#instead of working on their own education system

[littjara-mirrorlake]

Daily Life in the Phyrexian Spheres (Dross to Seedcore)

Previous: Facade to Furnace, Maze to Bays

The Dross Pits, much like its previous incarnation in the Mephidross of Mirrodin's surface, is a sphere rife with intrigue, double-crossing, and back-alley deals. The social structure is feudal, with lords ruling over masses of serfs and slaves, and thanes make up the top of the social pyramid. Dark, towering citadels of flesh and bone rise out of the necrogen mists, which bathe the entire layer in an eerie green glow. Large swathes of territory are controlled by thanes, lords, and magical creatures such as blight dragons and archfiends.

This sphere is densely populated, with the vast majority of its inhabitants making up the servant classes that live and die under feudal lords. Compleated Mirrans begin at the very bottom and most have little hope of ever ascending past this station, as the Steel Thanes' obsession with Phyrexian purity leads to heavy discrimination against those who are not Phyrexian-born. This obsession extends to a scrutiny of every Phyrexian's pedigree--the further removed a person is from their last non-core-born ancestor, the purer their bloodline is considered, leading to a higher chance of social advancement. As such, first-generation core-born Phyrexians (born to compleated Mirrans) are only barely considered truly Phyrexian and share their parents' meager social standing. As Phyrexians are immortal and have no need for heirs, faction members produce scions to serve their own advancement, not to eventually succeed them. Of course, said scions are rarely happy with this arrangement, seeking to usurp their parents and seize their assets instead.

Magically and technologically, the inhabitants of the Dross Pits largely focus on emulating Yawgmoth-era techniques gleaned from scrying the glistening oil. Due to the heavy emphasis on ichor magic and intrigue, glistening oil from individuals of interest--and the intelligence it contains--is an invaluable commodity in the Dross Pits. Bloodsuckers like necrosquitoes and pistid swarms are often employed to this end, fueling an illicit trade of stolen bodily fluids.

Much like the Furnace, the Dross Pits do not have an overarching system of governance or standard of law, and political allegiances vary widely. Pockets of the Dross Pits are strongholds of the Phyrexian rebellion, though they are severely handicapped by the loyalist spheres blocking them both above and below. Every thane has at least nominally allied with either Elesh Norn or the rebellion, though they are ultimately beholden only to themselves and care little for the ideals of either side.

The Fair Basilica is the innermost inhabited sphere and the de facto capital of New Phyrexia, where Elesh Norn rules from her palace and the majority of the Phyrexian military is housed. In the heart of Norn's empire, every aspect of daily life is carefully regimented and monitored; people are marched in orderly rows down alabaster bridges, flanked constantly by armed enforcers and their swarms of patrol mites. Flights of angels keep constant watch in the skies. Staggering acts of brutality are committed against any who display signs of deviance, and commoners are all too used to keeping their heads down and trying not to watch as their peers' oil is scrubbed from the streets.

Every resident of the Fair Basilica is expected to devote a significant portion of their time to worship, and the rest to assigned duties like patrolling or working the flesh-vats. Those who need to sleep do so on strict schedules under the watchful eyes of supervisors. Newts are raised by the state, rigorously educated on the Orthodoxy's religious tenets, and often apprentice under cenobites, which continues after their compleation; Mirran aspirants commonly join them.

Though it relies heavily on other spheres for commodities like raw material and technology, the Fair Basilica is at least self-sufficient in growing its own porcelain metal, which spreads in a fungus-like manner on recently dead flesh. It is mass-produced in giant growth vats, alongside Basilica inhabitants' germ offspring and seedpod centurions for the invasion (often bodies without minds, hollow for puppeting via ichor magic).

Rebellion is most difficult in the Basilica due to its oppressive environment and authorities' vested interest in controlling the flow of information--and oil--into and out of the sphere. The news fed to residents is tightly curated, requiring workarounds to even hear of the rebellion's presence at all. That said, dissident spies have managed to infiltrate even the innermost of the loyalist spheres.

The Mycosynth Gardens form a natural barrier between the populated Phyrexian spheres and the Seedcore, and passage through them is controlled exclusively by Elesh Norn herself. The Gardens themselves are uninhabited by sapient Phyrexians, though fauna like inkmoths and skitterlings roam the silent lattices, and the mycosynth itself is known to create lures or other, more cryptic structures that mimic passersby.

The Seedcore, the innermost layer of New Phyrexia, is the domain of Elesh Norn alone, where she keeps the World Tree sapling Realmbreaker imprisoned and firmly subjugated under layers of mind-altering magic. Very rarely, Norn holds the most confidential of her audiences here with her inner circle or other crucial allies. The sphere is heavily warded against incoming divination, telepathy, and any other possible interference with Norn's plans, but here lays Norn's crucial oversight: there are no such protections against communication going out, allowing Realmbreaker's telepathic distress call to pass through into the Multiverse.

And that's it for overviews of the nine Phyrexian spheres, from the perspective of a far more average commoner Phyrexian than we're used to hearing about. There's always more to be said about each of them, of course, and I hope this helps get people started thinking about their own expansions, headcanon, or additions!

[getvalentined]

Okay so that ask opened the floodgates for me. I've been sitting on my headcanons about Vincent's mother for ages, but I think this is as good a time as any to start writing it down for interested parties.

So. Let me talk about Sayoko Valentine, where she came from, who she left behind, and what that means for my version of Vincent.

Sayo's maiden name is Otayo, and she was born in 1929 to High Summoner Otayo Katsuhisa and his wife, Ota Seira—the family name similarity is intentional, as Seira came from a branch family in the same line, but was technically Katsuhisa's cousin. (This is normal. Vincent's paternal predecessors are actually worse. Welcome to the genealogy of nobility.)

As stated, Sayo left home at seventeen, eventually ending up in Junon, where she was able to test into university thanks to the impressive education provided to her back home. She went into botany—which is what she wanted to do back home, but her father wouldn't allow it because of her position as heir to the temple—and met Grimoire when he was working as an assistant teacher in one of her secondary classes. He fell in love instantly, she absolutely did not. It took about a year before they got together, although they were married pretty quickly after that, and Vincent came along more or less immediately, when Sayo was twenty.

The real tragedy here is that while Sayoko is recorded as having died due to influenza complications, what actually killed her was a brain aneurysm—caused by her personal aeon struggling to front after being essentially held captive since Sayo left Wutai. This eventually happens to all summoners with personal aeons, provided they survive to adulthood but don't "maintain" the aeon properly, although usually it isn't until mid-thirties. Sayoko's struggle with the flu made her constitution weak, and that's why it killed her so young. She died at twenty-seven. (Just like her son.)

(Grimoire went on to eradicate influenza from the face of Gaia. He was just too late to save his wife, and he never fully recovered from that failure.)

Sayoko has/had a brother around a decade younger than her who is still alive today and currently heads up the summoner temple in Wutai, having taken Sayoko's place as the heir after she ran away from home at seventeen. He's in his mid-sixties during the Crisis, and is actually slightly closer to Vincent's age than that of his late sister. Seira passed away giving birth to him, and although he was very fragile growing up, his health improved starting around age four, following the very early presentation of his summoning abilities. Sayo left two years into his childhood training, when she was sure he would survive. (If he hadn't improved, she would have stayed out of a sense of duty to her family, even if heading up the temple was the very last thing she wanted.)

Because he was so ill as a child, Sayo's brother was given an ancestral name, a tradition that meant to allow the soul of the ancestor in question to serve as a distraction against death. Allegedly, doing this confuses the Lifestream into believing that the sick child has already died, because a soul with that name from that bloodline is already in the Lifestream. Sayoko's little brother is named Braska.

Vincent knows he's alive, but has never met him and has no intention of ever doing so—fairly intensive research postcanon led Vincent to the discovery that summoner religious beliefs would define his very existence as an extreme sort of heresy. Vincent knows, from the little bit he remembers from stories told by his mother, that her family loved her very deeply, and so he has no intention of letting them know that the daughter they loved so much ran away to make her own life and instead produced the single most horrific monster their belief system can conceptualize.

They would probably refer to Vincent as an Unsent, although unlike any they've ever even imagined. In actuality Vincent is what they should refer to as an Undying, a concept that is so far beyond ancient there's almost nothing written about it anywhere, but Vincent never came across that in any of his research so he doesn't know.

Other random notes:

Ota Seira's younger sister was selected as a bride by the emperor of Wutai at the time, making her Yuffie's great-grandmother. This means that she and Vincent are somewhat distant cousins. Because of that intensive research Vincent did postcanon, he is completely aware of this, but Yuffie isn't, and he is never ever going to tell her. (It also means that Yuffie carries the summoner gene, but that doesn't really matter since it's rare enough she's really unlikely to end up with anyone else who has it.)

At least two old Junonese families also carry the summoner gene, but it's so recessive there are no records of it presenting since the founding of Junon. One of these families is, obviously, the Valentine line, which is how Vincent presented with the gift. The other is a noble family that fell from grace in the early 1800s, formerly known as Faucille, who artistically translated their name from old Junonese to Standard upon the loss of their house into order to keep their fallen fortune from being easily connected to the original line: in the modern day, their surname would be Crescent.

Vincent's entire existence may have been specially orchestrated by Minerva herself in order to produce a viable vessel for Chaos, but that's just a theory. Genesis says it's true, but can you really trust that guy? (When it comes to anything related to Weapons or Minerva, postcanon, you absolutely can and in fact should, but Vincent doesn't want to think about it.)

[alchemistdetective]

((Hoyo really put the concerns of some of the elders in Modern Day China here, good gosh

A bit of China talk under the tags))

[thatfaerieprincess]

Feel free to skip on past this, I’ve just gotta ramble for a minute bc i cant stop thinking about this kid from work last week. They were so much like me at that age (5-6th grade) that I didn’t know how to interact with them? I didn’t know what to say to them bc I don’t know what I needed to hear back then, what I would’ve WANTED to hear? What would I have even listened to? They were almost entirely silent and looked out at the world with a hesitant curiosity, but would pull back so fast as soon as you tried to interact w them. Little to no eye contact, face hidden in hair, always looking down, following others until they could strike off on their own and just quietly explore. Intently focusing on drawing any chance they got. We did an art project and they hunched over their piece the entire time and wouldn’t let any of us see it in progress, refusing to look up or acknowledge us if we asked to see it or to know what it was. Idk. I barely interacted w them while they were with us for those few days bc I didn’t know how? It almost hurt to try? It was like looking back into a time machine and i didn’t know how to tell them that it does get better,,, I still don’t even know if where I am is better, some days feel so unsure that I don’t think I’ve made any progress at all. But seeing that kid, idk. I’ve come pretty far. And it DOES get better. Maybe it’s not the best now, or even that great at all, but it’s better. I wish I could’ve told them but I don’t think they’d have wanted to hear it anyway

[autolenaphilia]

I talked about the problem of Windows system requirements being too damn high before, and how the windows 10 to 11 jump is especially bad. Like the end of Windows 10 is coming october 2025, and it will be a massive problem. And this article gives us some concrete numbers for how many computers that can't update from win10 to 11.

And it's 240 million. damn. “If these were all folded laptops, stacked one on top of another, they would make a pile 600 km taller than the moon.” the tech analysis company quoted in the article explains.

So many functioning computers that will be wasted. And it's all because people don't wanna switch to a Linux distro with sane system requirements and instead buy a new computer.

Like if you own one of these 240 million windows 10 computers, Just be an environmentally responsible non-wasteful person and switch that computer to Linux instead of just scrapping it because Microsoft says it's not good enough.

Edit: as have been pointed out multiple times in the replies. It's really not "all because people don't wanna switch to a linux distro." It's really Microsoft's fault for this form of planned obsolescence.

My original post was lacking in perspective at best. And of course, people who use computers for work are often made reliant on Windows by their job and employers and can't switch. Or lack time, resources, and information to make the switch. Which is also due to systemic issues, such as lack of education, and the culture of obfuscation about tech that tech companies create.

Edit 2: Making this unrebloggable: now I really know what reddit mods mean when they say "the discussion has run its course" Like there is absolutely no conversation anymore, just repeating of points already made and responded to, just endless repetition

To quote @mlembug

Source

If you can spend 5-10 minutes writing a reblog clowning on somebody, but you can't:

spend 10s to do a basic courtesy of checking the appropriate pronoun of the person involved

spend 30s checking the reblogs of a post to see if someone also decided to clown on the same person

spend 10s to click on OP's post to see if it was edited in the meantime (and guess what: the edits in OP's post does indeed blame Microsoft for planned obsolescence, which you decided to blame her for not doing in one of your reblogs)

THEN YOU SHOULD NOT BE MAKING A REBLOG. EVER.

[mostlysignssomeportents]

Company that makes millions spying on students will get to sue a whistleblower

Yesterday, the Court of Appeal for British Columbia handed down a jaw-droppingly stupid and terrible decision, rejecting the whistleblower Ian Linkletter’s claim that he was engaged in legitimate criticism when he linked to freely available materials from the ed-tech surveillance company Proctorio:

https://www.bccourts.ca/jdb-txt/ca/23/01/2023BCCA0160.htm

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

https://pluralistic.net/2023/04/20/links-arent-performances/#free-ian-linkletter

It’s been a minute since Linkletter’s case arose, so I’ll give you a little recap here. Proctorio is a massive, wildly profitable ed-tech company that sells a surveillance tool to monitor students while they take high-stakes tests from home. The tool monitors the student’s computer and the student’s face, especially their eye-movements. It also allows instructors and other personnel to watch the students and even take control of their computer. This is called “remote invigilation.”

This is ghastly in just about every way. For starters, Proctorio’s facial monitoring software embeds the usual racist problems with machine-learning stuff, and struggles to recognize Black and brown faces. Black children sitting exams under Proctorio’s gimlet eye have reported that the only way to satisfy Proctorio’s digital phrenology system is to work with multiple high-powered lights shining directly in their faces.

A Proctorio session typically begins with a student being forced to pan a webcam around their test-taking room. During lockdown, this meant that students who shared a room — for example, with a parent who worked night-shifts — would have to invade their family’s privacy, and might be disqualified because they couldn’t afford a place large enough to have private room in which to take their tests.

Proctorio’s tools also punish students for engaging in normal test-taking activity. Do you stare off into space when you’re trying through a problem? Bzzzt. Do you read questions aloud to yourself under your breath when you’re trying to understand their meanings? Bzzzt. Do you have IBS and need to go to the toilet? Bzzzt. The canon of remote invigilation horror stories is filled with accounts of students being forced to defecate themselves, or vomit down their shirts without turning their heads (because looking away is an automatically flagged offense).

The tragedy is that all of this is in service to the pedagogically bankrupt practice of high-stakes testing. Few pedagogists believe that the kind of exam that Proctorio seeks to recreate in students’ homes has real assessment merit. As the old saying goes, “Tests measure your ability to take tests.” But Proctorio doesn’t even measure your ability to take a test — it measures your ability to take a test with three bright lights shining directly on your face. Or while you are covered in your own feces and vomit. While you stare rigidly at a screen. While your tired mother who just worked 16 hours in a covid ward stands outside the door to your apartment.

The lockdown could have been an opportunity to improve educational assessment. There is a rich panoply of techniques that educators can adopt that deliver a far better picture of students’ learning, and work well for remote as well as in-person education. Instead, companies like Proctorio made vast fortunes, most of it from publicly funded institutions, by encouraging a worse-than-useless, discriminatory practice:

https://pluralistic.net/2021/06/24/proctor-ology/#miseducation

Proctorio clearly knows that its racket is brittle. Like any disaster profiteer, Proctorio will struggle to survive after the crisis passes and we awaken from our collective nightmare and ask ourselves why we were stampeded into using its terrible products. The company went to war against its critics.

In 2020, Proctorio CEO Mike Olsen doxed a child who complained about his company’s software in a Reddit forum:

https://pluralistic.net/2020/07/01/bossware/#moral-exemplar

In 2021, the reviews for Proctorio’s Chrome plugin all mysteriously vanished. Needless to say, these reviews — from students forced to use Proctorio’s spyware — were brutal:

https://pluralistic.net/2021/09/04/hypervigilance/#radical-transparency

Proctorio claims that it protects “educational integrity,” but its actions suggest a company far more concerned about the integrity of its own profits:

https://pluralistic.net/2022/02/16/unauthorized-paper/#cheating-anticheat

One of the critics that Proctorio attacked is Ian Linkletter. In 2020, Linkletter was a Learning Technology Specialist at UBC’s Faculty of Education. His job was to assess and support ed-tech tools, including Proctorio. In the course of that work, Linkletter reviewed Proctorio’s training material for educators, which are a bonanza of mask-off materials that are palpably contemptuous of students, who are presumed to be cheaters.

At the time, a debate over remote invigilation tools was raging through Canadian education circles, with students, teachers and parents fiercely arguing the merits and downsides of making surveillance the linchpin of assessment. Linkletter waded into this debate, tweeting a series of sharp criticisms of Proctorio. In these tweets, Linkletter linked to Proctorio’s unlisted, but publicly available, Youtube videos.

A note of explanation: Youtube videos can be flagged as “unlisted,” which means they don’t show up in searches. They can also be flagged as “private,” which means you have to be on a list of authorized users to see them. Proctorio made its training videos unlisted, but they weren’t private — they were visible to anyone who had a link to them.

Proctorio sued Linkletter for this. They argued that he had breached a duty of confidentiality, and that linking to these videos was a copyright violation:

https://pluralistic.net/2020/10/17/proctorio-v-linkletter/#proctorio

This is a classic SLAPP — a “strategic litigation against public participation.” That’s when a deep-pocketed, thin-skinned bully, like Proctorio, uses the threat of a long court battle to force their critics into silence. They know they can’t win their case, but that’s not the victory they’re seeking. They don’t want to win the case, they want to win the argument, by silencing a critic who would otherwise be bankrupted by legal fees.

Getting SLAPPed is no fun. I’ve been there. Just this year, a billionaire financier tried to force me into silence by threatening me with a lawsuit. Thankfully, Ken “Popehat” White was on the case, and he reminded this billionaire’s counsel that California has a strong anti-SLAPP law, and if Ken had to defend me in court, he could get a fortune in fees from the bully after he prevailed:

https://twitter.com/doctorow/status/1531684572479377409

British Columbia also has an anti-SLAPP law, but unlike California’s anti-SLAPP, the law is relatively new and untested. Still, Proctorio’s suit against Linkletter was such an obvious SLAPP that for many of us, it seemed likely that Linkletter would be able to defend himself from this American bully and its attempt to use Canada’s courts to silence a Canadian educator.

For Linkletter to use BC’s anti-SLAPP law, he would have to prove that he was weighing in on a matter of public interest, and that Proctorio’s copyright and confidentiality claims were nonsense, unlikely to prevail on their merits. If he could do that, he’d be able to get the case thrown out, without having to go through a lengthy, brutally expensive trial.

Incredibly, though, the lower court found against Linkletter. Naturally, Linkletter appealed. His “factotum” is a crystal clear document that sets out the serious errors of law and fact the lower court made:

https://drive.google.com/file/d/1aB1ztWDFr3MU6BsAMt6rWXOiXJ8sT3MY/view

But yesterday, the Court of Appeal upheld the lower court, repeating all of these gross errors and finding for Proctorio:

https://www.bccourts.ca/jdb-txt/ca/23/01/2023BCCA0160.htm

This judgment is grotesque. It makes a mockery of BC’s anti-SLAPP statute, to say nothing of Canadian copyright and confidentiality law. For starters, it finds that publishing a link can be a “performance” of a copyrighted work, which meant that when Linkletter linked to the world-viewable Youtube files that Proctorio had posted, he infringed on copyright.

This is a perverse, even surreal take on copyright. The court rejects Linkletter’s argument that even Youtube’s terms of service warned Proctorio that publishing world-viewable material on its site constituted permission for people to link to and watch that material.

But what about “fair dealing” (similar to fair use)? Linkletter argued that linking to a video that shows that Proctorio’s assurances to parents and students about its products’ benign nature were contradicted by the way it talked to educators was fair dealing. Fair dealing is a broad suite of limitations and exceptions to copyright for the purposes of commentary, criticism, study, satire, etc.

So even if linking is a copyright infringement (ugh, seriously?!), surely it’s fair dealing in this case. Proctorio was selling millions of dollars in software to public institutions, inflicting it on kids whose parents weren’t getting the whole story. Linkletter used Proctorio’s own words to rebut its assurances. What could be more fair dealing than that?

Not so fast, the appeals panel says: they say that Linkletter could have made his case just as well without linking to Proctorio’s materials. This is…bad. I mean, it’s also wrong, but it’s very bad, too. It’s wrong because an argument about what a company intends necessarily has to draw upon the company’s own statements. It’s absurd to say that Linkletter’s point would have been made equally well if he said “I disbelieve Proctorio’s public assurances because I’ve seen seekrit documents” as it was when he was able to link to those documents so that people could see them for themselves.

But it’s bad because it rips the heart out of the fair dealing exception for criticism. Publishing a link to a copyrighted work is the most minimal way to quote from it in a debate — Linkletter literally didn’t reproduce a single word, not a single letter, from Proctorio’s copyrighted works. If the court says, “Sure, you can quote from a work to criticize it, but only so much as you need to make your argument,” and then says, “But also, simply referencing a work without quoting it at all is taking too much,” then what reasonable person would ever try to rely on a fair dealing exemption for criticism?

Then there’s the confidentiality claim: in his submissions to the lower court and the appeals court, Linkletter pointed out that the “confidential” materials he’d linked to were available in many places online, and could be easily located with a Google search. Proctorio had uploaded these “confidential” materials to many sites — without flagging them as “unlisted” or “private.”

What’s more, the videos that Linkletter linked to were in found a “Help Center” that didn’t even have a terms-of-service condition that required confidentiality. How on Earth can materials that are publicly available all over the web be “confidential?”

Here, the court takes yet another bizarre turn in logic. They find that because a member of the public would have to “gather” the videos from “many sources,” that the collection of links was confidential, even if none of the links in the collection were confidential. Again, this is both wrong and bad.

Every investigator, every journalist, every critic, starts by looking in different places for information that can be combined to paint a coherent picture of what’s going on. This is the heart of “open source intelligence,” combing different sources for data points that shed light on one another.

The idea that “gathering” public information can breach confidentiality strikes directly at all investigative activity. Every day, every newspaper and news broadcast in Canada engages in this conduct. The appeals court has put them all in jeopardy with this terrible finding.

Finally, there’s the question of Proctorio’s security. Proctorio argued that by publishing links to its educator materials, Linkletter weakened the security of its products. That is, they claim that if students know how the invigilation tool works, it stops working. This is the very definition of “security through obscurity,” and it’s a practice that every serious infosec professional rejects. If Proctorio is telling the truth when it says that describing how its products work makes them stop working, then they make bad products that no one should pay money for.

The court absolutely flubs this one, too, accepting the claim of security through obscurity at face value. That’s a finding that flies in the face of all security research.

So what happens now? Well, Linkletter has lost his SLAPP claim, so nominally the case can proceed. Linkletter could appeal his case to Canada’s Supreme Court (about 7% of Supreme Court appeals of BC appeals court judgments get heard). Or Proctorio could drop the case. Or it could go to a full trial, where these outlandish ideas about copyright, confidentiality and information security would get a thorough — and blisteringly expensive — examination.

In Linkletter’s statement, he remains defiant and unwilling to give in to bullying, but says he’ll have to “carefully consider” his next step. That’s fair enough: there’s a lot on the line here:

https://linkletter.opened.ca/stand-against-proctorios-slapp-update-30/

Linkletter answers his supporters’ questions about how they can help with some excellent advice: “What I ask is for you to do what you can to protect students. Academic surveillance technology companies would like nothing more but for us all to shut up. Don’t let them silence you. Don’t let anyone or anything take away your human right to freedom of expression.”

Today (Apr 21), I’m speaking in Chicago at the Stigler Center’s Antitrust and Competition Conference. This weekend (Apr 22/23), I’m at the LA Times Festival of Books.

[Image ID: A girl working on a laptop. Her mouth has been taped shut. Glaring out of the laptop screen is the hostile red eye of HAL9000 from '2001: A Space Odyssey.' Behind them is a tattered, filthy, burned Canadian flag.]

Image: Ingo Bernhardt https://www.flickr.com/photos/spree2010/4930763550/

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/

Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

Eleanor Vladinsky (modified) https://commons.wikimedia.org/wiki/File:Canadian_flag_against_grey_sky.jpg

CC BY 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

[fatliberation]

If its ok to ask; how do you feel about fat kinks? I havent seen any fat acceptance blogs talk abt it. /genq

I know it's a sore spot for a lot of fat liberationists (and yes, I'm quite familiar with why so please do not take to my inbox), I think people are scared to talk about it. personally, I think it is crucial that people with fat kinks are able to access fat liberation spaces so long as they leave the kink at the door. I say this not only because the majority of them are fat people, but because that community is steeped in a deep shame and feeling of brokenness for taking delight in fatness and/or weight gain, which perpetuates rampant fatphobia. and fat liberation is what will heal those wounds. I don't understand it when fat activists tell kinksters/fetishists/feedists, whatever you want to call them to stay out of the fat liberation movement. because what is the alternative? do you want them against the movement? that doesn't make sense at all. I think people are so uncomfortable, disgusted, or afraid of this community they don't understand, that they just wish they wouldn't exist. they aren't going away. kink is akin to sexuality, to identity, to queerness. I think what people really mean when they say feedists should stay out of fat lib is, "kink should stay within spaces designated for kink." we aren't talking about kink when it comes to who can belong in a movement, we are talking about people. it is wrong to equate every person who has a kink or a fetish to a predator. it causes very real harm to those people, because they internalize that message that their kink makes them a bad person who is inherently worthless, who has to hide. if feedists aren't welcome in fat liberation, they aren't welcome anywhere.

I think that people who love fat people, love feeding people, love their own fat bodies, who see their fattest selves as their most satisfying selves, would be natural allies to this movement once they find their way to it and feel safe and accepted here. I want to make it absolutely clear that ANYONE is welcome on this blog as long as they aren't harassing or harming anyone. so many of my followers and biggest supporters are kink blogs. some of my closest friends and fat liberationist allies are feedists. I know feedists who are way more educated and passionate about fat lib and body politics than most people I've met. I don’t wish for anyone to feel alienated on my blog - especially fellow fat folks and fellow fat allies. we are 100% FAT POSITIVE AND SEX POSITIVE on this blog, babey‼️

In fact I feel really glad when I see fat kink/feedism blogs engaging with my content bc it means that person is putting the work in to understand systemic fatphobia, how to be an ally to fat people (if they aren't fat themselves), but also healing their community through education and acceptance. and HOT TAKE, BUT: when it does happen?? when feedists aren't shrouded in internalized fatphobia, shame, and isolation, and instead start embracing this innate, powerful appreciation for fatness, it's literally so fucking beautiful? and so very queer?

choosing to gain weight on purpose as an act of self creation. because it feels Right for you. gaining weight to affirm the relationship you have with your body. getting fatter because you feel so much of your identity (even gender presentation!) is attached to your fat body. feeling sexiest when you're fat. someone else worshipping that about you. giving unlimited permission to nourish yourself and/or others - and taking carnal delight in it. releasing food rules and food guilt through centering pleasure. food and fatness as an erotic and sensory experience. finding feedist partners who also have this ingrained love of fatness that can't be replicated, partners who are willing and eager to support and adore your fat body, NOT merely tolerate it. reclaiming tropes used against you through kink, and turning a loving gaze inward. saying "fuck you" to the system and choosing to take up more space in a world that consistently tries to shrink you. never denying yourself pleasure even though everyone is telling you you don't deserve it. feedism is such an interesting facet of the endless spectrum of human sexuality and I think that once people in that community find liberation and heal their relationship to the kink, it can be one of the most radical forms of self acceptance and exercising complete bodily autonomy.

I already know that a love letter to feedism coming from a fat lib blog is gonna piss people off. I'm going to lose a lot of followers, I'm going to get a lot of hate. but. kink in general is SO demonized and SO misunderstood and as liberationists we should also be open to sexual liberation. so much of this discomfort around feedism comes from a lack of education and understanding about kink in general. feedism doesn't = fatphobia in the same way that bdsm doesn't = misogyny or abuse. quite the contrary, if practiced ethically, with informed consent. every community has assholes. especially when those communities are small, ostracized, and so young that there are next to zero resources for self acceptance, safety, education, and accountability. in fact, the assholes are the ones that you're going to SEE because every respectful person is staying away and out of your business. if you've been harassed by someone with a fat kink, that is so shitty and I'm sorry that happened to you. I know it happens a lot. try to remember that what you experienced was abuse, not kink.

what consenting individuals choose to do with their bodies is entirely their business and there is nothing wrong with kink. (and I will not stand for sex-negative, puritan bullshit in my inbox, thank you very much.)

reminder: fat pleasure is fat liberation.

[songoftrillium]

Werewolf: the Apocalypse 5th Edition and the Anti-Indigeneity in the Gaming Industry

reosted with permission from J.F. Sambrano

Dagot’ee!

Shii J.F. Sambrano gonsēē. My nations are Chiricahua Apache (Ndeh) through my maternal grandmother and Cora Indian (Náayarite) through my maternal grandfather.  I am a mixed race Indigenous person, and through my father my heritage is English and Scottish. I am currently residing and doing work in my community on the lands of Lummi Nation. I use both gender non-binary and masculine pronouns, but prefer the former. I have several published works in the TTRPG industry, and am probably most known for my contributions to Mage: the Ascension 20th Edition, Werewolf: the Apocalypse 20th Edition, and the Transformers Roleplaying Game, as well as being part of the Essence 20 development team. Further, I also work in higher education at an Indian college, both advising and teaching Indigenous students across the United States. My passion is education, and I believe that we all learn through play, and that TTRPGs are a valuable source of learning, especially on personal, cultural, and social levels. This has always been what has drawn me to TTRPGs since I started playing M.E.R.P. with my brother in 1996 (and before that HeroQuest), through to my “graduation” into more story-driven games such as those presented in the Storyteller System, until now, where I author and produce my own roleplaying games.

I was also part of the First Team (in-joke intentional) hired by White Wolf Studios/Paradox Interactive via Hunters Entertainment to develop and author Werewolf: the Apocalypse 5th Edition. After several months of work, Paradox Interactive chose to go in another direction in early 2021 (I believe it was either March or April) and in fall of that year, it was announced that Werewolf would instead be taken in house, with Justin Achilli as the Brand Creative Lead and primary author of the book. Going forward I will be describing my experience while I worked with Paradox Interactive, primarily through Karim Muammar, White Wolf’s Brand Editor, as well as the developmental editor for Werewolf. Although I worked in a team, both with hired authors and in-house representatives at Hunters Entertainment, I will not be speaking for the experience of others, except when specifically noting unanimous consensuses, and specific interactions (which will go unnamed) that are particularly relevant. My hope is that by highlighting some of the anti-Indigenous attitudes that are central to the foundational members and leaders of the White Wolf brand, that I can provide opportunities for growth and healing within the World of Darkness TTRPG community, but also in the broader gaming community, where these behaviors and attitudes are rampant. I also want the community to have a better understanding of what this experience is like internally, and the challenges that Indigenous creators, as well as other marginalized creators, are met with when they try to make positive change within nerd and geek communities clinging to inherited white supremacist values, even if they don’t realize they are doing so.

What I do not want to be doing in this article is creating fuel for edition wars.  I believe that both legacy and Werewolf 5th are rife with anti-Indigenous attitudes, and appalling amounts of appropriation. Both versions deserve criticism, I am not defending one over the other, I am only sharing what my experience was like working on the 5th edition of the book. Further, please understand that I was originally going to wait until I had read the final copy of the book, because I wanted to know how much of my work was used (based on previews I already know some was, just not the extent) and whether or not they decided to credit me for that work, and how I was going to be credited.  My belief is that I likely will not be, but I am genuinely uncertain.  Knowing how they handled that would have reframed how I addressed this. But more importantly, I want it to be very clear that even before Paradox ultimately pulled the plug on the Hunters team, I was preparing to exit working on the project based on the experience I will describe below. Not only did I find it frustrating, and personally disparaging, but I ultimately decided I was uncomfortable with my name being attached to the product based on the direction they wanted to go. So while I wanted to know whether or not I would be credited, because it would teach me something about their internal practices, I do not want or need the credit.

Finally, the reason that I decided to speak about this now instead of after having a chance to inspect the final product, was because my personal experience dealing with anti-Indigeneity coming from Paradox was just that: personal.  But since then I have witnessed a throughline of hateful and xenophobic attitudes wielded against Indigenous people across the globe, and we do not deserve this treatment.  I was outraged over the events that led to the segregation of the Latin American fanbase, which culminated from bottom-up criticism about how poorly their people and countries were being defined through World of Darkness products, and ended up with the firing of their Latin American Brand Ambassador, Alessa Torres, because she chose to stand with her community in those criticisms.  I was further appalled when the likeness of Tāme Wairere Iti was shoehorned into the Werewolf book, a blatant example of cultural theft: not only in stealing the literal physical identity of an Indigenous person, but also his sacred tā moko.  When Paradox Interactive issued an apology for this, it felt incredibly hollow to me in the wake of these events, the hateful attitudes I had personally witnessed coming from the top.

Whether from North America, Mexico, Brazil, Argentina, or Peru, or across the globe in New Zealand, not only do Indigenous people deserve better treatment from such a major company, but their Indigenous and Latino fanbases, who have twisted and worked themselves through difficult representation for decades at this point, deserve better.  Apologies are not enough, especially when they come with next to no real change.

Werewolf: the Apocalypse in Context

At the time that White Wolf Publishing began to produce its World of Darkness line, the TTRPG industry was dominated by white men, both as producers, developers, and authors, as well as the main characters in their settings. White Wolf's World of Darkness made an impact at the time, by defying these Eurocentric, patriarchal presentations, first by defaulting to feminine pronouns throughout Vampire: the Masquerade, and then by focusing on Indigenous representation and values in Werewolf: the Apocalypse, and as a young Indigenous nerd, it had a positive impact on me, as I know it has on some other Indigenous people who became fans of the World of Darkness at the time. This was because before opening the pages of Werewolf: the Apocalypse, I had never seen heroes that I could play who looked like me and my culture. It was off, and often offensive, but it was my first experience in which I could directly play a hero who shared my heritage--and I also had more than one option through two different Tribes to do so. This might sound a little like I was cheering for table scraps, but again, at the time, table scraps was more than I had ever seen before.

Werewolf: the Apocalypse 1st Edition was originally published in 1992 via then White Wolf Publishing (not to be confused with Paradox Interactive's White Wolf). From its inception, the premise was interwoven with what its then-authors believed to be Indigenous praxis and representation.  Like many pop-culture presentations of Indigeneity from this time period (see Fern Gully, Dances With Wolves, Disney’s Pocahontas, or in TTRPGs, the NAN from Shadowrun) it was rife with problematic and even offensive stereotyping. The most obvious examples thereof are within the two "Pure Tribes" Uktena, and W****** who I will henceforth refer to as Older and Younger Brother. However, Indigenous inspiration was at the core of the game's spiritual premise as well, where animism and "Totems" are central to the setting and gameplay. The way these concepts are presented is trivializing and dehumanizing, but it is important to acknowledge that the appropriation present in Werewolf: the Apocalypse goes a lot deeper than the two Brother Tribes (even the term "Tribe" was meant to invoke a vision of Indigeneity compared to the previous setting in the line's use of "Clan"). Additionally, there is art throughout every generation of these gaming books that represents humans, wolves, and human-wolf hybrid forms wearing Indigenous regalia, including sacred items such as headdresses, or engaged in sacred rituals such as the Sun Dance. The list of problematic representations goes deep, and my examples only scratch the surface, but it is also important for me to note the positive impact that this had, particularly in the 90's.

Even though the primary contributors to these narratives were non-Indigenous authors, or in one case, a Pretendian, and another, a culturally disconnected author, by the time the Revised (or Third Edition) era of the books came around, White Wolf Publishing was actively engaged in cultural consultation.  While I do not believe cultural consultation makes a big difference on its own, it matters that the attempt was made, to a degree: while these efforts fall short of what needs to be seen in cultural representation, this was still ahead of most other gaming companies at this time.

Hired by Hunters Entertainment

In February of 2020 I was approached by one of the co-owners of Hunters Entertainment to be one of the primary authors for Werewolf: 5th Edition due to my work on other World of Darkness projects, and let's be honest, because I was capable of bringing a much needed Indigenous perspective to a gameline that was rooted in Indigeneity and rotting with appropriation and racist stereotypes. I was overall receptive to the invitation, largely because I was very passionate about the World of Darkness setting overall, and Werewolf in particular, due to the impact that 90's representation had on me when I was a younger gamer. I also felt hopeful that with a really hard rewrite of Indigenous aspects of the game that I could shift a lot of really painful aspects of the game into something that was a net positive for Indigenous representation. I will tell you now, more than anything, I was excited to rewrite the Younger Brother Tribe, because when separated from racist authors, their message is very empowering and real to my lived experience.

That said, I did not agree to join the project without first asking for reassurances. I said that I was not willing to write negative Native stereotypes. I would not use appropriative language, or generally engage in appropriative writing (which meant at minimum that the names of the Pure Tribes would need to change), and most importantly, that I would not not engage in writing that contributed to erasure. While the person who recruited me to work on the project was eager to work with me, he acknowledged that he was not sure he could get everything I wanted to see approved, but also promised to fight for everything I suggested as hard as he could. Additionally, he shared with me that the original setting pitch for W5 involved all of Younger Brother being slaughtered en masse in a massacre. I made it clear that this was exactly the kind of thing that I would not write.  I cannot remember if this was something he suggested to be changed before or after I was invited onto the project, but with some pushback it was changed.  However, I point this out because I want you, the reader, to understand how eager Paradox Interactive was to start with mass genocide and erasure as a foundation to the setting.  All that said, I cannot stress enough that I have had nothing but positive experiences with Hunters Entertainment, and none of the following concerns fall upon them.

The Sword of Heimdall

The first encounter the Hunters Entertainment team as a whole had with problematic guidelines for the W5 draft was the direction that Paradox Interactive wanted to go with the Sword of Heimdall. At the time, the suggestions from Paradox and Karim Muammar were that the Sword of Heimdall was going to represent the new major villain of the Werewolf setting, and that they were to also represent the far-right, fascist direction that Werewolf society so often turned toward. They were meant to be representative of how far the new concept of Hauglosk could take entire communities. However, the Sword of Heimdall was discussed interchangeably with the Get of Fenris as a whole, and more than once Muammar seemed to suggest that every member of this Tribe was guilty of the same attitudes espoused in previous editions from the Sword of Heimdall. Now let's not beat around the bush: the Sword of Heimdall are literal Nazis. They believe directly in white supremacy and don't shy from it. They wanted to cleanse impure elements from the Get of Fenris, including BIPOC people, other non-white ethnicities, women, neurodivergent Garou, and other disabled Garou.

The writing team found this approach problematic for several reasons. The first, and most obvious, was that the direction seemed to want to turn one of the most popular Tribes into a horrific stereotype of its most abhorrent faction. Whether or not Muammar’s goal was to turn them into villains, we could not imagine a world where fans of previous editions would get their hands on this book, and not look for a way to play one of their previous favorite groups, thus creating the issue of making a guide to playing Nazi. Even beyond that, it’s not as if historically there were not players who used the tools of the setting to play Black Spiral Dancers, why wouldn’t this draw people who actually wanted to role-play through these toxic, harmful politics? Further, and while this is less important, it left a bad taste in my mouth, the justification for this major shift in Werewolf lore seemed to change over each pass. At first, Muammar suggested that all Fenrir were Nazis/SoH.  Then, when he was provided with evidence that it was a small faction that was eliminated in the early 2000’s, he started to shift toward the idea that we should not follow the lore. Finally, when every single member of the writer’s team flatly refused to provide what would essentially be “a player’s guide to being a Nazi werewolf” the writing was on the wall about the end of our involvement with this product. More than once, he suggested that we were cowardly social justice warriors for being unwilling to work with this concept, even though there were several attempts to write a heroic version of the Fenrir that were focused on undoing these ills of the past.

Indigenous Erasure in Werewolf: 5th Edition

While the entire Hunters Entertainment writing team was handling the major, glaring issue of Paradox’s fervor to include a major Nazi element in Werewolf, I was personally dealing with the problematic approach to the Indigenous issues in the setting. The largest problem, for me, was in addressing Younger Brother’s issues, the history of non-Indigenous writers creating horrifically racist stereotypes, and what was valuable in the Tribal identity that should be saved and recentered. However, my attempts to do so were thwarted with every approach. I rewrote this Tribe four times, and offered three different versions of it to try to earn approval for a final write-up, but each time there was a lot of negativity directed towards my attempts and all them boiled down to this: Muammar felt that having two Tribes (both Younger and Older Brother) representing the “Indigenous population” was too many, and wanted them to only be focused on Older Brother, and that Younger Brother’s connection to a central, Indigenous identity, was undesirable because “other sources wrote them as having Siberian and European connections” and that future writing on this Tribe would require a lot of sensitivity…suggesting that one, Muammar wasn’t interested in doing the work to handle that level of sensitivity, and further, that he wasn’t interested in including me in future work, since I was involved with doing that at the time.

I want to take a moment to remind you that the work that was put into recovering Younger Brother started with “Let’s Kill Them Off” and at this point, through a combination of convincing and pleading, had been walked back to “They can live, but now they’re not connected to being Indigenous anymore” which is just representative genocide of a different variety. “Kill the Indian in him, and save the man.” It was also explicitly something I said I would not write about going into this project. Ultimately, my efforts did not get much further than this, with some specific exceptions I will cite below.

Karim Muammar’s Anti-Indigenous Positions

Muammar consistently and repeatedly communicated to the team in ways that were condescending and dismissive of our collective accomplishments and capabilities, but from my perspective, no one suffered as much significant derision as I did while discussing the changes I wanted to make to Younger and Older Brother in order to make their representation empowering and exciting.

In the pulled quote from the previous paragraph, I want to point out to you that Muammar, who had the title of Lead Editor on this project, refused to capitalize Native American. Further, he would often redline my work with edits to decapitalize my own uses of Native American, as well as the word Indigenous when referring to Indigenous peoples. While there are plenty of people who might want to argue about this, I will point out that both the AP style guide as well as the Chicago style guide (the one which I am most familiar with in my academic historical work) both call for Indigenous to be capitalized when referring to a people. Further, I challenge anyone to defend the consistent decapitalization of Native American. More importantly, the reason that these are standards in respected style guides, is because the English language has been used historically to oppress and erase ethnic identities, including Indigenous identities. By transforming adjectives into proper nouns, we are declaring that Indigenous and Native aren’t descriptors that can be applied to animals, plants, and soil, but real lived identities and culture groups.

When I was explaining to the Paradox team (which was mostly just Muammar) why it was important to change the names of these two Tribes from the appropriative (and offensive) ones used in the past, Muammar pushed back by defending the previously used Younger Brother name, even after reading my extensive research and explanation about how this would harm Indigenous communities and fans.

While doing so, he also decided that it was appropriate to refer to this entirely Native American tribe by the word “savages” a slur that has been specifically used to dehumanize Native Americans, and then mocked my rewrite that focused on presenting them as stewards of the land using Indigenous methodologies and praxes, instead of the “savage” racist stereotypes they were presented as in previous editions. Further, as in the above quote, even after it was communicated that the use of this term was problematic, he kept doubling-down to use it to refer to the Tribe.

Even though I worked hard to redefine Younger Brother through Indigenous theory, such as place-based theory, relational theory, and communal theory, Muammar either refused to recognize this work, dismissing it as simple, or else simply could not understand the importance of these changes. Either way, the choice is that he didn’t want them to change, or couldn’t comprehend why the change was important because of how entrenched in white supremacist thinking he is. Further, after the massive effort that I put forward to attempt to educate him and the rest of the Paradox team on these issues, the insistence on using offensive terms and belittling my work felt intentional. So let’s talk about the work I did that was above and beyond my job description: free cultural consulting work.

“Sensitivity” and Consultation

I have seen several misunderstandings of my role working on this project going around, so I want to make something very clear. I was hired to work on this project as an author, and nothing else. I was not ever hired to be a cultural consultant. I do not do cultural consulting work. While I feel that there are many creators and companies who hire cultural consultants with the best intentions in mind, their responses often fall short of what is needed, as no one is ever obligated to actually follow the advice of cultural consultants. Further, I think there are also many companies who choose to hire cultural consultants only to say “we did this minimal step, and that is enough” in order to ward off naysayers.

However, anyone who hires me gets some level of cultural consulting for free, because it comes out in my writing–in both what I won’t write and what I choose to center my writing around. In the case of Werewolf 5th Edition, however, it was far more involved than this. I came with a plethora of “I will not write X” because I knew the setting was so problematic.  A short list of my demands besides not being willing to write Indigenous erasure, was that we needed to change the names of the Pure Tribes (and the term Pure Tribe itself), we needed to change the word Totem to Patron, and also the Patrons of the Pure Tribes. We needed to move away from the term Metis for obvious reasons, and we needed to move away from the term Skin Dancers. I also specifically noted that there was a lot of cultural theft happening from the beginning of Werewolf until now that I wanted to address. The only way these issues were going to be addressed was to convince Paradox they were actual issues on the level of PR concerns, because nothing else was likely going to be considered. So in order to achieve this, I put in weeks worth of research, writing, and meetings with top level administrators with Hunters Entertainment so that they could bring this information to Paradox.  I never documented my hours, but I would guess that I did approximately 80-100 hours of what I could only describe as cultural consultation work for free that was outside the contract work I was hired for. Let’s be clear: I did this willingly because I was passionate about the positive changes I wanted to see in this product, because I believed that Werewolf’s historic ills could be turned toward non-toxic representation.

Besides my actual words, such as naming the Ghost Council, and arguably the name Gale Stalkers came from a combination of names I pitched to Paradox after Winter’s Teeth was denied, and several sentences and paragraphs that I have seen so far that appear so close to what I originally wrote that you could imagine they were just edited versions, my largest contribution toward the final version of Werewolf: 5th Edition was this work. The only reason the offensive, appropriated names were changed were because of hours of my work to convince them it needed to happen. The reason that the Gale Stalkers aren’t just dead and gone: again, I pushed against this. The reason that Skin Dancers, Totem, and Metis will not appear as canonical titles? I pushed against their unwillingness to alter these things (see Karim’s defense of Wen**** Tribe name above).

Further, and this is the biggest reason I decided to write this article before seeing the final version of the book, I want to mention that I was also included in discussions with Hunters Entertainment to potentially be part of the art direction team, especially to oversee depictions of Indigenous characters, regalia, and art, to ensure that it would be represented either respectfully or not at all. I decided I needed to speak as soon as possible after the artistic portrayal of Tāme Iti appeared in the Glass Walkers preview without his permission. There are many arguments surrounding this issue and I am not going to address everything, but ultimately, I can tell you that had I remained as part of the art direction team, and saw that, I would have questioned it immediately. Even if I didn’t recognize Tāme Iti immediately, I would have asked what the source was on the depiction of moko in that piece, because I am aware that this is a sacred form of art–and I had already discussed wanting to make sure things like Crinos in headdresses didn’t appear in the book (as had often happened in previous editions, particularly on a certain white-skinned character whose name rhymes with Steals-the-Past).

As time working on this project went on, and I went through rounds and rounds of trying to convince Muammar and Paradox that it was important to not steal Indigenous identities, art, and stories, and that a greater effort needed to be put in powerful and empowering Indigenous representation, and I constantly ran into refusals and criticisms that were clearly hateful toward Indigenous identities and peoples, not to mention the push to represent Nazism as a major part of the game setting, I grew increasingly frustrated and restless with feeling like I was trying to work on a challenging project while also defending my right to exist as the person I am at every turn. Eventually I turned to another Indigenous TTRPG and game creator to ask for advice, and after a long and difficult discussion, I came to the conclusion that I was going to talk to the Hunters administration team and tell them that if Muammar kept using slurs and other anti-Indigenous language and attitudes, I was going to need to step off of this project, because it was harmful to me on a personal level. In furtherance of this point, I have been avoiding doing any contract work at all where I can tell that I am wanted for my specific cultural perspective ever since, because this situation was so harrowing for me.

Unfortunately, before I could have this conversation, after one final draft of Younger Brother and Bone Gnawers (which had its own issues, but that is not the point of this discussion), before we received any other specific feedback, the Hunters Entertainment administrators announced to the writing team that Paradox had decided to take the book in-house, and would no longer need our services.

The main point I would like to leave you with, besides these few specific quotes (out of dozens and dozens) that Muammar made that were anti-Indigenous, is that there is often a big call to have more BIPOC voices in various entertainment industries, so that both our stories, perspectives, and unique views on how the universe and life works, can be included; so that an industry that is historically, harmfully Eurocentric, might turn toward new, healthier, and inclusive directions. And I agree with this call for change, but I implore you to consider the conditions that BIPOC creators often have to work under: doing cultural/identity work and consultation for free as part of being present, being subject to vicious refusals of our experiences and perspectives, and straight-up having slurs lodged against our work. I want to see these changes in the industries we love, including the gaming industry, but currently the people who are in charge, who have the most power, are severely hostile to our work and our perspectives. This is why, for example, works like Coyote & Crow were done with an almost entirely Indigenous group of creators, and led by Indigenous creators, because trying to work for and with this ugly, hateful, and xenophobic group of people is so often exhausting, both mentally and spiritually, and because no good changes end up being made.

I am glad the harmful, appropriative terms were removed from the setting. I am glad I was part of the fight to make that real. I am not so glad that I was treated with hostility and racism by Muammar for the effort and love I put into this work, and I am not so glad that I will certainly be reviled by one of the two communities I did this work for–the gaming community, and certainly the people in power in this industry–and I am also not so glad that I didn’t have the opportunity to properly acknowledge how much of Werewolf’s base themes and setting are twisted and tied-up in Indigenous appropriation without giving the proper acknowledgments.

More than anything, I hope that this story will help you, the fans, realize that there is a lot of darkness in these communities, and they won’t change unless you hold their feet to the fire.

Ánaagodzįįhł

J.F. Sambrano

[reginaldqueribundus]

the Sarek family is hilarious to me because you have so much drama in one place. there have got to be at least 3 like, holo-documentaries or whatever about them. how could you not?

you have Sarek, the patriarch: one of the UFP's top diplomats, who knocks up a Vulcan princess then goes “hrm I am ambassador to Earth therefore I should marry a human” and he does, upsetting all sorts of the worst kinds of people on his home planet and causing racist hate groups to try to blow him and his family up multiple times, and seems honestly more put out by his son joining Starfleet than his other son becoming Vulcan Moriarty

Amanda, the matriarch: an accomplished educator and quite possibly the only well-adjusted member of the family, but when her son Spock shows up on her doorstep after growing a beard, having a mental breakdown and apparently murdering several medical staff she still shrugs and hides him in the family mausoleum

Sybok: Amanda's stepson from the aforementioned princess fling, who becomes an antiestablishment criminal mastermind with an edgelord fake name, hooks up with a hot space pirate, finds religion, starts a cult, takes an entire colonial government hostage sparking a diplomatic incident involving three galactic superpowers, and hijacks a Starfleet ship to the galactic core to find the Vulcan Garden of Eden, where he dies fighting god in hand-to-hand combat

Michael, a traumatized human girl Sarek brings home from a work trip, who joins Starfleet, becomes their first-ever mutineer, goes to prison, saves the Federation from a war most people think is her fault and gets “killed” in a highly classified, very suspicious incident involving an experimental starship and a series of red lights that appeared across the galaxy like a divine omen (oh, and returns 900 years later to solve the dilithium crisis, kill the head of the Emerald Chain and save two entire star systems including her siblings' homeworld)

and last but not least Sarek & Amanda's one-of-a-kind hybrid baby. Spock, who gets accepted into the Vulcan Science Academy, tells them to go fuck themselves when they're racist about it, runs off to Starfleet instead, gets so famous his arranged marriage falls apart resulting in him publicly strangling his own captain to death except not really, steals the Federation flagship twice, invents time travel, saves the entire planet Earth, dies and comes back to life, goes into his dad's line of work and achieves peace with the freaking Klingons as his opening act, then after a long successful career suddenly dips to go do extremely dangerous underground activism on one of the most paranoid authoritarian worlds in the galaxy to unify the Romulans & Vulcans who've hated each other for over a thousand years — and he isn't around to see it but it eventually works. then he fucks off with the VSA's high-speed prototype ship full of the most dangerous substance known to science and gets sucked into a black hole of his own creation, never to be seen again. and this is just the stuff that's public knowledge!

then you dig into the novels where Sarek's ancestor basically makes out with Zefram Cochrane 5 seconds after meeting him and Amanda tells the press her husband has a huge cock

I love them

[dira333]

Don't tease - Tsukishima x reader

A/N: 1k, fluff, requested by @missalienqueen

Tsukishima is going to be the death of you.

“You really wanna do it that way?”

You tense immediately, hoping he’ll leave you alone just once. But to no avail.

“I didn’t think I’ve ever seen a filing system this… creative,” Tsukishima drawls. He’s looming over you, a tall shadow of incessant teasing. Ever since you’ve started working at the museum, he seems to have it out for you. He shows up during your tours, butts in when you get a few hours to yourself to work on your recent thesis and just never leaves you alone. 

If he could keep his mouth shut doing so, it would only be half as harrowing, because he’s actually kinda cute - as long as he’s not narrowing his eyes at you like this.

Tsukishima often reminds you of your old principal. That man too had been a pole of judgment, always present at the wrong time. You had hated that man and Tsukishima was beginning to… okay, you weren’t kidding anyone, you could probably never hate Tsukishima. If he isn’t tormenting you, he’s polite and sincere in his work and you can tell by the way he treats the rest of the staff that he can be kind when he wants to. 

So why does he treat only you like this?

“Let me do it,” he insists at that moment. “Wouldn’t want you to break a nail from all the hard work.”

Your mouth opens before you even register it. “If you want to work as an Educator instead of a Curator you could have just applied for that position when it was free instead of trying to bully me out of it.”

Tsukishima stiffens. He’s never resembled a pole more than at this moment, all his limbs locked tight to his body as he stares into space. You can’t really tell if his face is turning pale too because your own body is locking up, heat flushing your face as you press a hand to your mouth. You’ve never been this bold before. 

“I’m sorry!” You rush out when you can speak again, “I didn’t mean-”

“But you did.” He insists, voice low and… dejected? No, you have to be mistaken.

“I… well… yeah.” You stutter. “I mean… You have it out for me. I don’t know what I did to deserve that treatment, but if you want my job so bad, you should have just applied for it. The position was vacant for months.”

“I don’t want your job,” Tsukishima presses through his teeth. His eyes are looking everywhere but at you. His cheeks are flushed now and you can almost see steam coming from his ears when he adds: “I want you.”

You blink.

You blink again.

Tsukishima pushes himself away from the filing cabinet, his movements stiff and awkward.

“I’m sorry I made you think I was bullying you.” His voice sounds almost unfamiliar. 

When he bows you notice how red his neck has gotten.

He really is ashamed.

“You have a weird way of showing that.” Your hands itch to hold onto something. To make sure that this is real. 

“I… well…” Tsukishima rubs his neck with one hand, eyes darting across the room. “I’ve been told before that teasing someone instead of clearly communicating could go wrong but I didn’t really believe it. After all, it worked for my… friend.”

“Your friend was probably nicer about it.” You point out, your tongue heavy in your mouth. What are you supposed to do now? Knowing he likes you? 

“I… probably.” He swallows thickly, offers you his hand. “I’m sorry. It won’t happen again.”

You shake it. The warmth of his skin against yours and the strength of his grip sends a shiver up your back. 

He turns, cheeks still pink.

“Well, I’ll… I’ll let you do your work then. I’m sorry I interrupted.”

Tsukishima is almost at the door when you untangle the knot in your tongue, brace against the nervous stutter of your heart.

“You could have just asked me out.”

He swirls around so fast you fear it’s going to give him whiplash. The look on his face is something you want to burn into your brain. It’s the delight of a child mixed with the anxiety of someone who’s been let down before. His eyes narrow immediately like he has to make sure you’re not playing him.

You nod, no longer able to form words.

“So…” He clears his throat. “Are you… free? Tonight?”

You nod again.

A smile lights up his face, boyish and bright. Your heart stops for a second before it hammers at twice its usual speed. Tsukishima is going to be the death of you.

-

Tsukishima is going to be the death of you.

“You really wanna do it that way?”

You nod, typing away. Behind you, the cushions of your shared couch rustle as he maneuvers around. He leans onto you, heavy and warm, face pressed into your neck.

“But I want to cuddle.” Tsukishima drawls. 

“And I want to finish this thesis. You told me I would have more than enough time today.”

“And you will. You just have to cuddle first.”

You try to send him a glare, but his face is hidden away in your hair.

“Tsukishima!”

“Kei,” he corrects you immediately.

“Tsukki,” you compromise and he groans. 

“If someone would let me focus, I’d be finished in half an hour and then we could cuddle.”

He huffs. “You’re no fun.”

“You’re not either.”

“Fine.” He gets up. His tone is all snappy, but he winks at you to let you know he doesn’t mean it. He still might be infuriating and annoying, but he’s gotten way better at communicating when he’s actually mad and when he’s just playing for cuddles.

“What are you doing?” You ask when he stalks toward the bedroom.

“I’m going to put on my cutest outfit. We’ll see if that convinces you.”

“Take your time!” You call after him as you pick up your typing. “And send a picture to Yamaguchi when you’re done. I’m sure he’ll appreciate seeing you in the Dino-Onesie he bought you.”

He sends you one last glare.

You return to your document, surprised to realize that all you’ve left to do is write the last paragraph. If you keep at it, you’ll be finished before the Onesie is zipped up.

With a confident grin you pick up speed.

My Kofi if you want to tip me

[rnelodyy]

The Owl House And Restorative Justice

At the end of Season 1 of The Owl House, it is revealed that Lilith, the main overarching antagonist of that season, was the one to curse her sister Eda, one of the protagonists, to win a tournament when they were teenagers. This information causes Eda to fly into a screaming rage and attack Lilith, and understandably so.

Eda’s curse is essentially a chronic illness, one that, in Eda’s own words, has ruined her life, being the reason she’s considered a social outcast and why, before meeting King and Luz, she hadn’t gotten close to anyone in years. In season 2, it’s revealed that the curse is why she pushed away her partner Raine to the point that they broke it off with her, and that during a particularly bad flareup, she accidentally maimed her own father, leaving him half blind and with permanent nerve damage to his hands, making him unable to continue working as a Palisman carver. The curse has ruled Eda’s life for decades now, so to Eda, this is the ultimate betrayal.

In the first episode of Season 2, Lilith has defected from the Emperor’s Coven, split the curse between Eda and herself to mitigate the symptoms for her sister, and has moved in with Eda at the Owl House. While Lilith herself still feels guilty and feels she has to make it up to Eda, everyone else, Eda included, has seemingly either forgiven her or chosen to look past it. Eda even makes fun of her for feeling bad about cursing her, and Lilith’s guilt is seemingly absent for the rest of the series. 

The response to this was… Less than stellar, shall we say. A lot of people were angry, saying Lilith got away with her crimes without even a slap on the wrist, and that Eda’s forgiveness of her was far too sudden.

This isn’t the first time we’ve seen this kind of critique. Amity spent years bullying Willow after her parents forced her to break off their friendship, and when she began trying to mend that relationship, the response from fans was that Willow should have been a lot more angry at Amity, and that they went back to being besties far too soon. I’ve even seen this criticism leveled at Hunter for the things he did while working for Belos, at Vee for impersonating Luz for months to trick her mother, and at Luz for hiding the fact that she helped Philip find the Collector from her friends. And it does seem strange for the show to keep tripping on this same point again and again.

Except, it’s not really. Because I think that, when viewing this show from a different angle, those supposed flaws are actually symptoms of something very important to understand – The Owl House operates on a system of crime and punishment that is very different from our world’s.

More specifically, our world mostly utilizes retributive justice. The world of The Owl House utilizes restorative justice.

So first, what do those terms mean? Broadly, they’re two different forms of handling interpersonal disputes, or dealing with crime. 

Retributive justice is the one our current justice system uses, where the focus is primarily on punishing the perpetrator. Retributive justice can mean detention, suspension, expulsion, jail time, monetary fines, some kinds of community service, exile, or in more severe cases, corporal punishment or the death penalty. It’s the lens most people view the world through, where if someone hurts you, hurting them back is the correct response.

Restorative justice is a very different approach, where you instead focus on helping the victim recover from what happened, and rehabilitating the perpetrator to prevent this from happening again. Restorative justice can look like verbal or written apologies, monetary compensation for costs and trauma, therapy for both victim and perpetrator, education for the perpetrator, mediation between victim and perpetrator, a restraining order, etc. 

When viewed through a retributive lens, The Owl House lets its characters get away with a lot of shit. Lilith cursing Eda, Hunter rounding up Palismen knowing they’ll be killed, Amity tormenting Willow for years, it’s all stuff that, in a retributive environment, they should be punished for, and they’re just not. Eda is only genuinely angry at Lilith for two scenes, Amity and Willow fix their relationship very quickly once Amity starts making amends, and Hunter isn’t punished at all. 

However, I believe the story of The Owl House is best viewed not through a retributive lens, but through a restorative lens.

Let’s look at the Lilith-example again. Lilith’s offense was cursing Eda, which she did because she wanted to win a spot in the Emperor’s Coven. Knowing Eda was better than her, she cast a curse on her, thinking it would only last for a day. But when the time came, Eda forfeited the match, soon after which she transformed into the Owl Beast and was pelted with rocks until she ran. The curse turned out to be very permanent, and Lilith spent the next 20 years trying to fix her mistake by working for Belos to try to capture Eda, since he promised to heal her curse. 

However, when she finally succeeded, Belos went back on his promise. Instead of healing Eda, he ordered her to be publicly executed. When Lilith protested, Belos essentially told her to shut up, that it was the Titan’s will, and left her there. 

So, having realized her method of fixing her mistake has gone real bad, Lilith sneaks down to the Conformatorium to free Eda herself, but arrives too late and finds Luz instead. After a brief fight they end up teaming up, and Lilith leads Luz to the elevator, but they are captured by Belos and Lilith is thrown into the cage with Eda. There, she restores Eda’s partially petrified body, and after fleeing with her, Luz and King, uses a spell to split Eda’s curse evenly between their two bodies.

From a restorative justice point of view, Lilith has done pretty much everything she reasonably could do to fix things. She’s denounced the Emperor’s Coven, returned Owlbert to Luz, helped Luz find the elevator to the execution platform, saved Eda from petrification, apologized to Eda, and while there’s no way for her to cure Eda’s curse entirely, she took on half of the curse at great expense to her own health, in order to ease Eda’s symptoms. 

Eda isn’t angry anymore because in her eyes, Lilith has already fixed things with her. Punishing her more at this point is pointless. What more could Lilith do, really? What other lessons could she learn? The only thing that punishment would bring at this point would be more suffering. 

Let’s look at another example: Amity and Willow.

Amity’s offense was breaking off her friendship with Willow because she was a late-bloomer, bullying her for years, and allowing her friends to do so too. Willow is left with horrible self-esteem issues because of this, and combined with her failing grades, turned her into a horribly shy and withdrawn wallflower (no pun intended). After she’s moved to the plant track she starts actually getting better, but Amity and Boscha especially continue to torment her. While Amity’s bullying of Willow does peter out over time, Willow is clearly still extremely resentful of her. In an attempt to make Willow forget their friendship, Amity accidentally sets most of Willow’s memories on fire, leaving her confused, amnesiac, and unable to grasp basic concepts like that chairs are for sitting in.

Luz pushed Amity into fixing Willow’s brain by going into her mind together and piecing her memories back together. There, the Inner Willow revealed what happened to Luz and the audience.

At this point, Amity shows her that her parents were actually the ones who forced her to end the friendship because they didn’t think Willow was a suitably powerful or influential friend, threatening to make sure Willow would never get accepted into Hexside if Amity didn’t force her to leave. Amity then apologizes to Willow for going along with it, and for the bullying, and vows to make sure her friends never mess with Willow again. 

Willow accepts her apology, but also makes it clear that, while it’s a start, she’s not yet ready to accept Amity in her life again. Restorative justice has not been fully attained, because to Willow, Amity hasn’t fixed everything – Boscha and her squad are still bullying her, and still consider Amity one of them. This changes two episodes later, when Amity tells Boscha to grow the fuck up when she starts bullying Willow again, and joins her and Luz’s Grudgby team despite her personal issues to get Boscha to back off. Willow doesn’t make a grand gesture of forgiveness in this episode, but it is after this point where the two become comfortable around eachother again. 

Did Willow forgive Amity too quickly for years of trauma? Maybe. If she had chosen to continue keeping Amity at a distance I certainly wouldn’t have blamed her. But in the end, Amity fixed the mess she caused as best she could, and has proven herself to want to be a better person, to want to be Willow’s friend again. She worked hard to prove herself to be a person worth trusting, and Willow decided to give that trust a chance again.

And while they did become friends again, that friendship was clearly still affected by what happened, which led to bumps that the two of them had to work through. Like in Labyrinth Runners, where Amity’s overprotectiveness over Willow makes Willow feel like Amity thinks she’s incompetent, and still only sees her as the helpless person she used to be. 

Willow continuing to be mad at Amity and punishing her for what she did wouldn’t be an unreasonable reaction, but it wouldn’t have fixed anything. It would certainly have an impact on Amity, seeing her former best friend rejecting her attempts to make up for what she did, but the hurt on both sides would have continued festering, because deep down, Willow missed Amity too. 

In Hunter’s case, there’s the question of whether he can even be held responsible for his actions. The Palisman-kidnapping in specific was explicitly done under duress – if he failed he would face verbal and physical abuse, and be threatened with his nightmare scenario: getting thrown out of the Emperor’s Coven. 

And that’s not an empty threat either. Hunter has no magic, and Belos has drilled it into him that witches without magic have no future. Without the Emperor’s Coven, his only future prospects would be starving to death on the streets or wasting away in prison. Either way, Hunter would be alone, without family or friends, without a job or job prospects, without anyone to turn to for help. Any child would be terrified of that. Hunter wasn’t always acting on direct orders – in fact he defied direct orders to stay in his room in Eclipse Lake to go look for Titan’s Blood, and then again in Hollow Mind to arrest the rebels. But he made those choices based on the idea that Belos wouldn’t want him if he was a failure, and that he needed a chance to prove that he could still be useful.

And contrary to popular belief, Hunter does know right from wrong. He has a very strong moral compass, he’s just been forced to ignore it in favor of doing whatever the Emperor wants. To shut up that little voice telling him he’s doing the wrong thing, he uses what’s called a thought-terminating cliche, a statement that feels so fundamentally true that the argument need not continue. In Hunter’s case, that statement is “It’s for the greater good.” Sure, kidnapping his new friends and abducting Palismen to feed to the Emperor and threatening someone who’s been nothing but kind to him to take the portal key from her girlfriend and justifying terrorism makes his stomach feel like he swallowed a cactus and saying it out loud makes him sound like a horrible person – but it’s for the greater good. He’s doing it to serve Belos, and Belos knows what’s best. 

So by the time Hunter is out of active danger and able to rest and recover from what happened to him… what would further punishment accomplish? He already knows that he did fucked up shit while working for the EC, and he’s proven time and time again that while he’s not fighting for Belos’s approval, he’s actually a genuinely kind-hearted kid. Punishing him now would likely cause him to react very poorly, because he’s been at the wrong end of that stick so often that he’s developed severe PTSD because of it.

And if you think restorative justice is still in order – Hunter is currently hyperfixated on making sure Belos can never hurt anyone again, and for the long term, he has expressed that he wants to become a Palisman carver when he grows up. While it won’t bring back the Palismen that were killed, it will help the current Palisman population recover and reintroduce Palismen to witches who may have had to give up theirs. 

When viewed through this lens, the writing of The Owl House starts to make more sense. As a show, it is extremely forgiving towards its characters – they’re still held accountable for their actions, but as long as they’re willing to grow and learn and fix the damage they caused, they are very quickly forgiven. 

However, I do understand why these writing choices can be… controversial, so to say. Because it doesn’t feel very satisfying, does it? When someone hurts you on purpose, your first impulse would be to try to hurt them back, that’s just how people work. 

That’s the hardest thing to come to terms with when you become an advocate for prison abolition for example – you’re not just arguing for freeing a guy who got 5 years because a cop found weed in his pockets, you’re arguing for the release, and most importantly, the humanity of some of the most vile, disgusting people this planet has ever produced. Even now, when someone commits a truly awful crime and gets sent to prison for life, my first thought is “Good, I hope they rot in there.” But that’s not justice. That’s just revenge. And revenge is not something we as a society should want to build our justice system on.

It’s not satisfying to see Lilith go from using Luz as a human shield in her fight against Eda to sleeping on the couch in Eda’s house within 2 episodes. It’s not satisfying to see Willow let Amity back into her life when Amity has hurt her so badly before, or to see Hunter become romantically involved with Willow after he literally abducted her the first time they met. But that satisfaction isn’t really the point. Revenge is satisfying in the moment, but an eye for an eye makes the whole world blind, and if someone shows a genuine willingness to change, it’s often better to give them a chance to.

However, my final point is about what happens when this approach fails. Because not everyone is willing to change. Some people, when faced with the consequences of their actions, decide to dig their heels in and refuse to admit fault, or blame the victim(s), or use those same thought-terminating cliches that Hunter used to justify their actions, “I was just following orders” being a big one.

And thus, we come to Belos.

If Belos showed a willingness to change, a genuine one, not an attempt at manipulation, should he be given the chance to? That vengeful part of me is VERY empathetically saying no. But logically, reasonably, he should be given that chance, if only because he’s a human being and no human being deserves to be mistreated. That doesn’t mean his victims are obligated to forgive him or be around him again, in fact I think that, for the sake of Hunter’s mental health, Belos should stay as far away from him as humanly possible. But he should be given the chance to start over, to truly better himself and do something good with the rest of his life.

But Belos isn’t willing to change. 

Belos is a product of a bad environment and grew up with a cult-like mentality and hatred for witches that he had to adopt for his own safety. It’s hard to break out of that mentality, but not impossible. Case in point: Caleb. The tragedy of Belos’s character to me is that he had so many chances to change, so many people to help him make that leap, but all of the people who offered him that help ended up dead by his hands because he couldn’t handle the idea that he may have been wrong.

At this point, Belos is stuck. Changing would mean not only giving up on his life’s work, but acknowledging to himself that everything he’s done, mutilating his body, killing his brother, slaughtering thousands and installing himself as God-Emperor of a population he despises more than anything in order to facilitate a genocide, was completely pointless.

He can’t admit that to himself. Especially the thing about Caleb’s death. He’s sunk-cost-fallacied himself so far into a corner that all he can really do when faced with opposing viewpoints is dig his heels in even deeper and lash out in a rage at anyone who challenges him. Even now, when his body is literally falling apart at the seams, he’s still trying to commit witch-genocide, because it’s all he has. 

Restorative justice doesn’t work in this case, because the perpetrator needs to be receptive to it. Logically you would assume the show would default to retributive justice, and characters like Willow and Camila do take a very vengeful glee in imagining themselves beating the snot out of Belos. But right now, the primary motivation of the Hexsquad and Hunter in particular when it comes to Belos is to end the threat he poses. As long as Belos is alive and free, he will continue to hurt and kill people, and if he can’t be talked down, he needs to be either contained or killed to prevent him from causing more harm.

The Owl House provides, in my opinion, a very nuanced take on restorative justice. It shows how it works in action, how different situations impact what it looks like, and what happens when it’s simply not an option. It’s not the most satisfying story to tell your audience, because when someone hurts our babies we want them to suffer, no matter how sorry they say they are. But in this case, I think that sacrificing that bit of audience comfort is worth it to tell the story like this.

[nolongerapileofashprobably]

Botw/Totk Zelda is so precious to me. She’s been through SO much.

From being the heir to the throne, her image tarnished by the fact that despite daily rigorous training, she is unable to access the sealing power that is her birthright. Her mother died before she could be taught and her father was not magical in any way, so all he could do was continue to order her to train. When she tries to expand her research in order to help in some other way, since her magic is stubbornly kept locked away, she is berated, constantly gossiped about, and is referred not as the Princess of Hyrule, but rather the ‘heir to a throne of nothing’. No one had faith in her. No one believed in her.

King Rhoam couldn’t understand and had to act as a King, causing Zelda to suffer even more. These are the reasons Zelda doesn’t like Link in the beginning. Not only can she not figure him out, because he won’t say anything, but she thinks he despises her. And she can’t stand to think about how Link accomplished his goal as a mere preteen by being chosen by the sword. Whereas she has struggled daily to access the sealing power.

And then she finally realizes Link’s own determination matches his own and his dedication is one she can relate to with her own life. So she apologizes. She gets to know Link. She asks why he doesn’t speak much and he trusts her enough to confide in her. They bond through the shared fate to seal away the darkness. And then get to know each other as just Zelda and Link.

It’s the first time either of them can truly relate to someone and they find comfort in each other.

So while she did have the support of the Champion’s and Link, all of whom see her commitment and how much she truly wants to help and despised herself for her inability to access her power, Zelda is still trying to handle the rest of the kingdom and her father’s scrutiny. And that’s an insane amount of pressure on someone who already has an entire kingdom worth of pressure already placed onto them from birth. Imagine knowing that your kingdom not only talks down on you but has no faith whatsoever in you. And it just bogs you down as you hate on yourself and continuously blame yourself for shortcomings not in your control.

That’s what Zelda was going through. And guess what? Link failed. The Divine Beasts failed. Zelda failed. Everyone. Failed.

And the reason was because Ganon had far more influence and power than they anticipated.

People go and paint Zelda as a privileged know it all who is completely stripped of any flaws in ToTK— which is completely ignorant of the canon events. It’s an opinion founded on the fact that Zelda’s development in this game is not focused on the flaws of a teenage girl with the weight of the entire kingdom on her twicefold. Instead, ToTK is focused on Zelda’s growth as a leader which is a concept some people cannot understand, as they are stuck on the flaws Zelda worked on as she matured and embraced her new life (aka she isn’t miserable and stuck in the past).

Zelda is a leader who has, in the span of half a decade, put in place new survey teams, a new military, an education system, and drew in more people to repopulate the desolate land of Hyrule. It’s implied that the Sheikah tech was completely cleared from the land for fear of it being manipulated again (if you go on top of Hateno Research Lab the Guardian is legitimately chained down rather than just placed atop the building with minimal support). Zelda traveled and visited the land of Hyrule, met with various people and began to relearn her kingdom through the sparse population that still existed.

Zelda went around Hyrule and did what she could to strengthen the culture of Hyrule and truly make it a kingdom rather than a loosely strung together ghost of a kingdom. She placed monuments with silent princesses. A flower now described as: “This lovely flower was said to have been a favorite of the princess of Hyrule. They were once feared to have gone extinct, but it's not uncommon to spot them growing in the wild.”

And to have a kingdom that actively adores Zelda, who has grown so much as a person and tries so so hard is finally having her effort seen and appreciated by all. Zelda is loved because the entire point of totk is to show us Zelda having everything this time. She was adored by the people. She was finally in a place with herself and her people that she never had before. She had Link, who never left her side and made themselves a home in Hateno (this isn’t even a shipper goggles moment, this is the basic interpretation of the original game and canonical evidence).

Zelda, even back in the past, was given a supportive father figure and a teacher who also represented a mother figure. She continued to be her nerdy self and research Zonai tech, finally gaining the answers of the Imprisoning War that she so adorably gushed about when they found the ruins beneath the castle in the beginning of the game. Her research wasn’t put down nor her theories dismissed. It’s everything Zelda was deprived of in botw. Everything.

*spoilers for totk ending below*

And that’s the reason her sacrifice is so devastating. Because she chose to give up her life, her mortality, everything she has fought to achieve, just to ensure Link, who she has complete faith in, had the Master Sword to finally rid their Hyrule of the darkness. Zelda made that choice thinking there was no possibility of her coming back.

So to completely dismiss Zelda because she is saved by the two parental parents is absurd? Zelda made a choice that would end life as she knew it just to save the home she built back.

There’s also people blaming Zelda for not putting Ganon and Ganondorf together but the thing is that she did have a theory? And she did speak out about her uneasiness of Rauru reaching out to Ganondorf? Which, btw, is an echo of OoT Zelda warning her father of Ganondorf’s evil intent, only for it to be ignored by the king (who dies for his mistake). That sounds familiar, right? Because it should. The Zelda universe is pretty much founded upon reoccurring factors each age that ultimately lead up to a catastrophic event or other tragedy.

Yes, this is rather dull when you look at it from a broad perspective— but that’s the case with a ton of media. It’s in the details and the differences that draw us into the fictional universe of Zelda. People don’t need to love it— nor do they have to abide by these reoccurring factors. In fandoms and such, you can explore different possibilities, swapped roles, darker circumstances, softer fluffier moments, and so on. That’s the beauty of fandoms.

But warping stories and character actions to fulfill a narrative completely opposite of what the canon implications (and actual facts in some cases)… it usually serves the purpose of hating a character. Now, everyone has the freedom to do this. That’s 100% true. But the insane amount of takes I have seen, particularly regarding Zelda in ToTK, led me to write this post that explores her actions and developments from a pretty strict canonical perspective. Obviously, I am biased and not everyone will agree with me. That’s okay.

I simply find comfort that my interpretation of Zelda in ToTK is supported by the narrative, development, and all the characters (including Link). Because everyone adores Zelda. They all see how much she cares and it’s even said by Manny in Botw that everyone is thankful and grateful for the Princess, because she’s the reason everyone (atp) is still around. Zelda is adored by the survivors not only because she kept the Calamity at bay for a century, but also because she spent time and got to know them.

Which is why it’s so hard for everyone to believe that the puppet Zelda causing mayhem was intentionally being malicious. It’s completely out of character. And because of Zelda and Link’s travels between games, they all know who she is at heart. And that is a healing, compassionate Princess who just wants to know the people of Hyrule once again. This isn’t to erase Zelda’s flaws. It deliberately shows us the stark difference between Hyrule before the Calamity and after it. One looked down on her and made her feel incompetent.

This one now cherishes her and sees her for the hard-working girl she is.

It’s all about giving a character everything they were deprived of and then ripping it away from them. It’s a new sort of growth for Zelda’s character. And yet, she has not lost who she is: a nerd who must ramble about her findings. (To link specifically, but like we all know that)

And that is why I absolutely adore her. She’s phenomenal.

[oldshrewsburyian]

Any thoughts on *why* so many people are subliterate now? Is the educational system really that much worse than it was even 15-20 years ago? Or is the tsunami of information we all live with too much to deal with? Or is there something else going on?

...I do have Thoughts on this, actually! Quite a few of them! And I suspect that the answer to your slate of options might be: D, all of the above. I will address your points out of order (sorry.)

B: As for the information tsunami/superhighway, I don't think it's to blame in itself. As the president of an academic organization said at the biennial conference in 2016, "Nous lisons de plus en plus, mais nous lisons autrement" (we read more and more, but we read differently.) It says something about what he meant and about that particular historical moment that I was live-tweeting. And obviously I'm not saying that reading the internet is bad (I read the internet all the time.) But I do think that it facilitates habits of minimal, shallow, or superficial reading, and I do think that's a problem. I once had a student say--in class!--that the historical essays I assigned were challenging for him because he's more used to reading tweets. I stared at him for several long seconds before saying "Then this is good practice for you." I also had a very sweet student in a first-year college seminar who just had no clue how sentence mechanics worked, so I had to find a gentle way of asking, in office hours, "Do you... read at all? for fun?" "Oh, I read all the time," said this sweet student confidently, and my own reading habits enabled me to counter: "Fanfic or published works?" And yep, that's your problem right there. Obviously I read and write fanfic myself. But reading principally fanfic is a great way not to learn how grammar works.

A: in the US? ...yeah, it kind of is, actually, which is horrifying. Like a lot of the rest of my demographic (educator, xennial, NPR devotee,) I listened to the APM podcast Sold A Story. In going to find you the link, I found bonus episodes which I also highly recommend, in part because they include criticisms of the podcast and notes on policy. But what this podcast describes also tracks with my experiences in two very grim years when I tutored reading at the elementary/middle school level, and also found reading comprehension to be a weak link in ACT/SAT prep.

C: this brings us to "something else going on?" And I don't know what that is. But even my college students who can read at a basic 6th-grade level (sob) seem to have really stunted capabilities for inference. I ask them to make inferences and they look at me with the heartbreaking expressions of confused dogs. Or they'll see something blindingly obvious and say things like "Could this... possibly be...?" and I say brightly: "Yes! that's absolutely what it is! good job!" instead of saying: "What the **** else would it be?" Sometimes an entire class of students will read something without comprehension and subsequently thank me for "explaining" a text when all I have done is paraphrase it. And we're not talking academic articles here; we're talking 2-4 page excerpts of primary sources selected with TLC for a target audience of beginning college students. So far I have not snapped and screamed, "I didn't explain shit!" But I do find myself having to, well, explain that explanation would mean digging deeper into the text. I also find myself puzzled and alarmed by the fact that they don't seem able to identify or describe what they find challenging. If I had a nickel for every time I've heard "Just the entire thing was confusing"...! I've modified entire courses to try to get students more of the reading practice and additional skills they need. I'm not sure how much it's helping.

I really wish I had more answers. What I do have is a lot of despair.

[icanseethefuture333]

"Trust me, I have magical foresight" 👁

My predictions on the future of the entertainment industry based on astrology & intuitive channeling

Saturn's children: Capricorn & Aquarius

Capricorn vs Aquarius Pluto

Saturn is the planet of karma and we have seen this take full effect once Sagittarius passed the baton to Capricorn to rule over Pluto. I picture Capricorn and Aquarius' dynamic as siblings. Aquarius is the little brother who is unpredictable and goes to the beat of his own drums. While Capricorn is the older sister who is forced to be responsible and take care of business. Capricorn Pluto has exposed many scandals as a way to serve justice. It's as if Capricorn was the Elle Woods of our generation. So much has been exposed from war crimes to human trafficking and more. People have also felt the need to "restrict" others or oppress them of their human rights as well (I.E: the abortion ban). As well as the world's economic status plummeting. Capricorn deals with the material and emotional realm. Capricorn's representing animal is the sea goat. The head and torso of the goat that is seen on land, symbolizes practical thinking and being grounded. While the tail that is in the ocean represents wisdom and emotional depth. Capricorn Pluto was the definition of "not everything that you see is truly how it is". Capricorn Pluto has done the dirty work that nobody else wanted to do, so people were very shocked and uncomfortable during this time (but as the famous saying goes: "in order to be comfortable, you have to get uncomfortable first"). Once Pluto is in Aquarius, I see things being very unpredictable. I believe people will be desentized after everything that has happened during Capricorn Pluto. People will be unable to process their emotions in healthy ways because of experiencing forms of trauma back and forth. Despite the contrary belief of Aquarius being detached, it is too similar to Capricorn, being the bearer of water. Aquarius is logical with a emphatic heart. I see that there will be a rise of humanitarians or more people will wish to participate in scientific research, medicine, and technology. There is the desire to restore what has been ruined. I believe Aquarius Pluto will want to keep us on our toes. Things could be chill for a while and then all of a sudden a conspiracy theory will be debunked. Then another day a scandal breaks out but it will be even more scandalous then the ones we have seen during Capricorn Pluto. Aquarius is leaning back and putting up his feet as he eats grapes thinking: "I don't know I like a challenge 🤷‍♂️" and have a "it is what it is" mindset.

I see the generation of Aquarius Pluto will be highly intelligent and skilled in education related to STEM. People will have the desire to become activists, doctors, and other fields related to that degree. I also see that less people will be going to college and others will instead go to technical schools. Aquarius is known for being rebellious. This generation are going to be free thinkers and will not follow propaganda in the media. It is about breaking generational curses. They do not wish to do what their family wants them to do, they want to be themselves. I also see that parents of this generation are going to be non traditional or their parenting methods will be nonconforming. Parents could have better communication skills with their children and introduce their children to various forms of education that is not just limited to what the school system teaches them. Such as exposing them to books, other cultures, and having them connected with people overseas. I also see this as more people taking online classes.

The political system could be ... unorthodox to say the least. I don't have the words to properly describe it but we may have presidential leaders that are not what we have previously seen. For example, there could be younger politicians or people who have had no political backgrounds working in the government.

Taurus Uranus: "I lost my innocence now I'm in this bitch"

Ever wondered why kids are wanting Lululemon and Sephora, while adult women wear ribbons and clothes that pertain to the coquette aesthetic? It's because 12-13 year olds have their profection year in the 1st-2nd house while young adults in their early 20s have their houses past the 7th. Now someone's profection year depends on their birthday and birth time, but there are set profection years for each age someone turns. For example, when I was 21 my Venus was in my 8th house and my aesthetic has completely changed since then. Taurus Uranus also focuses on what gives us comfort. Adults could be dressing how their inner child wanted to, while kids are wanting to dress like the influencers they idolize on social media. Young adults are nostalgic and are craving the youth that they lost due to the pandemic. While as for kids, they are forced to grow up in a era that is hyperfocused on beauty. There are several terms people use to analyze people's face now that in our youth people have never even noticed before. "Double lip line", "mewing", "facial harmony", etc. It's as if Taurus Uranus is the narcissist parent who is nitpicking at every feature and insecurity that you have out of projection. Why? For money 💰. In the words of SZA: "everybody wanna be beautiful, scared of the unusual". We are in a time period where people are literally using incel terms to feel better about themselves "mogging", "looksmaxxing", etc. It reeks of mean girl and frat boy energy around here. Parents have been stating that their children are being bullied in high school for not having macro trends such as Stanley cups, Lululemon wear, and Sephora makeup. There has also been complaints of there not being enough content for the pre-teen stage and activities available that is more suitable for children of that specific age group. This is on purpose. The more the lines were blurred on who is childlike and an actual adult, the better in the industry's eyes. It's corrupted and perverted (no I'm not exaggerating this either because why do you think kids are debuting as young as 13 and even younger are becoming influencers?). In the 2000s-2010s there was Justice, Claire's, PINK, etc. There was the something to fill the gap in between, but these kids are not caring about the stuff we liked because it is a different generation and they have other interests. I'm gonna be 100% real with you that a kid is not gonna give a fuck about Bobby Jack because they were not even born around that time unless you introduce it to them. With Taurus transitioning into Gemini, I actually see there being better opportunities for children to make friends or perhaps playing in their neighborhood again. Parents could put the effort in to do neighborhood watches or create activities that will allow their children to play outside or be in extracurricular activities. I additionally see this happening because of the criticism of parents letting their children become "IPad" kids (which come on now, as if we didn't have Nintendo DSes, PSPs, and Gameboys as kids).

The lesson of Taurus Uranus is to not fall into consumerism. Do not get plastic surgery just because you think your face is asymmetrical, do not buy 10 bottles of skincare just because you have one pimple, and do not buy from these brands that don't care about you or the environment. Stand up! If you're gonna do something, then do it for yourself. Learn how to be yourself again, not what social media is telling you who to be. Practice self love and self care. Taurus Uranus should be focused on your comfort and pleasure, not anyone else's. A lot of people will be bullied during this time and will spend money on shit that's worthless. You know how a lot of people have gotten bullied for doing things that weren't on trend and then years later it's cool? That is exactly what's gonna happen once the sign transitions from Taurus to Gemini. Everybody is gonna be talking about it. People are going to use their critical thinking skills more and will communicate their thoughts. They will realize "wow my/their behavior was really shitty". I also see this as people being multi faceted and fake though for their own personal benefit (yes I know not all Geminis are two faced, relax). Cancel culture is still very much so a thing and people have seen the repercussions of it. So people are going to learn how to think before speaking and rebrand their public image. Unfortunately that also means more podcast bros and phony celebrities trying to redeem themselves in interviews. We are already seeing this happen with Katt Williams and the celebrities he exposed. They are doubling back and shaking in their boots, their only response is "ahaaa that's crazy😂" without actually giving a answer that is of substance.

The trend with influencers today is that they focus on their family, personal assets, and wealth, how they live a "soft life". A lot of celebrities and influencers have even had children solely for the purpose of money and being deemed likeable or trustworthy. With less and less people having the desire to have children due to the economy as well as *Jaden Smith voice* the political state of the world right now. I believe videos will focus more on friendships, neighbors, people's hometown or neighborhoods instead of taking expensive trips overseas, connecting with strangers, making videos about "a day in my life at school/work", niche interests, or even educational videos becoming popular again. People are going to look at these influencers and think "well I don't have the privilege to go out and live a soft life so i'm gonna talk about my life instead". The energy will feel very "friendly" and people will try to be relatable.

I remember that someone on Tiktok said we are going backwards when it comes to feminism and @sunkissedchld made a point to me that Taurus is "traditional". That could also explain why a lot of women on Tiktok are just posting about their shitty boyfriend/husbands that don't cook, clean, or take care of their kids. Women are just going "You're so silly babe 😂😍😏" to a man with shit stained drawls. A lot of female celebrities who have proclaimed themselves as "feminists" I noticed as well are being submissive to men who are irrelevant and misogynistic towards other women. I also see a pattern of men of wanting women to be docile. (They wish to be the "provider" of the relationship. Asking women "What do you bring to the table?" or wanting to go "50/50", when the treatment is not fair). They are sticking beside them and being a ride or die for them, even though they would never do the same. Which follows into my next observation, Pisces Neptune.

Pisces Neptune: the end of our delulu era

"They're my twin flame" no they're not pookie ❤

Pisces is illusive and sensitive. People are struggling with living in reality and could be prone to derealization or maldaptive daydreaming during this time. Pisces will eventually transition into Aries and that is rough. It's not as gentle as Pisces is. Aries Neptune will be like a wake up call and people are not going to like it so their reaction could be very "bratty". We are going to be living in masculine energy soon (We currently have planets in the sign of Taurus, Capricorn, and Pisces then evenutally its going to be in Gemini, Aquarius, and Aries). It's detached, it is not focused on feelings. Although, Aries is considered the youngest of the Zodiac signs. So people could be more energetic and motivated to achieve their goals. There could be a lot of pent up aggression or people will subconsciously feel the need to compete with others. I believe Pisces Neptune was more so the era for "the believers". There was such an overload of information on manifestation, new age spirituality, reality shifting, and divine masculine/feminine energy. We see it in art, we see it in movies, we see it on social media, it's everywhere because it's our subconscious as a collective. Once the masculine energy comes in people are going to focus less on the mysteries of the universe and will want to focus on the facts. It's the mindset of "Okay, manifestation is cool and all, but its not going to put food onto the table". People will want to take action and are tired of waiting for "divine timing". Aries is brave and has a positive outlook. I suggest for people to make a wishlist now and focus on manifesting your intentions clearly because in the future it will all be about turning those desires into reality. Realistically speaking I see a lot of relationships ending as well because most people who are in relationships are only with their partners because of infatuation and not for love. It is likely people will marry for just company and financial security to survive. People might even marry their best friends or have very "non traditional" romantic relationships.

Music

Once Pluto finally settles in Aquarius. I see the quality of music changing. Music is going to go a few different ways.

1. The music will be LONGER but it will have short titles to grab people's attention. People's attention span have gotten so bad that musicians have to make songs 2 minutes or less to appeal to Tiktok trends. At best music has 2 choruses and 1 verse, no bridge and there is only a 2nd verse unless a another artist is being featured. Andre 3000 is already ahead of the game in terms of doing this. Andre is famously known as ½ member of the rap group Outkast. He is someone who is mysterious and eccentric. Andre appears in the music ever so often and fans have begged for him to release more music. So he has released an album titled "New Blue Sun", but it not a hip hop album, it's a flute, new age, spiritual jazz album. The album title is short and simple while the songs are all past 10 minutes and have long names. The first track being called: "I swear, I Really Wanted To Make A "Rap" Album But This Is Literally The Way The Wind Blew Me This Time".

2. I see there being developments in music so that everyone can enjoy it. I believe that scientists will try to invent ways for people who are deaf to listen to music better, whether that is creating technology so they can feel the vibratuons or something of that nature. Artists might even start doing sign language to communicate to their fans who are deaf or include braile for fans who are blind. Artists have been making an effort in being more inclusive by hiring people with disabilities. So there could better opportunities for them to be in the spotlight as well.

3. I noticed that music has been focused more on sound and less about the words/lyrics. Drill, drum and bass, reggaeton, and afrobeat are all genres that very popular right now. A person's lyrics could be trash but most people will dismiss it as long there's a catchy beat behind it. With Gemini Uranus, people's lyricism could improve but the words and beat will have a vastly different vibe. The lyrics could be sad and the beat is uptempo, or vice versa. There will be a duality to the song. (I.E: Hey Ya! By Outkast, Pied Piper by BTS, etc). I also see this as more writers being hired for streaming artists or there will be a rise of duo artists. This reminds me of Billie Ellish and her brother Phineas, so it is possible people could make music with their sibling, friend, or a partner (one person writes, one person sings, etc). (I.E: Lion Babe, AlunaGeorge, Akdong Musician, & Marian Hill).

As for the music industry itself, it is aware of the impact of a collective boycott. They will realize how much they need us as consumers. The west and east are going to come together in terms of releasing music. South Korea has been trying to appeal to international fans for a reason. They know fans overseas put a lot of money in their pocket and without us, K-Pop would not even be this huge thing (also yes I said it and I meant it, where would K-Pop be without the influence of black culture, latin culture, Indian culture, etc? Exactly). So I potentially see I-fans get the same treatment as K-fans. There's going to be fansigns, album signings, and more. While as for the west, they see South Korea as a way to make money. Which I believe the U.S will use their media for political propaganda because they are aware of those fans that worship celebrities and will defend them to no end. I feel like there's going to be a switch between the two industries as well. Fans will get bored and overwhelmed by the amount of large K-Pop groups debuting, it is oversaturated. So companies' response to this is to debut more soloists or smaller groups of 2-3 members. As for the west, they could take over the group scene and debut larger groups with 4+ members.

The U.S and South Korea think they pretty much got it in the bag as for being the most dominant countries for the music industry but when I tell you they're gonna be shook... I strongly believe that countries in Africa, especially South Africa, will be strong competitors soon for the music industry. We are seeing this with Jam Republic, Amaarae, Tems, Tyla, & Burna Boy. Their music/stage presence has longevity. It's the fact that season 2 of Street Woman Fighter ended last year and still people are talking about Jam Republic. It's how "Angels In Tibet" and "Water" has had people in a chokehold for the past few months. In South Africa's solar return chart for 2024, their ascendant will be in Leo, meaning they are going to be attracting a lot of attention. Which means their Aquarius will be in the 7th house and people will be attracted to their culture because they will see it as unique and interesting. I genuinely see Tyla paving the way for other South African artists in the future, she has an Aquarius stellium and she will be turning 22 on January 30th. Her profection year depends on her birth time which isn't available yet but it is presumed to be that her 11th house will be activated for the rest of the year. So she will be a hot topic for social media. Her level of fame could depend on what musical direction she decides to take in the future, but for now Tyla has great potential. She is able to appeal to the Taurus Uranus beauty standards because her beauty is familiar. It has been said quite often that Tyla reminds people of artists from the 2000's (Christina Milian specifically), it is nostalgic, while keeping it modern and fresh. Tyla's inclusion of her culture when it comes to her music and choreography for her performances makes her stand out. People will grow tired of Tyla's current concept though if she keeps up with the "pop" element to her music, so if she wants to be a big artist in the future, she will have to turn to her roots for musical success. I believe other artists will try to replicate "Angels In Tibet" by Amaarae because the production of the song is so technically perfect it's amazing and I'm not even exaggerating. This song is the definition of a cultural blend. You can hear Arabic scales, Brazilian funk, afrobeats, and probably even more all in one song and it works! People are going to want to hear more of that. So artists are going to follow that trend of the creation of musically, culturally blended songs.

I also see that there is going to be only a select few of new people who will get to be famous celebrities, while others will agree to be more of a "filler celebrity". Which is weird to say but there will be people who are going to be used as props or to fill in the gaps. People who are just apart of the "simulation".

The devil/demon musical concepts in the industry will die down because I see most people will turn atheist or become agnostic. People are desentized to it and it's nothing they have not seen before. I see people reacting like "Why would I be worried about the illuminati when we should be focused on the economy?". They are not gonna care for it and celebrities will have to come up with something new for shock value. So people could start promoting aspects of Christianity such as "heaven", "biblical angels", and other forms of religious propaganda. Lil Nas X is an example of this and I wouldn't be surprised if other artists do it next.

I feel there is going to be another wave of rock bands becoming a trend again as well, Green Day has released an ep recently, and they are well known for being political with their music. Stray Kids are also known for being a multi genre K-Pop group and their recent album was rock themed. So artists exploring alternative concepts or artists doing music for charity, should be a common theme for the next few years.

Beauty

With Aries Neptune, I could see people doing intricate things to their faces such as getting facial piercings, wearing makeup thats more bold, and getting face tattoos. People could bring back the trend of Nelly's cheek bandaid. There is a desire to accessorize the face. The beauty trends during Taurus Uranus was focused on hyper femininity, almost a blend of Korean and American beauty standards. Straight eyebrows, delicate facial features, manga lashes, and porcelain-like skin. The beauty was more doll-like but natural, very feminine (I don't want this beauty trend to die ngl, I love the pink dolly look 💔😭). As for Gemini Uranus, the beauty standards will be more androgynous or gender neutral. I also interpert this as people looking ethereal and youthful, almost like a fairy. I am reminded of Aya Takano's art, the characters are gender neutral and there is hardly any indications of their sex. So I'm seeing thick eyebrows, whimsical makeup (messy glitters or makeup looking half done), exaggeration of the eyes, drunken rosy cheeks, tinted lips that almost look bruised, undereye liner as opposed to eyeliner above the lash line, eye makeup that has two different colors or asymmetrical, and freckles (naturally or faux will be popular). I could also see people having two different makeup looks on one face (Harley Quinn in Suicide Squad). Could see people with Heterochromia eyes suddenly being seen more in the media. Models' facial expression could be cheeky, as if they're trying to appear "tough". It's not as fierce, it will be more playful. There could be a rise of people of the LGBTQ+ community in modeling industry as well.

Fashion

I already predicted some trends in fashion, one being for the Victoria Secret fashion show which I recommend you go and read that was pretty accurate. Since we are entering a period that has masculine energy, I see people will have an androgynous style. People have went from skinny jeans to flared pants and baggy clothes. People are wearing sneakers more often and dressing casually as well. I don't see feminine clothing being erased entirely because Gemini has a duality of course. So people could combine elements of femininity and masculinity. Two pieces, asymmetrical cut dresses, and skorts in particular. I am reminded of how Acubi fashion and late 2000s wear is trending again. Headphones, hoodies, windbreakers, straight legs jeans, etc. I could see people being interested in sports wear with Aries Neptune as well. There will be an athlete that will be very popular when it comes to fashion, like Michael Jordan. Sneaker culture could be more of a prominent thing. I honestly don't think people will dress as formally for occasions or in the workplace. They could look chic and cool, but not as prestigious. I see people being less nostalgic about the Y2K era so people could start moving on to something similar. I have a feeling that we will continue to see fashion trends from the 80s/90s/00s. I keep getting a visual of the manga "Slam Dunk". Which is a 90s anime about a team of basketball players. So jeans, sneakers, overalls, snapbacks, and things of that such. Aquarius Pluto could also mean a generation of people being rebellious and carefree in terms of style, so people could just dress to their own personal tastes instead of what's trending as well.

[suzukiblu]

Day ten of fic NaNoWriMo, obligatory sugar daddy Tim/sugar baby Kon AU.

The waitress comes over with another steaming mug of hot chocolate for Kon and Tim awkwardly orders not-Robin's-coffee-order, which since he's panicking he defaults to Caroline Hill's usual for. She's a med student, she drinks enough caffeine for his tastes. And also she likes extremely sugary drinks, which is definitely to his taste. 

Look, Robin can't drink an iced brown sugar oat milk espresso with six extra pumps of syrup and four extra shots of espresso, especially in front of the exact teammate who would tease him the most mercilessly for having a finicky drink order, but Caroline Hill can drink anything she wants, and Tim Drake is just gonna be channeling her for this conversation, he guesses. Her Twitter account already got him here to begin with, so he might as well.

“That is a concerning amount of caffeine in one drink, dude,” Kon observes with a raised eyebrow instead of teasing him over either the syrup or oat milk, which is not actually what Tim expected to hear. But, well, he's not Robin right now, so maybe Kon isn't feeling the same urge to start shit that he usually seems to. 

Tim's not sure how to feel about that. But Robin is, technically, an “authority” figure and a fellow superhero, and Tim Drake is just some guy, so . . . 

Actually, Tim doesn't really know how Kon gets along with civilian guys. He's seen him flirt up plenty of civilian girls, obviously, but he doesn't really seem to talk to all that many guys. Like . . . ever, actually. 

Weird, he thinks, repressing a frown. 

“How would you know, you're Kryptonian,” he says. 

“Half-Kryptonian,” Kon says, then waves a hand around the café. “And like, you know, also this entire planet is full of people who can just tell me these things. Five thousand milligrams is the minimum lethal dose of caffeine for a healthy adult, which is something like seventy-five shots of espresso, but more than four or five shots in a day is still not gonna be great for you, and you just ordered six.”

“. . . how the hell do you just know that off the top of your head?” Tim asks, blinking at him in absolute bewilderment, and Kon smirks in smug amusement.

“Dude, I was programmed by exhausted grad students pulling six months straight of all-nighters,” he says, pointing at his own temple. “I know every possible thing there is to know about every possible caffeine delivery system. Including the illegal ones and the ones the government hasn't yet realized should be illegal.” 

“Huh,” Tim says, still more than a little bewildered. That does make sense, he guesses, but since Kon's already told the team he has absolutely no useful background in any kind of science or math past the absolute kiddie-level basics when they were all exchanging information about all their personal training and experience, it's still a surprise to hear. Shouldn't Cadmus have prioritized an actual education over things like safe caffeine intake for baseline humans, especially since Kon's safe intake level is probably different from a baseline human's anyway? Which–well, he guesses Kon did get cracked out of his cloning tube early, but still. They at least should've been building up the basics for him. Like–more than the kiddie-level basics, he means. 

Cadmus is definitely not capable enough to be in charge of Kon. Like, at all. Ever. Tim has fewer and fewer regrets about this whole plan every minute, in fact. If anything, he should've started drafting it the day he met Rex Leech, never mind the fact that Kon hadn't technically existed yet at the time. Or after the Poison Ivy incident, maybe. At the least he should've done up an outline or two after he and Kon and Bart had helped Suzie escape recapture and then collectively lied to the government about it.

“You work for those guys, right?” he “asks” as Kon takes a sip of his new hot chocolate, because while the best time to start this whole plan was months ago, the second-best time to start it is now. “Project Cadmus?” 

"Yeah," Kon replies, looking a little surprised by the question. Tim reminds himself to con the team into brushing up on the superhero version of stranger danger, because Kon answered that question way too easily. "Well, just started to. I'm a field agent. How'd you know?” 

"I've done some research on you since we first met," Tim says, which isn't even a lie; just some careful phrasing. "I really appreciated what you did for me. And to be honest, I think we'd get along."

"Oh yeah? Tell me all about it," Kon says as his posture shifts a little and he flashes him the kind of smirk he normally reserves for, well . . . 

Huh, Tim thinks in vague bemusement.

Kon's flirting with him. 

. . . huh. 

Not actually the angle Tim was intending to take here, but . . . well, he's not above taking it. And anyway, Kon's just a flirt in general, so it's not like it means anything. 

Admittedly Tim hasn't actually seen him flirt with a guy before, but presumably Kon's just feeling out an opportunity to experiment or not ready to be out to the team yet. Tim's not, so he'd hardly blame him for that. Tim's not even out to Steph.

And he's definitely, definitely not out to Bruce. 

Well, ideally he'll be a supervillain before that becomes necessary, assuming his life goes to plan. 

Robin was always going to be a temporary gig, after all. 

"I don't know," he says, and lets the corners of his mouth curl up in amusement. "You just seem like my type of guy." 

"Your type of guy?" Kon says, his smirk widening as he leans in towards Tim, who decides to pretend that particular bit of flirtatious implication was actually intentional. Tim is . . . not all that great at flirting, admittedly, but it's not like Kon has particularly high standards past “didn't explicitly tell me to fuck off”, so Tim figures he'll be able to get by for long enough to have this conversation. 

Not much longer, but all the same. He has a plan to pitch, that's all that actually matters here. 

“Yeah,” he says. “And I wanted to thank you for saving me, so . . .” 

“You wanna thank me, Tim Drake?” Kon asks with a slower, wider smirk, leaning in a little more again, and Tim instantly turns bright red as he realizes how that actually sounded. 

Yeah, okay, he is actually the worst at flirting. Fuck. 

“Uh, yes!” he says quickly, very much needing to clarify that statement before his stupid fucking hormones try to talk him into maybe just . . . leaning into that particular miscommunication a little. Not the goal here. Definitely not. “I mean–being a field agent doesn't sound particularly lucrative? And I know being a superhero isn't.” 

“Lucrative?” Kon blinks, expression turning puzzled. “I mean, I guess not. I don't need that much money or anything, though, I just live at Cadmus these days.” 

“You live in a lab?” Tim says, letting himself sound as incredulously horrified as he felt the first time he heard that. “Why?” 

“I dunno, saves me a commute,” Kon replies with a shrug. “Also, like, it's not like I have a credit score to get my own place with. Or a legal identity. Or, you know, money. Landlords tend to want those.” 

“Hm,” Tim says. “Do you want one?” 

“Huh?” Kon wrinkles his nose in confusion. 

“Your own place,” Tim clarifies. “I really would like to thank you. I could help you get a place.” 

“Uh, thanks? But I still couldn't afford rent, even if somebody cosigned for me or whatever,” Kon says, looking puzzled. “I really don't make that much.”

“No, I mean I'd pay your rent,” Tim explains, which is in fact an insane person thing to offer somebody, admittedly, but it's not like Kon has all that reliable a grasp of normal social mores. “Or just buy you a place outright and pay your property taxes. Whichever you'd prefer.”

Kon blinks. Tilts his head. 

“So like, you're just a very extra dude, huh,” he says after a moment, his eyebrows slowly raising as he pushes his sunglasses up into his hair. “Like you're the guy who blows the budget on the friend group's Secret Santa out of the water every year.”

“Possibly,” Tim says, putting on a sheepish smile. Kon laughs and folds his arms on the table, looking amused. 

“You wanna buy me an apartment?” he asks. “What, just for saving your life?” 

“I really think you're undervaluing that particular achievement,” Tim says. 

“I think you're overvaluing it,” Kon replies with another laugh. “No offense, but I didn't do anything but block one lousy bullet.” 

“One lousy bullet is enough,” Tim says, and doesn't think of any bodies he's seen. Kon tilts his head again, then takes a sip of his hot chocolate. 

“Okay, fair,” he allows. “But I'm bulletproof.” 

“I'm not,” Tim says. 

“You were as long as I was touching the same floor as you,” Kon replies with a shrug, and takes another sip. “It wasn't like I did anything hard.” 

He hasn't actually said “no” to the apartment. Tim's pretty sure that's just because he thinks he's either ridiculous or just not being serious, but he's not above pressing the advantage anyway. 

“You didn't have to do anything at all, though,” he says. "And buying you a place wouldn't be all that hard for me either. Besides, you deserve a little gratitude for your efforts, don't you think?” 

"Sounds like supervillain talk, dude," Kon says, his mouth quirking in amusement around his next sip. Tim resolves to dial back on that at this point in his career. He's laying groundwork, yes, but subtlety is still the wiser course of action. 

"You say that like you've never socialized with a supervillain before," he counters dryly. 

"Well, usually ones who wear a bit less," Kon replies, lowering his mug to grin wickedly at him. Tim figures if a little more flirting might soften him up on this whole idea, well . . . 

It's not the most altruistic thing he's ever done for a plan, admittedly, but if it works, it works. 

"So you're telling me I should invest in a crop top before I try to take over the world and remake it in my own image?" he asks still more dryly as he raises an eyebrow at Kon with a little smirk, and Kon laughs and leans in a little closer again, giving him a not very subtle up-and-down with his eyes. 

"Only if you're trying to recruit me for your evil plans, pretty boy," he says, grin turning sharp. Tim feels vaguely faint, and also wants to lick the bastard's stupid perfect teeth. Jesus. "So I dunno, what are your feelings on Daisy Dukes?" 

"I'm going to be honest, I'm not actually that much of an exhibitionist so at this point we're just describing my ideal costume updates for you," Tim informs him. 

"Oh yeah?" Kon asks with another laugh even as he straightens back up to visibly preen at the suggestion. Tim is all for that, personally. Both the preening and the theoretical updates, in fact. And, a little more weirdly, just the idea of having anything whatsoever to do with what Kon might ever decide to wear. Especially whatever he might decide to wear for his costume. 

Yeah, that's probably a later thought, Tim decides. Like, a private-time kind of later thought. Specifically “behind locked doors in an empty house” private-time, actually.

"You're solar-powered, aren't you?" he says reasonably, because apparently he likes to suffer and also make himself low-key insane. "Showing a bit more skin can't hurt." 

"I wonder if Superman would buy that excuse," Kon says musingly. 

"Power Girl exists," Tim replies still more reasonably. "And Supergirl wears a miniskirt, last I checked." 

"Valid," Kon says, putting on a mock-thoughtful expression and tapping the side of his jaw. "Maybe I'll put in some cutouts and go for a lower neckline, tell the big guy he's making the rest of us look like prudes. What do you think, bikini or high-cut bottoms?"

"I don't know the difference," Tim lies, desperately trying not to overheat and die at that question and every single accompanying mental image that his useless brain has so helpfully decided to supply. "You'll have to provide examples."

"Will I now," Kon says, grinning all over again and pointedly striking a very suggestive pose in his seat. Tim valiantly struggles not to melt. "What, pretty boy, you want a fashion show?" 

"Well I did want to be a photographer when I was a kid," Tim says, although it was definitely never that kind of photography he had in mind. Kon laughs again and shifts in closer again, though, so it's worth it. Tim is mortified, but also undeniably into just . . . all of this, really, just everything about this conversation. Robin can't flirt with Superboy, but, well . . . Tim Drake still isn't Robin, now is he? 

He's probably taking advantage of the situation a little, Tim can admit to himself, but it's still just . . . nice. He's wanted to flirt with Kon for way too long, at this point. Indulging in a little bit of it isn't the worst thing he could do. 

And again, it's Kon, so it's not like it's serious or anything. The guy won't even remember this conversation tomorrow, much less anything about Tim Drake. 

. . . admittedly that'd be counterproductive to Tim's long-term goals here, but still. He's willing to take his time on this. There's a plan. It has steps. Layers. Processes. 

"I like you, man," Kon says with a wider grin, which is in absolutely no way whatsoever in the plan. "You're funny."

Tim stares blankly at him as it occurs to him, almost disbelievingly, that he might've . . . made a good impression on Kon? Somehow? 

Well, that's weird.

"I'll never get a fashion show out of you if I'm not at least funny," he says on autopilot, as someone who's been well-taught both when and how to press an advantage. Kon, yet again, grins at him, and gives him another much brighter laugh than usual. 

Actually, he kind of hasn't stopped grinning at him, has he. 

Huh. 

. . . huh. 

Tim really did not plan for this. This is just . . . not at all what the plan was. 

“Well, you definitely are funny,” Kon says, biting his lip around a warm little smile and ducking his head just enough to look at Tim from under his lashes, and Tim decides he can probably just amend the plan.

He's a Bat, isn't he? They know how to improvise when they have to.

[mostlysignssomeportents]

Washington State's capital gains tax proves we can have nice things

Today (June 3) at 1:30PM, I’m in Edinburgh for the Cymera Festival on a panel with Nina Allen and Ian McDonald.

Monday (June 5) at 7:15PM, I’m in London at the British Library with my novel Red Team Blues, hosted by Baroness Martha Lane Fox.

Washington State enacted a 7% capital gains tax levied on annual profits in excess of $250,000, and made a fortune, $600m more than projected in the first year, despite a 25% drop in the stock market and blistering interest rate hikes:

https://www.theurbanist.org/2023/06/01/lessons-from-washington-states-new-capital-gains-tax/

Capital gains taxes are levied on “passive income” — money you get for owning stuff. The capital gains rate is much lower than the income tax rate — the rate you pay for doing stuff. This is naked class warfare: it punishes the people who make things and do things, and rewards the people who own the means of production.

The thing is, a factory or a store can still operate if the owner goes missing — but without workers, it shuts down immediately. Everything you depend on — the clothes on your back, the food in your fridge, the car you drive and the coffee you drink — exists because someone did something to produce it. Those producers are punished by our tax system, while the people who derive a “passive income” from their labor are given preferential treatment.

The Washington State tax is levied exclusively on annual gains in excess of a quarter million dollars — meaning this tax affects an infinitesimal minority of Washingtonians, who are vastly better off than the people whose work they profit from. Most working Americans own little or no stock, and the vast majority of those who do own that stock in a retirement fund that is sheltered from these taxes.

(Sidebar here to say that market-based pensions are a scam, a way to force workers to gamble in a rigged casino for the chance to enjoy a dignified retirement; the defined benefits pension, combined with adequate Social Security, is the only way to ensure secure retirement for all of us)

https://pluralistic.net/2020/07/25/derechos-humanos/#are-there-no-poorhouses

Washington’s tax was anticipated to bring in $248m. Instead, it’s projected to bring in $849m in the first year. Those funds will go to public school operations and construction and infrastructure spending:

https://www.seattletimes.com/seattle-news/politics/was-new-capital-gains-tax-brings-in-849-million-so-far-much-more-than-expected/

That is to say, the money will go to ensuring that Washingtonians are educated and will have the amenities they need to turn that education into productive work.

Washington State is noteworthy for not having any state personal or corporate income tax, making it a haven for low-tax brain-worm victims who would rather have a dead gopher running their states than pay an extra nickel in taxes. But places that don’t have taxes can’t fund services, which leads to grotesque, rapid deterioration.

Washington State plutes moved because they relished living in well-kept, cosmopolitan places with efficient transportation, an educated workforce, good restaurants and culture — none of which they would have to pay for. They forgot Karl Marx’s famous saying: “There’s no such thing as a free lunch.”

The idea that Washington could make up for the shortfalls that come from taxing its wealthiest residents by levying regressive sales taxes and other measures is mathematically illiterate wishful thinking. When the one percent owns nearly everything, you can tax the shit out of the other 99% and still not make up the shortfall.

Meanwhile: homelessness, crumbling roads, and crisis after crisis. Political deterioration. Cute shopping neighborhoods turn into dollar store hellscapes because no one can afford to shop for nice things because all their income is going to plug the gaps in health, education, transport and other services that the low-tax state can’t afford.

Washington State’s soak-the-rich tax is ironic, given the propensity of California’s plutes to threaten to leave for Washington if California finally passes its own extreme wealth tax.

There’s a reason all these wealthy people want to live in California, Washington, New York and other states where there’s broad public support for taxing the American aristocracy: states with rock-bottom taxes are failed states. All but two of America’s “red states” are dependent on transfers from the federal government to stay in operation. The two exceptions are Texas, whose “free market” grid is one nanometer away from total collapse, and Florida, which is about to slip beneath the rising seas it denies.

Rich people claim they’d be happy to live in low-tax states, and even tout the benefits of a desperate workforce that will turn up to serve drinks at their country clubs even as a pandemic kills them at record rates. But when the chips are down, they don’t want to depend on a private generator to keep the lights on. They don’t want to have to repeatedly replace their luxury cars’ suspension after it’s wrecked by gaping potholes. They don’t want to have to charter a jet to fly their kids out of state to get an abortion.

This is true globally, too. As Thomas Piketty pointed out in Capital in the 21st Century, if the EU and OECD created a wealth tax, the rich could withdraw to Dubai, the Caymans and Rwanda, but they’d eventually get sick of shopping for the same luxury goods in the same malls guarded by the same mercenaries and want to go somewhere, you know, fun:

https://memex.craphound.com/2014/06/24/thomas-pikettys-capital-in-the-21st-century/

We’re told that Americans would never stand for taxing the ultra-rich because they see themselves as “temporarily embarrassed millionaires.” It’s just not true: soak-the-rich policies are wildly popular:

https://balanceourtaxcode.com/wp-content/uploads/2023/02/WA-State-Wealth-Tax-Poll-Results-3.pdf

The Washington tax windfall is fascinating in part because it reveals just how rich the ultra-rich actually are. Warren Buffett says that “when the tide goes out, you learn who’s been swimming naked.” But Washington’s new tax is a tide that reveals who’s been swimming with a gold bar stuck up their ass.

It’s not surprising, then, that Washingtonians are so happy to tax their one percenters. After all, this is the state that gave us modern robber barons like Bill Gates and Jeff Bezos. And then there’s clowns like Steve Ballmer, star of Propublica’s IRS Files, the man whose creative accounting let him claim $700m in paper losses on his basketball team, allowing him to pay a mere 12% tax on $656m in income, while the workers who made his fortune on the court paid 30–40% on their earnings.

https://pluralistic.net/2021/07/08/tuyul-apps/#economic-substance-doctrine Ballmer’s also a master of “tax loss harvesting,” who has created paper losses of over $100m, letting him evade $138m in federal taxes:

https://pluralistic.net/2023/04/24/tax-loss-harvesting/#mego

These guys aren’t rich because they work harder than the rest of us. They’re rich because they profit from our work — and then, to add insult to injury, pay little or no taxes on those profits.

Washington’s lowest income earners pay six times the rate of tax as the state’s richest people. When the wealthy squeal that these taxes are class warfare, they’re right — it is class war, and they started it.

Catch me on tour with Red Team Blues in Edinburgh, London, and Berlin!

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

https://pluralistic.net/2023/06/03/when-the-tide-goes-out/#passive-income

[Image ID: The Washington State flag; the circular device featuring George Washington has been altered so that it is now the head of a naked man clothed in a barrel with two wide leather shoulder straps.]