do so. Ygritte was no coward, of course, but she was a young woman who clearly did not relish the notion of dying: Jon saw the “fear and fire in her eyes” when he asked her to yield, and although Ygritte initially put on a brave face ahead of her expected execution, she shivered at the actual touch of his steel and admitted that she “[could not] stay brave forever” when Jon hesitated. Even as she proposed running away right before her would-be execution, to a place where “[t]hem crows would never catch us”, Jon’s reminder that he was “as much a crow as they are” elicited only a reluctant agreement from her; as far as Ygritte could tell, Jon’s closeness to her from the night before had been subsumed into his position as a member of the Night’s Watch.

However, in this moment Jon again, I think, proved to Ygritte that he recognized her humanity, and that he cared for life as much as she did - much more, indeed, than his black-cloaked brothers seemed to do (or did). Her shock and surprise at his refusal to kill her, I think, was the moment Ygritte began to see Jon as truly special, and perhaps when she began to develop deeper feelings for him. Given the power, opportunity, and directive (by both Qhorin and Ygritte herself, in fact) to behead his captive, Jon gave her both her life and her freedom. Jon had acted not as a brother of the Night’s Watch, nor even as a free folk man who “stole” a wife might, but simply as a genuinely caring person - one who valued Ygritte enough to let her back into the life she had come so close to losing. Both had been changed by the other: not only had Jon begun to be influenced by or sympathize with parts of free folk viewpoint, but Ygritte went on to defend Jon to Rattleshirt by naming his as “Eddard Stark’s blood, of Winterfell” (a point she learned from Jon himself) and reminding Rattleshirt that Jon had yielded (just Jon had done with her, and as Ygritte had claimed the free folk would not care should an enemy of theirs surrender).

So again, while I don’t want to discount any other factors going into this attraction, I think Ygritte was in no small part left impressed by Jon in how they acted with one another initially. Jon’s specialness, I think, in Ygritte’s mind wasn’t just that he “stole” her, but that he acted in a uniquely empathetic, merciful, and caring way toward her. Where Ygritte assumed that Jon “[would] have me then, or kill me, or maybe both” following her capture, Jon “never did”; for this spearwife who so prided herself on her freedom, a crow who would refuse either to rape or murder her, and indeed give her her life back, was likely a rare and special bird indeed.

[elspethdekarios]

Gale as an archmage

I've been thinking about this for a while. If you select Gale as an origin character in the character creator and play his intro, he introduces himself as Gale of Waterdeep™ he immediately follows with "please - no need to be intimidated."

Now I think we initially brush this statement off as Gale being full of himself, but the first time you talk to him and ask him to tell you about himself, there's an option to say something like "Come on, you must have stories from your time as archmage."

And I've always wondered - how would tav know this? Gale hasn't mentioned it. Which leads me to my research question:

Is Gale famous?

Not Elminster-famous, of course, but is he THE archmage of Waterdeep, known throughout the Realms? Is Gale of Waterdeep a legitimate title, not just one he decided to use because it sounds important?

Maybe all of this is common knowledge in DnD lore, but it's a fairly new world to me. Here's what I found about archmages:

From the Forgotten Realms fandom wiki (https://forgottenrealms.fandom.com/wiki/Archmage):

Archmages were among the most powerful arcane spellcasters found throughout all of Faerûn. These practitioners of the Art were experts at manipulating and altering their spells, often in strange ways. Many cities across Faerûn had a single archmage who dedicated themselves to serve that settlement and its people. Some notable cities included Lyrabar in Impiltur, and the great western metropolis of Waterdeep. The term "archmage" was often used to refer to spellcasters who took on leadership roles among similarly-inclined practitioners of The Art. In the drow city of Menzoberranzan, the head of the arcane academy known as Sorcere was granted the title, Archmage of Menzoberranzan.

So, to summarize, archmages are super powerful, big cities often have a singular, dedicated archmage, and they take on leadership roles in the city, sometimes (or at least once) being deemed THE archmage of the city.

I've already seen posts about the insane amount of power held by archmages, so I'm not really going to go into that. I'm just interested in how well-known Gale would be in the Realms. One issue I'm running into while researching is that many people seem to approach the archmage in terms of DnD stats (spell levels, player levels, etc) rather than from a storytelling perspective.

I can't find much else specifically on how widely known archmages would be. There is a list of archmages on the Forgotten Realms wiki, but Gale isn't included on it. I'm assuming maybe BG3 lore is considered an off-shoot of FR lore and therefore not necessarily canon? Let me know if I'm wrong about this.

So that leaves me with message board responses. Here are some notable ones:

An old candlekeep.com forum on the differences between the titles used by magic users. Several users seem to agree with this person.

From the same thread as above.

Interestingly, DnD beyond has archmage categorized as a monster. I'm not sure if this applies only to evil-aligned mages or not, so anyone with more familiarity, feel free to chime in. Anyway, here's what DnD beyond says:

"Archmages are powerful (and usually quite old) spellcasters dedicated to the study of the arcane arts. Benevolent ones counsel kings and queens, while evil ones rule as tyrants and pursue lichdom. Those who are neither good nor evil sequester themselves in remote towers to practice their magic without interruption. An archmage typically has one or more apprentice mages, and an archmage's abode has numerous magical wards and guardians to discourage interlopers."

Gale does mention having students/apprentices at some point (he says something about being impatient with them if I remember correctly, but I can't remember when he actually says it), and, if he's Professor Gale in the epilogue, you're told that an apprentice delivered the invite to the party.

I also find it interesting that archmages typically have wards around their home to keep out intruders, implying that they're well-known enough to have people regularly trying to break into their home?? Or at least has happened enough times to warrant protection.

I also appreciate this reddit comment on a thread asking about the rarity of archmages:

This lead me to a super interesting reddit post which I really suggest you check out if you're interested. The OP breaks down the percentages of each class and level and translates that to city populations. I'm bad at math so that may be a horrible explanation. Anyway, here's a chart that they made:

I have been trying my hardest to put the alt text on the images for accessibility but I have no idea how that would work with this chart. I did include the text at the bottom for screen readers just in case. I'm sorry!

Sooooo someone in the comments asked specifically about Waterdeep and here's what someone who is good at math figured out! (They are correcting a previous comment with incorrect math, hence the first part of the comment):

Since a wizard is considered an archmage at level 18, it's safe to say that Gale would definitely be one of only a few wizards in Waterdeep with such a title. And if the above commenter's assumption about the Blackstaff being one of the only archmages in the city, Gale being of a similar level is HUGE, right? The Blackstaff is a big deal. From the Forgotten Realms wiki:

Blackstaff was the title and name given to the master of the eponymous staff and Blackstaff Tower, including Blackstaff Academy, as well as the Archmage of Waterdeep.

So if the Blackstaff is THE Archmage of Waterdeep, Gale, obviously, is not. But!!! If we can trust the math of the reddit users above, and we assume Gale was at least a level 19 wizard pre-orb/tadpole/whatever ... he would be one of two archmages in Waterdeep, second only to the Blackstaff themself.

I personally think that's enough renown to be a somewhat familiar name throughout Faerûn. So yes, Gale is a bit arrogant and, in his own words, pompous about being Gale of Waterdeep™ but perhaps it's warranted.

This has been a deep dive fueled by procrastination about writing the research papers I should actually be writing right now. Thank you for your time