#but why would i ever try to care less?

[jaevy]

your room was square

i once noticed from there

in your bed, as you slept

and i held my breath

everything had its own place

and i wondered what space would i take

in the order you kept

[presiding]

a doctor turned serial killer turned doctor again, an actor who paints, a gang leader, a mining baron, and a vice overseer walk into the room.

oh yeah and they lead karnaca now.

dishonored 2 is my fav game but i think it's mid, story-wise. here's why dh1 works and why dh2's overarching story sorta misses

tl;dr: story integration is critical for gameplay that offers audience payoff, but emily's personal arc from dishonor to honor is inconsistently demonstrated in the story, and is not an interactive part of the gameplay.

essay/long version under cut >

recap: what's dishonored's deal

[skip if you want] dh1 is an underdog story: corvo is an honorable man swept up in the machinations of a callous city, so his canonical ending being 'this child will rule over an empire' isn't about the child's rule but rather about corvo's reputation being restored in a more hopeful city, due to his & the player's rejection of the violent connotations of the tagline 'revenge solves everything.'

similarly, in dh1 DLCs, daud's story arc is that of an anti-hero: a dishonorable man who realises too late he has done irreparable harm. he sees the error of his ways after a single monumental death, and eventually a single life redeems him when he/the player stepped in to circumvent a terrible fate for a child, enabling her to rule unfettered.

daud & corvo come to a satisfying conclusion within the extent of their narrative arcs. it doesn't matter that a child on a throne isn't really a fix for a decaying empire - the player's actions throughout the city of dunwall was what mattered - and these stories could be framed as parables. in that sense, young emily as a ruler is a metaphor for a hopeful future for the city & empire.

dishonored 1 & its DLCs are also great examples of storytelling with perfectly integrated gameplay - you, the player, worked towards the outcome that redeemed the protagonists.

in your efforts to save young emily, you either achieved a good outcome (corvo) or prevented a worse outcome (daud).

bringing us to dh2 -

what's emily's arc

emily's arc is a coming of age: we're introduced to a reigning empress who questions her role & skillset ("am i the empress my mother wanted me to be?"), then her titular fall from grace occurs. from there, she learns to reject the violent, selfish connotations in 'take back whats yours' tagline (a la daud & corvo!) while rediscovering why her rule is critical to the empire.

emily's rule is no longer metaphorical, but:

a literal thing for audience assessment (is emily a good ruler?) AND

the crux of her storyline.

at the beginning of dh2, emily is introduced as a disengaged leader ("i wish i could just run away from all this;" "i dont know if whether i should sail to the opposite side of the world, or have everyone around me executed"). the antihero has a precedent for the dishonored series in daud, so it's not at first glance an issue*, however, the fact that emily has ruled poorly reframes corvo & daud's endings as being less than ideal (a moralistic retcon) *we could talk here about how ready an audience was in 2016 for a flawed women as a protagonist, hell, even in 2023,,,

throwback to the beginning of this essay when i said:

'this child will rule over an empire' isn't about the child's rule but rather about corvo's reputation

emily's story arc, unlike for daud & corvo, is literally about the quality of her rule. we're no longer in metaphor territory (ironic phrase): a parable-style ending doesn't work.

does emily become a good ruler

we know she becomes a good ruler because the game says so. it is narrated to the audience via a (literal) word of god in the space of 30 seconds, after the final boss. the outsider tells us that emily becomes known as Just & Clever.

drawing a distinction here - this narration is not the same as the player actively being involved.

the player does not throughout the game become aware that emily has made political allies. during the game, she doesn't talk to these characters about saving karnaca or being a better ruler to the empire (there's a few lines might imply it, but you need to be actively looking and being careful to wait for every voice line. it's a far cry from daud & corvo's fight to save emily being unmissable - even though daud doesn't know at the beginning that's the goal).

how does the game show it

you can coincidentally not kill most of your subjects and never be aware that emily is looking to restore karnaca by means of instating a council - it's never brought up. it *couldn't* be brought up, because that council serves under the fake duke (armando), who is the last person she speaks to before she leaves for dunwall. its her suggestion that he rules karnaca, but armando's condition is that he will rule as he sees fit.

to back up a bit, emily's canonical method of restoring karnaca is by banding together key allies - hypatia, stilton, [byrne &or paolo], pastor, under a council beneath the duke's body double. they are passionate people who would each individually make worthwhile advisors, but if you think about those characters sitting at a table trying to reach an agreement, it feels like an assortment of people that emily didn't kill along the way and doesn't feel organic (up to interpretation). it's not stated if emily herself banded this council together, but logically she must have (worth a mention these are mostly characters that you as the player had reasonable rationale to kill during a high chaos run, except pastor). the underlying concept may be that karnaca's power is returned to its people - which is interesting given that the monarchy remains and armando's decision is final.

this overarching solution could also be taken as a critique to dh1's 'put your kid on the throne,' which is another reason its worthwhile looking at how emily was shown to be a better leader. obviously my point isn't that her solution was bad given the circumstance, but i mean she has very little agency here in all. if emily was shown to be more controlling as a leader, this could be interpreted as character growth, but that's not the case.

coming of age

how do you learn & grow when you can't specify your failings? emily doesn't really touch on her shortcomings as an empress. she non-specifically worries delilah makes a better empress than her. it's hard to argue her worries are meaningful when someone good at their job will still worry when lives are in the balance.

emily's best 'aha' moments (eg. crack in the slab comment about gaining perspective) are consistently undercut by a conversation with sokolov or meagan afterwards in which she demonstrates she hasn't learned anything (before the grand palace, emily condemns 'toadies sucking up to me' and is reminded by meagan that she's part of the problem). the story is confused about what it's trying to say about emily's progress, and when she's meant to show progress, if she was meant to show any progress at all. it could be argued that emily was never even a bad ruler, she had just been fed misinformation about the problems in karnaca and been the victim of slander by her political enemies. the game doesn't make this clear - it's easier to argue that the opposite is true given that her allies only have criticism.

worth a mention here that the heart quotes about armando - a fake ruler - interestingly mirror emily's character concerns. "see how he sighs? his life is a gilded cage." but this essay is already long.

while corvo & daud spend their games (and through the gameplay) 'earning' their redemption, emily is being led by the NPCs around her to a conclusion and a fix for the political mess in karnaca: meagan & sokolov guide emily to her missions, and there's no recurring quest for emily to investigate possible allies. she is able to gather the people she hasn't killed to herself by manner of... post-game narration. during the game, she's primarily concerned with getting her throne back.

an easy fix: if there had been less dialogue & narrative focus on emily's failings perhaps the ending would have felt more satisfying. it has the feel of cut content, but i don't know what was cut to be able to comment on it.

so what went wrong?

i can't help but wonder if arkane were worried they would lose a certain demographic if corvo wasn't playable (may have been deemed too much of a risk - 2013 was a different time), and so they had to take out story elements that were unique to emily's growth as a character/empress, because the usual storyline/gameplay integration had to work for both characters - in other words, gameplay that made sense for both corvo & emily was prioritised before emily's story & character development. which is a silly problem to have in a game that added character voices for the sake of improving characterisation - maybe emily's tale would have felt more akin to a parable if she had less lines that betrayed her ignorance (to the disdain of those around her).

i wish more care had been taken with emily's story. most players will never really notice the large variety of different endings - they're not particularly satisfying in and of themselves.

it's ironic that one of Emily's complaints is about her father/protector being overbearing, when his (parallel universe) presence in the gameplay may be one of the reasons her own narrative arc falls flat.

what are the upsides here

changing tune from what didn't work - don't you think the concept is fantastic? it's a great idea overall - can you imagine if the coming of age storyline was better integrated into the game?

it's valuable to talk about the integration of story and gameplay and characterisation from a craft perspective. dh2 genuinely is my favourite game - it's beautiful, the imm-sim design philosophy makes the world a delight to explore, the combat gives endless creative options for tackling any fight, there is a far greater diversity of cast in an in-text canonical way. there's loads to love!

i love emily as a dodgy leader, to me it adds interesting dimensionality to the outsider's narrations - of course in dunwall there's never a neat happily ever after! emily, like the outsider, both work well as characters who hold ultimate power but aren't necessarily worthy of it - and this makes perfect sense for the dishonored universe's morality & critiques of power. however, within this grey area there's still plenty of room for a satisfying ending, which isn't what we ended up with, whatever the true reason for that was. and also, damn, emily's a marked assassin empress, if she can't lead well then who can?

while dh1 was criticised for its narrative simplicity, dh2 in contrast and in hindsight shows us that simplicity isn't so bad - there's satisfaction in gameplay achieves a clear, simple narrative goal.

[rmbunnie]

Red Hood Characterization

This is really long so I'm putting a cut here, I've been thinking about Jason Todd's character motivations and the question of whether or not his actions are based in a Moral Code (I don't think so, not to say he's without any morality) and I talk about that in more depth here.

I saw someone say on here that Titans: Beast World: Gotham City was some of the best Jason Todd internal writing they'd seen in a while, and I've been a Red Hood fan for 8 years or so now? pretty much since I read comics for the first time, so I went and checked out and I thought it was good! The way the person I saw talking about it as if it was rare and unusual made me wonder though, because as well-written as i thought his stances on crime were, there wasn't really anything in it that went against the way I conceptualize Jason?

This kinda plays into a larger question I've been thinking about for a while with Jason though, which is that, do people think that the killing is part of a fundamental worldview that motivates him a la batman, and that worldview is the reason he does the things he does?? Because 8 years ago i was a middle schooler engaging with fiction on the level that a middle schooler does, so I simply did not put much thought into it beyond "poor guy :(" but ever since I actually started trying to understand consistent characterization, I don't really see Jason as someone who's motivated by a moral code in his actions the way batman or superman is!

tbh my personal read is that he's a very socially-motivated guy, his actions from resurrection to his Joker-Batman ultimatum in utrh always seemed to me like every choice made leading up to his identity reveal was either a. to give him the leverage and skill necessary to pull off his identity reveal successfully, or b. to twist the knife that little bit more when he does let Bruce find out who he is. Like iirc there's a Judd Winick tweet like "yeah tldr he chose Red Hood as his identity because it's the lowest blow he could think of." And I think that's awesome, I think character motivations rooted so deeply in character's relationships and emotions are really fun to read! I also think it's where the stagnation/flatness of his character comes from in certain comics, because if his main motivation is one event in one relationship that passes, and he is not particularly attached to anything in his life or the world by the time that comes to pass, it's a little harder to come up with a direction to go with the character after that, because there isn't much of a direction that aligns with something the character would reasonably want? But I do think solving this by saying "all of the morally-off emotionally driven cruelty he did on his way to spite Batman was actually reflective of his own version of Batman's stance that's exactly the same except he thinks it's GOOD to kill people" isn't ideal. To be fully honest, it seems to me like he never particularly cared one way or the other about killing people to "clean Gotham of crime," he just did everything he could to get the power necessary to pull off his personal plans, and took out any particularly heinous people he encountered along the way (like in Lost Days.) Not to say I think the fact he killed people keeps him up at night anymore than everything else in his life events, I just never really thought he was out there wholeheartedly kneecapping some dude selling weed or random guy robbing a tv store for justice.

Looping wayyy back to my question, Is this (^) contradictory to the way he's written/the overall average perception of the character? Because like I enjoyed his writing in Beast World i have zero significant issue with anything there, I just didn't believe it would be a hot take, like yeah, that is Jason. It's been a while since I've read utrh and lost days, but I don't think my takeaway directly contradicts either of those too bad iirc. Idk all this to say I think Jason killing and being alright with killing is an obvious and objective fact, but i guess i've always seen it as more of a practical tactic than a moral belief, and I think taking the actions made during the lowest points of a character's life where he is obsessively focused on this ONEEEE thing and trying to apply it as a Motivating Stance to everything he's done after that, doesn't really follow logically for me.

[icewindandboringhorror]

There's always a slight yearning in the back of my mind wishing I had been born in the right place, time, family situation, income level, etc. to have just lived in one single house for my entire life. Imagine being born in a place that still suits you, even through all of your personal evolutions and etc. The idea of deep familiarity with an area because you've lived and explored it for 40+ years, being encased in a web of memories and connections. Being able to clean out your old childhood bedroom and find personal artifacts, to dig in the yard and remember. I know those lives can still be plenty imperfect, but there's just something so seemingly solid and stable and Grounding about it that I sometimes wish I could have.. (At least from my outside perspective as someone who's moved around a bit geographically and even within the same area, never lives in the same house/ apartment /etc. for more than a few years usually.) Like... having a place that is printed upon, fully your own, rather than chronically a visitor, every thought of a space always tempered with the notion that one day soon you'll have to pack it all up again, etc. There's something peaceful about the permanence.

[oncillaphoenix]

it's kind of frustrating that essentially all the advice on tumblr for functioning when your brain's not working properly assumes By Default that your brain's not working properly because of depression.

like. don't get me wrong, i'm glad there's advice for people with depression. and i'm totally capable of going, yeah ok this post isn't meant for me, moving on. but...when you have to do that with every advice post, when everyone around you is promising that everyone will feel better if they can put in the effort to do these things you know will make you feel worse, you start to wonder where the heck the posts that are meant for you are.

[offsidekineticist]

△ Theo (bleachling specifically), if you could have 5 minutes of time to speak to your brother again without any other distractions or interference and he HAD to listen. What would you say to him?

Under a cut because this is like 11/10 so CW: panic attack and self-harm (intentionally aggravating an old injury as a response to anxiety)

He freezes. His expression, previously warm, goes mostly blank. Mostly, except for the ways his eyes widen and his stone gray flesh turns ashy. He opens and closes his mouth several times, and you realize he's trying to speak but nothing is coming out.

"Please...don't make me answer that," he finally chokes out, trying to hold a stoic expression but shaking nonetheless.

"You must answer. Those are the terms," the Questioner says. Theoven wraps his arms around his chest, hands tucked between his side and his arm less carefully than you would have expected, the shaking persisting.

"I...I don't think I'd be able to speak," he says, voice unsteady. "Does - does that answer the question? Please, I swear, every time I saw him - or the thing that seemed like him - in that place, I couldn't - it wouldn't - " he stops himself, and you see his shoulders bobbing up and down with every breath, each breath coming more quickly than the last. He nods in a hollow imitation of confidence. "Yes, that is my answer. I wouldn't be able to speak."

"'Without any other distractions or interference,'" the Questioner repeats. "Loss of the ability to speak would inarguably be a distraction."

"I don't want to see him!" Theoven barely gets the words out through the sob he cant hold back any longer, and now his cheeks are darkening again, and he squeezes his eyes shut trying to clear the tears. He slouches, curling in on himself, arms held so rigidly against his body that his hands must hurt terribly, and you can tell the only reason he doesnt curl up into a fetal position is theres no room for it at the table where he's seated. "I don't want to know - if he was there, I don't want to know! I don't want to hear him tell me why he - how he - I don't want to remember him like that!" His sobs are more violent now, racking his body as he struggles for breath. His breaths are sharp and loud and fast, each one sounding almost like the bark of a sick dog.

The Questioner waits.

It takes time, but slowly - painfully slowly - the sobs die down, becoming more like hiccups. They slow, coming less and less often, until he is breathing normally again.

"I would ask him to leave," Theoven finally says softly, head bowed as he stares at his lap, arms still pressing his hands painfully into his side. "I'm sorry. I know that...if he wasn't...wasn't there, there are things he deserves to hear me say but - I don't think I can say them anymore. And if he was there - " he stops. "He hated spiders. Loved chess. Every brawl I ever lost, he was there with a stern, rambling lecture and enough potions that my mentors at the library never noticed an injury. I should be allowed to remember him like that. I shouldn't have to remember - " he stops and slightly shakes his head before whispering, "I would ask him to leave."

The Questioner is satisfied.

[yeonban]

It's lovely when I read a book and some random paragraph in it hits me in the face like a train at mach speed

[medicinemane]

.

[irregularbillcipher]

going over old fic notes and outlines and character talks with friends and it's always really funny when i get to the stuff i was developing early-mid 2019 where bill just literally kept kryptos around to rag on, and he genuinely just. did not like the man. like was just completely annoyed with his general existence. boy have things changed

[toygirljackal-archive]

Fuck I feel so dumb

[athymelyreply]

Mm. It’s a trauma feels night. Sorry, this is gonna be a vent post. Don’t feel obligated to read.

[bisaster-energy]

literally don't listen to the oh hellos valley album if thinking about sam winchester makes u feel anything because those songs are so fucking samcoded it'll tear ur heart out

[gaytobymeres]

I wish my mum could stop saying stuff like ‘you’re turning into a man’ or ‘unless you’re turning into a man’ in a disparaging way :( like I’m sorry I’m not the daughter you thought you were going to have (likes feminine things etc) but those comments hurt and make me anxious :( it’s like every aspect of my self expression that’s too masculine is bad and she so often makes a comment like that :(

[vaguenotions]

Oh, yes, I just love your unannounced sleepover where you both come back from the bar after carefully avoiding telling me that's where you were going, and also neglecting to tell me when you'd be home! I definitely do not want to knock you on your ass and take a bat to your dome! That would be rude and unnecessary :)

Oh yes, please do start talking about shit amongst yourselves and make me feel isolated and othered in ny own room! These moments are what I live for, of course. Naturally. Who would ever have any issues with this arrangement at all?

[billymayslesbian]

Before Lionblaze could argue, another shape burst through the billowing smoke to stand beside Squirrelflight. His eyes glared; his gray fur was matted together and stuck with bits of burnt leaf and twig. Confused by the smoke and flames, Hollyleaf almost thought she was seeing one of her warrior ancestors, until she recognized Ashfur.

Squirrelflight dropped the branch. “Help me push it into the fire!” she yowled.

Grabbing the branch in strong jaws, Ashfur thrust it past the wall of flame and into the ever-narrowing patch of ground where Hollyleaf and her brothers huddled. But Hollyleaf didn’t feel any sense of relief. There was a look in Ashfur’s eyes that she didn’t understand: the look of a cat who had just spotted an unexpected juicy bit of prey.

The branch made a bridge through the flames, but Ashfur stood at the other end of it, blocking the way to safety. Lionblaze nudged Jayfeather to his paws; Hollyleaf took a step toward the branch, then paused. She felt a cold weight in herbelly when she looked into Ashfur’s glittering blue eyes.

“Ashfur, get out of the way.” Squirrelflight’s voice was puzzled. “Let them get out!”

“Brambleclaw isn’t here to look after them now,” Ashfur sneered.

Hollyleaf felt her fur beginning to rise. What did Ashfur mean?

Lionblaze’s golden pelt was bristling, too. “What have you done with my father?” he howled through the flame.

Ashfur looked at him pityingly; his eyes were twin points of fire amid the burning forest. “Why would I waste my time with Brambleclaw?”

The main branch was too solid to catch fire easily, but the leaves on it had shriveled and the twigs were beginning to smoke. Hollyleaf realized that they didn’t have much time before their bridge to safety would be ablaze.

Squirrelflight staggered up to Ashfur. Hollyleaf had never seen her mother so angry. Her fur bristled with fury; she looked like a warrior of TigerClan. Yet it was obvious that the climb to the top of the cliff, followed by her struggle with the branch, had weakened her, and she was exhausted.

“Your quarrel with Brambleclaw has to stop,” she hissed. “Too many moons have passed. You have to accept that I’m Brambleclaw’s mate, not yours. You can’t keep trying to punish Brambleclaw for something that was always meant to be.”

Ashfur’s ears flicked up in surprise. “I have no quarrel with Brambleclaw.”

Hollyleaf exchanged a shocked glance with Lionblaze. “That’s not how it looks to me,” he muttered.

“I couldn’t care less about Brambleclaw,” Ashfur continued. “It’s not his fault he fell for a faithless she-cat.”

Faithless? A growl began to build in Hollyleaf ’s throat, but then she stopped and watched the cats on the other side of the blazing branches. Something ominous was taking place in front of her, and even with flame roaring around them she felt a sudden chill. She shrank closer to Lionblaze and Jayfeather, whose head was up, his sightless eyes intent, as if he could see the confrontation between his mother and Ashfur.

“I know you think I’ve never forgiven Brambleclaw for stealing you from me, but you’re wrong, and so is every cat that thinks so. My quarrel is with you, Squirrelflight.” Ashfur’s voice shook with rage. “It always has been.”

Horrified, Hollyleaf took a step back and felt her hind paws begin to slip on the edge of the cliff. Her head spun as lightning stabbed out and thunder drowned all other sounds, even the roaring fire. For a heartbeat she dangled over empty air, and she let out a strangled yowl.

Then she felt firm teeth meet in her scruff; blinking against the smoke, she realized that Lionblaze was hauling her back to safety. But there was no safety: only the hungry flames, and Ashfur blocking the end of the branch with fury in his eyes. Fiery sparks floated down on all three young cats, scorching their fur, and flames licked the underside of the branch; fear flooded afresh through Hollyleaf when she saw that it was already beginning to smolder.

Ashfur has to let us get out! But Hollyleaf couldn’t find any words to plead with him. What was happening here didn’t have anything to do with them, even if they died because of it.

“All this was moons ago.” Squirrelflight sounded puzzled. “Ashfur, I had no idea you were still upset.”

“Upset?” Ashfur echoed. “I’m not upset. You have no idea how much pain I’m in. It’s like being cut open every day, bleeding onto the stones. I can’t understand how any of you failed to see the blood. . . .”

His eyes clouded and his voice took on a wild, distant tone, as if he could see the blood spilling out of him now, sizzling on the burning ground. Terror burst through Hollyleaf and she pressed closer to her brothers. This cat was more dangerous than the storm or the fire, or the fall lurking perilously close to her hind paws.

Desperately she tried to step onto the end of the branch. At once Ashfur rounded on her, fully conscious again, his teeth bared in a snarl.

“Stay there!” Turning to face Squirrelflight but keeping one paw on the branch, he hissed, “I can’t believe you didn’t know how much you hurt me. You are the blind one, not Jayfeather. Who do you think sent Firestar the message to go down to the lake, where the fox trap was? I wanted him to die, to take your father away so you’d know the real meaning of pain.”

Hollyleaf ’s shocked gaze met Lionblaze’s. “He tried to kill Firestar?” she gasped. “He’s mad!”

Determination glittered in Lionblaze’s eyes, and he bunched his muscles for a giant leap. “I’m going to fight him.”

“No!” Hollyleaf fastened her teeth in his shoulder fur. “You can’t!” Her words were muffled now. “He’ll just push you into the fire.”

“Brambleclaw saved Firestar then,” Ashfur went on to Squirrelflight. “But he’s not here now. He’s not here—but your kits are.”

Squirrelflight’s eyes blazed. For a heartbeat Hollyleaf thought she was going to pounce on the gray warrior, but she knew that exhausted and in pain, her mother would have no chance. Squirrelflight seemed to realize it, too. She drew herself up, head high; she was trembling, but her voice was clear and brave.

“Enough, Ashfur. Your quarrel is with me. These young cats have done nothing to hurt you. Do what you like with me, but let them out of the fire.”

“You don’t understand.” Ashfur looked at her as if he was seeing her for the first time; his voice was puzzled and petulant. “This is the only way to make you feel the same pain that you caused me. You tore my heart out when you chose Brambleclaw over me. Anything I did to you would never hurt as much. But your kits . . .” He looked through the flames at Hollyleaf and her brothers, his eyes narrowing to dark blue slits. “If you watch them die, then you’ll know the pain I felt.”

The flames crackled threateningly closer; Hollyleaf felt as if the heat was about to sear her pelt into ashes. She edged backward, only to feel the edge of the hollow give way under her hind paws. The three of them were pressed tightly together, so close that if one of them lost their balance, all three would be dragged off the cliff. Hollyleaf couldn’t control the trembling that shook her whole body as her glance flickered between the cliff and the fire.

Jayfeather was crouched close to the ground, looking tinier than ever with his pelt slicked flat by the rain. Lionblaze’s claws were unsheathed, glinting as the lightning flashed out again, but the tension in his haunches didn’t come from preparing to leap at Ashfur; it came from the effort of keeping himself on the top of the cliff.

Squirrelflight raised her head, her gaze locked on Ashfur’s crazed eyes. “Kill them, then,” she meowed. “You won’t hurt me that way.”

Ashfur opened his jaws to reply, but said nothing. Hollyleaf and her brothers stared at their mother. What was Squirrelflight saying?

Squirrelflight took a step away from them, and glanced carelessly over her shoulder. Her green eyes were fiercer than Hollyleaf had ever seen them, with an expression she couldn’t read.

“If you really want to hurt me, you’ll have to find a better way than that,” Squirrelflight snarled. “They are not my kits.”

[medicinemane]

You know, capitalism is another one of those words that sadly is like problematic in that it's functionally useless because people just toss it out and then everyone gets so hung up debating the meaning of the word capitalism that the whole point is lost

That's why I don't ever really use it. It doesn't really matter if it's capitalism or if it's cronyism or... whatever, I think it's bad when companies make record profits while prices go up up up

I think there's probably an issue and it probably needs to be solved (and I'm afraid you can't convince me less regulation is a magic bullet)

I like currency and exchanging currency because it seems like a good way of moving goods and labor around, but I also strongly support welfare and think that any group of more than 50 people is probably starting to get corrupt

Don't trust the government, but sure as hell don't trust corps...

I don't know, my original point is that sadly capitalism gets tossed around too much to mean anything anymore... but I just see too many argumentative people online so I'm tossing out my stances to avoid getting side tracked debating what I mean

What I really really mean is just fucking say what you're saying and don't bother saying capitalism cause you'll just make people argue and miss your point