#edited to fix some typos

[quadrantadvisor]

Even after learning their secret identities, the hero community always insisted that there was something inhuman about the bats. No one doubted that their intensive training had a lot to do with it, but it never quite explained how they could evade a Kryptonian's super senses, how they could melt into shadows, how they could function so long with little food, little rest, little oxygen if need be. Most people dismissed their uneasy feelings, but there was something strange about the bats, something uncanny, something that made them different from the arrows and other vanilla human members. And, slowly enough that no one really noticed, it was getting stronger.

Until one day, during a diplomatic meeting with the ruler of the Infinite Realms, when High King Phantom turned to Batman and his brood and literally brightened. "Oh! I didn't know you had liminal members!"

Or: through a variety of factors (proximity to death, their own death/near death experiences, exposure to the Lazarus Pits, the favor of Lady Gotham, immersion in Gotham's own cursed ambient ectoplasm, being a close knit group who continued to expose eachother, etc.) the batfamily have been becoming liminal/ecto-contaminated without noticing. The powers they're developing have been subtle, and align with the skills they expect to have, so no one brought it up when they started being able to hold their breath beyond human limitations, or got so sneaky that they literally seemed invisible, or had a lucky miss when they expected a bullet to go right through them. And they always exuded an unsettling aura of fear, so no one else thought anything was out of the ordinary either. By the time they meet Danny, Gotham counts as one of the most fiercely defended ghost haunts on the planet, with so many territorial liminals patrolling the streets.

[starscream-is-my-wife]

Pt 2 and the final part of LL Megatrons conversation with an aware G1 Starscream

this one wasn’t as dramatic as the first part but there’s only so much emotional vulnerability Screamer can do with his new free will heheh, thanks for all of the comments encouraging me! I’ve never drawn longer comics like these before and it’s pretty fun so hopefully I can improve with the next comic I make!

[concord-and-cliches]

these dudes are awesome they have cool tattoos and everything !!! [id in alt!]

[pantherloid]

Kagamines vertically long ver.

[the-shifting-long]

one fascinating thing about the Princesses is how often they echo the mindset that motivates the Shifting Mound.

Shifty/Felina is someone who is convinced that she is what she is, that the totality of her being is something that cannot be changed or denied. There is no compromise, in part because there is nothing to compromise-she simply is, you simply are, and this is how things are.

Communicating with her using words pre and post awakening is difficult-words are difficult for her. They never quite weave into what she wishes to say. She often resorts to flowery metaphors, unable to use imprecise and unnuanced language to say the things she wants to say. When frustrated by the player or by this issue of communication, she often falls back on how there is no constant, there is no center, everything exists in relation to everything it isn't and vice versa, "nothing" is a concept that exists because there's "something", and how can we even begin to talk about the inherently contradictory, multifaceted aspects of our existence when language cannot account for it?

Precisely because she dislikes words, and feels she has to fall back on metaphor for them to have any meaning, she values action more than anything-more specifically, she values conflicts. She values the ins and outs, the victories and defeats, things ending and breaking only to be reborn. This also ties into the Shifting Mound as a force of entropy, change, and death-she is what she is, viewing death and fear and pain and change as necessary parts of the world, and what's needed to improve yourself.

She loves it so much, loves the player so much, finds it so romantic, that she often refers to it as a dance. Conflict as music. Something beautiful and timeless to be adored and made over and over and over again in a billion different styles across a billion different times and places.

This is all basic Shifting Mound analysis, and it's important for establishing a baseline of Who She Is (without getting into what her Heart versions say, and why there's incongruence there-that's a different post! we can definitely go deeper) Because...every single one of her vessels reflects one or more of these aspects of Felina.

The Damsel line is all about TSM's connection and adoration of the player, how she loves the player even at their very worst and comes up with the most loving poems for the most horrifying things. Even when killed, she decides to return the favor with a smile and with your hand in hers. Damsel's deconstruction refers to the end of the world as "unleashing unceasing entropy upon all creation", Happily Ever After wants nothing more than to leave and dance, and even wears TSM's crown and takes similar poses to the dance Felina has with the player in the Leave ending.

Prisoner is once again about the failure of words, being able to communicate without them, or find hidden meanings. So much of Cage involves both Princess and Voices having literal understandings of the situation, and twisting it for their own ends, along with the natural fall into conflict-and that conflict being beautiful. Drowned Grey is beyond words, instead letting her own corpse's appearance and blank stare speak for her. She's also got this idea of destruction as something necessary-she's perfectly fine, even happy, being nothing but a head and losing her body completely. When that doesn't work, the cabin breaks down on its own, and its destruction is unambiguously a good thing.

Razor's a blatantly more meta route where you manifest a knife for your enemy to kill you with. Razor in both forms is about going through an endless stream of trials until you are about to embrace godhood, either being pushed into another very romantic conflict-the ebb and flow-or rising about it to break her against yourself. It's a beautiful parallel to Shifty herself, this unstoppable force that will never change, and where the relationship only changes because you're able to rise against it.

The Nightmare is about how she simply is what she is, and she can't change that. Fear and death and horror are necessary things to keep the world running. Noteably, Nightmare doesn't want to end the world so much as "hold it in her hands and squeeze." Nightmare doesn't see bringing death and destruction and most importantly, fear as an ending, but a new beginning, and an inevitable part of her nature, just like her fully-awakened self.

Spectre is one of the routes that plays a lot with perception-you think she's dead, so she is, and in Princess and the Dragon, she is both dead and alive until the metaphorical box is opened by an outside observer, schrodinger's cat style. Like the Shifting Mound, she personally chooses to see the best in the player until proven otherwise, and even then, is inclined to embrace violence as a natural part of their relationship if pushed down Wraith or the Stenciled version of Princess and the Dragon. Shifty, Damsel, and Spectre want nothing more than to be with you.

And Tower wants nothing more than to be with you, too...as a goddess while you sit by her side as a pet, or at best, a priest. The Tower princesses are arguably the ones that get closest to godhood, to being what the Shifting Mound and therefore all of the Princesses are. They're held back by their inability to treat the player as an equal, and there's definitely an argument to made for Felina's own arrogance and assumption that she can never be wrong, so you must concede to her. Tower and Apotheosis in particular are delighted by the player's acts of resistance, much in the same way the Shifting Mound gets excited when you're able to successfully resist her. In terms of personality, I'd argue this line shares TSM's general attitude and behavior the most.*

*Tower-Fury is different from the rest of her line in a lot of ways, such as actively disliking the player's resistance, but keeps the divine arrogance even when she believes it's been denied to her, and is genuinely upset it has been much in the same way a certain pre-awakened someone doesn't take kindly to the Oblivion paths.

The Adversary line, similarly to Tower and Razor, once more involves that core belief of conflict between the two of you specifically leading to greater and greater heights. If the Tower reflects TSM's overall attitude, Advy is a reflection of what TSM tries to get at with metaphor-Adversary in all of her forms finds no use in words, only purpose in action, but will still literally cry from joy if this action is compared to a song written in blood. Both Eye of the Needle and Advy-Fury share this trait, with Advy-Fury deriding words as things that "aren't music. They aren't dance. They aren't feeling." TSM shuts down arguments that nitpick her language much in the same way the Adversaries are uninterested in language period, while also using the same language Of song and dance and music. And, while ambiguous, you could say the Leave ending, the endless joy of being with TSM as the world dies and is reborn over and over, presents a similar dynamic to the end of Adversary, where the two of you fight each other over and over with such fervent passion death itself no longer sits on your shoulders...

Stranger's so meta and so obviously a mini-Shifty, it almost feels like a waste to talk about how she's Shifty. A billion realities colliding into one, parts of them dead, parts that don't fit...even pre-awakened TSM says she's in the shape of her, but is unable to hold everything she is.

Witch brings our favorite dance metaphor back right alongside stories about love, change, and growth. While the Witch herself is a wretched little thing, in her own words, she contains so much potential to become something beyond that. Witch, Nightmare, and Razor are all some of the more playful sides of TSM. I feel like things get really interesting in Witch's chapter 3s, ESPECIALLY the Wild.

That's one where you and the princess are literally merged together, right where she believes you belong, and are so, so close to getting everything she wants before the nature of the construct and TSM kick in and the walls close. I can't do a playthrough where I intend to leave with TSM without getting the Networked Wild as a vessel-it just feels that important to Felina as a character, to see what her pre-awakened self describes as a literal shadow of herself, a much more vulnerable version, and for her to be right there...while Tower/Apo feels closest in terms of godhood and attitude, and Stranger feels closet in terms of what she physically is and experiences, Wild feels as though she's the most similar to TSM's inner heart and feelings, right down to the buried parts of herself that still want to get violent.

And then there's Beast/Den. You've probably heard this one from Nightmare and Razor before, get ready to here it from the lion's mouth this time: I am what I am, fledgling. There is no reasoning with that. Adversary says she's beyond words while still happy to use them-that's more than fine, TSM loves poetry despite (or perhaps because?) of her frustrations with language. Den literally gets to the point where she's beyond words. This is a princess who doesn't care for the pretenses that she's a normal, human, mortal being anymore, a princess who embraces everything she is and wants, and who will always be happy to show you exactly what she means...through biting you biting you biting you biting you biting you saving you from a collapsing tunnel biting you <3 Once more we see that repeating motif of merging with the princess, being one with her. Once more we see how badly the Shifting Mound wants to be with us, by any means possible, through the lens of her vessels.

Anyways I think it's really neat how these Princesses are all full-fledged and deep, nuanced characters in and of itself while still contributing to the gestalt of another woman who is made of all of them, and helping to inform her characterization as much as their own. It's like Slay the Princess is insanely well-written and good or something.

[waywardlampcookieturkey]

I'm on chapter 290 and I canNOT get over how funny it is that Cale is double crossing(triple crossing???) the fucking Empire. Even more so when it wasN'T EVEN FUCKING NECESSARY!!!!

To recap, Cale is secretly aiding the Whipper Kingdom against their war with the Empire so when they lose, he (in representation of the Roan Kingdom) can swoop in and help the remaining Empire rebuild into something less corrupt. EXCEPT that the Empire contacted the Roan Kingdom and said 'can Cale.... (who had won three battles at this point, btw) come help us... 👉👈 pretty please' so now Cale is wondering what he's gonna do bc if he refuses to help now it's gonna be sus later when he wants to help

THEN Alberu (crown prince of Roan Kingdom) swoops in and says 'no worries, I dealt with it. I showed him that video of you almost dying and told him you're recovering so you can't come, ur welcome <3' so it's all good, right?

WRONG!!!!

Cale said 'nah, I'm gonna go help. then when we activate pt2 of my plan in which we rebuild the empire, it's gonna be even easier for them to trust me, let's go'

SO NOW!!! HE'S GONNA BE FIGHTING IN TWO OPPOSITE SITES OF A WAR!!! AT THE SAME TIME!!!! LIKE A MADMAN!!!!

[feartoxinjelloshot]

clipsverse SWAP AU! for fun! character elaboration under the cut because it gets kind of wordy:

selina's deal is pretty straightforward: she has the typical “saw parents die as a child" backstory, but she’s obviously not a millionare so she’s operating out of some kind of condemned underground parking lot... somewhere. authentic gotham grunge i guess. she’s a functioning alcoholic and i am obsessed with her. she's a hardboiled detective like batman, but tends to be a bit more cynical - sort of like if rorschach from watchmen was a normal person and also didn't hate sex. firefly is her "guy in the chair" similar to what alfred is to batman in canon, minus the surrogate parent part, obviously. public opinion is pretty split on if the bat is a man or a woman under there. i don't really have swap ideas for the robins ironed out, but i'm thinking that cass and stephanie are her robin and red hood equivalents (cass being dick, stephanie being jason). cass would have an allblack bird theme going on, so she might be "crow" or "blackbird" instead of robin. dunno what stephanie's red hood rendition is like. purple hood? i'll figure it out eventually.

bruce’s parents are alive, but he has a terrible relationship with them and with his own wealth so he mitigates the guilt complex by dressing up as a cat to steal and redistribute resources to people who actually need it. he could probably do that in daylight but there is something very wrong with him. i don't think his dumb slutty playboy persona is entirely genuine even without his parents' deaths, but he does lean into it more and incorporate parts of it into his vigilante persona over time. i think this version of bruce is just generally very lonely under the surface. he tries to be normal in his daytime life and he's very bad at it - theft aside, in a certain sense being the cat(man? woman?) is his own break for freedom; he felt a need to plunge himself far into the deep end of what normal society calls a 'freak'. ...writing it out like this, we're probably lucky he didn't start killing people. fortunately batman isn't really that kind of guy in any universe.

meanwhile on the other side of the rails: ivy! her deal is slightly unformed right now due to the fact that the hatter and the joker also swap places in this au - so the hatter is a dangerous, evil mastermind intent on controlling gotham to suit their whims, and the joker is... just a harmless silly little guy. yeah. i don't have swap-hatter's exact personality ironed out yet, so detailing his and ivy's dynamic would be difficult, but i can say that while she is his loyal second-in-command at his table of advisors, she is also plotting against him. ivy is a consistent loner in both mainline cv and here, and while she doesn't have the same tumultuous, antagonistic, emotional relationship with him as harley does with the joker, she is also frankly not interested in being his number one until the end of time. she wants to do it herself and she wants to do it right. this is an ivy who, in lieu of her own world-altering gift, is scraping tooth and nail to successfully supersede the most powerful entity she can get her hands on. the hatter is blissfully unaware of this - we can't all be perfect.

harley, for her part, is very tame in comparison. she mirrors ivy's canonical backstory pretty closely: an esteemed scientist studying stem cell relations who was denied funding, mocked, and forced to experiment on herself to prove a point, unwittingly connecting herself to a worldwide hive-mind of plantlife. this version of harley, while still dressed as a scientist, is far more surface-level emotionally volatile than mainline ivy, more impulsive and irrational, and probably willing to lean much farther into the classic poison ivy reputation as a villainous seductress, to varying degrees of honesty and success. it takes ivy an incredible degree of patience and control to maintain the mental and physical balance she strikes with the green, and this version of harley has far less of both. she lets it use her body as a conduit of earthly rage and she lets the poison infect her skin and organs until mottled and decaying. she's not unhappy, but she's not exactly stable, either.

jonathan is a mysterious, faux-sleazy lounge singer who lost his left arm to a snake bite infection as a child and thereafter became obsessed with the symbolism of the balance of life via games, tricks and questions - winning and losing, birth and death, etc. the ouroboros is a common symbol in his theatrics. he possesses a certain degree of social confidence that the mainline jonathan has never quite been capable of - while he doesn't have the same fervent need for attention as edward, he takes a compulsory delight in the mental influence he achieves on small crowds and will employ many avenues to get ahold of it. he's certainly not outgoing: he keeps almost entirely to himself offstage, uninterested in fame outside of his show persona. unlike mainline jonathan who views the scarecrow as a genuine self-inflicted diety, this jon sees his persona as more of a mantle or responsibility that he must take on in order to discover new truths about the world. like his canon counterpart he is asexual and uninterested in sex, but i imagine that he has less qualms about leading people on as an act to get what he wants from them. he's not terribly famous in his singing career, but he's become a bit of an underground legend for his resolute 1920s-inspired style and occasional genuine debonair charm.

edward in comparison is not nearly as ritualistically compelled as mainline scarecrow, but he’s far less cagey about his own machinations and his mental relationship to them: he lives in a tricked-out barn somewhere on the far outskirts of gotham, and he spends his time as a propmaster creating elaborate saw-trap-esque haunted houses and escape rooms to invoke panic in his “guests”. he wanders the halls of his own houses along with the guests, repairing and tinkering, or just scaring the shit out of them. he also makes a genuine living by making and selling cosplay props and other related objects online; he's developed a bit of an internet presence through this channel, though he's not as fixated on it as the mainline riddler would be. he still craves spectacle and attention, but he's more of a "quality over quantity" guy according to his own standards and is rarely happy with the work he creates, hence the endless roundabout of creation and reinvention.

[simplelobster]

IT'S FMABRUARY

Day 8: Homunculus

Now I only decided to participate on the 4th so i had to rush, both to make the pattern, and get the actual stitching and custom hoop done in time.

I really enjoyed it tho and will be doing a few more prompts in cross stitch for the month :)

I'm going to be sharing the pattern I made below the cut if anyone wants to make it as well.

DMC 666

14ct AIDA black

Double thread for crosses, single thread for back stitch.

I made this with a 4 inch hoop in mind so it is rather small (only about 2 1/2 inches both ways), should only take a hour or two depending on skill level.

I would like to say it's beginner friendly, those 3/4 are put in cause I like doing them, and can easily just be treated as regular stitches instead.

If anyone does make this pattern plz tag me! I would love to see :)

[carebearbutmakeitscarcasm]

Dick greyson is so interesting to me cause of the way Dick Greyson had to end/stop for robin to be born. Like he ended the long line of flying Greysons (the performers/performances) and birthed the line of robins. He was literally a performer. I mean he still is, in a way. But there used to be hundreds who came to watch the flying greysons perform, and now he has to stay in the shadows. Dont get me wrong, he still performs as robin/nightwing, in a way, but that HAS to happen in the shadows.

Its also interesting to me that the discowing suit is fully a performer outfit but the current nightwing suit is more bat-esque/meant to help him not be seen

[candycryptids]

"So what- (munch) -did the Warriors of Light do then?!"

"They took off in a Sharlayan ship of incredible size and might, powered by the Primals they had once bested, piloted by Hydaelyns last creations, for the ends of the universe, to confront the Endsinger in her very lair! They would not rest until the Fate of Etheirys was set in their favor..."

"And they won!?"

"We wouldn't be sitting here talking if they hadn't, would we?"

Silly edit under the cut cos I thought these were fuckin meat skewers- (they're mushrooms)

Also, as for why Meatball and Canonball are still baby sized here even though the dialogue implies EW, when they should be definitely grown-size by previous implications....? I wanted them to be running around playing in the fore/back grounds and having a full sized beefalo and a big ol dog running around was kinda distracting. So dw about it. Also, Tangy knows this story, but she likes to hear Lev tell it :)

[bokudara5777]

im a bit too embarrassed to post these on my ig story for some reason, so ill post it here for now;;

[qwainte]

How can we fix the vampire spawn dilemma?

The biggest problem with the vampire spawn dilemma presented to you in Act 3 after you stop Astarion from ascending is that there is seemingly no downside to freeing the 7000 feral spawn into the world. We get a passing mention in Sebastian's epilogue letter of the spawn feeding on everything that moves once they reach the Underdark, but that's it. Despite Astarion's concerns, the spawn never endanger the people of Baldur's Gate and one could easily assume that they stuck to the wilds of the Underdark, feeding on animals and monsters.

So, how could we fix this without launching a whole spawn invasion side plot on top of the impending doom of the Absolute's army?

The solution is Cazador's staff: Woe.

Woe has the ability to control any vampire bound to the ritual without the need for compulsion (we witness this when Caz uses the staff to move Astarion to his ritual spot). After Cazador is killed, Astarion should be presented with a new option to give the feral spawn their freedom but with a cost. His siblings could use Woe to directly control the spawn and safely lead them into the Underdark so they can build a society of their own without endangering the people of Baldur's Gate. However, this would take away the feral spawn's autonomy once again, and would rely on you to trust that the main spawn aren't going to abuse Woe's power.

Every one of these spawn were victims of Astarion or his siblings, so they have motivation to use Woe to their advantage to ensure their safety. Even after all 7000 spawn learned to control their hunger there would still be a risk that Dalyria or any of the others will refuse to break the staff. They're vampires after all. They aren't nearly as predisposed to evil as true vampires, but all vampires are driven by selfish ambition; that's a big part of their curse.

[annihilatius]

This guy because the time for my yearly Nexomon fanart is due 🤯

Alt version under cut (the difference between them is the lineart color)

[kishimotomasashi]

Alright, Uchiha Clan oppression longpost

This is the unavoidable, and often central, topic people tend to surround their Naruto politics takes on, and is as a result a big, ugly discourse-generator. It's also a subject I'm definitely always thinking about when it comes to Naruto as a noted Sasuke stan, and my thoughts on it have changed gradually over the years. I'm making this post to share what my current interpretation on "how and why the Uchiha Clan were oppressed" is.

Before I do that though, notice on what this post is not:

I'm not writing a "discourse ender", a take meant to be spread around with the claim of being the only correct interpretation of events. This is a post I wrote to share the exact way I rotate an aspect of the manga in my mind, and to convince people that looking at it from this angle is interesting. Basically: it's not that serious, I think about this because it's fun.

This isn't a "character-bashing" post or whatever either, so like if you agree with what you read here, I suppose I can't stop you from using those infamous "anti-[X]" tags, it's just that making a post that warrants them has never been my intention.

Along with that, I do want to address the by now very well established fact that Naruto the series is Not Very Good, and has glaring inconsistencies in its writing. The Uchiha Clan drama is definitely not exempt from this, and in its case the failures in Kishimoto's writing usually show in inconsistent power-scaling, in which we're made to accept weird leaps in logic (how does a 13 year old get rid of what we're told is one of the most powerful and feared clans internationally?) That being said, those particular inconsistencies are kind of irrelevant to this particular post, and don't much change the fact that the Uchiha Clan Massacre did happen. I'll be taking it as a given that if you're reading this, you're accepting to suspend your disbelief of those events on a technical level, and are more interested in how I make sense of it all more on the in-universe social/political level.

With that settled, we can get to the important part now:

The most popular take (as far as I've personally seen) on the events that led to the Uchiha Clan's downfall is the one that takes Madara at his word: the Senju have been oppressing the Uchiha since Konoha's conception, and Tobirama becoming the 2nd Hokage gave him the opportunity to put the Uchiha in a more socially disadvantaged position (police force), gradually earning them the villagers' ire, which was the catalyst for their eventual genocide.

This interpretation works if the end goal of your analysis is to say "Tobirama really fucking sucks". I don't think this conclusion is an unreasonable one, since Tobirama's hostility towards the Uchiha is great enough that he can callously tell a 16 year old genocide survivor that if his clan "self-destructed for the sake of the village, so be it". However, to me, the circumstances surrounding the Uchiha Clan are much wider-encompassing and more fascinating than narrowing their fate to a single man in fan meta written to convince you to hate him, so it goes without saying that I don't think "this is all Tobirama's fault" is a very interesting lens to look at this from.

I also don't buy the argument that making the Uchiha cops was (originally) to their detriment. We'll get back to that in a bit. I suppose this depends on how you look at Tobirama's character, but I think that when he said he made the police force as a sign of trust and to give the clan something useful to do in Konoha, he was being genuine. Arguing the opposite requires you to either believe that a law enforcement order could ever be in an oppressed position by default, or that Tobirama created a fundamentally useless new institution because he just hated the Uchiha that much. I think the former is a weird thing to argue if you're trying to be Leftist about all this, and the latter is a very ungenerous interpretation of Tobirama's character in which his own "racism"/pettiness overshadows his more utilitarian instincts to ensure that the village his brother built was safe and functioning. Obviously you could interpret that, but that leads us back to the "everything is Tobirama's fault" take, that I already mentioned I find lame as hell.

So then, how do I think the Uchiha Clan was oppressed? Because I think they indisputably were, or I wouldn't be making this post. Well, I think it was less "The Senju/Tobirama have always wanted to lord over them and wanted them dead", and more: they became gradually more socially disadvantaged during the era of Hidden Villages, with the consecutive world wars creating a souring global opinion on kekkei genkai clans.

(I'm gonna base my arguments primarily on what we see happen in the manga, and I'll add in some information from the fanbooks/databooks that weren't contradicted by what we see happen in Kishimoto's canon)

Let's start with what we know, definitely, that canon tells us:

Kekkei genkai clans are discriminated against to a very high extent, leading to things such as their mass slaughter (eg, the Uchiha Clan obviously, but also kekkei genkai clans like Haku's clan in the Land of Mist), and a vulnerability which puts them in positions where they're likelier to be targeted and kidnapped (eg, Hinata, but also Orochimaru having a whole criminal entreprise built on kidnapping and experimenting on people possessing kekkei genkai).

The trend for their discrimination is in being scapegoated. When Haku talks about the genocides in the Land of Mist (I refuse to call it the Land of Water sorry it sounds so stupid), this is how he describes them:

(chapter 59)

basically, it's not shinobi as a whole who are badly seen even though all sorts of them were likely participating in those wars: it's kekkei genkai clans in particular. Compare this to the Uchiha Clan being blamed for the Nine Tails attack (I mean one of them certainly was responsible, but was entirely unaffiliated with the rest of the clan) and being roped off to the edge of the village as a result.

Kekkei genkai clans are also frequently described by characters as being a bit "wilder" and more violent than usual shinobi. Tobirama calling the Uchiha "cursed", Kushina describing the Uzumaki as being "a bit savage", and Kakashi introducing us to the concept of kekkei genkai initially with these fun visuals:

(chapter 25)

The thing that's interesting about all this is the context in which it exists: the shinobi villages aren't technically "nations", but I think it would be accurate to liken their possessiveness of their secrets and paranoia regarding outside intrusion + conception of themselves as unified cultural entities + incredibly harsh treatment of dissidents (becoming a rogue is essentially a death sentence) to nationalism. There's an intense "in-group vs out-group" feeling here.

Not to mention that canonically that shinobi have always been tools of imperialism for greater powers. While Hashirama's initial dream was to put an end to that, it eventually became corrupted; there was already discontent regarding land and resource allocations during his tenure as Hokage, and while we have no idea why the 1st War started, we know that by the time we're on the 2nd one, Konoha had become a tool for the Land of Fire's imperialist expansion (and was apparently was expanding its influence as a military village, too).

(chapter 436)

Basically, the "in-group vs out-group" conception that had once solely been clan-centric widened, and became this new concept of shinobi villages.

This is important because nationalistic sentiment inevitably rises during war; as a result, there'd be a sharper eye for who'd turn traitor, who wasn't supporting the military effort, who would endanger their nation/village, etc. With this, there would be greater suspicion directed towards kekkei genkai clans, because they're more "genetically predisposed" to being unpredictable, because they would appear more loyal to their own than to the whole of the village, because they were the likeliest to turn traitor, and so on.

This would be a gradual process going on since the 1st War, but I believe that the 2nd War was where this kickstarted into becoming so much worse, because that one saw the destruction of Uzushio. It was a village composed entirely of a single clan, didn't bend to any of the big 5, and the Uzumaki were "savage" and had abilities that were greatly feared. It would be interesting to consider the idea that their associations with Konoha would have done them more harm than good here, too, given that Konoha was the Big Bad in the 2nd War and an alliance with them would not have been viewed positively.

It's thinking about all this in context, where nationalism was at its peak, where there's an idea that genetic chakra abilities impair swathes of people from being regular functioning shinobi like everyone else, is how we can imagine the Uchiha were discriminated against. They had another disadvantage to them as well, given that one of the first deadly attacks committed on Konoha was done by one of them. If we want to go back to the police force argument, it would be interesting to consider the idea that while it had been a good position for them at first, the utility and influence of the institution gradually eroded over time, and by the time the era where the massacre happened came along it became nearly meaningless since most of its original functions had been assigned elsewhere; as the kekkei genkai clan discrimination rose, the Uchiha also fell victim to it and their influence within the village significantly reduced out of fear of them.

The surveillance and the sequestering of the Uchiha Clan came after two important events; the first being the 3rd Great Shinobi War, and the second being the Nine Tails' attack on Konoha which happened barely a year post-armistice. Konoha was barely recovering from global armed conflict when half of it was destroyed in that attack; tensions are high, the Hokage is dead, and so the village saw an incredibly convenient scapegoat in the Uchiha clan.

So... yeah, that's how I see it! I find this a more fun interpretation than just pointing fingers at individual characters, because it allows me to consider the wider worldbuilding of the Naruto world, and also doesn't assume the Uchiha's position was especially unique and the end-be-all of all the problems with Naruto's politics. It's certainly important, but it's part of a greater network of problems too!

[herebecritters]

First of all, let me start by saying, Geshtu is absolutely, completely, and irrevocably insane.

Of the three, he is the least sane. Now this isn’t me saying “HAHA HES COOKOO HAHA WOW WHAT A MANIAC” No it’s not like that at all. You see, the thing about Geshtu is that he doesn’t seem “insane” at all, in fact, compared to Nergal and Dumuzi he comes across as perfectly put together.

The thing about Geshtu is that he is completely convinced by his own delusions. And he has convinced himself so fully of these delusions that he has not only sold them to himself but also to others. The voices he hears, to him, are completely real. He believes so wholeheartedly that he is a vessel for Theias voice that he puts on this complete and divine demeanor. He seems more sane than the others because he carries himself that way.

Dumuzi knows she has problems and she hides from them. Nergal definitely knows he has some screws loose but he embraces it. Geshtu, meanwhile, instead of pushing down his insanity like Dumuzi or embracing it like Nergal, he strides side by side with his.

Now let’s go back to the late Cretaceous where Geshtu grew up. Small groups of family camps were common throughout the Mesozoic, even moreso than villages such as where Cro, Dumuzi, and Nergal were raised. These groups would travel to trade with other family camps, exchanging information, intermingling, ect. But afterwards they’d return to their own family burrow to live their lives. They were foragers and hunters. Geshtus family in particular specialized in fishing and insect hunting.

Geshtu was still Geshtu. He was always a little more quiet and methodical than his other siblings, traits he’s kept with him.

So I’ve mentioned on the backstory posts before how most mammals during the Mesozoic lived nocturnally for their own safety. The large reptilian predators at the time were mostly diurnal so there was less risk of being ripped apart and eaten at night. But there are always exceptions.

One night, as the family was waking to begin their evening routines, there was a scratching above the burrow. And then the ceiling fell through.

A pack of stenonychosaurus, a species of Troodontid, had dug their way into the burrow. They had been invaded. The Stenonychosaurus pack flooded into the burrow and made short work of maiming and devouring the entire family.

Geshtu got hurt, not horribly but enough to cause him to fall and become temporarily disoriented. He would be next if he did not find a place to hide. As he frantically looked around, he noticed a beam of moonlight breaking through the torn overhead of his families burrow. The light washed over a bundle of rocks and debris that had fallen from the ceiling and there was a small gap between them. Small enough for him to fit.

While the troodons were preoccupied with their current meals, Geshtu managed to crawl over to the small opening and discreetly push himself inside it undetected. And he hid there, unable to do anything but watch and wait as his family was torn apart in front of him.

Eventually the troodons finished feeding, were filled, and left. Not much was left behind, save for a few bodies still intact. Geshtu cautiously creeped out of his hiding spot after the coast was clear and went to check on what bodies he could, hoping to find survivors. He found one body that seemed fairly intact, he dragged it out of the pile of death and tried to lift it up into a sitting position. It fell back over with a heavy thud. Blood was everywhere, his tail dragged in it, it coated his hands. No one but him was left alive among the wreckage.

Realizing the hopelessness of his endeavor he backed up against the burrow wall. He covered his eyes with his hands, hoping that by not being able to see the wreckage anymore, it would disappear. Maybe when he removed his hands it would have turned out to all be a nightmare. But when he did, everything was still as it had been.

The moonlight shone down on him from the burrows exit. Its guidance had saved him from the slaughter, so he decided to follow it again. He limped out of the burrow into the open night and made his way to the family creek that sat just outside to wash the blood off his hands. It was then that he caught his reflection in the water. The blood from his hands had marked his face and he could see it now. And, reflected above his head in the water, he saw the moon. Full and bright and comforting. He took this as a sign that the moon had marked him, and he was reborn under it. So he ceased washing it away, stood up, stared at the moon, and began to follow it.

And so Geshtu walked. And walked. And walked. Staring up at the moon the entire time. He needed to understand. He needed to know why this happened and why it had saved him. He walked for a long time. And when the moon dipped below the atmosphere and the sun rose, he’d slink into whatever shelter he could find to rest. But when the moon arose again, he’d come out, and continue his pilgrimage, always staring directly at the moon, resulting in him moonblinking himself.

The more he walked, the more the pain faded. He grew more at peace the longer he walked and stared. Like the moon herself was taking away all the hurt for him. His circumstance began to feel less like a tragedy and more like fate. Eventually, he could hear her singing. First just a light humming, but eventually he began to hear words along with it. Crisp and clear and ringing throughout him. She spoke her name, Theia.

He walked for a very long time. Probably a few years. Just him and the moon. He traveled far, restaining his markings whenever he had the opportunity. He was born in blood and would be forever stained by it. On his journey, he’d occasionally run into passerby’s and other burrows, but these meetings were short and fleeting.

One night though, the moon led him into a small village. And when Geshtu entered, he knew he heard Theia say, “Here.”

At first the villagers were unsure of him but helping other mammals traveling through was not unheard of for him. And Geshtu looked rough. He was a strange foreign vagabond with even stranger markings. But he showed them no hostility and they took him in and fed him. He was quiet but otherwise was grateful and polite.

Eventually he started murmuring prophesies to the people there. Little ones like “theia says the ridge to the west has the best seed gatherings” or “Theia warns not to go near the badlands on this night, there’s something malicious there…” and, by complete chance, almost all of these ended up true.

So now people were convinced that he really could hear the moon speaking to him and that the Theia was their friend. She was looking out for the little creatures of the night, who lived hiding in fear of the monsters of the daylight. And so Geshtu became trusted as the Villages Shaman, sent by Theia herself. He was the one people went to for divine advice

And that’s how he found his place there. He was convinced that his family HAD to die for this greater purpose. It was all supposed to happen. He was meant to come here and he was meant to save these people. The voices guide him to protect these creatures of the night, he is simply an agent of Theia. He believes wholeheartedly in everything Theia tells him. And…they say if you believe something hard enough the energy can manifest itself into reality. And so they eventually would. He, Dumuzi, and Nergal would eventually will themselves into godhood and bring forth a horror unlike any other.

[darksigns-exe]

Band stays the same = they suck they always do the same thing

Band evolves and does something new = new sound sucks, why doesn’t this sound like their old music