#sorry about being bitter

[thunderboltfire]

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.

[bigfatbreak]

Birds of a Feather previous / next

[hoofpeet]

I'd probably have to read the printed version and web version back to back at some point to note all the differences but... ough

[altschmerzes]

i’ve reached the amatonormativity breaking point. i want to crawl into a cave and never experience shipping or jokes about how athletes on the same team who play well together Have to be in love or snide comments about Just Friends or the inevitability of And Then They Get Together forcibly stapled onto every single character dynamic or calling other people’s relationships into question because you think they’re too close to Not be In Love with each other or whatever else the world chooses to throw at me again. there is never any making it stop or even making people think for a second before barrelling headfirst into doing this constantly and without regard for what they’re reinforcing or shitting on as long as they get to have their fun. I’m Sick Of It. ive seen enough and im crawling back in the dirt like some kind of aromantic groundhog GOODBYE.

[twentyfivemiceinatrenchcoat]

one thing i really wish people wouldn’t forget when it comes to suguru’s character is that his core desire is just to have a family. not in a nuclear family way, but in a “i want a place where i belong / i want to protect the ones i love” way…… literally everything else is just an extension of that desire. a means to meet that end. he broke down after being forced to realize that staying with his family meant having to watch them die, so he left and made a new one. and he got stronger. and his core wish was always, always always to create a world where he’d finally be able to protect them :(((((((((

[hope-ur-ok]

why'd she film and release the eras tour movie if she was just gonna add ttpd to the setlist

[greypetrel]

"…Is this costume necessary?" "Of course, Chuckles, it's on brand." "How. Just, HOW. Red Riding Hood with me being the wolf was on brand." "Nah that was too uninspired. This? Darth Vader meand Darth Father. Darth Vader, Darth Father… Dreadwolf, Dadwolf… You see it? On brand." "… This is better be good." "Oh, great idea! Next year we're doing Emperor's New Groove!"

Some Dadwolf shenanigans, they'll go big on group costumes. (no the lightsabers originally had no battery included. Yes they're glowing. Nothing bad will happen.)

Happy Halloween as happy can be, stay safe, get some information, and if you're italian consider boycotting Lucca Comics. or if you can't, please consider that to get a charity postcard, you're still paying a ticket to an institution that never listened to its artists protesting online, that won't care for all your online protests. It will care only about the number of tickets they sell.

[owlyflufff]

haikyu's dumpster batte is only going to be around 1 hour and 24 minutes, oh it's genuinely bokuakaover

[newspecies]

"the vast majority of legal persecution against early queers was focused on men" ARE YOU INSANE

[sepiamestus]

It always rubs me the wrong way when people characterize atsushi as too much of a sweetheart. Like he IS a sweetheart but he's also snarky and sarcastic and most importantly he's very very angry. Do not forget this.

[theophagie]

[bizarrelittlemew]

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[dollypopup]

y'all can all cancel me (again) for this, but if there's even a SHRED of 'who should I pick?' from Penelope in season 3, I am tuning out SO fast because like. . .sorry not sorry, there IS no choice. Debling is some crusty OC suitor she barely even knows and Colin is a man who she has been so supposedly in love with to the point where she'd ruin her entire family's reputation to have a potential love story with him. Penelope and Colin have background, years of knowing each other, intimacy that few people in the Ton can boast of having (letters, conversations about purpose, fights and arguments and makeups) and her and Debling have. . .a dance or two at a ball because he's a rebound for Penelope's broken heart. he means nothing. he has no nuance, he has no weight to the story, he is such an afterthought to me. either I wanna see Penelope going 'you know what? I don't even LIKE this dude. he's. . .fine, but I don't care about him even a shred as much as I care about Colin' or the INSTANT Colin's like 'you know what? we should get married' if it's not an immediate 'say less, you're already my husband, try returning me without the receipt, Debling whomst?' then I don't want it!

like. . .it's just so frustrating to see all the 'I hope Debling sweeps her off her feet and she rejects Colin's proposal and she makes him work for it and and and-' nonsense from the fandom and it's always tagged and no matter how many times I block it, it just keeps popping up. I go into the Polin tag for POLIN. I don't give a SHIT about a male love interest other than Colin. Not one. Not a shred. Not an iota.

and also. . .Debling has the 'benefit' of not having depth, or character traits, or HISTORY, so peeps can project onto him however they want, but I'm calling it now, there is NOTHING he could do or be that would make me like him more than Colin. Colin will always hit different, and I will always love him more. and if Pen's not on that same page? lol bye

you want me to believe Penelope and Colin are soulmates and it's romance for her to hem and haw about how difficult a decision it is for her to marry a stranger who knows barely anything about her. . .

when Marina was out here dropping banger lines like 'You were the only man with which I could see myself being happy' and 'I do not care about any of these men, where is Colin?'? like hello??? and she wasn't even fully in love with him!!!! but we'll demonize her until the cows come home in our fandom and make her the villain in Polin's love story for DARING to get in between Polin, yet Debling, a white man, is a darling dear perfect prince for getting in between Polin? existing in our fandom solely so Penelope can be like 'lol, Colin ain't shit, let me entertain any and everyone else'?

if that's the direction it goes then, ten toes down and on my mama, she doesn't deserve Colin and she can move because I'm on my way to court him my damn self

and that's that on that

[lunar-years]

it's unfortunate that twitter is the most convenient place to find TL news and latest pictures because wow the fandom over there is really a cesspool. I so need them to learn it's not actually funny to make fun of the cast for losing and then TAG the creators in said petty comments all over SHIPS. if you hate the show so deeply to be cheering in joy over its award show demise and echoing the commentary of the people who have always thought ted lasso was trash, just because you think it's appropriate ~revenge~ for a bad season like uhhh. maybe it's time to take a step back and leave the fandom because you clearly aren't enjoying yourself. and then the audacity to get on there every day demanding a season 4?? like what about the way they tweet at them do they think is enticing these creators to want to make more?

[jacarandaaaas]

if I see one more “mirabel was so lucky to not get a gift comment” I’m gonna lose it. Way to miss the point of her character arc everyone!

[metroid-fusion]

i was gonna say something like "writing characters like therapyspeak is bad practice but if u can vocalise your thoughts like that in irl casual conversation thats probably good for you" but then i remembered someone i used to know that would qualify EVERYTHING with some therapy bs and it was actually incredibly condescending

if you disagreed with this person theyd ALWAYS break out the "I disagree, and that's allowed! You and I are different people with different opinions, and we can respect each other for it! There's no moral aspect to this disagreement, and I'm happy you're my friend" every single time. at that point id rather you make fun of my opinions