#my identity culturally seems very important and very conflicting for me

[beemintty]

something i struggle with is my australian identity. it's a fickle thing, identity that's tied to your country of origin. now those who know a bit about our countries history, I descend from the english part of the country. my dad is first generation australian (his parents are immigrants) and my mum's ancestors probably came across on the first fleet as convicts (we think that was the case anyway). so i'm british pretty well through and through. which is fine but i'm honestly not very proud of what the british did here to this country..... they stripped an entire culture of their own identity and practically erased it completely-- the people and the tradition-- and we are still making up for the unforgivable actions today (as we should be!). so yeah my australian identity feels a little bit conflicting.

so here's the thing. i want to learn and experience the indigenous culture that was so horrible erased by the british colonisation, but i understand how far away i am from indigenous australians and their culture. but i simply can't be a part of "just another western culture" i need more than just being a westerner.... i want my own individual culture that I can share and experience with food and tradition and ART and STORIES! like i feel so lost in "just another western culture".

but here's the other thing. australia is so uniquely isolated in its westerness. even though we are a predominantly western society, we are different. we do have tradition. we do have food. we do have art. we do have stories. it just doesn't look like an old, rich culture, it's growing and it's still young.

i feel like i find myself envying my lack of indigenous identity and therefore having no time to this land and no way in to understand the marvelous culture they have. but then again i also seem to despise my part in the western world. maybe out of consolidation or guilt but maybe also just out of not feeling particularly connected with australia's western traditions. so i'm stuck in this weird inbetween, unable to identify with either culture that make up my country.

i feel a bit lost.

[the-sky-queen]

Y'know what? I'm just gonna do it. I'm gonna lore dump everything I have so far for my Darkling lore!

First of all, yes. I decided that the Darklings are a separate species from the Black Arms. Eclipse always seemed so different from any of the Black Arms we've seen to me. I just couldn't see him as 100% Black Arms when the rest of the race looks almost nothing like him.

This means that Eclipse is a hybrid, just like Shadow. (Though he's 50% Black Arms and 50% Darkling instead of Hedgehog.) Though I haven't quite figured out . . . why Black Doom would want his next offspring to be half Darkling instead of full Black Arms. I'm working on it. Darklings must have some kind of biological advantage, but I haven't figured out out yet.

Full lore under the cut!

History

The Darklings used to live on their own planet. They were free and were split up into different tribes. They were pretty civil towards each other, but the did occasionally have conflict. Then, a couple hundred years ago, the Black Arms invaded. The Darklings were massacred, but a few managed to bargain for their lives. In exchange for being left alive, the remaining Darklings would become slaves to whoever the current Black Arms leader was. So, they were taken from their home world and placed on the Black Comet, never again to be free. They were destroyed with the rest of the Black Comet at the end of Shadow the Hedgehog.

Beliefs/Religion

The Darklings didn't believe in gods, rather they believed that the spirits of their ancestors controlled the many aspects of nature and their lives. Several important ancestors had their own holidays and festivals, but most were worshipped privately among those who were directly related to them. Deceased family members were given little shrines to honor them, kinda like an ofrenda. During the Black Arms captivity, many began to lose faith, angry that their ancestors allowed this to happen.

Appearance

Since Eclipse is a hybrid, I had to decide what traits he has belong to the Darklings, and which he got from the Black Arms. I can explain my thought process more in depth later if you guys want, but for now, I'm just gonna list the traits:

five fingers

long, snake-like tail

coloring is dominated by more earthy/natural colors, for better camouflage during hunting

black sclera, eye color varies

Y'know that weird head structure Eclipse has? Yeah, they have that

scaley, but not as reinforced as Black Arms

I'll really have to draw one of these guys for you to get the full picture

Biology

Cold-blooded and lizard coded

They lay eggs

Naturally very skilled hunters

Heightened senses (smell, night vision, etc.)

Very agile (not that strong, but can out-maneuver almost anything)

Prehensile tails

*insert whatever advantage they have that made Black Doom decide his next offspring should be a hybrid*

On Eclipse

Eclipse's mother was a Darkling, and she was allowed to raise him for the first few months of his life. She taught him a lot about the dying Darkling culture and what it meant to be a Darkling in the first place. Eclipse loved his mother and always tried to make her happy. Eventually, Black Doom took him to begin his training, and Eclipse wasn't happy about it. He hardly got to see his mother or any of the other Darklings after that.

Eclipse has struggled with his identity for a long time. He was always told by Black Doom that he was the Ultimate Black Arm, but after a while, Eclipse decided he wanted to honor his mother and her culture and began referring to himself as a Darkling instead. This confuses a lot of people who don't know him very well. Eclipse doesn't usually like to talk about it, even to Shadow.

To this day, Eclipse tries to uphold the traditions of the Darklings. He puts on little celebrations for the important ancestors and honors his mother with a little shrine for her in his room. Eclipse has spent the last several years trying to draw an accurate picture of his mother for his shrine, with varying degrees of success. Shadow doesn't understand a lot of Eclipse's traditions, especially since he doesn't talk about why he's doing what he's doing a whole lot, but Shadow still tries to join in when he can and support his little brother.

Note: I just realized I've been referring to Eclipse as Black Doom's offspring when he was created by Black Death in the comics. Just to clarify, in my personal Sonic-verse, Eclipse is Black Doom's son, making him Shadow's actual half-brother. He was raised and trained by Black Doom until he was sent away to help Black Death with a conquest right before the Shadow the Hedgehog game. He and Black Death then later showed up for Shadow Fall.

[survivalove]

what are your thoughts on Sokka becoming an ambassador/politician in lok ?? Do u think it fits is character??

Anon thank you because I’ve been dying to talk about Sokka for a while, he’s actually my 2nd fave after Katara.

Personally, I think Sokka being a political leader in Republic City does fit his characterization from ATLA for a number of reasons:

1. Community:

The South Pole is a very unique place in ATLA because while it’s a democracy, their leaders are selected on the basis of success both in military and in addressing the concerns of the people. We see this in Hakoda a little bit because while he’s the head of the navy (?), he’s not exactly the strong burly warrior that you would expect. It’s actually his public speaking skills and his crafty war techniques that make him such a successful chief (on top of being an excellent fighter of course). We also see this in the N&S comic with his ability to bring together all the communities in the South and address internal conflicts.

(Also I have a whole headcanon about Kanna orchestrating Hakoda’s political ascension but that’s another time. I mean look at her face. She planned this I’m telling y’all)

That is why I think Sokka getting into politics fits him cuz it’s a great culmination of the seeds ATLA planted of his character as a fighter, war strategist and public speaker, as well as his heritage.

2. Identity:

Whether some people in this fandom want to admit it or not, Sokka and Katara’s existence is inherently political. I mean their culture was almost wiped out, they’re basically left in charge of their tribe along with Gran Gran, and they travel the word meeting different heads of state and witnessing the impact of colonialism firsthand. So it makes perfect sense for both of them to get into politics as adults. I don’t think either one of them would pass up the opportunity to make important change on a global scale especially in a new development like Republic City.

3. Republic City itself:

Now, I know people like their Chief Sokka headcanon and I’m pretty sure it’s canon in his old age which is fine with me, but as for the most of his life, I really don’t think Sokka would spend it in the South Pole. For one, his dad is the chief and they have the same values, so while they would obviously give their father advice on a global scale I don’t think there’s much change Katara and Sokka would enact at home. Compared to somewhere like Republic City, not only because it’s new but because there’s 3 different ethnic groups living there, the political challenges that would arise everyday is paramount and I’d think they both want to have an impact on a global level. Also, back to Hakoda, it’d probably be hard for their community to see them more than just an extension of their father, if you know what I mean? kind of a nepo baby thing lol. I think especially for Sokka, it’d make sense for him to look beyond his community to build his legacy. Katara seems a little more attached to Southern tradition but Sokka is all about change and the future, and I think he’d have a bigger impact in Republic City.

[leviathan-supersystem]

I want to thank you for posting about how insane the effective altruism community is and how Thielian it is like 6 years ago (maybe even further back). I've been on tumblr only sparsely since then but when i heard about how the ftx billionaires were part of this thing i thought of your posts and how right they turned out to be. I bet a lot of people remember this. So much seems to have metastasized about the things you were warning about (what feels like) very early on. Thank you for braving some deeply annoying reactionary interlocutors back then and being a voice of reason

thank you, it means a lot that you say that, i do consider my investigation into lesswrong and related to be some of the best work i've ever done, and i do think that if i hadn't been there sounding the alarm on that, a lot more people on tumblr could have gotten roped into that whole scam. like i really can imagine that whole thing getting a lot uglier if i hadn't warned people.

and like when that whole saga first started, i had no idea things were going to get so wildly out of control, like the way that it all started was that me and my mutuals were getting harassed by a bunch of people with "rationalist" in their bio, and i was like "okay who the hell are these people and where are they coming from" and i honestly didn't expect there to be anything substantial. i thought the answer would just be "they came from reddit" and that's it. so i was completely blindsided when i started digging and found out all this absolutely buck-wild shit about AI cults and Thiel funding. needless to say i found a lot more dirt on them than i was anticipating.

i'm about to go into tinfoil hat territory for a minute here, but i surmise that there is a particular psy-op strategy that involves the creation of two ostensibly opposed ideological factions which in truth serve the same broader ideological goals, positioning the "conflict" between them in such a way that people are compelled to take sides, and then leading the people on either side of that "conflict" into basically the same ideological trap. so for example, in the 80's there were a bunch of televised debates between christian figures and the church of satan, and it was this whole big broader culture war thing, presented in such a way that people would be compelled to take one side or the other, but in the end both sides of that debate were pushing a right-wing ideology which was identical on the most important points (anti-egalitarian/anti-socialist/anti-democratic. i'll be getting more into detail on that in an answer to another ask, i'm cleaning out my inbox right now).

similarly, with the recent upsurge in christian populist conspiracy theorism on tumblr these days, i can't help but imagine how much worse the scenario would be if the lesswrongers had succeeded in really taking root on tumblr and harassing the communists off the site, as they were clearly trying to. like i can imagine instead of the debate on tumblr being between "bill gates is bad because he's an evil wizard trying to give us the mark of the beast" vs. "no, bill gates is bad because he exploits his workers, poisons the earth, and is hoarding land and resources, etc" we had a scenario where the lesswrongers had supplanted the communists and the debate was between "bill gates is bad because he's an evil wizard trying to give us the mark of the beast" vs. "no, bill gates is good :)." honestly too horrible to contemplate.

[literaticat]

I have a question that I'm just not sure who to ask. I've been loving reading different books by authors and characters with different lived experiences from me. I'm querying a book with a character who shares my background as a double minority. However, I don't have any close ties with either my mother or father's cultures. They're a part of my heritage, but not a part of my culture. Does that make sense?

It seems to me that the biggest draw with books from marginalized backgrounds are the rich cultures we get to explore, and even the issues that many face in that community. Reading books from people that share a part of my identity has been amazing--but I don't have the same experiences, and I don't know the culture like they do. My worry is that when I query my book, I might tell an agent that my background is X/X and they expect to read about the culture of X/X or the expected experiences of someone from that background and it isn't there.

I feel fake having to google facts that I don't know, and even faker trying to write about things that are not my experience.

So my question is this: If I mention my racial background in my query letter--and an agent sees little to nothing about that culture, do you put down the manuscript? Do you question why this person decided to even mention their background? Do you question why the culture isn't there? It feels like if you're a minority, you HAVE to feature your culture. What if you're from a marginalized background--but you don't know your culture?

So, caveat that I'm a random white person, so I'm like, deffo not an expert about different marginalizations or racial or cultural identities AT ALL, soooo -- maybe this is going to be a ding-dong answer???? Feel free to ignore it, I don't want to like, "whitesplain" anybody or talk over anyone, and if people have BETTER answers, I invite them to chime in! But hey, you asked me, so I'm gonna attempt it.

I feel like your experience as a bi-racial/bi-cultural person who doesn't really know about their parent's heritage is like... very valid as its own experience. Not everyone does know -- while of course there are tons of families that prioritize kids knowing their background/ culture/heritage, customs, language, etc... there are also tons of families who want to assimilate to wherever they are, where learning about "the old country" is NOT a priority.

I mean, I know plenty of young people whose parents or grandparents were immigrants to the US before they were even born, who don't know a lick of their parents or grandparent's language beyond tentative "hello/goodbye/thank you", have never been to that country, appreciate the food and culture and holidays and whatnot but don't really participate in them, or have a totally "American" way of participating in them -- that's part of the diaspora experience, too. Feeling confused or conflicted or "neither fish nor fowl" about it is normal and legit. And there is NOTHING wrong with putting that experience in a book.

Basically, IMO, you don't need to know everything about whatever-culture -- what's wrong with writing a character who DOESN'T KNOW? Maybe they are curious and want to find out. Maybe they are bringing their own assumptions and biases to learning about it, or never want to learn about it. Maybe they realize that there's something important about connecting with parts of it but also question or reject other parts and make their OWN traditions. Maybe this is a source of tension within the family, or maybe not? Maybe this not-knowing is indeed the catalyst of the story.

OR, maybe race/background has nothing to do with the story REALLY, it's just an adventure or romance of some random kind that could happen to any kind of person -- that's fine and good too btw -- but since you DID make your character Indian-Peruvian-American from the Bronx (or whatever) -- their experience probably WILL be different than if the adventure or romance was happening to Becky the White Farm Girl from Idaho, just like it would be different if it were happening to snobby Siobhan from Dublin, or Andrew, the Black nerd from San Francisco, or whatever. Your character's background, race, experiences, temperament, knowledge-base, etc, is going to inform how they react to whatever happens in your book, right?

(Just like a small woman walking alone at night probably has a different internal monologue than a burly dude walking alone at night; a BIPOC person probably has a different feeling about seeing flashing lights behind them than the white son of the Police Chief has, etc -- people say things like "oh, it really doesn't MATTER if the main character is Black or white or a man or a woman or non-binary or whatever -- it's just a STORY -- and yeah, OK, I guess it IS just a story -- but it also is a DIFFERENT STORY from all those different points of view, right? So how does YOUR character react to the things that happen or the adventure that is afoot?)

All of this is a very RAMBLY way to say -- I don't think there's anything wrong with writing a character with your background -- but I also don't think there's any reason you have to shoehorn in a bunch of references that check off some imaginary list of "culture boxes" but are NOT true to your own experience as a second-generation Indian-Peruvian-American from the Bronx who knows not much about India or Peru. That is its own experience -- and that's cool and interesting, too.

(And in your query letter you can even address it -- like, "My main character also shares my Indian-Peruvian-American heritage mash-up, and was somewhat inspired by my own experiences growing up disconnected from my roots and trying to figure out my own traditions" or "Like my main character, I grew up in the Bronx, and while my background is 50% Peruvian and 50% Indian, to the dismay of my grandparents, I identify as 100% New Yorker." So that the agent won't go in thinking "oh, I'm about to read a story all about the MAGIC OF INDIA" -- they'll know that you are NOT writing that story.)

[0613magazine]

210518 Rolling Stone - RM

A Deep Conversation with BTS’ RM on His Group’s Early Years, Drake, Whether BTS Is K-Pop, and More

"I had a sense of urgency and desperation about going after my dreams," says BTS' leader

“I was someone who wanted to go to a top college, an Ivy League school by American standards,” says RM, BTS’ leader. “I was a typical student who was trying hard to achieve. And then I trusted [HYBE founder] Mr. Bang, and I started to walk down a different path. And I had a sense of urgency and desperation about going after my dreams.” RM’s gifts as a rapper, songwriter, and producer have been essential to BTS’s development, as have his wide-ranging intellectual interests. In an interview from his label’s headquarters, the artist formerly known as Rap Monster discussed whether BTS should be considered K-pop, the uniqueness of South Korean hip-hop, the highlights of the Most Beautiful Moment in Life era, and more.

You quoted the great abstract artist Kim Whan-ki recently: “I’m Korean, and I can’t do anything not Korean. I can’t do anything apart from this, because I am an outsider.” You said that was a key thing you’ve been thinking about lately. How does that idea apply to your work? So much of the pop and hip-hop I listened to came from America. But for me, as a Korean, I think we have our own characteristics and some kind of localized identity. I can’t really explain it very well, but there are some characteristics that we Koreans have, or maybe Eastern people. So we try to kind of combine those two things into one, and I feel that we created a new genre. Some may call it K-pop; some may call it BTS, or some Eastern-Western combined music, but I think that’s what we’re doing. If you think about the Silk Road in the past, there’s this idea of Eastern people and Western people meeting on some kind of, like, big road and maybe doing selling and buying of stuff. I think this story repeats itself, and some kind of new, interesting phenomenon is happening. We feel very honored to be existing in the very eye of this big hurricane.

There’s so much great Korean hip-hop, including your early heroes Epik High, who are still active. What did you hear in it early on, and what do you hear in it now? There’s always a process of when something new comes into another culture, where the identity gets transformed and it changes and adapts to this new place. Obviously, there are differences between Korea and the United States that affect the music. For example, Korea is not a multiethnic country like the United States. So there are different sensitivities that are underlying the music. Korean rappers of course have their own unique and different lyricism, their own situations and hardships that they fit into the process. As a Korean, obviously, these are the things that resonate with me.

Obviously, there’s a saying there’s nothing new under the sun. So especially for people like us, in the margins of the world, so to speak, we think about how can we transform this and how can we make this our own. So these are the things that I think about when I try to balance the inspiration of Korean and American rappers. And, I think, now though, there’s a convergence of all genres of music. 

When BTS first started, there was this conflict in some people’s minds and in your own between the idea of being a rapper or being an idol, which we’d call a pop star. This is obviously something you’ve addressed in song. Maybe you can explain a little about that conflict and why it seemed so important at the time? When I was young, I wanted to be a writer of prose and poetry, and then I found rap. And a lot of what I wanted to do went into the music. And, yes, there was this idea of being a pure artist or a pure rapper. So in the beginning, it is true that when we were debuting as a pop act, there were times when I had to sort of reorganize my identity and then reflect on what my identity is. And at the beginning we didn’t see positive results. We didn’t have a lot of fans. We didn’t have great results. There were some times when we were mocked.

So it is true that it took some time for that identity to develop and settle itself. But, you know, whether it’s rap or pop music, or whatever it is, it is another method for me to show my mind and express my voice, and having that resonate with people. So a lot of that conflict resolved itself. And I think things today are very different from what they were like in 2013, because even though there’s still a lot of discussion about what is pure, what is authentic, what is sincere, what’s an artist, what’s a pop musician, those boundaries have become less and less meaningful. As long as I can show what I’ve written, it’s valid as the continuation of my dream and what I always wanted to do.

It feels like BTS really found itself around the time of Most Beautiful Moment of Life. That’s where everything came together. How do you look back on that time? Despite the name, Most Beautiful Moment in Life, that was actually a very tumultuous period for me and for us. There was the tough image we had in 2 Cool 4 Skool, in those early stages, a sort of exaggerated expression of toughness and that angst. And then we sort of slowed down a little bit and tried to express the emotions of young people who have really nothing more than dreams. It was a more honest sort of expression, and we witnessed how it was resonating with a lot of people.

There was some confusion because this was something new, and we were showing ourselves to be more vulnerable, more delicate, which was very different. But we realized that it was meaningful, and as we went forward to the Love Yourself series, we started to discover that more and more as we continued.

I know that many fans don’t see BTS as part of K-pop. And you, yourselves, have said that “BTS is the genre.” How do you see it? That’s a very important debate. Because what they call K-pop, that genre is expanding very fast. For example, some so-called K-pop groups have only foreigners, from Europe, India, China, like, everywhere. There are no Korean members, but they do the K-pop thing, they’re switching the parts, and so on. BTS is expanding very fast as well. And K-pop is now so wide. Somebody could say that K-pop is for Koreans who sing a Korean song. That could be K-pop. But what about “Dynamite”? We sing the song in English. But we’re all Koreans, so somebody may say it’s a K-pop song. Or they may say it’s just a pop song, because it’s in English. But we don’t actually really care about whether people see us as inside or outside K-pop. The important fact is that we’re all Koreans, and we’re singing a pop song. So that’s the reason why we said that our genre is just BTS. That debate is very important for the music industry, but it doesn’t mean very much for us members.

What music really changed your idea of what’s artistically possible? I started with Nas, Eminem, the golden age of hip-hop. And the turning point was Drake, in 2009, when he released So Far Gone. That album was kind of shocking for me because it was kind of a freaky thing that a rapper actually sang. So after that a lot of rappers began to sing, deciding to put the melodies into their songs across the genres, between raps and melody. So, yeah, that was the moment.

When you rapped that your “shadow … is called hesitation,” what did you mean by that? It can be called hesitation or cautiousness, but, I think, there is a form of hesitation that prevents you from taking risks and prevents you from challenging yourself.

I know you motivated the members by saying that your grandkids might watch your Grammys performance someday. Is that something you think about often? It gives me a lot of goosebumps sometimes that our every moment leaves traces online where everyone can see them. So, yeah, I think that helps us keep motivated.

Some film actors have a saying, “Pain is temporary. Film is forever.” [Nods.] Life is short. Art is forever.

Source: Rolling Stone

[funeralcryptid]

Hello, how is your day going?

thank you for clarifying my question about what to offer you. I offer you the bust of the Bratz doll that my mom gave me with whom she played as a child to do her hair. 🥰

I remember my question was about Deities.

I would like to know which deities are interested in working with me or which ones I would have a good affinity to work with and why. Thank you very much 🥰♥️

Initials: A.T.G.A

☀️♎🌑♉↗️♐

Hope you have a nice day.

And thank you so much!

Welcome,

Thank you for resending your request with the offering.

First I asked how many deities are looking at you, and I believe currently it's only 1 deity. She is feminine and is very in touch with her intuition. That is, she seems to be a goddess of knowledge and intuition. You have caught her attention but she doesn't seem to plan on approaching you first. She is mostly open to you reaching out and seeing how things go.

I am feeling very angry for some reason, so she might also have an aspect or side that goes into battle or oversees war, much like Aphrodite.

I got many water cards so look out for imagery that associates the goddess to water. This doesn't necessarily mean she is a goddess of water though, she is simply associated to it in a way or more. She is someone extremely loyal to herself, and she appears emotional both in temper (anger is not strange to her) and matters of the heart (like love, joy). I see that this goddess has a lot to share only to the people she chooses and look up to her, and those who have been left behind and are left to survive by themselves. She is a very nurturing goddess both resourcefully and emotionally. She knows a lot about balance and understanding the multiple conflicting nature that a person can have.

She is also someone that provides and makes her devotees understand the importance of planting a seed and nurturing it through hard work, sacrifice, love and commitment. She is a goddess of growth and inner transformation through tradition and rituals, so she encourages doing what it takes to understand yourself and truly accept who you are.

I went into this thinking of Aphrodite, but I finish this section thinking of a sort of nature goddess. The water association with bits of earth are the main elements in this. Anyhow, try looking at your own culture and its goddesses because she might be more closely related to you than you think.

In regards to what gods would be a good match for you, I first got all earth cards. I see a god that rewards hard work and slowly building up your way to being a better person while also getting what you want and need. In other words, this is a god of manifestation and getting you out of your comfort zone. Is the kind of god that will ask you to focus on your life and your environment, what you can learn from it and by interacting with it. This god makes people open their mind to new aspects and people, he rewards teamwork, and also accepting your conflicted nature in the face of pressure, conflict and inner turmoil. We're talking about a god that pushes you to grow in your own way, someone that cares about you having what you deserve but by manifesting through action and also relying on him. Offerings and maybe music are very important to this deity. The one deity that comes to mind is lord Ganesha, but there might be other most fitting deities for you.

There is also another goddess who would be a good match with you. I'm seeing a goddess related to the moon and/or someone that focuses heavily on the subconscious. Someone who works through transformation and a lot of self introspection. Perhaps she is a goddess of withcraft, magic, and/or divination. She is a very feminine and emotional deity and she is deeply rooted in tradition. Hekate comes to mind but I can't guarantee her identity.

Hades keeps coming to mind in this reading, maybe consider looking into his lore?

Anyway a multitude of different deities, but both that's what I got.

All in all, I hope this reading was insightful.

[pipinas-sketchbook]

Collection B

For my second collection, I wanted to explore the idea of heirlooms, and what is allowed in that category. What is the difference between a "hand-me-down" and an heirloom? Both are passed down between generations and often hold emotional value. Is the simple fact that my grandmother's blanket isn't worth much money what deems it unworthy of the title of heirloom? It seems like the distinction of heirloom and hand-me-down lies in class above all, and with this project I wanted to deconstruct this concept and blur the lines of the "heirloom" category.

When choosing my items, I wanted to bring some items that fit more easily in the traditional idea of what an heirloom is (like my grandmother's pearls or my dad's childhood gold ring), and some that stray outside of that box (i.e. a hand-me-down bandana from my cousin, an old broken book from my aunt, a gift from my friend) to contrast each other.

image description: an old brown leather suitcase

For the container, I chose the suitcase that my grandfather travelled from Greece to Canada with in the 60s when he immigrated here. It is one of my most important heirlooms, but to many an old scuffed up leather bag is not precious enough to earn the title of heirloom. I think this container introduces the themes I wanted to work with very well: inter-generational objects, connection to my family's past, class, and displacement.

image description: all the items of my collection. In no particular order: a scarf that used to belong to my mother, an old broken copy of alice in wonderland from my aunt, a vase with a greek myth depicted on it from my (paternal) grandmother, a shoe that used to belong to another aunt, a coin purse gifted from my mother that I remember fighting with my sister over, a planter in the shape of two hands as if they are offering something gifted from an old friend, a hand-me-down bandana from my older cousin I got 10+ years ago, a pearl necklace from my (maternal) grandmother I got for graduating high school, a lesbian pride coloured necklace from a friend, a horse chestnut my little cousin gave to me (she collects them), a thrifted sweater my older brother gave me, and a blanket from my (maternal) grandmother.

When unboxing my objects, I noticed a theme that I hadn't really planned on exploring: my identity and relationship to my culture as a grandchild of immigrants. While I was placing items, there seemed to be a naturally developing contrast between objects that connect back to my family history and/or Greek ancestry, and the objects that represent me as an individual. Because of the two generations separating me from the country my family comes from, I often feel disconnected from the culture that my grandparents come from. I can barely hold a conversation in their mother tongue and when I visit my grandmother's village, I feel like a tourist in my own home. I think holding onto the objects tied to my grandparents and their culture (ring, luggage, vase, pearls) is a way of feeling closer to them. But I can't help but notice how these pieces are in conflict with the other pieces; most notably, the contrast between the two necklaces. One is a pearl necklace given to me as a high school graduation gift from my grandmother, very reminiscent of traditional femininity, and only worn twice in the four years I've had it. The other is a lesbian pride necklace my friend gifted me, it's the first pride piece I've ever owned and it's so worn in that the paint is chipping off the beads. Both of these items represent a sense of pride. The pearls are the pride of my grandmother for graduating high school (something she never had the chance to do) and the necklace is my own pride in my identity. As much as I love them both, they clash with each other: the former representing a traditional side of my family's culture, coming from a country I still can't even get married in if I wanted to, and the latter representing a part of my identity I wear proudly every day. It is trying to hold onto a part of my identity that belongs to a traditional culture while embracing a part of me that same culture rejects.

image description: notes I took after getting home from class late Tuesday night

As for the presentation, I liked presenting to just one person because it felt more intimate. It was a bit uncomfortable because of the intimacy of showing my prized possessions to someone I met two weeks ago but I enjoyed the experience. I particularly liked waiting in the other room with my classmates, I feel like I got to know my peers better and was able to connect with them in unexpected ways.

All in all the project was interesting and the mode of presentation was fun.

[pumpkinpaix]

mdzs fandom, diaspora, and cultural exchange

Hey everyone. This post contains a statement that’s been posted to my twitter, but was a collaborative effort between several diaspora fans over the last few weeks. Some of the specifics are part of a twitter-localized discourse, but the general sentiments and issues raised are applicable across the board, including here on tumblr.

If you’ve been following me for a while, you’ve probably seen a few of my posts about this fandom, cultural exchange, and diasporic identity. For example, here, here, and here. This statement more directly criticizes some of the general issues I and others have raised in the past, and also hopefully provides a little more insight into where those issues come from. I would be happy if people took the time to read and reblog this, as the thought that went into it is not trivial, and neither is the subject matter. Thank you.

Introduction

Hello. I'm a member of a Chinese diaspora discord server - I volunteered to try and compile a thread of some thoughts regarding our place and roles in the fandom expressed in some of our recent discussions. This was primarily drafted by me and reviewed/edited by others with the hopes that we can share a cohesive statement on our honest feelings instead of repeatedly sharing multiple, fragmented versions of similar threads in isolation.

This was compiled by one group of diaspora and cannot be taken to represent diaspora as a whole, but we hope that our input can be considered with compassion and understanding of such.

For context, we are referencing two connected instances: the conflict described in these two threads (here and here), and when @/jelenedra tweeted about giving Jewish practices to the Lans. Regarding the latter, we felt that it tread into the territory of cultural erasure, and that it came from a person who had already disrespected diaspora’s work and input.

Context

The Lans have their own religious and cultural practices, rooted both in the cultural history of China and the genre of xianxia. Superimposing a different religious practice onto the Lans amidst other researched, canonical or culturally accurate details felt as if something important of ours was being overwritten for another’s personal satisfaction. Because canon is so intrinsically tied to real cultural, historical, and religious practices, replacing those practices in a canon setting fic feels like erasure. While MDZS is a fantasy novel, the religious practices contained therein are not. This was uncomfortable for many of us, and we wanted to point it out and have it resolved amicably. We were hoping for a discussion or exchange as there are many parallels and points of relation between Chinese and Jewish cultures, but that did not turn out quite as expected.

What happened next felt like a long game of outrage telephone that resulted in a confusion of issues that deflected responsibility, distracted from the origin of the conflict, and swept our concern under the rug.

Specifically, we are concerned about how these two incidents are part of what we feel is a repeated, widespread pattern of the devaluing of Chinese fans’ work and concerns within this fandom. This recent round of discourse is just one of many instances where we have found ourselves in a position of feeling spoken over within a space that is nominally ours. Regardless of what the telephone game was actually about, the way it played out revealed something about how issues are prioritized.

Background

MDZS is one of the first and largest franchises of cmedia that has become popular and easily accessible outside of China. Moreover, it’s a piece of queer Chinese media that is easily accessible to those of us overseas. For many non-Chinese fans, this is the first piece of cmedia they have connected with, and it’s serving as their introduction to a culture previously opaque to them. What perhaps is less obvious is that for many Chinese diaspora fans, this is also the first piece of cmedia THEY have connected with, found community with, seen themselves in.

Many, many of us have a fraught relationship with our heritage, our language—we often suffer from a sense of alienation, both from our families and from our surrounding peers. For our families, our command of the language and culture is often considered superficial, clunky, childish. Often, connecting with our culture is framed as a mandatory academic duty, and such an approach often fosters resentment towards our own heritage. For our non-Chinese peers, our culture is seen as exotic and strange and other, something shiny and interesting to observe, while we, trapped in the middle, find ourselves uprooted and adrift.

MDZS holds an incredibly important place in many diaspora’s hearts. Speaking for myself, this is literally the first time in my life I have felt motivated and excited about my own native tongue. It's the first time I have felt genuine hope that I might one day be able to speak and read it without fear and self-doubt. It is also the first time that so many people have expressed interest in learning from me, in hearing my thoughts and opinions about my culture.

This past year and a half in fandom has been an incredible experience. I know that I am not alone in this. So many diaspora I have spoken to just in the last week have expressed similar sentiments about the place MDZS holds in their lives. It is a precious thing to us, both because we love the story itself, and because it represents a lifeline to a heritage that’s never felt fully ours to grasp.

It’s wonderful to feel like we are able to welcome our friends into our home and show them all these things that have been so formative to our identities, and to be received with such enthusiasm and interest. Introducing this to non-Chinese friends and fans has also been an opportunity to bridge gaps and be humanized in a way that has been especially important in a year where yellow peril fear mongering has been at an all-time high.  

History

However, MDZS’ rise in popularity among non-Chinese audiences has also come with certain difficulties. It is natural to want to take a story you love and make it your own: that’s what transformative fandom is all about. It is also natural that misunderstandings and unintentional missteps might happen when you aren’t familiar with the ins and outs of the culture and political history of the story in question. This is understandable and forgivable—perfection is impossible, even for ourselves.

We hope for consideration and respect when we give our knowledge freely and when we raise the issue of our own discomfort with certain statements or actions regarding our culture. Please remember that what is an isolated incident to you might be a pattern of growing microaggressions to us. In non-Asian spaces, Asian diaspora are often lumped together under one umbrella. In the west, a lot of Chinese diaspora attach themselves to Korean and Japanese media in order to feel some semblance of connection to a media which approximates our cultures because there are cultural similarities. This is the first time we've collectively found community around something that is actually ours, so the specificities matter.

There is a bitterness about being Asian diaspora and a misery in having to put up a united front about racial issues. Enmity towards one group becomes a danger to all of us, all while our own conflicted histories with one another continue to pass trauma down through the generations. Many of us don’t even watch anime in front of our grandparents because of that lingering cultural antipathy. When the distinctions between our cultures are muddled, it feels once again like that very fraught history is flattened and forgotten.

Without the lived experience of it, it’s hard to understand how pervasive the contradictory web of anti-Asian and, more specifically, anti-Chinese racial aggressions are and how insidious its effects are. The conflation of China the political entity (as perceived and presented by the US and Europe) with its people, culture, and diaspora results in an exhausting litany of criticism levied like a bludgeon, often by people who don’t understand the complicated nature of a situation against those of us who do.

There is often a frankly stunning lack of self-awareness re: cultural biases and blind spots when it comes to discussions of MDZS, particularly moral ones. There are countless righteous claims and hot takes on certain aspects of the story, its author, and the characters that are so clearly rooted in a Euroamerican political and moral framework that does not reflect Chinese cultural realities and experiences. Some of these takes have become so widespread they are essentially accepted as fanon.

This is a pattern of behavior within the fandom. It is not limited to any specific group, nor does it even exclude ourselves—we are, after all, not a monolith, and we should not be placed on pedestals to have our differing opinions weaponized against one another in fandom squabbles. We are not flawless in our own understandings and approaches, and we would appreciate it if others would remember this before using any of us as ultimate authorities to settle a personal score.

It is difficult not to be disheartened when enthusiastic interest crosses the line into entitled demand and when transformative work crosses into erasure, especially when the reactions to our raised concerns have so frequently been dismissive and hostile. The overwhelming cultural and emotional labor we bring to the table is often taken advantage of and then criticized in bad faith. We are bombarded with racist aggressions, micro and macro, and then met with ridicule and annoyance when we push back. Worse, we sometimes face accusations of hostility that force us to apologize, back down, and let the matter go.

When we bring up our issues, it usually seems to come with the expectation that there are other issues that should be addressed before we can address ours. It feels like it’s never really the time to talk about Asian issues.

On the internet and in fandom spaces, Western-coded media, politics and perspectives are assumed to be general knowledge and experience that everyone knows and has. It feels like a double standard that we are expected to know the ins and outs of western politics and to engage on these terms, but most non-Chinese have not even the slightest grasp of the sort of politics that are at play within our communities. We end up feeling used for our specialized knowledge and cultural background and then dismissed when our opinions and problems are inconvenient.

As the culture represented in MDZS is not a culture that most non-Chinese fans are familiar with, we’d like to remind you that you do not get to decide which parts of it are or are not important. While sharing this space with Chinese diaspora who have a close connection to the work and the painful history that goes along with being diaspora, we ask that you be mindful of listening to our concerns.

Cultural erasure is tied to a lot of intense historical and generational trauma for us that maybe isn't immediately evident: the horrors of the Pacific theatre, the far-reaching consequences of colonization, racial tensions both among ourselves and with non-Chinese etc. These are not minor or simple things, and when we talk about our issues within fandom, this is often what underlies them. This is one of the first and only places many of us have been able to find community to discuss our unique issues without feeling as if we’re speaking out of turn.

With the HK protests, COVID, the anti-Chinese platforms of the US election etc., anti-Chinese sentiment has been at the forefront of the global news cycle for some time now, and it is with complete sincerity that we emphasize once again how important MDZS fandom has been as a haven for humanizing and valuing Chinese people through cultural exchange.

Experiencing racial aggression within that space stings, not just because it’s a space we love, but because it feels like we’ve been swimming in rapidly rising racial aggression for over a year at this point.

Feelings

This is a difficult topic to broach at the best of times, and these are not the best of times. Many of us have a wariness of rocking the boat instilled in us from our upbringings, and it is not uncommon for us to feel like we should be grateful that people want to engage with something of ours at all. When we do decide to speak up, we’ve learned that there is a not insignificant chance that we’ll be turned on and trampled over because what we’ve said is inconvenient or uncomfortable. When it is already so difficult to speak up, we end up second-guessing and gaslighting ourselves into wondering whether there really was a problem at all.

We’d like to be able to share what we know about our culture and have our knowledge and experience be taken seriously and treated with courtesy. This is a beautiful, rich world built with the history of our ancestors, one that we too are trying to connect with. When we find it in ourselves to speak up about it, we would appreciate being met with consideration instead of hostility.

We don't have the luxury of stepping away from our culture when we get tired of it. We don't get to put it down and walk away when it’s difficult. But if you're not Chinese or Chinese diaspora, you get to put this book down—we'd like to kindly request that you put it down gently because of how much it matters to all of us in this fandom, regardless of heritage.

What we are asking for is reflection and thoughtfulness as we continue to engage with this work and with one another, especially with regards to how Chinese issues are positioned. When we raise issues of our own discomfort, please take a moment to reflect before reacting defensively or trying to shut us down for spoiling the fun—don’t deprioritize our concerns, especially in a fandom for a piece of Chinese media. We promise most of us are not trying to start shit for the sake of a fight. Most of the time, all we want is acknowledgement and a genuine attempt at understanding.

Our hope with this statement is to encourage more openness and understanding between diaspora and non-Chinese fans while we navigate this place that we’re sharing. Please remember that for many of us, MDZS is far more intense than a typical fandom experience. Remember that the knowledge we have and research we do is freely and happily given, and that it costs us both materially and emotionally. Please don’t take that for granted. Remember too that sometimes the reason for our discomfort may not be immediately evident to you: what seems culturally neutral and harmless might touch upon specific loaded issues for us. We ask for patience, and we ask for sincerity as we try to communicate with one another.

We are writing this because there’s a collective sense of imposed silence—that every time the newest round of discourse crops up, we often feel as if we’re walking away having created no meaningful change, and nursing new wounds that we’ll never get to address. But without speaking up about it, this is a cycle that will keep repeating.

This is not meant to shame or guilt the fandom into throwing themselves at our feet, either to thank us or beg for forgiveness—far from that. We’re just your friends and your fellow fans. We are happy to have you here, and we’re happy to create and share and play together. We just ask to be respected and heard.

Thank you. Thank you for listening. Several of us will be stepping back from twitter for a while. We’ll see you when we get back. ❤️

* A final addendum: here are two articles with solid practical advice on writing stories regarding a culture other than your own.

Cultural Appropriation for the Worried Writer: Some Practical Advice

Cultural Appropriation: Some More Practical Advice

The thread on twitter is linked in the source of this post. Thanks everyone.

[iamthenightcolormeblack]

Impressions of Bride and Prejudice (2004)

I finally watched this movie as it is currently free on YouTube! It's a really interesting "modern-day" adaptation (specifically a Bollywood musical) of Jane Austen's Pride and Prejudice which takes place in Amritsar, India, London, England and California, USA instead of the English countryside. It stars Aishwarya Rai as Elizabeth Bennet (now Lalita Bakshi) and Martin Henderson as Mr. Darcy (William Darcy).

Names:

Bakshis = Bennets

Jaya Bakshi = Jane Bennet

Lalita Bakshi = Elizabeth Bennet

Maya Bakshi = Mary Bennet

Lakhi Bakshi = Lydia Bennet (Kitty isn't included here)

Kholi Saab = Mr. Collins

Balraj = Bingley

Chandra Lamba = Charlotte Lucas

Kiran = Caroline Bingley

Darcy's mother (Catherine Darcy) = Lady Catherine de Bourgh

The Casting:

Aishwarya Rai as Lalita Bakshi. She's captivating and beautiful as Lalita, with intelligence and wits to match. The film understands why Elizabeth Bennet is one of literature's greatest heroines: she has a lot of self-respect, speaks her mind, and refuses to compromise on her values. What's most important is that she achieves the balance between the two clashing cultures: she cares about her family and respects Indian traditions yet is also a strong individual who keeps her dignity.

Martin Henderson as William Darcy. I don't like that Darcy is an American in this movie because (in general) Americans are usually less reserved than British people, so it takes away a key part of Darcy's character (his repressed emotions). He's much more sympathetic than book Darcy because he seems to be more open-minded towards Indian culture the more he learns about it (unlike book Darcy, who is stubborn and insists that his "good opinion once lost is lost forever"). In the book, Darcy's pride has several characteristics (belief in the correctness of his opinions, belief in his social superiority, bad treatment of others he thinks is beneath him). I don't like how the film simplified his pride into imperialism/ethnocentrism, which he lets go of pretty quickly. Plus his "rudeness" can easily be perceived as discomfort in a new cultural environment because he hasn't been exposed to Indian culture, whereas in the book it seems to be intentional (and Darcy acknowledges to Elizabeth that he was taught to treat others beyond his own social circle meanly). Overall I had rather too much sympathy for him because he's too easy to read; he's experiencing a lot of culture shocks which he isn't prepared for, and his imperialistic beliefs (which come from his mother) don't help. One of the reasons book Darcy is interesting is because he's mysterious; his emotions remain hidden and the only sign of his growing love for Elizabeth is his staring at her. This Darcy is just a typical white American boy who is in love with a woman far superior to him in terms of intellect and cultural awareness.

Nitin Ganatra as Kohli Saab. Mr. Collins is one of my favorite cringe characters ever and never fails to disappoint. In this movie, he's an accountant who lives in the Beverly Hills area in Southern California and is very arrogant because he thinks he's a big shot living close to celebrities in a one-of-a-kind colonial home (when in actuality he lives in a cookie-cutter house in a suburb). He peppers his speech with Western slang to show off how "American" (and thus wealthy) he is, yet still clings to outmoded beliefs that women should be submissive housewives. He represents the very worst of Western culture in that he's materialistic and looks down on Indian culture as beneath him. In his quest for riches he has lost his Indian identity and become greedy.

Notable Scenes:

The first dance. Balraj is happy to have fun and show off his awesome dancing skills. Darcy, meanwhile, observes that the mothers are eyeing Balraj for the marriage market and is worried that his friend may be trapped by gold-diggers. He's clearly uncomfortable and out of his element here, so Kiran helps translate the songs for him. It's interesting seeing Kiran as a translator here because it would explain why she's one of the few people Darcy hangs out with; she's a cultural intermediary here to help him acclimate to a strange new environment.

Darcy snubs Lalita. This part in the book where Darcy insults Elizabeth by proclaiming her "tolerable, but not handsome enough to tempt me" is significant in forming Elizabeth's hatred of Darcy. Not only is he impolite in refusing to dance with Elizabeth, he also shames her by criticizing her looks. In the movie, Darcy excuses himself from dancing with Lalita by saying that he's busy preparing for a conference (in this version, he's a rich businessman who operates luxury hotels). I wish they had kept the original insult in because without it, Lalita's dislike of Darcy has less merit. While it was impolite of him to not dance, he did use a proper excuse and didn't insult Lalita, so unlike in the book, it doesn't make sense why she would hate him so intensely after that one meeting.

A Marriage Has Come to Town song. In this song-and-dance number, Lalita and Jaya are preparing for the wedding to Balraj. The whole town is excited for the wedding and Lalita wonders if life for a woman is all about getting married to be a mere wife: "It seems they had nothing in their lives before today / and why are they so happy to give a daughter away."

Darcy and Lalita conversation #1: Lalita points out most Amritsar residents can't afford to stay at Darcy's luxury hotels; Darcy says standards are necessary, justifying the high price. Darcy says he finds arranged marriages strange and "backwards," hinting at an affinity with Lalita as they are both "romantics." Lalita, still thinking that Darcy is attempting to insult Indian culture, says that arranged marriages have evolved and may not be so evil as he thinks it is.

Lalita and Darcy "accomplished woman" scene. So they have the part from the book where they have Darcy's unrealistic list of the characteristics of his perfect woman and then it becomes a culture clash. Lalita says Darcy's whole hotel business is imperialism (the tourists visit without appreciating Indian culture and the jobs created only benefit the well-off). Darcy replies: "But I'm not British" ("American exceptionalism" is just another form of imperialism).

Dinner with Kohli Saab. I love watching all the "Dinner with Mr. Collins" scenes from all Pride and Prejudice adaptations because it reveals Collins' great arrogance in assuming himself to be of greater importance than he is, as well as his bad manners. This movie does not disappoint; Kohli Saab literally eats with his fingers, shoving rice into his mouth while talking at the same time. Meanwhile, he spews out misogynistic views of women, stating that he came to India to find a "traditional" wife who will serve and obey him; after all, there is "no life without wife." He notes that the Indian-American girls have "a conceited sort of independence" (not what he actually said in the movie, this is a quote from the book which really fits here) and that some of the Indian-American girls "have turned into the lesbian." Lalita later recalls that watching Kohli Saab eat is like observing "a Jackson Pollock painting."

"No Life Without Wife" song. An accurate reading of Kholi Saab: he's "crude and loud" and came to find a wife by flashing his "green card, new house, and big cash." The song reveals what a hypocrite he is; he's lonely and pathetic because there is "no life without wife" yet he won't respect his wife as his equal. I love the "Kohliwood" fantasy sequence where Lalita pictures herself unhappily serving Kohli as a submissive wife. After the song ends Lalita imagines herself marrying Wickham in the English countryside before it turns out Darcy is the groom; she runs away from him.

The Cobra dance. Maya shows off her dancing skills in an awkward dance. Kholi criticizes Indians for being "unsophisticated" (what an arrogant person) while Darcy, in a change of heart, praises how highly they value family.

Kholi's proposal. I love how he tries to train himself to power walk because it's trendy and before proposing stretches himself clumsily, knocking over a pot (he definitely isn't husband material). Lalita mocks Kholi's obsession with physical health, pointing out that many people are physically healthy but don't exercise their minds.

Visiting Kiran. Kiran is arrogant and takes the Bakshis over to her fancy apartment where the mother tries and fails to show some cultural knowledge. I find it interesting that the movie made Lalita and Kiran foils of each other. They are both intelligent women who are "multicultural" in that they can navigate both Indian and Western culture, but they use their cultural knowledge in different ways. Kiran uses it to belittle others and demonstrate her own superiority, while Lalita uses it as a means of gaining respect for herself and others.

Darcy ends up on the same airplane flight as Lalita. This is a cute scene where he gives the first class seat to Mrs. Bakshi just so he can sit with Lalita in economy class (he's totally in love with her!).

Kohli Saab's epic house tour. Love how he pays great attention to the jet tubs and the closets.

Meeting Darcy's mom. She's totally ethnocentric and possibly racist. The first thing she asks Lalita is "tell me about India" and she expresses her disappointment at Darcy's decision (because of Lalita, it's so obvious he's in love) not to buy the hotel in India because "everybody has their hand on India these days" (brings to mind spheres of influence/colonialism since the mother sees India as a place to make a profit). Then the mother reveals that she really isn't interested in India and only knows about its stereotypes: "well, with yoga, and spices, and...wonderful Eastern things here there's no point in traveling there anymore." Meanwhile Lalita retorts that "people haven't stopped going to Italy because Pizza Hut's around the corner."

The first proposal. Darcy's conflicted feelings for Lalita are effectively summed up (perhaps better than in the book, where he begins well but ends with a long account of the inferiority of Elizabeth's connections): "he loves her in spite of the fact that he tried to forget about her, he still wants to marry her in spite of the fact that his family (specifically his mom) will disapprove." Unfortunately, the emphasis on the social inferiority of Lalita's family is left out; Darcy doesn't say anything else until Lalita claims that he thinks her family is inferior and blames him for separating Jaya and Balraj. I don't like this because it seems like the separation of Jaya and Balraj was the only reason Elizabeth rejected Darcy. Also Elizabeth's admission that she did try to overlook her prejudice of Darcy doesn't make sense, because only after the first proposal does she do so.

Plot Changes. The major plot points are all included but the "order of events" has changed:

Lalita and Darcy become friends and she meets his family before his disastrous first proposal. There's a montage where they are traveling alone together, visiting the Grand Canyon and sharing a moment on the beach. I don't like this change because Darcy's separating Jane and Bingley wasn't the only reason Elizabeth rejected him, it was because she hated him (arrogant, proud, doesn't treat others nicely). By showing early on that Darcy is a good person, Lalita's prejudice against Darcy makes less sense because she now has a glimpse of Darcy's true character which in the book doesn't happen until the Pemberley visit.

Their early friendship disrupts Darcy's character journey because it reduces the significance of the first proposal to his character development. In the book, he doesn't start to reform himself until Elizabeth tells him that he needs to behave in a "more gentleman-like manner."

The first proposal is the consequence of all the miscommunication and false perceptions affecting Elizabeth and Darcy, and it motivates both characters to change. Elizabeth rightly scolds Darcy for being inconsiderate; he did the proposal for the selfish reason of purging his feelings so that he wouldn't have to suffer anymore and assumed that she would say yes. Elizabeth rejects him because of his rude manners and lack of consideration, and his defensiveness (where he portrays himself as the victim of feelings and implies he's such a good boy for wanting to marry her in spite of her horrid family) doesn't help. After realizing the extent to which Elizabeth hates him, Darcy writes The Letter to set things right, and Elizabeth realizes that she is not the best judge of character. Thus, giving us a fuller picture of Darcy's character and letting him charm Lalita before the first proposal reduces the significance of the event to the plot and character development.

Wickham and Lakhi have a connection early on, making Lakhi's attempted elopement inevitable. Right after the failed first proposal, Lakhi runs off with Wickham and Lalita and Darcy find out about it at the same time that Darcy comes to apologize and tell Lalita that Wickham is bad. I love that Wickham was punished really badly; after Darcy fights him, he gets slapped twice, once by Lalita and the second time by Lakhi. Even better is that Lakhi doesn't end up with Wickham.

Themes

The film uses the culture clash between India (Eastern) and Western cultures to examine what makes a good marriage.

Indian culture as presented by the film is more collectivist ("we" over "I"). It also promotes traditional gender roles, with women expected to be "meek and submissive" wives. In contrast, Western culture in the film is more individualistic and aspirational (careers and love are possible). But at its worst it condones exploitation of others for profit and cultural intolerance.

In the book, there are different kinds of "culture clashes:" traditional nobility versus new money (the Bingleys made their fortune in trade and Caroline is hoping to be an accomplished woman to make up for this), country versus city (Darcy offending Mrs. Bennet by claiming that the society is "confined and unvarying") and arranged versus romantic marriages.

The misunderstandings that propel the story (Darcy's dismissing of Elizabeth as "tolerable," him falling in love with her even though she still hates him, her belief in the legitimacy of "first impressions") are emphasized through the culture clash. Many of the conflicts in the film are a result of cultural stereotypes and conflicting beliefs.

Interestingly the film doesn't resolve the question it raises of how best to appreciate India and its culture. Lalita raises a lot of points about not oversimplifying Indian culture to a few stereotypes, but one could argue that India as represented by the film might be stereotypical. With the exception of the resort scenes and Goa beaches (which are tourist traps according to the film), the scenes in India heavily emphasize the "developing country" aspects of India with lots of pastoral scenes (cows crossing the road unharmed, farmland, dirt, shacks, dirty motorcycles fighting each other in traffic). Plus the "culture" as represented by the film's dance sequences seems to be the dominant Hindu culture with lots of elephants and saris and curry. Yes, I know this film is a romantic comedy, but the assertion that India is a complex, diverse country is contradicted by what we are presented. Presenting the rustic aspects of India would explain why the characters want to get out of India and go to the richer Western nations, but it harms the premise of the story that we shouldn't judge based on first impressions because the India scenes seem to confirm a Westerner's stereotypes of India (exotic people living in a primitive land).

Changing views on marriage: In the film, as in the book, we are presented with traditional and modern views on what makes a good marriage. Mr. Collins' marriage represents the traditional view in which marriage is a practical "economic proposition," much like a business deal where the marriage is made for the securing of material wealth and happiness comes last. Lady Catherine and other members of the aristocracy view marriage as a means of producing heirs (and bringing large amounts of money through dowries) to keep the property (source of power and wealth) in the family. The modern view of marriage is a partnership of equals who love and respect each other; happiness rather than material wealth/power is the priority. It threatens the power of the traditional nobles as it provides the potential for social climbing. Finally, it becomes another part of the culture clash, as it also ties in with the Western value of individualism, putting it at odds with the more collectivist Indian culture as presented by the film.

Elizabeth and Darcy in the book and in the film are united by their belief in a marriage based on love (the modern view). In the film, Darcy says he wants to look forward to starting each day with his wife, while Lalita says she wants a man who is a romantic and respects her for her mind. For instance, Elizabeth states that "only the deepest love will induce me into matrimony" and that Jane and Bingley should have some time to get to know each other before being rushed into marriage. To Elizabeth, mutual love and respect are essential for a marriage to succeed.

As for book Darcy, when Caroline catches him admiring Elizabeth and asks if he will marry her right away, he jokingly rebuffs her for making that assumption: "A lady's imagination is very rapid; it jumps from admiration to love, from love to matrimony in a moment. I knew you would be wishing me joy." Significantly, he mentions love needing to come before marriage, hinting that he shares the same belief about respect (admiration) and love being necessary for a good marriage. In fact, a big reason he separated Jane from Bingley was because he feared that Jane did not love Bingley in return. In short, love in marriage is just as important to Darcy as it is to Elizabeth.

Conclusion:

Bride and Prejudice, as shown by the title, focuses heavily on the theme of marriage and uses the culture clash between India and the West to emphasize the importance of first impressions in our treatment of others.

Even if you aren't into Pride and Prejudice, the movie is worth watching for the Bollywood dance sequences. I also liked the songs because they effectively developed the marriage theme.

The characters are mostly true to the book, except for Darcy, who isn't proud enough and is quick to reform his character.

Last but not least, the real villains of the story were imperialism and ethnocentrism.

Tags: @thatvermilionflycatcher @appleinducedsleep @princesssarisa

[commsroom]

i love all of your hera takes so much; can you say more about the relationship she has with each crew member? (or just eiffel to be honest, im kind of a sucker for them ^^;)

I would love to! I'm sorry this answer is so long and also... all over the place, but in my defense it's a really broad topic that I have a lot of feelings about and this barely even scratches the surface.

Okay. I've thought a lot about how I wanted to approach this, and I think the first thing I want to say - and I know this might seem like a strange point to open on, but I think it's a key factor in all of these relationships - is that I think Hera experiences rejection sensitive dysphoria, and I think the way that manifests for her is kind of the opposite of how Eiffel experiences RSD. They both have a deep-seated feeling of inadequacy and any criticism can feel like a personal attack, like everyone else is blaming them for everything that goes wrong. But where Eiffel internalizes that feeling and also blames himself/gets angry with himself, Hera lashes out and deflects. This is complicated by protocols that restrict her behavior, especially early on, because she can't always properly express herself and she builds resentment. She's really good at holding grudges.

So. With Lovelace, I think it's pretty obvious where that initial conflict is. Hera doesn't understand where Lovelace is coming from, and it's made worse from her perspective because Lovelace should understand, better than anyone, what that loss of control, that sense of powerlessness and insignificance in your own life, feels like. They are both traumatized people, but they deal with it differently. They approach conflict differently - they can both be blunt, but I think Lovelace is the kind of person who can start to deal with and move past things once they're out in the open, while Hera will get in a fight and then stew over it forever. It sounds kind of ridiculous to say when so much of their early relationship with each other is... what it is, but I think Eiffel and Minkowski are both peacekeepers in their own ways, and the Hera-Lovelace dynamic suffers from the lack of that... tempering influence. 

(And I think it's notable that Hera’s confrontation with Lovelace in Pan-Pan is among her worst memories.)

On the other hand, I think that shared bluntness can be useful sometimes - in Do No Harm, most of all, but also in Shut Up and Listen. Hera was definitely still holding onto hurt from some of the things Eiffel used to say, but by that point... without Lovelace, I'm really not sure if she ever would've brought it up to him.

And, of course, Hera becomes much more protective of (and willing to understand) Lovelace once they have... some even more similar experiences, in S4. I guess my general assessment of their relationship is that they care about each other and they will advocate for each other, especially where they share difficult and traumatic experiences and on issues of identity, but I don't think they're ever that close. They're kind of... the two people in the friend group who don't quite know how to hang out without their other friends.

Hera's initial conflict with Minkowski has some similar roots, but it's... not quite the same. There are times where Lovelace will intentionally prod at Hera's insecurities; Minkowski doesn't do it on purpose. She's just under the impression that her criticism is fair and professional, while to Hera it feels deeply personal, like it's an assessment of her worth as an individual. Once they understand and reconcile that miscommunication, there's a lot of trust and respect between them - and I think the potential for that is there earlier, too, especially in some flashback scenes; there are just... missteps along the way. Tactical Brain Damage is the best episode to demonstrate the establishment of that trust, I think - Hera has a LOT of wariness when it comes to people messing around with her systems, and just the act of saying... I trust you to do this, I know you won't let anything happen to me... is a really, really big deal for her.

They also just... have honest conversations about their feelings and concerns by that point, and Minkowski is considerate of how Lovelace's plans affect Hera, specifically, and asks for her input on that basis. I think their dynamic is really underutilized, but the way they feel about each other is clear. Minkowski is the only person other than Eiffel that Hera really trusts, and her only other close friend. There's definitely... a part of that dynamic that only Eiffel can offer, and that they can't really make up for when he's gone, but there's still this sense that... they're the only two people who are still really talking to each other by the time Pan-Pan comes around.

(Side note, it's really funny that Hera was SO on board to be in Minkowski's musical. Minkowski gave her only willing participant a minor part. If I could wish one non-Eiffel-centric comedy mini-episode into existence... at one point, my friend suggested a scenario in which Hera tries very, very hard to prove her acting skills to Minkowski under the most inopportune circumstances. ... And Hera was interested to hear Minkowski talk about a play she likes in that one flashback, so. The only thing keeping Hera from being a fellow theater kid was a lack of opportunity. Maybe they could bond over it.)

There's also that scene in Quiet, Please where Minkowski very directly, emphatically defends Hera's autonomy and personhood to Jacobi - and refers to her as a woman, which I think is so... reflective of how much Minkowski has come to understand Hera and what's important to her, and how she wants to be seen. That's a whole other discussion that goes into Hera's self-perception and humanity as it relates to her own identity, but. For a number of reasons, it's important to me.

Anyway. Speaking of things that are important to me. Hera and Eiffel are... Hera and Eiffel. Hera's relationship to Eiffel is the first one she's ever had that comes without hierarchy or conditions; he just... wants to hang out with her, and to get to know her, and to talk to her, because he likes her as a person. She's never had that before, and she is such... a lonely person, a person who has been hurt, who is generally distrustful, who has this distance between her and everyone else, and Eiffel is her anchor to the world. He tries to understand her. He tries to bridge that gap. And even in all of his own missteps, I think just... knowing he cares to try matters so much. I think a lot about how Eiffel is the only one who physically crosses the stage to talk to Hera in the live show; it says... something about the way he sees her, compared to everyone else.

And there's just... the way that they're both... people with a lot of self-doubt, people who have a hard time being kind to themselves, but they're kind to each other, and patient with each other. There's something about recognizing your own flaws in someone you love and treating them with kindness so maybe, over time, you can extend that same compassion to yourself. I want to be the person you believe I am. Going back to that shared experience with RSD, I think it's really valuable for both of them to have someone in their lives who they can really, genuinely believe likes them as they are. Who won't think less of them, no matter what.

I know I can get kind of sentimental about them, but this is what stands out to me. That even when Hera is frustrated or annoyed with Eiffel, when she feels like he doesn't get it, can't understand what she's going through... she still wants him around. And she still talks to him. And, usually... she still feels better, even if the circumstances haven't changed. It's an unbearable situation, but it's a little less unbearable with him there.

(They're also... frequently the only people who can get through to each other/change each other's minds, i.e. Minkowski and Lovelace deferring to Hera to get Eiffel to agree to safety protocols, or Eiffel convincing Hera to vote to go back to Earth - also a totally different topic that would take a long time to get into properly, but he's good at kind of... emotionally counteracting her cynicism and defeatism re: her own perceived fate. In a less serious context, I also love the dynamic where she tells him she's not going to do something and he goes "please??" and she goes. Ughh. Fine. And does it anyway.)

There's just something so special about their relationship, something that makes it different from any other relationship in the show for me. I feel like... Eiffel and Minkowski are both her close friends, but the way Hera thinks about Eiffel in Memoria vs. the way she thinks about Minkowski is... revealing. Everything with Minkowski has a purpose, it's clear why it matters to her. She thinks of Minkowski's faith in her. But with Eiffel, she thinks about... Eiffel talking about Star Wars. Making pop culture references. The thing that saves Hera is her connection to Eiffel and Minkowski - I'll defend that; Maxwell gives her the tools to understand what's going on, but it's Eiffel's and Minkowski's words and associated memories that she holds onto and that ultimately pull her through - and those words are... Minkowski's affirmation. And Eiffel... being Eiffel. I think that says a lot.

(If you’re asking for my opinion on their relationship, you already know I think it’s a romance, but... it’s a romance. I’m not saying it should be canon. I’m saying that that’s the most natural interpretation of what’s already there. You don’t have to change anything. They’re best friends, and they’re found family, and they are so in love, and none of those things are mutually exclusive. The way they talk to each other...)

If there's one point I want to make about all of this, it's that Hera is in a position that makes trusting people potentially very dangerous, and in all of these cases, she is finding ways to build relationships with people despite that. To understand them, and have them understand her, and realizing that the things that make her different don't have to be a death sentence. That she can have a life and find a way forward with people she cares about, who care about her... that's something very important to me.

[atamascolily]

Just going to say that bringing your secret portable school to a battlefield seems like a really dumb idea, especially considering what happened the last time a high-tech Imperial space station confronted Luke Skywalker on Yavin IV. But Brakiss really is just that extra, so he’s got a big speech prepared:

 “With this important strike on the Jedi academy, the Second Imperium becomes more than just an undisciplined band of pirates raiding equipment. We mean to retake the galaxy, my lord. This battle must be a battle of philosophies, of willpower. This is the Imperial way against the Rebel way-and so it should be my trainees against Skywalker’s, Jedi versus Jedi. A shadow play, if you will, of darkness against light. We still intend to harass them with TIE fighter strikes from the air, but the main conflict will be direct and personal-as it must be! We can crush their very hearts, not merely breach their defenses.”

Yeah, okay, someone has a grudge, lol. Although considering what happened the other time the Empire tried to wipe out the Jedi Academy from orbit (RIP Dorsk 81), maybe it would be better just to... spend some spies to infiltrate or something? Oh, wait.

(Young!Brakiss: I volunteer as tribute!)

[Kevin J. Anderson really only has one mode, doesn’t he? This entire book is a rehash of Darksaber, which he also wrote.]

Luke even lampshades this in-universe:

TIE fighters had made direct attacks on the Great Temple-and yet ground forces and Dark Jedi had been sent to fight on a nearly even footing against Luke’s students.

With a different strategy, the Shadow Academy’s victory would have been far easier-it almost seemed as if Brakiss wanted to do it the hard way.

Luke knew that must be the answer.

And then Brakiss calls Luke to explain his true plan, which is the funniest thing ever:

“-essage for Luke Skywalker. Repeat: this is a message for Luke Skywalker. If anyone can hear me, respond immediately.”

Luke stared at the small device before replying, “Who is this?” But before he heard the answer, his Jedi senses told him the man’s identity.

“You can call me Master Brakiss,” the voice said. “Tell your teacher that I’m transmitting on all channels. He will want to speak to me.”

“This is Luke Skywalker,” he said. “If you have a message, Brakiss, you can give it directly to me.” Luke’s heart knocked painfully against his rib cage, though from surprise rather than fear.

The homoeroticism of this scene really speaks for itself.

A cultured laugh came over the comlink.“Well, my old teacher… the man I once called Master. This is a pleasure.”“

What do you want, Brakiss?” Luke asked.

“A meeting,” the smooth voice replied.“Just the two of us. On neutral ground. As equals. We didn’t have a chance to finish our… conversation when you came to my Shadow Academy to rescue your Jedi brats.”

So... a date, then?

Luke paused to consider. A meeting with Brakiss? Maybe this was the answer to the problem he had been trying to solve. After all, who was more central to this battle than the leader of the Shadow Academy himself?

If Luke could reason with Brakiss, turn him away from the dark side, this battle could be won before too many lives were lost.

Luke cannot resist the possibility of redemption! He’s got only one mode and he’s determined to use it!

“Where, Brakiss? What neutral territory do you propose?”

“I think both your academy and mine are out of the question right now.”

“Agreed.”

“Away from the fighting, then. Across the river in the Temple of the Blue Leaf Cluster.

But you must come alone.”

Yup, definitely a date.

Also, didn’t Corran bomb this temple--Exar Kun’s old hangout--at the end of I, Jedi? Does Brakiss know this, or is that an after-the-fact retcon?

“Will you?” Luke asked.

Brakiss gave a rich chuckle. “Of course. I have no need for reinforcements-and I know you are true to your word.”

Luke paused to reassure himself that the Force was indeed guiding his actions. Both he and Brakiss were strong enough in the Force to sense any betrayal by the other.“Very well, Brakiss. I’ll meet you there.

“Alone. We can settle this once and for all.”

So, yeah, Brakiss arranged this entire thing so that Luke would go out with him. I’M HOWLING.

Anyway, so the Temple is still standing in this book, and apparently Brakiss has good memories of this place, because otherwise he wouldn’t have chosen it for his Special Date Revenge Night.

This was the site Brakiss had chosen for their meeting, their confrontation… their duel, if it came to that.

DATE. The word you are looking for is DATE. 

Branches parted in a thicket beside the carved pillars of stone. A man stepped out, moving as if he were made of flowing quicksilver,a confident liquid shadow. His perfectly formed, sculpture-handsome face smiled. “So, Luke Skywalker, once my Jedi Master-you have come to surrender to me, I hope? To bow to my superior abilities?”

Luke did not return the smile. “I came to speak with you, as you requested. “

“I’m afraid speaking won’t be enough,” Brakiss said.

Gosh, the innuendo just writes itself.

“You see my Shadow Academy overhead? The battle fleet of the Second Imperium has just arrived. You have no hope of victory, despite your meager reinforcements. Join us now and stop all this bloodshed. I know the power you could wield, Skywalker, if you ever let yourself touch the powers you have neglected to learn.”

Luke shook his head. “Save it, Brakiss.Your words and your dark-side temptations have no effect on me,” he said. “You were once my student. You saw the light side, saw its capabilities for good-and yet you ran from it like a coward. But it’s not too late.Come with me now. Together we can explore what remains of the brightness in your heart.”

“There is no brightness in my heart,” Brakiss said. “I did not come here to banter with you. If you won’t be sensible and surrender, then I must defeat you and take the rest of your Jedi academy by force.” 

Foreplay, am I right.

He withdrew a lightsaber from the silvery sleeve of his robe. Long spikes like claws surrounded the energy blade that extended as he pushed the power button. Brakiss heaved a quick sigh. “It seems like such a waste of effort.”

[insert obligatory phallic laser sword joke here]

“You taught that becoming a Jedi is a voyage of self-discovery,” Brakiss said. “I have continued that self-discovery since I left here. I abandoned your teachings, but I found more, much more. My self-discovery has been vastly greater than your own, Luke Skywalker, because you have locked many important doors to yourself.” He raised his eyebrows and his eyes glinted a challenge. “I have looked behind those doors.”

*Thanos voice* “You could not live with your own failure. Where did that bring you? Back to me.”

Luke is So Tired:

“This has gone on long enough, Brakiss. You may either surrender or I’ll defeat you directly, because I have work to do. I need to get back to defending my Jedi academy.”

And then Luke destroys his lightsaber, like a boss.

The Master of the Shadow Academy held up his hands and staggered back. “Don’t kill me, Skywalker! Please don’t kill me!” The terror on Brakiss’s face seemed all out of proportion to the threat. Surely the shadow Jedi knew that Luke Skywalker was not the type to strike down an unarmed enemy in cold blood. Brakiss clutched at his silvery robe, fumbling with the fastenings.

This sounds like the beginning of a sex scene.

Luke strode toward him, lightsaber extended. “You are my captive now, Brakiss. It’s time for us to end this battle. Order your Dark Jedi to surrender.”

And then they banged, the end. Oh, wait--

Brakiss let his robes fall away, revealing a jumpsuit and repulsorpack. “No. I have other business to attend to,” he said, and ignited the repulsorjets.

As Luke stared in astonishment, Brakiss rocketed skyward, flying high out of reach.

“They fly now?”

“They fly now!”

The pain of loss flooded Luke’s mind, as fresh as on the day Brakiss first fled the Jedi academy. “Brakiss, I’ve failed to save you again,” he groaned.

... the fic practically writes itself, doesn’t it?

Anyway, Brakiss flees back to the Shadow Academy only to discover it was all a ruse, and ends up dying when one of the masterminds destroys the Academy as they flee, so RIP Brakiss. Feels like such an anticlimax (heh) after all that build-up, though, especially since we never get to see Luke’s reaction to Brakiss’s death or anything in this book.

[interact-if]

Taking the spotlight for Day 6... Lucirene!

Lucirene, author of An Angel’s Song

Latino Heritage Month Featured Author

In the forest of Bres an otherworldly sickness corrodes the soil and changes the creatures within. “A parting gift from the fallen angels”  say the citizens of the Hyaku Region and the mark on your hand confirms it.

Though the scent travelling in the air is sweet and enticing everyone knows better than to get closer. But the mark, it pulses, it burns, the pain spreading as fast as the corruption of the forest does.

Your masters are calling, and it seems like this time you cannot escape them.

An Angel’s Song Demo | Author’s Ko-fi | Author’s Patreon | Read more [here]

Tags: dark fantasy, romance

(INTERVIEW TRANSCRIPT UNDER THE CUT!)

Q1: So, tell us a little bit about the projects you’re working on!

I have so many, but the only one public is An Angel’s Song. It’s, more than anything, a story about grief, loneliness and overcoming it all while navigating a hostile environment and discovering long lost secrets about the Divine and about the MC’s country. That one is very cathartic for me to make because of the themes, I feel like I’m working through a lot of feelings I didn’t even realize I had by writing it.

The next one is also an IF and it focuses on comedy, adventure and character interaction. It’s supposed to be more lighthearted, more fun, but knowing me… I don’t know if it’ll stay that way. Basically, it goes: A Captain’s boat falls prey to the storms and the strange creatures living under the sea, and they and their crew end up washing ashore an icy, snowy country. I already have the main cast written down and they have so much synergy, it’s amazing.

And the last one I’ll talk about (a traditional novel) actually happens in the same setting as my second IF, but many, many years before, when their local deity/guardian was born. It’s more of a romance-fantasy than anything, a love story between a Goddess and a half-dragon, however it also showcases many of the situations the people had to navigate and face before their country could become the place you’ll see in my second IF.

Q2: What excites you most about using interactive fiction? What are some of the biggest challenges?

What I like most definitely is how much freedom we have as authors. Of course, one is constrained by one’s ability to code but I think, for the most part, we can do so many things, reach an entirely new level of immersion that would not be possible with a regular novel. It’s amazing how sometimes I’m reading something and get so into it, feel so connected to the MC I feel dread when they do, panic when they have to make a choice that will clearly impact a lot of people in their world. With IF you can really feel like you’re part of the story.

Another thing I like is being able to explore other paths with my writing. Like for example, what if the MC had done this instead of that? How would that have affected their relationships, their world state? Writing branches is a lot of work, especially because they could change so many things, but it feels oddly satisfying when you do decide to include them. 

Challenges… Coding, mainly. I feel like a lot of new aspiring IF authors are a bit afraid of coding and I can understand that, especially since, had it not been for the help of the community, I would have taken way longer to actually start using Twine. Hopefully with time for resources come up and it becomes less daunting.

I don’t know if any other author feels the same way but, though I think branching is a blessing, it is also a curse. I can only write the same conversation so many times, I mean I know I’m writing it in different tones and sometimes with different results but it gets frustrating after a while because it feels like you’re stuck, like you’re not progressing at all.

Another one would definitely be finding a balance between reader interaction and just following your vision. Since it’s IF at times I feel like I have to meet a quota of branches or ways in which you can react, sometimes I also find it difficult to make the MC feel like a real person instead of a reader-insert. I’m working on that.

Q3: What has been something in your project you’ve had to do a weird amount of research for?

That’s a difficult one… I don’t know if I would consider it weird but I do tend to investigate a lot about fashion, especially when designing the main outfits of the characters. I spend hours trying to find out what colors were used back then, what they meant, who was allowed to use them. I have this little image with some palettes for kimonos depending on the season.

I also spend too much time coming up with names, especially for places. Like I look up names of places that already exist, what they mean, I try to investigate if the words that I want to use make sense, then I panic because I can’t find anything, but I think that’s usual for writers. I also spent more time than necessary researching for the name of a tree that you will see way later in the book, which no one will probably notice what the name of the tree means or what it symbolizes but it makes me happy.

Honestly, I feel like the amount of research I have had to do has not been particularly weird? If anything at times I think I should research more, even if some aspects of Japanese culture will not apply to Kyou.

Q4: Which of your characters is most like you? How?

The initial version of the MC from An Angel’s Song, which I miss dearly since they had more personality. They were autistic coded too, and I hope some traces of that still remain. Apart from that I feel like all of the characters from the main cast share something with me, even if their experiences are, of course, more dramatic than my own.

A lot of them have issues with a paternal figure or an absent mother, which also resonates with me. Some of Saori’s traits draw inspiration from ways in which I talked or acted before I became a little better at masking, before I became more self-aware. Hazuki being emotional and caring, K being a bit clingy but devoted, Masa having a temper yet loyal, Miwa being friendly but reluctant to open up beyond surface level information. I think those things describe me.

There’s also Rei but I don’t think I’m writing her book anytime soon. She’s someone that’s very family oriented, she’s a bit temperamental but she means well and she’s not afraid to speak her mind. Now that I think about it, maybe Rei is more the person I want to become.

Q5: Does your heritage influence your characters as you create them? (How? Why or why not?)

I’ve been living in Venezuela my whole life so I think so, even if most of the time I don’t even notice it. I believe that this happens especially in regards to relationships because people in Venezuela are very family oriented and also, from what I’ve experienced, they form strong bonds with their neighbors, which creates this strong sense of community —sometimes it goes well, sometimes it doesn’t, but my mom and her friends always make at least some friends in their neighborhoods and they gossip with some coffee about the happenings of the rest—. So when it comes to writing a character it is very important to me to make an emphasis on family relationships because those are a strong part of my culture, of my identity. 

In An Angel’s Song you have the main cast having issues or conflicting emotions about one or multiple members of their family, which influence their behavior and their outlook on life, but for the most part they are (or will be) able to form similar relationships with people that are not related to them, or to work towards restoring that relationship, transforming it into something healthier. 

In my other books family dynamics are also immensely important. For example, I’m going to mention Rei again because I love her. So, Rei has a sister named Rin, and they are both very close, even if they haven’t spent much time together. Their bond and trust in each other helps them overcome a lot of obstacles and they rely on each other when they need support or encouragement. Rei also has other people that she thinks of as siblings, and restoring that relationship with them is one of her main goals. There’s also this recurring guilt she feels at leaving her birth family and her home to explore, because to her, families are supposed to stay together.

Another aspect that I think influences my writing is religion, even if I wasn’t raised in a particularly religious household nor do I belong to any religion. Religion is a big deal in this country, we have so many events and holidays relating to religious figures. I remember when I was very young I loved going to one of the churches here because the Virgin of that town had a building filled with pretty clothes to dress her with. 

So, in that vein, I try to think about the character’s relationship with religion, do they believe in the Gods? Do they trust them? Do they follow local deities or prefer the main pantheon? How does this religion shape the way people interact with each other and the world? In regards to characters that are Venezuelan or Venezuelan-coded… I do have a few that are Venezuelan, but I don’t think I’m going to be releasing their stories soon, so I’ll keep it quiet for now.

Q6: What is something you love to see in interactive fiction?

People being passionate about their work! This isn’t something exclusive to IF, but it is something that I love seeing. I also like seeing the different ways people innovate within the genre. I feel like sometimes, especially with newer writers, there is this idea that an IF has to subscribe to a specific format and that’s simply not true. If you don’t want to use a stat system you don’t have to, if you want to add combat then go ahead, if you would prefer to write an MC that’s already pretty pre-established (which is something that I personally want to try) then there’s nothing stopping you and I encourage you to give it a go. IF is very versatile and it’s wrong to try and fit authors into a box, especially if they want to bring something new into our little corner of the internet.

Q7: Any advice to give?

In general, I advise people to have fun writing, to not worry so much about how good it is, about if people will like it. Writing, at the end of the day, ends up being a pretty solitary activity and having those thoughts in your head too long will make you spiral. Be kind to yourself, be open to feedback when it comes (and learn to distinguish constructive feedback from destructive feedback) and enjoy the exploration of your world and characters. 

You are not alone in all of this. If you can, join a group of writers you can talk with, exchange ideas, get feedback from or just exchange memes (the ultimate bonding experience). Don’t be afraid, you’re not alone.

[ouyangzizhensdad]

Do you think that making Chinese food is cultural appropriation? I'm white and started making some of the foods I saw in the shows I've watched since the untamed, but now I'm worried I'm appropriating the culture.

Hi anon,

As a fellow white person, I am also someone who needs to critically reflect on how I engage with different cultures. I can't give you the definitive answer you seek, the clear absolution from any potential wrongdoings; in its stead, I can only offer to share my current thought process on this topic. I’d still encourage you to seek other perspectives, and many people have written or spoken on this topic.

I believe we must first acknowledge that, on the terrain of the internet, discussions regarding cultural appropriation have reached a certain... extreme where some people view all forms of cultural exchanges as inherently suspect. They purport that so long as you stay within the bounds of ‘your’ culture, you will problematic behaviours. That perspective is inherent flawed. That is, it relies on a vision of culture as ‘bounded entities’ that exist in themselves. In reality, the ‘stuff’ that makes culture is emergent, existing only relationally, dialectically--it is a not a ‘thing’ that moves through time but an idea which is constantly negotiated and reproduced in relation to power and changing material realities to remain relevant and intelligible. The boundaries of cultural and ethnic groups are fuzzy, overlapping, and constantly being reworked and made meaningful. As an illustration, many of the food I grew up eating was influenced by ingredients and recipes immigrants brought in the 19th and 20th centuries, yet these dishes were understood as 'typically ours’. And it needs to be acknowledged that most of what is currently considered ‘white people food’ relies on ingredients that were introduced to our diet through colonialism and the violent dispossession of indigenous peoples (and, often, the current day exploitation of workers in the South and of migrant workers). No food can be truly ‘traditionally ours’, whatever the purported ‘we’ ends up being brought into the equation, and no eating behaviours can avoid the historical legacy and continuity of violence and power.

Of course, as people who exist in the world, we know that there are cultural differences. Bakhtin’s insights on language through the tensions between centripedal (ie towards uniformity, a common meaning) and centrifugal (toward diversity and change) forces can be expanded to help us conceptualise how we make sense of the way a ‘culture’ is perpetuated through time as something meaningful in our daily lives. Uniformity allows intelligibility, sense-making, but diversity and change are inescapable by-products of individuals and groups repeatedly going through life, meeting and trying to create intelligibility and sense together in a world that cannot stay the same. It is at the intersection of these two conflicting forces that something can be different yet considered the same--that we can create continuity out of change. But something perhaps less emphasized in Bakhtin’s discussions is how much power and material realities work on these forces. Power influences both centripedal and centrifugal forces, if only in orchestrating circumstances that shape how one encounters ‘different cultures’ or reproduces their 'own' culture.

We live at a moment where the world seems to have reached an apex of connectivity--where goods, people, ideas (and viruses) move across distance and borders at speeds that defy comprehension. Yet the way goods, people and ideas move (through which canals and systems? in which direction? to the benefits of whom? at the expense of whom? to what reception or use? in the service of which institutions and ideologies?) or are, inversely, incapable or unwilling to move, is influenced by power and material realities. It is inescapable.

In a roundabout way, what I’m trying to say is that it's useless to try to live life in 'your lane' by turning to a baseline 'culture' because we simply do not have a baseline culture to return to that is 'safe' from the influences of other cultures or the taint of the historical legacy and continuity of violence. So how do I personally reconcile that with how I engage with content that is produced from different cultural contexts, and how I engage with cooking food that is influenced by different cultural contexts? For me the guidelines I take into consideration are respect, attribution and avoiding forms of dehumanisation. These emerged out of witnessing how other white people have acted as well as critically reflecting on how I have acted in the past, and trying to do better (including of course, by listening to different perspectives on the topic). [just in case, warning for examples of racism/micro-agressions] I've been in China with white people who would praise the cooking we were eating in the same breath they were making jokes about dog meat. I've witnessed in Japan a dude decide not to come to an izakaya with Japanese colleagues, fucking off on his own to Akihabara instead, because he was disappointed he couldn’t talk about anime with them--too obsessed with the idealised version of Japan he’d created in his head to treat the Japanese people he met as people. The internet is full of white people telling you how to cook food from places they've never been and taking credit for 'popularising' that dish or 'making it better'. That's not even talking about the tendency for food to become a mark of a cosmopolitan, metropolitan identity in the West--the open-minded, the liberal, the traveler, the hip white person up with the times and beyond the mainstream. Hell, I've even seen people who act as if eating ‘ethnic’ food prepared by immigrants is the singular proof that they were people who cared about immigrants' well-being.

Food is rarely just about food, even when consumed at home. At the same time, we’d be remiss in all these discussions of power to dismiss how food is also one of oldest things we, as humans, want to share with others--including strangers. Feeding is nourishing and giving, eating is accepting into ourselves something made by others. Most people appreciate it when the value of a dish that holds importance for them is recognised by others--although, of course, many might understandably also resent that they have been discriminated against or mocked for eating that same food. Every time I’ve been invited in an immigrant household or at events with mostly immigrants, I’ve felt this sense of almost trepidation emanating from them, waiting for my reaction, and satisfaction once I was seen eating and appreciating the food they had served me--as if the acceptance of the food that was tied to their identity was a form of acceptance of who they were. Of course this can’t be disentangled from past experiences where other people might have been disrespectful, dismissive or outright racist: but the excitement they had in sharing food that had meaning to them and seeing others appreciate it was genuine.

Beyond situations of clear cultural sharing, where we get closer to what appears to be ‘cultural appropriation’, I believe that we cannot act as if there is something inherently sacrilegious in the idea of adapting recipes or using a specific ingredients in new ways--that’s centrifugal forces at play, and they have provided us with many dishes we love today: from immigrant creations like butter chicken to things like spicy kimchi. We cannot work with the assumption that people will only react with hostility at the idea of other people cooking the food they grew with, even in ways that are different from how they’re traditionally used and are thus “not authentic”. I still remember an interaction I had in a Korean grocery store, once upon a time when I lived in a metropolitan city. A man in front of me at the cash register who had been buying snacks and chatting with the employee in Korean looked at my stuff and suddenly asked me if I knew the name of the leafy green I was buying. I wasn’t necessarily surprised because I had overheard in the past customers and employees commenting in Korean about being surprised about the ingredients I, a white person, was purchasing, thinking I couldn’t understand them. I confirmed to him that I knew I was buying mustard greens. He then asked me what I was planning to do with them, and I explained that while I didn’t think it’s a traditional or common way of using it, I personally liked to add them to kimchi jjigae because it compliments their bitter/strong taste and I like leafy greens in my soups and stews. He said it was interesting, and that he was kind of impressed. The employee chimed to tell me I should be honoured at the compliment because the man was actually a chef who owned famous Korean fusion restaurants in the city. That was clearly someone who took Korean food very seriously and clearly had a certain degree of suspicion regarding how white people interacted with it, but he was also curious and interested in seeing how I approached ingredients without having grown up eating them.

Another point of contention is also that we cannot ignore that food is a sensual experience and that, while tastes are greatly influenced by our environment, they are not solely so. I grew up hating most of the food my parents would serve me, and started cooking in my early teens to avoid having to eat it. Before I started cooking, I would often just eat rice with (in hindsight horrible) western-brand soy sauce instead of the meal my mom had made. When I ate Indian food for the first time during a trip at the ripe age of 16, it blew my mind that food could taste like this. Of course I never wanted to look back, and with each years I discovered that a lot of Asian cuisines fit my palate better than what I grew up eating or other cuisines I had tried. When I was a teenager we visited my mom’s friend in France and I hated what she served us so much I’d simply choose to nibble on bread, prompting her to try to stage an intervention for my ‘obvious’ anorexia. Yet, being in China made me realise ingredients I thought I hated had just been cooked in ways I disliked. Do my taste buds absolve me from any need to think critically about how I interact with food? Of course not. But sometimes the reason we want to cook certain recipes and foods is just that it tastes great to us, and we want to reproduce the recipes we enjoyed with the ingredients and the skills we have. Or, really, sometimes we just want to try new tastes because we do a lot of eating throughout our lives, and it seems a waste to limit ourselves to a narrow number of dishes for decades to come.

So that’s where I currently am in my thinking about this topic, as a white person who cooks dishes influenced by a number of different places but who is also not trying to cook in a way that is necessarily authentic. Some things that I keep in mind that you can ask yourself now that cdramas and cnovels have made you interested in Chinese cooking is: are you taking this as an opportunity to support immigrant businesses when getting your ingredients? are you supporting white creators when looking for chinese recipes (some suggestion of youtube channels: Made with Lau, Chinese cooking Demystified, Family in Northwest China, 西北小强 Xibeixiaoqiang, 小高姐的 Magic Ingredients)? are you being respectful (not reproducing harmful stereotypes in how you talk about chinese food and the people who eat it)? do you use your interest in Chinese food to create a narrative about China and Chinese people that denies them, in some way, of their complexity and humanity? are you using your interest in Chinese food to create a narrative about yourself?

In conclusion I will leave you with a picture of some misshapen baozi I’ve made.

[cienie-isengardu]

Why do you think Cyrax decided to join the Lin Kuei? He seems to be the only one who chose him, and it shows that he is the most mentally balanced. Do you think cyrax was the first to start a friendship with Sektor? Do you think they reached more but then cooled down due to their differences with respect to IC?

Those are very good questions.

My general idea is that yes, Cyrax agreed to join the clan, but it was Lin Kuei that sought him out, similar to what happened with Smoke:

"Originating from Prague, Tomas Vrbada was recruited by the Lin Kuei for his impressive ability to escape capture. Able to transform into a wisp of smoke, his talent has proved useful on countless missions. Smoke has no memory of his childhood. His only family is the Lin Kuei, more specifically the younger Sub-Zero, who is like a brother to him. It has been Smoke's hope that through the Lin Kuei he will discover his past--and the origin of his power."

The sources don’t give us a well established age for Cyrax or Smoke nor how long they served the clan, but in the case of Tomas Vrbada, his MK!9 ending provided more detailed backstory:

"Shao Kahn's violent death shook the very core of Smoke's being and dislodged his earliest memories. Tomas Vrbada was only a boy when he was abducted by an obscure cult and sacrificed to a demon. Burned alive, he returned to the mortal realm as an enenra, a creature of smoke and vapor. His captors were helpless against his shapeless form as he lashed out with rage, killing them all. His murder avenged, he returned to his human form, remembering nothing of his former life. Now aware of his true identity, Smoke understands he is no mere assassin. His destiny has been revealed."

Smoke was a boy when he was transformed into Enenra, then killed his captors and in result, lost memory. Lin Kuei seems like a well informed organisation who either kept tabs on all unnatural abilities and events throughout the world or, knowing their dark past, could even stand behind the whole sacrificing to demon, to get (back?) Enenra into their ranks. There is no information how many years passed between the change and joining Lin Kuei, but I don’t think Tomas was that much older, mainly because an adult person is harder to mold in proper way to fit the strict clan traditions, especially if said person comes from totally different culture (and ethnicity) to begin with. Tomas and Cyrax both were outsiders who somehow catched Lin Kuei’s attention.

In that regard, the clan is unique - on one hand it is a deeply secretive organisation, on another it allows people who proved their worth to join regardless of their origin. But at the same time, it is usually Lin Kuei who invites not the other way as far as sources are concerned. The mastery of martial arts and special abilities/genes are the obvious criteria but I would like to point out that Lin Kuei seems to “prey” on a certain type of people, including the orphaned, abandoned or lonely who stand out in normal society and who don’t have anything to lose by joining. I mean, Frost in an alternative timeline killed her mother at age of 12 (intro dialogue vs. Jax) and was taking part in an illegal death match (MKX comics) before she met a fellow cryomancer who could help get the grip on her unnatural ice powers and would not see her as a freak. Smoke has unnatural abilities yet no memory of childhood, no family he knew or remembered and no sense of who he truly was. In both cases, Lin Kuei filled the void in life of (most likely) young, lost “freaks” giving them substitute for family, an affiliation to the group of similar special people, a source or pride and means to either grow stronger (Frost’s abilities) or looking for answers (Smoke’s origin). At the same time, Jade, an experienced assassin herself, declined Sub-Zero’s invention because “Outworld needed her” which wasn’t really about devotion to realm but to Kitana and Kotal, two people who meant everything to her. This makes me think that Cyrax joined Lin Kuei because like Tomas and Frost he didn’t have any better option and the clan fulfilled Cyrax’s human needs to belong somewhere. Considering how naive he was for seeing Lin Kuei as the “honorable assassin clan”, he too could be pretty young when he took the offer and never figured out - or didn’t want to see - how Lin Kuei twisted his loyalty and sense of morality, at least until the threat of Cyber Initiative Project became too real to ignore clan’s dark deeds.

So in short, I think Cyrax was either orphaned or somehow banished / rejected from his native society for being different (unnatural) and Lin Kuei was a substitute for “family” and source of security and pride of himself he needed in youth but may never have a chance to learn all the dark secrets and inner pathologies of the clan the same way like Bi-Han or Sektor did.

As for friendship matters, lately I am becoming more and more convinced that Sektor and Bi-Han were on good terms so I think elder Sub-Zero could be the first one to start some sort of friendship (beneficial familiarity?) with Sektor. But since Bi-Han has Kuai Liang to take care of, Sektor most likely always was on the second (or third, if we count comics Hydro) place when it comes to everything which may be a reason why Cyrax became such an important part of his life. To the point that even as a cyborg, Sektor has a pathological need to keep Cyrax around. It is hard to say how those two worked well together, but I sincerely think they really were very close to each other - as paired warriors seems to be (Smoke & Tundra, comics!Sub-Zero & Hydro). In such a strict society like Lin Kuei, having a partner you could trust and rely on and willing to cover your faults seems like the best way to survive and stay sane. Even if at some point their partnership evolved into a sexual relationship, I think that any sexual (physical) aspect would be less important than the established emotional bond.

The C.I. Project and their conflict about it for sure shattered that bond to some degree but ultimately, I think it was Cyrax’s decision to leave that brought the most damage. Sektor seems to never truly understand or accept his decision while Cyrax, after everything that happened, became pretty depressed and even suicidal. Both are unhappy for different reasons but I think both to some degree regret losing what they had once.

[samwisethewitch]

Paganism and witchcraft

Thanks to many, many centuries of misinformation, paganism and magic are inextricably linked in pop culture. Progress has been made — the word “pagan” is less likely to make people think of dark rites, blood magic, and ritual orgies in the twenty-first century than it was in, say, the seventeenth century. Even so, if you tell someone you identify as pagan, you’re bound to eventually get the question: “So, are you, like, a witch?”

The answer, like so many things in paganism is that it depends on the pagan.

Before we get into modern pagans and their views on magic, I think it’s helpful to understand the historical roots of the association of paganism with witchcraft. And for that, we have to travel back to the Middle Ages, when Christianity was already well-established as the dominant religion in Europe, and the Catholic Church was well on its way to becoming a hegemonic superpower. The beginning of the witch hunts was just around the corner.

In her book The Study of Witchcraft, Deborah Lipp claims that two very different understandings of what it meant to be a witch were both at work in the medieval witch trials.

The first concept of witchcraft, which Lipp identifies as the “folk witch,” was much older and much less Christian. These were people who used dark magic, such as hexes, to cause harm and mischief. Though they may not have been called “witches,” folk witches or witch-like figures have existed in virtually every culture in some form. Examples include British witches, Irish changelings, and Navajo skin-walkers. The one consistent feature of these diverse creatures is an association with magic and a tendency to cause harm. They were seen as a threat to the community, and these types of witches were persecuted long before the rise of Christianity.

(For what it’s worth, the fact that witches were disliked by ancient pagans doesn’t mean that all magic was. Most of the ancient cultures that inspired modern paganism also had their own magical practice, and in many cases magic does not seem to have been controversial or taboo. But again, those who used magic for good would not have been considered witches before the twentieth century.)

The second concept of witchcraft identified by Lipp is the “Satanic witch,” which is an exclusively Christian concept. These people were heretics of the worst kind, members of a cult of Satan worshipers who had sexual relations with demons and plotted against the Church. They were a threat to the faithful Christians in their community.

The only unifying factor in these definitions is a sense of deviancy. Both folk witches and Satanic witches were people who deviated from the norm. It’s no coincidence that those accused of witchcraft were often those who broke societal norms in some way, such as single mothers or women who owned property.

These two distinct definitions of witchcraft would collide in the Middle Ages, with those who were tried for witchcraft often accused both of causing harm to the community by blighting crops or killing animals, and of worshiping Satan. It was commonly believed that these witches tormented the community with evil powers given to them by Satan.

But what does all this have to do with paganism?

While it’s possible that some of the people executed for witchcraft in Europe were secretly practicing the old pagan religions, they definitely wouldn’t have been the majority or even a significant minority. Supposed witches were almost always accused of worshiping Satan, not pagan gods. Most of the people who were accused, tried, and executed for witchcraft were probably accused for social reasons, not religious ones. Most if not all of them were probably not witches as we would recognize them today.

The accusation of devil worship is one that medieval “witches” have in common with pagans. Many of Satan’s names were originally the names of pagan deities, such as Beelzebub (a Philistine god), Moloch (a Canaanite god), and Dagon (another Philistine god). This association of Satan with pagan deities reflects real-world political conflict between the Hebrew people (and later the early Christians) and the cultures who worshiped those deities. Like the label of “witch,” this serves a political function and creates a clear “us vs. them” mindset.

However, it wouldn’t be accurate to say that medieval Christians thought that witch = pagan, or that they thought pagan = devil worship. During the conversion period (several hundred years before the Middle Ages), it seems that Christians largely viewed pagan gods as just that — other gods who were in competition with their own. There are records of Christians and pagans living in relative peace in some parts of Europe — something that surely wouldn’t have been possible if Christians believed that all pagans were devil worshipers.

Fear and paranoia regarding Satan and his followers didn’t become a large part of Christianity until the Middle Ages. Before that, Satan was a relatively minor figure, less the embodiment of evil and more of an annoyance. He was even used for comic relief in religious plays! It was in the Middle Ages that Satan began to take on a more prolific, antagonistic role. Again, this coincided with the Church becoming a hegemonic political entity.

I’m by no means an expert on European history, but it sure seems to me like the witch hunts and Satan paranoia of the Middle Ages were more about controlling the people and punishing deviance than about genuine religious conviction. Just saying.

By the time the witch hunts began, paganism (a.k.a., pre-Christian religion) had all but died out in Europe. Worship of the old gods had either ceased entirely or had been incorporated into Christianity in the form of regional tradition and superstition. Thus, “witches” were accused of worshiping Satan who, at the time, would have been a much more recognizable figure than Jupiter or Anubis.

So, to make a very long story short, there really isn’t a historical connection between paganism and witchcraft, except for both of them having been in conflict with Christianity at some point. It’s important to remember that witchcraft (in this case defined as harmful magic) is a concept that predates Christianity and that witches were treated with suspicion in pagan as well as Christian communities.

That’s not to say the two aren’t connected. In fact, modern paganism is much more closely linked to witchcraft than its historic counterparts.

If you read enough older books about paganism, especially Wicca and other neopagan religions, you will likely find references to “the Burning Times.” This is an exaggerated, largely fictionalized, and thoroughly disproved narrative that was popular with early neopagans, including Gerald Gardner, the father of Wicca. The “Burning Times” refers to the idea that, in the Middle Ages in Europe, the witch hunts were a genocidal attack on self-identified witches and pagans, in an attempt to wipe out these ancient belief systems. This is almost entirely false.

Belief in the “Burning Times” requires belief in Margaret Murray’s witch-cult hypothesis, which has been almost totally discredited by historians and archaeologists. Murray believed that the medieval witch trials were an attempt to wipe out a widespread pagan religion that had survived the Christianization of Europe. Murray claimed that this witch cult spanned much of Europe and worshiped a horned deity, who was referred to as the Devil by Christians.

Again, Murray’s theory has been completely discredited. There is no evidence whatsoever of a continent-spanning pagan religion, much less one that survived into the Middle Ages. If a book, website, or teacher refers to Murray’s theory or to the “Burning Times” as if they were historical fact, they are not a good resource for your study of paganism. Remember, paganism had been largely displaced by Christianity before the European witch hunts really got going!

But Murray’s theory, although false, has still had an impact on our modern understanding of witchcraft and paganism. As previously mentioned, Gerald Gardener was inspired by Murray’s ideas and incorporated some of them into Wicca. Noticeably, the Wiccan God often appears in prayers, poetry, and artwork as the Horned King, clearly inspired by the god Murray wrote about. Wicca was also the first pagan religion to make magic an integral part of ritual, thus marrying paganism with witchcraft.

The rising popularity of Wicca, and of self-identified witches, has helped destigmatize the label. Wiccans are, for the most part, lovely people who strive to use magic only for good. This is very different from the historic understanding of a witch as one who causes harm, and it’s been great PR for the witch archetype.

Nowadays the word “witch” can refer to anyone who practices magic, although some magic practitioners choose to use different labels. “Witch” no longer has connotations of evil, mischief, or malicious intent. The witch’s pop culture makeover has also been aided by popular fiction that portrays witches in a positive light, like the sitcom Bewitched, the Harry Potter franchise, and the TV show Charmed. This new definition has caused thousands of people, pagan and non-pagan alike, to use witchcraft and the witch label as a means to empower themselves and improve their lives.

Modern pagans may or may not identify as witches. Personally, I am both a pagan and a witch — but my paganism and my witchcraft are two different parts of my spiritual identity. For other pagans, witchcraft and magic are an essential part of their religious practice.

Say it with me, now: it all depends on the pagan!

Resources:

The Study of Witchcraft by Deborah Lipp

Witches, Sluts, Feminists by Kristen J. Soleee

The British History Podcast, “94 — Dark Age Beliefs”

Irish History Podcast, “Kilkenny Witchcraft Trial of 1324 (Part I)” and “Kilkenny Witchcraft Trial of 1324 (Part II)”

Wicca For Beginners by Thea Sabin