#'very smart' thoughts

[traumaticenby]

No, you don't understand. I'm rn for real in another galaxy. I feel so peaceful. I don't feel that pain. These all traumatic events are feeling right now that they didn't even happened with me. I feel like I can do anything in my life. I wasn't drinking for so long and I forgot how it is. It is so fine. No, it's not some propaganda to tell you all that you should drink, I'm just sharing my feelings from it, because seriously-- why someone didn't tell me that something like this can work and you can feel so peaceful????

[bixels]

Just gonna have to wait and see, right? Just wait and see! Just gotta wait and see! Who knows, we'll just have to wait and see! It's anybody's guess, we'll just have to wait and see! The future is exciting, we just gotta wait and see!

[wifelinkmtg]

TUMBLR POST EDITOR WON'T LET ME TITLE THIS POST ANYMORE SO I GUESS THIS IS THE TITLE NOW. WEBBED SITE INNIT

So let's say you grew up in the nineties and that The Lion King was an important movie to you. Let's say that the character of Scar - snarling, ambitious, condescending, effeminate Scar - stirred feelings in you which you had no words for as a child. And then let's say, many years later, you're talking about it with a college friend, and you say something like, "oh man, I think Scar was some sort of gay awakening for me," and she fixes you with this level stare and says, "Scar was a fascist. What's the matter with you?"

The immediate feeling is not unlike missing a step: hang on, what's happening, what did I miss? You knew there were goose-stepping hyenas in "Be Prepared," but you didn't think it mattered that much. He's the bad guy, after all, and the movie's just pointing it out. Your friend says it's more than that: the visuals of the song are directly referencing the Nuremberg rallies. They're practically an homage to Riefenstahl. This was your sexual awakening? Is this why you're so into peaked caps and leather, then? Subliminal nazi kink, perhaps?

And then one of your other friends cuts in. "Hold up," he says, "let's think about what Scar actually did in the movie. He organized a group of racialized outcasts and led them against a predatory monarchy. Why are you so keen to defend their hereditary rule? Scar's the good guy here." The conversation immediately descends into a verbal slap fight about who the real bad guy is, whether Scar's regime was actually responsible for the ecological devastation of the Pride Lands, whether the hyenas actually count as "racialized" because James Earl Jones voiced Mufasa after all. Your Catholic friend starts saying some strange and frankly concerning shit about Natural Law. Someone brings The Lion King 2 into it. You leave the conversation feeling a little bit lost and a little bit anxious. What were we even talking about?

INTRODUCING: THE DITCH

There is a way of reading texts which I'm afraid is pervasive, which has as its most classical expression the smug obsession with trivia and minutiae you find in a certain vein of comic book fan. "Who was the first Green Lantern? What was his weakness? Do you even know the Green Lantern Oath?" It eschews the subjective in favor of definitively knowable fact. You can't argue with this guy that, say, Alan Scott shouldn't really count as the first Green Lantern because his whole deal is so radically different from the Hal Jordan/John Stewart/Guy Gardner Corps-era Lanterns, because this guy will simply say "but he's called Green Lantern. Says so right on the cover. Checkmate." This approach to reading a text is fundamentally 1) emotionally detached (there's a reason the joke goes, oh you like X band? name three of their songs - and not, which of their songs means the most to you? which of them came into your life at exactly the right moment to tell you exactly what you needed to hear just then?) and 2) defensive. It's a stance that is designed not to lose arguments. It says so right on the cover. Checkmate.

And then you get the guys who are like "well obviously Bruce Wayne could do far more as a billionaire to solve societal problems by using his tremendous wealth to address systemic issues instead of dressing up as a bat and punching mental patients in the head," and these guys have half a point but they're basically in the same ditch butting heads with the "well, actually" guys, and can we not simply extricate ourselves from the ditch entirely?

So, okay, let's return to our initial example. Scar is portrayed using Nazi iconography - the goose-stepping, the monumentality, the Nuremberg Lichtdom. He is also flamboyant and effete. He unifies and leads a group of downtrodden exiles to overthrow an absolute monarch. He's also a self-serving despot on whose rule Heaven Itself turns its back. You can't reconcile these things from within the ditch - or if you can, the attempt is likely to be ad-hoc supposition and duct tape.

Instead, let's ask ourselves what perspective The Lion King is coming from. What does it say is true about the world? What are its precepts, its axioms?

There is a natural hierarchical order to the world. This is just and righteous and the way of things, and attempts to overthrow this order will be punished severely by the world itself.

Fascism is what happens when evil men attempt to usurp this natural order with the aid of a group or groups of people who refuse to accept their place in the order.

There exists an alternative to defending and adhering to one's place in the natural order - it consists only of selfish spineless apathy.

Manliness is an essential quality of a just ruler. Unmanliness renders a person unfit for rule, and often resentful and dangerous as well.

And isn't that interesting, laid out like that? It renders the entire argument about the movie irrelevant (except for whatever your Catholic friend was on about, since his understanding of the world seems to line up with the above precepts weirdly well.) It's meaningless to argue about whether Scar was a secret hero or a fascist, when the movie doesn't understand fascism and has a damn-near alien view of what good and evil are.

There's always gonna be someone who, having read this far, wants to reply, "so, what? The Lion King is a bad movie and the people who made it were homophobes and also American monarchists, somehow? And anyone who likes it is also some sort of gay-bashing crypto-authoritarian?" To which I have to reply, man, c'mon, get out of the ditch. You're no good to anyone in there. Take my hand. I'm going to pull on three. One... two...

SO PHYREXIA [PAUSE FOR APPLAUSE, GROANS]

We're talking about everyone's favorite ichor-drooling surgery monsters again because there was a bit in my ~*~seminal~*~ essay Transformation, Horror, Eros, Phyrexia which seemed to give a number of readers quite a bit of trouble: namely, the idea that while Phyrexia is textually fascist, their aesthetic is incompatible with real-world fascism, and further, that this aesthetic incompatibility in some way outweighs the ways in which they act like a fascist nation in terms of how we think of them. I'll take responsibility here: I don't think that point is at all clear or well-argued in that essay. What I was trying to articulate was that the text of Magic: the Gathering very much wants Phyrexia to be supremely evil and dangerous fascists, because that makes for effective antagonists, but in the process of constructing that, it's accidentally encoded a whole bunch of fascinating presuppositions that end up working at cross-purposes with its apparent aim. That's... not that much clearer, is it? Hmm. Why don't I just show you what I mean?

Atraxa, Grand Unifier (art by Marta Nael)

In "Beneath Eyes Unblinking," one of the March of the Machine stories by K. Arsenault Rivera, there's a fascinating and I think revealing passage in which Atraxa (big-deal Phyrexianized angel and Elesh Norn's lieutenant) has a run-in with an art museum in New Capenna. The first thing I want to talk about is that, in this passage, Atraxa has no understanding of the concept of "beauty". A great deal of space in such a rushed storyline is devoted to her trying to puzzle out what beauty means and interrogating the minds of her recently-compleated Capennan aesthetes to try and understand it. In the end, she is unable to conceive of beauty except as "wrongness," as anathema.

So my first question is, why doesn't Atraxa have any idea of beauty? This is nonsense, right? We could point to a previous story, "A Garden of Flesh," by Lora Gray, in which Elesh Norn explicitly thinks in terms of beauty, but that's a little bit ditchbound, isn't it? The better argument is to simply look at Phyrexian bodies, at the Phyrexian landscape, all of which looks the way it does on purpose, all of which has been shaped in accordance with the very real aesthetic preferences of Phyrexians. How you could look at the Fair Basilica and not understand that Phyrexians most definitely have an idea of beauty, even if you personally disagree with it, is baffling. This is a lot like the canonical assertion that Phyrexians lack souls, which is both contradicted elsewhere in canon and essentially meaningless, given Magic's unwillingness or inability to articulate what a soul is in its setting, and as with this, it seems the goal is simply to dehumanize Phyrexians, to render them alien, even at the cost of incoherence or internal contradiction.

Atraxa's progress through the museum is fascinating. It evokes the 1937 Nazi exhibit on "degenerate art" in Munich, but not at all cleanly. The first exhibit, which is of representational art, she angrily destroys for being too individualistic (a point of dissonance with the European fascist movements of the 20th century, which formed in direct antagonism to communism.) The second exhibit, filled with abstract paintings and sculptures, she destroys even more angrily for having no conceivable use (this is much more in line with the Nazi idea of "degenerate art", so well done there.) The third exhibit is filled with war trophies and reconstructions from a failed Phyrexian invasion of Capenna many years prior, which she is angriest of all with (and fair enough, I suppose.) But then, after she's done completely trashing the place, she spots a number of angel statues on the cathedral across the plaza, and she goes apeshit. In a fugue of white-hot rage, she pulverizes the angel heads, and here is where I have to ask my second question:

Why angels? If you are trying to invoke fascist attitudes toward art, big statues of angels are precisely the wrong thing for your fascist analogues to hate. Fascists love monumental, heroic representations of superhuman perfection. It's practically their whole aesthetic deal. I understand that we're foreshadowing the imminent defeat of Phyrexia at the hands of legions of angels and a multiversal proliferation of angel juice, but that just leads to the exact same question: why angels? To the best of my knowledge, the Phyrexian weakness to New Capennan angel juice is something invented for this storyline. They have, after all, been happily compleating angels since 1997. We could talk about the in-universe justification for why Halo specifically is so potent, but I don't remember what that justification is, and also don't care. Let's not jump back in the ditch, please. The point is, someone decided that this time, Phyrexia would be defeated by an angelic host, and what does that mean? What is the text trying to say? What are its precepts and axioms?

Let me ask you a question: how many physically disabled angels are there in Magic: the Gathering? How about transsexual angels? How many angels are there, on all of the cards that have ever been printed for Magic: the Gathering, that are even just a bit ugly? Do you get it yet? Or do you need me to spell it out for you?

SPELLING IT OUT FOR YOU

There is a kind of body which is bad. It is bad because it has been significantly altered from its natural state, and it is bad because it is repellent to our aesthetic sensibilities.

The bad kind of body is contagious. It spreads through contact. Sometimes people we love are infected, and then they become the bad kind of body too.

There is a kind of body which is good. It is good because it is pleasing to our aesthetic sensibilities, and it is good because it is unaltered from its (super)natural state.

A happy ending is when all the good bodies destroy or drive into hiding all of the bad bodies. A happy ending is when the bad bodies of the people we love are forcibly returned to being the good kind of body.

Do you get it now?

ENDNOTES

It's worth noting that the ditch is very similar to the white American Evangelical hermeneutics of "the Bible says it. I believe it. That settles it," the defensive chapter-and-verse-or-it-didn't-happen approach to reading a text, what Fred Clark of slacktivist calls "concordance-ism". I don't think that's accidental. We stand underneath centuries of people reading the Bible very poorly - how could that not affect how we read things today? We are participants in history whether we like it or not.

I sincerely hope I haven't come across as condescending in this essay. Close reading is legitimately difficult! They teach college courses on this stuff! And while it is frustrating to have my close readings interrogated by people who... aren't doing that, like. I do get it. I find myself back in the ditch all the time. This stuff is hard. It is also, sorry, crucial if you intend to say something about a text that's worth saying.

I also hope I've communicated clearly here. Magic story is sufficiently incoherent that trying to develop a thesis about it often feels like trying to nail jello to the wall. If anyone has questions, please ask them! And thank you for reading. Next time, we'll probably do the new Eldraine set.

[somewhereincairparavel]

Jason's approach to Nico is actually SO tactful and empathetic. He is super emotionally and strategically intellectual + he is canonically an expert at reading body language because of lupa + he also observes people a lot, so I'm not surprised.

He called Nico out and told him to stop hiding in the shadows and pushing people away, but simultaneously reassured him that he was willing to be nicos friend. He gave nico a blunt reality check on what he's doing, but wasn't rude about it.

He never told anyone nicos secret, not even his girlfriend, and was very patient with him even after he lashed out. And after their friendship evolved, he was STILL very tactful and sought consent before he hugged Nico. He never forced or guilt tripped nico into staying at camp, and respected his decision if he wanted to leave but told him he'd always be welcome in both camps.

He also went to Nico's cabin simply to check on how he was doing and reassure him that he'd always be there for him no matter what (kind of like how he went to piper's room on the argo ii to check on how she was doing even though HE was the one who got stabbed by a sword like 5 mins ago lol-)

And that little scene where Jason got excited after nico said he's staying and just overflowed nico with plans on what they could do (like sing in campfires) but immediately apologized for overwhelming nico so much , while assuring him that they didn't have to do all that if nico didn't want to, and that he's just glad nico was staying.

Ugh jason grace the man you are

[the-golden-weapons]

I’d like to think Jay and Nya are very funny because they are both mechanics, but in entirely opposite ways:

Nya has all her tools in proper order. In her workshop, there is never any scrap part going unused. Any notes and blueprints since the ripe age of 12 have been carefully stored and saved, no matter how much she cringes when looking back on them. The Samurai X designs and revisions have their own file cabinet as well as digital backups. Her measurements are double and triple checked, even though she probably had it right the first time. Every choice she makes is calculated and buffed out, from the interlocking gears to the paint job. She prides on her work on being practical and aesthetic, thank you very much.

Jay, meanwhile, is the definition of fuck around and find out. Blueprints? Who needs em, anyways? The only thing vaguely resembling “notes” in his work area are scrap pieces of paper with the most round-about mathematics ever (complete with indecipherable short-hand and a stick figure drawing of Jay holding a blowtorch, naturally.) He will change up plans on the fly and casually stick his hands in very sharp moving parts like there is no tomorrow. Safety equipment? He grew up in a junkyard. He had a wrench in his hand before he could walk. Yeah, no, he’s pretty sure he’s fine, thanks.

[littlekingbergara]

im loving reading everyones puppet history theories and theyre great theyre lovely theories and predictions but. you guys keep saying you think ryan is going to get hurt. have you considered this would make me very sad ???

[goatsandgangsters]

succession has always been genre-defying and convention breaking, but killing the main character 15 minutes into only the 3rd episode of the season throws all television convention out the window

which is not only a bold choice, but it’s what makes the episode so effective. almost everyone watching has said they experienced a prolonged disbelief. there’s no way. no way. and it’s not just the denial that comes with loss and death, but denial because this isn’t when you kill a character, this isn’t how you kill a character. it flies in the face of everything we know about storytelling convention. we don’t believe it. is tom joking. is logan manipulating them. where’s the body, we need to see the body. is he going to make a miraculous recovery at the end of the episode? 

and like the denial and the slow-dawning horror of realization that the kids are experiencing, we the audience experience it too. not as spectators, but as participants. because we had the rug pulled out from our Audience Expectations, just as the kids had the rug pulled out from them by The Random Suddenness of Tragedy. 

if this had been the cliffhanger at the end of an episode or a season finale—the times when you’re Allowed to kill a main character—we would have only been spectators. but by tipping storytelling convention on its head and breaking all the rules, they brought us along on that same journey of denial and disbelief. the same impossibility of it. the same confused “wait, like this?” 

it took logan’s death outside the bounds of storytelling and the safety of well-known plot beats. instead, it made us sit with the uncertainty and denial and confusion and raw grief of the random mundanity of death. 

[rincewinds-hat]

I got a bad grade in math (i still passed, so im happy about that lol) and i was feeling bad about that - mostly because i used to be awesome at math.

Then i was like 'Rincewind is a terrible wizard, but he's still a wizard' so maybe it's okay to not be the greatest at something, because at least you're doing it.

I may not be Van Gogh, but at least im actually creating something.

Maybe im not Pterry, but at least im writing.

And you know what? That's okay. That's enough for me

[parachutingkitten]

*clears throat*

The reason everyone likes Kai this season is that he is both very wise, and incredibly dumb. If you don't have both of those, you don't have Kai.

[rekikiri]

how did andrew think dressing neil up for Eden’s would do anything but make his crush worse?

[lastofthe20thcenturygirls]

(ln8 spoilers) jinshi thinking except for my godly looks i am just average and then his smartass goes and kills around five birds with just one brand. someone whose status is so high that even his name can't be said by anyone except the emperor jinshi branded himself with the crest of the empress vowing loyalty to her assuring her he doesn't wants to take the place of her son. one-upping his "bro" with this who refuses to let him leave the line of succession wouldn't let him become a commoner doesn't wants to let him become a servant to the royal family. only slaves get branded and if this ever got out there will be chaos in the court. gyokuyou tho considers jinshi like a brother and he did swear loyalty to her but if she ever tried to cross his family her clan's brand on his body would be enough to prove her as an adultress which would be bad for her and her clan.

and jinshi did this in front of these two people and maomao so now she is the only one who can see him naked and the emperor cannot order him to marry anyone which was something that was definitely gonna happen had he not done what he did. as a bonus he gets to spend more time with maomao after a long time and he did all this while saying the exact words: empress gyokuyou, your enemy i shall never be in front of maomao reassuring her because she once muttered i don't want to be an enemy to empress gyokuyou and he had heard her but before he could tell her that he had no intention of doing that either he couldn't because of the lishu incident. one of the major reasons maomao hadn't accepted her own feelings for jinshi one of the obstacles he promised to remove for her. even though he doesn't even know that maomao's concerns about her becoming gyokuyou's enemy had to do with his birth secret his true status. that no matter what he is the rightful successor. something jinshi himself isn't even aware of and yet without knowing that he did this to deal with it all in a single way most preferable to him: masochism

[blurrycow]

would gerry beating up leitner be considered a keaysmash

[starrysharks]

i am the cattt just chillin outt but in the night she's all i think aboutttt

[pyxehastoomanyinterests]

thinking of the damsel route where the princess turns into an anime girl. thinking about how the mere act of questioning her autonomy made her lose it. because viewing her as brainless made her so. because our perceptions shape who she is, and by not believing her simple want we are not believing her existence as an original person. thinking about how she's a person until we decide she's not being "person enough"

[queenerdloser]

i just finished dark heir

[dumb-doll-lips]

Maybe controversial, but on posts about being dumb where girls are like saying ‘but I’m actually smart.’ Like tbh, I don’t really believe them. Like if you’re smart why does feeling dumb feel so good or hot or whatever to you then? I kinda feel like it’s having an excuse to let go of trying as much as you would be when you’re saying your smart. If you’re like really actually smart, I don’t feel like a break from ‘being smart’ would be such a relief or like as appealing.