#i think we see these guys in fundamentally different ways.

[daz4i]

alternate version of "he would not fucking say that". he would not fucking have muscles like that

[dont-offend-the-bees]

Fuck I hate being an adult. I need a more adult adult to help with the volatile emotional situation.

[phantomsaboteur]

staring so intensely at diasomnia tonight. trying to figure out how to write them when we're following rollo's perspective and not my own. fuck

[iamthescalesofjustice]

idk if anyone has done this before but da2 au where you think at first its a both twins lived au and then find out bethany died and thats actually non-warden amell posing as her. something something escaped with jowan maybe, found her relatives in lothering, sought refuge with them and when bethany ended up dying it was way lower profile for amell to take the place of her cousin than try to get in to kirkwall with them as a non-immediate family member (especially given that leandra is publicly coming in as an amell and theres a resemblance and its known revka had mage kids taken to the circle and im sure theres a bulletin out or whatever for an escaped apostate matching amells description). points if people comment on how ‘bethany’ clearly takes after her mother. leandra is not normal about it. aveline knew the real bethany at least in passing bc of living in the same town and treats this as a reason for her distrust of hawke and co and one of the reason she sabotages carvers application with the guard. 

[pagesofkenna]

my oldest brother and I don't really agree on much at all, but every now and then I see a take online and I wish we had the kind of relationship where I could send it to him and get his overly verbose reaction to it, because he would either

Disagree (or agree) with it, and be able to explain his reasoning in a way that would help me understand why I also disagree (or agree) with it

Agree (or disagree) with it, and be able to explain his reasoning in a way that would help me understand why I actually disagree (or agree) with it

[libraford]

It is possible to interact with people whom share opposing views and no this is not about pineapple on pizza. In fact, it is imperative that you learn how to be civil with some people who you may find difficult to agree with.

At work, Youngin would often tell me that the guy that trained him (Ginger) was a misogynist. I had never met Ginger, and I had very little to say on this matter. But I would ask Youngin some questions about him because I like to know the other seasonal workers a little. I ask about Ginger- first words from Youngin's mouth 'he's a misogynist.'

I asked him why he thought that. (There are many misogynists at this location, as someone that is woman-shaped I see it often, I am comparing notes.)

"We were on our way to a location and a driver was going really slowly. When he got around her he said 'fucking women drivers.' Like he was going out of his way to prove that the driver was a woman."

The last month or so, Youngin worked exclusively with me because I knew that it was a matter of time before he said something that pissed off one of the guys. He was not going to get along with people here, it just wasn't happening.

When he left, everyone wanted to know what he was like to work with. And I finally got to have a conversation with Ginger.

"I'd like to ask you something a little strange- he said that on his first day there was an issue with a driver going slowly. Can you tell me about that?"

"Oh yeah! She was going super slow and when I got around her I said 'yup- little old lady driving.' And he was like 'what's that supposed to mean?' And I just kind of dropped it, but I hear he was saying I was a misogynist over it?"

So I give Youngin some grace because he's young, he's got a social bubble that's very liberal, he has not met very many people that weren't part of that kind of scene. But he often talked about how every person here has said something that pissed him off and he seemed really surprised that I (woman-shaped queer liberal) would be okay working with all these sexist homophobes.

And I give grace to Ginger because he had no reason to think that his words would be interpreted like that. What he was saying was normal to him. This is... somewhat the culture of landscaping jobs. And its not even close to the worst thing I've heard out of these dudes mouths. (Literally had one of the dudes comment that he would like to 'motorboat' one of the pedestrians.)

It was weird for Youngin to carry that with him for the whole two months that he worked here, over a very... small comment.

Every single person I've worked with here has said something that has given me pause and I tuck it away to rant about later and then I let it go. If it gets out of hand, I talk to one of the bosses about it. I know how to contact HR. I came into this place knowing that I was going to disagree politically with most of the people that I work with because I'm coming in to a culture that is fundamentally different from my own.

If I am being frank, I find the overt bigotry somewhat better than the corporate bullshit of 'we value your contributions, but won't be granting your accommodations request out of fairness to other workers' or the glass cliff or literally being fired for my sexual orientation but phrased with 'oh you just weren't a good fit for the culture here.' I at least know what I'm getting into when I come to work. I know what not to talk about. Last time I thought I was safe to talk about something queer with my boss she blindsided me with some transphobic garbage.

Its admirable to stick up for the marginalized people in your life, but part of changing minds is knowing the time and the place to comment. I think I've changed more minds at this warehouse by being a visibly out lesbian at work than I have by making carefully crafted speeches.

That is fine. It is fine to disagree. Sometimes you have to work with racists, homophobes, and assholes. That is part of being an adult. You talk about things like... sports or TV or weather or some cool bug you saw. Finding common ground with people who are different from you in many ways is an important part of socialization and it sucks to think you have anything in common with a jackass but look- you're spending 7-ish hours with these people and at some point some of them are going to say stupid shit. You are going to say stupid shit also. I have said my fair share of stupid shit. Deal with the fact that you're all stupid shits.

And for fuck's sake, wear your hardhat.

[zweiginator]

college!patrick corrupting innocent reader……………… gawd

thinking about this but like. him bringing art in. needs his best friend to enjoy this too!!!

oh fuck because i'm thinking that patrick wants to teach you how to give head. the only problem is that he doesn't trust himself. he knows as soon as you're swirling your tongue around his tip and moaning around him with those big watery eyes of yours--he'll start fucking your throat. he can't control it and it makes him want to be the guinea pig so much fucking more. you're such a good little student; he knows you'd take it like a champ. but he'll be good.

you don't realize patrick has an agenda here. that he has strategically thought out everything he wants to teach you and put it in the order that makes most sense. it feels sleazy to him that he hasn't even seen your pussy. hasn't felt that velvety skin against his tongue, your silky wetness coating his fingers or his cock.

but he assures himself that waiting will make it better. and patrick doesn't tell either you nor art what's on his little agenda. he just tells you to come over around seven. shoots art the same text.

so you both wait outside his door. neither of you have knocked yet. you notice how art's cheeks are dewy and pink, a mixture of his proximity to such a beautiful girl, and remnants from the five mile run he just completed.

you introduce yourself.

art wipes his clammy hand on the back of his grey t-shirt and slips his palm into yours

"i'm art. it's nice to meet you." his voice is soft. he's handsome in a way that is different than patrick, but you can't quite put your finger on why that is. maybe a fundamental difference in their first impressions with you.

patrick was unabashed in his actions. aware of his effect on other people. willing and able to use his charisma to get whatever he wants in a way that borders on manipulative but couldn't quite be classified that way.

art has more trepidation. but he still has confidence in the way he carries himself. his shoulders are back, his posture near perfect.

"are you here for patrick?" he asks, breaking the silence.

"yeah," you answer, looking at the time. 6:59. you and art are very timely. "he told me to come over at 7."

art fumbles with his phone, pulling it out of his shorts pocket. it's hard to see with the glare of the late spring sun, but he shows you the text patrick sent him. it's verbatim what was sent to you, and you tell art this.

"weird. are you guys dating or something?"

you shrug. "no, i don't think. just hanging out."

art knows what that means. and he chews on the inside of his cheek. his jaw pops.

"how do you know each other?" it's your turn to ask questions.

"he's my best friend." art knocks on patrick's door for the third time before crossing his arms over his chest. you sense more urgency in the way art is acting. "we grew up together, played tennis all throughout childhood and here we are."

"patrick plays tennis?" you notice art's t-shirt and hat. it's on backwards, but it's embroidered with stark white lettering. stanford tennis. "i didn't know that." you feel small, realizing you don't know a huge part of patrick's life. naive to his hobbies and talents and his best friend. maybe you overestimated your role in his life.

art senses your disappointment in how your voice falters.

"he's not a very open person. hence why we're both here right now. dumbass probably sent me the text by accident." art kicks the door. "pat! open the fucking door, man! it's hot out here!" the veins in his neck tremble as patrick flings the door open.

"come in, come in." he ushers you both inside.

so he really did mean to text art.

he sits between you both on the couch and puts his arms around you and art. spreads his legs wide and lets out a deep sigh.

you and art look at each other, confused. but neither of you speak up just yet; perhaps its a subconscious nod to the fact that patrick is in charge here. a way to foreshadow.

"she's pretty, isn't she artie?" patrick turns to his best friend and you see him flush a deeper shade of pink.

"um, yeah. she is." art responds.

you swallow. both of their legs are spread wide, to the point where you barely have room to fit on the couch. it seems rude, but then again, maybe patrick is doing this on purpose.

"and artie?" he turns to you this time; his broad, strong torso almost obstructs your view of art behind him. "he's handsome. lots of girls think that."

you nod. "yeah, he is handsome." it's innocuous enough. and you wouldn't lie, of course not.

"what's the deal here, pat?" art says it breathily. like he knows patrick has a trick up his sleeve.

"we've been having some lessons." patrick says, only to art, as if you're not there. "i taught her how to kiss."

your breath hitches. is he going to tell?---

"and i taught her how to give a handjob, just last week. her first one ever."

"patrick this isn't my business." art shifts uncomfortably, watching the clock on the wall tick, tick, tick.

"but there's still a lot to learn for her." patrick continues, unfazed by the obvious discomfort in the room, the shifted mood that seemingly affects everyone but him. because again, he's in power. it's his prerogative. and here you both exist, at his mercy.

you're awfully quiet, but you stay that way.

"i want to teach her how to give a blowjob." patrick says it as he picks lint from his shorts, like it means nothing. and it makes you want to do it. to impress him and stay on his radar. not to be a temporary plaything.

so you lean into patrick and press a kiss to his neck, open-mouthed at the part that makes him shudder and melt. but he pulls away from you.

"not on me, sweetheart."

you look at him, bewildered. art shares the same expression, except his jaw is clenched and a pearly bead of sweat trembles over his browbone.

"on him."

art can't pretend he isn't intrigued. maybe he should put a stop to this. put his foot down and say no to patrick. except he wants it. and god, he hopes you want it to.

art looks at you, his lips parted and pink to match the supple skin of his cheeks.

patrick watches you two. has a look on his face that reads well what are you two waiting for?

you crawl over patrick's lap so you're leaning over his body. using him like a bridge. your hands grip onto patrick's thighs until you find balance. art sits up straighter, meets you in the middle so patrick has a perfect view of your profiles.

art cups your cheek and pulls your bottom lip with his teeth before sucking it into his mouth. you feel his jaw move, opening wide so he can envelope you in an open-mouthed kiss that sets your body on fire. patrick watches spit dribble down your chins in a messy meld of kisses, of tongues, of hands all over each other.

patrick grabs your wrist, the one that rested on art's jaw, and plants it square on art's erection.

neither patrick nor you expect the carnal groan that emits from art's throat.

[shootingstarpilot]

Do you have any advice for writing Mace Windu?

Hello friend! I've been sitting on this for a while, because everyone's got their own interpretations, but mine is based on an idea I was struggling to put words to.

(Caveat that I have not read Legends material, that people can write what they like, etc. etc.)

The way I see it, Lucas specializes in writing stories in terms of themes and archetypes. This is why certain dialogue choices or the development of certain relationships can be... clunky, let's go with that. Characters (Obi-Wan and Anakin fall into their own category, sure) are written primarily as archetypes. You have Yoda as the wise old sage, Sidious as the ultimate evil-

And Mace Windu as the ultimate good.

We see this in the Chancellor's office, right? During the final showdown. This is the moment where Anakin makes his choice- stay in the Light or Fall- and the characters visually representing that choice are Palpatine and Mace. He's the Master of the Order. He's raised a Padawan who sits on the Council with him. He's an incredibly skilled swordsman- hell, his fighting style of choice (Vaapad) epitomizes how clearly he's mastered the art of internal balance!

All of that to say- his whole character is built around the idea that he is the Good Guy. That would be the one piece of writing advice I would give. If you're wondering how to write him, start with that idea- that he is written to represent the absolute opposite of Sidious. He's the ultimate good. He is the illuminating Light to Sidious' corrupting Dark. This is why antagonistic portrayals of him never ring true to me- they're coming from a foundational understanding that I simply do not subscribe to. It reeks of a fundamental misunderstanding of his character and of the whole saga's themes.

(And also racism. I'd be remiss if I didn't mention the racism that too often plays a significant role.)

All of that being said, what might it look like to write from the foundation of Mace being the representation of ultimate good? The good thing about characters being written as archetypes is that it gives us fans a significant amount of freedom in determining what those characters look like when they're written as characters. Different people will have different takes, but for me:

Well, first off- he's the epitome of a Jedi. So all of what that entails- he is fundamentally kind, fundamentally compassionate, and fundamentally in control of himself.

He's funny. I think he has a very dry sense of humor, and that he finds joy in the smallest things.

He loves so much. He loves his Padawan, he loves his friends, he loves his family, he loves the Republic- he loves the galaxy enough to go to war for it, and he loves the men who'll kill his people.

There will never be a situation where he has the capacity to help and chooses not to.

And last but not least, I choose to believe that this man can bake pastries with the best of them. In my heart of hearts, he's a stress baker, and he mends his socks with purple thread.

Hope this helps!

[scoobydoodean]

Hi im a samgirl and i dont mind if others feel differently about this but if you are interested in a samgirl perspective, the short story to sam's allegorical queerness is that sam grew up feeling fundamentally different from his family. He felt that there was something dirty or unclean about himself which is how a lot of marginalized queer children feel growing up. It's not that queerness itself is monstrous but that society and the patriarchal family unit will cast queerness as the monstrous Other, which is why monstrosity is a pretty common queer allegory.

I keep getting asks about queer Sam and I'm not sure exactly why, other than people maybe assume I have a strong opinion about it. The simple truth is that I just don't find what's said about it compelling so it doesn't interest me. I have no issue with other people exploring it and don't have any desire to ruin anyone's fun. It's just that I don't personally see it when I dig deeper than the surface level of "he felt different" and examine why and exactly what Sam actually wanted and why he felt that way. I will get into that here to an extent I guess because I was asked in another piece of mail what my opinions were, but I don't intend it as an "argument" to start a fight or to dismantle anyone else's perception—just an explanation of my personal lack of interest in this particular type of meta.

First, I don't think "Sam grew up feeling fundamentally different from his family" works for me as a queer meta when the reason Sam felt "fundamentally different" was that—according to his own early framing—he was the normal one trapped in a family of freaks who wanted him to be a freak like them.

Sam says in 1.08 that he felt different from Dean and John, but when we read on to see why, he says it's because he wanted to play soccer instead of being a child soldier.

SAM Because I didn't wanna bowhunt or hustle pool - because I wanted to go to school and live my life, which, to our whacked-out family, made me the freak. DEAN Yeah, you were kind of like the blonde chick in The Munsters.

For people too young to get "the blonde chick in The Munsters", Dean is referring to Marilyn Munster, who was the one "normal" person in a family of monsters in a 1960s sitcom.

In childhood flashbacks in 4.13, Sam refuses to fight Dirk at first even though he could easily best him using the skills he learned from their father.

YOUNG DEAN That's right, you don't. You could have torn him apart. So why didn't you? YOUNG SAM Because I don't want to be the freak for once, Dean. I want to be normal.

In both situations, Sam views his family and what they do as freakish and wants to distinguish himself as the one normal one trapped in a family of monsters who is at threat of becoming like them by pure association and family pressure.

YOUNG SAM Yeah, my, aah -- my dad's a mechanic. So I have to be a mechanic, too. MR. WYATT Do you want to go in the family business, Sam? YOUNG SAM No one's ever asked me that before. MR. WYATT Well? YOUNG SAM More than anything, no.

In 5.16 Dark Side of the Moon, one of Sam's greatest childhood memories is getting to sit down for Thanksgiving dinner in a normal, upper middle class household instead of sitting around with "A bucket of extra-crispy and Dad passed out on the couch."

In 1.01, he says he wants to be nothing like his family. He says he is normal unlike them when Dean is telling him they're the same:

DEAN You can pretend all you want, Sammy. But sooner or later you're going to have to face up to who you really are. SAM And who's that? DEAN You're one of us. SAM No. I'm not like you. This is not going to be my life.

Sam sees the upbringing that he has in common with Dean as something almost... humiliating—to the point that he plans to lie to Jess forever about how he was raised and about his family (1.01).

All of this to say... when the queer allegory I'm being sold is that a guy is queer because he wants to go to college, get married, have 2.5 kids, go no contact with his brother (because Dean isn't normal like him?), and lie about his family to his friends because the idea of them knowing he didn't grow up normal is embarrassing... I don't feel like I'm reading a queer allegory. I'd be more likely to think that if anything, I'm reading a comedy from the POV of "the token straight" who initially functions (in the Pilot) as the "normal" character to introduce the "normal" audience to an "abnormal" world in a relatable, palatable way.

That said, when we embrace the fact that the Winchesters are a family of freaks, there is an easy counterpoint here which is that Sam's attitude in the beginning of the series represents being closeted and desperately trying to assimilate with normal society and be perceived as just like everybody else... and his freak family is in the way. In this case, Sam knows deep down that he is like his family (i.e. queer) but desperately wishes he wasn't so that he could fit in. Given that I'm a big believer in Sam being a hunter through and through despite his occasional denials, I find this much more compelling than the argument that Sam feeling othered in his family because he sees himself (at least at first) as the one normal one makes him queer.

*One of you shaking me back and forth*

"But PK—WHAT ABOUT THE DEMON BLOOD?!?!"

Yeah yeah yeah. While it doesn't start out that way, eventually, Sam does reflect on his childhood and see himself as Megamind instead of Marilyn Munster. This is retroactive though (in my opinion. I do not actually believe Sam could "sense" his dormant powers) after finding out that Azazel dropped blood into his mouth when he was a baby. Instead of feeling like the normal one in a family of freaks, Sam starts to feel like the biggest freak in the family, and Dean's "I'm a freak too" suddenly feels like platitudes. Dean—whose calls Sam didn't pick up for years—starts to seem like the normal one—the good one—between them. Dean is the hero character, the righteous man, the sword of heaven... and Sam thinks in his worst moments that he is someone Hero!Dean should be duty bound to kill (2.11). These are all feelings that (again—in my opinion) develop later. I talk about Sam's feelings of otherness and why he actually had those feelings and how I think the demon blood erroneously comes into play as an explanation for his insecurities here.

I think it probably also makes sense to mention here that the idea that Sam was treated as a monster by his family is very very overstated by portions of fandom. I'm not saying Sam never had reason to feel different or othered or unloved or neglected—he absolutely did (as did Dean). I am saying that people like to write about things that never actually happened when they talk about how Sam was treated growing up. Sam felt different from his family because John let Dean start hunting when he was younger than Sam, then he felt different because he wanted to play soccer and go to school while John wanted him to hunt, and because he thought Dean enjoyed being a parentified child and being raised like a soldier and Sam didn't. Retroactively, Sam feels different when he finds out he has powers. These do not develop until he is an adult, and it is never indicated to us that John knew about any of this when Sam was growing up—much less treated him differently growing up because of it. Retroactively, Sam believes Dean sees him as a freak for having visions even though Dean repeatedly treats his visions as no big deal and psychics are an accepted and trusted group within the hunter community (see: Missouri, Pam, Fred). Retroactively, Sam feels different because he was fed blood as a baby. He did not know this until he was an adult, and neither did Dean, as far as we know, neither did John. Sam never believes that Dean would act on John's last whispered command (that again—does not transpire until Sam is an adult) to the point that he repeatedly tries to guilt Dean into promises to follow through and carry out John's will. Retroactively, Sam feels like a freak in season 4 because Sam chooses to drink a completely different demon's blood of his own free will and develop a completely new power set and Dean doesn't think it's a good thing.

TL;DR Sam did not grow up being treated as the monstrous other by his dad and brother. He grew up as an understandably rebellious kid whose dad was a neglectful asshole and a drill sergeant, and he hated being dragged from place to place with no say. He felt different because he stood in contrast to a brother who tried his best to keep the peace because experience taught Dean that refusing to obey would get people killed (1.18), John would send Dean away if Dean gave him lip (14.12), and Dean felt he had to be there to take care of Sam and John (1.06).

More or less, these are the reasons I don't find the queer Sam metas I have stumbled across particularly compelling (along with—imo—Jared's lack of romantic chemistry with other men). At the same time, people seeing Sam as queer or not queer doesn't bother me. I am not trying to "take away" that interpretation from anyone else (as if I even could). I'm just not interested.

[havoc-7]

I wasn’t a die-hard Tech Lives believer (more of a “I HOPE Tech Lives” believer) but the end of the show has me grieving hard all over again, so here’s my little ode to Tech based on things I’ve noticed about him from rewatching the show:

Tech LOVES his brothers, and he genuinely misses Crosshair. When he has his heart to heart with Omega in the ipsium cavern, the way that he mentions Crosshair—even though that wasn’t even really what they were discussing—shows how often Crosshair is on his mind, so much so that he can’t really talk about people leaving and changing without bringing him up. When they get the Plan 88 from Crosshair, Tech is vocal and insistent about doing whatever they can to bring Crosshair back—because “he is still our brother.”

Tech is incredibly moral. Not that he’s any more moral than I think generally TBB is, but he’s not afraid to speak up when he sees something that he disagrees with fundamentally. “The systematic termination of the Jedi is a big one for me.” “There’s a fundamental different between taking fire in battle and being used for target practice.” Even in just the first episode, we see how firm his opinions are, based on what he believes: that people are people, that HIS BROTHERS are people, that they deserve better, that there is such a thing as right and wrong.

Tech may be practical, but that doesn’t make him any less crazy than his brothers—in fact, I would argue he is one of the more unhinged members of the bad batch. His plans and ideas see everything factually, factoring in risk not as an emotional factor but as a numerical one. He knows their skills, and what they are capable of, and he pushes them to those capabilities, even if the resulting strategy is absolutely insane. The best part is, as insane as he may be, his brothers trust him, because, as Tech himself said, he is seldom wrong.

Tech has a beautiful sense of wonder and awe for the world around him. How many times do we see him go wide-eyed as he encounters something that absolutely fascinates him—even if that thing is a Zillo beast that just ate an entire Imperial crew.

Tech is INSANE. Not unhinged, like I said earlier, but skill-wise, ability-wise, he is an absolute powerhouse. I will forever be grateful to the writers of TBB who gave us a techy, intelligent character who is not your average scrawny computer guy that we get in action movies. You have to have a lot of guts to be the guy in your squad who turns your back on the fight to bend over a computer and hack into a file or break an encryption or alter the programming—already a delicate operation, but with the added risk of getting shot with your back turned. He frickin wields double blasters so that he can shoot more clankers more efficiently (if that’s not practical Tech, I don’t know what is). He DOESN’T WEAR LEG ARMOR SO THAT HE CAN CARRY HIS TOOLS WITH HIM INTO THE FIELD. In “Faster,” we see his hand inching towards his blaster, ready to defend and protect the second it’s necessary—and you know he would’ve beaten anyone to the draw. He fought a group of Imperial troopers!!! With a broken leg!!!!!

Tech was amazing, and I hate that he’s dead, that we never got to see him grow old, that he never saw Crosshair again. But WHAT A LIFE HE LIVED.

[sabo-torao]

Small disclaimer before you head in: this whole post will be referencing the TCB translation. I know VIZ handled the exchange I'm discussing differently, but I couldn't find anyone who talked about the original version and as a result I don't really know who is closer to the original meaning. In any case, the "analysis" should still stand. Whether Dragon was commenting Sabo's firmness or admiring his resolution, Sabo's still putting on a mask, and that's the point I'm trying to break down. Enjoy!

This very specific interaction between Dragon and Sabo in chapter 1083 has always stuck out to me.

"My, you really are unshakeable."

which is an appropriate response to what Sabo said, of course. What kind of sensitive person reacts that way to the death of an innocent, right?

Even so, I can't help but compare the thing Sabo said to his actual, genuine reaction to King Kobra's death.

He's devastated.

Sabo brokenly screams Kobra's name, and his expression is one of full despair; he never thought about killing Kobra, let alone letting him die. On the contrary, he actively tried to save him.

Kobra told him to just let him go, that he was dead weight and he shouldn't be concerned about him, but Sabo straight up refused. In fact, Kobra's actions read way more as a sacrifice than an inevitable death; the king let himself die, knowing that this way Sabo could flee and reach Vivi and Luffy safely.

On the Lulusian ship, we see Sabo think about Kobra's last words to him and actively trying not to cry (and failing).

That's not an unshakable man. He's suffering, he's grieving. He realizes he failed his very own mission of saving the king and lets the meaning behind Kobra's actions and words sink in.

It really puts his former reaction into perspective.

Sabo's firmness, seriousness and coldness in front of Dragon and Ivankov are nothing but a façade. He acknowledges that what he's about to say might come off as harsh, and that, even if he does feel sorry for Kobra, the tragedy doesn't weigh him down thanks to the results it brought, but it all sounds like he's reassuring himself more than actually showing his indifference.

Hell, he even drinks his glass of wine right after having said that "he doesn't really care". How can anyone take his words seriously?

And we've been knowing Sabo is inclined to do this sort of thing since Dressrosa; he acted all cool and composed in front of Luffy but the second Koala called him on the Den Den Mushi he was weeping, having a hard time believing that his little brother didn't punch him or hate him for being alive all along. He even denied he was crying!

All because Sabo hates being seen as vulnerable, especially in front of the people he thinks he has to be strong for (Luffy, Dragon, etc). It's something I think goes back to how his parents treated him, since they scolded him for, y'know, having emotions and being a normal kid in need of love, but i digress.

I once saw someone describing Sabo as a very cold person in comparison to his brothers, even going as far as to say that Sabo doesn't care if people die if it means achieving the Revolutionary Army's goals (using this very interaction as proof), which couldn't be further away from the truth.

Bonney even says outright that it's weird seeing a "radical revolutionary" act so friendly when Sabo helps her out. Why would he do this if all he ever did was for "The Cause"?

Yes, Sabo is ruthless, rude, violent at times, and his friendly demeanor could be seen as a little more volatile than that of his brothers', but he's not heartless. He's not a "meanings to an end" guy, he proves it time and time and time again, and it's disheartening seeing people label him as such.

Sabo is kind. He may not be as warm as Ace and Luffy, but he is fundamentally a good person. A generous, kind, caring, sensitive person.

No matter how hard he tries to hide it.

[astradyke]

okay yeah let's get freaky with it (not an acceptable way to start a post whatsoever) i cannot stop THINKING about this fucking We're All Doomed cap. like just in the last TWO days...

[ID: photo one is of Phil Lester in the hospital, wearing the We're All Doomed cap. photo two is of Phil Lester in a pool, in which the We're All Doomed hat is laying on the edge of the pool. end ID.]

and then not to mention all the latest videos...

[id: photo of Phil wearing the We're All Doomed hat]

(there are definitely more but i'm multitasking so i can't sleuth out the videos rn)

like, when i am trying to describe Dan and Phil as a phenomena to my friends i always mention the fact that Phil is like THE consistent hype person for Dan (vise-versa but focusing on Phil here). "Dan is leaving me" is obviously an insane video about their relationship but also spends a substantial time promoting We're All Doomed; "I TRY TO GIVE DAN A HAIRCUT!!" is basically just YWGTTN promo. What Dan and Phil Text Each Other 2 (iirc) Phil encourages Dan to talk vaguely about upcoming stuff, etc. like Phil is ALWAYS so crazy supportive of what Dan does

from the mukbang "I wanted you to be happy [...] you did loads of shit on your own" (quoting from memory)

but something about the We're All Doomed hat feels DIFFERENT to me fundamentally because it's just... such a casual thing? they're no stranger to using their old merch, or wearing merch in videos after its release, but Phil literally cannot be separated from this hat as a guy who never seemed to be that crazy about hats to begin with. but it's just such a casual presence in his life, like a must-have object, it goes with him everywhere from Türkiye to the A&E, just this constant support for Dan's solo work.

when Dan says in Basically I'm Gay: "And for someone who has dealt with the same kind of self hatred I have, one person accepting you makes all the difference." (quoting from memory again),

it's like. there is such a love confession in the sheer act of seeing someone's creative work, something they poured their life and soul and savings into, and holding THAT in your palms -- and loving it. Phil was part of the WAD pre and post show, Phil was listed in the credits, even in Why I Left YouTube Phil's presence is there in the fact that he was patient as Dan tried to pursue Dan Is Not Okay, even at the potential risk of them postponing moving. don't even talk to me about how Phil was involved in Dystopia Daily, not only as a guest but also working on the set too.

holding something that has as much meaning as We're All Doomed does to its creator and not only loving it in the moment, not only relentlessly promoting it, not only being part of the premiere, but also continuously wearing its merch -- it's such an embrace from Phil of not only Dan as a person, but who Dan is creatively, and the ways he expresses himself.

and considering all the thematics of We're All Doomed, the hope and the new era and the self acceptance... yeah. fucking YEAH.

we talk a lot about different kinds of love and all the different ways they love each other, and i think this has always been the loudest and what i've personally been most affected by. the way that Phil Lester became a safe and accepting place for Dan Howell back when he was eighteen, and how he never fucking stopped being that place for him since.

[becausegoodheroesdeservekidneys]

Hi! Big fan :) You're an environmental lecturer, right? I recently got into a debate with someone about rewilding in the UK, and the clash with farmers and agriculture. To me, this is a no-brainer - I absolutely do feel for farmers losing their livelihoods, and I think there needs to be a system to help them transition to something else, but also, the planet is dying. But you explain things well, so I wondered if you have thoughts? Particularly on the Welsh side of things. Thank you in advance!

Hah. I literally have a lecture on this. Or, well, a chunk of a lecture, anyway; so yes! I have thoughts. I'll use those notes, and stick a big reference at the end in case you want to read more

I'll talk about this specifically from the Welsh perspective, okay so:

The rewilding project in Wales is the Cambrian Wildwood, launched in 2004ish by a guy who bought an abandoned farm in the northern end of Mid Wales with the express intention of rewilding it. The aim is to convert some 7000 acres, and the initial mission statement said they'd reintroduce wolves and lynx. That's the project I'm going to talk about, because it's a great case study for how to spectacularly fuck something up (and eventually realise you've spectacularly fucked up, and do something about it.)

These are the Cambrian Mountains:

When looking at that, there are two competing viewpoints that are relevant here:

The Cambrians are ecologically depleted. Their biodiversity has crashed since the Second World War, when modern farming methods were introduced. Environmentally, there is a perception of emptiness and degradation.

The landscape is a glorious one that has been shaped by the human actions taken on it for generations, as we are a shepherding culture – culture and land are inextricably intertwined.

That's a big fundamental difference! Two people can look at that same photo, and see something diametrically opposed. But there's more lying on it, so you also need to understand the socio-political background.

Socio-Political Background

(I know! Headings! So professional)

A lot of rewilding – Cambrian Wildwood included – is taking place in areas where farming is declining for various political/socio-economic reasons, so this can be ENTIRELY FAIRLY seen as yet another threat. This goes hand in hand with rural migration and community decline, too.

In Wales, we’re mostly rural, and characterised by extensive upland livestock farming (sheep in particular). Most farms are small to medium family-run setups. ON TOP OF THAT, the vast majority of Welsh farmers are Welsh-speaking, and the right to operate a farm the ‘traditional’ way without UK government oversight is seen by Welsh Nationalists as an important post-colonial act.

Many of them didn’t even like the National Parks being set up, as they were seen as an English outsider imposition that ignored the working nature and cultural history of the land. Remember: the farmed uplands are often seen as a heartland of Welsh identity, and those have historically been intentionally destroyed by UK central government land management decisions (e.g. Tryweryn, Elan, Claerwen, etc)

“Over the past half century we have witnessed the arrival of countless environmental fundamentalists… seemingly oblivious to the fact that their new-found paradise is already occupied by people whose connection with the land is deep rooted, dates back thousands of years, and is embedded in their language and culture.” (Nick Fenwick [Farmers’ Union of Wales] 2013)

SO IT’S CULTURALLY DICEY

(And in my opinion an incredibly stupid idea to go and give it a primarily English name with a Welsh translation as an afterthought but that is Elanor’s Opinion and not Scientific Fact)

(But fr fr if you ever have to get involved in these sorts of projects you will go a long way if you have the basic respect of learning the Welsh names and pronouncing them right rather than lazily expecting everything to be in English sorry sorry I digress)

From the Cambrian Wildwood’s Mission Statement on their website, their objective is:

“To rewild or restore land to a wilder state to create a functioning ecosystem where natural processes dominate by carrying out habitat restoration, removing domestic livestock, and introducing missing native species as far as feasible.”

Can you see the controversial bit of the statement

Can you see the bit where they directly say they want to remove domestic livestock

Jesus Christ

Cultural Differences

AND THEN HERE'S THE BIGGER PROBLEM

‘Culture’ in Welsh is diwylliant – literally, a ‘lack of wildness’. There is no direct translation into Welsh for the term ‘rewilding’ – the closest you can get is anialwch or diffeithwch, which mean ‘wilderness’ in the sense of ‘desert’ or ‘wasteland’. So right off the bat, if you tell a Welsh-speaking farmer that you want to rewild the place, what they hear is "We want to make it dangerous and empty and degraded."

A related concept is cynefin - knowing one’s ‘patch’ and the feeling of belonging associated. The term has its roots as a description of the way grazing animals know their area of mountain land, but it is also used to describe how people come to form an intimate experiential knowledge of place - and specifically, a Welsh farmer's cultural attitude.

Basically, Welsh literature and oral traditions speak of a relationship with the land, not a separation and longing for an untouched wilderness. Farmers feel this especially keenly. Culturally, this is a big part of why they do it – they’re rooted to the land, and therefore to their identities.

“Interviewees conveyed this by referring to areas proposed for rewilding as being comprised of “a quilt of cynefinoedd: interwoven stories, the layered and collective place-making of families and individuals over-generations, co-constituted with the physical landscape” (Wynne-Jones, Holmes and Strouts, 2018)

So, to them, rewilding is erasing and disregarding these stories. To them, this is not just a land-use change, but the latest colonial attack. They've known the family who lived on that farm for generations - every birth, marriage, death, joy, triumph, loss, everything. You are saying that you are going to strip that family, all those stories, all those people out of that land, to be forgotten.

…

However. There is a counterpoint to this.

Many farmers taking this view have therefore identified themselves as the only “truly Welsh” people in the debate, accusing environmentalists as being outsiders. The problem with this being, most of the environmentalists involved with the project are also Welsh; so who the fuck are they to say who is or is not Truly Welsh? It's what we on the internet would recognise as gatekeeping, with a big side order of No True Scotsman fallacy.

Also this quote sums it up well:

“Sheep farming in this country goes back a few hundred years. I think if you go deep enough into our culture and ancestry, we have a really deep native relationship with wild forest areas and with the wild animals that are native to this country…I just don’t agree that sheep farming is really part of our traditional culture.” (WWLF Interview [15] 2016) (Wynne-Jones, Holmes and Strouts, 2018)

This is also a fair point. It is true that upland sheep farming, the way we now practice it, is only a few hundred years old, and at the current intensity only a few decades (since WW2).

On top of which, there has been plenty of exploration over the years of farmers as being a government-subsidised landed gentry, which I won't go into here, but it also contains some fair points.

In truth, all of it and none of it is true. It’s far more complex and nuanced than either side might want to believe.

Solutions So Far

This is an ongoing project and they're still learning and changing new things and stuff, but a big thing they did was get someone in to basically be a mediator and listen to both sides, because Jesus, those sides were not listening to each other.

But to date:

They actually worked with a first-language Welsh speaker (WHY DID THEY NOT DO THIS FIRST I'm sorry I'm fine). Originally the Welsh translation of the project was Tir Gwyllt – wild land. But given that Welsh connotations with gwyllt are something out of control or dangerous, Coetir Anian has been chosen – anian refers to a sense of natural order and creation, a sense of health and vitality. Similarly, ‘rewilding’ is being translated as ‘di-ddofi’ – ‘de-taming’. This acknowledges the labour and culture taken to tame it, and just suggests an avenue for discussing some relaxation of farming practice in appropriate locations rather than, you know, releasing packs of wolves directly into sheep pens

In online materials and in community engagement events where traditional storytellers and musicians have performed to celebrate the Wildwood, the trustees have drawn heavily from Welsh myth in the form of the Mabinogion. Enormous amounts of the Mab lovingly and respectfully feature wild woods and wild animals. The emphasis is therefore on how wilderness is also part of Welsh identity – and arguably a much older part, going back to the Celts. (This is clever, in my view, but something to approach with care - it's rarely a good idea to play the game of "What's the most Welsh". But so far it's been done sensitively)

Land purchased for the project has so far been wholly limited to that available in the public domain. The main site, Bwlch Corog, was empty and unfarmed for six years before purchase, which has been stressed in all media interviews and releases; this is important, because farmers do have a sense of "Productive land is being stolen by environmentalists".

Large predator reintroductions have largely been abandoned. Lynx and wolves are no longer on the agenda. It’s possible they’ll be included in the future, but it is acknowledged as currently impractical (both from clashes with farmers and lack of habitat).

Instead, they’ve supported smaller species reintroductions, such as the Vincent Wildlife Trust’s pine marten translocations, and some proposed red squirrel ones.

Bwlch Corog is to be managed as an experimental plot that farmers are encouraged to engage with.

Assessing the potential for new income streams (from improved tourism and educational activities) rather than just the ecological benefits – this has become central to the project, and the emphasis is on how this might benefit farming communities and keep them together. This has been huge, and has also been successful in rewilding schemes in Europe.

Tensions are a lot lower now than they were ten years ago, but ultimately the problem was a bunch of outsiders came in and decided they knew best without listening to anyone else's point of view, and that meant both sides really dug their heels in. Much better now.

Ultimately... yes, I am in favour of rewilding, in a general sense. But I think it needs to go hand in hand with supplying farmers with the necessary subsidies to transition back to more traditional and sustainable farming methods, and the two elements run side by side. You can't do one without the other, not if you want them to succeed. The Pontbren Project is a great case study for how a farmer-led scheme can successfully aid them economically while also improving environmental outcomes, and we need to learn and incorporate more lessons from it when discussing this kind of landscape-level management.

Also, with land management in general, I think you're a fucking idiot and dangerously arrogant if you think you can get anything done without all stakeholders being on board. And potentially wandering down the ecofascism path, circumstances dependent.

Anyway, those are my thoughts. Source:

Wynne-Jones, S, Holmes, G & Strouts, G (2018), 'Abandoning or Reimagining a Cultural Heartland? Understanding and Responding to Rewilding Conflicts in Wales - the case of the Cambrian Wildwood.' Environmental Values, vol. 27, no. 4.

[cjrae]

Tragedy of the Jade Nightingale. Or: My thoughts on Vol. 11 of the Apothecary Diaries.

Given that this volume just came out in English a few days ago, spoilers under the cut!

I usually think of the Apothecary Diaries volumes as pairs - usually two volumes make up an arc. If so, Volume 11 will be the first half of the arc with 12, but it also functions beautifully as a tragedy in it's own right.

** I will be only discussing information appearing officially through Vol. 11. Yes, I have read the fan translations of the web novels, but given that details can change, until it appears in official English translation, I won't yet be including it here.

The Hero

Gyoku-ou. Talk about someone who thinks he's smarter than he actually is. We knew this guy was a threat all the way back in Vol. 8, with how Gyokuyou reacted to her brother's letter and his veiled insult of sending a younger version of herself to catch either her husband's attention or the Imperial Brother's. Now we get to see him in action and he's scary - right up until he's not.

This man is charismatic as anything - he understands what makes people tick on both an individual level as well as a social level. His ability to wield a mob effectively makes him extremely dangerous, but I'm oddly put in mind of Lakan's initial impression of Fengxian. "This woman is strong, but she only knows how to fight in her own, small world."

The world Gyoku-ou inhabits is a very small, petty one. You can see it in his conspiracy theory about Jinshi's birth.

Jinshi is one of two people Gyoku-ou fails to read. When he brings Lakan and Jinshi to his puppet council to gauge support for attacking Shaoh, he thinks he's got a young malcontent in his hands, someone who wants power and is prone to the flashes of temper and insult that often drive young men. Someone who is easily manipulated. Instead, Jinshi mops the floor with him in that meeting, cutting Lakan's support out from under Gyoku-ou and making it clear that his priority is peace above war.

This doesn't take away from Gyoku-ou's political genius - this meeting teaches him that Jinshi has to be maneuvered around, rather than maneuvered directly. If the Imperial Brother doesn't want to play his part, then too bad. Gyoku-ou will see to it that Jinshi is hedged in all directions except where he wants him to go - which is to war. And even then, he's got a fight on his hands as Jinshi fully takes advantage of Empress Gyokuyou's information to undercut Gyoku-ou's support within his own family.

It's a mark of Jinshi's political skill that Gyoku-ou's move in that family council is to flirt with treason. If he can't maneuver the Imperial family through Jinshi, then he shifts tactics to turn Jinshi (and the rest of the Imperial Family) into the villain of his piece - a prince born and raised into utter depravity.

Let's just sit with what Gyoku-ou suggests to the rest of his siblings (minus the Empress) in that meeting. He implies that the Emperor impregnated his own mother in order to produce an heir. A son that he loves so dearly (and unnaturally) that he would willingly look the other way while Jinshi murders his other children in order to make sure that his brother-son-lover succeeds the throne.

This is a brilliant examination of how the bare facts of the situation can be construed by people with very different motivations to fit whatever worldview is most convenient for them. I'm a fan of the palace politics in this series because they feel very real.

Gyoku-ou doesn't lie once. But boy does he create a narrative that suits his purposes and dares anyone (namely Rikuson) to tell Jinshi. He is escalating the situation and he's doing it fast, while also challenging the legitimacy of the Imperial Family. A fact which, if it does get back to Jinshi (or the Emperor), could get the entire new You Clan wiped out just as fast as the Yi Clan was. This scene functions as a microcosm of Gyoku-ou's two fundamental character flaws; his short term thinking and his utter self-absorption.

Becoming The Wind

Since Rikuson was introduced in Vol. 5, he's been a mirror for Jinshi. He's a "pretty boy," calm under pressure, fundamentally kind and decent to other people while also being extremely competent at his job. Unlike Jinshi, he's also a bit older and more mature. He also clearly admires Maomao and sees the qualities that make her exceptional, despite her various masks.

As it turns out, Rikuson mirrors Jinshi in another important sense too - he also has a secret identity. The Yi Clan were the de facto royalty of the Western Capital and Rikuson is one of the direct survivors of the clan. He was never in the line of succession given the Yi Clan's matrilineal structure. But they were quick enough to save some of the children, namely Rikuson and Empress Gyokuyou's three ladies in waiting, Haku'u, Koku'u and Seki'u.

Rikuson, who was Gyoku-ou's excuse to trick His Former Majesty into giving him the authorization to destroy the Yi Clan. Rather than truly being an bastard Imperial prince, he's a young pawn in Gyoku-ou's hands to whip up an armed mob to hunt Rikuson down - and his mother and sister give their lives to ensure his survival - not for vengeance, but so that the Yi Clan's mission of protecting the west will live on even if the named clan itself dies. So, like Jinshi, he is dedicated to the welfare of the people above all else.

The trouble with relying on an unruly mob is that it's sloppy. Gyoku-ou left multiple survivors and they have absolutely no love for him. He's left weapons at his back.

Rikuson is the other person Gyoku-ou utterly fails to read. He spends well over a year back in his homeland, working for Gyoku-ou as an aide ostensibly from the central region, patiently waiting for an opening - even as Gyoku-ou, who knows that Rikuson has to be assigned to the west with some kind of ulterior motive, is so blind that he thinks he must be a secret member of the La Clan, rather than the Yi boy he tried to kill seventeen years earlier.

Rikuson represents the culmination Gyoku-ou's short term thinking in that he doesn't bother to think about the threat of any surviving Yi clan might pose to him.

He will not insult his mother's memory, or his sister's. But if his mission of protecting the west coincides with vengeance for his family? Sure enough, Gyoku-ou's insistence on going to war (and dragging the Imperial family's legitimacy into his motivations) gives Rikuson his opening; especially because he isn't a vigilante.

He is acting under orders.

The New You

Rikuson's point about Gyoku-ou's life being a tragedy hits home when you consider Gyokuyou's thoughts of how she knows her father loves her - but would also abandon her in a heartbeat if she is no longer valuable to him. Unlike her older brother, she has a very clear-eyed view of how their father operates and focuses on making sure that her value never drops in his eyes.

Gyoku-ou's value to Gyoku'en plummeted the day he destroyed the Yi Clan - Gyoku'en's family. He was given a second chance to show that he could still perform the single function of the men of the Yi Clan - to protect the west. When he endangered it instead, Gyoku'en sent the weapon he'd spent seventeen years preparing (Rikuson) with an execution order.

By first destroying the Yi Clan and then following it up with a proposed invasion of Shaoh, Gyoku-ou proved to Gyoku'en that he was no son of his. Given how desperate he was to be his father's son, this whole book is a tragedy in the classic sense. The Jade Nightingale was so desperate to reinvent himself as a Jade Eagle that he destroyed himself in pursuit of the one thing he never lost - his father's love. But, to be his father's heir, what he needed was Gyoku'en's trust and respect, not his love.

And he killed that seventeen years ago along with the Yi Clan.

Ironically, the foreign born girl that he despised and attempted to undermine at every opportunity, emerges as their father's true heir and mother of the nation, with the rest of the surviving Yi clan as part of her loyal retinue.

In her triumph, the Yi Clan is reborn as the You Clan as Gyoku'en, a Yi man, is given a clan name on the strength of Gyokuyou's role as Empress. So much of their history has been lost, down to the matrilineal succession and family records, but their mission lives on through the Yi men who will continue to protect the west, no matter the personal cost to themselves. There is no room for self-absorption here, therefore Gyoku-ou has no place in their new clan.

Also, a parallel to pay attention to is how the destruction of the Yi Clan and the Shi Clan are mirroring each other with the children being saved. The Yi Clan is reborn with a new name, which leads one to wonder what the consequences of saving those Shi children will be long term.

A Dagger In The Dark

Gyoku-ou sucks up a lot of air in Vol. 11 because he is driving the action - Jinshi, Maomao and their party are all stuck reacting to him, except for one character; Chue.

We see Chue attach herself to Maomao starting with the ship and it's not difficult to guess that just as Lihaku is serving as a discreet bodyguard for Maomao on Jinshi's orders, Chue is also there as protection. Chue doesn't try to conceal that she is clearly trained in espionage either.

Rikuson's proposal to Maomao is not a serious bid for her hand, but nor is it a joke - it's a message to Chue that Jinshi needs to tighten security around Maomao. As he puts it, he knows the "hyper protective" elements around her will close ranks. Because he's foreseen a strategy that may not have yet occurred to Gyoku-ou (who tends not to pay attention to the bit parts of the play), but if it does would almost certainly push the country into war.

Maomao is the lever that could move both Lakan and Jinshi.

All he has to do is kill her and make it look like a foreign attack. Lakan's instinctive ability to read a situation and Jinshi's formidable investigative skills would likely be dulled in the face of their rage and grief. Especially since they are technically Gyoku-ou's guests and don't have freedom of movement to push the issue.

Rikuson seizes his opportunity before Gyoku-ou can continue to escalate, but he realizes quickly that Chue arranged the stage and was there as both spy and backup assassin. (I think it's safe to say that Gyoku-ou's conspiracy theory AND that Yi family ledger will be reported, given that we know there were ladies-in-waiting at the meeting and that's how Chue was disguised - and she didn't actually promise to dispose of it).

Gyoku-ou doesn't bother to think that while the Emperor may be far away and the Imperial Brother is a manageable threat, that the people surrounding Jinshi may not be bound by his strictures. Hence, Chue was on standby. No matter what, Gyoku-ou was never going to make it to that ritual. He was never smart enough to realize that his crossing the line would be never be forgiven.

While Jinshi would order an execution if necessary (and has in the past), he would never order an assassination. Therefore, it's evident that Chue reports to someone else. Who that someone is, we don't know, but there's only one person further up the Imperial tree than Jinshi, so it would be reasonable for Rikuson to assume that the Emperor has placed additional protection around not just Jinshi, but Maomao.

Exclusive: Baby Swap!

Jinshi's birth is not a secret to the audience and while Maomao doesn't have confirmation, she's pretty certain of her suspicion. This volume made it patently obvious that there are others out there who are perfectly capable of putting the pieces together, even if the details are twisted.

Let's return to Gyoku-ou's conspiracy theory.

He's put together all the correct pieces. The Emperor's attitude toward Jinshi makes no sense in a traditional palace setting - a much younger, handsome, charismatic and competent brother? That's a threat to the Emperor and his direct line. But Jinshi is never treated that way - instead he's indulged on many fronts.

He's allowed to duck most of his official duties as Ka Zuigetsu (except for a few he can't, where he appears masked).

He's allowed to pretend to be a eunuch for six years and run the Rear Palace.

When he finally reveals himself to the court to put down the Shi Rebellion, he's described as "hale" and "just as proficient in the military arts as the administrative." (More proof that Jinshi is NOT the best judge of his own abilities). He emerges fully formed into court politics - a perfectly trained Crown Prince - only to have a newborn given the title instead.

Gyoku-ou deliberately put the worst possible spin on these facts. I suspect the rest of the You siblings are going to keep their mouths shut about Gyoku-ou's ugly theory, but if he could think of it, if Maomao could think of it with just seeing Jinshi standing next to Lady Ah-Duo, then so can others.

Maomao can be mad about Jinshi branding himself all she wants, but it's currently looking like an absolutely BRILLIANT move on Jinshi's part. Whatever doubts Gyoku-ou managed to plant about Jinshi and the Emperor's motives with the rest of the You clan siblings, Empress Gyokuyou is not likely to entertain it.

Also, it got the Emperor to essentially "banish" Jinshi to the edges of the Empire shortly after his new Crown Prince was born, which makes it look to other members of the court like the Emperor is taking steps to rein in his younger brother and balances the factions that have to be forming back in the capital.

This is not a secret that can be kept forever. No matter how careful Ah-Duo and Anshi were, the information is starting to leak out around the edges, as we see that the Empress' ladies in waiting that were dismissed clearly had eyes and ears - and in at least one case, a loose tongue.

The next arc is being seeded and Jinshi is inching closer and closer to that throne. He ran the Rear Palace for years (essentially managing the nation in microcosm) and as of the end of Vol. 11, he's now stepping up to govern a province and gain actual ruling experience while also having suppressed a war.

I've said before that Jinshi ascending the throne is the bad ending - if there is a single person who is more trapped by the palace than the prince, it's the emperor. We'll see what happens!

[uriekukistan]

alright i've been seeing so much megumi hate recently, and especially after the new chapter (not on here, mostly twitter youtube and tiktok), so as president of the megumi defense squad, here is my dissertation defending him against the bum allegations.

i've seen a lot of people comparing megumi's situation to yuuji in shibuya, and saying that megumi should be able to "just get up and keep fighting," so i'm going to tell you why this is not a fair comparison, and give some context on yuuji's "recovery" from shibuya that i feel people are missing when they say this. this is quite lengthy, sorry in advance

i. fundamental differences in the ways in which yuuji & megumi view saving people

yuuji wants to save everyone. he wants to save as many people as he can because of what his grandfather said to him on his deathbed. this is what kickstarted the events of jjk. if yuuji hadn't felt this way, he never would have eaten that finger to say some guy he met an hour ago, which is another point. yuuji cares for people easily. he threw his life on the line to save megumi immediately after meeting him. he mourned junpei, who he spent all of a few hours with in total like he had known him for years.

this is very different from megumi, who both does not get attached to people easily, and does not care to save everyone. he only cares to save people he deems worthy, and as far as we know, this list consists of only tsumiki and yuuji. its even unclear if he feels this way about nobara or gojo, despite them also being relatively important in his life. as you can see, when he thinks about saving people by his conscience, the only two characters shown are tsumiki and yuuji.

this is why he sometimes gets some criticism for not doing a half-assed job as a sorcerer, but i think its important to remember that he does not actually want to be a sorcerer, only doing it out of necessity to keep tsumiki from the zen'in clan. the times where we do see him taking things seriously are when yuuji and/or tsumiki's lives are what's at stake.

so in shibuya, after watching his own hands slaughter innocent people, and watching nanami and nobara die, yuuji is able to keep going because there are still more people who need to be saved, and he wants to save everyone. in contrast, megumi has watched his own hands kill one of the two people that he cares about saving, and severely maim the other one, so what is there to keep fighting for, given the way he views the world?

and i think it's also important to note that megumi has not been aware of his surroundings since sukuna v yorozu, so saying that he should get up now to save yuuji is not reasonable because he doesn't even know yuuji is there.

ii. the environment yuuji was in in shibuya vs the environment megumi is in right now

now none of that is to say that yuuji did not also break down and want to give up in shibuya, because he absolutely did (actually, im not sure if this is canon or just my theory, but the reason he did not switch back with sukuna at the detention center was because he wanted to give up), but the circumstances were way different

within minutes of watching nanami and nobara die, todo & nitta were there to encourage him and get him back on his feet (most of that was due to todo, but nitta was also telling yuuji not to lose hope).

meanwhile, megumi has been alone for over a month now, save the few seconds in 251 where i'm pretty sure he didn't even know yuuji was there, with nothing but his own misery to keep him company. sukuna took over his body and killed tsumiki with megumi's technique on november 16th. the shinjuku showdown takes place on december 24th. that's over a month stewing in guilt and mourning with no one to support him at all. that makes it a lot more difficult to bounce back quickly like that.

iii. more context on yuuji

even after todo's little pep talk that gave him the strength to get up and finish mahito off, yuuji didn't just "bounce back" and stand up to keep fighting in the way people think he did. in the days following the shibuya incident, he was really directionless, probably a bit reckless, because he genuinely didn't know what to do with himself, and didn't know if he even deserved to be alive. in my personal interpretation of yuuji immediately post-shibuya, if it weren't for choso, he would have likely lost his life, as he just showed a lack of self-regard in those days following. just one example:

it's not until megumi shows up again that yuuji finds a direction to go, and even then, he's operating with the mindset that once everything is over, megumi and tsumiki are safe, and gojo is unsealed, he will die and stop causing trouble for everyone.

so again, i think the megumi/yuuji comparison as a way to hate on megumi is not fair, both because there are important differences in the way they think and their situations, and because yuuji's reaction post shibuya isn't quite as resolved and strong as people make it out to be. this is not to say that yuuji is not strong! he absolutely is, just to point out that he, like megumi, was/is also lacking the will to live, and there's nothing wrong with that! wanting to give up is a completely reasonable reaction to being in this situation as an ADULT, let alone at 15 years old.

if you've made it this far, thank you for listening to me ramble 🙏 pls let me know any of your thoughts as well, i'd love to chat about this!

[max1461]

I don't typically feel at home with "nerds" (in the sense of "programmer type guys"), because I feel there is something important about the world that very often they cannot see, and I am going to try to articulate what it is.

First, a digression.

My extended family is... well, most of them are not really evangelicals (insofar as they're Christian at all, they're not very good Christians and they mostly don't seem to care), but culturally they're part of the vulgar evangelical milieu; the sort of people to whom prosperity gospel megachurch pastors appeal. Years ago when I was about to start college, my uncle came to visit, and I told my him that I was going to study math. He's a smart guy, and started telling me about how he was always good at math in school, and telling me stories about the various times he'd used math (meaning, basically, elementary algebra) to great effect in his various business ventures. That's what he understands: business, making money... to put it less charitably (though I say this with considerable affection): scheming. So he tried to speak the language of making money to me about it. When he asked me what I wanted to do with my math degree (by implication: what sort of scheming was I looking to get involved in) I said something to the effect of "there are all kinds of job opportunities you have with a math degree, but that's not really why I'm studying it—I really just want to understand math at a deeper level". I remember the look on his face when I said that very clearly. It was utter bafflement. Not because he hated math or something, but because I genuinely don't think the concept of "wanting to understand something at a deeper level for its own sake" had ever occurred to him. The inherent appeal of understanding the world is, I think, not something which exists (or exists very strongly) in his emotional landscape. He is blind to that part of the human experience which drives scientists to be scientists.

Well, that's alright. He's a schemer and not a scientist by nature. Some people are that way. I like my uncle well enough, and I enjoyed talking to him on that visit. But he's not someone I would try to share my love of math or linguistics with; on both accounts I don't think there is anything I could say to make him get it.

Why do I bring all this up? Well, one way in which I relate to programmer type guys is that we both like math, and I think we like for basically the same reason. And I think most programmer type guys will have met someone like my uncle, someone who seems like they fundamentally cannot see the appeal in this thing which drives you so strongly, this thing which is so great a part of your emotional landscape. I'm sure a lot of you will know the exact feeling I had during the above interaction. You are so fascinated by these questions about how the world works, and how it can be rationally understood, and this other guy basically seems like he just... can't even comprehend what it's like to be motivated by that. It's so completely foreign to him, and his perspective is thus completely foreign to you.

We are all, sometimes, this uncle.

Part of why I am interested in linguistics is because I have this deep urge to explore the world (by this I mean principally: the human world). I have this desire to travel, to talk to people, to see and experience different places and different ways of doing things. I want to go to various places and see what they look like, and meet the people there and hear what they have to say, and so on and so forth. There is an "openness to experience" element to this, but that is very insufficient to characterize the thing I am trying to articulate; for instance, I have little interest in psychedelics or other prototypical "high openness to experience" type activities. To me, there is an ineffable vibe that every place seems to have (a "place" in this sense could be as large as a country or a small as a particular bar), and the vibes of nested places are like layers on top of one another that make being in the world feel like an extremely rich experience. Learning languages and learning about languages gives me this window into other places, which is extremely appealing, and furthermore I can access it to some degree from my own home, which is nice. Of course doing this from my bedroom is not enough, I want to actually go, to wander around, and in those times when I've gotten the chance to do so I have felt that it was very much everything I had imagined it to be.

When I try to talk to programmer type nerds about this aspect of myself, I often feel much the same as when I was trying to talk to my uncle about wanting to study math. They just don't seem to have any sort of reference for what I'm talking about, these emotions have never occurred to them in any significant way, and they can't figure out how to relate. I believe this is, in essence, the source of my frequent abrasions with rattumb, and why I have basically bounced off of coding for cultural reasons time and time again in my life, even though conceptually it's exactly the sort of thing that interests me. For reasons of nature or nurture, programmer guy personality traits rarely co-occur with wanderluster personality traits, they just don't seem to go together. And so in spaces like, well, this one, I'm just left feeling like nobody can quite relate to what I am getting at a good chunk of the time, and the consequence of this is that I feel emotionally impoverished. That's not anybody's fault for being a different sort of guy than me, and I'm sure there's stuff about which I'm the confused uncle (in fact, I know there is: the appeal of psychedelics, meditation, and other "transcendence" based activities is one of these things for me). Idk, just thought that was something worth expressing.