#circumscribed

[lesspopped]

unintentional subtext is not queerbaiting. intentional subtext is not queerbaiting. queercoding is not queerbaiting. queer themes are not queerbaiting. queer themes in works by cishet creators are still not queerbaiting. writers of any gender identity/sexual orientation seeing fans pick up on queer themes and intentionally playing up those themes as much as they can get away with are not queerbaiting. chemistry between actors is not queerbaiting. chemistry between actors who then decide it’s more interesting that way and lean into it is not queerbaiting. a real cishet person behaving in ways that do not perfectly and completely fit with your idea of what cishet people of their gender are supposed to be is not queerbaiting. I am going to scream

[bestworstcase]

the first thing. the very first thing we see salem do besides the non-diegetic bookend monologues. is tell off watts for being mean to cinder. “watts, do you find such malignance necessary?”

and it isn’t just a passing remark, salem makes a whole thing of it. “then i see no reason for your cruelty towards young cinder,” effusive praise and then she turns back to watts and says, “so, i’m curious, to what ‘failures’ are you referring?”

well, watts says, the girl with the silver eyes. even without her new power, it should have been effortless—

—and salem shuts that down hard. “it is because of the maiden’s power.” it’s not cinder’s fault. “make no mistake, cinder: you hold the key to our victory. but your newfound strength brings with it a crippling weakness, which is why you will remain by my side as we continue your treatment.”

then, after salem gives her orders, cinder asks about ruby. watts scoffs; what about her, she’s cinder’s problem, not ours. but: “tyrian? spring can wait. find the girl that did this to cinder, and bring her to me.”

and scene. that’s our first real glimpse of who salem is, and it lays the foundations for everything that develops from this point with salem and cinder. 

before salem walks into the room it’s established that cinder is at the bottom of the pecking order. watts and tyrian gleefully pick on her; hazel doesn’t give a shit. and then salem enters and makes this deliberate, protracted point of not just “don’t be cruel to cinder” but she is at pains to demonstrate that cinder’s wellbeing is her first priority. salem is personally involved in treating her injuries. watts is taking over the haven operation so that cinder will have more time to heal. she pulls tyrian off the hunt for the spring maiden because cinder wants ruby dealt with, and salem again intends to deal with the matter herself. 

“it’s important not to lose sight of what drives us: love. justice… reverence. but the moment you put your desires before my own, they will be lost to you. this isn’t a threat; this is simply the truth. the path to your desires is only found through me.”

but for cinder fall, spring can wait.

cinder has always been the exception to every rule. salem put what cinder wanted ahead of her own agenda. salem effectively postponed haven to do cinder a favor, without a second of hesitation. salem spent all of V4-5 focused on cinder and what cinder wanted. 

her parting words before cinder leaves for haven are: “you will have the power i promised you when the time is right, but remember that it comes with a cost. if ruby rose has learned to harness her gift, you must take care to protect yours; there’s only so much i can do to aid you.”

<- “be careful.”

and then cinder is not careful. now consider this exchange:

SALEM: Emerald. I want you to tell me whose fault this was… Now. EMERALD: Ci-Cinder! We failed because of Cinder. SALEM: ……That’s right. I want you to understand that failure; I want you to understand why Cinder must be left to toil in her isolation until she redeems herself.  MERCURY: You mean… EMERALD: She’s alive!? WATTS: You’re joking. How could you know that?

ok. really think about this. 

salem is the only person in the room who knows cinder is alive. everybody else takes it as a given that she died at haven. “maybe cinder survived somehow?” is not a possibility on anybody’s radar.

emerald is on the brink of collapsing in abject grief because she believes cinder is dead. and then salem grabs her shoulder and is like “listen to me very closely, it is emotionally important to me that you understand why we will not be going to cinder’s aid. she MUST be left to TOIL ALONE. BY HERSELF. until she redeems herself. do you understand?”

and the entire inner circle is like excuse me

what do you mean cinder’s alive

how do you even know that

“NO FURTHER QUESTIONS.”

i just—hrgfjfk

“apropos of nothing, i am NOT sending you or cinder’s other little friend to her aid and i will NOT be altering my plans in any way to help her i am not going to lift a finger for her. until she redeems herself.”

the lady doth protest too much. 

for cinder fall, spring can wait. 

salem is projecting her own desire to rescue cinder from the haven mess onto emerald for the express purpose of shooting it down. watts asks how she could even know cinder survived and salem’s like >:( and changes the subject. 

“it’s important not to lose sight of what drives us. love—”

she goes through her whole little spiel about not putting what they want before what she wants and then, with her back turned to all of them, she glances out the window and the mask just crumbles. her shoulders hunch. she is acutely unhappy. “and so we must… press on.”

this song and dance is not for them. it’s for her. it is half of an argument salem is having with herself. 

“spring can wait; find the girl that did this to cinder, and bring her to me.” -> “but the moment you put your desires before my own, they will be lost to you.”

“you will have the power i promised you […] but remember that it comes with a cost. if ruby rose has learned to harness her gift, you must take care to protect yours; there is only so much i can do to aid you.” -> “the path to your desires is only found through me.”

✨salem✨ is the one who set the expectation that what cinder wanted took priority. salem told cinder to rely on herself first and salem second. she warned cinder repeatedly and explicitly that the power she promised to cinder would expose her to greater harm.

as far as salem knows, because watts certainly wouldn’t have painted a fair picture of why cinder made the choices she did, cinder didn’t heed that warning, fumbled haven, lost the lamp, and very nearly got herself killed in the process. 

and salem wants to throw her a lifeline. 

she doesn’t want to be wanting to throw cinder a lifeline but it is, obviously, a thought that crossed her mind often enough for her to feel the need to declare out loud that she is Not Going To Do It, No Matter How Much You Might Want Me To, Emerald.

“the sword under vacuo’s academy, shade—” and then hazel drops the bomb on her that ozma has the lamp and he’s taking it to atlas. watts and tyrian are rattled because oz might talk some sense into ironwood and spoil the plan. but salem?

salem isn’t thinking tactics or strategy. she is getting run over by the freight train of discovering she feels the same way about This Situation—cinder trying to get the lamp away from ozma alone—as she feels about her daughters.

and she cannot fucking do it. 

cinder must be left to toil in her isolation until she redeems herself (by recovering the lamp) -> what do you mean oz has the lamp -> never mind we’re all going to atlas right the fuck now. cinder can toil in isolation with the covert support of salem’s most formidable pair of agents while salem churns out a zillion grimm over the course of a few months ITS FINE. EVERYTHING IS FINE.

“she thinks; she wants. as if she’s done something to warrant me caring about either of those things.” i don’t care, she says, caringly.

but:

“your newfound strength brings with it a crippling weakness, which is why you will remain at my side while we continue your treatment.” -> “you will have the power i promised you when the time is right, but remember that it comes with a cost. if ruby rose has learned to harness her gift, you must take care to protect yours. there’s only so much i can do to aid you.” -> “i would like to think i’ve shown a great deal of patience during my many years walking remnant, but i do hate repeating myself. you will remain here. is that clear?”

it isn’t that she’s punishing cinder for the failure at haven.

cinder comes home from beacon maimed, salem keeps her at evernight for months and replaces the arm she lost with a grimm (<- symbolically, she gives cinder part of herself;  the arm ties them together and that goes both ways, salem knows she’s alive and cinder knows when she’s back; she makes cinder like herself). waits as long as she reasonably can before sending her to haven, with parting words that amount to be careful, i won’t be there to save you.

cinder gets clobbered at haven and barely survives, salem is at war with herself over it when hazel blindsides her with the bad news that ozma has the lamp and she panics.

salem drops everything to rush to atlas with overwhelming force and arrives to find cinder waiting for her not only in one piece but also in possession of the lamp; her eyes go fucking glossy for a second as an enormous amount of tension just melts away. and salem like? teases her? about her habit of bringing home strays. “hm! you certainly do like collecting assets,” fondly indulgent. oh you. like genuinely is is the one and only time salem has ever sounded like she’s having fun. 

…then cinder reveals that she tried for the staff, too, but the polendina girl “interfered” and became the winter maiden instead. (salem isn’t stupid she knows this is cinder-speak for “a girl who could beat me without magic is the winter maiden now.”) and cinder wants to turn right around and hunt her down? NO. ABSOLUTELY NOT. YOU ARE STAYING HERE.

the hammer drops because salem is scared. she resorts to cruelty in a desperate stab at clawing herself back from the ledge of Caring About Cinder; but salem is so, so, so painfully cognizant all the time of how mortal cinder is. she sent cinder to beacon and cinder came home missing her eye and half an arm. she sent cinder to haven and cinder almost didn’t come back at all, it’s a miracle she survived. and salem brought an incomprehensible number of grimm to atlas specifically to avoid round three of feeling terrified while cinder crawls through a meat grinder for her. and now cinders like BUT I WANT TO CRAWL THROUGH THE MEAT GRINDER!

“remember that [power] comes with a cost; if ruby rose has learned to harness her gift, you must take care to protect yours. there’s only so much i can do to aid you” -> “everything is already in motion; all you need to concern yourself with is your ability to act when i tell you to.”

she doesn’t have the nerve to say it or maybe she just doesn’t know how but she is trying to pull cinder out of the line of fire. this is not your game to win (this is not your fight) and just because you’re more valuable to me than a pawn (you are not just a pawn to me) and everything is already in motion (i will take care of it this time) and all you need to concern yourself with is your ability to act when i tell you (don’t worry just let me handle it).

if she can crack down and keep cinder under control with cruelty and intimidation then she doesn’t have to confront the feelings driving her decisions, but of course she can’t because she never had control over cinder in the first place; cinder is legitimately stunned when salem shuts her down in 8.1 because Salem Does Not Treat Her Like That.

so naturally cinder goes: well fuck you i do what i want. 

and almost fucking dies. 

again.

they hit amity in the middle of the night. it’s dawn in vacuo during the broadcast, vacuo is six hours ahead of atlas (2.3). cinder does not wake up until dawn. she is unconscious for six hours. six. hours. in a world where aura can fully heal a thoracic impalement in about fifteen minutes.

think about how badly cinder had to have been hurt for emerald—who loves cinder and is terrified of salem—to bring cinder back to the whale after they did exactly what salem directly ordered cinder not to do. think about the level of desperation necessary for emerald of all people to weigh the risk of salem’s fury against the severity of cinder’s injuries and decide she had to bring cinder to salem. 

“you chose to disobey my specific instructions, just to fail again. and… i’ve realized it’s all my fault. you’ve fought your whole life unwaveringly for what you want, and here i am holding you back, instead of lifting you up. you deserve so much more than i’ve given you.”

<- that is the sound of salem falling off the ledge.

like

as a manipulative tactic to get cinder under her thumb this is, quite plainly, not going to work, and cinder sees right through it, and salem knows that. by literally ✨rewarding✨ open defiance she accomplishes nothing except proving to cinder that when the chips are down, salem will blink first.

but. 

salem is not about getting cinder under her thumb. she wants the relics and she’s also been losing her gods-damned mind for months now because every time cinder leaves her sight for an extended period of time cinder has gotten smushed like a bug and the legion of grimm did not even slightly improve the situation. and the only way salem can think of to thread the needle between having her cake and eating it too is to go REBELLION IS OKAY. LET’S TRY THE BUDDY SYSTEM. 

the minute salem reconstitutes, she beelines to where cinder is. pretends not to notice cinder’s bald-faced lies. “you did well” and “our work here is done” and not interrupting and making a point to demonstrate that she listened to what cinder told her (“you said they used the staff; i assume you rid the world of their creation.”) and asking carefully non-threatening follow up questions (“what did you create?” as opposed to, like, what happened to watts). 

salem isn’t trying to put cinder on a leash. she’s twisting herself into knots in search of a way to move forward with her actual agenda without getting cinder killed, and her increasing desperation to keep cinder alive is not primarily motivated by strategic calculation; it’s emotional. 

her establishing character moment is salem Making a Statement to her own inner circle that cinder is more important than the plan. she says she’s going to leave cinder to ~toil in isolation~ and sticks to it for all of, like, two minutes before she finds out it would mean abandoning cinder to face ozma alone and just shatters. she is visibly relieved when cinder surprises her with the lamp and proceeds to make “you will not go hunting a girl who can definitely maul you” her hill to die on until cinder tries to actually die on it, whereupon salem snaps like a stretched rubber band back to “you can do whatever the hell you want just please for the love of fuck slow down and let me bend the odds as much in your favor as i can.” this woman is immortal and cinder is still shaving years off her lifespan. 

and this is going to keep happening until she can get her act together and say outright that she Cares About Cinder, because to cinder all of this just looks like salem yanking a leash to remind cinder she’s worthless. the second beacon arc is going to be hysterical. 

[fox-bright]

Me: *wakes from nap to phone informing me that I have new test results available on MyChart* Test results available on MyChart:

Me: "But...but the right breast is the one that's been aching! What. Okay." *hies me to Google* "Tell me about oval circumscribed masses!" Google: *sends me to the UCLA website on breast cancer* UCLA website on breast cancer: "According to the ACR BI-RADS (Breast Imaging-Reporting and Data System) atlas a breast mass is three-dimensional and occupies space."

Me, blinking: "Damn right. No quantum-mechanical bullshit going on in THIS breast."

[tanadrin]

Maybe a better analogy for exploitative social classes would be "vulture" as opposed to "parasite"? Though that's less ableist and more unfair to birbs that play an important ecological role and don't deserve the reputation they get.

idk man, do landlords form a coherent class these days? a landlord can be anybody from somebody who rents out the condo they inherited from their dead mom to an investor in a giant national property chain like Deutsche Wohnen. there are exploitative jobs, maybe, but this smacks of the urge to create a coherent category of Bad People Whomst If We Only Got Rid Of, Everything Would Be Better, which I think is kinda BS.

objectively, a lot of landlords are not very good at their jobs (this is why the phrase "the landlord special" has entered the lexicon) and some are really exploitative. but so are a lot of office managers. landlords being intrinsically tainted by sin doesn't seem like the problm. and if you think there are too many people renting out property vs owning it, and this contributes to the lack of housing, or if you think real estate speculation is a drag on the economy, there are plenty of policy levers to choose from to correct for this.

historically a lot of the animus directed at landlords came from the fact that "landlord" usually meant a literal lord of some description, like somebody who owned a vast estate with tenant farmers who acquired that wealth over generations of feudal conquest and peasant-oppression. and that's pretty shitty! but even then, the remedy for that can be anodyne and unsexy policy--big inheritance taxes dismantled most of the large landed estates in the british isles over the course of the 20th century, for instance. small time modern landlords, however lazy or exploitative, or even big evil property investment companies, strike me as fundamentally different animals. like, are they great for the economy? maybe not! but there are a lot of jobs that are not great for the economy that we don't waste time coming up with new ways of hating, and there more productive uses of our energy to correct these problems than figuring out which gross animal to compare them to.

[thursdayglrl]

the fun part of having both Intense Interests Disorder(times two!) and a deep seated shame over my interests and generally my existence is that my "restraining myself" is other people's "wow, you really like this thing, huh?"

which truthfully doesn't help with the whole "letting go of shame" and "learning to be more open" thing

[mihai-florescu]

Hell hath no limits, nor is circumcised

[mishkakagehishka]

So "today" i got a 5*, a new 4* of Shu and another copy of Poison a la Mode Mika all on free pulls. My luck will either continue and i'll be asked words i Know, or i've wasted all my luck for today and he'll ask me smth like fucking. Circumscribe.

[rutilation]

pissed myself off looking at atmospheric optics stuff on instagram

every halo... misidentified...

[sciencesolutions]

[hyperions-fate]

I try not to be prescriptive about literature and art, but there's value in exploring older work. Not out of a desire to find an essential and timeless human nature - quite the opposite. By reading Racine or Enheduanna or Tang poetry, you expose yourself to many alien, strange, fascinating ways of feeling and relating to the world. And you remind yourself that the circumscribed methods of living today are not the full horizon of human possibilities.

[bestworstcase]

I have a question about some of your Salem thoughts

If Salem is 110% certain that she can take down the Gods (assuming that's her goal since we don't actually know), why wouldn't she communicate her plan to Oz? Especially if she truly doesn't want anyone to die like you say. Oz would jump at the bit if Salem said "Hey I want to stop fighting" since that would mean their shadow war would stop. I really don't think Oz likes the Gods either, and even if he's afraid of them, if *Salem* is that confident she can stop them (she's far from an idiot), I'm sure he'd at least hear her out (which would tell Salem a LOT).

If she's that confident and truly doesn't want to fight, why wouldn't she tell Oz her new plan? And why would she kickstart her plan by attacking the kingdoms/Academies? Surely she could find a way to steal the Relics without flat out attacking them (like sending in double agents to take the Maiden powers)? Like... she would've known she'd get people killed, including children and innocent people. Even if she did damage control (which I think is just strategic, why bother going after people if she's focusing on the Relics? She's not gonna waste precious time and resources), she surely knew people would get caught in the crossfire.

Don't get me wrong, I like what you bring to the table!! Your posts are thought provoking and unique. But I can't see Salem being somehow secretly good. I don't think the show is setting her up that way, and I think she's a fantastic villain, so from my own perspective, doing that kind of twist would be a disservice to her character. I don't think she's inhuman or a complete and total monster who should go, but she's definitely not a good person especially if she can't communicate that she supposedly doesn't want people dead. She seems to be an "the ends justify the means" kind of person, and the show I think has stated that that isn't a good mindset i.e. Ironwood.

Sorry, I rambled and completely strayed from my point 😅 I don't mean to be mean if I come across that way. I hope my ask is interesting or thought provoking though :P

my position is that salem is right, not that she’s secretly good—that is an important distinction. i think she sees the gods clearly for what they are, thinks the divine ultimatum repulsive and unjust, wants remnant to be free, and believes that humanity is transcendent over their creators; she also, quite plainly, does not have any compunction about doing whatever it takes to achieve her ends and while i do think she is still fully capable of and driven by love, she is so TERRIFIED of being hurt again and so CERTAIN that no one could ever care for her that when she does care for someone else it comes out in very, very twisted and often cruel ways. she’s not good, she’s not nice, she’s just right.

equally the heroes are good but not right, because they have yet to really grapple with the premise of the divine mandate (that humanity as it exists right now does not deserve to exist) or their own role in upholding it (their immediate goal is survival, but when they envision the ending of this war they imagine salem driven back and the relics squirreled away again in hope of at best everlasting stalemate). the point of structuring the narrative this way is that neither side can get to the proverbial good ending alone; they need to work together, salem’s ends with the heroes’ means.

like. she’s evil. lol. that’s not in question and i think it goes without saying that she is doing evil things so i don’t feel the need to make a “but she’s still evil though” disclaimer every time i try to tease out what’s going on in her head. notice how my reaction to salem razing vale was OH GLINDA LAYS SIEGE TO THE EMERALD CITY, WE’RE REALLY IN IT NOW and not, like, shock or dismay that salem would do such a terrible thing. brgdfjs

(i DO think she has mostly been trying to avoid ozma and not reciprocating the shadow crusade against her prior to about fourteen years ago and that she isn’t about wanton destruction or killing for the sake of it; and in that sense i think she’s not as bad as the general fanon reading. but that comes with the territory of thinking she has actual reasons for doing what she does as opposed to being, like, a genocidal lunatic.)

anyway. to your questions. the short answer is she’s just as scared of oz as he is of her.

“but he’s the good one!”—think about this from her perspective for a minute. set aside your opinion of her and oz, presuppose for the moment that i’m correct on her motivations, and consider what everything ozma’s done in the last few thousand years looks like to her.

she knows that the gods were monsters. she witnessed them slaughtering the whole world and she saw how little it mattered to them after. she was alone for millions of years, and then hated and feared for thousands of years because she didn’t look human. all that suffering because the gods are punishing her for praying to them. yes?

then ozma returns to her, somehow. he doesn’t explain how or why—maybe he tells her he just doesn’t know—but that’s alright. what matters is that he’s here. he asks what happened to her, and she tells him the truth: the gods ended the world. cursed her. killed everyone. she was alone for so long. (maybe not the whole truth: there are things she’s afraid to say, because the gods did it all to punish her, and it’s her fault, and she’s so scared that he’d despise her if he knew everything. the only reason for her to fear ozma would reject her is if she blamed herself. you don’t hide things out of shame if you don’t feel ashamed of them.)

they learn each other again. fall in love all over again. things are finally okay. they fix up her house. they’re happy together. one day ozma tells her that he’s worried about how divided people are. she wants so badly to make him happy; she would move mountains for him. salem herself has no interest in ruling over people as a god—if she did, she wouldn’t have been living alone in a rotting shack in the middle of nowhere—all that enthusiasm is for him. to support what he wants.

they build a following, found a prosperous kingdom, start a family. four children! how long do you think they were married—ten years? twenty? and the whole time, the whole time, ozma was keeping these secrets from her. that the god of light, who’d condemned her to eternal suffering for praying to his brother, who’d shown utter indifference to the deaths of millions, had sent him back to redeem humanity FROM HER SINS, from what SALEM did. that the point of all this is cleansing humankind of her defiance and inviting THAT MONSTER to remnant to judge whether this world deserved to be subjugated under the brothers’ tyranny again or else be put to death.

imagine how she must have felt when ozma finally told her the truth, knowing that the first thing she told him was that the gods ended the last one. imagine the sickening realization that their whole marriage is built on a lie, because she would never, ever, ever have agreed to help him unite the world if she had known what he sought to unite them for, and ozma knew she never would. that he deceived her! manipulated her into serving the will of a god she knows to be a monster!

and even then—even to the very end—she loved him enough to try. she was willing to forgive all of that and figure out a way to move past it together, and the only thing she asked was that he walk away from his task of submitting this world to the judgment of THAT MONSTER. and he wouldn’t do it.

there’s a gap we don’t get to see, in between ozma backing away from her and salem catching him leaving with the girls, but we can infer that ozma walked out of that room and salem didn’t. imagine how she felt. ten years, twenty years, however long it was, and he was lying to her through it all, and he left her with hardly a moment’s hesitation when she refused to help him enact THAT MONSTER’S retribution against herself. because that is, ultimately, what this is all about; humanity is found guilty by association with her.

imagine how she felt. used. worthless. duped. like a fool for ever trusting him. did he ever love her at all, or was that a lie, too?

when she caught him in the hallway later that night, they both attack each other in the same instant. ozma remembers her attacking him first, but their volleys meet in perfect symmetry and right before salem throws her first bolt of magic, her eyes flicker down in surprise as she tracks the motion of his staff (which we see in the previous shot)—salem remembers him attacking her first.

because they were both so tense and scared and angry at each other that they snapped in exactly the same moment.

their battle is so intense they blow up the castle, and when the smoke clears, salem is a pile of ash. ash! he incinerated her! imagine how enraged you have to be to burn someone to ash. that level of fury, of absolute hatred of her, is literally burnt into her memory as the last thing he did to her before she managed to kill him, inextricably twisted around the guilt and unbearable grief she feels for her children.

he’s dedicated all but a handful of his lives since then to getting rid of her. finding a way to destroy her. (how far is he willing to go? what would happen if salem tried to move on, find community and solace somewhere far away from him? would he come after her? would he follow his god’s example and go after the people she cared about to punish her? is she willing to risk that he might?)

do you think salem understands why ozma did any of this? she doesn’t. she doesn’t get the luxury we do of jinn narrating his side of the story and showing us the anguish he felt, wanting so desperately to be with salem but eaten alive by terror of dooming the world for his happiness. she doesn’t know.

all she knows is how he treated her: the secrets, the deception, the manipulation, the immediate and absolute rejection when she told him no, the explosively violent anger at the end, then centuries upon centuries systematically erasing her from history and enforcing her exile whilst searching for the relics he needs to summon his god for the final judgment. which she knows will inevitably end in the annihilation of the whole world and yet more torture for her with no hope of reprieve, because if all of this was not enough to satisfy the god of light’s grudge against her for, again, just praying to his brother, nothing ever will.

salem feels about ozma now the way blake felt about adam. why did he lie to her, why did he use her, why does he keep coming back, why won’t he just LEAVE HER ALONE, hasn’t she suffered enough, hasn’t she been punished enough, when will it be enough—and intertwined with that, she is being EATEN ALIVE by the conviction that no one could ever truly care about her or feel for her or want to help her or think that she deserves help or even just see her as a person, because if ozma—ozma, the one who saved her from her father’s tower, who knew her and loved her before all of this happened—if ozma thought her so worthless that he would rather serve a god who ended the last world and promises to condemn this one too than suffer her to exist at all in this world, why the fuck would anyone else be any different?

thousands of years later, she still flies off the handle when anyone lies to her. (except cinder. but cinder is always the exception, to every rule.) there’s a reason she recruits the kind of people she does—desperate, broken, angry people starving for something she can promise to give them if they make themselves useful to her—and it’s because she does not believe that she can get anything better than strictly transactional relationships with people who have literally nothing and nowhere else to turn. and when she actually cares about someone? she fights herself tooth and claw over it because she desperately doesn’t want to open herself up to more heartbreak. look at how erratic and cruel she is with cinder.

it’s not rational. salem is smart and very, very tactically shrewd but she is making all of her plans and all of her choices from the assumption that she is and will always be alone in this, because she is unlovable, because she is worthless, because she is the reason this world is damned. and she’s terrified of ozma because to her everything he does suggests that his conviction and dedication to the god of light has never wavered. she cannot see his doubt. she cannot see his misery. she cannot see how much he misses her and desperately wants to make amends. all she can see is that he’s zealously guarding the relics and spreading his god’s word and training children to fight and die in the name of keeping her exiled.

why doesn’t ozma just go to her and tell her he wants to make amends? because he’s terrified she’ll never forgive him and terrified that he’ll damn the world to annihilation if he follows his heart. they’re the same. they’re exactly the same.

but this is also what makes it so possible—even easy—for salem to undergo a villain-to-hero arc, because the only thing that needs to happen is a spark of real hope. that someone, anyone, could really care about her. like. the things she says in her soliloquies about the transformative power of hope? “even the smallest spark of hope is enough to ignite change,” and “it’s true that a simple spark can ignite hope, breathe fire into the hearts of the weary…”—that’s her. one small reason to hope. that is all she needs to change.

she doesn’t want to be razing kingdoms to the ground or cutting a bloody path through children to get those relics. she is willing to do it because she truly, genuinely, from the depths of her soul believes that it’s the only way to free herself from the torture she’s been subjected to for millions of years. she’s driven to this by desperation. she won’t keep doing it if she’s given a reason to feel less desperate.

but she does need to be given a reason, first. she’s hemorrhaging. this is why the winnowing of her inner circle and the split between everyone else in vacuo versus salem + cinder + summer in vale is important; Those Two are the ones she cares about—technically we don’t know for sure regarding summer yet, but the level of trust she has for the lieutenant holding beacon is suggestive—and that being reciprocated is what ignites her hope.

[tolive-forever]

when sylvia plath said “being born a woman is my awful tragedy. from the moment i was conceived i was doomed to sprout breasts and ovaries rather than penis and scrotum; to have my whole circle of action, thought and feeling rigidly circumscribed by my inescapable feminity. yes, my consuming desire to mingle with road crews, sailors and soldiers, bar room regulars - to be a part of scene, anonomous, listening, recording - all is spoiled by the fact that i am a girl, a female always in danger of assault and battery. my consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. yet, god, i want to talk to everybody i can as deeply as i can. i want to be able to sleep in an open field, to travel west, to walk freely at night“

[marwyn]

This is not to say that women don’t have power, but by and large, their avenues to power are circumscribed. Asha, for example, commands a remarkable amount of respect for a woman in Westeros, but not enough for the men to rally around her to take the Seastone Chair, though she’s by far the best choice to do so. And outright rule by women is an almost unheard of event. Daenerys Targaryen is remarkable and dangerous in every sense because her very existence is perilous to the current power structure.

—Caroline Spector, “Power and Feminism in Westeros,” in Beyond the Wall: Exploring George R. R. Martin’s A Song of Ice and Fire (ed. James Lowder)

[atamascolily]

I'm not the first person to observe that magical girls are literally a brighter and more vibrant version of their ordinary selves, but I like this particular Memoria from Magia Record, "Girl's Boundary" ("That Which Divides" in the North American server) not only because it shows this juxtaposition directly, but because it also makes the subtext explicitly text:

There is a vast gap between ordinary girls and Magical Girls. An invisible but tremendous gap. However, armed with their "feelings" and "wishes" they can cross that gap in a single step.

There's a tendency to focus on the downsides of contracting--and for good reason--but I think that it's also important to focus on the very real appeal (especially for adolescents) of stepping out of your boring everyday life and becoming an idealized and powerful version of yourself, complete with ruffles and sparkles. (The sparkles in this drawing indicate that this is 2-star Memoria, and probably were not meant to be Magical Girl Madoka is sparkling, but wow, does it sure look like it at first glance.) It's such a powerful fantasy, and this card does such a great job of depicting that, and showing what it's like for it to come true.

The use of "boundary," 境界 (kyoukai) here is interesting to me in contrast to the kekkai, 結界, or magical barrier created by witches (translated as "labyrinth" in the official English version). Becoming a witch is literally being bounded, circumscribed, limited in possibilities; instead of being able to transform back and forth, they are fundamentally stuck in a monstrous and inhuman form for eternity. A witch is neither a magical nor an ordinary girl but a secret third thing, reviled and trapped in their own personal hell, existing in a liminal space that is anathema to the world around it (represented by the change in animation). Magical girls, however, have the freedom to cross over at will because their feeling and wishes give them strength and power to do so.

This card's text also reinforces the idea that magical girls literally exist in a different world that ordinary people cannot experience. In the original series, this gap serves to isolate and alienate them from their previous existence and ensure there is no turning back (and Madoka and Sayaka do not even have to contract to experience this for themselves; just being introduced to that world is enough).

However, the act of becoming a magical girl--both the original contract and the transformation--is, like electrons, fundamentally quantum in nature: it allows them to instantly* jump from world to world without passing through any points in between. Which makes sense in a weird sort of way, since "feelings" and "wishes" are literally energy, and the transformation of soul gem to grief seed comes with a powerful explosion reminiscent of nuclear fission.

(*Many arguments have been made about how long magical girl transformations actually take in-universe and whether the slow montages are experienced by the girls and/or observers or are only a representation for the audience; YMMV, but on several occasions we see magical girls in PMMM transform instantly without an extended sequence, which makes the latter seem more likely.)

Speaking of transformation sequences, this card evokes Madoka's in the opening of the PMMM, where she dances with her double. More poignantly, it also speaks to Madoka's profound self-worth issues, where she feels she is useless in her ordinary life and can only find fulfillment as a magical girl.

Finally, I have a lot of questions about that magic circle design in the upper right corner, and I wish more of it was visible in the background.

[jochi-the-veristithaylen-baker]

Re-listening to Oathbringer, it strikes me that cryptics ("lie-spren") aren't interested in lies per se.

It's fiction they're after.

The non-truths that describes and circumscribes truths.

The patterns in the stories that reveal the real world that tells them.

The repeated motifs that distract and misdirect by omitting the truth and letting the audience assume untruths.

The beats and twists that weave truths and untruths into a tapestry of emotion.

They move people with dazzling lights; the surges of transportation and illumination. [It's transformation, not transportation. That's why they change people's souls with their almost-truths]

[itskobold]

i'm developing all kinds of powerful punches and kicks to use on my enemies

except, i don't have any enemies

this is convenient, as it means that my powerful punches and kicks do not require me to make physical contact with anyone

this grants me ease, as it allows me to powerfully punch and kick without having to exert the effort of moving my limbs

once i no longer move my limbs, i circumscribe not only intentional damage to the world around me, but also incidental damage, and i naturally abstain from causing spiritual as well as physical harms

and once my powerful punches and kicks no longer harm the world, i also no longer harm myself, as my spirit is no longer polluted by the will to violence

and once im no longer polluted by the will to violence, my powerful punches and kicks are necessarily righteous

and once my powerful punches and kicks are necessarily righteous, heaven will smile if i should use them on my enemies

and once the justice of heaven demands the powerful punching and kicking of my enemies, it would be a moral failing not to seek enemies upon which to visit my powerful punches and kicks

and once i've sought out enemies, i must be sure to win, lest the justice of heaven be curtailed

and to be sure i win, i must take up the will to violence, and move my limbs, and strike with an intent to harm

all this to say it's actually fine for me to punch and kick you