#I think just. adding a little more individuality in terms of things like faith could have helped the perception a little?

[joshuaalbert]

another thing I do wish had at least come up in ds9 while talking about the bajoran faith is the idea of just like. secular bajorans. I think the way they’re written that’s kind of ‘everyone just believes in the religion and that’s it’ is honestly a little flat? but I think there would be people who have a very complicated relationship with the prophets, who maybe didn’t believe in them before the events of the show and now maybe they have to but they think of them more as the wormhole aliens rather than gods, or just don’t believe (anymore, if they once did) that they should be worshipped because they allowed the events of the occupation to happen. but that wouldn’t mean entirely disengaging from the practices of religion as a community thing, or as comfort in times of need bc sometimes that sense of ritual can be a good one, who still wear the earring not so much as a sign of faith but just as a sign of being bajoran and being connected to their people.

idk not to sound like I’m overexplaining secular approaches to an ethnoreligion when that’s a lot of people’s lived experience but I’m just kind of thinking about what it would look like in this context, and I don’t know that it ever would have been a whole plotline but I think a mention could have been interesting. maybe something as small as rearranging duty schedules and it’s something that would interfere with religious services, but a couple specific bajorans are willing to take that because they’re not religious, and it’s a one line mention (which is the kind of thing ds9 often did well so it would feel natural), but it makes them a little less homogenous as a species.

[vamptastic]

I definitely agree about a lot of protests around the country feeling aimless/underplanned -- I think the reason the protests I've been involved in have felt more focused is that the college I go to has direct ties with defense contractors, so there's a specific and definable goal of ending recruitment partnerships instead of the kind of broad goal of just 'support palestine', which seems to be the (emotionally understandable but not particularly actionable) thrust of a lot of protests right now. I also get what you mean with regards to revolutionary 'aesthetics' taking precedence over practicality in a lot of discussions about what should be done, especially with regards to the goal of a ceasefire; I feel like rejecting practical short-term solutions in favor of a more revolutionary end goal that never comes is an unfortunately common phenomenon in leftist spaces in general.

I definitely misinterpreted what you meant in the original post, and the added explanation was very helpful -- thanks for taking the time to respond! I totally understand the assumption that my first ask was in bad faith due to the general state of discourse on this website + the fact that I didn't elaborate on what I was saying

first of all, sorry to make you wait on this response, and second, really glad we reached an understanding here and sorry again for jumping to conclusions about the intent of your first ask.

i would certainly like it if american universities severed their ties to the defense industry! on some level i do think if we were to convince x university that they should cut ties with the companies they feed students into, it would be better for that movement to be focused on the STEM students who actually end up taking those jobs though. on a practical level, a university is much more likely to stop accepting funding from say, lockheed martin if promising engineering students make it clear that they will refuse to enroll in schools that work with that company. perhaps the PR hit universities are taking right now will be enough but in my state at least i don't think most universities are concerned enough with maintaining their image as 'liberal institutions' as they are at making money, and imo there are more productive ways to cost a university money. i do think protesting against your school's military ties is a good idea and would like for it to succeed- i question if they will continue to uphold that longterm if cutting military connections is tied to a cause that is fundamentally temporary. (hopefully, in that hopefully the conflict will end soon and a longterm solution will begin to take shape). i guess best case scenario i would hope that this motivates people to look into the broader issue of the ties between universities (particularly engineering programs) and military contractors, and examine and start to solve that issue on a wider scale than the current conflict. i also just sort of think this may be something that can only end permanently if laws are passed to stop it because there will always be a motive for it (profit). in the short term, though, it seems straightforwardly obvious that weapons manufacturers receiving a financial blow could help to reduce the level of suffering in Gaza, so i do agree that it's a good thing to focus on for college protests.

i just wish that on a national level the antiZionist movement had its shit together a little more. like it makes sense that things are messy, there's a language barrier, many people have become justifiably passionate about Palestine without having a lot of background knowledge, leftists in general are horrible at working on achievable shortterm goals and longterm solutions at the same time and without viciously fighting about it. i'm far more annoyed with large organizations (cough JVP cough) behaving in unproductive ways than with individual people being a bit stupid about complicated political causes. genuinely glad that you seem to be working towards something both achievable and worthy. i really just hope everybody involved in antiZionist activism knows what they're actually working towards, why, and whether their methods are successful.

but overall it does seem like we agree on the important things. i think i'm also just more cynical about this because i grew up hearing a lot of batshit propaganda and misinformation about Israel and Gaza and am more on guard for it, and more familiar with antisemitic tropes and thus more likely to notice such rhetoric. idk if you're jewish or not but i kinda just think for better or for worse being jewish makes you more jaded about this by virtue of living your entire life aware of it and without seeing significant change. cause whether you're a zionist or antizionist i really don't think you're likely to feel there's been any significant victories in the past couple decades. certainly most of the older jews i talk to are not terribly optimistic about the current wave of attention going anywhere, and understandably tend to be concerned that this will increase hate crimes against us as literally any national news about us tends to do so.

[mainsfocus]

Circles in rectangle optimization w radius of 2

#CIRCLES IN RECTANGLE OPTIMIZATION W RADIUS OF 2 DRIVER#

> Integrated graphics device with 3 adapter port(s)

#CIRCLES IN RECTANGLE OPTIMIZATION W RADIUS OF 2 DRIVER#

Primary display: Intel(R) HD Graphics 4600 (Intel) Memory: 1GB, Driver date: 1-21-2020 (M-D-Y). Windows 1 SR0.0 or greater (Physical RAM: 31Gb) A visually acceptable amount of displacement that forgives loose connections, a little. I’m theorizing that if I build the entire structure like this (before cutting the ties and welding) that a certain amount of natural relaxation will occur. In addition to a plywood support structure, I’m locking each circle tangential with it’s neighbors using two 900lb steel ties. In the method I’m employing for construction, close-enough is maybe close enough. That is very interesting, even if it meant sacrificing material, I maybe should have tried for that instead. When you have a fairly isotropic mesh and optimize it for tangent circles, you get all different radii, but they do tend to be loosely clustered around 3 values The distribution of random sizes/positions is a problem on many fronts. The only problem there is I would need to somewhat control the distribution so all the special circles wouldn’t randomly congregate. That being said, I’ve considered adding more fixed (the missing 30 inch?) or dynamic radii ‘imaginary’ circles (as CNC cut plywood spacers to be removed after welding the structure, placed/removed where they wouldn’t effect surrounding integrity) or if I could get the budget increase, permanent 3/16 thick stainless steel disks to be welded to the rings. The other approach I’ve considered, that would require quite a bit more scripting but might make it possible to reduce the gap sizes more significantly would be a new version of the remeshing with radii that iteratively adjust based on the neighbours similarly to in the compact circle packings, but jumping between a given set of possible radii instead of varying them continuously. You’d need to combine this with adjusting the circle counts to get the right number to fill the surface well. This will probably naturally result in a bit of a gradient, with the smaller circles collecting near the base and the big ones rising to the top. Think of it a bit like vibrating concrete after pouring to reduce gaps and bubbles. One thing you could try that I think could be more effective than changing the random seed with Galapagos (which doesn’t really give any advantage over just brute force testing many values, because there’s no continuous variable being optimized) is to use the regular solver and jiggle the size multiplier by small amounts above/below 1.0. It looks like what you have here is already doing a pretty good job of this. I might get fired if this doesn’t work but I’ll post my results and findings nonetheless.Īs discussed before, a compact packing where all the gaps between the circles are 3 sided is only possible when you can adjust all the radii individually, so you’d require almost all unique circle sizes, which I guess rules it out in terms of manufacturing.įor a given set of radii I think the most we can hope for is to get all circles tangent to at least 3 others and most of the gaps with 4 sides or less, and reduce the size of these 4 sided gaps as much as we can. This is part of my thesis research but also a real world construction, I convinced my employer to take a leap of faith, our first stack of stainless steel rings just arrived. I understand Python a little better and am working on an angle there as well. I had some help turning 's C# script for keeping circles within edge boundaries into Python, it’s included here. I was wondering if anyone else has been down this particularly rabbit hole? Maybe a multi-objective solver instead of Galapagos? It getting a little closer I think, and doesn’t strain my laptop too badly but I feel like I haven’t taken this far enough, I should be adding more sliders or finding a better metric by which to measure good circle packing, especially in relation to ground contact. I used the combined length of all “bridges” as a minimization fitness for Galapagos, with the Populate seed for the slider.

[hrtiu]

Boba/Fennec prompt: Boba really likes Fennec's hair (or her fingers, or some other, very specific part of her body, whatever you like) and can't stop touching/admiring/playing with it, and she goes from confused that he cares so much about that part to irritated that he Won't Leave Her Alone to embarrassed that he's paying so much frakking attention to her ((to realizing she likes it)) to secretly being endeared by his cuteness. Bonus points if she blushes a lot because of all this and he likes that too ;)

Thanks for the prompt! I think I ended up with something probably a bit angstier than you were thinking, but hopefully you'll still enjoy it! AO3 link.

Every morning Fennec Shand sat down in front of her burnished chromium mirror and did her hair. She started with the main braid down the center of her head, then wove together three smaller braids to either side. Once she’d tied off each individual braid, she plaited all seven together into a dark, twisting tail that reached almost to her waist. Then she took a long string of orange-red fiber and threaded it between the braids at the top of her head, tying them down and securing her bangs as flat against her scalp as possible.

“Why do you always have your hair like that?” Boba asked one morning when she came down for breakfast in Old Jabba’s palace.

“I don’t know. Why is your hair always like that?” Fennec said, helping herself to a generous slice of bantha bacon.

Boba let out a gruff laugh and shook his head. “It must take forever.”

Fennec stabbed her bacon with unnecessary force. “I don’t do it when I’m on an assignment, and beyond that I don’t see that it’s any of your business.”

Boba didn’t say anything for a long moment, and Fennec wondered if maybe he was going to apologize. If he did she’d probably die of shock.

“Hmm,” he grunted, then returned his attention to his breakfast.

It was the reaction Fennec expected, but she found herself both relieved and annoyed. Shaking the contradictory emotions away, she finished her breakfast.

---

Living on Tatooine wasn’t all enforcing Boba’s will and collecting tribute. Boba was a benevolent warlord, and Fennec especially enjoyed being a part of his more generous impulses.

Most recently he’d bequeathed a chunk of his land to a tribe of Tuskens who’d cooperated well with him in the past. The Tuskens saw it as Boba returning the land to them, but regardless, they were going to be its permanent, uncontested tenants. Most of the Tusken Raiders Fennec had met seemed to enjoy their nomadic lifestyle, but this tribe was interested in putting down roots—so long as they could do it on their terms. As a show of good faith, Boba was donating three large moisture vaporators and a system for water storage to the village, and Fennec had been looking forward to the day of their installation for months.

Tribespeople clustered around the massive spires dug into the packed earth beneath the dunes, talking amongst themselves and asking questions to the mechanic who’d come up from Mos Eisley to install the thing. The poor translator Boba had dragged along was working doubletime to sort through the confusion.

Fennec stood next to Boba above the dug-out space, just a little outside of the cluster of activity. She wasn’t here to do much besides reinforce Boba’s involvement in the donation of the generators, but she was enjoying herself nonetheless. A small child whose face wrapping kept coming untucked approached the vaporator and turned the spigot, screeching in delight when clean water poured onto her outstretched hands. Fennec couldn’t help but smile.

A group of young Tusken women approached them, their hoods draped over their faces and ornamental collars jangling against their cloaks as they walked. They thanked Boba in sign language, and he signed back his appreciation with short, stilted hand motions. They giggled at his discomfort with their language, and Boba’s scarred face reddened.

“Great,” he grumbled to Fennec. “I knew that protocol droid wasn’t teaching me right.”

“Calm down,” Fennec said, resting a hand on Boba’s arm. “You’re doing fine. Just let them enjoy themselves.”

Boba frowned, but the gesture didn’t reach his eyes. He leaned into her touch, and Fennec felt light and warm.

The girls turned their attention to Fennec, and her contentment turned to unease. One of them pointed to Fennec’s braid and made a twisting motion with her hands, bringing her fingers together as her wrist turned. The other nodded in agreement, adding in a few giggles for good measure.

“Oh, um…” Fennec stuttered, unsure how to respond.

“They’re saying it’s pretty,” the translator from Mos Eisley said, hurrying up the steep hill towards them. “She says your hair is pretty.”

“Ah,” Fennec said. Heat rose in her cheeks, and her tongue felt thick in her mouth. Boba snorted and smirked at her, and she shot him a quick glare before smiling back at the girls. “Thank you, that’s very kind.”

The translator signed Fennec’s response back to them, and they nodded and made gestures of thanks to Boba and Fennec before retreating back to where their tribe clustered around the vaporators.

“So they’re allowed to talk about your hair, but I’m not?” Boba asked, folding his arms across his chest.

“Yes, that’s exactly right,” Fennec said, already heading for the steep slope that would take her down to the rest of the tribespeople. They’d be eating dinner soon, and it wouldn’t do for her and Boba to be late to the table.

“That doesn’t make sense.”

“It doesn’t need to make sense,” Fennec said. “It’s just what I want.”

Boba rolled his eyes but followed Fennec down the slope, his steps awkward and careful on the slippery sand.

“Always what you want,” she thought she heard him mutter under his breath, but that could have been the whisper of the winds against the sand.

---

“Shand! We’re going to be late!” Boba yelled at Fennec through the thick door of her room.

His booming voice startled her, and one of her fingers slipped before she was able to tie off the last of her individual braids. “Dammit,” she muttered. “I’m coming!”

“I’m not going to look weak in front of Kanjiklub because you couldn’t stop fiddling with your hair,” he said.

The corners of Fennec’s mouth turned downwards and she saw her own eyes flash in the mirror. “We’re not going to be late. Calm down.”

His boots thudded heavily against the floor as he paced back and forth in front of her door. Fennec’s frown morphed into a full-blown scowl and she made sure to take extra care to get her braid right, taking her time with each knot. Boba needed to learn patience, and he needed to learn that she wasn’t some massiff he could train to do his bidding.

She finished up the braid then moved on to weaving the orange thread around each cord, laser-focused on her task but unhurried in execution.

Boba’s fist pounded on the door once more. “If you don’t hurry it up I’m going to cut off that damned braid myself!”

Fennec froze. She pressed her lips together and stood from her chair, leaving her hair weaving half-finished. She stalked to her bed, pulling her boots and coat off as she did so, then fell into her thick, fluffy blankets.

“...Fen?” Boba asked through the door, though this time his voice was softer—almost chastened.

Fennec held her wrist comm up to her mouth and messaged Dilick Wa, the other bounty hunter Boba kept on retainer at the palace.

“Wa? You there?” she said.

“Yep. What’s up?”

“Meet Boba on the landing pad. You’ll be going with him to meet Kanjiklub tonight.”

“...But weren’t you going-?”

“Just do it.”

She shut off the coms.

---

Lights flickered by for every floor they sank underground, each beam illuminating the red-tan-and-white of Boba’s scarred features. Normally Fennec didn’t like being underground, but on Florrum she might be willing to make an exception. Relief from the unrelenting heat and sulfur-infused dust was worth the loss of adequate sniper perches, in her opinion.

“So,” Boba said. “Arawat Ragistar. Anything else you can you tell me about him?”

Fennec forced a shrug. “Like I said: he’s an assassin. He has plenty of other skills, too. He’s tricky and dangerous, but in general he’ll stick to his word if you pin him to specific commitments.”

Boba nodded slowly. “How is he as a business partner?”

“Wouldn’t know. I only knew him as an assassin.” A heavy pause filled the space between them, and several more floors passed in silence.

“He’s a real bastard,” Fennec said, and she wondered if it was some strange trick of the senses that made her voice sound several decades younger to her ears.

“I know you don’t like him, but we need good connections on Florrum.”

“I know.”

The lift slowly came to a stop, and Fennec tensed as the doors opened. A shiny protocol droid welcomed them into the bare, utilitarian bunker that served as Arawat’s headquarters, and they followed it through a series of round vault-style doors. The final door was bigger than the rest, and it opened on a broad audience chamber, at the end of which sat a sleight, waspish Sullustan. Her old mentor.

“The great Boba Fett!” Arawat said, throwing his arm wide, “Welcome! And Little Fennec, you’ve come back home!”

Fennec nodded her head in response, biting back a bitter response. That was what he was fishing for, after all.

“Arawat Ragistar, thank you for having me,” Boba said, moving to sit in the plush chairs across from Arwat’s restrained setup. “You’re not an easy man to find.”

“Of course not,” Arawat said. “What good assassin would be easy to find? Isn’t that right, Little Fennec?”

Fennec pursed her lips. “Right.”

“We’re interested in bringing some of our import routes through Florrum,” Boba said. “It could be profitable for the both of us.”

“Now Fennec Shand, on the other hand. That’s a name I’ve heard of,” Arawat said, as if he hadn’t heard Boba at all. “‘Best assassin in the galaxy,’ I’ve heard. Of course, if anything I’d taught her had sunken in, she’d know that the best assassin is the one you’ve never heard of.”

Boba’s jaw clicked—a tiny motion Fennec doubted most anyone else would notice. “I’m not sure how that’s relevant to our arrangement.”

Arawat leaned forward over his knees and threaded his fingers together, and Fennec’s own stone face stared back at her in the mirror reflection of his shiny black eyes.

“It’s vanity, you know? Pure vanity,” he said, his voice silky smooth. “Like that hair. Do you know how many times I told her to cut it? There is no tactical advantage to long hair—not a single one. The only reason to keep it is vanity, pure and simple. ”

Fennec stared back at him, refusing to look away. Boba had fallen silent at her side, but she hardly noticed him any more in her peripheral vision. She was back 35 years in the past, her reflexes sharp and her body lean, but her spirit broken.

“Couldn’t quite get all the Chandrila out of her after all-”

“We’re through here,” Boba cut Arawat off, standing to his feet.

Arawat finally turned his attention to Boba, his jowls flapping excitedly around his cheeks. “What? But we were-”

“We’ll bring our goods through some other way. Thank you.”

Boba turned to leave and Fennec followed after him, her jumbled thoughts struggling to right themselves as she kept up with his assertive pace. The protocol droid started leading them back, but Boba brushed past him, retracing their steps to the lift with ease. Arawat didn’t follow.

The lift opened for them and Fennec followed Boba in, holding her tongue until the doors sealed shut.

“Are you crazy? We need his cooperation,” Fennec hissed as the lift zoomed upwards. Her eyes darted to the corners of the lift, searching for the holo cameras she knew must be somewhere.

Boba bristled. “I’m Boba Fett. I don’t need anybody except-” He shut his mouth. “We don’t need anybody.”

The lights from the lift illuminated his face at regular intervals, but the open emotion he’d shown down below was gone. Back was his stoic warrior’s face, the one she’d grown to respect but couldn’t fully trust.

“Fine,” Fennec said after a weighty pause. “Mustafar should work, anyway.”

“Mustafar?” Boba asked incredulously.

“Just get a few heat-resistant vehicles and you’re golden. That hostile environment is its own security.”

Boba grunted in agreement, and the lift continued upward. They fell into a companionable silence, and though the tension in Fennec’s shoulders gradually fell, she still ran her fingers nervously up and down the end of her braid.

---

The last time Fennec had been to Naboo it had been for a hit. The beauty of the planet hadn’t been lost on her at the time, but the elegant promenades and magnificent waterfalls didn’t look quite the same through a scope. This time she and Boba were here for a business deal and she had a chance to truly appreciate Theed’s splendor.

She leaned against the stone balustrade bordering the balcony and closed her eyes, letting the faint mist from a nearby waterfall gather on her face. Heavy footsteps sounded behind her, but they were the comforting, familiar gait of her partner, and she paid them no heed.

“Hiram agreed to our terms,” Boba said from her side. “Production can start next month.”

“Hmmmm,” Fennec hummed. “Sounds good.” They’d thought negotiations would last longer. That gave them three whole days to relax before their shuttle was scheduled to depart.

The breathtaking vista before them occupied all of Fennec’s thoughts. In the distance threads of water laced their way down verdant green cliff sides, and elegant copper-colored buildings stood above the cliffs like sentinels on watch. The waterfall closest to their villa roared as thousands of gallons toppled over the edge every second, and Fennec could feel the power of it through her feet and into her bones. She closed her eyes in appreciation. Beauty and power—the ultimate combination.

Boba leaned on the balustrade next to her, bringing him into her orbit. “I ordered dinner,” he said.

Fennec hummed again. Dinner in their private villa overlooking the waterfalls sounded perfect.

Boba stepped to the side then his warm breadth was at Fennec’s back, enveloping her like a thick cloak. She tensed, her instincts screaming at her to bolt. But maybe this time, she didn’t want to run away.

With a sigh Boba rested his chin on Fennec’s shoulder and his hot breath tickled at the loose strands of hair that had escaped their bindings by her ear. She shivered.

Boba leaned further into her and rested his cheek against the side of her head. He took a long, slow breath in and turned his face more towards her, his nose catching slightly against her braids as he moved his head up and down in what could only be described as a nuzzle.

Fennec’s breath caught in her throat. “Boba…”

“Easy,” he murmured. “I’m just enjoying the view.”

Fennec couldn’t help a soft snort at that. “Nothing you haven’t seen before.”

“Maybe,” he said, his breath heavy and thick in her ear. “But I don’t usually have a chance to relax and enjoy it.”

His hands slid up to her arms and he pulled her gently backwards, stepping behind them until he reached a plush daybed set near the back of the balcony. He sat down and she went with him, allowing herself to be tugged into his lap.

She didn’t think. She just let her senses bask in his warmth, in his sturdy, fierce presence. She reclined against his front, her ear pressed up to his unarmored chest. His heartbeat thudded clear and strong against her cheek—a steady, constant presence she was only just realizing how much she cherished. He rested his chin on top of her head and held her loosely around the waist.

Water tumbled over the cliffs of Theed and time passed, but Fennec didn’t notice either. All she felt was an unfamiliar sense of peace and security. Maybe, after all these years, she wasn’t broken after all.

“...We could always extend our stay,” Boba said, his voice a gravelly rumble through his chest.

“Hmmm.” Fennec closed her eyes and let her fingers cling to the fabric of his tunic.

“Or visit other planets. Maybe even go to Chandrila.”

The distant blare of alarm bells sounded in Fennec’s mind, but she did her best to ignore them. It was nothing. She was fine. She was at peace, and she trusted Boba.

“I’ve never been there before,” Boba continued. “You could show me around.”

The alarm bells shrieked, and the peace shattered.

Fennec hauled herself out of Boba’s lap. She stepped back to the edge of the balcony and ordered herself not to look back. It was colder now, but the chill was familiar. “We should leave as we planned. I need to check in with our supplier in Mos Eisley.”

“Fen, come on-”

“I think I’ll call it a night.” There was a courtyard of space between her room and Fett’s, but maybe she’d stay someplace else for the night.

Boba got to his feet and followed her across the balcony, but he made no move to touch her. “You wear Chandrilan braids every day. You can’t tell me you hate the place-”

Fennec rounded on him. “I may be in your service, but that does not mean I have to tell you anything about my personal life.”

Boba grabbed her by the wrist, the snarl he usually reserved for his enemies rising to his lips. “Shand, can we leave the carbonite bitch act behind for once?”

Fennec wrenched her arm from his grasp and shoved him back. “Touch me again and I’ll kill you.”

She whirled around and fled the balcony, making first for her room before turning instead towards the villa’s entrance. How far away could she get for the night? It might be an interesting challenge to see.

---

She came back the next morning. She was a professional, and she trusted Boba to understand the line he’d crossed. And just as she’d expected, he didn’t mention anything about the previous night’s blowup. Two days later they returned to Tatooine, and life continued the same as ever.

Boba’s business ventures on Tatooine were actually fairly legitimate. He built up the local economy, gave loans to entrepreneurial spirits, increased imports and exports exponentially, cracked down vigorously on (unsanctioned) crime, and generally made the miserable ball of dirt and sand that was Tatooine a more tolerable place to exist. That being said, nobody could be successful in the Outer Rim while working completely above board.

Which was why it came as no surprise when the Hutts sent assassins after him for co-opting a chunk of their spice territory.

Fennec squeezed off another round from her perch on one of the palace’s domes and allowed herself a smirk of satisfaction as the target dropped.

“Last intruder down,” she said into her comm.

“Good job,” Boba said from his safe room below. “Let’s give it a half hour to see if anyone else crops up. Then regroup in my study.”

“Copy that.”

Fennec waited patiently in her perch, her sharp eyes staring through the scope for any sign of additional assailants. She was reasonably confident she’d dispatched them all, though, given the size of their transport and typical Pyke Syndicate strategies. Fennec snorted to herself. The Hutts must be really strapped for cash if they were resorting to hiring Pykes.

After the allotted time had passed with no sign of other hostiles, Fennec climbed down from her perch and made her way to Boba’s rooms. Boba was neither sentimental nor high-maintenance, but the comforts of the past few years had led to him accumulating a certain amount of personal belongings to display in his quarters. Mandalorian relics, his father’s old helmet, a Clone Wars-era DC-17—that sort of thing. Fennec walked past his mementos and met him at his armchair near the back of the study.

“All clear?” he asked, looking up from a datapad streaming updates from his security system.

“As far as I can tell. Hutt enforcement really isn’t what it used to be,” she said.

“Not the only thing around here that’s getting rusty, it seems,” a soft voice hissed behind her ear.

Fennec’s eyes widened and she twisted around, but before she could move a cold, slimy hand had her by the hair and a vibroblade pressed up against her gut.

“Tsk tsk tsk,” Arawat’s hateful voice whispered near her ear. “Little Fen still has so much to learn. What did I tell you about our work? The best assassins are unseen.”

Fennec’s heart seized in her chest and with each breath her stomach pressed against the vibroblade. For now it was cutting through her coat, but soon enough it would be her skin.

“You might want to rethink your position,” Boba said, slowly rising to his feet. “There are two of us and only one of you. One way or another, you’re not getting out of here alive.”

“Ah haha, the mighty Boba Fett. You know, if you were your father I would be afraid right now. Old Jango wouldn’t hesitate to let a subordinate die to get ahead in a fight. But you’re not like that, are you?” Arawat said. With each word his fleshy jowls slid along Fennec’s neck, making her skin crawl.

Boba bared his teeth and the divots and crevasses of his scars almost turned his expression inhuman. “Care to test that theory?”

“Yes, I think I do,” Arawat said. “Put your weapons down, or I’ll gut her like a fish.” The blade pressed further into her stomach, drawing the tiniest sliver of blood.

Boba met Fennec’s gaze, and an understanding passed between them. Something Fennec had always known somewhere in the back of her mind came to the forefront, and she set her jaw. She trusted Boba. She trusted him more than she’d ever trusted another living person. She trusted him more than she trusted herself.

She didn’t know what he was going to do, but something in his eyes told her to prepare. She slowed her breathing, diminishing the blade’s contact with her flesh, and moved her hand just the slightest distance closer to the vibroblade she always kept tucked into her belt.

Boba moved to disarm himself, one hand going slowly for his blaster while the other stayed up and opened for Arawat to see. Then the thrusters of his jetpack activated, and he barreled right into Arawat and Fennec.

For several chaotic, terrifying moments, Fennec’s world was a tangle of clattering metal, unidentified limbs, and confused violence. Somehow, Arawat managed to maintain his vice like grip on her braid, and while momentum threatened to pull them apart, Arawat held onto her hair with a vicious tenacity. When they landed in a heap on the other side of the room, he yanked her to him again. Boba made a lunge for Arawat’s blade, but he wasn’t going to be fast enough. Fennec needed to get away. As she was, she was a liability.

She pulled the vibroblade from her belt and cut behind her, severing the thick braid right at the base of her skull. She flung herself away from her old teacher, and by the time she looked back Boba had already shot the Sullustant in the chest.

Arawat Ragistar was dead, and she and Boba Fett were both alive. It was a win.

She lay panting on the floor, her heart racing and blood still oozing from her side. As the adrenaline faded, her awareness tunnelled on the length of coiled black hair still hanging from Arawat’s limp hand where he slumped against the wall.

Strong arms pulled her to her feet and inspected the cut to her side, but Fennec hardly noticed.

“Hey,” Boba’s gruff voice cut through the haze. “Go see Pershing and get this stitched up. Then get some rest.”

She nodded numbly, then went to do as ordered.

---

Pershing gave her a few stitches, then added a thick bacta patch for good measure. Fennec didn’t feel anything, and Pershing’s complaints about not being a medical doctor and his demotion to glorified nurse slid easily in and out of her ears. Eventually he was done and her feet found their way back up to her rooms. She shut herself inside and sat down at her desk, her head feeling strange and floaty without the familiar weight of her braid.

Fennec stared at her reflection in the mirror, her face unchanged but somehow unrecognizable in its new frame. A soft knock sounded at the door, and she didn’t bother to shout the intruder off.

Careful footsteps sounded around her room, and Boba’s mangled face appeared above her in the mirror, the softness of his expression completely incongruous with his scarred visage.

Slowly, gently, without a word, he reached for her hair. He ran his fingers through their short, chopped length, sifting the strands carefully from side to side.

“You’re beautiful,” he said.

Fennec stared into his eyes through the reflection of the mirror, her body frozen in ice. Leaving her plenty of time to protest, Boba’s calloused fingers gathered up several hanks of hair from the crown of her head and started braiding. She’d never let anyone see her process before, but that didn’t stop him.

She barely had enough hair to reach the nape of her neck, but still he braided a short rope down the center of her head, then three smaller ones on each side. Then he picked the orange thread up from her desk and wove it between each braid, the extra support of the thread maintaining the seven braids’ integrity despite their length.

The last person to braid her hair for her had been her mother. Fennec could still remember the feeling of her thin, deft fingers in her hair, could still hear the sound of her soft, gentle voice cooing at her while she worked. She couldn’t remember her mother’s face, couldn’t remember her name, could hardly recall even the vaguest impression of what Chandrila was like. This memory was all she had left.

Fennec’s shoulders shook, and with a start she lifted a hand to her cheek and realized she was crying. The braids now completed, Boba let his hands fall to her shoulders, where their generous warmth helped hold her together.

Boba turned her chair around to face him and knelt down in front of her, lifting her chin to meet his gaze. “It will grow back. But even before then, you’ll still be beautiful.”

She turned around in her chair and slid her arms around him, burying her face into his stomach. He sank down to the floor and pulled her down with him, holding her and murmuring unintelligible sweet nothings as he stroked her hair.

“I don’t want anyone to see me like this,” she said, her voice raspy with tears.

“I’ll never let anyone see,” Boba said. “I’ll close my own eyes if it will help.”

Fennec chuckled, her body shaking against Boba’s solid torso. “No, I think it’s alright for you. But only you.”

“Hmmm,” Boba hummed. “It’s a deal, then.”

Fennec rolled over onto her back, then tugged Boba on top of her. “It’s a deal.” She threaded her fingers together behind his neck and pulled him down to her.

[razorblade180]

RWBY Vol8 Finale Review

Okay so I just wanna say right away that this review would’ve been out sooner, but the ending credit song is watch pushed me over the edge and made me cry. So I’m little drained.

Of course the episode starts off with Salem finally coming back. Honestly I’m shocked. She’s only been gone for a little over an hour I believe. That’s way faster than I thought considering the blast she was hit with.

90% of this episode is fighting which I’m perfectly happy with, so breaking down scenes is a little scarce and far apart. But I will say I like a bunch of the fighting. I thought James’s gun was stupid, but then he swung while detaching one pistol to pistol whip Winter and I’ll admit it, I said “yoooo!”

Okay...the Ace Ops stuff is probably the biggest thing I’m “meh” on. I totally get what they’re going for and I’m actually one of the few people who likes Harriet, but this scene fell pretty flat for me. We barely see the Ace Ops interact with one another that isn’t them threatening RWBY or talking about following orders. Like I never had any doubts that they do in fact care about each other beyond a coworker level but the show didn’t really show that. It would’ve been nice if despite them saying they aren’t friends several times, CRWBY added gentler moments with one another.

Like if Harriet calms Elm down on the way to to whale, Vine senses Marrow’s uneasiness and pulls him aside to tell him that he’ll watch Marrow’s back and they’ll talk when the job is done. It could’ve been neat if Harriet was about to move and scream Marrow’s name right before Ironwood shoots, but Winter was a step ahead. Just little things like that to show these characters really do value one another and don’t actually buy the crap their selling about being completely professional. Plenty of real life military soldiers will tell you that like it or not, it is impossible not to learn the life of their teammates and essentially become family when they’re overseas. Even if they don’t necessarily like a certain individual.

I actually didn’t expect Cinder to betray Neo this episode until Neo fell off the ledge. I thought we were building to Cinder valuing having people as teammates to raise hell instead of looking at them as pawns. To an extent she still does, but I guess it’s more of she has to work well with people and use actual teamwork in general, not with specific individuals. Power of teamwork yes. Power of friendship, no....

Cinder gets bonus points in my book for doing what most don’t, cut Blake’s ribbon! I’m so used to anime tropes letting heroes recover that I wasn’t expecting a genuine good play.

So I’ve said she was going to die ever since she came back, then I said it when she hacked, and one more time she was human. I never had faith she’d make it through the volume. So when I tell that it still broke my heart to see this. I never wanted her go. Penny is like my second favorite character. I’m a bit surprised Cinder didn’t get the power. This is the second time she’s nabbed Penny. I would assume she has at least a bit of the power though.

Winter really did become the Winter maiden. We were right from the start. I do like that Penny choosing how she wanted to die and who to give the powers to mirrors Winter’s conversation with Weiss in V7 a bit about being roped into something but still gaining the control to actually choose how go about the situation by deciding the terms.

Skipping ahead a bit because once again, I was just floored by the fights. Next real thing that really hit me hard was so many people think other people are dead for varying reasons, and only some of them are true. I do not know how Ren and Nora especially are going to cope with hearing Jaune fell. That’s their second teammate. Out of those two, Oscar, and Emerald, I don’t think any want to or fit to lead as a new team of four. Maybe Nora really will step up and kick off the active part of her self discovery. Then there’s Winter. Maybe she’ll keep them together. If anything I hope her and Whitley finally have this genuine moment because they think they lost their sister. And who knows, maybe to a certain level Jacques dying as well conflicts them in a way because they didn’t love him but it’s still a shock he’s dead. Like I’m pretty sure for Whitley at least that the hate for his father didn’t run deep enough to wish him dead. Pietro is gonna die of broken heart and I don’t know how Qrow or Tai will react. Hopefully Raven gets involved.

Not gonna lie, I thought the crash was anticlimactic and Ironwood among others could still be alive, but then the rushing water came....

I am shocked nobody actually killed James. Pretty sure he’s dead though. Just like how Arthur burned to death which is by far the most unsettling thing this show has done period. Even though the villains lost members, it doesn’t really feel like they lost at all. Especially when the ones who died were killed by their own people basically.

All in all I really liked this finale. I’m relieved the reason team RWBY fell wasn’t because they jumped after Yang because that’s not risk people should take and would be a middle finger to everyone they leave behind. Wasn’t expecting Jaune to fall. That’s nuts. Not mad about it. Now he has to explain to Ruby that he personally stabbed Penny on request. Like good lord, he’s not going to cope. The only saving grace I personally have is CRWBY might be nice to me and the path towards comforting certain characters may lead down a path with Lancaster or Whiteknight at the end of it. I’m not gonna hold my breath. Can’t believe we lost Nuts n Dolts twice...

Also Neo might wanna kill Cinder more than Ruby now.

[bakubabes-and-ramble]

Headcanon: The Gundalian culture is based on individualism, the Neathian culture is based on collectivism

Race interpretation part one: Neathia

Summary: The Neathian culture is built on the core values of communities and collective thinking. While conformity within the society is of a high level, they pursue a 'closed gate' diplomacy towards other races - resulting in a 'bubble' phenomenon and becoming vulnerable to losing their sense of belonging. Centralised urban system, with regional reciprocity and redistribution, whereby the Queen plays a coordinator role, and exists as a unifying symbol along with the military.

(Wall-of-text warning ; with block-breaker illustrations, but a huge amount of information ahead.)

Okay, this topic is something I was thinking about for a long time, and I finally hit the point to collect my thoughts and write them down. I've seen a lot of people trying to build up/further and enrich the cultural and social-political features of the alien races we've seen in the series (namely Vestals, Neathians and Gundalians), and I felt some inspiration to put my take on these things into words.

It's not only intriguing to try one's hand on the world-further-building, but I felt, I have to explain how I imagine the build-up of the Neathian and Gundalian culture and society to make the story of the 'Neathian Special Squad' ('NSS') more understandable 'symbolically' and from the aspect of a 'cultural clash'. /For those, who follow the NSS: This is something that definitely happens later on, you just don't know about it yet./

I have to put a small disclaimer here: This entire piece of writing was conspired out of fun and passion towards the series. It was not meant to be a 100% professor approved scientific research, but a seemingly logical untangling of my personal train of thoughts concerning the fantasy creatures of the third season. And this means, there is going to be some personal opinion mixed in as well (especially at the rewriting parts).

I wish the readers to enjoy reading it regardless. You are always free to disagree or not to take it seriously. :) To me, headcanonizing and imagining things always meant to be fun.

Side note: I'll add canon elements as examples or refer to the events of Gundalian Invaders, although I have to admit, I'll do this mostly from memory. So If I get anything wrong, or just remember incorrectly, you are welcome to add-in or correct me! :)

Season: Bakugan: Gundalian Invaders (and Mechtanium Surge)

Language: English dub

Okay, let's go!

Gundalian Invaders - Slightly rewritten

The first and foremost reason I actually started writing this post, is because I had some issues with the characterisation of the Gundalians and Neathians in the third season. One side is depicted blatantly, purposelessly and one-dimensionally evil, while the other is portrayed to be the goodie-two-shoes victims with no backlashes. I wanted to swing over this simplicity and make an attempt at explaining, how I imagined these races to function. These interpretations were explored with the intention of both keeping the main features of the races, staying canon-compliant where possible, but change canon elements/propose ideas to turn the races into interesting (and on a theoretical level functioning) societies.

For these added or assumed ideas to work, some lore elements have to be changed or removed: For example the way Bakugan got to be on the planets. For this explanation see: a further point below.

This post discusses only Neathia for now. (Gundalia will probably get it's own post, as there is much more canon-divergence to be talked about.)

Neathians

1. The beginnings and core values

Due to the power of the Sacred Orb, almost the entire planet have relished in a lush fertility since the beginnings. (And this is why there are huge plants in their jungles. The wildlife also experienced a great upsurge by the life-force of the Orb.) This prosperity quickly enabled the Neathian race to organize into a peaceful and sharing society, because the wars over resources became redundant and unnecessary. The established racial mindset reallocated the focus from the individual needs to the communal efforts, and gives a ground for the Neathian values and collective thinking up to even the days of the season.

Neathians think mainly in groups: Let those be pairs (e.g. Fabia and Jin as fiancés; Linus and Neo Zipperator as brawling partners), teams (Neathian Special Squad; Friendship circles), communities (Castle Knights), and the biggest of them all, their entire race. These are all bigger or smaller communities within communities, and they play a major role in how Neathians perceive the world and themselves. Being in these relationship structures defines their place, grants them their basic mental frame, which they are able to think in, and not only their resources, but also their goals are shared with each other. This kind of goal assimilation is what makes them really efficient team players, and also provides them a strong social support from a mentalhygiene perspective. This important role of the sense of belonging makes Neathians both empowered while being in close social constructs , and extremely susceptible to losing these connections.

Thinking like this, when Fabia lost her fiancè or Linus lost Neo, their grief extended further than their deaths or the traumatic events. Losing strong bonds like these put Neathians in a technical identity crisis, as it is a part of their personal perception and mental frame which were dismantled through these events. We have seen Fabia going to extremes to retrieve Aranaut - and to retrieve that part of her, which was lost with Jin. Just as when Rubanoid was handed to Linus, a new connection was formed to either replace or continue the old one in a different form. Fabia's communal bonds were successfully restored, when she also became a member of the brawlers.

The Neathian society is based on caring and cooperation to achieve a collective well-being. This is why communities play such a major role in their self-perception and world-perception.

2. Open-sources, but enclosed diplomacy

For most part, I've always imagined the Neathian race as an although proud and generous, but closed society. They share commodities with each other - within their society -, but it is very important, that only within it. The outside world (meaning outside of their habited planet) is fundamentally shut out of these transactions.

I often refer to this phenomenon of enclosedeness as the 'Neathian bubble':

Not only their mindset operates in closed communities, but their diplomacy too. They are generally passive towards other races, missing trust and a reason to pick up the communication /Up until the Gundalians came and the war started/. This perspective could be applied to understand, why could they be more insistent on and better at operating defensive mechanisms (layered shield generator), than initiating communication with the rest of the universe (Unlike Gundalians, Neathians have no ships or bigger means of transportation. Yes, teleportation is accessible for them, but I don't think they use it that often outside of Neathia.)

I treat this as an explanation for why Neathia had only asked for outside help after the second shield generator went down - the situation became desperate and already being involved in the conflict, it was time to try and reach out for aid. According to these headcanons, I also think, Serena wasn't putting - or at least shouldn't have put - faith in the Brawlers so easily. The reason they weren't tested to prove their trustworthiness further than one question, is because she trusted Fabia's judgement. Without the support of a Neathian, outlanders are almost automatically dismissed. Their (or their Queen's) empathy and compassion may overwrite this code, but even by then they have to be made certain by proving the cause.

Just as when Fabia accepted Ren, because she had seen how much he tried to prove himself. Winning Neathians’ trust is supposed to be a big and determining moment, because they ‘internalise’ you into their scoiety.

Neathians are capable of empathy and kindness (this is something they actively practice among each other), even towards outsiders, they just need time and proof to accept them. Trust is just not automatic towards them, and even so they keep their distance until they get used to it.

3. Personal paralel counterparts - Night elves and the Highborne of WoW

When I think about Neathians, I often put them into paralel with the Night elves and the Highborne from World of Warcraft. For most part, I use their artistic motives, architecture, fashion and cultural approach as an inspiration for Neathians, as they are recognised as 'The pretty space elves' in my book too.

Beside the above mentioned, what could be imported from their WoW counterparts is a rather matriarchal social apparat. For example, Neathians traditionally having a Queen, and women being present in the military or in higher positions, playing important roles. //Just as by the Night elves leadership, religious and military roles being traditionally occupied by women (priestesses, wardens, sentinels).//

Another elven impression, which is more or less universal, is their sense of pride (I like to say it as the expression of 'Neathian pride '). Highborne in World of Warcraft are a quite prestigious race and are usually said to be a little 'aristocratic'. I can imagine the Neathians being lightly less, but somewhat similar on these terms, when it comes down to interacting with their own or other races: For example being proud of their appearance (Emphasizing their unique V-shaped forehead with adequate clothing and accessories), structuring buildings and constructs based on aesthetic instead of real functionality (using diamond as the main material of construction, structuring buildings with elegant but futuristic shapes), or being confident and showing immovable standing and opinion on things (towards outsiders).

As far as I know, the Warcraft elves used to be similarly passive and uninitiative - even mistrusting - towards other races too. And in this, it played part, that they also had exclusive access to a powerful source of power and prosperity, the Well of Eternity (an almost one-on-one counterpart to the Sacred Orb).

While the half-tribal connections of the Night elves derive from their ancient bonds with nature and druidism, the Neathian society feels more likely being based on a futuristic envisionment of these social relations. A civilisation that perfectly blends technology (teleportation technology, communication devices) with classic fantasy elements (knights), while still remaining tribal in the core (shared communality is just put into a modern environment). /Although I like to lean more into the fantasy setting, the technical advancement is undeniable there./

4. Overall economy

If we wanted to negotiate about their economy, I would say reciprocity and localised redistribution are the dominant mechanisms of it. The basic definition of economy builds on the premise of distribution of scarce resources. In this case, resources are not scarce, in fact, due to the Orb they are very much prosperous and renewing. This accessibility discounts the value of the traditional market trading, and supports the establishment of semi-centralised recollection and redistribution. The semi-centralisation here means regional production and consumption, whereby the accomodation of the population happens mainly territorialy, but these regional centres still have a connection to each other and the capitol. This economy is based on caring and well-being, and the high level of conformity and trust within the collective society results in a lack of currency usage (so, my headcanon is basically, that they don't use money).

5. Urbanisation and territorial layout

The reason we talk about a more physical apsect of the planets, is because the core values of the races both play a role, and mutually affect how I imagine their civilised hubs being developed. Communities form hubs and cities with strong connections - just like their society!

When I mentioned localised redistribution, I was also refering to the urban structure of the Neathian planet. Important to note, that Neathia is not just a city, or a country - just like Gundalia, it's the entire planet. What we've seen in the show is the capital of their urban system - which makes sense to be technically built around / in the immediate enclosure of the Sacred Orb, for it's the source of the relishing power. Assuming this, along the capital there could be a centralised territorial layout with rural areas (cities, villages), and untouched wilderness (due to the overflourishing flora and fauna; the urbanisation doesn't affect the entirety of the planet, there are a lot of uninhabited/uncharted areas).

Here is a simple schematic illustration of the above.

The rural hubs not having physical connection with other centres due to the dangerous and untamable wilderness (see: Giant plants in the show) could have lead to the advancement of the teleportation technology. The cities are connected through this port-system, and also with the capital, which serves as the centre of the network.

6. The role of the queen and the military

The main purpose of the current Queen is an overall governance with the direct help of a council consisting of the local leaders of the hubs. The queen bears not only a political, but a symbolical importance to the people. The concept of the Queen is a unifying symbol, someone who watches over the nation. The Neathians can stand behind her and being represented by her. But it's important to note, that her status is not as glorified as to be a despotic being, and her power is not extending much further than overall policies, diplomatic representation and helping the transactions of the local leaderships. There is much more power and independence shifted into the regional governance, rendering the Queen's position to be an effective coordinator between them and unifier, who keeps the nation together. /Still thinking about the way the queen is chosen/comes to the throne, but I had the idea of the next Queen being elected by the current Queen, so the order of succession is not based on the Queen’s family, nor being a community vote of the people./

The peace-oriented existence in itself doesn't require a military to exists, therefore I treat the Castle Knights as a mainly defensive organisation. This military serves as Neathia's defenders, bearing symbolic and community building purposes. Among the Castle Knights - just as the name itself suggests - the traditional medieval knight values show up primarily, such as loyality, humility, courage, faithfulness and the act of mercy. In their comprehension, being a Castle Knight is an act of service towards their country and the Queen, and is not mainly for warfare reasons. (To some extent, I assume martial arts and other forms of fighting - even brawling - is essentially a spiritual activity, which they pursue in order to keep their inner- and physical balance.)

As we've seen it the show, I assume the Palace also functions as the military's operation base. The head of the military is the current commander (formerly Jin, recently Elright), and under them operate several divisions with captains as division leaders. The separate divisions are Physical Fighting (both with weapon, like those defensive shock-sticks the guards are using - formerly offensive melee weapons until the fall of NSS - and hand-to-hand combat, e.g. used by Fabia), Technical staff (operating the shield generators and overseeing their areas) and Bakugan Brawling (this headcanon part is still under construction, but Elright used to be the former leader of this, and the reason he was promoted to commander after Jin’s death, is because the Neathians' realisation of the war swinging in favor of the Bakugan fights, so it was logical to put him as the next 'general leader'). /There may be other divisions outside of these, I just put out some ideas here./  Every guard receives education to some extent in all of these fields, but they end up specialising in something.

//The Neathian Special Squad (NSS) had it’s own divison under Captain Pyrehart, they were a special strike team with a unusual task: Staggering, forcing back or just divide the Gundalian leadership’s attention from focusing on their assault. Basically poking them with melee weapons until they either go away, or can’t concentrate on helping their Bakugan on the field and their monsters get defeated. According to the story - made up by me of course - after a tragedic mission this unit wasn’t restored, and the war effort shifted onto long-range fighting with Bakugan, Gear and Bakugan Assaults.//

7. So...where are the Bakugan?

They have been mentioned here and there, but I'm sure, whoever made it this far into this theorising information dump, may wonder at this point: 'But what about the Bakugan?'

My simplest answer is, that I firmly want to believe, both Gundalia and Neathia had a civilised and established culture before the Bakugan appeared there.

According to the original lore, Bakugan existed on the planets since almost the beginnings. Now, this is part of those lore bits I would definitively change during a rewrite: I want to believe, Bakugan only appeared in their very recent history, almost as recently, as on Earth and Vestal itself.

Perhaps a Bakugan lore- and GI rewrite explanation deserved it's own post, but for the further understanding allow me to explain here a little: A similar event of raining cards - what the first season started with - occured on Neathia and Gundalia too, caused by the dimensional boom of Michael Gehabich and his transporter. The twist on this - and the effective solution to the problem of possible timeline inconsistencies - is that although the explosion caused this interference at one point in time, across cosmos and universes time flows differently. So technicaly the result of it - the raining cards and Bakugan being transported into the particular worlds - could happen at different point of their relative times - even years earlier or later! On Neathia and Gundalia it could happened a few years before on Earth, which covers most of the questions of the timeline-consistency /such as Ren being assigned to watch over Linehalt as a child etc./

Bakugan coming to these places has only an added effect: Just as on Earth, they are not (yet?) integrated into the society and culture of the planets so deeply to be any kind of pillar of their existence or basic civilisation. There could be a start (as having specialised researches, technology revolving around Bakugan, taking part in the war,..) regarding this internalisation process, but it still runs on the surface, and not in the 'veins' of the culture.

I hope this breakdown made sense in some form or another. I just felt an urge to pour out the content of my head. Looking back,this became longer and more detailed, than I originally intended, while also surely missing things because there is no worldbuilding without holes or further questions. The attempt to lay down the basics was made regardless haha!

As always, feel free to disagree and follow your own visions concerning the races and worldbuilding. :) This post was made to reflect back my personal interpretation of Neathians - just for fun and thinking out loud.

For the very end, I leave a disclamer here, which was supposed to go at the beginning, but it felt redundant to put there, so here it is:

I tried to approach it from a more sociological side, as focusing on a bigger, overall picture, common features, than create exact statements. (I would rather call this a speculation regarding the features of the races themselves, their core values, common attitudes, mindset - and this doesn't mean other questions are fully out of the picture. We are just discussing things, which can be derived from the features of the society itself, and make up a more or less coherent chain of thought for now. Other 'for fun' or miscellaneous headcanons, like fashion or physical traits will be covered another time.)

Thank you for coming to this TED mambling!

[itsclydebitches]

Is it valid to criticize the Witcher series for being very white and having little to no non white characters. Even though it comes from a Poland, a very white country by percentage. Yet not ok to give those criticizes to Japanese media for being the same way, just with Japanese characters? ect ect to any story coming from a country that is overwhelming dominated by 1 race. Something America does not fall under.

With the obligatory disclaimer that I'm definitely not the most informed on this topic, I think the concept of a fantasy series is a more important factor than the supposed percentage of any place. (And I say "supposed" because we tend to think of certain areas as more homogenous than they actually are.) Meaning, why do these statistics even matter? The Witcher is a series where dwarves, elves, and human-looking dragons roam the world... but suddenly we care about presumed realism when we're talking about black characters, or other racial minorities? When it comes to fantasy, the problem has always been that it's fantasy; that authors imagine wonderful, impossible, highly diverse worlds... that just happen to not include anyone with darker skin. Same with Japanese media, which we generally think of in terms of manga and anime. If you take something like BNHA, this isn't a tale meant to reflect real Japanese school students, in which we might discuss the expected, racial makeup of a modern student body. This is a story about a classroom filled with kids that have tails, horns, make things float, and ignite the sweat in their hands. But again, in that wealth of insanity the idea of including non-white characters is suddenly off the table due to statistics? To say nothing of the global readership for popular stories nowadays and the major themes these fantasy series tend to engage with, one of which is the concept of the outsider. The Witcher uses both witchers themselves and non-humans to discuss minorities, whereas BNHA uses the lack of a quirk, and though we can apply that to numerous types of identity (sexuality, ableism, etc.) race is another, major consideration. So yes, I'm personally critical of any series that essentially goes, "I, like pretty much any author, wrote this with the hope that people outside my country would love it too, it's a fantasy series in which the concept of humanity is stretched to its limit, I engage critically with the themes of discrimination and physical difference... but no, none of my characters are people of color. Why would they be?"

Obviously you're quite right that the racial politics in the U.S. are not the racial politics of elsewhere in the world and that absolutely has to be taken into account when discussing each individual text. For example, the Witcher Netflix series has been criticized for being too Americanized, despite claims that they were going to be faithful to the books and their roots, and so though fans are happy that diversity has been added to the cast, we could have a conversation about what making the show more Polish would look like — including casting. But on the whole, I'm not sold by arguments that series don't need diversity because look, we (again, supposedly) have this homogenous society in real life. A story — especially a fantasy story — is not real life. It's meant to reflect aspects of real life in a manner that is accessible and worthwhile for an audience. But for a huge chunk of the world's audience, they're approaching these texts and receiving the message that they don't get to be a part of these fantasy adventures. To provide an example of the reverse, many white gamers were incredibly uncomfortable when it was revealed that their randomized avatar in Rust would be permanent. How can the developers expect me, a white person, to play someone who is black? How are we supposed to relate to that? Why are you forcing us to think about politics? It's about freedom of choice! Now, putting aside the inherent issues in those complaints — an inability to identity with others, the idea that it's only "making things political" when people of color get involved, etc. — that's precisely what every non-white player is experiencing when they pick up The Witcher 3 — a game where I can't think of a single person of color until Hearts of Stone — and, you know, the vast majority of games out there too. If all things were equal then yeah, maybe we could debate the merits of keeping the Polish fantasy series almost exclusively white. But we definitely don't live in that world.

[the-big-nope]

While I’m certainly nowhere near ready for the story of the Mighty Nein to come to an end, I am also a D&D nerd and there’s a new sourcebook coming out soon with a bunch of new subclasses in it. By the time Campaign 3 of Critical Role gets underway, that book will be published, leaving a wealth of new options for the cast members to choose from, so why not entertain myself by making barely justified predictions of what the cast is most likely to pick for their next characters! (Disclaimer: Some of the new subclasses have been confirmed and some haven’t, so for a few of these picks I’m just going off of what I think is going to be in the book).

Travis

Cleric (Tempest Domain): Travis has been playing lowkey EMT since campaign one, and Laura’s already confirmed that Travis almost went cleric for campaign two. Between Grog with his barb-boosted movement speed to get around the battlefield so he could shove healing potions into his squishier teammates, and Fjord multiclassing into paladin and lovingly tapping his friends with single hit points to get them back up, it would be delightful to see him fully jump in and embrace the classical healer role. Of course, this is Travis, so I don’t see him picking a cleric domain that doesn’t allow for at least some whoop-ass, and Tempest Domain brings plenty of it. You get proficiency with all armor and weapons, Divine Strike at level 8 for boosted melee damage, you can use a reaction to inflict lightning or thunder damage against any enemy within melee range that’s hit you. And if you climb up high enough in levels, you gain a flying speed equal to your walking one whenever you’re outdoors. Pretty nifty, and makes for a fitting subclass for a guy that’s voiced Thor on multiple occasions.

Blood Hunter (Order of the Lycan): I mean, come on. The only reason it isn’t number one is that it was already widely assumed this would be Travis’s pick for campaign two, and I wouldn’t put it past him to surprise us again. But still, we saw him get a taste in Liam’s one shot and he was clearly having the time of his life. Besides, we lost Molly far too early to really see the blood hunter’s potential come to life; it would be damn cool to see someone else take a crack at it, and Travis is enough of a D&D gambler to not shy away from the class’s riskier features.

Artificer (Armorer): Speaking of Marvel connections, if Travis doesn’t lean toward fantasy Thor, then fantasy Iron Man might catch his attention instead. Artificer is an official class now, and since it’ll be reprinted in TCoE by the time campaign 3 gets underway, it’ll be a lot more visible as an option. The Armorer sits in almost a perfect middle ground of what Travis has done before: tanky and a frontliner, but also still has spells and tricks to help the party. Plus, you get a badass suit of power armor out of it. What’s not to like?

Marisha

Bard (College of Creation): After Hazel Copperpot, we all saw the pure magic that was Marisha Ray playing a bard. I know she implied that Hazel was supposed to be her campaign two backup character, but I hope this doesn’t discourage her from making another one. There are quite a few bard subclasses, a number of which I could see her being drawn to (Lore, Glamour, maybe even Swords), but I really vibe with the idea of Creation. I can’t exactly say why; maybe the idea of the ‘dancing object’ feature in Marisha’s hands is very funny to me (remember Keyleth’s adorable “Be Our Guest” moment? That, but this time it’s a walking wardrobe beating the shit out of the enemy).

Paladin (Oath of Vengeance/Conquest): As of yet, no one on Critical Role has ever played a paladin from the start, only multiclassed later down the line. I think this would be a cool departure for Marisha. Both campaigns she’s played characters that were either suspicious or at least indifferent to faith and the gods. Paladins are typically associated with deities, but they’re not tied quite so closely to them as clerics are. It would be fascinating to see what she did with it. As for the subclass, I just think Marisha’s earned her turn on the Goth Character Carousel, and while I know Conquest paladin is very unlikely given its moral grayness by default which might cause undue conflict and that Vengeance is a much more likely and acceptable pick, I just think it would be a sexy character choice. 

Wizard (Bladesinger/Graviturgist): This is a much more pie-in-the-sky, wishful thinking pick on my end, but not impossible imo. Marisha has experience with heavy spellcasting already, so she probably wouldn’t shy away from a wizard, but like Travis I suspect she likes a bit of oomph to her characters, and probably wouldn’t play as support heavy as Caleb does. To that end, Bladesingers get a bit more survivability and some modicum of physical prowess alongside their spells, while Graviturgists are definitely on the more aggressive side of the spectrum for wizard subclasses, with unique dunamancy spells to boot. I’m not sure how restrictive Matt would be about Xhorhassian characters in the next campaign if it takes place on another continent, but hey, you never know. Plus, she picked one of Matt’s homebrew subclasses for the current campaign; it would be cute if it happened again.

Liam

Druid (Circle of the Shepherd): At some point before Critical Role comes to end (hopefully far in the future), I know Liam’s gonna play a druid, I can feel it in my bones. He's too big of a Kiki fan not to. However, while Circle of the Moon might feel obvious given the potential for homage and how much he likes turning into animals, I feel like he might regard it as getting too close to old territory (also, I don’t know if Circle of the Moon is like an exclusive thing to the Ashari tribes, and if it is that would be rather restrictive for building a backstory). If that’s the case, Circle of the Shepherd feels like the next best bet. It has some great support options via the totems you can put down, and rather than becoming badass animals, you instead just get really good at summoning a fuck ton of them. It’s like Frumpkin, but ten of him. And they’re bears. (Honorable mention: If Circle of the Moon would feel like treading old territory then I’m certain Circle of Wildfire would too, but I’d bet my dice collection it would at least be tempting). 

Cleric (Unity Domain): Listen. The pure sap potential that would be at Mr. O’Brien’s fingertips with this subclass is incredible. The domain all about strengthening and protecting the bonds between friends and loved ones?? The domain with the Channel Divinity that can spread damage taken by one creature across the party however the cleric chooses to distribute it to lessen the blow to the individual??? The domain that used to be called the Love Domain???? I’m practically gagging on the soft moments and unspoken devotion conveyed through spellcasting already.

Fighter (Rune Knight/Psi Knight): Liam has yet to play a tank in a long-term campaign, and while I’m more enamored with the potential of the above classes, it would be novel to see him play a character with an actually respectable amount of hit points. However, I feel like if he was gonna commit to a straight frontliner, he’d probably want something a little more unique than a Champion or Battle Master (especially since he’s played those already for one-shots). Rune Knight has some fun options and built-in flavor, and with Psi Knight you can basically be a Jedi. Not bad options at all if you ask me.

Taliesin

Warlock (Fiend): Yeah, it might be expected, or Percy might have been too close to warlock anyway to feel like there’s new ground to cover, but hear me out. Both Percy (who, let’s face it, was a warlock multiclass in all but the actual mechanics) and Fjord were the classic reluctants. They got in over their heads without really knowing what was going on, and once they did they wanted out, cutting ties with their patrons and getting clear with only the scars remaining. I want to see Taliesin commit to a warlock in a way I imagine only he could manage to pull off. How fun would that balancing act be, to have a character that has no intentions of breaking their pact, who’s here for the powers, and is willing to work that delicate balancing act between keeping what he’s got and not letting his contract holder get the better of him? Give it to meeeeee.

Sorcerer (Psionic Soul): Psionic Soul has a bit of that eldritch flavor that vibes with Taliesin so much, with the added interest of introducing a brand new feature to 5E, the Psi Die (with this subclass, using them can do things like letting a sorcerer learn a spell they don’t already know for a few hours, allow you to cast spells without needing verbal, somatic, or material components, and can give you telepathy). Taking both Percy and Molly into account, it seems Tal likes to lean into those unique additional mechanics, and while Psi Die aren’t as risk-heavy as Gunslinger or Bloodhunter, they do add a layer of variability and unpredictability that seems to match his style.

Rogue (Swashbuckler): We only got a little bit of time with Molly, and so missed out on the opportunity to see Tal play a more cavalier character this time around. If he feels like leaning away from spells next time and back toward martial, I think a high-charisma, high-swinging swashbuckler from Tal would be a delight to watch.

Laura

Barbarian (Path of the Ancestral Guardian): Laura deserves to hit things, okay? Yes, spellcasting is great and comes in clutch frequently and Jester’s amazing, but you can tell Laura misses doing fat stacks of damage to the enemy in a single round. I personally think it would be amazing to watch her just cut loose and go full rage machine. As for the subclass, I’m not glued to the idea, but Ancestral Guardians are pretty kickass, have decent support capabilities for a barb without detracting from their DPS at all, and it doesn’t tread on any previous characters’ toes or their aesthetics.

Rogue (Scout/Soulknife): Laura deserves to play her favorite class at last, okay? She’s been class poached two campaigns in a row, and though that resulted in both Vex and Jester and I wouldn’t trade them for the world, Laura has earned first pick. Seeing as she already dipped into Assassin as Vex and Sam took Arcane Trickster, I could see Scout being a viable subclass choice. It’s in the classic sneaky vein, relatively simple in concept, but comes with features that grant easy-to-understand benefits that you can never turn your nose up at (boosts to movement, advantage on initiative, giving advantage against a target to everyone else in the party, etc.). If she’s looking for something a bit flashier, Soulknife has the benefit of retroactively dunking on Vax by taking the basic knife-rogue and making it better, with psionic knives that you can manifest with a thought, that can teleport you around Whisper style, and cranking up that stealth to ridiculous levels by just being able to turn invisible for ten minutes, no concentration or spell needed. The psionic die mechanics are a little funky of course, but I don’t imagine it’s any trickier than learning to manage all those cleric spells.

Monk (Way of the Open Hand): Between Beau just being super cool and her brief stint as Farriwen Breeze, monk wouldn’t be a surprising pick from Laura. An Open Hand monk might be the definitive version everyone knows, but you can’t deny it’s a solid subclass, and between previous overlap and the concepts of the other subclasses just not seeming to fit, I could see the classic being what she went with. But hey, it’s Laura Bailey. She could surprise us with Way of the Drunken Master or something.

Sam

Ranger (Monster Slayer): Let’s be real, I don’t think this would be his actual first pick for a Campaign 3 character, but the amount of shit-stirring he could achieve by making a character with the aim of pissing off Laura Bailey specifically would be hilarious (and since Matt isn’t completely opposed to UA and acknowledges that PHB ranger has a lot of issues, I wouldn’t be surprised if they went Revised Ranger this time).

Warlock (Genie): Actual first pick here, Pact of the Genie Warlock is confirmed by now, and the potential of a warlock in the hands of Sam Riegel is pretty vast (for some reason I’m imagining he would go the ‘spoiled sugar baby’ route). The subclass doesn’t matter as much, but the Genie one is nice in that, depending on the type of genie patron you pick, you can get a wide variety of extra spells, you get a container like a classic lamp or lantern that you can bamf into for short rests, and you get a limited Wish ability for your capstone, all features I feel like would especially appeal to Sam.

Barbarian (Path of the Wild Soul): I want to see Sam play a fairy barbarian. ‘Nough said.

Ashley

Fighter (Eldritch/Echo Knight): Ashley really seems to vibe with the crushing power of martial classes (she does love her brutal kill descriptions), so I could see her sticking with it rather than going back to full caster. However, I do see her picking one of the magical subclasses for some variety after Yasha. Eldritch Knight is a classic and reasonably easy to manage, but tbh I’d LOVE for it to be Echo Knight. And think, if my wishful thinking came true, with Ashley picking an Echo Knight and Marisha playing a Graviturgist wizard, they could link up their backstories and be a traveling Kryn battle duo that left their homeland behind to explore the world!

Sorcerer (Draconic): If she does want to go back to full-time casting, Sorcerer doesn’t require near as much bookkeeping as a cleric, druid, or wizard while still having decent variety, and the Draconic subclass is a bit beefier than the other subclasses. Also, it would be the third campaign in a row where Ashley Johnson’s character eventually got wings, soooo...

And tbh I have no idea what a third pick might be for Ashley, so I’m just gonna throw a dart or two at the board and say either College of Whispers Bard or Way of Mercy Monk *Shrug* We can only wait and see!

[gffa]

Clone Wars EP Dave Filoni breaks down the first episodes of the final season [x]

It’s been a long journey in a galaxy far, far away, but Star Wars: The Clone Wars is finally back. After its unexpected cancellation in 2013, fans had a new hope for the revered series. At Star Wars Celebration in 2015, audience members got to see rough animations (story reels) of a few unfinished episodes, including a plot focusing on imperfect clone soldiers called the Bad Batch. Those episodes make up the first arc of the seventh and final season, which debuted Feb. 21 on Disney+. After the premiere of the first two episodes, EW spoke with Clone Wars and The Mandalorian executive producer Dave Filoni about bringing back the series — and a fallen friend.

ENTERTAINMENT WEEKLY: When you produced the first six seasons, the pace of production was pretty quick. But for this season, you had years to look back and reflect on the story. As you were looking to bring back these first few episodes was there anything you really wanted to go back and update?

DAVE FILONI: If you go back to the original series, what we put out in 2008, it's such a dramatic leap. But then you realize it's been 11 years since that show first aired, which is kind of striking for me that it's been so long. So there should be dramatic improvements, visually. I think that facial animation, the fidelity of the expression — things like that — we were able to improve in the animation itself. I really feel looking at this show now, it's kind of how >George [Lucas] and I envisioned it to look in the beginning. We just didn't have the tools necessary to actually realize it then. But over time with a lot of training, you know, like any good Jedi I learned my way.

One scene that's a little different from the original story reel of “The Bad Batch” is that it originally opened with a longer extended sequence between Mace, Anakin, Rex, and Cody. In the final version, you added a pretty touching scene between Rex and Cody talking about a lot of the fallen clones. What was the decision to add that scene in there?

I just thought the story was really dragging in the beginning. I felt like there was a whole lot of exposition, one too many scenes where they're saying what they're going to do instead of just doing it. And then I wanted to add a better sense of personal stakes to the story. You know, part of the consideration I had to make when doing this was, how do people even know who Echo is? I'm imagining a lot of people will just watch these 12 episodes and maybe not go back and watch the previous, you know, over 100 episodes where Echo plays a moderate role.

The Bad Batch are mutant clones who are new faces we meet at the top of the season. How did you go about designing the looks for these guys and also new clone hairstyles that I didn’t know were possible?

Yes, we always had this bizarre hairstyle trend with clones where they would pick ways to individualize. And the Bad Batch themselves, that was all right from George. He wanted to explore this idea that there were clones that were a little bit more unique from one another that were like a special forces unit that had enhanced skills. And so the trick for those characters is really making them feel special in what their abilities could be, but not making them superheroes. Wrecker should not be the Hulk, even though we love the Hulk and those types of stories. That's not what Star Wars is. So we had to keep it all kind of within the reality of Star Wars.

I loved the callback to clone 99 from season 3. Was that always the plan to call the Bad Batch "Clone Force 99"?

Yeah. That's where the idea kind of came from story-wise, was that, you know, 99 proved back in the original Clone Wars series to have greater heart and strength than some of the clones that were thought of better warriors, and Cody felt that that was worth exploring. And so he really lobbies the Kaminoans to take a second look at clones that they might deem different.

These first two episodes feature almost entirely clone troopers. Dee Bradley Baker voices all the clones — what was his reaction when he saw the script?

He has a unique skill where he's able to lend his voice to the individual nature of these characters. You forget it's one guy doing it. And I can tell you, it's exhausting for him. Being inside one character's mind is exhausting. And I can't imagine what it's like when he's in a whole squad of guys. And he's got to keep the energy up and he's got to keep the conflict up. And he's arguing with himself.

He and I over the years have had different ways to remember clones. When we were in the series we had certain words that would be like triggering for each of the clones — what their key personality was. The Bad Batch is a little easier, you know, because they're so different.

I think one of the coolest scenes that has ever come out of Clone Wars is the attack on the command center in episode 1 of this season. Do you remember plotting that out?

Yeah, that was really well-directed by Kyle Dulevy. George was always pushing us to think more in terms of what the live-action blocking would be and how a live-action film could do things. And that's where some of those longer takes that hand off action and keep with movement and feel more handheld and operated come from. It's the way to really put the viewer right in there, like you're running alongside the clones.

The way we do Clone Wars, there's no storyboards. So when we plan the scene like that, it's all virtually blocked in the computer. All the staging is done in a privatized system George created called Zviz, which is like a virtual blocking tool for directors. And you can put all the characters on the stage and then you can watch them play out the scenes like you’re watching the morning walkthrough of the rehearsal run, and then you can set up your cameras and so you can follow everybody. There's this virtual camera, and you can tweak the timing to get it to be really perfect.

The animator, Kyle, and his team were really proficient at using it. I know exactly the shot you're talking about. The way I look at it in my mind is that the Bad Batch arc is the most authentic to the way I think Clone Wars was back when we did it. Yes, we improved the animation. We improved the rendering. But it's very much something that we had shot. It's pretty authentic. The middle arc is more of a halfway point, where we tweaked it and we worked on the script quite a bit, but it's still the relative idea of what we were going to be doing cinematically. And then the end is really something like we've never done before in Clone Wars — because it’s the end.

It was so great to see Echo again despite the circumstances. When he seemingly died in the Citadel, did you know then that you wanted to bring him back later?

No, ha. That [death], really more than any of the other ones, we all kind of noticed that people were like, “Oh, man, Echo.” And we thought it'd be interesting that the Techno Union — a creepy bunch of guys on the evil side of things — maybe there's something to be done there. So we started to hatch a plan for if that would even be something that's possible. But it wasn't top of mind when we did the Citadel arc.

Another difference between the story reels in the second episode was this new scene about Anakin slipping away to call Padme, which I thought was a pretty illuminating addition.

When I looked at these 12 episodes, there was no Padme in them, and that seemed like a really huge oversight. That was never the plan, because there were more episodes planned, but we ended up doing these 12. I just thought that was really unfortunate. I talked to the actress who played her, Cat Taber, and I think it was a bummer for her because she'd been so involved in the series over the years.

And again, [this new scene] is important to the story and for people that might be walking into Clone Wars new. Having a scene with Padme actually interacting with Anakin was a very important moment. It also shows people where they're at in their relationship. It shows that he goes to her for advice, that she really gets the relationship he has with Rex, that she needs to remind him that actually that was going out on a limb for him, so maybe you should take it on faith and go on this limb for Rex. And also that she has a big influence over Anakin still and that he trusts her. And it also hints at the timeline. And that's always a tricky one, I think, because you as the viewer have to remember that at this point in Star Wars, we know way more than the characters do.

To be honest, I'd worked so much on Rebels, I had to go back and reread and watch a whole bunch of the Clone Wars era just to turn my brain back on. I had to upload a whole bunch of information to my drive because, you know, I guess I'm getting old and losing some of it, but it came back in time.

You posted an intriguing Instagram last month. It was a picture of Gandalf and Ahsoka. And Gandalf says, “People thought I was dead, too. Look how that turned out…” And, you know, a lot of people assumed Asoka was dead because we hear her voice in The Rise of Skywalker. Are we going to see her again?

Well, you'll see her in Clone Wars if you watch these 12 episodes. [Laughs] I told the truth! I had an answer for once.

Was there anything that you learned from working on and directing in this first season of The Mandalorian that you were able to apply to this final season of Clone Wars?

I think a lot. Working with Jon Favreau has been another extension of my education. There are a lot of things that George had taught me over the years about live-action, and finally here I was in a place where I could apply it. And I'm so fortunate to be working alongside Jon as another mentor and someone who is very experienced to help me through the questions and the challenges that you have in a different medium.

But yeah, it definitely affected me as far as looking back on the Clone Wars with different eyes and saying we could tighten this up, this could be better. You know, some of the things I learned from Jon about just keeping it moving and heightening and transforming things as we go. He brings a great perspective, and one that I've really never had as an actor to every scene and the emotions and the character. And so I've learned a lot from him in the past year about hopefully improving our performances and relating to performances.

[script-a-world]

Submitted via Google Form: Hey guys!! I want to create a fantasy world that has multiple different ethnicities in it but I’ve been hesitant to base the character’s hometowns off of real world cultures. Originally, the countries were based off of Cherokee, Aztec, and Mali culture but I’m not sure how far I can base a culture off something? I’m scared that having too few aspects from this culture or too much could be considered appropriation. I was thinking about having a world not based off of any real world cultures but in terms of architecture, clothing, philosophy, anything really, I can’t think of ideas that another culture hasn’t used. (Also I’m making up my own religion because I know certain cultures are sensitive about this stuff). I was wondering if you know what to do about basing world building off of real cultures? And how to create your own world without accidentally Appropriating a culture, whether it was intentional to take ideas from that culture or not?

Tex: I think in this instance, you have an excellent resource in the worldbuilding of A:tLA (Avatar Fandom). The two best pieces of advice I can give you - outside of A:tLA - is maintain context and blend similar cultures. Like attracts like, as mentioned in a previous ask here, and with a little creativity you can create something contextually “new”.

To borrow your examples, it would be good to research how subjects such as architecture, clothing, and philosophy came about in your source cultures. Quite often the answer is a pragmatic one, with the human tendency for embellishment and ceremony added in over the years as the ideas and constructions are interacted with.

Religion is a tricky one, and doubtlessly someone, somewhere, is going to be clutching their pearls and speaking in disparaging tones - it brings all of us right back to the advice of maintaining context. As mystical as any religion sounds, it began as many other things: a pragmatic, if not strictly tangible, answer to a problem.

To take an example from Christianity, a cross is, in itself, just an object. It didn’t mean anything in particular to the Roman soldiers who used them, and frequently nothing beyond your bog-standard misery at dying for those nailed up to it. What makes it special to Christians is the story surrounding one particular individual who got nailed up on one. Does it somehow imbue it with a particular power? Well, that one’s up for debate, and it’s going to be a matter of faith instead of something that can be put through the rigor of study and experimentation - if you strip the context of the cross to Christians, that’s where the offense lies.

Something like that is often where the lines of appropriation lies. What is one person’s holy object is another’s curio, but if the curio is directly taken from someone’s holy place or holy object, then you need to rethink your strategy. So long as you’re respecting the cultural connotations of something, and doing your best to double-check with someone from that culture who knows more than you where the lines of offense lie, you should be good.

Feral: Jumping off what Tex is saying about the line between reference and appropriation being context, it’s also very important to keep in mind what are closed practices and what are not. A closed practice is a practice within a culture that is not meant for outsiders - you can often find “resources” describing (usually badly) these practices written by outsiders invading these closed cultural spaces (Kabbalah is one of the most widely known examples of these kinds of closed practices that have been appropriated outside the Jewish faith). The way you can best learn context and avoid invasion into sacred spaces (particularly of already oppressed groups, like those of the indigenous populations of the Americas and West Africa) is to use primarily sources from within those groups and not from outsiders. For the particular groups you mentioned, you can find resources about the Cherokee through the 550,000ish tribal members across the three nations, the United Keetoowah Band, the Cherokee Nation of Oklahoma, and the Eastern Band of Cherokee Indians; the descendants of the Aztec are called the Nahua, and there are about half a million of them as well, living in Mexico today. By Mali, I assume you mean the Mali Empire and not the modern day Republic of Mali; regardless, I would recommend you focus your research on the Mande people, or even more specifically the Mandinka people.

[rockthistowninsideout]

Never Too Late For A Leap Of Faith

Part 2

Part 1 here

Five times Taichi only feels the presence of Digimons and one time he actually meets them (again).

Words: 1401 Rating: Teen And Up Audiences Tags: 5+1 Pairings: Taichi Yagami/OC, Sorato, Jyoumi

Inspired by this youtube video talking about how the end of Kizuna fits into the narrative of the Epilogue in 02, posted by TheDigiKnow. It’s in my opinion a thorough and yet personal analysis.

   The last time Taichi had been this nervous was before his final exam in his studies. He stood before a sleek black door on one of the highest floors in a governmental skyscraper in Tokyo’s heart, Roppongi. Behind the door sat a panel of the Japanese government, wanting to hear his expertise. He wondered if Koushirou was already in there. After another deep breath, telling himself to just screw it, it wouldn’t be any better if he stood here for another minute or two, he knocked.

   “Ah, Yagami-shi.” The prime minister bowed to him, as did everyone else, when he entered.

   Taichi did his best to compose himself and not get all flustered by the honour of the prime minister knowing his name.

   “Hello Taichi-san”, someone said at the other end of the table and Taichi noticed to his relief that it was Koushirou already standing beside a holographic screen.

   Taichi bowed to everyone around, then proceeded towards Koushirou. He put his briefcase onto a desk and extracted his notes. He looked at them but then he realized he wouldn’t need them. Nodding to Koushirou, he said, after a few welcoming words “The public has known Digimons mostly as, at best, a nuisance and at worst as a life-threatening force. But we know that Digimons also have a different side. They are caring, loving, and loyal companions who want nothing but the best for humans.

   Notice how I said ‘who’? Rationally looked upon, they might be only comprised of data, just like a music or a text file. But they are much more. Imagine the agony you might feel when a CD with your favourite song breaks or a very important text file gets deleted. Now exponentiate that to the grief you feel when losing a loved one, maybe even finitely. This is how we felt when we had to let our Digimon partners go all those years ago because the nature of human-Digimon bond was a doomed one, it was only temporary. Something we lose when we grow up because Digimons make the most sense when you are a child.

   And as an adult, you lose sight of what is important in life. You think you have cracked the meaning of life, working hard and getting married – and while I don’t want to disparage marriage or family, not at all – we treat it like it’s some kind of competition. That way, though, carefreeness, our sense of fun, and the lightness of just being and living get lost. But when you have children of your own, you start seeing the world again through the eyes of a child, and slowly that lightness returns.

   To make a long story short, we as humans are better off having a good connection to Digimons instead of condemning them as monsters. They preserve our childlike side and add to our social value. This is not about being chosen for a great task, like Izumi-kun and I had been, but about living peacefully together with a species that is much like us humans: Every Digimon is an individual with a fully-rounded personality.

   We are here to propose diplomatic relations to the Digital World with the long-term plan of finding a Digimon partner for every human, if they wish to have one. Izumi-kun will now introduce you to his network of DigiDestined that he’s been running for nearly fifteen years now and that shows that not only peaceful connections between humans and Digimons are possible, but also between humans themselves.”

   If Taichi had thought the anxiousness he had while standing in front of that office door had been bad, well, he’d blatantly been wrong. He had to suppress the urge to vomit while he watched Koushirou typing furiously on a holographic keyboard. It didn’t make any sense to him, though. As long as he knew Koushirou, there had been the steady rhythm of his fingers flying over the keys, a soft hammering, the sound of knowledge and curiosity. But now it was only silence, as if someone had muted reality.

   With a final enthusiastic hit, a picture appeared on the floating screen floating that was painfully familiar. A crystal blue lake, nearly perfectly circular, glittered in the sunshine, surrounded by a dense wood. In the middle of the lake was an island with the most peculiar yet reassuring sight around: a gleaming tram wagon, empty but for a few odd creatures looking like they’d been sitting there for eternity.

   Taichi looked down when he felt someone take his hand.

   “Let’s go together”, Koushirou said smilingly.

   On the other side, he felt another person’s presence. Yamato hadn’t taken his hand but his upper arm was brushing Taichi’s. Taichi inhaled deeply, then nodded. It was time.

***

   “Taichi-san?”, a hardly-surprised, childish voice asked.

     Taichi took a deep breath but he didn’t turn yet. It was too good to be true, it was what he had dreamt of since their disappearance after the Eosmon incident but he was wiser as to put too much hope into this voice. After all, it could be a hallucination his wishful mind had made him think.

   “Taichi-san, do you not want to say hello to me?”, the voice asked again. Someone tugged at his hand.

  Finally he looked down. A tug at the hand could hardly be imaginary, could it?   Many teeth greeted him, then the mouth closed and he looked into Agumon’s blinking blue eyes. “Taichi-san, you’ve finally come back to me!”, Agumon exclaimed and held out his arms.

   Taichi laughed while he cried, crouching down before his Digimon partner. “Yeah, it took me a while, a lot of things have happened.” He embraced Agumon. “Are the others with you? Because we’ve all been waiting so long. Biyomon and Gomamon and Palmon and Gabumon and Tentomon and Patamon and Gatomon. They’re all here.” Agumon stepped away and made a sweeping gesture. The Digimons came forward, their gazes flickering between Taichi and the group of people standing a little distance behind him.

   “Yes, we’ve all come back. And we want you to meet some special persons.” Taichi wiped away the tears with the back of his hand, then got up and beckoned the rest towards him with a wave.

   “Oh, Sora-san”, Biyomon exclaimed and excitedly fluttered forward, straight into Sora’s arms.

   Yamato and Gabumon looked at each other amicably; they’ve never been much for words but understood each other perfectly nonetheless.

   “Jou-senpai, I hope you’ve been eating well and not studying too hard while I was away”, Gomamon greeted his partner after he’d waddled over towards him.

   “Kouhirou-han, still carrying your tablet with you? I’m glad you haven’t changed a bit.” Tentomon buzzed excitedly around Koushirou’s head.

   Mimi and Palmon were running towards each other, screaming with joy, but actual words were not decipherable.

   “Takeru-kun, Takeru-kun, why haven’t you come earlier? I was so bored without!” Patamon flapped towards Takeru, then settled comfortably onto his head after Takeru had taken off his sailor’s cap.

   A solemn but smiling Gatomon stood before Hikari, paw extended. “I’ve been keeping this”, he said.

   Hikari took the whistle gently, a flood of memories rushing through her mind, then she blew it mightily.

   As if they had agreed on that as a sign, the remaining people shuffled forward, most were visibly nervous.

   “Kana-chan! Oh, Kana-chan, it’s been so long!” somebody suddenly yelled from the edge of the forest. A red birdlike Digimon, with a green beak and yellow coat pattern on his belly, waddled as fast as he could towards Taichi’s wife who’d been leading Hotaro to the Digimons.

   Now she dropped to her knees, crying “Oh Muchomon” in delight and embracing her Digimon once he had reached her.

   The remaining spouses, who had not been DigiDestineds, watched a little warily. They had heard the stories, hair-raising at times and most certainly not what children should have to endure, so they were familiar with the concept of Digimons. But meeting them now in the wild, so to speak, in their natural habitat, was something they still had to get accustomed to.

   Until Gatomon turned to Hikari’s daughter and introduced himself. Then he added “We welcome you to the Digital World, hoping that you will find a home here just like it is ours.”

   Meaning the same, but phrasing it differently, Agumon exclaimed “I’m hungry, let’s have a picnic!”

   Which earned him laughter from everyone. The ice was broken.

[tinyshe]

Thinking about ditching all social media? I am. This includes things like youtube and other items that you “log in”... “feeding the machine” -- food for thought...

Story at-a-glance

The whole justification for the War on Terror was to target “precrime”, or terror acts before they happen; the legislation was meant to target foreign governments and individuals, but bills are pending that would make the legislation applicable to Americans in the U.S.

Investigative journalist Glenn Greenwald stated that the end goal of the newly emerging war on domestic terrorism is to "essentially criminalize any oppositional ideology to the ruling class," adding, "There is literally nothing that could be more dangerous”

Journalist Whitney Webb is concerned about fusion centers, at which the Department of Homeland Security, FBI, NGOs and others in the private sector collaborate to decide who’s a terrorist and who’s not

Fusion centers have been around for a while, but as the war on domestic terror progresses, Webb believes that fusion centers will take on the same role as the CIA-run Phoenix Program during the Vietnam War, which were designed to collate names of dissidents and people with extremist sympathies to databases so they could be pursued by the relevant authorities

Silicon Valley and the national security state are now fused; deleting your social media accounts is one of the best ways to stop feeding the domestic terror machine

In June 2021, the U.S. National Security Council released a new “National Strategy for Countering Domestic Terrorism.”1 While it’s being largely framed as a tool to fight White supremacy and political extremism, the definition of what constitutes a “domestic terrorist” is incredibly vague and based on ideologies.

In a podcast with one of my favorite independent journalists, Whitney Webb,2 Media Roots Radio host Robbie Martin notes how this creates a dangerous slippery slope, one that’s connected to the attempts to have increased surveillance and tracking of Americans’ data after 9/11.3

The “War on Terror,” launched in the aftermath of the September 11 attacks, Martin says, “was merely a prelude to a larger domestic crackdown on political dissidents.”4 Webb agreed, stating that we’re “near the bottom part of the slippery slope” already, and it’s not a stretch that one day anyone who disagrees with the government could be labeled a domestic terrorist and charged with a crime.

Criminalizing Oppositional Ideology to the Ruling Class

The whole justification for the War on Terror was to target “precrime”, or terror acts before they happen. Initially, the legislation was meant to target foreign governments and individuals, but bills are pending that would make the legislation applicable to Americans in the U.S.5

Investigative journalist Glenn Greenwald stated that the end goal of the newly emerging war on domestic terrorism is to "essentially criminalize any oppositional ideology to the ruling class," adding, "There is literally nothing that could be more dangerous, and it's not fear-mongering or alarmism to say it.”6

This isn’t a partisan issue, but something that’s been in the works for decades. Greenwald stated that viewing Washington as Democrat versus Republican, with one side being “your team” and the other being “your enemy” is a flawed belief, as an elite ruling class is truly in power:7

"There is a ruling class elite that is extremely comfortable with the establishment wings of both parties ... who they fund equally because those are the people who serve their agenda. Then there's a whole other group of people at whose expense they rule in. Some consider them on the left, some on the right," but "it's time to break down those barriers."

It’s important to understand that the U.S. already has aggressive criminal laws in place, such that more people are imprisoned in the U.S. than anywhere else in the world.8 Do we need further laws to criminalize people put in place? A concerning pivot has occurred as well, shifting in focus to the FBI targeting this new model of terrorism while the terms like “incitement to violence” have been radically expanded in meaning.

“It is accompanied by viral-on-social-media pleas that one work with the FBI to turn in one’s fellow citizens (“See Something, Say Something!”) and demands for a new system of domestic surveillance,” Greenwald wrote.9

People Who Spread ‘Disinformation’ Classified as Extremists

You don’t have to be violent to be declared a terrorist. You may simply have what the government deems to be “extremist views” or could be accused of spreading disinformation — although there’s no clear definition of what “disinformation” is. According to Webb:10

“There is talk in the domestic terror strategy that people who spread disinformation can also be classified as extremists and a threat to national security and, of course, we’ve seen over the past several years, how this disinformation label can be applied to independent media as a way to promote censorship of voices that are critical of U.S. empire, among other things, or that just don’t fit a particular government narrative.”

As taken directly from the National Strategy for Countering Domestic Terrorism:11

“Domestic terrorists have — particularly in recent years — often been lone actors or small groups of informally aligned individuals who mobilize to violence with little or no clear organizational structure or direction. These individuals often consume material deliberately disseminated to recruit individuals to causes that attempt to provide a sense of belonging and fulfillment, however false that sense might be.

Their ideologies can be fluid, evolving, and overlapping. And they can, in some instances, connect and intersect with conspiracy theories and other forms of disinformation and misinformation …

These elements combine to form a complex and shifting domestic terrorism threat landscape and create significant challenges for law enforcement. Especially on Internet-based communications platforms such as social media, file-upload sites, and end-to-end encrypted platforms, all of these elements can combine and amplify threats to public safety.

… These efforts speak to a broader priority: enhancing faith in government and addressing the extreme polarization, fueled by a crisis of disinformation and misinformation often channeled through social media platforms, which can tear Americans apart and lead some to violence.”

Fusion Centers Are Ready and Waiting

Webb is concerned about fusion centers, at which the Department of Homeland Security, FBI, NGOs and others in the private sector collaborate to decide who’s a terrorist and who’s not.

Fusion centers have been around for a while, but as the war on domestic terror progresses, Webb believes that fusion centers will take on the same role as the CIA-run Phoenix Program during the Vietnam War, which was designed to collate names of dissidents and people with extremist sympathies to databases so they could be pursued by the relevant authorities — many ended up being kidnapped, tortured and killed.

Fusion centers are waiting to take on a more active role in the newly declared war on domestic terrorism, but in order for them to gain widespread acceptance, Webb believes that an outrageous event needs to take place — one that goes further than the January 6, 2021, storming of the U.S. Capitol, such as something that targets civilians and sparks outrage among the U.S. public that something must be done.

“This is why I worry that some other event may take place in order to push this strategy further. They’re setting up an infrastructure here that they plan to use, right? And I think given the current climate in the U.S. it would be hard for them to justify taking that where the strategy clearly shows they want to go,” Webb says.12

She also draws parallels between the present day and the U.S.-backed Operation Condor, which targeted leftists, suspected leftists and their sympathizers, resulting in the murders of an estimated 60,000 people, about half of which occurred in Argentina. Another 500,000 were politically imprisoned.13

“There was no investigation into whether the claims against these people were even true,” Webb explained. “There were no trials … it was a dragnet to create reorganized society using a climate of fear to encourage acquiescence to authority and complete obedience to the state.”14 It’s history that often gives the greatest clues about where society is headed, and Webb also details a bill President Biden introduced in 1995 in response to the Oklahoma City bombing.

It was initiated by the FBI as a charter to investigate political groups and included the following disturbing points. Fortunately, the bill wasn’t passed in this version — a lot was taken out and watered down — but if allowed to pass unrevised, it would have:15

Allowed the FBI, military and other groups to investigate political groups at their will, without any higher-up approval

Allowed a 10-year prison sentence for the crime of supporting the lawful activities of an organization if the president deemed the organization a terrorist entity

Made it so that the president alone decides who is a terrorist, and the decision could not be appealed

Loosened rules for wire taps

Reversed the presumption of innocent until proven guilty

Allowed the military to be used in domestic law enforcement activities and potentially made it legal for soldiers to invade people’s homes and take possessions without probable cause

Allowed secret trials for immigrants not charged with a crime, and allowed the use of illegally obtained evidence in those trials

Silicon Valley Is Fused With the National Security State

Silicon Valley and the national security state are now fused, Webb says. The decadeslong wars against domestic dissidence have always involved technology like databases, and now the link is inseparable.

Webb wrote about “tech tyranny” at the start of the pandemic, revealing that a document from the National Security Commission on Artificial Intelligence (NSCAI) — acquired through a FOIA request — said changes were needed to keep a technological advantage over China:16

“This document suggests that the U.S. follow China’s lead and even surpass them in many aspects related to AI-driven technologies, particularly their use of mass surveillance.

This perspective clearly clashes with the public rhetoric of prominent U.S. government officials and politicians on China, who have labeled the Chinese government’s technology investments and export of its surveillance systems and other technologies as a major ‘threat’ to Americans’ ‘way of life.’”

Many of the steps to implement the program are being promoted as part of the COVID-19 pandemic response. NSCAI is not only a key part of the Great Reset’s fourth industrial revolution, but also promotes mass surveillance, online-only shopping and the end of cash while noting that “having streets carpeted with cameras is good infrastructure.”

NSCAI’s chairman is Eric Schmidt, the former head of Alphabet, Google’s parent company. Other notable Silicon Valley NSCAI members include:17

Eric Horvitz, director of Microsoft Research Labs

Andy Jassy, CEO of Amazon Web Services (CIA contractor)

Andrew Moore, head of Google Cloud AI

Meanwhile, Greenwald highlighted a statement by Alex Stamos, a former Facebook security official, who recommends social media companies collaborate with law enforcement to crack down on extremist influencers online, especially those with large audiences in order to “get us all back in the same consensual reality.”18

Social Media Plays a Huge Role in the War

If you’re reading this and are concerned, I urge you to listen to the Media Roots Radio podcast with Whitney Webb in full.19 It’s just under 2.5 hours, but time well spent to understand the historical events that have led us to where we are today. For those who want to take action, a mass exodus from social media platforms is a good start.

Many suspect Facebook is the public-friendly version of the Pentagon’s Defense Advanced Research Projects Agency (DARPA) Lifelog, a database project aimed at tracking the minutiae of people’s entire existence for national security surveillance purposes.20

The Pentagon pulled the plug on Lifelog February 4, 2004, in response to backlash over privacy concerns.21 Yet that same day, Facebook was launched.22

Lifelog — and likely its successor Facebook — was meant to complement Total Information Awareness (TIA), a program that sprang up after the 9/11 attacks that was seeking to collect Americans’ medical records, fingerprints and other biometric data, along with DNA and records relating to personal finances, travel and media consumption.23

Now Facebook is asking users to report “extremist” content and misinformation. Fortunately, there’s a way to passively disentangle yourself from the data mining and legacy social media that is intertwined with the war on domestic terror. Webb says: “Delete your Facebook and your Instagram and your Twitter, because you are feeding the domestic terror machine.”24

[thecanadianowl]

Justice league Snydercut review

Wow talk about a long movie. Remember Mass Effect's 3 shit endings that were later improved (sorta) with DLCs. Well that is kinda how this movie is.

Before we start this, I just wanna say that I was very impartial throughout the whole snydercut movement. I wasn't part of it but I do see the good that they did in regards to some of their charities and with how the fandom itself has been painted in a negative light. So its good that they got what they have been demanding for quite some time. Snyder as director for me, I really am not the biggest fan of. His movies have some great cinematic moments that look amazing but the context around it is what muddles it for me.

Is it better than Whedon's JL? YES. To start I'll look at some of the things that I do like.

I do like how it was split into parts.  Gives it that miniseries/Comic book feel

Thank god they removed that stupid cringy flash landing on top of Diana's chest scene.

Darkseid looks good. I know some people have issues with it but I liked it. I mean looking at it first glance has me convinced its Darkseid. His voice isn't too bad either. Reminds me a bit of Injustice 2.

As much as I have issues with Darkseid being introduced so early I do like that he had a brief confrontation/glaredown with the League, foreshadowing a possible in person encounter and that the League needs to expand if they are going to fight against Darkseid.  

Steppenwolf's design has greatly improved and looks better than before.

Loved the scenes between Alfred and Diana.  Wish there was more of that.

I loved how the movie added Cyborg, Aquaman and Flash attempting to stop Superman from getting to Batman. I also liked how in this version,  Batman pleading to Clark's humanity telling him that world needs him and he needs to snap out of it.  Also bonus for taking out that scene of Batman on the ground groaning about how old he is getting.

Okay seeing Clark get the black suit and having the voiceovers of both his father's merge together works in terms of Clark's arc into becoming the person he was meant to be. Also like the use of Zimmerman's Ideal of Hope score wished they let it play out a little longer.  Probably my favourite moment in the film is where Superman just takes Steppenwolf's Axe like its nothing and freezes it.

Now to go into some of the more critical stuff that bugged me when watching.

For a movie that is 4 hours long, pacing issues were bound to happen. I think the first example of this can be found in the opening with the Superman scream wave (which started to get a bit hilarious when his screams could be heard every now and then) hitting all three mother boxes. they are shown individually reacting to it and it takes time, where it could have just showed them together or an compilation of each of the motherboxes waking up. I know it Snyder's thing but tone down on the slow mo. Like some instances its fine (like with bullet time or Flash's scenes) but other instances I'm just like alright I get it.

The scene involving Cyborg transferring money into that single mother's bank account. Is he gonna do this for all the people suffering just like her? or just for that one person? I mean if you can hack into the world monetary system, you can solve a lot of financial issues affecting  the majoirty and not just one person. Did I miss the scene but why did Cyborg go from helping one poor person, suggesting the potential good he can do to change the world for the better  to "Fuck the world". Seems a bit inconsistent in character. Especially since he knows who Diana is (from what he says)  and that Parademons are after the motherbox. Maybe her offering help, you should take it? idk Vic. Also the whole Auto defense system malfunction, would it not be better if this was established beforehand where we see Vic struggling to maintain his body's autonomy leading up to the Superman confrontation? Prior to that it seemed he had it under control and his biggest conflict throughout the movie seemed more to be with him coming to terms with his new body. With that being said, Cyborg's character here is much more interesting and better than it was originally. I can see why Ray Fisher is so pissed (well that and the abuse he faced).  I am glad this was improved and gave the character a lot more to do.

The movie still has the same issue as before in regards to the whole motherbox plot and how convenient it was that all three are located on earth. You would think that with the involvement of Darkseid/Steppenwolf that separating them to distinct locations across space would make it more difficult to collect them. I mean we know that the Green Lanterns exist (we saw one get chomped), you'd think that they or the guardians would take one and secure it on Oa. The pushback to this would be "well there was only one green lantern and he died, so how could they retrieve the box?" which begs my question, why send only one? I mean it has been established that Darkseid is a known conqueror of worlds, you'd think the Guardians would be smart enough to send more than one Lantern to aid Earth in their fight.  Did they not think it would be a good idea to have the corps be more involved/keep an eye on earth since it is the only planet that was able to repel Darkseid's forces?

Why is it that the best idea of security when it comes to humans is to bury it? Would it not be better in optics to look over it and know its location instead of dropping it somewhere on the off chance that someone might find it due to being  curious or the land changing/altering  making the box more easy to attain? A situation as dire/serious as this, you would think that the Amazons/Atlanteans would have been better prepped with armor/weapons for such an event. I mean you have the arrow of Artemis that shoots quite a distance to give Diana a message but not some kind of weapon that hurts/cripples Steppenwolf? Or better yet, how about the moment that the boxes started acting up after Superman's death, that Atlantis/Themiscarya would put aside any differences they had with one another and to the outside world to come together to secure the boxes?  How could Darkseid forget the name of the only planet that was able to force him to retreat? nor does he know that it harbors the anti life?

Did this movie break Aquaman's continuity? because from the dialogue between Mera and Arthur, its implied that Atlanna abandoned/left Arthur at Tom's doorsteps whereas in the movie,  we see Atlanna spend a couple of years with Tom and raising baby Arthur before she was forced to come back. You'd think Zack being a producer for the Aquaman  movie would have edited that line or made it more clear. Well that or James Wan F'ed up when making the movie.

"I've never seen a being as strong as Steppenwolf" Did Diana just forget Ares aka the god of war who killed the Greek Pantheon/Old gods and orchestrated the first World War? Hell from the looks of the flashback it seemed Ares (I'm assuming its Ares, if its Hades, my bad) was getting some good hits in on Darkseid, who is superior to Steppenwolf.  While we are on the topic of Diana, it's a bit odd that Snyder who  was a producer on WW84 where one of the biggest focuses on the movie that Patty Jenkins talked about was how Diana doesn't solve her problems with violence (even though her primary weapons in this movie are a sword and shield but okay. Then again New 52 hasn't done a good job in disproving that), yet in this movie we see her using her gauntlet smash to fucking kill the one remaining terorrist. Like sure you can argue that they were terrorists and deserve to die, but given how easy and quick it was for her to take out the previous guys, why do something that runs the risks of destroying the very building that you are in (with hostages). I mean from the look of the blast and how much debris fell from the building outside, and it was a miracle no one (but the terrorist) got hurt/killed.

Why did Steppenwolf  kidnap  them in the first place? Just use that mind extracting device you used on the Atlantean soldier to see if they know. Seems like a waste of time to collect them in one location only to interrogate them later.

Okay, I'm sorry but even in this cut I still don't like Miller's Barry Allen. He isn't as bad as he was in the theatrical cut but man does it stick out. When he is helping to escort the kidnapped civilians out, why doesn't he just grab them and transfer them to a safe distance? He even makes a comment about how slow they are going. Can I also just say how weird it is for Barry to take time saving Iris to caress her hair and look at her more creepily in slow mo? Like yeah its in slow mo but still I think your priority should be to get everyone to safety as quick as possible and check if anyone else could get hurt.  I will admit that Barry's speech as he is running so fast to reverse time at the end was really good. Tho the more I think about all the slow mo Flash scenes are good.

They still kept the "Let's use the mother box to bring back Superman plot". Why? This is a piece of tech that you don't fully understand how it works and you are going on the whims of someone you just met. Especially if they come back as a different person/mindset all together.  If Superman 's death was the reason that allowed for the Mother box to call to Steppenwolf/Darkseid, what the hell were they doing prior to Superman's arrival on earth? I mean we've seen how easy it was for Steppenwolf to attain the two boxes even if they were guarded, so why the wait ?. I get that Batman is going through an arc and trying to change from the person he was but how does go from "1% chance of absolute certainty" to "let's go on a whim and have faith" when it comes to resurrecting Superman? 

Its gonna be awkward as to how Clark will explain his sudden return from the grave around the same time Superman came back.

I was wondering when the Knightmare scene will play out. Jared leto's Joker isn't over with me, it seems way too try-hard to be edgy. Other than that yeah, not much I can say about it. Tho do we seriously need another iteration where Superman (or someone with Superman like powers) is evil?

I also love how nonchalant Bruce is about J'onn appearing in front him. However the revelation that J'onn was that army general all the time breaks so much of continuity (and just why now did you decide to show up and help and not idk the time Zod invaded and nearly  terraformed earth, HELL WHY TF DIDN'T SHOW UP TO HELP THE LEAGUE IF YOU KNEW ABOUT DARKSEID, I'M SORRY TO RAG ON BUT REALLY THIS CAMEO JUST OPENS UP SO MANY QUESTIONS, IT JUST SEEMS LIKE AN "PALPATINE WAS BEHIND THIS ALL ALONG" KIND OF THING ).

In terms of getting a sequel, I am not sure if WB is going to go through with it given that their current vision seems to be a different route than the one Snyder intended so who knows. Despite my criticisms I do believe this is Snyder's best DCEU film to date and probably one of his better films. You could tell that he put in a lot to make this. The movie itself does have issues mostly due to the plot surrounding the motherbox as well as pacing. I would say it's worth the watch at least once, though I think its best to watch it in doses rather than one sitting. Ultimately this is the version that we should have gotten and I can see why so many people who were supportive of Zack wanted or vouched for him to finish it. Regardless, I think the very least I am happy for Snyder. If you like Snyder's previous stuff, you will like this one, if you don't, your perception of the film won't change significantly other than some cool bits here and there.  

[c-is-for-circinate]

On Good Omens, queerbaiting, and heteronormative bullshit

Theory: Good Omens the miniseries and the way it treats relationships feels maybe a little weird and hits some of the same mental buttons as queerbaiting not because Aziraphale and Crowley are insufficiently gay, but because the entire rest of the show is.  In this essay I will actually write this essay, because no, really, I think it’s A Thing and I might even be able to prove it.

There’s a lot of nuance to both sides of the whole queerbaiting/not-queerbaiting argument, and I don’t want to neglect any of it, but I think my big takeaways have been as follows:

On the ‘this is uncomfortable and queerbaity’ side:

Good Omens the miniseries ramps up the emotional relationship between Crowley and Aziraphale to be the heart of the entire show.  Both demon and angel are coded as gay in a number of different ways, both individually and in terms of how their relationship is portrayed as a romance.  And yet despite being the core of the show, they never make any of it explicitly romantic.  There’s not a kiss, there’s not an ‘I love you’.  The entire relationship is built from implications rather than explicit statements.

Years and decades and centuries of storytelling have given us gay relationships that we have to look for.  That we have to find in implications rather than explicit statements.  Sometimes stories were written that way for plausible deniability, so that content creators could keep mainstream/straight fans happy while also luring queer fans with crumbs and promises.  Sometimes stories were written that way for plausible deniability, so content creators could slip hidden gay messages past censors.  Sometimes stories were written that way for plausible deniability, so content creators could stay literally, physically safe.  But either way, it’s exhausting.  It’s been so long.  We want to see ourselves on screen.  We want somebody to admit out loud to what we’re seeing.  We’re tired.

Also, when things get heated: the opposing side are apologists and boot-lickers, ready to bend over backwards to defend their Precious Author Faves in hopes of receiving whatever crumbs they can get.  (Please note: this is an ad hominem argument with like ten different logical fallacies in it, and also it’s just mean.  We will be assuming that all parties in this discussion are attempting to act in good faith with a healthy dose of frustration, and largely ignoring this point.)

On the ‘no, this is Good Representation, really’ side:

Aziraphale and Crowley are in a queer relationship--it’s just not a gay one.  They are two genderfluid beings who mostly present as male out of preference or convenience, surrounded by additional similar genderfluid beings who may present as male, or female, or both, or neither.  Their relationship is both romantic and asexual.

The fact that those ‘explicit milestones’ of kissing, sex, etc are absent from the show is in fact part of the point.  Not only does it make sense for the characters themselves, but it means so much to see a relationship that is obviously romantic, that is the center of an entire story, where the key turning point is about something other than sex or marriage.  A relationship can be super important, can be important enough to build an entire life around, without sex, without kissing, without wedding rings.  It’s so good to see one that is.

Also, when things get heated: the opposing side are aphobes and probably transphobes, whiny babies who don’t really care about representation, they just want their kind of representation.  (Please see above note about ad hominem attacks and logical fallacies.

There are a few points that everyone can agree on.  Crowley and Aziraphale follow the plotline of a romance, and their relationship is the core of this show.  They do not kiss, or have sex, or explicitly fall into any behavior that conventionally says, ‘yes, this human couple is dating’.  Other characters in the show mistake-them-for-dating, but those characters are always uninformed about the real complex nature of this relationship.

One side says: it all comes so close to being a thing we so rarely get to see, to reflecting ourselves on screen.  Why promise and not deliver?  Why come so close and then shy away?  Aziraphale and Crowley, with all they are to each other (with Aziraphale’s shop in Soho and his time in a discrete gentleman’s club, with their so-religious families that will disown them or worse for this relationship, with everything they are an have been) are a metaphor for gayness that refuses to commit past the point of metaphor and just admit it already, and it hurts.

The other side says: it has exactly hit the nail on the head of being a different thing we so rarely get to see, to reflecting a different portion of ourselves onscreen.  It just so happens that the thing it’s reflecting is by nature a little confusing and undefined, is close to the kind of queerness you’re expecting without getting there.  Crowley and Aziraphale (who’ve been alive for six thousand years, who have seen so many different ways humans love each other and swear to each other, who are not bound by our conventions or definitions and maybe show us that we don’t have to be either) are a metaphor for nothing.  They parallel a lot of familiar narratives of a lot of kinds of queerness, without trying to be anything but what they are.

Two sides, everybody so starved for representation that they’ll grab for it and name-call and scrabble desperately when they almost get it.  One relationship.  One divided fandom.

.

Look, it is obvious by this point that this is a case of everybody fighting over our one specific instance of representation because there isn’t enough to go around, right?  If gay relationships were more common throughout fiction, it wouldn’t be so important that Aziraphale and Crowley were among them.  If ace relationships and alternative relationship dynamics were portrayed as frequently or given as much weight as sexual ones, it wouldn’t be so important.

And it’s not just about what’s important, it’s about what’s noticed.  If there were gay relationships--or if there were ace relationships, or other kinds of queer relationships!--all over fiction, then being explicit would matter so much less.  It is important, in this world, that queer relationships in fiction announce what they are out loud, because in this world they are so often brushed over or ignored.  They have to clear a much higher bar than conventional straight, sexual relationships.  If there were more representation in the world, everybody would be primed to notice Aziraphale and Crowley as a romance.  We wouldn’t need it spelled out--one, because we’d already know, and two, because it wouldn’t be such a big deal if somebody else didn’t.

Of course, there’s more representation these days than there used to be--little dribs and drabs of it all over.  There’s just enough out there that somebody can say, ‘look, we’ve seen basic gay romances, let us have this thing here, let us have this nuance’.  And meanwhile half the audience (who may be gay, or bi, or ace, or transgender or genderqueer themselves in all sorts of ways) is gaping, because...okay, maybe gay romance exists in some places, in corners, but there’s still so little of it.

We’re all living on crumbs.  It’s hard to appreciate nuance when you’re just a few steps past starving.  It’s hard to appreciate the grace of ambiguous and open endings when you’ve seen them twisted against you again and again, and you just want something that’s yours.

.

Here’s another thing, an important thing.  Humans are used to seeing patterns and we’re used to seeing stories.  It can be very hard to tell whether a storyteller is trying to give us something new and strange told well, or something more familiar told badly--especially if we’re used to seeing the familiar thing told badly.

And: if the audience cannot tell whether an author is portraying Thing A well or Thing B badly, at a certain point it doesn’t really matter which it is.

And: sometimes the only way to tell if a story is trying to show you Thing A and succeeding or Thing B and failing, is to look around the story to see if you can spot Thing B done right, anywhere else.

In other words: How do you make a difference between an audience that is collectively sure that Crowley and Aziraphale are some specific, slightly-hard-to-define but very definitely queer thing (and sometimes being hard to define is an intrinsic part of queerness), versus an audience divided amongst themselves over whether or not they’re just a bad, cowardly approximation of ‘gay’?

You put actual, explicit gay somewhere else in the story.

And that’s where we run into problems.

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The problem with Good Omens the miniseries and how it does queer representation, how it does Crowley and Aziraphale and their romance, is the same problem that Good Omens the miniseries has across the board.  The problem is that half the writing team is gone, and so is half the story.

In the miniseries, Aziraphale and Crowley are, hands down, the main characters.  This is their story, and everyone else around them--Anathema and Newt, the Four Horsemen, Heaven and Hell, the Them, and even Adam himself--are just bit players.  I don’t fault Neil Gaiman for that, exactly.  I’m sure he did his best, and his best meant he poured the heart and soul of the story into these two characters and the relationship they share.  He gave them as much richness and depth as he possibly could.  (That’s part of why we all love them enough to fight over them.)  But the fact is, the rest of the story around them suffered.

Adam and the Them, Anathema and Newt, even Madame Tracy and Sergeant Shadwell--humans, all of them, and very much the people who actually stop the apocalypse.  Considering the way Anathema kick-started Adam along his path towards Armageddon, they’re even the people who started the apocalypse.  Very, very fundamentally, Good Omens is a story about how humans don’t need heaven or hell--not to be evil, not to be good, and not to keep being human.  Except that the miniseries wrote the humans off to the side, and that cracked things a little.  In some places, it cracked things a lot.

Don’t get me wrong: I love the miniseries.  I love Crowley and Aziraphale at the heart of it, and the richness and depth of their relationship.  I love the story about how an angel and a demon are so very very human, even though they think they aren’t.

But it’s a story that only works with enough of a contrast.  We can only appreciate Aziraphale and Crowley as an angel and a demon who’ve become very-nearly human if we know what the differences are in the first place.  We can only appreciate their similarities if we see enough humans acting the same way: with want, with fear, with desire, with pettiness, with love.

The difficulty with the miniseries is that we see a great deal of Crowley and Aziraphale being full of very, very human emotions and reactions.  We see their worry and desperation and how much they care about each other.  Nothing we see from any other character in the whole show comes close.

Anathema lives a life in service to (a prophecy, not a Host, but is it so different?) a thing she doesn’t quite understand and nobody can explain to her, that she just has to trust--but we see Aziraphale deal with Gabriel and Heaven again and again, and we see so little of Anathema’s fear and doubt.  Newt is fired from (a nothing job, not God’s endless love) a world he vaguely understands but isn’t good enough for, and finds himself in a strange, confusing place where he’s probably smarter than his boss and everything smells a bit weird and it might technically be his job to hurt people except maybe he doesn’t want to--and we get none of it, compared to what we see of Crowley, six thousand years post-Fall.

Adam is human and not-human, full of powers that can bend the world around him to his whim, that can make things how he thinks they should be.  He decides not to, because of love and selfishness, because he’d rather be human.  He makes the exact same decision Aziraphale and Crowley make.  We just get so much less of the weight of it.

The thing about telling the story this way is that it turns Crowley and Aziraphale into the only real people in the whole show, with everyone around them in silhouette and abstract.  It stops being a story about how this angel and this demon are, effectively, exactly the same as everyone else--oh sure they’ve got some differences, powers and abilities and age and shape-shifting (and mutable gender, and vague non-existent sexualities), but hell, people in general are full of differences in all of those things anyway.  

All of a sudden, the differences between baseline human and celestial being start to feel weird and cheap.  If Aziraphale and Crowley are the only real people in the story, and they’re not reacting in the way most people would react--it’s not just because they’re individuals, with specific individual wants and needs and reactions.  It’s either a statement or a weird error.  If the only real people in the story aren’t people, everything starts to fall just a little bit apart.

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And so we come back around to sexuality once again.

A deeply, deeply unfortunate side effect of the Good Omens miniseries fleshing out Heaven and Hell and neglecting the humans is that all of the queer content--all of the nonbinary characters, our one shining non-heterosexual relationship, all of it--went to characters who were not human.  It makes so much sense, on one hand.  That’s where all the new depth came from, so of course that’s where all the new queerness went.  And why should non-human characters subscribe to human definitions of gender and sexuality?  Of course they wouldn’t.

Because, right: the idea that sexuality is in and of itself a primarily human thing, which most non-humans lack but some experiment with for fun (and that is Word of God and that is explicit in the text of the show and the book)--that idea’s not actually inherently bad.  The idea that sexuality is a requirement of humanity, that it comes part and parcel with love and ‘becoming more human’ (which is, after all, the best thing you can do according to show or book)--that idea is in fact bad.  But if all of your desire for sex goes to your humans AND all your queerness goes to your non-humans...that gets real unfortunate, real real fast.

The problem is, just like the show neglected to give the full depth of human characterization and emotion to its actually human characters, it failed to give them the full depth of human sexuality and gender, too.

The humans in Good Omens are painfully heterosexual.  It’s not simply that the Newt/Anathema and Tracy/Shadwell relationships are straight--it’s that they fall into place as though straight is the only choice.  Both relationships are so very much a picture of no other options.  Anathema and Newt are facing the end of the world, about to probably die, and also have been prophecied to get together under these circumstances for centuries.  Shadwell and Madame Tracy are both very deeply alone, and getting older, and if they want to be anything but alone their only choice appears to be each other.  These four people appear to default their way into traditional m/f relationships, whether it’s falling into (under) bed or moving to the country to retire together.  They hit all of those ‘explicit markers’ we were talking about before, and they don’t do it with emotional build-up.  They don’t do it with any real exploration of the individuals involved or why they’re making these choices.  There’s barely any acknowledgement that these are choices.

The thing is, gay humans do exist in the world of Good Omens!  We spend time is Soho, and we hear about a very specific extremely gay gentleman’s club, and we know it’s there, somewhere, hidden.  We just never get to see it.  Crowley and Aziraphale (who are our only touchstone to those queer areas, which the other human characters never seem to encounter) are the Only Queers In The World.  And it sucks, and I think it happened completely by accident.

I suspect that the lack of human queerness was literally just a side-effect of the lack of human anything--Crowley and Aziraphale are in fact the only queers in the world specifically because they’re the only people in the world.  None of the already-existing human characters were given enough additional development to add much of anything, including any new gay.  The human world of Tadfield and the Witchfinder Army wasn’t given enough development to make it worth creating any new characters, let alone queer ones.

It just means that, all of the sudden, straightness gets accidentally equated with every single non-child human we spend more than two lines with, and queerness becomes exclusively the province of demons and angels.  That’s really bad.  It’s one of those unfortunate accidents that happens sometimes, because the world ain’t perfect, but it’s pretty not great.  And that’s where our problems come from.

In particular that’s where this current debate comes from, because if sexuality = human and human = straight, and nonhuman = asexuality and queerness = nonhuman, then we’ve accidentally said some pretty damning things about humanity and equated all queerness with lack of sexual desire all at the same time.  And it’s subtle, and it’s easy to miss, because it’s all about a lack of queer humans that’s all mixed in with the lack of humans at all, but it feels off.  So we go looking for reasons and we go looking for scapegoats.  It’s so easy to fixate on and blame the only queer relationship (the only developed, real relationship) we get at all, writ huge and impossible-to-miss all over our screen, rather than all the invisible ones we don’t.

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Here’s what I take away from all of this: Crowley and Aziraphale are, in every real sense, the most important characters in the Good Omens miniseries, and their relationship is without doubt the most important relationship.  It’s a well-developed, believable relationship.  It’s neither a straight relationship, nor an explicitly sexual gay relationship.  It is a different thing all its own, a thing that does not easily fit conventional human labels, that may or may not include sex at some point but certainly does not require it to be devastatingly important.

And I like that.  I, me, personally, who would rather find a reason to feel heartened than a reason to feel angry, am really glad to see something so extremely not-straight at the emotional center of a story I care about.  That’s me.

In the absence of anything that is an explicitly sexual gay relationship, this nebulous complicated thing at the core of this story looks an awful lot as though it’s trying to be gay and not getting there all the way.  And that sucks.  And for a lot of people, that hits some very specific buttons that have been made tender over many years of stories that try to be gay and refuse to go there all the way.  The flaw, though, is in the contrast and the context around the relationship--not in the relationship itself.

Stories are hard.  Telling stories, and making sure that they get heard on the other end the way we want them to, is hard.  Figuring out why certain things resonate the way they do, why some people feel connected while others feel alienated when we’re just trying to make our point, is sometimes the hardest thing of all.

I don’t blame Neil Gaiman for not magically figuring out that this would happen with the story he was trying to tell, partially because I haven’t seen anybody else in this great big argument of ours notice it either.  He tried to tell a story that was similar to but distinct from a story a lot of people wanted, and he didn’t make it clear enough.  I still really like the story we got.  I like all the slightly-different fanfic versions, too.  I like liking things.  That’s me.

If you’re still mad, if you’re still hurt: legit.  That’s valid.  But I don’t think arguing over this one specific relationship, what it Should Be and Shouldn’t Be, is helpful.  

Basically: I don’t want to sit around getting angry at each other over why Crowley and Aziraphale didn’t get the same traditional markers of Happily Ever After as Newt and Anathema, as Tracy and Shadwell.  I want to know why those couples didn’t have to (didn’t get to) EARN their happily-ever-afters with all the feeling and wanting and fearing and deciding that Aziraphale and Crowley did.

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