#Comparison Examples

[valtsv]

thinking about how tsv touches on the role that religious institutions of power play in colonial violence with the concept of battle saints. the amount of real-world locations named after saints denoting their historical subjugation under (western) christian imperialism. the grotesque irony of using brutalised and exploited bodies to erase the history of places built on brutalised and exploited bodies. there was never a town here.

[ooliecat]

pn1 raz is like ugly on purpose but cute on accident and pn2 looks like it tries to be cuter but is ugly on accident

[corseque]

I honestly just wanted one single plot step that I could not predict given the 10 year wait. More behind the cut, I talk about Emet too, and I'm comparing his writing favorably to Solas' writing and why it worked better for me personally, but I am just talking about the writing skill that went into the games and not the dudes themselves, I love them both dearly of course. idk this is a mess and I am not going to edit it for clarity

For me, the game was a series of me saying

"ok I knew that. cool."

"oh yeah, I knew that. I guess it's good that the larger fandom knows about that now."

"nice, but yeah I already knew that too"

"that was something we've been talking about a lot for years"

"this thing they are acting like is a huge enormous reveal that the characters could not possibly have deduced through simply thinking about it in depth over the 10 years... the fans easily figured out by thinking about it in depth 10 years ago. So you would think his girlfriend would be able to figure it out more easily than we did. Like, why couldn't the game have been like 'oh lavellan already figured that out a while ago' it would have cost them nothing"

"this is something I've been thinking about for years, and now that it's being revealed, the companions' reactions to it are very irritating and jarring and unnecessary and I really dislike the experience I'm having right now, in this, the hour of my greatest triumph"

"this thing that is happening on my screen right now is something that I wrote an essay about 2 years ago describing how it would be a letdown if it happened without the correct setup"

"this way that they're characterizing Solas makes him less likable and less interesting than I have been finding him for all these years, and I have had people tell me 'no, he's simpler than you think' for years but I guess I was wrong, he really is simpler than I thought, so that fucking sucks. I wish I could take that information out of my brain."

"this thing is a retcon of information I have been thinking about for 10 years, and so I don't know how to follow along with this new direction, and I'm not sure if I even want to because it's not particularly interesting anyway"

"aw that was sweet"

"why is it like, so very impossible to have an honest back-and-forth with my favorite character about the dilemma that was most interesting to me about the previous game"

and then, as soon as, like, the other fans had caught up to the Solas lore that was really obvious from the other games, the game was.... over without anything surprising happening, or introducing a new element or plot point or perspective, or a real true twist (or two, or three) for those of us who have thought about it too hard for too long. It was very simple and easy, much, much, much, much easier than I was imagining. It all felt sort of like that Nicholson quote:

The thing was, the whole story was so interesting to think about because in 10 years, I couldn't figure out a good solution to it!!!!! It's why I was never able to write post-game fanfic about it. So I was stoked to find out some reveal we never knew about, some new information, in maybe a SERIES of steps of new information, that made the situation more complicated but also something that could be navigated by everyone involved. I know it was asking for a lot, but they had TEN YEARS, and they seemingly had set up the things they did in DAI on purpose, so surely they had some idea of a complex and satisfying narrative that would reconcile everyone.

The reason why I was expecting this is because FFXIV did a very similar story arc, which was started AND concluded WITHIN those 10 years (so it took the FFXIV team far less time to deliver as well). And the conclusion to the story in FFXIV did what I was expecting Dragon Age to do. So I thought, "holy shit, if this is the FFXIV version of this plot, how much more complicated is DA4 going to be!?!?" The DA devs also PLAYED FFXIV so they were completely aware, several years ago, of a satisfying story ending that was pretty darn similar.

People are probably going to think "oh, well Chelsea was disappointed because she spent too much time building it up in her head" but that's exactly it - I actually speculated and thought about FFXIV's story IN DEPTH NONSTOP for a year+ before its ending came out, and the ending absolutely blew me away. FFXIV Endwalker managed to introduce information and new story elements that I was not able to figure out in the YEAR I spent speculating on the ending of FFXIV's story. It took a complicated situation and revealed several several more facets to it that I was not able to predict, but were very interesting and thematically compelling, and took us all to surprising and climactic places that we could not have predicted.

Endwalker ("end" is in the title on purpose) too, was written to be THE ULTIMATE SATISFYING ENDING for a very long-running story in the exactly way that Veilguard SHOULD HAVE for Dragon Age, so while this complexity is being explored, FFXIV also gave catharsis to many different plot threads that have been built up through the previous expansions, until finally it ends with a bang. The story is desperately good to me, I loved it, it gave me closure for Dragon Age long before Veilguard was even revealed, and going back and looking at its story has made this whole thing far less painful for me.

So, I actually did not have a picture in my mind for how things SHOULD go. I just had the thought "I hope it's complicated and there are points of view or facts that we haven't before been exposed to, and the situation is resolved respectfully for Solas, not making him look like a fucking idiot (lol, the only thing I asked for). I don't even care what happens to Solas and Lavellan, I just need the story to be complicated and interesting to think about. Please, god, don't let it be "solas is wrong and he just needs to be convinced" because that's like the simplest story you could tell with this setup"

(btw they managed to tell Emet-Selch's story without making him seem like he's being an idiot on purpose or can never get anything right, and in fact the more the story goes on, the more you think of him as smart and capable and cool, so it is possible to write.... I wasn't asking for the entire moon)

And I played it and... yeah. Most of the story beats were more simple than I wanted them to be, a lot of them didn't make sense in my heart given the writing from Inquisition. (This is another essay, but if Solas' thematic story arc was always about him needing to let go of regrets, why was his personal quest the way it was? After that quest, doesn't he end up regretting not doing more....? Why did he never really talk about regret during Inquisition? If he was so trapped by regret, why was he able to do so many actions? It doesn't mesh well to me. The whole regret thing was very quarter-baked to me, I don't even like thinking about it.) His story never seemed like one that was as simple as being about one man's regrets, but then, I guess, it was always just about one man's regrets.

Emet-Selch's personal storyline (and the way it interacts with and affects the larger story) is very similar but much more cohesive and satisfying to me. It would be difficult to explain why without the aforementioned 5-hour essay. Emet-Selch's story IS about grief and anguish on a world-shaping scale in a similar way that Solas' was apparently always about letting go of regret, but Emet's story was also very pointedly and beautifully about that one theme for the entirety of his story from every tiny detail, from beginning to end - meanwhile, it seemed to me that they tried to introduce 'regret' as the main thrust of Solas' story only in the short story with the Regret demon onward.

From Inquisition just by itself, the closest I personally could get to a story theme for Solas was his inability to trust others hurting him and the world, but his trusting others in DA4 wasn't really addressed to my satisfaction. He is never required to trust anyone before the ending, he never opens up or makes himself vulnerable at all. People find out information about him, he never really dynamically opens himself. So the personal story I thought he had was never addressed at all, while a new one about regret was introduced that never made a ton of sense to me. And I don't think this is just because of my expectations - my reaction to FFXIV proves that I am able to meet good writing where it goes in surprising directions, as long as it's interesting and thoughtful and clear.

And I think this might be part of what people felt was off about the ending - Solas is sort of uninvolved in the revelations that are about him, and doesn't do much to be part of his own ending. Part of what I loved about Solas in Inquisition is that he is not controlled by you in any way, and so he feels like his own person with a very strong sense of character.

Anyway, Emet-Selch, in a very comparable and arguably more extreme plot position, is very involved in the revelations about himself, he always feels like a very strong character who cannot be affected by the player, and the whole situation is handled with deft emotion and care and delicacy. The story is comparatively very uninterested in litigating Emet-Selch or putting him on trial - the story allows you to simply feel the way that you feel in an organic way, and Emet's story spends that energy instead actually exploring his thematic material about grief and legacy, and the larger story theme of existentialism instead, in a way that is very refreshing and interesting. I've seen a lot of western stories tie themselves in knots over "redemption" and frankly it's almost never been interesting at all. Who cares about any of that. lol

(Now, I guess this is a matter of preference, because some people really like being able to shape a character's story, but idk I rewatched the ending of FFXIV and even though there wasn't a choice with Emet, because it isn't a branching story, his story felt more satisfying to me, maybe because there isn't a patronizing choice to be made for him. He is who he is, and he fulfills a very beautiful narrative role and purpose that no other character could in the story.)

I don't know how this could have been improved to me and still allowed players to choose Solas' ending for him, but I can actually think of a few different methods, none of which involve Rook condescendingly and patronizingly lecturing Solas as if Solas had never thought about a single aspect of this horrible situation he's in before that very moment that Rook lectures him lmfao.

All this to say... idk I'm writing this and I am not going back to edit it so it's stream-of-consciousness. But yeah

I just wanted the story to be complicated on a few more levels than I could have predicted. I genuinely don't care what happened, but I thought of a few twists like the Veil coming down and yeah, I was expecting A Single Twist or reveal to happen. In a Dragon Age game.

I wanted Solas to seem cool and capable and noble and smart, and actually feel like he was as old and experienced as he is.

I wanted a clear theme I could sink my teeth into

Like notice I didn't even say anything about Solavellan. Like I never in 100 years thought they were getting a happy ending where they were both alive in bodies, and I like that we got that, but I would honestly trade it for a more complicated story. To me, if a story is sad you can always write fanfic, but if a story isn't COMPLICATED, that's a much more urgent issue.

These 3 things DA4 didn't give me in a way that satisfied me but FFXIV did. anyway idk the way my hyperfixations work, I completely switch to a new subject so talking about Dragon Age is actually hard for me right now.

[wanderingmausoleum]

the opening lines of the shadow of the erdtree trailer remind me a LOT of a certain quote from another game:

and with this in mind, i really hope that the direction they go with miquella is less like the manipulative griffith-esque archetype some people are theorizing, and more like N’s characterization in pokemon black and white: someone very intelligent and powerful but naïve, whose honest attempts at creating a better world might bring about more destruction in the end.

[ducktracy]

i hate how my particular investment in LT/these characters/history in general will have me sounding like some sort of "retvrn" bozo. or, maybe i just hate that saying "i wish things were more sincere again and that sometimes things that were older were in fact better" has been................... idek how to finish this thought Guys i'm getting overly emotional about LT kiddie records from the '50s. i'm getting emotional about how merchandising for these characters has sucked for the last 45+ years. i do not mean to sound like some sort of obnoxious "old stuff had SOUL to it new stuff is BAD we must RETURN" bozo. but guys. look at this

the appeal.. the whimsy

WHERE DID WE GO WRONG!!!!!!!!!

i legitimately get upset if i think about this for too long. what are we doing man

[nattikay]

OC lineup! All the characters that currently exist in this "story"

[theo-grayson]

the avm fandom feels massive and tiny at the same time. alan has double the number of youtube subscribers and total video views as, like, jaidenanimations, but i feel like if i put 30 people in a room and asked which youtuber theyve heard of, people would know jaiden but nobody would know what avm is. i looked up "alan becker wallpaper" on google images, scrolled once with my mouse, and saw art made by my ex 3 years ago that got like 200 likes on instagram

[borgialucrezia]

BORGIA: FAITH & FEAR 3.14 "1507"

[hood-ex]

how exactly would you describe the relationship between dick and damian, everyone's opinion on this is a little different and I'm curious about yours

Partners. Mentor/Mentee. Friends. Brothers. (All descriptors they've canonically used.) And all the secret inner feelings associated with the Nightwing Must Die story.

[bastardofharrenhal]

i think the ppl who need to justify the agegaps in their ships r so boring... oh brienne is 19 jaime is 34 catelyn is 33🤮 theyre soo predatory like girl who gaf brienne got her face chewed off jaime is abt to be danganronpa style executed and catelyn died and came back to life as a freaky mute zombie i think there r bigger things to worry abt than whether or not the age gap is gross

[halfbaked00q]

in love w @cicerfics's "give Bond a government(Q)-assigned therapy dog - I mean obv you are providing the dog with therapy not the other way around-" so I decided to look up some common breeds of bomb dogs in the UK cuz all I know is GSD but I wanted options, and one of the results is a springer spaniel. and yea okay, okay, I can get behind this!

Excellent dog and I love that it's, like. a smaller-ish medium size dog, like smaller than a GSD. like yes the idea of Bond walking w a GSD or malinois or sth along those lines would be in line with the bad boy macho superspy image. But! Imagine him instead walking around with a lil dude like this!!!! lol:

What extra sold me on this is was an excellent example I found in Buster, who was a Royal Air Force Police Arms and Explosives Search Dog & said to have served more tours than any other military dog. Here are pics of him:

What an excellent lil dude.

And also!! Plus !!!! look what ALSO came up when I searched springer spaniel!!! :

Wiltshire Police 'Digi-dogs' trained to sniff out technology

They're trained to sniff out hard drives, USB sticks, and SIM cards, are they? 👀 well well well sounds very topical

Maybe this can be the Tasks that Bond decides to take on w his retired buddy to like, give 'em further enrichment.

Actually wait, no this should be something Q brings up to Bond. Maybe Bond is grumbling like couldn't Q haven't gotten him a more dignified breed like a GSD or malinois or something, and Q is like nonsense, English springer spaniels make excellent sniffer dogs, they've even been trained up to sniff out tech, there was this article on it on the BBC etc. and Bond is like hm,. well if he's gonna be stuck w this Creature then he might as well put 'em to work and see if he can, in fact, teach an old dog new tricks - simultaneously giving 'em a new lease on life and also fulfilling some of that Drive to Work need that working dogs, even retired ones have, but in a way where the dog can get more Tasks in everyday life.

(Q did in fact do this on purpose to seed the idea in Bond's head but make him think it was his own idea - so that he would be more receptive to it and also so he would throw himself into this task with his fiendish laser-focused determination).

Anyway lol. Here's how my "Q telling Bond 'I'm so proud of the progress he - I mean the dog - is making'" idea which yes I am In Love With and determined to make Happen, can still win--

[a-scary-lack-of-common-sense]

I struck with such despair every time a movie with STUNNING visuals and design are paired with the most abhorrently egregious script and plot. How could they do this to us.

[the-way-astray]

is shannon messenger hiding LEFTIST ANTI-GUN PROPAGANDA in her CHILDREN'S series for KIDS???? UNACCEPTABLE!!!! be a TRUE PATRIOT and STOP the WOKE LIBERALS from trying to TAKE AWAY our SECOND AMENDMENT RIGHTS today. 'MURICA!!!! RAH RAH CUH CAWWWW!!!!!!!!!!!!!!!! #cancelshannonmessenger

[marley-manson]

Hawkeye and Frank are the two most diametrically opposed characters on Mash. They clash politically, ideologically, emotionally, intellectually, and even physically on more than one occasion. There is virtually nothing they agree on. But they do have one significant similarity: both Hawkeye and Frank are notably, pointedly effeminate.

Hawkeye is the central protagonist, so he's written to be likeable, even admirable, especially in the first five seasons of the show when satire dominated rather than character drama. He's the character who makes the correct political points and voices the show's ideology, and male audience members are encouraged to identify with him and aspire to be like him. He's witty, he's smart, he's charismatic, he dodges consequences a lot, he's highly skilled in his work, and he has a strong personality and natural leadership qualities.

Frank is the main antagonist up until the end of season five. He's written for audiences to hate him, mock him, and occasionally be horrified by him. He's dull-witted, incompetent, awkward, easily led and manipulated, and always gets his comeuppance. Few audience members are likely to aspire to be more like Frank Burns.

And yet, while most likeable protagonist/detestable antagonist duos in American popular media would also be differentiated in terms of gender performance as a matter of course - the effeminate villain being a standard stock character, always set against a ruggedly masculine hero - Mash takes a different approach.

From his core personality as a sniveling, weak-willed follower, to the way other characters, including Hawkeye, routinely make fun of him by comparing him to a woman or insinuating that he's gay, Frank Burns certainly fits the part of weak, emasculated villain. What's more interesting, and much less commonly seen in Hollywood media, is that Hawkeye is portrayed as just as unmanly, and just as, if not more prone to having it pointed out in the show.

Often Hawkeye's jokes at Frank's expense include the implication that Hawkeye is attracted to him himself, and not necessarily as "the man." He jokes, "Guess it's a marriage, Frank. I know I can do better, but at my age, can I wait?" in Hawkeye, Get Your Gun; he switches from calling Frank one of his vampire brides to taking the feminine part in post-coital pillow talk after siphoning his blood in Germ Warfare; he kisses or tells Frank to kiss him in Major Fred C. Dobbs, For the Good of the Outfit, and Bulletin Board, etc.

Other times, the jokes Hawkeye makes about himself are virtually identical to the jokes made at Frank's expense - their respective attractions to Margaret as a potentially dominant sexual partner, eg, with both Frank and Hawkeye portrayed as eagerly submissive. For instance, in 5 O'Clock Charlie Hawkeye jokes about tying Frank to Margaret's tent, then dismisses the thought with, "He'd probably love it. I know I would." And Hawkeye/Trapper and Frank/Margaret are sometimes paralleled as dual couples, Hawkeye and Frank usually being framed as the more feminine partner in each.

And of course, unconnected to Frank, there are many, many more examples of Hawkeye's effeminacy, both in jokes and in personality traits.

Hawkeye is a self-professed coward who is loud and proud about how terrified he is to be stuck in a war zone. He's emotionally open and highly empathetic, always willing to listen to others' problems and discuss (or scream about) his own. He abhors institutional violence and faces every enemy combatant with his hands firmly in the air. When authority is thrust upon him he strives to relinquish it, and uses it as little as possible.

More shallowly, he has little interest in sports and exercise, derides masculine hobby magazines like Field and Stream and Popular Mechanics, is incapable of performing mechanical tasks to the exasperation of others at least four times (Comrades in Arms which explicitly frames this emasculating, In Love and War, Patent 4077, and Hey, Look Me Over), mocks traditional masculinity in many ways, and enjoys musical theatre and Hollywood gossip. And he makes and takes literally hundreds of jokes about being unmanly and having sex with men himself, many more than he makes at Frank's expense.

But while the jokes are at Frank's expense and meant to belittle him, they're rarely made at Hawkeye's expense, especially in the first five seasons. Hawkeye doesn't make the jokes out of self-deprecation, he makes them out of pride and a desire to differentiate himself from the army men he's surrounded by. He's almost always in on the jokes others make about him, rather than offended - Potter telling him to file a paternity suit against his rival in Hepatitis makes him laugh delightedly, and Trapper's remarks on his effeminacy, such as Miz Hawkeye in Hot Lips and Empty Arms, are sometimes lightly teasing but always a regular aspect of their dynamic that Hawkeye enjoys playing up. Frank doesn't make any jokes directly mocking Hawkeye's masculinity that I can recall, beyond vague "pervert" and "degenerate" remarks, which, while often historically homophobic, in the show's context tend to be treated as a reference to his heterosexual endeavours.

Frank's effeminacy is a point of mockery and derision, but Hawkeye's is a point of pride, and not intended to make him any less likeable to an audience. Antagonists don't get to score points off of Hawkeye by mocking his feminine traits, but Hawkeye makes fun of Frank regularly by mocking his feminine traits.

This difference in framing can partially be explained by the nature of their respective gender performances.

While Hawkeye and Frank are both effeminate, they're effeminate in many opposite ways. Frank is weak-willed while Hawkeye is strong-willed. Frank is unappealing to most women, while Hawkeye is something of a lady's man. Frank cannot face his fears to rise to a challenge, but Hawkeye can. But on the flipside, Frank refuses to admit to fear while Hawkeye openly proclaims it. Frank strives to attain authority while Hawkeye refuses it or takes it on only begrudgingly. Frank is obsessed with guns to a freudian extent while one of Hawkeye's most famous monologues of the show is a speech about refusing to carry one. Frank worships the concept of traditional masculinity even while he can't perform it himself, while Hawkeye mocks the concept and would refuse to perform it even if he could.

The Sniper is an excellent case study of these contrasts. In this episode, Hawkeye is effeminate and at ease with it, while Frank is desperate to prove himself masculine. Frank and Margaret flirt with strong Freudian overtones while Frank shoots a gun while nearby Hawkeye flirts with with a nurse with a line about "tasting" her. Hawkeye connects with the nurse he's wooing by relating to how scared she is and huddling in fear with her, while Margaret demands that Frank prove his masculinity by going out and taking down the sniper himself. Frank carries a gun while trying to approach the sniper, while Hawkeye carries a white flag. Frank tries to make fun of Hawkeye for wanting to surrender, but he can't bring himself to approach the sniper while Hawkeye does.

This contrast of gender performance is a consistent aspect of Hawkeye and Frank's dynamic throughout the show, but The Sniper makes it a central theme so it's a useful example to show how their relationships to masculinity are a deliberate aspect of their dynamic.

And while Hawkeye makes fun of Frank's femininity, it's significant that he also regularly makes fun of Frank's masculinity - his love of guns (eg The Sniper), his sexual affairs (eg the exchange about Frank as a "fantastic performer" in Yankee Doodle Doctor), his numerous attempts to exert authority (eg Welcome to Korea), his desire for socially approved success (eg Hot Lips and Empty Arms), etc.

Both masculine and feminine sides of Frank are comprised of negative character traits, while Hawkeye embodies the best of both - emotional expression and healthy ways of coping by talking about his feelings; bravery but not machismo; intelligence and skill as a doctor rather than an officer; empathy and a willingness to listen; sexual prowess but largely through his love of foreplay rather than his dick game (which, in the context of the early 70s, is a somewhat feminine attribute that distinguishes him from a typical traditionally masculine man); etc.

Hawkeye demonstrates some of the most appealing and healthy qualities of both masculinity and femininity while Frank demonstrates, or strives to demonstrate, the more toxic qualities of both. Through including a few positive masculine traits in the mix, the narrative is able to depict Hawkeye as likeable, admirable, and desirable in his effeminacy while Frank is depicted as loathesome in his. Hawkeye gets one of many, many women in The Sniper by showing vulnerability, while Frank only appeals to Margaret, and Margaret is portrayed as borderline pathological in her sexual attraction to violent masculinity (the scene where Frank excites her with his gun, for example, also includes an electra complex joke, and there's a running rape kink gag in this episode as well).

Another aspect to consider when it comes to differentiating Hawkeye and Frank's respective femininities is hypocrisy. Similar to how Frank and Margaret's affair is mocked because they can't admit to it while Hawkeye and Trapper's affairs are glorified, part of what makes Frank's effeminacy so mock-worthy, while Hawkeye's feminine qualities are a source of pride and rebellion, is that Frank refuses to admit to them.

Frank desperately wants to be the ideal heroic army man and often play-acts the part, poorly. When Hawkeye mocks him by calling him a woman, for example, he's drawing attention to Frank's failure to live up to his own ideals. And when Hawkeye calls himself a woman, he's mocking those same ideals. The message is that Frank is pathetic not so much for failing to be traditionally masculine, but for wanting to be traditionally masculine at all.

Ultimately the ways Hawkeye and Frank perform masculinity and femininity are pointedly in opposition, from which masc and fem traits they embody, to how proudly they embody them. The show itself draws attention to these gendered similarities and differences between Frank and Hawkeye through a constant barrage of jokes, and even whole scenes and episodes. In this way the show portrays Frank as a hypocritical loser who wants to be masculine but fails to embody all but the worst traits, and Hawkeye as a cool, admirable guy who disdains the traditional pillars of masculinity and embraces his own effeminacy.

[bdsmrist]

im high rn so u can ignore me but going insane over the fact that the harry that is nice to kids and likes them is *basically* the canon harry.

like harry wants to be nice to cuno despite how annoying he is, and makes a massive graffiti that says I LOVE YOU CUNO so he grows up knowing that someone out there (harry) loves him. not to mention if kim eats shit n dies, cuno comes w u and u advocate for him to become a junior officer.

also, his scene with annette is so precious; how he can tell that shes extra polite because shes guarded, and when he sees her nails, he doesnt scold her but rather sympathizes with her situation. AND stands up to her mom and calls her out for being a shitty parent (which most ppl irl never do).

and when he meets the anodic teens/young adults, hes so fucking desperate to be perceived as cool while simultaneously reassuring these kids that they are cool, and that their dreams and aspirations are valid and special. like these kids are *homeless*, but he uplifts them to the point where as a player u can easily forget the fact, because he doesnt treat them as such. he treats them like complex people, like fellow artists.

like can u imagine just how kind this man mustve been to his student as a coach. how many shy kids he befriended and got out of their shell. how many kids came out to him as queer (n he was cool w it). and how many kids he can-opened into telling him of the troubles back at home, and how he talked to them through the pain. like do u think he became a cop because a part of him hopped he could help these kids even more if he did?

i think its intended to understand harry as a complex man who holds immense amounts of resentment to the world around him, and has the potential to be one of the most detestable people ever. as a cop, and as an addict, hes seen both the worse of humanity, and seen the worse of himself. so hes meant to have one or two regrettable interactions w those around him.

BUT! he knows kids are never the problem. he understands more than anything that kids are just kids, they need to be protected, and be treated with patience, kindness, and respect. like yeah, u can punch cuno, but the game doesnt rly want u to. if u do, the skills, HARRY’s skills, tell u ur an asshole, and resent u for it.

so in short empath/gentle harry du bois is the best harry du bois. im not sorry abt it.

[atthecenterofeverything]

the problem with trying to come up with absurd over the top examples to explain how diagnoses work or break down general antipsychiatry concepts to people is that no matter what crazy convoluted out-there mode of mental and physical violence you will try to come up with it's 100% guaranteed it's been done before. over and over again it's like "imagine if they classified x as a disorder" they have. "imagine if they accused someone of y" they do. "imagine if you could be institutionalised and lose all autonomy just because of z" you can.