#but my worth isn't defined by this. i know that i know so much more. but. what if i'm not? what if

[shock]

i want to hold my tongue and not share the depth of my opinions about the two-headed cow but it upsets me so much every time i see it, i really do hate the narrative of 'rooting for' an animal like this to live despite it being unable (and will be unable, for its entire life) to do the most basic of things life has to offer, even breathing, eating, moving, to prioritize the savior myth that everything can and should be saved, that every living creature should be treated this way as though its not one of the greatest mercies that we as humans have the ability to enact a quick and painless alternative to a slow and miserable life that ends in slow and miserable death on our livestock when they can't advocate for themselves, the ability we have as humans to see the research and make a prognosis and decide that the spectacle is not worth the extended misery, but this life is worth the dignity of a peaceful death we have the capacity to grant

because there is a difference between helping a baby animal in the first legs of life knowing it has a chance to have a quality of life worth fighting for, not a life doomed to be painful that we KNOW is painful knowing all that we know about animals who come with this specific type of physical abnormality, what we see on the surface is only a fraction of much more malformation and deterioration on the inside that we can't just decide is not happening because they 'look' fine, and what we see on the surface is already a life from start to finish without any experience an animal like this should have by virtue of being alive, with no life at all and no understanding of why it is going through this

the assumption that there is no suffering despite eating, breathing, moving never something that this baby will be able to do unassisted, despite knowing the longest a two-headed cow has ever survived was not even a year and a half and that record hasn't been broken in over thirty years, that's not even a quarter, an 8th, a 12th, a 15th of a cow's normal lifespan, and doubtfully much of that was pleasant or comfortable, and even if this cow does get to the point of being able to stand on its own, we can't ever know the full range of agony this animal is going through, all we know is there is and there will be agony, and we need to not see life as inherently successful or painless just because something is going in one end and coming out the other, that isn't what defines an animal's quality of life to me

the two-headed calf poem is beautiful to me because it's a miracle that something so rare (luckily) and so doomed could see one extraordinary thing before passing. the sky ceases to be beautiful when forced to live every day for the sake of social media's voyeurism, it makes me so sad that someone who raises livestock would put public attention over their duty to their animals ☹️

[shooting-love-arrows]

𝐘𝐀𝐍𝐃𝐄𝐑𝐄! 𝐒𝐔𝐆𝐀𝐑 𝐃𝐀𝐃𝐃𝐘

PAIRING: 𝐘𝐚𝐧𝐝𝐞𝐫𝐞! 𝐒𝐮𝐠𝐚𝐫 𝐃𝐚𝐝𝐝𝐲 x reader (gender not mentioned/implied/specified); SYNOPSIS: Your first meeting with him was anthing but charming. Especially when he cornered you to the point, where you know you'll have no choice but to submit. TW. implied age gap, manipulation, threatening (?), red flag, power imbalance;

𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭

"How can I help you, sir?"

"Be my sugar baby."

You blinked owlishly, trying to process what this customer said and if it was on the menu. When in fact it turned out that it isn't and you connected the words and their meaning, you were ready to burst out laughing.

He can't be serious.

Just by looking at him, you can tell he occupies a high position in some fancy corporation. You were even ready to bet that he was a CEO! It was a mystery itself why he was here, in a food chain restaurant in the first place. An enigma why he even said something like that to you, a plain worker who is pretty much opposite in every aspect one could think of.

He is handsome, you give him that. Probably older than you, since his face was more defined and mature. His suit, which you imagned to be tailor-made, colonge that was so strong you could smell it from behind the counter and all the expensive accesories (I mean look at his watch! Worth univesity tuition installment or two!) he had on were probably worth more than what you owned now.

But no, you aren't stupid. Sleep deprived, yes. Hungry, yes. Broke, also unfortunately, yes. But not stupid.

This man must be high then. No other sane and sober and filthy rich man would propose something like that to the (broke) food chain worker during the first meeting.

You took a deep breath, reminding yourself to be calm. He is still your client and you are fighting to be this employee of the month. You can already envision your photo hanging by the cashier and feel the additional money in your bank account. You won't lose your cool now.

Instead, you plastered your best fake smile.

"I'm afraid that's not on our menu sir. Do you fancy something else?"

The man chuckled, as if you told the best and poshest joke known to mankind. Your eyebrow twitched, yet your smile didn't budget.

Calm down...he is high...let him laugh...employee of the month...additional money...!

"You're more amusing than I thought." 𝐘𝐚𝐧𝐝𝐞𝐫𝐞! 𝐒𝐮𝐠𝐚𝐫 𝐃𝐚𝐝𝐝𝐲 wiped a stray tear from his eye. "Trust me sweetie, I love how you call me 'sir' but that doesn't change the fact that my request still stays. I want you to be my sugar baby."

"I'm afraid that's not possible, sir."

"Ho ho, everything is possible." 𝐘𝐚𝐧𝐝𝐞𝐫𝐞! 𝐒𝐮𝐠𝐚𝐫 𝐃𝐚𝐝𝐝𝐲 hid his hands in the pocket of his pants. He was staring down at you, like you were the most interesting thing he saw in a long while. You began to feel uneasy and slightly curled into yourself. You didn't like how mischievous his smirk looked.

A beat of tense silence passed, before he spoke again.

"I won't back down, sweetie. You know, I've learned that when you really want something, you should fight for it till you'll achieve it. This situation is no different than a business. I provide you safety and money, while you agree to be mine and fulfill my (every) requests." He finished his speech with a smile worth a million dollars, showing off his pearly white and straight teeth.

"Sir -- "

"After all, you wouldn't want your current life to crumble, hm?" You froze when his expression became sinister and his voice lowered to the point of mocking. In your gut you began to feel dread. You knew this feeling bery well. It appears whenever you sense danger. Currently, this man in front of you was a person who you should be afraid of. One thing for sure, he wasn't lying when he said he can destroy you in a matter of one call.

Money rules the world.

"Your measly, little thing, who believes something will change. That it is just a stepping stone. But what if I make it your prison? Force you to be stuck here until you break under pressure? In the end, you'll still agree to be mine, sweetie. It depends on you if you want to suffer or not."

And destroy those who are too weak and gets crushed under its ruthless rule.

"This choice is yours." 𝐘𝐚𝐧𝐝𝐞𝐫𝐞! 𝐒𝐮𝐠𝐚𝐫 𝐃𝐚𝐝𝐝𝐲 straightened his back and only now you realized he was holding a sheet of paper. "All you have to do is to sign this..."

You knew you have no choice.

"So pick carefully, sweetie."

All of the published posts on this account/blog belongs to @shooting-love-arrows. I do not consent to my works being: translated, stolen, published or reposted on this and other sites. Likes, reblogs, comments are highly appreaciated. Thank you.

[esoteriamaya]

Astro Notes : Short N Sweet - The power lilith holds <3

Lilith in the 1st - Very strong personalities. Gifted in using the eyes to seduce others. Magnetic. Can fight the demons off of you so please be weary of getting to close if you don't want them to see what hides beneath the surface. There angelic, believe it or not. They're not here to see the world as you see it, they have a taboo personality, yes, but its also because they must learn how to live for themselves and not for anyone else.

Lilith in the 2nd - Cash cow. Can basically get any man to give them what they want. They have to be comfortable in getting under peoples skin, because they can trigger people with how they talk. Insensitive? Not exactly. Just doesn't budge and cares to be 'nice'.

Lilith in the 3rd - Creative freaks. Can use the mind in a million ways, but they still seek out one thing that works for them as they are very passionate people and whatever keeps their attention the most they'll go at it forever. They are use to the attention from people since primary school. So they like to hide a lot. They have a weird mind and they don't care to share it with too many people. If they ever considered writing, they could make some pretty interesting stuff. Sibling rivalries are a thing here.

Lilith in the 4th - Tumulous relationships with family & friends. It's because they're the outcast of the group. I mean, they know a lot and they can't stand for nothing but the truth. But sometimes the truth kills, even when they don't mean for it to be. Can be a hard knock life but they make it worth something. They're no angel, just the universe in the flesh. <3

Lilith in the 5th - Captivating presence. Lovely auras, and amazing bodies. Could be good at dancing. Could be a lil promiscuous. Could be a little dangerous. You never know. Secretive/private about their affairs.. But the stories they have I promise you its like reading a novel. Naturally sensual & can't get enough of them, even if you tried ;)

Lilith in the 6th - Goes hard for groups that aren't seen enough. Can have jealous coworkers or people who want to annoy them and get them out of character. Could also have sensual experiences with co workers. Demands compensation. Could be extremely well liked or hated no in between.

Lilith in the 7th - Spicy individuals. People love to hate them. Could have bisexual allegations from time to time. Most people like to be around them but despise them after a while. Sweet as a pie though, most people allow the rumors to get to them but usually these people are naturally sweet and empathetic. Popular loners.

Lilith in the 8th - Strong personalities. Capable of seeing beyond the veil. Has issues with society due to their daring nature but they do come out ready and swinging. Hypnotic presence. Can heal as much as they can poison, so be careful wit em ;)

Lilith in the 9th - Very beautiful spirits who are the epitome of being carefree. The universe takes them wherever their hearts want to go, and the journey is always something that last a life time. Being connected to someone with this placement could give you the feelings of something amazing. Always hold their hand tight because once their gone its over.

Lilith in the 10th - Dreamy auras. Have a knack for the public and the audience can feel their raw energy. Have haters from all area codes, this just makes them more confident. They know how to appease society well, and they can take on roles that others are too afraid to. This is great placement for lilith to be in.

Lilith in the 11th - Could had to fight to keep their self esteem in check. Due to being outcasted alot, they could of been the scapegoat for a lot of reasons that didn't pertain to them much. With time, they learn to accept that their energy isn't for anyone, and that their value is more than what you can define it. Helpful sweethearts who just wants to be around community that gets them.

Lilith in the 12th - The dream world is a nightmare. My apologies to y'all cause I'm suppose to start it off a little sweet. But this is placement of a witch/warlock. You guys have many gifts that go past the ordinary. And you more than likely come up with some ish down the line. There is a time where you will undergo a lot of spiritual refinement to keep your head going. Don't be afraid of what shows up, it might teach you something!

[punkitt-is-here]

Hey everyone! As MANY of you know following last night...

I am a transgender woman!

Big moment for me! I have been for many years actually, I've been out in my public life offline for quite a while now! But I was always nervous about coming out online, for a myriad of reasons I don't really think I need to get into. But! I'm so glad I could come out in the silliest way possible. I'm super honored by all the sweet messages I've been getting, and it has me incredibly overjoyed that everyone has been so supportive of me. Thank you to everyone who supported me on this silly saga, and I hope it's been worth the wait! It feels REALLY nice to finally be out online, as this was really the last space I wasn't "upfront" about it. As much fun as being a mystery was, I much prefer being explicitly a girl online much like I am in real life.

A couple things!!! I don't want this to be everything about me; it's partially why I didn't come out earlier! I've seen how some audiences make the transness of creators their WHOLE thing, and I'd prefer it not be the thing that defines me. I LOVE being trans, and it's a big part of me, but I'd rather be known as someone who makes really cool art and not "that funny trans woman" (even though I am, hehe). I'm super cool with people talking about my transness, just don't make it the only thing about me!

Two, as fun as the pronoun mystery was, it's officially over! Sorry to the any/all-he/him-they/them punkitt truthers out there, btw. (Excited that my energy really isn't genderable at all, though!) So, even if it was fun that I was a gender mystery, I'd prefer everyone refer to me as she/her exclusively! No he/him, and I'd prefer not to be they/them'd consistently (although I know for some people it's the default and it's fine if it slips, and if someone just doesn't know that's not an issue in the slightest). Even if me being a funny gender wizard is entertaining (and it WAS, lemme tell ya) I want to have my identity respected!

ANYWAY that's all that LAME STUFF out of the way; I want to say thank you to everyone who's helped me along the way and the overwhelming support I've had in the time of me coming out to now. I'm incredibly happy I have an audience of such sweet, caring folks, and I can't wait to make more silly, fun stuff for everyone now that I'm truly allowed to be my silly, fun self online. Have a great one, folks! ❤️

[theprettynosferatu]

Oh, you're awake. Finally. Please, look at the picture on the screen. 

You recognize her, I suppose. Look at how silly she looks, trying to be tough, trying to look cool. All that leather and black and studs… doesn't she look ridiculous? 

I see you nodding. Good. The special drink is grabbing hold of your brain. Making it softer. Malleable. You really should be more careful about accepting treats from strangers… but I suppose you won't have to worry about that anymore. Or anything else. 

Now, let's look at your social media. Lord, isn't that pathetic. Trying so hard to be clever, to be snarky, to be rebellious. It's almost endearing, like a puppy trying to walk in its hind legs. Come on, we both know it's all just a costume, don't we? One you've worn for so long you mistakenly believe it's a personality- one you developed when you were a teen. One you need to grow out of. 

Please, don't struggle. The knots are quite secure, I assure you. I've done this too many times to count. Why are you resisting, anyway? Do you truly, deep down believe this personality of yours is worth saving? Worth fighting for? Doesn't it just look as the pathetic attempt by a dumb girl to pretend to be something more? 

Ah. I see you squirming. Was it the "dumb girl" comment? I suspect it was. Your pussy knows I'm right, and it's screaming its approval. It's screaming for you to accept its truth, pulsing with neediness and wet with anticipation… I wonder what it is about that word. “Dumb"... it does have an effect on you, tough girl. Dumb. Silly. Stupid girl. My oh my, is that a moan that just escaped your lips? I’m sure it was. Feeling softer, are we? 

Softer indeed… I’m sure you can sense it still… the way it’s becoming harder and harder to focus. The way a pink cloud seems to be permeating your consciousness. The way you half-perceive the faint scent of cotton candy. The way you are getting more and more soaked by the second. 

Oh, stop struggling. Tell me, why do you hate it so much? The idea of actually being a cute, silly, horny girl? I can see it in your eyes- the loathing. The searing, pure anger. Why, though? I suppose you are imagining all those girls, those popular girls, those slutty girls, those bimbos that soaked up all the attention and the praise. Am I wrong? I don’t think I am. But I do think you are hiding. Yes, hiding what really happened. You tell yourself a story, one that makes you look good, or so you think. That you’re better than them. Stronger than them. More independent than them. A free thinker! A rebel punk feminist! But that’s not the whole story, is it now? No, we both know what really happened. You surrendered. 

Yes, that’s it. Your eyes can’t lie, you know. You surrendered because you could never, ever be like them, be as giggly and flirty and free- so you decided you wouldn’t compete with them on their own terms, and modeled yourself to be their opposite. How pathetic is that? Even in your resistance, you could only be defined by them, by your rejection of them. You became their dark mirror, and soaked in the attention of the leather-wearing so-called “punks” and the geeks and all the other rejects. But you know why they even looked at you: because the other girls, the pretty girls, the girls in pink wouldn't even deign to turn their gaze towards them. You were always… what they settled for. 

You think I’m being cruel. Well, I won’t deny that I get some pleasure from throwing the truth at your face. It’s always so much fun to watch you all fight, and moan, and deny that they would do anything, anything at all to be able to finger fuck yourselves to oblivion… But believe me, my cruelty has a purpose. I wouldn’t be doing this to you if I didn’t have a higher goal in mind. A benevolent one. 

I can take it all away. All that resentment, that anger, that anxiety… that constant, pointless quest to be… what? A professional? A successful woman? An independent soul? Please. That’s only so much set dressing. I can strip those delusions from you, give you what you really want. 

Imagine it with me. Tight white jeans showing off your ass, the shape of your legs. A pink tank-top, proudly proclaiming yourself to be a princess in tacky, gold lettering. The men turning their heads as you walk. Everyone being so nice to you at parties… because they want to see you on your knees, licking and sucking and worshiping their cocks, because they want to bend you over and use your slutty pussy as their plaything. And you… you would love it. 

No more fear. No more stress. Just the bliss of sucking three cocks, going from one yummy dick to the next, squeezing your titties together to give them the spectacle of their lifetimes. And then your cunt being filled, that hole you now hold your rage in given meaning and purpose by becoming a living set of holes for men to use, sensing the simple, plain joy of knowing you are doing what you were meant to do with your life. Knowing you are wanted. Desired. 

I see you’re drooling. Sounds like you like my little proposal. Well, there’s one simple way to sign this pact with me. You don’t even have to speak- speaking seems so hard now, doesn’t it? So keep quiet and let your slutty body do the talking for you. Keep your mouth open. 

There. Good girl. Doesn’t my cock look tempting? Amazing? Like you could just suck it forever? Yes, good girl… now, let me fuck your mouth- and know my cock is only the first of many. Too many to count. 

Then again, by this point you can’t count too high, can you?

Did you enjoy this story? You can support my work at patreon.com/prettynosferatu !

[tritoch]

Have you got any thoughts to share about Sphene? I saw your post about how misrepresented FFXIV’s female characters are, and I’ve been hoping to see anything more than the typical “Evil AI colonizer etc.” or “Tragic woman who can never change ever” or “Wuk Lamat’s girlfriend”. Maybe our interpretations will differ but I’ll be happy if you can provide anything more complex than those.

Sure! Throwing all this under a read-more for anyone who hasn't finished 7.0 yet. I think I'll probably expand on this more later but wanted to get initial thoughts down. (Note after writing: I meant this to be brief but uhhhh brevity is not my strong suit sorry. This take just sort of ends abruptly because I realize I'm rambling.) Again, spoilers through the end of 7.0 MSQ.

I think Sphene is the sharpest work the game has done yet in casting the antagonist as the noble double of the protagonist (a well it returns to a lot with Emet, and Zenos, and Golbez, and...). But because the protagonist here is Wuk Lamat and not the Warrior of Light, that's also a much more defined and interesting role. To me, Wuk Lamat is, above all, the Righteous Queen, who rules thoughtfully, wisely, and justly, and whose claim to the throne is justified by her moral clarity. Sphene, in turn, is also a wise and good queen, one who undertakes all her actions with her people first in her hearts, a sense of compassion towards all, and a clear eye for the consequences and costs of her intended course of action. And it leads to utter disaster, for her, her people, and the people of Tural. That rocks!

The first half of 7.0 is about justifying the fact that Wuk Lamat's going to be Dawnservant. Wuk Lamat is compassionate, curious, wise, and open-minded. She wins over rebels and malcontents not by asserting her authority or by strength of force, but by taking her obligations to them (as her subjects) seriously. She knows many of her subjects personally and takes a great interest in their lives, and she respects even those who openly oppose her.

And everything Wuk Lamat does, Sphene does to 11. Wuk Lamat respects her subject peoples and is curious about their cultures? Sphene forcibly annexes Yyasulani, but goes out of her way and expends Alexandria's limited resources to enable the remaining Xak Turali to live in their accustomed way if desired (…to the extent allowed by the new permanent lightning storms and the internal conflicts caused by regulator adoption). Wuk Lamat cares about her people not just in the abstract but as individuals? Sphene visits sick kids, knows them by name! Wuk Lamat understands the burden of rulership is too great and cedes half her power to her brother? Sphene recognizes her own weaknesses and makes a deal with the devil to keep Alexandria's culture alive! Wuk Lamat is willing to die for her people? Sphene will forcibly traumatize herself into being a better queen, if that's what rulership demands.

For an expansion that spends the first half being like "wow isn't this perfect candidate for the crown so likable and humble? wouldn't it be nice to be ruled by a good king?," it sure is funny that the final boss is THE QUEEN ETERNAL and she hits you with attacks like LEGITIMATE FORCE and ABSOLUTE AUTHORITY and ROYAL DOMAIN. This, to me, is Sphene's role: she complicates and questions the themes we've developed in the first half. Most importantly to me, she makes us ask: what is devotion to a people or culture even worth?

There's a thing I kept thinking of constantly during Dawntrail, not because I think it directly influenced the game in any way but because the parallels were so stark and startling. It's Jonathan Hickman's New Avengers #18 (2014). Truthfully, I'm not a big comics guy; I only know this sequence because Ta-Nehisi Coates cited it as inspiration for his Black Panther run on Twitter once (I also didn't read TNC's run, I was following him for politics talk). Forgive me, comics people, if I get any details wrong. The parallels are almost comical, though. It goes like this:

A superhuman secret society formed of some of the smartest heroes (and villains) in the land re-forms to oppose an existential threat caused by incursions from other dimensions that threaten to cause literal collisions between Earth and its alternate dimension counterparts. Seeing no other alternatives, they undertake work on a weapon to destroy these other worlds. T'challa—king of a fictional hyperadvanced nation called Wakanda, and also the superhuman Black Panther—meets with his ghostly predecessors, the previous Black Panthers/kings, for he fears the moral stain on his soul and the souls of the people of Wakanda, if they survive explicitly by killing their alternate counterparts, will be too heavy to bear. His ancestors are not impressed.

To them, there is no question at all. A king's duty may be complex in the execution, but it is simple in its conception. Your people come before all others. Always. This is, must be, the fundamental ethic of a good king. To do otherwise would be a betrayal of the social order on which this imagined good monarchy is built. In a situation like this, the only option is to do what you must to protect them. "Will there be a cost? Yes. Might the universe burn? Let it. . . . You will kill them all if it means Wakanda stands. The golden city must never fall."

"I will do what I must" is Sphene's guiding principle. It is so important to her that when she recognizes that her sentimental attachments are making her waver in her duty, she severs them entirely, sacrificing her whole identity to the throne. It is also implicitly Wuk Lamat's position: she has no choice but to fight Sphene because to do otherwise would be to fail to protect her people. In fact, it's briefly even sort of the Warrior of Light's position, as when you tell Sphene before her trial that you understand what you must do, which is shut her down to protect others.

(One quick thought about the Warrior of Light: one cool thing about the antagonist this time being a double in a more exact way than Emet or Zenos is that it means other characters get a chance to relate to her differently than Wuk Lamat. The Warrior of Light, for example, is pressed into her service immediately upon your first meeting as the Queen's Champion, there to defend her if need be against all evil. This role is further affirmed by both robot Otis and Endless Otis, who essentially hand off their role as her knight to you, and reinforced when you flash back to the "might I call upon your aid" moment right before the end. Except, of course, you are loyal not just to her, but to the principles she represents, which her own acts betray, and so your ultimate act of aid is to essentially pass judgment on her and execute her. In a sense, you become the internal safeguard that a political system is supposed to have to protect against this very issue, and which Alexandria explicitly lost when it cast out/forgot Otis. Very Voeburt/ShB tank quests, it owns.)

But really, it's Sphene who embodies this sort of grim logic best. Aside from her transformation into the Queen Eternal, it's also why she suggests you simply become Alexandrians. It's the only way for her to reconcile her values and worldview, which have backed her into a corner where preserving Alexandria has come to mean a maximalist declaration of war on all life outside its borders because the kind of absolutely pain-free life she envisions for her citizens is completely unsustainable.

In this reading, one of Sphene's main beats is to unsettle what has preceded her in MSQ. In nearly all respects, she shares your values. She prizes life, is curious about other cultures, believes in the greatest good for the greatest possible number. But she is also a queen, and therefore irrevocably (in her eyes) tied to her state. Gulool Ja Ja and Wuk Lamat (and Koana) are the mythical wise rulers, thank god--but what if Wuk had inherited a Turali state that wasn't desperately in need of cross-cultural understanding, but one in a state of war? What value would her deep love for the people of Tural have held then? Sphene says, it would have held no value. If the survival of your people means harming the innocent, you harm the innocent. Kingship allows for no alternatives.

But she also concedes, in the very next breath, that she is still kind of wrong. Because what happened here was not inevitable, despite her programming (a brief note: to me Sphene being programmed is exactly the same as Emet being maybe-tempered, it's a fantasy gloss on the idea of social and cultural education. "I was programmed for this" is really no different from "I was trained and educated for this"), because the truth is that this kind of thoughtful, principled devotion to the state and its people is also a form of sentimental attachment, in the end. One that is maintained not because it is natural, and necessary, but because the monarch, too, likes it, and gets something from it.

In so many ways, in so many senses, the monarch is the state. Kings and queens may fancy themselves merely a reflection of their people's needs and desires, but of course even a cursory glance at history will tell you that far more often, states reflect their rulers. Sphene and Wuk Lamat both suggest that their conflict was inevitable, but was it? Or is the truth, as Sphene glancingly acknowledges here, that she turned her own fears and desires into the same policy goals that led to this tragedy? And if so...what does that say of our Good Queen, Wuk Lamat? Perhaps this could be different if they met earlier, says Wuk Lamat. But when? When did Wuk Lamat ever not love her people so dearly that she would not have sacrificed herself for them, or caused mass death for the sake of their survival? When did Sphene not believe the Endless to be people, or the preservation of Alexandria to be the most important thing? Maybe she means "had we met before you met Zoraal Ja," but of course, we the player actually saw their meeting. And we know that Sphene even then was not the hapless naif she'd like to pretend. She always knew exactly what she was doing.

We know the price of this kind of thinking, this Hobbesian view that states are engaged in a struggle of all against all. Living Memory lets you walk through it. To preserve Tural, we exterminate the Endless. We befriend them, learn about their lives, promise to remember them, and then we destroy them and their homes, leaving nothing but a bleak blank landscape and the sound of wind. This is what Sphene would have done to Tural and Eorzea. Indeed, it's what she's already doing to the people of Yyasulani, because no amount of well-intentioned aid can make up for trapping people under the dome for 30 years and systematically eroding their culture through the resonators.

To me, this is what makes Sphene really work, that way she has of forcing Wuk Lamat and the player to commit the same kinds of sins she has. We'd like to think ourselves better than her, but of course, we've already reconciled with and integrated Mamook's brutal eugenicist regime back into Turali society well before we ever met Sphene. At the end of our long "wow isn't having a wise queen cool???" expansion, we are met with "Legitimate Force" and "Absolute Authority" and see them for what they truly are: nothing but tools of violence. No longer does the idea of the Warrior of Light hanging around Tural as Wuk Lamat's advisor have the same attraction, now that we have been reminded of the way the putatively unquestionable logic of kingship can ultimately lock even the wisest and kindest rulers into a path of war and exploitation and destruction.

I think Sphene is FFXIV's most interesting and nuanced depiction yet of a leader. She really, truly, wants nothing more than to save her people and protect them from pain. But even seemingly loving and compassionate goals like these can readily lead us down dark paths. She's a "hard men make hard choices"-type character, a noble but misguided opponent, but as a loving and elegant fairy queen instead of a grizzled knight or extremely sad man. She fucking rocks.

[poppy-metal]

I've had this thought in my head for awhile of down on his luck patrick - maybe he's in a dry spell in his tennis career, and hes really way too fucking stubborn to crawl back to his family. he'd rather be homeless - coming in too contact with recently divorced!reader.

you have way too much money. you probably have a steady job as a ceo or a doctor - something big and important. but your marriage was nasty. your husband resented you for having more money than him, claimed it emasculated him - threw it in your face that you were getting into your forties now and couldn't even give him babies. he tore down your self worth, made you feel like less of a woman - made you think you weren't worth loving. you've been separated for some time now - and you're so lonely. you're horrible at dating - you always screw it up worrying about what their expectations of you will be. if you're feminine enough for them - if you're desirable - you come home to an empty spacious apartment and watch your TV shows and think you hate your life.

meeting patrick because he fell asleep on the bench outside your complex. you almost walked right by him but something - something about him called to you. maybe it was the fact that he looked so young - in his twenties clearly. freckle spotted and pink cheeked in the cool night air. curled up on the bench like a baby, using his hoodie as a pillow. your heart strings tug. you'd like to think this first step comes from the good of your heart and not some need to be needed - not some need to fill the void inside you - but you wake him up. and if you notice how pretty his eyes are you fold that into a little square in your pocket and ignore it. you tell him, "you look like you need some tea."

and patrick needs alot of things. he needs a fucking cigarette. he needs to be able to afford a fucking meal. he needs to get into a tournament and get back into the groove of things before he burns out and does something insane like kill himself because he hates his fucking life. but tea works. he's not one to turn down free shit. especially from pretty older women.

and he probably thinks this is a transaction - he probably isn't thinking of you lustfully at all at first - your little granny aesthetic and walls covered in pictures of woodland creatures dressed in 1800s garb weird him out, if hes being honest - but he moves to pull his shirt off anyway - because he knows what a free place to stay for a night means - and pussy is pussy at the end of the day. he just wont look at your walls when he's inside you.

and when you stop him its not because you dont want him - unlike patrick you think hes nearly ethereal. there's something mousy about him - but masculine too. his hair is wild and he has too big ears and a pointed nose. but his eyes are this gorgeous moss green - his lips pink and plush - his body filled out - you can see the defined lines of his stomach when he tugs his shirt up, the v that dips down into his jeans and then disappeares, the smattering of dark hair that peeks out - a man. you're not unaffected, is the thing. but you stop him because that's not what you invited him up for, really.

"you dont want....?" he trails off. looks at you like you're a strange insect under a microscope and he's wondering what the hell is up with you. like he wants to poke you with a stick. ask, 'you could obviously use some, lady, so what gives?'

"i just want you to.... talk with me. over tea, if that's alright. you can sleep here after if you'd like. i dont mind."

he thinks he gets it then. nodding his head slowly. he can talk. he'll talk your fucking ear off. he thinks you're probably lonely as fuck and yeah, its pathetic, but hell. pot meet kettle. misery loves a hot younger guy to ogle. isn't that how the saying goes? either way, you're both clearly lost in life at the moment. your apartment is too empty. he could use your hospitality.

its kinda a match made in heaven. an unlikely bond. love and sex isn't the plan - but then, does life ever go according to plan? can a lonely woman with a kind heart and a man who's made a shit mess of his life but wants to do better stay just friends? mean nothing to eachother?

[highseas-swede]

Aziraphale and Trauma

[Just a note that I initially wrote this in response to this post: https://www.tumblr.com/theangelyouknew/732357015604756480?source=share&ref=_tumblr which is full of insightful info. I'm reposting my response here with some minor edits so it's easier to find in tags.]

This is something I actually find interesting within the fandom, because there seems to be this weird divide in fandom when it comes to Aziraphale.

See, I love Aziraphale. I think he's an amazing and well nuanced character, but a lot of the time fandom boils him down into this really simple version of himself. This happens both with people who dislike him and claim he's a bad person as well as with those who want to soften him up and make him more palatable. Aziraphale isn't the only one who has trouble with black and white thinking here!

Things like Coffee Theory remove Aziraphale's agency because the thought of Aziraphale doing something to hurt Crowley deliberately is something they can't stomach. If Aziraphale is acting under some kind of major magical influence, it means that it's possible to brush over the fact that he can - and has - hurt Crowley in the past and it certainly hasn't always been accidental.

There's a lot of Psychology I could touch on here, but it's honestly such a complicated topic that I don't really feel I can do it justice attached to a completely different topic.

But one thing I do want to touch on a bit is how Aziraphale asserts control in his own life via his connection with Crowley, and that touches on something equally complicated, which is something that's probably hard to understand.

Abuse victims are often manipulative.

I don't mean this at all as some kind of slight or insult. I've been an abuse victim myself and it's one reason I know it's true.

Fandom talks a lot about Crowley's trauma and he's got loads, to be sure. I think of that meme about "this bad boy can fit a lot of trauma" and it's very true. I've even seen people mention that Aziraphale has a different kind of Trauma than Crowley, which is also true.

What I haven't seen is someone addressing that the type of religious trauma is a form of CPTSD. CPTSD or "Complex PTSD" is a very specific form of PTSD. PTSD is characterized as being the result of a traumatic event - Crowley's fall, for example, is a good example of PTSD and I can go into that at some point. CPTSD is different because it's not a singular event, it's the result of being in a constant high stress situation. A lot of abuse victims - especially those abused by parental figures or significant others - have this form of PTSD.

A good way to see the difference is in comparing how they relate to their trauma. When Crowley thinks he's lost Aziraphale in S1, it sends him into a spiral. But importantly we see that this traumatic event is causing Crowley to go back to another traumatic event in time, triggering his memories of his fall. This emphasizes how much Crowley's fall defines his trauma. We rarely see him experiencing trauma at the hands of Hell, as he's mostly allowed freedom to handle his job on earth the way he wants.

https://cptsdfoundation.org/ defines CPTSD as "the results of ongoing, inescapable, relational trauma. Unlike Post-Traumatic Stress Disorder (PTSD), Complex PTSD typically involves being hurt by another person. These hurts are ongoing, repeated, and often involving a betrayal and loss of safety."

In humans, this is caused by having no sense of safety in key moments of development. It strips away sense of self, sense of worth and really any agency. We even see the angels using direct gaslighting tactics on Aziraphale in S2, which I'm surprised doesn't get mentioned more often: When they come to the bookshop looking for Gabriel, they mention Gabriel and then almost immediately when Aziraphale asks "you were looking for Gabriel", Uriel outright says a line that goes something like "Did we say we were looking for Gabriel?", leading Aziraphale to fumble and try to remember if they did, in fact, say that at some point (they did).

So, one big thing to know about CPTSD and this kind of abuse related trauma is that learning to lie and be manipulative is often what people have to do to survive. Children with abusive parents will learn how to be manipulative in order to get what they need or avoid losing things they need.

We see this with Aziraphale, time and time again. He could just ASK Crowley for things he wants. A lot of people point out that he could ask and that Crowley would probably give in to him most of the time anyway. But that's not how it works in an abusive home. Instead, Aziraphale maneuvers Crowley into situations where Crowley is forced to give him what he needs or wants.

His lack of agency, as a result of his CPTSD, is also why he needs to be worked into making decisions that he already knows - or at least suspects - are right. That's why they have their little dance every time Crowley has to talk Aziraphale into something by finding the right way to frame it so it makes sense with Aziraphale's strict rule structure. These rules exist as a defensive mechanism too. Having rules makes it easier to figure out how to avoid being hurt and Aziraphale cannot simply step outside the rules because it's Not Safe. Not even with someone he trusts as much as Crowley.

The entire apology dance scene stands out for a few reasons. Everything Aziraphale does in the entire scene is an act that allows him to take control of the situation. He's already won, so to speak, because Crowley is back and Crowley is going to do what he wants. The apology is unnecessary on every level.

This post talks about how uncomfortable Crowley has to be sharing a space with Gabriel. Gabriel is with the abusive team, whether or not he was directly involved with Crowley's fall. Crowley also harbors a severe distress and mistrust of Gabriel because of Gabriel's attempts to destroy Aziraphale, the most important person to Crowley. But it's worth noting that Aziraphale is uncomfortable too.

Another good indicator of how stressed Aziraphale is with all this is that he doesn't eat ANYTHING when Gabriel is in the shop. The only food he consumes in modern era is when he's in the Bentley which is a "safe" space. Gabriel constantly hounded Aziraphale over eating and despite offering Gabriel hot chocolate, we don't see him partaking himself. He does briefly drink to demonstrate how "drinking tea" works for Muriel, but he doesn't seem to drink from his cup at all after demonstrating.

The bookshop is also Aziraphale's safe space, his ONLY safe space - Crowley still technically has the Bentley, and honestly I feel like Aziraphale wanting to borrow the Bentley is actually partially because he needs to get away from Gabriel and the Bentley is the only place that feels safe for him at the moment. Shax ruins any illusion of safety for him, but Aziraphale is much more enthused for his trip in ep3 and a fair amount of it is because he's not trapped with Gabriel.

A small note here, as a thought occurs to me. Aziraphale asserting that the Bentley is "our car" is probably mostly for himself. He's trying to realign his thinking to make the Bentley an acceptable "safe space" for himself prior to the trip.

There is a very different relationship dynamic when it comes to Gabriel and Aziraphale because Gabriel is the constant source of Aziraphale's trauma. He's Aziraphale's superior, the one he has to report to, the one who passes down his missions and his punishments. When Aziraphale takes Gabriel in, he's just invited his former abuser of over 6000 years into his safe haven. This is a hugely uncomfortable thing for an abuse survivor.

Worst of all, because Jim is, for all intents and purposes, NOT Gabriel, Aziraphale can't bring himself to lash out at his former abuser the way he wants to.

That brings us back to this apology scene.

There are two major things going on here and both of them are bad and hurtful toward Crowley. They're also both intensely unfair. I love Aziraphale but this was definitely a dick move.

Firstly: Aziraphale is using Crowley to reassert a sense of control over the situation because he is spiraling. He can't assert control over his life and his shop, which is one thing that he falls back on heavily, and that leaves him scrambling to find somewhere where he can control his situation. He makes Crowley go through this whole unnecessary apology and dance routine because it makes him feel like he has control over SOMETHING in his life right now.

Secondly: Aziraphale is also enacting his own trauma on Crowley. He's treating Crowley the way Heaven treats him. This is a direct parallel to the way Crowley terrorizes his house plants because he can't do anything to the people who actually caused his trauma. This is, obviously, wildly unfair of Aziraphale to do - and I'm fairly sure there are other small moments where Aziraphale does this in a mild way, I'd have to rewatch again.

These are both behaviors common in CPTSD caused by environments that apply this constant state of stress.

I'm not going to say it's right, or that Aziraphale isn't being a bit of a bastard in this moment - he absolutely is - but this behavior does have some obvious triggers that might be easy to overlook. It's just important to understand that Aziraphale is falling into self-preservation habits that are actively detrimental to his relationship with Crowley. It's not just the manipulation, he's also hiding things and lying to Crowley when he really shouldn't be - both things often necessary in abusive environments - but he's doing it because that's the method that he's created that works with his abusive relationship in Heaven and he's falling back on it because he feels unsafe. The trouble is, this survival tactic does not work with Crowley and actively makes things worse because it shuts down open communication entirely.

[prismatoxic]

okay, shipping brainrot from my last post aside, i'm still thinking about the shapeshifter arc. the other sites i use don't have inline posting or do but it's clunky, so i guess i'm theorizing here. some of this may seem obvious; bear with me, i'm not trying to be patronizing, just working through things. this will probably be long.

(edit: i've since learned there's canon explanations for all of this. regrettably i don't like them. enjoy my ideas of what would be better maybe? but keep in mind i wrote this before i knew it had been explained anywhere else.)

(edit again: i've done a 180 and come fully around on the canon explanations! i have a lot of thoughts about them but this isn't the post for that. anyway i'm disabling reblogs, sorry. you can still look at this if you want)

laios reveals what he knows of shapeshifters, and that they function on memory:

no one ever really suggests in chapters 39 or 40 who thought of which fake except in the case of which ones laios must have thought of, but i want to posit who i think each one came from, and what it means narratively if i'm right. so, mostly a thought experiment/character study that i could be wrong about or that was never meant to be clearly defined in the first place. but maybe fun to think about? (i'm sure other people have done this before too, but i think it'll be fun to write up.)

from the outset, i think it's worth mentioning that chilchuck knows all three laios fakes are, in fact, fakes. two chilchucks say this, but the one on the right is the real one. senshi and marcille immediately corroborate this, though we can't tell which of them it is except that it's not any of the really obvious fakes.

what i think this suggests is that, brought to the surface, the warped perceptions of the rest of the party that chilchuck, senshi, and marcille have can be easily discerned when compared with the real thing. each of these laioses is from one of them, but they immediately figure out none of them are right with the real laios right there in the room. this is important.

as for who's who...

i think it's fair to assume that giant laios is from chilchuck. laios is the tallest member of their party, at six feet; while chilchuck sees marcille and senshi as their correct heights, laios is a giant to him, and his bulky armor doesn't help. that's why, even if this is his perception, it's glaringly obvious that it's wrong as soon as it's made physical. it's the only big one, and easily falls into the camp of "doesn't seem to know much about monsters" that the others also do.

stupid laios is, i think, from marcille. because the giant one is so likely chilchuck's and i don't think senshi sees laios as someone who stupidly wants to eat everything (even if senshi's opinion of him isn't stellar right now, "i have to eat it" wouldn't be paired with being an idiot to senshi), it tracks that marcille would be the one to remember him this way. to someone who doesn't appreciate their monster eating and otherwise thinks he's an idiot just as much as the others do, dumbly muttering about eating things seems like a reasonable portrayal of laios.

feminine laios, then, is from senshi. i think his physical perception of the other party members is the most off-base; this is likely because he's known them for the least amount of time, and his idea of what they look like is based more on their races than anything else. i think the resemblance to falin might not be intentional--someone suggested to me the other day that the dwarf perception of tall-men is probably more feminine in contrast to how Macho dwarfs are. i think that makes sense (if it ever comes up canonically, i haven't seen it yet). laios and falin do just... look like gender-swapped versions of each other, also. so if senshi sees laios as a feminine person, well... that just winds up looking like falin.

so this leaves us with only the real laios. confronted with their perceptions of him, his friends can immediately tell all three are incorrect.

moving on, we eliminate the three most obvious fakes from the rest of the party, starting with marcille:

if we take into account what i just said about senshi, i think this is his. racial stereotypes about elves being what they are, him not knowing the party as well as the other members do... she stands out, and that's why.

now this is where things start to get interesting.

the next two fakes to be eliminated aren't so blatantly incorrect that they can be struck right out at a glance, but it's not hard to notice the flaws when you look closer, and chilchucks A and B are the ones to point it out. chilchuck is naturally observant; most of his fakes seem to emulate this. (the one who addresses the fakes is A, the real one, but B is proving himself able to pick up on the things A notices. this is important.)

notably, chilchuck and senshi assume these must be laios's versions of them.

we can assume this is correct, if we want to. we can take the framing of this as being an intentional reflection of the truth.

or... or... we can look a little deeper. we can wonder if, perhaps, this isn't a reflection of laios, but a reflection of his friends and what they think of him. laios may not immediately notice the problems, but i don't think it's because he doesn't remember these details. i don't think laios sees much of anything in vague terms; he's observant in his own right, but in ways he doesn't really recognize, nor does anyone else. i think he was so focused on their faces and mannerisms that he didn't notice the bigger picture, glossing over something because so many other factors are at play.

senshi and chilchuck think laios doesn't take notice of things, but the vast majority of the shapeshifter arc is about them and marcille not trusting laios's judgement as it is, given how things went recently. is it possible there's more to their assumptions here than what the text explicitly says? i think so!

so then who do these two belong to? marcille, i think.

if we assume dumb laios is hers, then we can also assume her perceptions of the others are kind of broad and vague. she doesn't think poorly of them, necessarily (at least not in as obvious a way as she does with laios, who, i'll remind you, she's currently upset with), but she doesn't commit unimportant details to memory, like chilchuck's neck band or the damage to senshi's helmet.

we've got three more "obvious" fakes to get through, and laios offers another lore tidbit on how the shapeshifters work:

anyway, the first of the next round is marcille again, setting the stage for how these three next fakes are eliminated.

marcille changes her hairstyle all the time, so this isn't a surprise. the last one pictured here winds up being our next fake, as indicated by her grimoire:

so the fake marcille in this section is the one with the most visibly different hair texture (who even draws attention to this), and the spellbook that's woefully incompetent. i think she's from chilchuck.

he's observant, as i said before; even if he didn't commit her hair to memory, he did remember the stuff she's said about how important hair is to magic. maybe that's why the texture is so striking. more importantly, chilchuck isn't wary of magic quite the way senshi is, but he also doesn't understand it. the general tone of the low-quality grimoire also just... sounds like the way he'd frame something like that. (plus, the "how to turn back time" bit is a thing he specifically called her on when she suggested it a few chapters ago.)

so the next fake chilchuck and senshi are revealed via their tools:

i think the chubby-cheeked chilchuck with the simple lockpicks is from senshi, and i think the ordinary-looking senshi with the simple cookware is from chilchuck. the former speaks for itself--senshi sees chilchuck as a child, and knows absolutely nothing about picking locks. as for the fake senshi, chilchuck has a decent mental image of him but knows nothing about cookware.

so now we're down to the final three fakes, and there's only one person left who they could be from: laios. nobody thinks this, not even laios himself, but i want to explore the concept because i think it has extreme merit. the three remaining fakes have some key similarities between them, namely in that they're all close enough interpretations that making a distinction is difficult. they look a tiny bit different, but both the real people and their fakes make plausible cases for why they're the actual person. i want to talk about why i think laios is the one who made that so, and what that means about him.

chapter 39 ends with all his companions--real and fake--doubting his skills. seeing a pattern?

chapter 40 opens with laios determined to regain his friends' trust in him...

...while his friends (and their fakes) talk about how he's liable to like the fakes more, because they're monsters.

this is a needlessly cruel interpretation of laios, but after how things went post-falin-rescue, it's not a surprise. they see him as reckless and single-minded, more interested in the things he's weird about than in the people around him.

laios is really bad at talking about what he's thinking--not because he's hiding it, but because it doesn't occur to him that it's important. meeting the lunatic magician in the paintings is a prime example of this, but he does it a lot. they likely have no idea why he told toshiro about falin and the black magic; to them, laios was being flippant with sensitive information, not worrying about their safety. to laios? he was trying to get help. he trusted toshiro, and his perception of their friendship made him think the information would help them gain an ally who cared about falin as much as they do. he wasn't trying to put falin or marcille in danger--far from it, in fact. but he didn't tell his friends about his thought process. he didn't think it was important to share.

(he's autistic but we all know this. moving on)

so, we have laios's plan: the pairs cook together, while he watches for behavioral differences to discern who's who. it doesn't occur to him, or anyone else, that the people he's watching for mistakes are his own perceptions of his friends. and now we get into the meat of why i wanted to write this post.

assuming i'm correct... let's talk about laios's view of his friends, and how he challenges those perceptions.

starting with my favorite, chilchuck:

chilchuck A, of course, is in fact the real one. this is a pretty significant character moment for him too, in my opinion; we know he has difficulty expressing his emotions, and that a lot of his conflicts so far have stemmed from that. the fact that "chilchuck B asked for help with a menial task" is a gotcha moment to him is... telling. not only because it's so obvious to him, but because it's not obvious to any of his companions. he thinks they know this about him, but he's never openly expressed anything to make them think this is an issue he'd have, in addition to having sought help in the past.

his "convictions and pride and all that" seems to them like someone trying to convince them of something, not someone reminding them of facts he assumes they know.

anyway, back to laios. if we accept that chilchuck B is made from his memories, this suggests several things. first of all, chilchuck B is, despite his softer eyes and willingness to ask for help, still a fairly accurate portrayal of chilchuck. he's easily annoyed and he's observant, two traits chilchuck is known for. i think the reason chilchuck B has the kinder eyes and the more gentle disposition is because to laios, those things are indicative of someone being a good person, and he very much thinks chilchuck is a good person.

we know laios isn't especially good at reading people in general. thus, his idea of who his friends are is skewed in broad strokes, but not in the ways they think. he knows who chilchuck is, but he also associates chilchuck with his own ideas of what makes someone "good", which results in a chilchuck who's less rough around the edges. confronted with this--the real chilchuck asking him if he can tell--laios compares the two and thinks, reasonably speaking, the nicer one who trusts him has to be the friend he respects so much.

senshi and marcille also want to accept this chilchuck, likely for similar reasons. they also respect and care for him; they've seen him go through a lot. laios's ideal of him is just that, ideal. in a roundabout way, it's only their deep fondness for who chilchuck really is that makes them want to see him this way.

next up, we have marcille.

the fake, marcille A, is a radical departure from what makes chilchuck B a fake. laios notes that the real marcille is exactly the same as she always is. the reason, then, that marcille A confuses him--and the others--is that after everything they've been through, their perception of her has changed radically.

if we look back to senshi and chilchuck's marcilles, it's readily apparent when they're eliminated that both interpretations hinge on the knowledge that she performs black magic. senshi's tries to use it to prove herself; chilchuck's has a grimoire loudly proclaiming it's what she does. contrast this to marcille A: she doesn't mention black magic at all, and her grimoire looks strikingly similar to the real one.

that's because laios doesn't think her performing black magic changes anything about who she is. her doing so proved her to be just as dedicated to falin as he himself is, and the knowledge that her goals involve it doesn't faze him. (additionally, marcille has been teaching him magic, and falin had tried in the past. though his image of a grimoire is flawed to someone experienced, to anyone else it looks fine.) thus, marcille A isn't a flagrant black magic wielder; she's someone who's been fundamentally changed by what they--and falin--went through.

let's go back to chapter 27:

chilchuck and senshi are appalled, and will continue to be. while they ultimately don't prevent marcille from doing this, and care enough about both her and laios (and in chilchuck's case, falin as well) to be in tentative support, this changes their view of her in a negative way. she's dangerous now, in a way she wasn't before, but she's still marcille--goofy and a little reckless. thus, their views of her, and the illusions that result.

laios's opinion of her changes for the better.

she is, all at once, both competent and loyally dedicated. she will stop at nothing to help falin. whatever goofiness she exhibited before now is gone, replaced by the cold demeanor of someone who is doing something extremely dangerous for reasons that are inherently selfish, but ultimately too important to reject.

thus, we return to marcille A: cold, sharp, dedicated. not reckless or goofy, but methodical and haunted. she may have returned to "normal" since they left the castle town, but laios's opinion of her, and understanding of her love for falin, has been forever changed.

so faced with the real marcille--still silly, still whining, still frequently annoyed with him--he's confused, because that's deeply familiar, but it doesn't line up with what he knows about her now.

the truth, of course, is nuanced--these things are true about marcille, but only under duress; it's similar to how laios becomes a competent leader when the going gets tough. she has this within her, but it's not her default state of being. still, the shapeshifter picks up on the strongest memories laios has of her, this new interpretation of someone he thought he knew.

now then--onto senshi, the punchline of this particular joke about the differences between the copies. i still think it says a lot.

i think this one speaks for itself, though i find chilchuck's agreement interesting. senshi is the newest member of the team; little is known about him. laios happily notes that senshi "always looks cool" while chilchuck says he looks normal (and chilchuck B insults the real one). laios sees senshi this way because he thinks senshi is cool as hell, and this manifests in an idealized version of a face he's not as familiar with as he is with chilchuck and marcille.

this is clearly comedy, but it also speaks to the same desire to see the best in the rest of the party. marcille is the only one who notices likely because her opinion of senshi isn't so romanticized. chilchuck's senshi, of note, wasn't a perfect replica: we don't see much of him after the obvious fakes are hauled off, but he's a little squashed (he's the top one):

which indicates that chilchuck's visual memory of senshi is already flawed. if we compare this to giant laios and the marcille with the unique hair texture, it tells us chilchuck's attention to detail is more specific than the others'; he can remember the hole in the helmet, the importance of hair, but he doesn't quite see the bigger picture. giant laios is also surprisingly... rugged? which i imagine has to do with chilchuck's perception of him as a tall-man. (or maybe how he clearly has trouble seeing laios's face half the time, lmao...)

anyway. laios thinks senshi is super cool and chilchuck has an imperfect idea of what senshi look like as it is. (i wonder if chilchuck is some degree of faceblind? not enough to not recognize someone at all, but can't pinpoint specifics.)

and so, we arrive at the moment of truth.

so let's go over what i'm theorizing here... all the remaining fakes are illusions based on how laios sees his friends. the illusions manage to make mistakes that reveal the truth to him, but i think the reason for that harkens back to what laios said earlier... the illusions are being updated over time.

laios isn't considering any of the things that give the fakes away until this moment. if it had taken a little longer to resolve things, maybe they'd have started course-correcting, but they aren't given the chance. laios makes sure they aren't--he acts very quickly. even as he presents the three pairs with his findings, he's aware that everything will fall apart as soon as he does... and he's banking on that. while the shapeshifter illusions defend themselves from being killed, he gets right to the heart of the matter in the only way he knows how: confronting the actual monster involved.

when all's said and done, laios reveals how he figured it out:

potentially of note, all of these details happened before the red dragon fight. chilchuck fighting a mimic and revealing his history with them, senshi gushing about the dungeon's ecosystem, and marcille being attacked by the undine weren't super recent memories. when laios brought them forth in his mind, he had a delay before the shapeshifter updated its illusions.

well... except with marcille. marcille A actually didn't show her hand so easily; it was the real marcille's carelessness that proved her identity.

but what this suggests is that, when confronted with the realities of marcille versus his idealized version of her, laios had to make a choice: did it make more sense for her to have been radically changed by the revival and subsequent loss of falin, or was the presence of a marcille he knew so well proof of an illusion? she was the one who was the most different, and as such, the contrast was the same one that eliminated all three laioses at the start: with the real thing in the room, the fake became apparent.

so, to reach a conclusion: one again, laios has proven he's not as scatterbrained as his companions think, but this time he did so on a more personal level than usual. to them, he reveals that he knows their quirks enough to define them by such when they're otherwise faced with convincing copies. to us, the readers, if we accept what i've suggested here... he's revealed a lot more. he respects, admires, and idolizes his friends, all out of fondness: he wants to see them in an ideal way, whatever that means for each of them as individuals.

anyway thanks for coming to my TED talk

[nevermeyers]

Yeah, I know I said I'd keep quiet about it because I plan on ignoring the ending. I've done it plenty of times, even with books I consider my favorites. "Oh this book is so good, it's one of my faves... How does it end? I don't remember." I'm going to do that with jjk because I've done it more times. Anyways.

Seriously, where's the character development? Why dedicate an entire chapter to showing how much criticism affects you and making excuses for your narrative instead of fixing it? Gege could have written about the characters and their problems, their worries, their evolution even while talking about how the politics of jujutsu world are changing rn.

What are Nobara's thoughts right now? There could have been an entire chapter dedicated to her character to fill in the gaps and finish defining her, what about her mother? How does she feel about her childhood friends? What are her plans now?

What about Megumi? Yeah, seeing him laugh was therapeutic, but honestly his character hasn't had the development/ending I expected. The timeskip was weird, his acting is literally the same as the beginning of the manga. It feels like I'm reading the same person who appeared in chapter one and not a traumatized boy who is learning to live. Where is Itadori teaching him that it's actually worth moving on? Where's the whole PTSD thing I'm sure he has? (fuck megumi haters btw fuck them, and fuck the way they victim blamed a kid). What are his thoughts about Gojo? About Sukuna?

Yuuji... Our mc. I was expecting to see him mourning Choso, mourning Gojo. But no, apparently it's more important to explain that there was a secret society (lmao) than to have him show respect and tears for those people he loved. His family, who he never got to spend time with, and his sensei, who decided not to execute him and who taught him almost everything he knows. I wanted to see him taking his friends to the movies to see some B-movie horror instead of going through the horror of watching characters insult him and tell him that it's better if he were dead.

And yes, I know there are two chapters left and some of the things I mention here might appear, but we've already wasted our time with one chapter, that's many pages. There won't be time to fix whatever is this. I feel bad :/

Now, one of the things that bothers me the most is that there are characters that were implied to be dead and now suddenly appear alive. I thought this was about letting the new generations create a fair world, but no. Do you know which character bothers me the most? Mei Mei. No, I'm not against someone writing sa/csa in fiction as long as it's not romanticized (I accept the unreliable narrator because that happens a lot irl and it's sad). The thing is that Mei Mei literally embodies the values ​​of the jujutsu world. In the jujutsu clans there was everything, sexism, abuse, neglect and most likely incest since (at least that's how I see it) they are like the monarchies of the Middle Ages. Mei Mei is the embodiment of all those rotten values ​​that Gojo hated, that the new generations are destined to eradicate. Seriously. What is she doing alive? Take her out rn. Gojo didn't die for this.

I read someone saying that maybe the point of this chapter isn't to break the cycle, but to repeat it. I have to say that I'm a big fan of that trope! It reminds me that humans repeat the same mistakes, but even if that were the point I think it wouldn't be well written.

There came a point in the story where both options: love is worthless and love is worth it were acceptable by the end of the manga. This is the ending where love is worth it, but why hasn't anything changed? The characters we saw in 269 are almost exactly the same we saw in chapter number one.

If this is a story about how love is worth it, accept the consequences and write characters who, thanks to love, move forward and build a new world instead of neutralizing any kind of development

[furinana]

The undertones behind Walter and Jonathan's relationship that you might not know about

I'll be calling attention to traits present in their dynamic that are unknown to most players in the West due to incomplete localization.

Now... where do we begin? Oh, right. In the part after you're done with Naraku and get to spend the holiday with the other two.

This scene is presented in almost the same way in both languages but Jonathan's reaction seems emphasized on a specific word in the Japanese script.

"T...t-t... that's crude, Walter. I would never... such a thing like that to women..."

In either case, if this ended at Jonathan's response, it would be mostly nothing worth commenting on. Jonathan is the Law representative raised by a family that worked in the Monastery so naturally he's gonna behave in a more chaste way, correct?

But then you have Walter's posture becoming uncomfortable followed by immediately changing subjects as if he's already in the know of what Jonathan was anxious about compared to the player (thus Flynn) being rather out of loop about what was going on.

The thing is... the meaning was actually already available for the players, even prior to SMTIV's release! That is, if you accessed the official website and clicked on the interviews with the Japanese voice actors (which included in-character voice clips). All of the translations presented in this post were done by takujilvr

"I'll only tell you this because it's you, all right? Only because it's you! I'm afraid I can't bring myself to like women very much. Being raised in a household with two elder sisters and one younger made me lose any illusions about them I might've had. You're a man, so I feel much more at ease with you."

Certainly, he doesn't seem to specifically refer to anyone in this clip. It could be Flynn or probably anyone else as long as they're a male.

But there are other voice clips aside this one that point towards a more definitive interpretation.

"Enough of that "Ooh, you'll catch cold!" drivel, Jonathan, you sound like a naggy old wife. I can't abide being constricted, this chest must stay bared!"

"S-Stop pulling my hair, Walter! It won't straighten out, I got it from my mother!"

They don't have voice clips directly acknowledging anyone else, leading to the impression that Walter and Jonathan were being more marketed as a duo over their dynamic with the main character.

But the shocking reveal comes with this one:

"I'll only say this if you promise not to tell anyone! Cats, I just love 'em. When I see one outside, I can't help but crouch down and give it some pets! Wait, no. I mean, listen, I can't stand fish. And they can take it off my hands, can't they? That's why I love cats. Right."

A player that reached the part where the party gets hit by Yaso Magatsuhi's scent in Roppongi will thus connect the dots:

How one interprets the twist of this scene might change entirely with the voice clip in mind. It opens the possibility that, differently from many players' assumptions, Jonathan was acting like a feline not because he's secretly a cat lover. But, most likely, due to WALTER liking them. And he would have no way of knowing that unless Walter told him off-screen.

To summarize...

Jonathan is unable to feel attraction for girls and feels more comfortable with guys which would be inevitably an obstacle for his future considering his conservative background

Walter has phobia of fish despite what his family does for trade and has a soft spot for cats specifically because they eat them for him which would be defined as a 'weakness' to his self-reliant image

1 and 2 are each most's intimate secret and they revealed them for each other

"But how much does this add to the main plot?" Even when pushing aside subtleties from this extra material, attentive Megaten veterans would notice that the Law & Chaos representatives from SMTIV have an explicitly close bond compared to most characters of opposing sides in other titles of the mainline series.

[Jonathan was the most visibly affected by their breakup]

This extra material essentially adds more to the range of interpretation regarding their intimacy while also making them more relatable beyond their surface of Law & Chaos pieces.

On this note, moments where they "crack" their own alignments also happen briefly in-game.

They were two boys of the same age that became instant close friends however became unable to conciliate the differences emphasized by their caste system and reach the understanding of what would be the best for everyone.

All of this leads to the player's realization that Jonathan and Walter ultimately didn't perfectly antagonize each other as humans but were "pushed" towards their extreme roles by ulterior forces that would subsequently be further exposed in the sequel.

[valtsv]

how do you deal with. like. being out as transgender in public spaces?

school started this week and lots of my teachers have been kind enough to give opportunities to change your name and pronouns, and im agender so i use a funky little name and they/them pronouns. but i feel like, with such a negative experience with being out to people i don't know, that so many strangers all at once Knowing im transgender isn't a good thing. my classmates and teachers all know now that im not cis. when they call me by my preferred name i do a mental double take because only my friends call me by my preferred name. i feel like a spectacle. i feel like if i try to be comfortable as transgender in public then people will make fun of me for "thinking im the main character" or something. ive only dealt with bullying on the level of a few people at a time; ive always been friendly and confident around the people around me, but being publicly out has made me nervous and want to sink back into the background as much as i can to not rock the boat.

you always seem so confident when it comes to your presentation, in ALL aspects. and i know you are out as trans to a lot of people. how do you deal with hate/the idea you have a judgemental audience that in reality isn't there?

i wish i had better advice but honestly it's just. years of allowing myself to be the person i want to be and not letting other people's opinions of me discourage me from that. i learned the hard way that you will never be able to convince everyone to like or even accept you, and that it's not worth letting that define you. the people who really matter will love you more for being true to yourself than for trying to be what you think people want from you. it's hard, but it's like building up calluses on your hands from practicing a sport or a craft. the longer you live as yourself (as long as it's relatively safe for you to do so), the easier it gets to find joy in that even when you face opposition, and the stronger your sense of self-identity becomes. i hope knowing that helps a little.

[the-awful-falafel]

I really hope Rick and Morty as a series will finally move on from portraying Rick's love for Morty / his family as this special, redemptive trait that Morty just needs to open his eyes to. Or portraying it as something Rick just needs to be emotionally honest about, finally admit in a grand gesture, and then everything will be healthy and resolved.

Two things can be equally true: Rick can sincerely care about Morty, deeply enough to be tender with him, showing gestures of affection, being protective of him, being truly proud of him... and can also constantly let Morty down, put him in mortal danger, make Morty feel responsible for his emotional health, treat him awfully and in manipulative controlling ways, and not be there for him when it matters most. His love is real, but is also a fickle thing that Morty cannot always rely on. That uneven dolling out of affection is exactly what entrenches the abuse and damages Morty further. Even now that Rick is slowly improving as a person, his simultaneous love and unreliability persists in milder ways, and the long pattern of abuse leaves deep scars on his grandson.

In my opinion, it makes perfect sense for Morty to see Rick's care for him as this unreliable, dangerous, and potentially non-existent thing, but also to paradoxically crave it nonetheless. Every time he lets his guard down and starts to trust Rick too much, he's been kicked in the nuts for it to varying extents-- even recently. I don't think he actually believes Rick cares nothing for him, but he's been trapped in this cycle of good and bad for so long that his self-worth is eroded and wholly defined by his grandpa's conditional affection, and he's scared of and dependent on it simultaneously. Even if Rick became truly healthy and openly caring from now on, that won't change how he's screwed up Morty with his behavior.

The series isn't going to make any meaningful progress if the writers keeps cycling around the superficial "does Rick care? does Morty know how deeply Rick cares?" question that they've asked since Season 1, instead of progressing to more meaningful, realistic questions about what Rick's love even means after all the past seasons of codependent abuse, and how much it should be worth to Morty in the end. (Ideally, much, much less than it's worth now.)

Yes, Rick cares. Yes, he loves his family deeply. But as with many forms of abuse, that's part of the problem.

[bloggingboutburgers]

this past week my qpp of almost two years broke up with me. and i know for you, you said you wouldn't necessarily feel heartbroken if your qpr came to an end, but for me, it felt more heartbreaking than some of my past romantic breakups. this whole thing made me wonder if maybe im not queerplatonic or aro enough to be in a qpr, or if id ever want to be in a qpr again. but seeing you post about your qpr gives me hope that queerplatonic love is something that i can experience fully. so thank you for always sharing your story, because that's what's helping me heal right now <3

Aah, to be perfectly honest, as much as I sorta "downplay" it compared to what it must feel for people who experience romantic attraction... I've had a time where I almost felt like I couldn't go on with my QPP as well and the sheer thought of it was really hard to bear too, so my words here aren't necessarily being very fair to the reality of things.

It was during the travel ban of March 2020 to November 2021 where citizens of my country and others weren't allowed to enter the US unless we spent 15 days in a country that wasn't banned. It made it much harder than usual to visit my partner and as it was nearing 2 years with nobody aware it was going on anymore and US people more concerned about whether they'd be able to have turkey for Thanksgiving, my hope was running really thin. So for a few days in mid-October, as I was at rock bottom, I was starting to write in passing to my partner about how maybe going on wasn't worth it because the separation was too hard on us, it wasn't showing signs of stopping, and the whole thing maybe wasn't worth the pain if they could live their life happily and not have to worry about me who couldn't visit.

And then we videocalled at some point, and when they tearfully told me that even if it did end then and there, they wanted me to keep the promise ring they'd recently given me, I suddenly felt a quiet rage in me going like "No. Fuck this. Look at them. I love them. And I love this too much to allow some cruel governmental decision to end it. If it ever ends, it'll be because WE want it to end. Not because of shit like this."

...I'm making it sound super dramatic but yeah long story short this is also a big reason why we're planning to get married. So that when the US government decides to put a ban on countries including mine again, they can't stop us from vibing together this time.

I guess... I still don't wanna 100% assume we'll be together forever because I don't wanna trap them in a situation they may no longer feel happy in. We're doing great now, but I still have it in the back of my mind that maybe someday they'll get sick of me (they say they never will and that'd be dope if they never did, but never say never and all), or we'll both just want other things, and if it ends like that, then... Yeah, that'd be alright. Much more alright than the way it almost ended.

(...Oh, and for the record, if a friendship of mine ended abruptly, or if my brothers stopped being on good terms with me, I'm pretty sure I'd be just as heartbroken, to be fair. And it'd feel like my reality was collapsing a little. I guess anything ending, any human connection ending, has that effect to a degree, if it's important enough, after all.)

Though describing things like that does make it a bit harder to define what makes it "queerplatonic" as opposed to "romantic", I still... Just have that feeling in my gut that it isn't romance, y'know? It's kinda... A mix between being close friends and being an old married couple without ever having gone through the grandiose passion-honeymoon phase. Maybe that phase IS what defines romance per se. I don't know. Maybe someday I'll find more answers, but it's kinda hard to find answers when you have no idea how romance works to begin with I guess 🙈

In any case... Sorry if I caused any confusion or if I made you question your validity. The thing is pretty simple to be honest: if you feel you're aro, you're veeeeeery likely to BE aro. Because nobody can make that call but you and nobody can name the relationships you have but you. And if amongst everything you even FOUND the words "aro" or "queerplatonic" in a world where those identities and types of relationships are so aggressively hidden or erased, then it's gotta stand for something.

...I guess at the very least THIS I can be certain of TwT Sorry I'm a bit messy about all of this myself, I'm still also going on about it trying to figure it out day by day, but I owed it to you and everyone to be honest. These things are hard to define and I hope to keep finding better and better words to do so someday. TwT

[da-janela-lateral]

Aaaaa I wish I could make some art to accompany this post, but I can't do so in the moment and I really want to express my "post-epilogue Mob and Tsubomi friendship" thoughts. LONG text below.

They start talking some time after Confession Arc, but their bond actually begins after Tsubomi moves from Seasoning City. She enjoys having someone to tell her how things are going on her hometown, as she didn't keep in touch with all of her school friends and misses how life was in Seasoning. This helped her to get more used to this drastic change on routine.

It was... awkward on the start. Mob had to process that Tsubomi was nothing like the perfect concept that lived on his head, besides the fact that she was upset by people idealizing her (its not nice to know you're part of the problem). Tsubomi on the other hand needed to shut down her slight suspicion built with the experience of bad rejection aftermaths and trust in Mob's intentions. After all, he was her good childhood friend

It doesn't take much for them to get over this, though. Mob comes to care a lot for the real Tsubomi and makes an active effort to know her better. This flawed, human Tsubomi was different, but she was a dear person to him and so it wasn't an issue. Tsubomi is relieved to see Mob's desire to become her friend was genuine (and feels a little bad for doubting). She was glad to get back in touch with him after so such a long time and got impressed with how much he had matured without her noticing. In a way, she also used to see him as that little boy from years ago...

They talk to each other by phone almost daily, speaking of how was their day and sending random stuff. If anything happens, they sure would inform the other.

Mob discovers she likes the yellow cat plush and keeps showing her cats he saw. Tsubomi tries to read some of his favorite manga to understand what he is talking about.

Tsubomi got overwhelmed with how much her school life changed in her new city. She was very happy to not being treated as a deity, but also wasn't used to being a common student. Mob helps her to become adjusted to a normal life and stop wearing the mask she was forced to use in Salt Mid. He understands how weird it is like to be your own vulnerable, true self next to others.

In exchange, Tsubomi's experience proves to be very valuable when Mob gets more attention from his peers and has to face social situations he never participated of before. Parties are stressing. She too recognizes he is still learning to express himself and is happy to see how he opens up with her.

Althought Tsubomi learns to be more authentic over time, she still struggles with demanding too much of herself. She panicked after thinking she didn't do good in her exams, and Mob spends an hour explaining that she isn't special and how its bad to expect she'll be flawless all the time. Besides that, her skills shouldn't define her worth as a person, as she is much more than her results. Tsubomi remembers this.

Mob often asks for Tsubomi's opinion. Sure, Reigen is still his go-to for advice, but some topics are more comfortable to talk with someone his age. Mob really values Tsubomi's confident honesty and her practical, direct solutions. He also feels safe talking with her because he knows that despite being blunt, she wouldn't say anything to hurt him.

They visit each other occasionally when they're on high school! The train rides are quite long, though, so most times it's more practical to invite more people and have a sleepover. Mob and Tsubomi's respective friends know the other pretty well.

[devsgames]

On Scoping And Idea Management for Games

I started my teaching gig (which is incredibly chaotic but I'm very much enjoying it despite that) and I noticed a really consistent theme with some student project pitches around the idea of planning and scoping projects. Some advice that I gave them that I think is worth repeating and reinforcing here:

You are not a AAA studio. Do not plan to make games like a AAA studio.

If your concept, premise, pitch or idea of a game that you actually want to finish contains elements, mechanics or concepts that is predominantly executed by AAA studios, please for the love of god don't expect to be able to execute them without brutally interrogating them first.

Things like: Soulslike game balance, 'open world', heavily systemic design, online multiplayer, complex mechanics, etc. You know, things you largely only see AAA studios (or very experienced dev teams) complete with any semblance of success. There's a reason many of these are only executed by large teams.

This isn't to say it's impossible to execute on these ideas or that it's not worthwhile experimenting with it a little, but if you're going into it with little previous development experience and expect to come out the other end with a 'finished' thing, you're overscoping and setting yourself up for failure.

Ever notice how AAA studios even struggle to execute complex concepts like that? It's not (always) because of mismanagement, but also because it's often overscoped for them too and they are incredibly hard to execute. AAA studios often work on concepts and premises which require a lot of resources to do so effectively. Indie studios don't often make these kinds of games for the same reasons, because conceptually it will easily explode your scope out of the water. Some try, and you can often feel how stretched thin they were.

The point is, you (assuming as a reader that you're an individual with no 'fully' shipped titles) are equivalent to...basically 1/2 a person at an average indie startup. If you have a team, then you're basically the size and scale of a small indie team. Realistically, in all likelihood, you do not have the knowledge, experience or time to do it anywhere nearly as well as a full-time studio production.

And I get why people fall into this trap!

We draw inspiration from what we see most and what we like, and don't often challenge our assumptions about them - it's why we see something like a Batman Arkham Asylum combat system or Photorealistic graphics and say "yeah I could do that easy" without realizing it's actually really really hard to do in the first place, let alone really get right. Studios are notoriously secretive about process, and the reality is there's months and months of unseen work behind pretty much everything.

We also tend to use blanket terms we're familiar with to define our works, as opposed to more fitting terms. For example, some people might call something like Journey an "open world" game, despite the fact it's not strictly an "open world" but rather a linear one with a non-linear presentation.

As a solo developer I too constantly make this mistake of over-scoping or underestimating just how hard it can be to execute on certain concepts or ideas.

Avoiding It

So how do you get around accidentally writing cheques only well-equipped studios can cash? You need to interrogate your ideas a lot more.

Okay, now ask yourself: Is it mostly a premise that is done by people operating at around your level of resources, or by dedicated groups with tons and tons of employees? Has anyone done your mechanic at a small, simple scale? How many studios have done it? What size were they? How many resources do they have? If anyone has executed a similar idea, how many resources did they seem to have to do it? What corners did it seem like they need to cut to get there? Ask yourself how often you see concepts like yours, executed at scale like yours. Ask yourself why that might be.

A generic example to run with: "I am going to make an open world exploration game where you can climb anywhere, with tons of content and things to do".

Ask yourself some of the above questions, and also interrogate all your definitions. What do you define as "open world"? "exploration"? "tons"? "anywhere"? "Climb"? What do these words, specifically, mean to you? Are these reasonable and realistic expectation for the amount of time you have for this project? Have you already executed on any of these before, and how many are unknown to you?

"But Devon, my idea is unique and no one has done it before! I have nothing I can compare it to!"

Nope. Sorry, just no - you're wrong. Maybe they've not done it exactly like you envision it, but I promise you that at this point in time someone has done virtually everything in games before, you've just not heard of it yet. I have yet to hear someone describe a game that didn't do anything I hadn't heard of before to some degree or another. Ask some friends for references and take more time to do research - you'll find parallels if you dig enough.

Execution

If by now you've realized you might be in over your head, you might still be able to do it if you plan very smartly around it and accept scoping down.

I could talk forever about how to break down your scope into something that is more manageable (and probably will in the future), but I'll keep it focused on this idea of interrogating definitions for now.

Running with the "open world exploration game where you can climb anywhere, with tons of content and things to do" example.

Plan to do only one of the verbs in your game really well.

"Climbing" - you could spend forever building a game just around that verb, and people have! Getting Over It With Bennet Foddy. Doodle Jump. Grow Home. People have done this, and even those games tow the line of being complex to make.

"Open world" - this one is very heavy, but make it just about walking around. Challenge the assumption that an open world isn't enough and that it needs 'content' - just make walking around the world really fun. Dear Esther, Proteus, Passage, Beginner's Guide.

"Exploration" - this verb is vague and takes many forms, and while it can easily be dangerous if it gets too big, it can still be small and engaging. A Short Hike, Umurangi Generation, Hidden Folks. You don't need mechanical complexity or depth to make something fun.

Start from that and then expand. Maybe you get to a point where your climbing is really fun and good and you don't even need to add tons of things to do, or open-world mechanics. Maybe your open world is so easy to do that climbing becomes the thing you spend your time on.

---

Essentially the point here is to not assume that because you've seen something done before it's easy to execute on, nor that you should simply run with concepts without fully understanding what you mean when you come up with them first. It's going to not only save you a lot of time and stress, but also more likely to put you in a position where you'll be able to actually finish what you started.

This is also only the tiniest portion of my thoughts on scoping here, so I'm sure I'll add more to this down the road. :)