#The Narrative is not like. an independently-acting force

[itsabouttimex2]

I hope this isn't an odd question

But, do you think Wukong or Macaque would act or treat different their "cub" if they genders were swapped or being a female version? This is also for a Yan behavior

I don't know too much about how is the raising of a monkey from the father and mother so I was curious with this since they're both mystical demons

I was thinking about this when I saw some fanarts from the artist @/car_nimbus on Twitter, they made a neat versions of the characters with another gender

Monkey Mama

(Hmm okay let me build a hypothetical OG “Female Monkey King” to work off of here and then I’ll try to translate that into LMK’s SWK. Also, I’ll probably make a second variation of this afterwards with other characters, haha. This got a little long to do both SWK and Mac!)

Sun Wukong as a character is already heavily defined by rebellion and personal choice, so I think that making him a girl only really compounds that layer of his character.

In many older narratives, female characters are often expected to be more obedient or modest than men, and very frequently only exist as prizes or, more rarely, villains. A female Sun Wukong; assuming she plays the same role as her original incarnation, defies the expectations of how “traditional” women should behave, shirking the demure and passive “ideal” and adding another layer of rebellion to her character.

(JTTW is actually pretty great in terms of female representation, with characters ranging from the perpetually good Quanyin, the eventually repentant Princess Iron Fan, and the straight up evil White Bone Spirit. I’m a big fan of how the women aren’t slid into any one “role” throughout the story.)

I think: in story, she’d likely be viewed as a sort of “anomaly”—a woman too strong, too outspoken, and too unwilling to conform to typical feminine ideals. Her defiance and arrogance might be viewed as even more scandalous by the Celestial Realm.

Instead of being made a “stable-keeper”, I think probably she’s sent to whatever Heavenly Scullery exists in that divine realm, and put to work very quickly. She would treat this “job” with indifference or even amusement at first-after all, physical labor or menial tasks don't diminish her self-worth or confidence! She’s had a life of hard work, leading an army of Yaoguai, cultivating Flower Fruit Mountain,

So she’s fine with this… at first. Then it turns out that the food she makes with her fellow low-class workers isn’t distributed amongst the people making it, but plated up nice and pretty for a bunch of “stuffy old gods” who didn’t lift a finger! Bullshit!

So obviously, the prideful Monkey Queen goes on a destructive rampage in regards to the unfair disparity of treatment, then storms back down to Earth to throw a “feel-better” party with her fellow Yaogaui.

(Which isn’t just a party, but a symbolic reclaiming of joy and community, with her monkey tribe representing the freedom she craves and the earthly bonds she prefers over heavenly authority. It's not just an escape, but a statement of independence.)

After an extensive set of repairs, the Court sends down someone to drag her back, because, you know, the local super-powered monkey is back on the loose, and that’s not exactly great for them. This time, they offer her a “better” role- she gets to become an official Peach Maiden, lucky her!

Of course, it’s just another form of entrapment, but within a prettier cage. Even though she's given a cushier position, it's a veneer- she's still being silenced, controlled, and stripped of her freedom. The role played by a Peach Maiden is an inversion of Wukong's essence, as these women are happily serving the role of passive caretakers, nurturing with gentle smiles—a direct contrast to the free-willed, brash nature of the Monkey Queen.

(And while there’s nothing wrong with being demure, passive, and feminine, having people try to force her into that role is where Sun Wukong draws her line.)

Here, she is expected to watch in silence as others revel in the freedom and power denied to her. It's a different kind of prison, one that quietly erodes her spirit. When the Celestial Court tries to reintegrate her as a Peach Maiden, they are once again attempting to place her into a docile, decorative role, one that strips away her power and independence. Those immortal peach orchards, a symbol of immortality and divine favor, becomes a prison for her.

Surrounded by "ideal" women who embody the quiet, submissive role she despises, the Monkey Queen finds herself chafing under the pressure of conformity. Her energy, once boundless and chaotic, is now caged, and the simmering resentment builds.

The buildup to her inevitable rebellion after being made a Peach Maiden, then, becomes a very sympathetic moment because it's not just a rejection of the role forced on her, but a rejection of the very system that tries to diminish who she is at her core. Her rebellion isn’t about anger and shame- it’s about reclaiming her true self after having been suffocated by the expectations of the Celestial Court. Her rampage becomes an assertion of her identity as something that can't be confined by heavenly rules or social mores.

The Court, in its attempt to “contain" her, only fuels her defiance further, leading her once again to rebel.

It was never going to end well. But it ends all the same, and punishment is to be levied to the Queen, just the same as any other rebellious rule-breaker... actually, probably harsher.

There’s “you broke our rules and tried to lead a coup”, then there’s “you did all that, and we also find your very person to be wrong on a fundamental level”, and then she gets the book thrown at her twice over.

But! Then she meets Tang Sanzang, who sees something in her that neither the Celestial Realm nor her own band of Sworn Brothers saw. Not a heretic simian savaging a holy realm. Not a Queen to rally behind for their own gain.

But a lost soul in need of guidance.

And from there the Great Monk works on building Sun Wukong up as a person instead of leading her astray or trying to cut massive chunks of her personality out? And talks to her about the things she cares about? And teaches her about all the things she missed after spending five hundred years under a rock?

And then she meets Zhu Baije, who starts out a little too happy and carefree about having a beautiful woman around, but eventually comes to smash open heads when Wukong is disrespected, because that’s not just a hot woman, that’s his sister?

Or Sha Wujing, who helps her with even the smallest things, from trimming her claws to cutting her wild hair to preparing meals for the monk? And lets her perch on his shoulders and head so the queen can get some skinship in?

Then Ao Lie, who is every bit the “disappointment to the world at large” that she was considered? And they take turns braiding each other’s hair and wiping the mess from the other’s face, and sleeping in the same tent and same bedroom because it’s less effort?

She gets a dad and three little brothers?

She gets a family.

And then loses it and is alone again for several hundred years more.

So if we go with this theoretical “My natural existence has been rejected for being seen as ‘improper’ by a court of stuffy traditional assholes” and then “I dearly love/miss my dead found family” angle, I think she’d be portrayed as a very different sort of character in LMK.

She’s quicker to lash out and defend herself, and much less willing to sit around and let the world pass her by- because that’s what was demanded of her by the Celestial Realm.

Be good. Be quiet. Be demure. Be obedient. Be anything except you.

I don’t think she’d be as willing to “rest on her laurels” as her canon counterpart, given that a “quiet boring life” was what she had fought so very hard to escape in the first place, so instead of isolating herself from the world in the first place, she probably sets up a little “souvenir shop” at the foot of Flower Fruit Mountain, taking a human form to sell little knick-knacks that herald to the journey she undertook with her old friends.

In part, this is how Wukong works to honor them. To spread their legacy. To ensure that they aren’t forgotten, left as a footnote in the annals of history. To remember them.

In part, it’s how she justifies all the mistakes she’s made and the suffering she’s been through. Settling in to a pointlessly relaxed life is exactly what she fought against, after all. She’s heavily fallen into the “sunk-cost fallacy”, where giving up and settling in, to her, means “losing”. It means “everything I went through was all for nothing”. So she keeps at this little store instead of just retiring and isolating herself from the world, even though she’d be happier to ditch it and lounge about.

So when MK and his eccentric bunch of friends comes around with their boundless energy and mischief, she immediately goes, “Oh, okay! This is what I wanted!”

(It’s not. All she’s ever wanted is her friends back. How could there be anything else?)

The Monkie Kids are vibrant, eccentric, and full of qualities that immediately resonate with Wukong. They remind her of the energy, camaraderie, and sense of adventure that she once shared with her old companions. She sees MK's arrival not just as a chance to teach someone a few of her old tricks, but as an echo of her own life—a life she hasn't been able to truly let go of.

So she starts projecting- on the surface, MK is very much like her. He's spirited, good-natured, and curious- and reckless. Just like she was. Wukong latches onto this quickly, sort of using the kid as a proxy for herself. After all, if she can't go back to her old life, why not embrace a new one that feels close enough? In some ways, this marks her refusal to accept the passage of time, a desperate clinging to the hope that, through MK, she can rekindle the connections she once cherished.

However, underneath that initial enthusiasm is the repressed understanding that MK, despite his similarities to her younger self, cannot truly replace what she lost. The friends she fought beside, the battles they waged together, and the lessons they learned are unique, irreplaceable moments in her life. No matter how much MK’s gang reminds her of the past, he and his friends a stand-in for the companions she still longs for. But her deep desire to reconnect with her old friends clouds her ability to see MK for who he truly is: his own person, on his own journey.

It takes her a while to get to that point, though. So she’s more doting and affectionate, in a way that somewhat stifles her student’s training because she wants to be both her old carefree self and also a good mentor, and the two just get jumbled.

Sidenote: I think with the difference in actions and behavior, MK would be more open to viewing Fem!Wukong as a parental figure than the OG, especially since he doesn’t really have someone to fulfill that “mom” role.

For their dynamic, I think something like this would be the outcome:

———————————————————————-

The afternoon sun hangs low in the sky, painting the landscape in hues of varied orange and blue. With a tired hand, MK wipes the sweat from his brow.

He’s perched on one of the rocky spires dotting Flower Fruit Mountain, gazing at the view with a small smile of accomplishment. Training had been intense lately… if only because he had been doubling down on the time he spent practicing, without giving as much care to rest or aftercare.

After all, even though his powers were blooming steadily… his enemies also were growing in power and quantity, leading to the ever-creeping edge of fear that anything less than a constant one-hundred percent just wouldn’t be “enough”.

And right as he reaches back to grab the golden staff he has inherited from the Monkey Queen-

“MK! I told you to take a break, not run off to do more training!”

Her voice, uncharacteristically sharp, cuts through the formerly tranquil air, causing MK to jump. He turns just in time to see Sun Wukong strolling toward him, her hands on her hips and a look of mock annoyance on her face.

MK grinned sheepishly, shifting his grass-stained boots against the dirt. “I was just, you know… checking out the view.”

She raised an eyebrow, the corner of her mouth twitching in amusement as her eyes narrowed in annoyance. This kid... “Uh-huh. Checking out the view or sneaking in some practice when I wasn’t looking?”

Caught fast in his lie, MK rubbed the back of his neck, face scrunching up in embarrassment. “Maybe a little of both?”

In spite of herself, Sun Wukong quietly laughs, the sound echoing like a chiming bell through the mountain. Her long, golden hair flowed behind her in the wind, each strand catching the light like molten fire. Despite her legendary status- the rebellious warrior who’d fought the heavens and nearly won!- there was a warmth to her that MK had come to cherish.

“All work and no play, MK,” she said, sitting beside him on the rock and ruffling his hair with a fondness that always made him feel like a little kid again. “You’ll burn out before you get anywhere.”

He looked at her, eyes shining with admiration. “But you never stop training. You’ve been at this for centuries! I just…”

A pause, as his chest turns over, unsettled by the notion of opening up. But… it’s the Monkey Queen. So it.. should be okay, right?

“I want to make you proud.”

Sun Wukong’s expression softens, and she wraps an arm around his shoulders, pulling the boy close in a tight embrace. “You already make me proud, kid. You don’t have to prove anything.”

MK leaned into the touch, feeling a wave of comfort wash over him. Even from the start she’d been like this with him- protective, nurturing… and maybe a bit overbearing at times. But he didn’t mind. It made him feel safe, like no matter what challenges lay ahead, he wasn’t alone.

MK chuckled, turning his face up to meet his idol’s eyes.” I’ll keep up,” he triumphantly declares, pumping a fist.” I promise.”

“Good.” Wukong shifted, her clawed hand lightly missing his spiked locks. “Now, how about we head back to the shop and grab something to eat? You’ve earned it.”

MK’s stomach growled at the mention of food, and he nodded so eagerly that she wondered if his head wouldn’t ache from the motion. “You know, I won’t say no to a good meal.”

The Monkey Queen stood up, dusting off her mentee’s clothes before offering him a hand. “Of course you won’t. C’mon, my treat.”

———————————————————————-

Now, to answer your question about how she acts in regards to her own cub… in general I think she’s much more doting than the OG, willing to express herself through constant displays of physical affection, in ways that are far more varied.

Constant forehead smooching, cuddles, grooming sessions, all of it! Mama Wukong never wants to let go of her baby! Sit down and let her paint your nails! Let her comb and braid your hair! Let her make you a nice lunch (loaded with mystical drugs to keep you nice and sleepy for extra cuddles), or at least a filling snack! Let her pepper your face with kisses as she spins you in her powerful arms!

Lots and lots of indulgent fluffy days of binging unhealthy foods and watching cozy reruns of old shows, your head in her lap as she hums and does up your hair with her lazy hands.

Lots of reminiscing about old suitors as she considers the quietest and quickest ways to kill anyone who makes the futile attempt to pursue you in the same way.

Despite her obsessive behavior, Wukong struggles with conflicting feelings about wanting her child to be strong and independent, just like her! She pushes you to train hard and become powerful, but when you inevitably seek their own freedom or autonomy, she’d experience a mix of pride and heartbreak, pushing her deeper into possessive tendencies.

If you ever tried to leave or even just start to break away, Wukong’s worst traits would bubble up like hellfire. Just as she fought against an entire realm’s authority, she would absolutely wage a war to keep her child close, all while justifying her actions as love.

The Monkey Queen is also more willing to take routes outside of brute force if it means securing extra protection for Y/N. If Macaque or maybe Azure (or someone else like Erlang Shen) wants to try and play “suitor”, well, she’s not too interested… until the thought arises that having him around makes you extra safe! And then she’s willing to think on it.

(That’s assuming that you aren’t one of their biological kids to begin with, in which case there might be a sort of “yandere triangle”. Azure/Macaque/Erlang Shen doing his damndest to reclaim his wife, before he learns that she’s had a child while he was gone... or maybe Pigsy and Tang decided that MK needs his mentor in a more ‘accessible’ position, and plot to drag her to Megapolis…)

Lots of potential monkey mama shenanigans, basically!

[decepti-geek]

I’m sure people have lots of fun with the doomed by the narrative thing but whenever I see it I turn into the project runway guy

“doomed by the narrative” shut up it’s the fucking creator making creative decisions

[gu6chan]

thinking about what rubs me so wrong about the writing of furiae really felt like "woman who really only has control over her own mind and fantasies, hardly unable to do anything than what's expected as her both as a goddess and a woman" and how the way the staff viewed the writing of furiae as "woman who can't do anything"

I feel like Tadashi really summed it up good in this passage here

[mikeo56]

I watched the uncensored video of US airman Aaron Bushnell self-immolating in front of the Israeli embassy in Washington while screaming “Free Palestine”. I hesitated to watch it because I knew once I put it into my mind it’s there for the rest of my life, but I figured I owe him that much. 

I feel like I’ve been picked up and shaken, which I suppose was pretty much what Bushnell was going for. Something to shake the world awake to the reality of what’s happening. Something to snap us out of the brainwashed and distracted stupor of western dystopia and turn our gaze to Gaza.

The sounds stay with you more than the sights. The sound of his gentle, youthful, Michael Cera-like voice as he walked toward the embassy. The sound of the round metal container he stored the accelerant in getting louder as it rolls toward the camera. The sound of Bushnell saying “Free Palestine”, then screaming it, then switching to wordless screams when the pain became too overwhelming, then forcing out one more “Free Palestine” before losing his words for good. The sound of the cop screaming at him to get on the ground over and over again. The sound of a first responder telling police to stop pointing guns at Bushnell’s burning body and go get fire extinguishers.

He remained standing for an unbelievable amount of time while he was burning. I don’t know where he got the strength to do it. He remained standing long after he’d stopped vocalizing.

Bushnell was taken to the hospital, where independent reporter Talia Jane reports that he has died. It was about as horrific a death as a human being can experience, and it was designed to be. 

Shortly before his final act in this world, Bushnell posted the following message on Facebook:

“Many of us like to ask ourselves, ‘What would I do if I was alive during slavery? Or the Jim Crow South? Or apartheid? What would I do if my country was committing genocide?’ “The answer is, you’re doing it. Right now.”

Aaron Bushnell has provided his own answer to this challenge. We’re all providing our own right now.

I would never do what Bushnell did, and I would never recommend anyone else does either. That said, I also can’t deny that his action is having its intended effect: drawing attention to the horrors that are happening in Gaza.

I know this is true because everywhere I see Aaron Bushnell being discussed online I see a massive deluge of pro-Israel trolls frantically swarming the comments in a mad rush to manipulate the narrative. They all understand how destructive it is to US and Israeli information interests for people to be seeing an international news story about a member of the US Air Force self-immolating on camera while screaming “Free Palestine”, and they are doing everything they can to mitigate that damage.

As I write this, there are with absolute certainty people digging through Bushnell’s history searching for dirt that can be spun as evidence that he was a bad person, that he was mentally ill, that he was steered astray by pro-Palestine activists and dissident media — whatever they can make stick. If they find something, literally anything, the smearmeisters and propagandists will run with it as far as they can.

That’s what they’re choosing to do at this point in history. That’s what they would have done during slavery, or the Jim Crow south, or apartheid. That’s what they’re doing while their country commits genocide right now. People are showing what they would have done with their response to Gaza, and they’re showing what they would have done with their response to the self-immolation of Aaron Bushnell.

I’m not going to link to the video here; watching it is a personal decision on which you should probably do your own legwork to make sure it’s really what you want. Whether you watch it or not, it happened, just like the incineration of Gaza is happening right now. We each own our personal response to that reality. This is who we are.

[mostlysignssomeportents]

Conservatives are fringe outliers - and leftists could learn from them

The Republican Party, a coalition between Big Business farmers and turkeys who’ll vote for Christmas (Red Scare obsessed cowards, apocalyptic white nationalists, religious fanatics, etc) has fallen to its bizarre, violent, noisy radical wing, who are obsessed with policies that are completely irrelevant to the majority of Americans.

As Oliver Willis writes, the views of the radical right — which are also the policies of the GOP — are wildly out of step with the US political view:

https://www.oliverexplains.com/p/conservatives-arent-like-normal-americans

The press likes to frame American politics as “narrowly divided,” but the reality is that Republicans’ electoral victories are due to voter suppression and antimajoritarian institutions (the Senate and Electoral College, etc), not popularity. Democrats consistently outperform the GOP in national races. Dems won majorities in 1992/6, and beat the GOP in 2000, 2008, 2012, 2016 and 2020. The only presidential race the GOP won on popular votes since 1988 was 2004, when GW Bush eked out a plurality (not a majority).

But, as Willis says, Dems “act like it is 1984 and that they are outliers in a nation of Reagan voters,” echoing a stilted media narrative. The GOP’s platform just isn’t popular. Take the groomer panic: 71% of Americans approve of same-sex marriage. The people losing their shit about queer people are a strange, tiny minority.

Every one of the GOP’s tentpole issues is wildly unpopular: expanding access to assault rifles, banning immigration, lowering taxes on the rich, cutting social programs, forcing pregnant people to bear unwanted children, etc. This is true all the way up to the GOP’s coalescing support for Trump as their 2024 candidate. Trump has lost every popular vote he’s ever stood for, and owes his term in the Oval Office to the antimajoritarian Electoral College system, gerrymandering, and massive voter suppression.

Willis correctly points out that Dem leaders are basically “normal” center-right politicians, not radicals. And, unlike their GOP counterparts, politicians like Clinton, Obama and Biden don’t hide their disdain for the radical wing of their party. Even never-Trumper Republicans are afraid of their base. Romney declared himself “severely conservative” and McCain “put scare quotes around ‘health of the mother’ provisions for abortion rights.”

The GOP fringe imposes incredible discipline on their leaders. Take all the nonsense about “woke capitalism”: on the one hand, it’s absurd to call union-busting, tax-dodging, worker-screwing companies “woke” (even if they sell Pride flags for a couple of weeks every year).

But on the other hand? The GOP leadership have actually declared war on the biggest corporations in America, to the point that the WSJ says that “Republicans and Big Business broke up”:

https://www.wsj.com/articles/republicans-corporations-donations-pacs-9b5b202b

But America is a two-party system and there are plenty of people who’ll pull the lever for any Republican. This means that when the GOP comes under the control of its swivel-eyed loon wing, the swivel-eyed loons wield power far beyond the number of people who agree with them.

There’s an important lesson there for Dems, whose establishment is volubly proud of its independence from its voters. The Biden administration is a weirdly perfect illustration of this “independence.” The Biden admin is a kind of referee, doling out policies and appointments to its competing wings, without any coherence or consistency.

That’s how you get incredible appointments like Lina Khan at the FTC and Jonathan Kanter at the DoJ Antitrust Division and Rohit Chopra at the Consumer Finance Protection Bureat — the progressive wing of the party bargained for these key appointments and then played their cards very well, getting incredible, hard-charging, hyper-competent fighters in those roles.

Likewise, Jared Bernstein, finally confirmed as Council of Economic Advisers chair after an interminable wrangle:

https://prospect.org/blogs-and-newsletters/tap/2023-06-16-team-biden/

And Julie Su, acting labor secretary, who just delivered a six-year contract to west coast dockworkers with 8–10% raises in the first year, paid retroactively for the year they worked without a contract:

https://www.whitehouse.gov/briefing-room/statements-releases/2023/06/14/statement-from-president-biden-on-labor-agreement-at-west-coast-ports/

But the Biden admin’s unwillingness to side with one wing of the party also produces catastrophic failures, like the martyrdom of Gigi Sohn, who was subjected to years of vicious personal attacks while awaiting confirmation to the FCC, undefended by the Biden admin, left to twist in the wind until she gave it up as a bad job:

https://doctorow.medium.com/culture-war-bullshit-stole-your-broadband-4ce1ffb16dc5

It’s how we get key roles filled by do-nothing seatwarmers like Pete Buttigieg, who has the same sweeping powers that Lina Khan is wielding so deftly at the FTC, but who lacks either the will or the skill to wield those same powers at the Department of Transport:

https://pluralistic.net/2023/02/11/dinah-wont-you-blow/#ecp

By refusing to stand for anything except a fair division of powers among different Democratic Party blocs, the Biden admin ends up undercutting itself. Take right to repair, a centerpiece of the administration’s agenda, subject of a historic executive order and FTC regulation:

https://pluralistic.net/2022/10/18/administrative-competence/#i-know-stuff

Right to Repair fights have been carried out at the state level for years, with the biggest victory coming in Massachusetts, where an automotive R2R ballot initiative won overwhelming support in 2020:

https://pluralistic.net/2020/11/13/said-no-one-ever/#r2r

But despite the massive support for automotive right to repair in the Bay State, Big Car has managed to delay the implementation of the new law for years, tying up the state in expensive, time-consuming litigation:

https://pluralistic.net/2021/05/26/nixing-the-fix/#r2r

But eventually, even the most expensive delaying tactic fails. Car manufacturers were set to come under the state right to repair rule this month, but they got a last minute reprieve, from Biden’s own National Highway Traffic Safety Administration, who sent urgent letters to every major car manufacturer, telling them to ignore the Massachusetts repair law:

https://www.vice.com/en/article/m7bbkv/biden-administration-tells-car-companies-to-ignore-right-to-repair-law-people-overwhelmingly-voted-for

The NHTSA repeats the car lobby’s own scare stories about “cybersecurity” that they blitzed to Massachusetts voters in the runup to the ballot initiative:

https://pluralistic.net/2020/09/03/rip-david-graeber/#rolling-surveillance-platforms

The idea that cybersecurity is best maintained by letting powerful corporations gouge you on service and parts is belied by independent experts, like SecuRepairs, who do important work countering the FUD thrown off by the industry (and parroted by Biden’s NHTSA):

https://securepairs.org/

Independent security experts are clear that letting owners of high-tech devices decide who fixes them, what software they run, etc, makes us safer:

https://www.schneier.com/essays/archives/2022/01/letter-to-the-us-senate-judiciary-committee-on-app-stores.html

But here we are: the Biden admin is sabotaging the Biden admin, because the Biden admin isn’t an administration, it’s a system for ensuring proportional representation of different parts of the Democratic Party coalition.

This isn’t just bad for policy, it’s bad politics, too. It presumes that if some Democratic voters want pizza, and others want hamburgers, that you can please everyone by serving up pizzaburgers. No one wants a pizzaburger:

https://pluralistic.net/2022/10/23/narrative-warfare/#giridharadas

The failure to deliver a coherent, muscular vision for a climate-ready, anti-Gilded Age America has left the Democrats vulnerable. Because while the radical proposals of the GOP fringe may not enjoy much support, there are large majorities of Americans who have lost faith in the status quo and are totally uninterested in the Pizzaburger Party.

Nowhere is this better explained than in Naomi Klein’s superb long-form article on RFK Jr’s presidential bid in The Guardian:

https://www.theguardian.com/commentisfree/2023/jun/14/ignoring-robert-f-kennedy-jr-not-an-option

Don’t get me wrong, RFK Jr is a Very Bad Politician, for all the reasons that Klein lays out. He’s an anti-vaxxer, a conspiracist, and his support for ending American military aggression, defending human rights, and addressing the climate emergency is laughably thin.

But as Klein points out, RFK Jr is not peddling pizzaburgers. He is tapping into a legitimate rage:

a great many voters are hurting and rightfully angry: about powerful corporations controlling their democracy and profiting off disease and poverty. About endless wars draining national coffers and maiming their kids. About stagnating wages and soaring costs. This is the world — inflamed on every level — that the two-party duopoly has knowingly created.

RFK Jr is campaigning against “the corrupt merger between state and corporate power,” against drug monopolies setting our national health agenda, and polluters capturing environmental regulators.

As Klein says, despite RFK Jr’s willing to say the unsayable, and tap into the yearning among the majority of American voters for something different, he’s not running a campaign rooted in finally telling the American public “the truth.” Rather, “public discourse filled with unsayable and unspeakable subjects is fertile territory for all manner of hucksters positioning themselves as uniquely courageous truth tellers.”

We’ve been here before. Remember Trump campaigning against a “rigged system” and promising to “make America great again?” Remember Clinton’s rejoinder that “America was already great?” It’s hard to imagine a worse response to legitimate outrage — over corporate capture, declining wages and living conditions; and spiraling health, education and shelter costs.

Sure, it was obvious that Trump was a beneficiary of the rigged system, and that he would rig it further, but at least he admitted it was rigged, not “already great.”

The Democratic Party is not in thrall to labor unions, or racial equality activists, or people who care about gender justice or the climate emergency. Unlike the GOP, the Dem establishment has figured out how to keep a grip on power within their own party — at the expense of exercising power in America, even when they hold office.

But unlike culture war nonsense, shared prosperity, fairness, care, and sound environmental policies are very popular in America. Some people have been poisoned against politics altogether and sunk into nihilism, while others have been duped into thinking that America can’t afford to look after its people.

In this regard, winning the American electorate is a macrocosm for the way labor activists win union majorities in the workplaces they organize. In her memoir A Collective Bargain, Jane McAlevey describes how union organizers contend with everything that progressive politicians must overcome. A union drive takes place in the teeth of unfair laws, on a tilted playing field that allows bosses to gerrymander some workers’ votes and suppress others’ altogether. These bosses have far more resources than the workers, and they spend millions on disinformation campaigns, forcing workers to attend long propaganda sessions on pain of dismissal.

https://doctorow.medium.com/a-collective-bargain-a48925f944fe

But despite all this, labor organizers win union elections and strike votes, and they do so with stupendous majorities — 95% or higher. This is how the most important labor victories of our day were won: the 2019 LA teachers’ strike won everything. Not just higher wages, but consellors in schools, mandatory greenspace for every school in LA, an end to ICE shakedowns of immigrant parents at the school-gate, and immigration law help for students and their families. What’s more, the teachers used their unity, their connection to the community, and their numbers to get out the vote in the next election, winning the marginal seats that delivered 2020’s Democratic Congressional majority.

As I wrote in my review of MacAlevey’s book:

For McAlevey, saving America is just a scaled up version of the union organizer’s day-job. First, we fix the corrupt union, firing its sellout leaders and replacing them with fighters. Then, we organize supermajorities, person-to-person, in a methodical, organized fashion. Then we win votes, using those supermajorities to overpower the dirty tricks that rig the elections against us. Then we stay activated, because winning the vote is just the start of the fight.

It’s a far cry from the Democratic Party consultant’s “data-driven” microtargeting strategy based on eking out tiny, fragile majorities with Facebook ads. That’s a strategy that fails in the face of even a small and disorganized voter-suppression campaign — it it’s doomed in today’s all-out assault on fair elections.

What’s more, the consultants’ microtargeting strategy treats people as if the only thing they have to contribute is casting a ballot every couple years. A sleeping electorate will never win the fights that matter — the fight to save our planet, and to abolish billionaires.

If only the Democratic Party was as scared of its base as the Republicans are of their own.

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/06/16/that-boy-aint-right/#dinos-rinos-and-dunnos

[Image ID: The title page of Richard Hofstadter's 'Paranoid Style in American Politics' from the November, 1964 issue of Harper's Magazine. A John Birch Society pin reading 'This is REPUBLIC not a DEMOCRACY: let's keep it that way' sits atop the page, obscuring the introductory paragraph.]

[oliviabear]

tbh i am not a fan of this weird narrative about osha that's being tossed around. saying she has no agency is such bullshit and saying that we fell for that by liking her dynamic with qimir is even more annoying.

osha's whole thing is agency. that is literally, in my opinion, the root of her character. in the coven, it is because of osha's own agency and need for independence that she hesitates saying 'yes i accept this life' to her own family. she's craving freedom she thinks the jedi can give her. her own curiosity and utter need to be her own person, to not be tied to her twin sister are so well portrayed in this desperate grasp onto what she thinks will offer her independence and some kind of understanding of her true self. and then she leaves the jedi order, because it's just another set of rules and ways she must abide to fit into it. just another prison for her because she can't be her own person; her true self. she literally left the one thing that caused the entire conflict with her family in the first place. if that's not agency, i don't know what is. when qimir asks her why she's not a jedi, osha doesn't blame the jedi for anything, she says "because i failed." once again, she's focusing on her own choices and actions, indicating she's very self-aware of her independency and how it may have harmed her. she failed because of her own emotions, also something she's aware of. these emotions she couldn't keep at bay because of her agency; they're a part of her and a part she could not ignore or suppress like the jedi needed her to. it can even be interpreted as the show almost portraying osha as selfish because of how much agency they've given her. i honestly want this to be the case, i need messy, flawed osha

not just that, but osha is constantly practising her agency in many ways; she's leading her life the way she herself has chosen. what she thinks of these choices is a different thing entirely and can be interpreted by however you see it but ultimately her own choices led her to where she is.

which is the same thing that happens with qimir. he literally gives her an option to leave and go after master sol and her sister or just do whatever she wants. she doesn't have to stay there. i know a lot of people think he was manipulating her because he would've trapped her if she had left anyway, but i think that's a wrong way to look at what's really going on here, especially considering osha's characterisation. osha makes the choice here again, implying she has a lot of agency, again, and it makes a lot of sense why she stayed. this is just another way for her to seek out the freedom to be herself. osha is curious about the dark side, whether she denies that or not, and she wants to learn about it in hopes of gaining a sense of who she truly is. it doesn't tie her down to anything and it doesn't take away her agency. seduction from qimir's side may be a part of it but that doesn't negate the fact osha makes her own choice to allow him to teach her. she literally puts on the mask herself, it's not like he forced her to do that. she does that because she is desperate to find her true self once again.

she has so much agency in all her actions i think it's rather frustrating to see people reduce her character to 'she's falling for qimir's seduction because she's such a weak, passive character' like do you hear yourselves... in my opinion the show has made a great point of showing that osha, even if repressed and hesitant/presented as passive, will act out on her choices. and i think that's exactly what she's doing right now. she could've killed qimir, but she chose not to. after he opened up to her, her own empathy and curiosity led her to make that choice. even if she knows he's on the dark side, she still chooses to hear him out. she puts on the mask because she wants to. a part of her can see it could potentially give her what she always wanted: to be herself.

you could say qimir might seduce her to want codependency as this is something he seems to seek, but to imply osha has no agency is to disregard everything that has led her to this point in the story lol.

[skyeventide]

does the Oath of Feanor work as a magical compulsion, or does it have magical properties, and are its consequences real?

yes, because the magic of Arda is also based on words of power, and it would be dissatisfying and limiting to assume that somehow that power doesn't work in this specific instance. no, because even if Feanor is the one speaking, not even his power could bend the fate of elves to that extent. yes, because the fate of any one people can be bent, delayed, or weirdly modified until an oath is fulfilled; in LOTR, the ghosts of the path of the dead prove it. no, because Manwe and Varda would not feel bound to enforce an oath of death with them as witnesses, and it goes against the rules of oathing. yes, because the enforcer is Eru, they just stand as witnesses and do not have the power to release the swearers as Eru would. no, because we don't even know if Eru accepted that oath. yes, because if the oath was invalid from the start, it would be beyond callous of Manwe and Varda not to inform the swearers and allow the consequences of the oath to happen. no, because a magical compulsion would remove or to an extent at least lessen responsibility of actions taken in its pursuit. yes, because the author of the story acknowledges a certain "will" of the oath by making it wake or sleep with active verbs. no, because even swearing without additional magic on top can feel like a compulsion to do things or to keep going that otherwise would not exist or not be felt by a given swearer. yes, because no matter what the everlasting darkness is or does, it can be real independently from any other prior compulsion to act; in other words, there may not be a magical property to the oath, but its called consequences for the swearers are very real. no, because there's several slightly different versions of the oath across the texts, and it's impossible to do a literal, word for word reading of its lines if it's possible to recite it slightly differently at a given time. yes, because the only valid version is the original pronounced by Feanor in Tirion, you can't wiggle out of that one. no, because who's to say that was recorded correctly, it's far too poetic for a sudden decision. yes, because who's to say that Feanor couldn't whip out all that via improvisation, I bet he could. yes, because other characters beyond the sons of Feanor treat the oath as something absolutely serious and real, and that includes Finrod in speaking to Andreth, when he says that Eru's name is not called upon even in jest, as well as Melian, when pointing out the strong forces awakened by involving that power. no, because neither of them can talk to Eru anyway. yes, because it's narratively more satisfying to imagine characters morally struggle against something that is eventually unbreakable and unavoidable like in any good tragedy. no, because it's narratively more satisfying to imagine characters do it to themselves and compromise with who they are out of family loyalty. yes, because the curse of Mandos actively turns it against the swearers into a betraying force, a consequence that wouldn't otherwise be a given, that is, nothing says that everything they start well would have finished badly and that the oath would have led them to defeat, and if it weren't magical before Mandos' addition, it is now. no, because Amrod's death in a draft would prove it breakable through his (admittedly only guessed) desire to turn back. yes, because he still died in the process, aka the everlasting darkness claimed him for being an oathbreaker. no, because how is it possible that it's simultaneously unbreakable and broken. yes, because the fate of arda and that of elves is inscribed within the eternal paradox of everything being predicted and everything being free will, and that will never be solved, neither regarding the fate of the elves nor the oath of Feanor. no, because the oath is a narrative device. yes, because the oath is a narrative device. three hundred more lines.

hope this helps. hope it doesn't. your pick.

[multidimensionalguidance]

The Martian Women: A Warrior's Heart

Now more than ever we see questioned the humanity and dignity of women who do not fit the stereotype of what they are supposed to be, look, sound, or act like. Such cases like Imane Khelif are heartbreaking to witness, specially considering the way these false allegations overshadow the efforts and hard work behind her skills, even more so now as an Olympian.

Imane has her Moon and Mars in Sidereal Scorpio, and the themes of others trying to take control of the narrative of her life and existence is ridiculous and overwhelming. On top of it, her Mercury and Jupiter are both in Aries. She is a huge embodiment of how the Martian experience tends to play out.

They are the individuals who deal with the consequences of being "too much" simply by not being afraid of voicing their opinions, of their appearance, or any other aspect regardless of how conflictive it might be. They have and endless source of power to pursuit their passions, and they often achieve as long as they their ego on check.

Childhood years consisted of a push and pull between not being enough of any of the polarities. Often, attracting unwanted attention and different degrees of aggressive/hostile behaviors (spoken, actions, etc). They learn to project outwardly the results of withstanding all of those experiences, and paradoxically are blamed for having a natural hostile response to a hostile environment or actions.

After being forced to repress their hurt, anger, and valid emotions they learn to channel it towards a goal because their nature (Aries and Scorpio) is to plan, analyze, execute, and repeat all over again. They are the Valkyries, Amazonians, etc who learn collectively how to fend for themselves in all aspects outside of patriarchal laws or standards.

From a historic and folklore perspective, Valkyries were associated and often accompanied by ravens or horses which matches perfectly the nature of Ashwini (horses) and Bharani (crows are similar to ravens) which are both in Aries. These mythical warriors guided souls to their depiction of heaven, and Krittika is ruled by the Sun + has a priestly caste. On different levels of humanity we've always had women who take their necessary place with violent, aggressive, and chaotic driven actions as much as men, yet its forced to suppression the most.

In terms of contemporary entertainment, many other concepts of female warrior or heroic/strong/independent female characters from all eras have Martian placements. This is not to say that Mars is the only representation for these arechetypes, but in terms of characters who have a really grim and/or dark past, it fits very well. Other planets (Sun, Moon, Venus, Jupiter) also have their own depiction of cunning female led roles but their background, characteristic, etc are all different. I will expand with other planets on a different post.

Brigitte Nielsen who was the main character in Red Sonja has her Moon in Aries (Ashwini).

Uma Thurman has her Sun in Aries (Bharani).

Summer Glau from the Firefly series and its continuation movie Serenity has her Moon in Aries (Ashwini).

Saoirse Ronan has her Moon and Venus in Aries (Bharani).

Gal Gadot as Wonder Women has her Sun in Aries (Bharani)

Lucy Liu (Sun in Scorpio (Anuradha/Jyestha) and Moon in Aries (Bharani), Cameron Diaz (Moon in Aries, within Krittika) from Charlie's Angels.

Scarlett Johansson as Black Widow has her Sun in Scorpio (Anuradha)

Peta Wilson in La Femme Nikita with Sun in Scorpio (Vishakha)

They function perfectly well alone and also within a group as as long as there is mutual respect. Society doesn't seem to know yet how to properly behave and treat individuals like them. Martian handle themselves in such a raw and powerful form that those who have weak morals, will power, inner strength, courage, or self expression regardless of gender might feel as if they are being personally attacked.

Now, it is good to keep in mind the distinction between deliberate attack or self defense. Due to previous trauma related with heavy power struggles they can easily feel wounded, and will could show an exaggerated or uncontrolled form of aggression.

It could also simply be intentional because both signs (Aries & Scorpio) tend to become more resentful or comfortable using violence if they understand is fair or justified. They LOVE "female rage". Every film, piece of literature, song, or form of art related to anger, disconformity, sadness, rage, wickedness, and other chaotic expressions connect with their suppressed darkness.

It allows them to fantasize of a world where women are able to demonstrate their anger freely without judgement, specially when justified and valid. They understand other women beyond the nature of their caged self under patriarchal standards, but the downside is that others do not connect easily with them.

This is why despite being the real underdogs of many empowering movements they are often lonely, alienated, punished, and treated poorly. It’s the most noticeable with Scorpio rashi, specifically Jyestha where they naturally attract envy, jealousy, and ill wishes the most. They are the ruthless Scorpios who don't really care about turning off their moral compass if it means achieving their goals. They are often only loyal to their vision and those who fit in it.

It is essential for Martian women to maintain a healthy management of their anger and learn how to release it in meaningful ways. Any type of exercise (gym, cardio, pilates, yoga, etc) or sports can become one of the most common channels to fuel their bodies and release heavy emotional overloads. Staying in touch with their root and sacral points by doing activities that promote you to feel safe, nurtured, grounded, creative, sensual, etc will also be optimal.

Protect your energy in all forms, and stay away from individuals who constantly trigger your fight or flight. The ones who make you feel constantly drained and tired. It can be easy for others to syphon your energy because you always have an abundant amount, so be mindful of the people you entertain, engage, and interact with frequently.

Ensure to maintain a good balance between mind and heart as well. Allow yourself to be vulnerable with others. Prioritize feeling safe and comfortable around others. Learning to control your impulses if you're an Aries, or letting go of control if you're a Scorpio. Protect yourself, but don't shut down completely.

[atamascolily]

Rebellion is, among many other things, taking something that fans wanted from the original PMMM anime, namely the girls fighting as a team in a more conventional magical girl style against more conventional monsters of the week, and serving it up in a world where everything is beautiful and nothing hurts--only to reveal that it was all a dream of Homura's that she created as a coping mechanism to deal with suicidal levels of despair. Which leads me to wonder what exactly Walpurgis no Kaiten might do along similar lines... and, given the marketing thus far, I think it's going to interrogate Homura's character--specifically, the varying fan interpretations of her based on her actions at the end of Rebellion.

By which I mean, you know all the fan arguments that "Homura is a selfish monster" and "Homura did nothing wrong" that have been going on ever since Rebellion was released? I think what Urobuchi et al. is going to do is give us a version of Homura who is just as bad as some people think she always was--a ruthless, cruel, vindictive, remorseless overdramatic bitch who manipulates people for her own amusement/goals (including/especially her other self!)--and a Homura who is "innocent" but nonetheless forced to face the consequences of her actions independent of their morality, and put them directly in conflict with each other and the rest of the cast. Homura will be forced to confront herself at her worst, and she won't enjoy it one bit.

But if this is the case, then the twist (because there's always a twist) will ultimately reveal that these two Homuras are, on some fundamental level the same and always have been; that in the end, all people are a mix of good and bad, and it's the act of splitting/separation/doubling/mirroring/projection/demonizing itself that is the real problem. Only by acknowledging this truth about herself and accepting herself as she truly is, for better and for worse can Homura be fully whole--and hopefully healed from the terrible self-loathing that has plagued her ever since her first chronological appearance in the narrative.

In other words, just as Madoka said in Rebellion, "Homura is Homura no matter what" (my emphasis). I think Walpurgis no Kaiten is going to explore just how far that last part goes--and just how far Madoka's love and compassion (and our own!) extends.

Do I think the outcome will be worth it? Yes, but it will likely take us to some very dark and uncomfortable places first. "Be careful what you wish for, you might get it" applies just as much to the audience as it does to the characters in this series.

[calentvre]

that one person in the replies of the black sails vs ofmd poll arguing against black sails being "an actual queer show" is being deliberately obtuse and a troll but i can't sleep so. sure. i'll say why dismissing black sails like that is intellectually dishonest

defining how black sails is a "queer show" or how queerness is written into its core is i think explained best by the other things that black sails is about. queerness is but one among the show's most important themes, that all overlap and intersect each other

on the societal level: hierarchies of power and influence - hinging on wealth, status, gender, reputation, et cetera. transatlantic empires - colonization, slavery.

on the personal level: identity, image - the performances we put on for others, safety, independence, dependence on other people. the narrative of a life. how human life resists narrative payoff. becoming, then bearing the burden of what you've become.

in general: stories - the power they and the act of telling both hold. the truth and its importance; its irrelevance. reasons. consequences. inevitability.

black sails is about all these things and it connects the threads between them with precision, narrative grace and emotional payoff. it is a tragedy about disenfranchised characters that are navigating their wants and needs in the face of various expectations, crafted with historical plausibility in mind.

if it's somehow still unclear how queerness ties into the show's themes... it is insulting and frankly absurd to denigrate the queerness of the show with arguments dismissing flint's struggle just because there wasn't on-screen sex between men. flint not being straight is only the backbone of the plot! and reducing wlw relationships that span the entirety of the show's four seasons into "male gaze fodder" or whatever is an incredibly disingenuous take that not only glosses over how multifaceted and integral their characters are but also reveals the bad faith nature of these arguments. the first season featured a lot of sex and violence, sure, to lure in a mainstream (GoT era) audience, but the mere existence of a wlw relationship alone? what about anne and max building their trust and love, balancing against duty and image caters to the straight man, exactly?

yeah, black sails does not really play for representation points - instead, it has real things to say: about fighting against a rigid society that would rather get rid of you. about choosing either idealism or pragmatism in the face of oppressive forces. about escaping your identity or holding onto it and the violence and freedom concealed in each choice.

[psychotrenny]

Liberals really love their atrocity propaganda. It allows them to indignantly maintain the moral high ground no matter what policies they support. They apply this righteousness not only towards actual supporters of those who apparently committed those "atrocities" but also against any who dare to question the political consensus around it. Anyone who interrogates the accuracy of these narratives or opposes the policies they get used to justify is clearly some sort of monster, cruelly spitting in the face of the victims as they align themselves with the forces of evil. And in some cases these atrocity stories are pure fabrications, but other times this rhetoric gets used in cases where genuine atrocities were committed but were then exaggerated, exceptionalised or used to justify responses that were frankly not justified by the original acts.

This is especially apparent when you look at the kind of figures that Liberals do support, or at least quietly tolerate. It's only a war crime when committed by someone who refuses to faithfully serve Western Imperialism. Whatever atrocities figures like Saddam Hussein and Slobodan Milošević did truly commit, when you compare them to contemporaries like Suharto or Fahd Al Saud it's pretty clear their only real crime in the eyes of The West was a refusal to completely acquiesce to it's Hegemony. Meanwhile the mass bombings of their nations (which deliberately targeted civilian infrastructure) were clearly not motivated by humanitarian concerns and, rather than de-escalating any conflicts or preventing any atrocities, served only to plunge their populations into further misery and desperation while destroying any possible path of resistance or independence. Like there's something so very obscene about the process of exploiting atrocities in order to justify committing more and Liberals just can't stop doing it

[stardustdiiving]

The way some people talk about “misogynistic writing” with the female genshin archons—specifically Nahida & Furina— kills me a bit, because while i do feel there’s valid criticisms of genshin’s writing to be made (especially regarding Ei, who I do feel was done a massive disservice writing wise), often I see people seem to come from a place of not understanding the writing/characters well, and/or leaning into like…very reductive ideas of what makes a female character “good” that honestly says more about their biases than Genshin’s

For example, a common complaint I see against Nahida & Furina is about them being made to be “weak/unserious” and how this is bad writing because genshin is unwilling to take their characters seriously—but the way this is argued seems to suggest Furina & Nahida would be better characters if they were more physically powerful, mature, or “cooler” in some way. But I really dislike the notion of girlbossification being seen as the one standard of good writing for women. A girl being strong and independent and able to punch things really hard isn’t a marker of inherent good writing

Nahida and Furina not being physically powerful or completely sure of themselves is the point. Their lack of life-experience-based maturity and overpowering physical strength are intentional and points of strength for their character writing, not flaws or weaknesses:

Nahida is the God of Wisdom—her primary source of strength is her intelligence, which comes from her curiosity about the world that is intrinsically linked to her being very caring by nature. The reason Nahida is at a disadvantage in physical strength with the antagonists—Scaramouche and Dottore—and doesn’t have an epic moment where she brute force overpowers them, isn’t because Genshin is treating Nahida like an incompetent joke, it’s because her character highlights the overall theme in Sumeru’s AQ that power isn’t everything and strength/wisdom comes from many places.

She outsmarts both Scaramouche and Dottore through her ability to strategize—if you’re trying to sell Nahida as a character who embodies wisdom, it’s far stronger writing wise to have her use her wisdom and mind to overcome narrative conflict than have her be all powerful. If you don’t think Nahida revealing she’s trapped Scaramouche in a dream loop after he tries to rip her gnosis from her, or her standing her ground against Dottore and forcing him to bargain with her when he attempts to intimidate her into giving him what he wants doesn’t make her “cool” or interesting….idk ! Maybe it’s not the writing and just your personal preference for character appeal

Furina —without getting too deep into 4.2 spoilers—has an arc revolving around the loneliness & conflict of needing to mold yourself into a performance for a greater purpose, and grappling with personal identity and autonomy in the aftermath of performance and repression shaping your life. I really don’t understand how people watch how she’s handled and come away with the conclusion her character gets bent around Nuevillette’s man pain/the fact he’s just so ~much more competent than her unless you’re just really not interested in trying to engage Furina’s writing or taking it in confusingly bad faith

Her struggling with lacking the physical power/competence a god “should” have is, again, the point of her character and they are very clear where that lack of ability comes from within the writing. Her narrative actions follow an arc that revolves around this internal conflict she has—she feels very established to be her own person and they certainty don’t shy away from expanding on Furina’s emotions without it only being done as footing for other (male) characters

I think Nahida & Furina were just not what people were expecting the Dendro & Hydro Archon to be like, I also see a lot of complaints that neither of them “act like gods” or “seem very godlike” but see, in my opinion, one of the central themes to genshin overall is to examine the relationship between humanity and the divine. Part of this also includes calling into question what a god should be, especially in relation to humans/having a sense of humanity

The center conflict within Nahida & Furina’s characters is that their sense of humanity is at odds with being held to what being a god “should” be. Nahida is imprisoned by the Sages who treat her with disdain for being a child and not being inhumanly perfect enough to be useful to them as a deity. We see Furina try to engage with her people earnestly in a more human way before realizing she needs to put up the performance that proceeds to shape her life & state of deep loneliness for the next 500 years to be taken seriously and fulfill her duties. You aren’t supposed to look at Nahida or Furina and think they’re all powerful otherworldly divine beings. You’re supposed to view the, as people—people who are young and inexperienced regarding their position in life. Venti and Zhongli act like people in the same way—the only difference is they have more experience and have had the time to accomplish more feats as original members as the Seven

Again, it’s not that I don’t think there’s criticisms to be made. Genshin to me sets up Ei to be a character who requires a lot of self reflection/growth and thought with handling her moral dubiousness, and then out of desperately worrying she won’t be likable enough, seems to bend over with trying to insist on Ei being palpably appealing while not following through on a lot of what her character really needs to feel well handled. (I feel they barely even address Ei needing to rebuild trust with her people and it’s only more clear when you now see Furina spend a lot of time handling something similar despite doing less um, government oppression thsn Ei did for instance HDJNDJDJ. But I guess me pinning where my personal dissatisfaction with her writing comes from is another post in of its own and more based in general issues with Inazuma vs viewing it as misogynistic writing alone) The trend of not letting a female character grapple with her morality and try to push her being livable at the expense of addressing her complexity does honestly feel it falls into a misogynistic writing trends. I am really bummed out with Ei’s execution when genshin has proven through other characters along with Nahida and Furina they are capable of handling a character like her writing wise imo

But I really think, again, if someone thinks none of genshin’s women are engaging or interesting, or that Nahida and Furina aren’t taken seriously enough narratively while seeming to not really understand the intent of the characters’ writing, or want to take them seriously unless they’re cool/girlboss-y enough, I feel it may say more about their ideas of handling women in fiction than it does about genshin. I get personal preferences and not being really into a character, but people so frequently frame it as a possibly misogyny pattern with how genshin writes the female archons and I can’t help but disagree. I think sometimes people don’t consider what the story is trying to say with the characters vs what they think is cool or want (and of course what we all think is cool or may want/expect narratively is always informed by our own biases). There’s a level of subjectivity in how you can interpret writing and narratives of course but they’re just not interpretations I feel fit into what’s presented in the text !

[texasthoughtsaboutnothing]

EDIT: I have received several new pieces of information that I'm distributing throughout the doc that further reinforces my stance on this, and is valuable to know. Also, I have sections where I'm more clear on my stance after thinking on it for a while and following more discussions on this. I hope I don't disappoint anyone with my thoughts.

If any part of what I've written here resonated with you, I shamelessly ask that you spread it in your preferred manner, and if you feel there's parts that need work please let me know.

Still gonna regret writing this, I'm sure.

[Warning: Long. Like, really.]

Because of all the shit happening with Arknights, PM is under fire once again as it ties into the larger narrative surrounding Korea and its full on gender war (a real thing that's apparently happening).

For those who don't know, way back in July Limbus Company got the event for 4.5 that included swimsuit versions of Ishmael and Sinclair. The fact that Ishmael was in a full bodysuit while Sinclair was shirtless with a collar led the Korean equivalent of 4chan to accuse PM's lead illustrator of being a feminist, which I guess is a bad thing if you're drowning in Korean culture war bullshit.

Turns out the lead illustrator was a man so they pivoted to the CG artist Vellmori and invented a whole host of bullshit links between her and an extremist group to try and get her fired.

And in accordance with their wishes PM fired her. Except they didn't. Probably?

Most everything known from this point onwards is, bluntly, tainted. It's a lot of machine translated Korean posts or, one way or the other, hasty conclusions from people with agendas (including me, no one is immune to propaganda).

Did Vellmori reach out to a newspaper to whistleblow on PM's flagrant disregard for worker's rights? That was the story at first but follow-ups implied it might be a complete fabrication or an overstatement of her grievances (EDIT, I have received information that while there was a phonecall to Vellmori from PM, it was to set up a meeting to properly hash out next steps and any claims she was fired over the phone are incorrect, and the newspaper that reported as such quietly retracted that statement).

Did a labor union jump the gun on spreading this story to gain political capital without reaching out to PM for their side of the story? Maybe if PM's version of events is true, but that's assuming a lot of malice of an institution doing it's best (EDIT, I have received information that the people directly responsible for handling the PM issue acted independently and were later found in violation of several union laws, including allegations involving CP that I do not want to and will not get into).

PM's story is that once the harassment flared up and involved physical visits to the development office, Vellmori wanted to quit. (EDIT, I have received information that the wording of the various statements can be interpreted as Vellmori leaving of her own volition but also under encouragement; if you see claims that she was forced to resign this is what that claim references.) There was a rumor about her getting 2 years of severance pay, but I don't know if that was ever corroborated and is likely false, but she would have gotten something in accordance with Korean Law which they were found in compliance of.

Everything after announcing her termination of contract (not translating the initial announcement, framing it as a company policy issue, keeping quiet on it for months, constant vague threats of lawsuits) was supposedly a bad attempt at trying to quell the harassment by making it go away. Instead, it exploded, and now if you're a fan you'll have to deal with this coming up forever. I know there's fans who follow me that'll resent me for making this post as they just want to move on (or think I'm wrong or misrepresenting some details).

I resent making this for what its worth, and am trying my best to be accurate, but for me this is part of moving on, acknowledging the bad and the factors that mitigate it. And yes, I think there are several mitigating factors.

Why did Cassie Wei, lead singer of Project Mili who is both Korean and a woman, speak out in KJH's defense?

Why hasn't, to my knowledge, Vellmori said anything since and by and large just disappeared if she was so poorly mistreated?

Why have, again to my knowledge, none of the Voice Actors and Actresses spoken out against PM in solidarity?

Why do PM continue to have partnerships with progressive companies like Arc System Works?

Why did the labor union retract their statements against PM and apologize following an actual investigation?

EDIT: New info. Why did the labor union censure the people responsible for handling the PM issue, who later quit the group seemingly in disgrace?

Why did PM not bring their own lawyers to the meeting with Vellmori while she was allegedly encouraged to bring hers?

None of these questions completely absolve PM of wrongdoing, if you were set on condemning them it's not hard to interpret each in a very uncharitable way. For example, most of this is easily answered by the fact we live under Capitalism and we inevitably all have to swallow our morals and ideals to make rent. I could retort that maybe PM did the same by capitulating in any degree to harassment (which they have done historically as what happened with Ruina's ending) and not specifically endorsing any ideology or political belief (which is wild considering the actual content of their stories). But I think that ends with a circular argument that boils down to whether you believe in PM or not.

To be clear, even if you want to interpret all the Vellmori stuff as charitably as possible, PM undeniably fucked up and has labor issues in its history. The artist for the manga Leviathan, Monggeu, came out during the whole thing to speak on her treatment as a contractor; how she was given an impossible workload and the company denied her requests for delays, delays caused in part by suicidal depression caused by the workload. Though KJH personally apologized to her, she was let go over the phone and spoke out only after she felt the company now had a pattern of abusive work policies. The author of Wonderlab also deleted her stuff in solidarity.

That's all bad. Really bad. I stopped playing Limbus because I felt extreme disappointment with the company and managerial tendencies of KJH. Credit to a reddit user I won't name for pointing this out, but this information is far more concrete than anything involving Vellmori as Monggeu broke her silence independently months after things happened on her personal Twitter. However, there isn't nearly as much focus on this or calls for Justice for Monggeu.

This opinion is mine and mine alone, but her situation, which I must stress was awful and shameful on PM's and KJH's part, doesn't tie into a culture war like "Vellmori being fired for feminist tweets" does. It is a clear cut example of bad labor and managerial practices that lead to harm towards an employee, but its an everyday tragedy, not a martyrdom. And so I wonder how much the treatment of labor is actually part of this discussion, the more actionable issue than changing all of Korean society. I wonder if PM's supposed kowtowing to incels is highlighted above all other context because it casts PM as an enemy in a culture war.

I say the above because I've seen online culture war stuff happen before, and it scares me beyond just whether a company I like gets redeemed in the eyes of others. I have seen lives destroyed in the name of a just cause for nothing, including good progressive causes like feminism. If the only thing that would satisfy or lead to forgiveness is a revolutionary purge, do you actually want to build anything?

I digress, and I hope I didn't turn you off too much with my thoughts and fears there. It's important though, because there was ultimately an apology from PM.

In it, among other things, they laid out their flawed logic on how they wanted to handle the situation, addressed their treatment of both current employees and past contractors, and promised to improve and protect employees better. Since then, things seem to have changed at least from an outsiders' perspective. The game moved away from a strict list of deadlines and towards a more open-ended dev pipeline. The game is less buggy than it used to be after updates. They changed policies on content to make it easier to produce by limiting VA without any blowback from their VA's so we can assume proper talks were had. Translations don't have as many errors as they used to while the quality has been maintained even after losing a major translator (which is its own tale of baffling choices by the company in its own right). And they've kept all this up for Season 3 so far without any announcements of delays and, in fact, far more content than usual. All of this, to me, points to better management.

Maybe I'm naive to think so but I want to believe that the evidence points to the crimes of PM not coming from a place of malice and antifeminism but incompetence. I need to stress KJH didn't kill or rape anybody, nor was he verbally or physically abusive. He was a really shitty boss, and I understand how much it sucks to have a shitty boss, believe me. But a shitty boss can become not shitty, and my hope is that happened already, and that a company that produces good art that's worthwhile will thrive as a result.

I say all this because I actually care about this company and art it produces. If I didn't, last July wouldn't have hurt so much. If I'm cringe for it, so be it, but I believe constructive change should be recognized and rewarded, and it's for those reasons I came back after following the game for the rest of its second season.

To be clear, you don't owe a company your time or your money even if they improve their culture and policies, and if you felt that what PM or KJH has done is unforgivable you are well within your rights not to engage with it ever again or even tell others about your grievances, as much as I might disagree. But if you want them to suffer, to lose business, maybe even to go under despite how many other women work for and with them... I don't know. Please don't just think of these people as enemy units in the war against feminism? Ask yourself that if Vellmori broke her silence tomorrow and asserted she left of her own volition and condemned groups like the PMUA, would you believe her or immediately assume she's under duress?

This is not a cut and dry, black and white moral issue where a great evil needs vanquishing, it's a messy as hell moral and labor issue involving multiple people wrapped up in larger cultural and social issues no one initially involved intended. There are real people involved who stand to get hurt, not to mention who's been hurt already. Justice can involve other things than a firing squad. Please at least acknowledge that much. inb4 "No and kindly die"

EDIT, regarding the lawsuits. If you didn't know, PM is currently suing the labor union and a separate organization once called the PMUA (Project Moon Users Association) now called the KGA (Korean Gamer Association). I have seen unconfirmed reports that the former has ties to the disgraced Korean Ratings Board exposed by Blue Archive Fans for crypto bullshit. In addition, I have seen criticisms of how the PMUA used donations and their effectiveness in actual addressing PM and its labor issues, including demonstrations on days workers and management weren't even present and being the ones responsible for leaking documents that Vellmori allegedly wanted to be kept private. All of that supports PM's allegations that these organizations were in fact targeting them as part of political ploys and they never cared about any of the victims or ideals they touted as representing. For all the above, PM is suing for defamation, which is well within their rights by my reckoning. Regardless of my thoughts, this is where we are now.

Last and by no means least, feminism is good. Wanna be clear on that, I believe in equal pay, reproductive rights, that grip strength is a stupid metric to measure human rights by, that men are not owed sex and love by women regardless of circumstance, the whole shebang.

Also, what's happening in South Korea is scary and serious and bigger than just a terminally online culture war shitfest, more like an active bomb about to explode. I support the women who live there and their fight for equality, I just don't think PM fundamentally has anything to do with it and constantly trying to drag it into the line of fire feels like faux activism. I think the scope of the gender war is very far beyond the limits of gacha game discussion, or for that matter the actions of a single company of, like, 50 people.

(I swear to god if Vellmori makes a post tomorrow accusing KJH of SA or something after I wrote all this I will throw myself into the ocean.)

This will actually be the last time I talk about this unless something changes, I want to believe I was respectful the whole time and don't mean to belittle anyone for their beliefs or choices (unless you're an incel, please be better, also take a shower).

[absolutelynotsanebaby]

I've been thinking and talking about it with a friend but, Morro redemption concepts half the time get the whole appeal wrong I think. I remember watching a video once (I'm fairly sure it an Overly Sarcastic Productions trope talk video) where it was said redemption is often A) by death (aka canon for Morro), B) something done to a character or C) something a character chose. All three have their merits and uses but -- I don't think B) fits Morro whatsoever.

See, Morro is kind of a fiercely independent character. He doesn't take anything laying down or without effort. I don't think you could force him to change really. If he changes, it's because he chose to. Besides, narratively he should have to earn it. He should have to earn forgiveness and chances and fight to become someone good. I believe he would, if he chose to throw himself into it.

Thirdly I really think it minimizes Lloyd's trauma. And honestly that's boring, it strips any drama from the whole situation. A Morro redemption would be messy and take effort from him and he wouldn't take it laying down on his back. I just can't see him joining the team immediately after Possession or acting in the timid way people characterize him like.

To me, Morro's redemption is about earning forgiveness the hard and long way. It's about reconnecting with Wu and his ideals/teaching (and re-figuring out their relationship, Wu making up for failing him). It's about earning the teams trust, especially Kai's respect. It's about him finding his place in being good and beyond the green ninja's prophecy he chased for so long. He has to earn it and I think that's okay.

( @ups3tti because you wanted to be tagged <3)

[bonefall]

i'm ngl depicting thunder's prosthetic as a burden is pretty uncomfortable even if it is something some amputees experience because like. there's a huge stigma around prosthetics already you know? it's like having a parent forcibly strap a child into a wheelchair when they don't need it and having a horrible experience with it and that being your only character in a wheelchair. some full-time wheelchair users do resent their wheelchairs but when that's the only time you're bringing it up at all it feels like you're playing into our society's perception of wheelchairs and mobility aids in general as useless and best and divine punishment at worst. idk do let me know if i'm wording this wrong because i really do love better bones! it's just that this detail is... strange.

I mean, I'm open to feedback if that's not something I should do-- but I do actually have other characters in prosthetics and mobility aids! A lot of them! Thunderstar's actually the only one who ends up rejecting his own, because I also wanted to depict that it's bad to force a device onto someone who does not want one.

Especially in circumstances like Thunder Storm's, where that sort of device would be actively unhelpful for his lifestyle. It might help in open field environments like moorland, but then I got more feedback and realized that it would just make a lot of unwanted noise in a forest (since cats have carpal whiskers to help them figure out where to place their paws). Then I figured it was a good way to show how BB!Clear Sky doesn't actually listen to his son's needs and acts differently when he's not "grateful" enough for his gift.

But he's far and away from the only one with a mobility aid or prosthetic!

I haven't figured out Frog entirely yet, but he's going to be the first cat with a "wheelchair" type device, to set up a long line of cats through the generations improving on it (Probably not much more than a reinforced canvas or durable leather, as this was the age of very early flax processing)

Wildfur's the next in the big advancements, even making the Great Journey in his own and getting a side story based around Littlecloud and Cinderpelt collaborating over this

The device is then improved upon by Jessy for Briarlight, giving her a level of independence and confidence that she needs to finally cut her mom out until she learns how to behave

Deadfoot has a brace for his front paw because the joint is loose (it was based on a friend's carpel tunnel bracelet) which is affectionately referred to as The Bonker; his name is also now an Honor Title (Old name: Hoprunner) for inventing a battle move by distracting with his good paw, and then SLAMMING his other limb down hard on his opponent. It's called "deadfooting."

I think mobility devices are super important, usually massively improve quality of life, and I just enjoy designing them, so the choice to portray Thunder Storm's as negative was a very deliberate one that I did in response to what I thought was a desire in representation. Even the fact it's a hind-leg prosthetic was thought out, since those have a much higher satisfaction rate in humans than hand prosthetics, but in a cat would probably be the opposite.

Still, I'm not missing a limb, so now with all of that context presented, do you still think the same thing? Should I just add even more limb prosthetics to make the ratio of satisfied prosthetic users vs Thunder Storm even steeper?

Sunlit Frost is actually going to have a bite on his good paw go septic (the other side has permanent damage from the fire). I could have that paw get amputated and have Thunderstar "return the favor" for how Sunlit Frost created the prosthetic he rejected by helping him build his own. A pawsthetic, if you will

OR would it be better to just remove the subplot of Thunder Storm grappling with/rejecting a prosthetic that is unfitting for him entirely, and have all prosthetics be 100% treated as positive in the narrative?

[mari-lair]

Gladly! Aoi was inspired by the high school of magic Aoi, who also has a secret identity + no popularity queen status. So she is shy when people pay her any attention, especially Akane, and less arrogant. She avoids conflict but is able to take action when the situation calls for it!

Overall she is more open about her emotions, not hiding behind a cutesy smile all the time.

Since Aoi's clockkeeper contract is forced, and she is alone, her situation is less of a fun double life like in the magic AU, and more of a curse.

Mirai made her cry the first week she was forced to babysit her and cleaning the clocks used to be awful, she hates having to be their maid after learning they are the ones who put her best friend's life at risk in the first place.

She trains herself to become a persistent girl, independent by force.

She hates supernaturals but has a soft spot for mokkes. She occasionally hides them in her sleeves and sneaks them to No.1's boundary, paying for their services with candy so she doesn't have to clean the clocks alone.

She befriends Teru when he sees her in her supernatural form, more cause she doesn't want to be alone than really because she thinks he is cool.

She goes out of her way to learn about supernaturals instead of pretending they don't exist. She is scared of being lied to again, specially on something so big as the clock keepers recruitment plan, so she doesn't trust their words. Her glasses are enchanted but she only uses them to not be bothered in her studies, she always takes them off if Akane looks troubled or she is on break. She makes sure to learn every rumor to keep Akane safe from the dangerous ones.

The incident where the keepers nearly killed Akane traumatized Aoi. She always walks on the side closest to the road when they are on the streets by instinct.

Aoi never has to protect Akane from all the admirers he gained by being a beauty king, cause his personality is the same, he can brutally kick people regardless of gender just fine, people know he isn't on the market, but she doesn't catch a break, constantly rescuing him from supernatural trouble and worrying about his safety. Since Akane can't see her in her supernatural form he has no idea she is inhumanly strong, only noticing she has been more stressed after her contract and being even more protective and careful with her.

Most people respect Akane, knowing from personal experience that he is a responsible class representative, kind, and brutally blunt. So even though he is able to make people swoon by just existing, confessions are not a daily occurrence, admired from afar.

In the occasional cases people objectify him, Aoi is more bothered than Akane about it, she wants to throw hands and give away her identity as 'more than a cute shy girl' the second someone is bold enough to hold his hand without his consent, twisting his behavior to fit their personal narrative, and acting entitled to have him.

Think of the rare people that bother Akane as similar to the creepy cashier who created a whole false narrative about Aoi in his head.

Her friendship with Teru makes Akane a little jealous. Why does she wear Teru's glasses? Why does it feel like they are hiding secrets from him? And she does tease him about it, going out of her way to try to make him jealous as revenge for all the time she had to deal with girls gushing about how hot he is. She is petty.

Aoi usually stops time to make her life easier, get away from crowds, save a flower pot from falling. Little things. If her clockkeeper duties drain her too much she'll even copy someone's homework, though she needs to be really really tired to do that, she is usually too prideful to copy someone else.

She does eventually stop Akane's time to stare at him, mostly out of curiosity, but she gets self-conscious about it and avoids him for the rest of the day, much to Akane's confusion. Getting superpowers may have increased her confidence and made her more proactive, but Aoi is still pathetic when it comes to showing and receiving affection.