#we (subjects) live in a society (object)

[metamatar]

So the real crime of fascism was the application to white people of colonial procedures "which until then had been reserved exclusively for the Arabs of Algeria, the 'c***s' of India, and the 'n***s' of Africa." (p. 36) Here we must situate Cesaire within a larger context of radical black intellectuals who had come to the same conclusions before the publication of Discourse.

As Cedric Robinson argues, a group of radical black intellectuals,including W.E.B. Du Bois, C.L.R James, George Padmore, and Oliver Cox, understood fascism not as some aberration from the march of progress, an unexpected right-wing turn, but a logical development of Western Civilization itself. They viewed fascism as a blood relative of slavery and imperialism, global systems rooted not only in capitalist political economy but racist ideologies that were already in place at the dawn of modernity. As early as 1936, Ralph Bunche, then a radical political science professor at Howard University, suggested that imperialism birth to fascism. "The doctrine of Fascism" wrote Bunche, "with its extreme jingoism, its exaggerated exaltation of the state and its comic-opera glorification of race, has given a new and greater impetus to the policy of world imperialism which had conquered and subjected to systematic and ruthless exploitation virtually all of the darker populations of the earth." Du Bois made some of the clearest statements to this effect: "I knew that Hitler and Mussolini were fighting communism, and using race prejudice to make some white people rich and all colored people poor. But it was not until later that I realized that the colonialism of Great Britain and France had exactly the same object and methods as the fascists and the Nazis were trying clearly to use." Later, in The World and Africa (1947), he writes: "There was no Nazi atrocity-concentration camps, wholesale maiming and murder, defilement of women or ghastly blasphemy of childhood which Christian civilization or Europe had not long been practicing against colored folk in all parts of the world in the name of and for the defense of a Superior Race born to rule the world. The very idea that there was a superior race lay at the heart of the matter, and this is why elements of Discourse also drew on Negritude's impulse to recover the history of Africa's accomplish ments. Takirng his cue from Leo Frobenius's injunction that the "idea of the barbaric Negro is a European invention," Cesaire sets out to prove that the colonial mission to "civilize" the primitive is just a smoke screen. If anything, colonialism results in the massive destruction of whole societies-societies that not only function at a high level of sophistication and complexity, but that might offer the West valuable lessons about how we might live together and remake the modern world.

Robin DG Kelley's A Poetics of Anti Colonialism, published as introduction to a new edition of Aime Cesaire's Discourse on Anti Colonialism

[literary-illuminati]

Book Review 68 - Babel by R. F. Kuang

Overview

I came to Babel with extremely little knowledge about the actual contents of the book but a deep sense of all the vibes swirling around its reception – that it was robbed of a Hugo nomination (if the author didn’t outright refuse it), that it’s probably the single buzziest and most Important sf/f release of 2022, that it was stridently political, and plenty more besides. I also went in having mostly enjoyed The Poppy War series and being absolutely enamoured by the elevator pitch of an alternate history Industrial Revolution where translation is literally magic. And, well-

It is wrong to say I hated this book, but only because keeping track of my complaints and starting organize this review in my head was entertaining enough to keep me invested in the reading experience.

The story is set in an alternate 1830s, where the rise of the British Empire relies upon the dominance of its translators, as it is the mixture of translation and silverworking, the inscription of match-pairs in different languages on bars of worked silver and the leveraging of the ambiguity and loss of meaning between them that fuels the world’s magic. The protagonist is pluckted from his childhood home in Canton after his family dies in a cholera outbreak and whisked away to the estate of Professor Lowell, an Oxford translator he quickly realized is his unacknowledged father. He’s made to choose an English name (Robin Swift) and raised and tutored as a future translator in service to the Empire.

The meat of the story is focused on Robin’s education in Oxford, his relationship with the rest of his cohort, and his growing radicalization and entanglement with the revolutionary Hermes Society. Things come to a head when in his fourth year the cohort is sent back to Canton to, well, help provoke the first Opium War, though none of them aware of that. The final act follows the fallout of that, by which I mean it lives up to the full title of “Or the Necessity of Violence: An Arcane History of the Oxford Translators' Revolution”.

To be clear, this was technically a very accomplished book. The writing never dragged and the prose was, if not exactly lyrical, always clear and often evocative. Despite the breadth of space and time the story covers, I never had any complaints about the pacing – and honestly, the ending was, dramatically speaking, one of the more natural and well-executed ones I’ve read recently. It’s very well-constructed.

All that being said – allow me to apologize for how the rest of this is mostly just going to be a litany of complaints. But the book clearly believes itself to be an important and meaningful work of political art, which means I don’t feel particularly bad about holding it to high standards.

Narrative Voice

To start with, just, dear god the tone. This is a book with absolutely zero faith in its audience’s ability to reach their own conclusions, or even follow the symbolism and implication it lays down. Every important point is stated outright, repeated, and all but bolded and underlined. In this book set in 1830s England there are footnotes fact-checking the imperialists talking heads to, I guess, make sure we don’t accidentally become convinced by their apologia for the slave trade? Everything is just relentlessly didactic, in a way that ended up feeling rather insulting even when I agreed with the points Kuang was making.

More than that, and this is perhaps a more subjective complaint but – for an ostensible period piece, the narrative voice and perspective just felt intensely modern? This was theoretically an omniscient third person book, with the narrative voice being pretty distinct from any of the actual characters – with the result that the implicit narrator was instead the sort of person of spends six hours a day getting into arguments on twitter and for this effort calls themselves a progressive activist. The identities of all the characters – as delivered by the objective narration – were all very neat and legible from the perspective of someone at a 2022 HR department listing how diverse their team was, which was somewhere between a tragic lost opportunity to show how messy and historical racial/ethnic/national identities are and outright anachronistic, depending. (This was honestly one of the bigger disappointments, coming from Kuang’s earlier work. Say what you will of The Poppy War series, the narration is with Rin all the way down, and it trusts the reader enough not to blink.) More than that it was just distracting – the narration ended up feeling like an annoying obstacle between me and the story, and not in any fun postmodern way either.

Characters

Speaking of the cast – they simply do not sound or feel like they actually grew up in the 19th century. Now, some modernization of speech patterns and vocabulary and moral commensense is just the price of doing business with mass market period pieces, granted, but still – no 19th century Anglo-Indian revolutionary is going use the phrase ‘Narco-military state’ (if for no other reason than we’re something like a century early for ‘narco-state’ to be coined as a term at all). An even beyond feeling out of time most of the characters feel kind of thinly sketched?

Or no, it’s not that the characters are thinly sketched so much as their relationships are. We’re repeatedly, insistently told that these four students are fast friends and closer than family and would happily die for each other, but we’re very rarely actually shown it. This is partly just a causality of trying to skim over a four-year university education in the middle third of one book, I think, but still – the good times and happy moments are almost always sort of skimmed over, summarized in the course of a paragraph or two that usually talk in terms of memories and consequences more than the relationships themselves. The points of friction and the arguments, meanwhile, are usually played out entirely on the page, or at least described in much more detail. In the end you kind of have to just take it as read that any of these people actually love each other, given that at least two of them seem to be feuding at any given point for the entire time they know each other.

Letty deserves some special attention. She’s the only white member of Robin’s cohort at Babel and she honestly feels like less of acharacter and more a collection of tropes about white women in progressive spaces? Even more than the rest, it’s hard to believe the rest of the class views her as beloved ride-or-die found family when essentially every time she’s on screen it’s so she can do a microagression or a white fragility or something. Also, just – you know how relatively common it is to see just, blatantly misogynistic memes repackaged as anti-racist because it specifies ‘white women’? There’s a line in this that almost literally says ‘Letty wasn’t doing anything to disprove the stereotype of woman as uselessly emotional and hysteric’.

Also, she’s the one who ends up betraying the other three and trying to turn them in when they turn revolutionary. Which is probably inevitable given the book’s politics, but as it happened felt like less of the shocking betrayal that it was supposed to be and more just, checking off a box for a dramatic reverse. Of course she turned on them, none of them ever really seemed to even like each other.

As a Period Piece

So, the book is set in the 1830s, in the midst of the industrial revolution and its social fallout, and the leadup to the First Opium War (which is, through the magic of, well, magic ,but also mercantilist economics, make into a synecdoche for British global dominion more broadly). On the one hand, the setting is impeccably researched, recent and relevant historical events are referenced whenever they would come up, and the footnotes are full to bursting with quotes and explanations of texts or cultural ephemera that’s brought up in the narration.

On the other, the setting doesn’t feel authentic in the slightest, the portrayal of the British Empire is bizarrely inconsistent, and all that richly researched historical grounding ends up feeling less like a living world and more like a particularly well-down set for a Doctor Who episode.

The story is incredibly focused around Oxford as a city and a university. There’s a whole author’s note about the research and slight changes made into its geography and I absolutely believe its portrayal as a physical location and the laws about how women were treated and how the different colleges were organized and all that is exactly as accurate as Kuang wanted them to be. The issue is really the people. With the exception of a few cartoonish villains who barely get more than a couple pages apiece, no one feels, sounds like, or acts like they actually belong in the 19th century. The racism the protagonists struggle with all feels much more 21st century than Victorian, and the frame of mind everyone inhabits still comes across more as ‘unusually blatantly racist Englishman’ than 19th century scholars and polymaths.

This is especially blatant as far as religion goes. It’s occasionally mentioned, sure enough, but to the extent anyone actually believes in Christianity it’s of a very modern and disenchanted sort – this is a society that sends out missionaries as a conscious tool of colonial expansion, not because of anything as silly or absurd as actually wanting to spread their gospel. Also like, it’s Oxford, in the nineteenth century. For all the racism the protagonists have to deal with, they should be getting so much more shit from ‘well-meaning’ locals and students trying to save their (one Muslim, one atheist, one probably Christian but black and protective of Haitian Vodou on a cultural level which would be more than enough) souls.

Or, and this is more minor, it is a central conceit of the whole finale that if a few (like, two) determined revolutionaries can infiltrate Babel they’ll be able to take the entire place hostage with barely any trouble. This is because the students and professors there are, basically, whimpy bookworms who’ll faint at the sight of blood and have no stomach for the sort of violence their work actually supports and drives. Which – look, I really don’t want to defend the ruling class of Victorian Britain here, but I’m not sure physical cowardice is really one of their failings, as a group? I mean, there’s an entire system of institutionalized child abuse in the boarding schools they went to to get them used to taking and dealing out violence and abuse. Basically every upper-class sport is thinly disguised military drill or ritual combat (okay, or rowing). Half of them would graduate to immediately running off and invading places for the glory of the queen. I’m not sure two sleep-deprived nerds with knives would actually have been able to cow the crowd here, is what I’m saying. (This would stick out less if the text wasn’t so dripping with contempt for them on precisely these grounds.)

Much less minor are our heroic revolutionaries themselves. And okay, this is more a matter of taste than anything but like – the Hermes Society is an illegal conspiracy of renegade current and former Babel scholars dedicated to using their knowledge of magic and access to university resources to oppose and undermine the British Empire in general and the work of the school in particular. Think Metternich’s worse nightmare, but in Oxford instead of Paris and focused on colonial liberation (continental Europe barely exists for the purposes of the book, Britain is Empire.) So! A secret society of professional revolutionaries in the heydey of just that, with a name that just has to be Hermetic symbolism, who concern themselves with both high politics and metaphysics.

They are just so very, very boring. This is the age of the Conspiracy of the Equals, the Carbonari, the Seasons! The literal Illumanti are still within living memory! Where’s the pageantry, the ritual, the grandiosity? The elaborate initiation rituals and oaths of undying loyalty? They’re so pragmatic, so humble, so (and I know I keep coming back to this) modern. It’s just such an utter wasted opportunity. Even beyond the level of aesthetics, these are revolutionaries with remarkably little positive ideology – the oppose colonialism and racism for reasons they take as self-evident and so don’t feel the need to theorize about it (and talk about them with the vocabulary of a modern activist, because of course they do), but they’re pretty much consciously agnostic as to what world should look like instead. They vaguely end up supporting a sort of petty-bourgeois socialism (in the Marxist sense), but the alliance with Luddites is essentially political convenience – they really don’t seem to have any vision of the future at all, either in England or the various places they claim as homelands.

On Empire and Industrialization

The story is set during the early nineteenth century, so of course the Industrial Revolution is a pretty core part of the background. The Silver Industrial Revolution, technically, since the Babellers translation magic is in this world a key and load-bearing part of it. Despite the addition of miracle-working enhancers and supports to its fundamental technology, the industrial revolution plays out pretty identically to history – right down to the same cities becoming hubs of industry, despite steam engines using enchanted silver instead of coal and thus, presumably, the entire economic and logistical system that brought this particular cities to prominence being totally unrecognizable. This is not a book that’s in any way actually about tracing how something would change history – which isn’t a complaint, to be clear, that’s a perfectly valid creative choice.

It does, however, make it rather galling that the single actually significant difference to history is that the introduction of magic turns the industrial revolution into a Legend of Zelda boss with a giant glowing weak point you can hit to destroy the whole enterprise.

On a narrative level, I get it – it simplifies things and allows for a far happier and more dramatic ending if destroying Babel is not just a symbolic act but also literally sends London Bridge falling down and scuttles the entire royal navy and every mill and factory in Britain. It’s just that I think that by doing so it trades away any chance for actually making interesting commentary on anti-colonial and -capitalist resistance. A world where a single act of spectacular terrorism really can destroy a modern empire is frankly so detached from our world that it ceases to be able to really materially comment upon it.

Like, the principle reason to not take the Luddites as your role models is not that they were morally vicious but that they were doomed – capitalism’s ability to repair damage to infrastructure and fixed goods is legitimately very impressive! Trying to force an entire ruling class not to adopt a technology that makes whoever commits to it tremendous amounts of money (thus, power) is a herculean task even when you have a state apparatus and standing army – adding an ‘off’ button to the lot of it just trades all sense of relevance for a satisfyingly cathartic ending.

(This is leaving untouched how the book just takes it as a given that the industrial revolution was a strictly immiserating force that did nothing but redistribute money from artisans to capitalists. Which certainly tracks as something people at the time would have thought but given how resolutely modern all the other politics in the work are rings really weirdly.)

All of which is only my second biggest issue with how the book presents its successful resistance movement. It all pales in comparison to making the Empire a squeamish paper tiger.

Like, the book hates colonialism in general and the British Empire in particular, the narrative and footnotes are filled with little asides about various atrocities and injustices and just ways it was racist or complicit in some particular atrocity. But more than that it is contemptuous of it, it views the empire as (as the cliche goes) a perpetually rotting edifice that just needs one good kick; that it persists only through the myth of its own invincibility, and has no stomach for violent resistance from within. Which is absolutely absurd, and the book does seem to know it on occasion when it off-handedly mentions e.g. the Peterloo Massacre – but a character whose supposed to be the grizzled cynical pragmatic revolutionary still spouts off about how slave rebellions succeed because their masters aren’t willing to massacre their own property. Which is just so spectacularly wrong on every axis its actually almost offensive.

More importantly, the entire final act of the story relies upon the fact that the British Empire would allow a handful of foreign students seize control of a vital piece of infrastructure for weeks on end and do nothing but try to wait them out as the national physically falls apart around them. Like, c’mon, there would be siege artillery set up and taking shots by the end of week two. As with the Oxford students, the Victorian elite had all manner of flaws – take your pick, really – but squeamishness wasn’t really one of them.

On Magic

So the magical system underlying the whole story is – you know how Machinaries of Empire makes imperial ideology and metaphysics literally magical, giving expert technicians the ability to create superweapons and destroy worlds provided that the Hexarchate’s subjects observe the imperial calendar of rites and celebrate its triumphs/participate in rituals glorying in the torture of its ‘heretics’? It’s not exactly a subtle metaphor, but it works.

Babel does something similar, except the foundational atrocity fueling the engine of empire on a metaphysical level is, like, cultural appropriation. As an organizing metaphor, I find this less compelling.

Leaving that aside, the story makes translation literally capable of miracle-working – which of necessity requires making ‘languages’ distinct natural categories with observable metaphysical boundaries. It then sets the story in the 19th century – the era of newborn nation states and education systems and national literatures, where the concept of the national-linguistic community was the obsession of the entire European intelligentsia. Now this is not a book concerned with how the presence of magic would actually have changed history, in the slightest, but like – given how fascinated it is by translation and linguistics you’d think the whole ‘a language is a dialect with a navy’ cliché would at least get a light mention (but then the book doesn’t really treat language as any more inherent or natural than it does any other modern identity category, I suppose.)

As an Allegory

Okay, so having now spent an embarrassing number of words establishing to my own satisfaction that the book really doesn’t work at all as a period piece, let us consider; what if it wasn’t trying to be?

A great many things about the book just fit much better if you take it as a commentary on the modern university with Victorian window-dressing. Certainly the driving resentment of Oxford as an institution that sustains itself and grows rich off the exploitation of international students it considers second-class seems far more apt applied to contemporary elite western schools than 19th century ones. Likewise the racism the heroes face all seems like the kind you’d expect in a modern English town rather than a Victorian one. I’m not well-versed enough on the economics of the city to know for sure, but I would wager that the gleeful characterization of Oxford as a city that literally starts falling to ruin without the university to support it was also less accurate in the 1830s than it is today.

Read like this, everything coheres much better – but the most striking thing becomes the incredible vanity of the book. This is a morality tale where the natural revolutionary vanguard with the power to bring global hegemony to its knees through nothing but witholding their labour are..students at elite western universities (not, I must say, a class I’d consider in dire need of having their egos boosted). The emotions underlying everything make much more sense, but the plot itself becomes positively myopic.

Beyond that – if this is a story about international students at elite universities, it does a terrible job of actually portraying them. Or, properly, it only shows a certain type; just about every foreign-born student or professor we meet is some level of revolutionary, deeply opposed in principle to the empire they work within. No one is actually convinced by the carrot of a life as an exploited but exceedingly comfortable and well-compensated technician in the imperial core, and there’s not really acknowledgement at all of just how much of the apparatus of international institutions and governments in the global south – including positions with quite a bit of real power – end up being staffed by exactly that demographic who just sincerely agree with the various ideological projects employing them. Kuang makes it far too easy on herself by making just about every person of colour in the books one of the good guys, and totally undersells how convincing hegemonic ideology can be, basically.

The Necessity of Violence

This is a pet peeve and it’s a very minor thing that I really wouldn’t bring it up if that wasn’t literally part of the title. But it is, so – it’s a plot point that’s given a decent amount of attention that Griffin (Robin’s secret older brother, grizzled professional revolutionary, his introduction to anti-colonialism) is blamed for murdering one of his classmates who had the bad luck to be studying while he was sneaking in to steal some silver – a student that was quite well-loved by the faculty and her very successful classmates, who have never forgiven him. Later on, it’s revealed that this is an utter rewriting of history, and she’d been a double agent pretending to let herself be recruited into the Hermes Society who’d been luring Griffin into an ambush when he killed her and escaped.

This is – well, the most predictable not-even-a-twist imaginable, for one, but also – just rank cowardice. You titled the book ‘the necessity of violence’, the least you can do is actually own it and show that violent resistance means people (with faces, and names, not just abstractions only ever talked about in general terms) who are essentially personally innocent are going to end up collateral damage, and people are going to hold grudges about it. Have some courage in your convictions!

Translation

Okay, all of that said, this isn’t a book that’s wholly bad, or anything. In particular, you can really tell how much of a passion Kuang has for the art and science of translation. The depth of knowledge and eagerness to share just about overflows from the page whenever the book finds an excuse to talk about it at length, and it’s really very endearing. The philosophizing about translation was also as a rule much more interesting and nuanced then whenever the book tried to opine about high politics or revolutionary tactics.

Anyways, I really can’t recommend the book in any real way, but it did stick in my head for long enough that I’ve now written 4,000 words about it. So at the very least it’s the interesting sort of bad book, y’know?

[highly-important]

Little Art things I'm obsessed with pt 1

Portraits of absent figures:

David Hockney - A Bigger Splash, 1967

Hockney originally visited California in 1963 and was won over by the sunlight and laid-back lifestyle, especially the luxury and ubiquity of the swimming pool. He described it as his "promised land" The splash is about freezing a moment in time, but it is also empty of human presence but implying a human. The male figure is present in some of David's other works from this time period, especially his muse and then-partner Peter Schlesinger. These paintings are about a hedonistic gay lifestyle, and the swimmers, the divers, are often the subject of voyeurism and desire. But in this painting, we just missed the diver, which makes the object of desire more private and personal. Who was the painter looking at, lusting after, etc. I like the contrast of the incredibly sharp and graphic suburban neighborhood, and the chaotic, organic splash. So again, if the divers represent this homosexual desire, we have this contrast of an orderly heterosexual world, and the queerness that joyfully disrupts it.

And then of course, with the absent figure, there is this massive sense of loss and loneliness. And so much of loneliness is about concealment, hiding in shame. This is a private space, but its also an exposed space, enhancing the loneliness. The figure is isolated, alone, invisible. Its a sadness that contrasts with the setting, the activity, and saturated lighting.

Felix Gonzalez-Torres - Untitled (billboard of an empty bed), 1991

These billboards were exhibited in the streets of Manhattan during the AIDS crisis. This piece was created the same year Felix Gonzalez-Torres's boyfriend Ross died. This portrait is a celebration of love and a memorization of loss and the emotions between intimacy and publicity. In the artist's own words:

“What I’m trying to say is that we cannot give the powers that be what they want, what they are expecting from us. Some homophobic senator is going to have a very hard time trying to explain to his constituency that my work is homoerotic or pornographic, but if I were to do a performance with HIV blood — that’s what he wants, that’s what the rags expect because they can sensationalize that, and that’s what’s disappointing. Some of the work I make is more effective because it’s more dangerous. We both make work that looks like something else but it’s not that. We’re infiltrating that look.“

The work intentionally uses the matching, identical depressions to imply a same-sex couple. The image itself is extremely intimate, but its being displayed in public spaces.

Felix Gonzales-Torres became known for his absent bodies.

And then, a little different, this painting by Jacques Guillaume Lucien Amans (1837) commissioned by Frederick and and Coralie Frey, depicts the three Frey children, with the faint shadow of a figure. There was a legend that there was a fourth figure in this painting. In 2005 a private collector, Jeremy K Simien, purchased the painting and it underwent conservation.

The painting revealed Bélizaire, a fifteen year-old enslaved domestic owned by the children's father. The picture captures the complex relationship between the boy and the children, the family that was keeping him captive. For one thing, the way he is set back from the others. There is this sort of intimacy between them along side the psychological trauma of forced bondage.

Here is a great Tiktok about the painting, to quote "What I'm struck by is what a sensitive portrait this is of this young man who was living in an inhumane society where he, despite being a human being, was bought and sold."

A few years after this painting was created, the three Frey children died, and Bélizaire was the only one who survived into adulthood.

The painting stayed in the Frey family. At some point, likely in the late 19th or 20th century, Bélizaire was intentionally painted over. In 1972, the great-granddaughter of Coralie Frey donated the painting to a Louisiana museum, informing them that a figure was painted over. During the course of the painting's life at the museum, no effort was put into restoring the figure.

Jeremy Simien's, who bought and restored this painting, said on his instagram "Bélizaire, they know your name now. Tell the ancestors to let me sleep for a minute."

And shout out to the picture that make me want to write this, Hyde Park Flowers, London by Tumblr user @kimironside I won't re-post it so check out the link.

[avnasace]

no but the way viserys continues to haunt the story through rhaenyra and alicents conflict, which gets passed down to both of their children, is crazy good content.

the irony in that viserys the peaceful was the one who started this war, and the downfall of the dragons/his family in the first place.

viserys and daemon had their own conflict, but when viserys alienated rhaenyra initially by marrying her best friend, he then ignored his and alicents children, eventually later his actions leading to rhaenyra marrying his brother (who he'd also taken for granted and ignored).

he then kept doting on rhaenyra up until the moment he died, further seperating himself from his own children by alicent.

alicent knows of rhaenyras affairs, grows hateful and takes that resentment out on her own children instead, while her father otto is further poisoning her and them for his own ends to scheme for the throne.

so then alicents children learnt to grow up disliking rhaenyra's. the only time you see them even remotely amicable is when theyre bullying aemond, another bond made through cruelty instead of kindness. this is ironic considering at laenas funeral you can see that aemond actually thinks about trying to offer comfort to i think baela and rhaena (if i remember correctly?)

aegon and helaena couldnt care less, which to me makes it even more sad. if aemond had, he might not have then been so quick to rub his claiming of vhagar in their faces, and he might not have lost an eye.

the taking of the eye plus viserys' incompetence reignites and cements alicents hatred for rhaenyra even more. viserys takes rhaenyras side, not defending his hurt child at all, even going as far as to shout at aegon for even the mention that he might have said something against rhaenyra. this causes alicent to attack her, and later making her then double down on her efforts to pressure aegon into hating rhaenyra, further distancing him from her.

later we see with aegon that his mothers pressure leads him to find affection in other very unhealthy and harmful ways, assaulting his maids, excessive drinking, brothel going, and assumably fathering many bastards, leading him tho the child fighting rings as well. aemond too starts going to the brothel and avoiding alicent, but for platonic affection instead of anything more.

helaena is the one who received the most of her mothers love and the least of her cruelty, however their relationship is similarly screwed up because shes the only child that doesnt actually want affection from her...

meanwhile rhaenyra is a very loving and fiercely protective mother to her children, fighting for them above all else, especially when their parentage is concerned. she does anything for them, and it shows in their natures that their upbringing, other than the scrutiny from other nobles about their father, that they were raised kindly and wisely.

whats also completely different is that rhaenyras children have not one but three father figures, all of which love them in different ways, which is three more than alicents children have. you could make an argument for cole being a prominent male figure in their lives but he is also quite cruel and hateful.

we see team greens children grow up to be anxious, affection starved control freaks, with mummy and daddy issues, with not one of them knowing how to be a leader even though they are all in some way forced to be one.

aegon is an incompetent drunkard of a king who knows nothing of court or war or politics, not even high valyrian. he is only a figurehead, but is strangely empathetic towards his subjects and loves his children.

aemond is cruel and objective, a fierce fighter and being the most studied and educated of them all, but with no care to his subjects and far too willing to disregard or maim his own blood for his own ambitions.

helaena is the gentlest but she herself has no ambition to rule, she is kind but also an outcast of their society because of her prophecies. she also does not particularly care for her subjects, even being scared of them and their willingness to get to know her.

meanwhile in complete contrast jacaerys and lucerys are kind, more than willing to learn, theyre fluent in high valyrian, they are very interested in their histories and heritage and they learn sword fighting from harwin and assumably laenor? later probably daemon too.

they stand in the war council room with their mother and learn, and even baela and rhaena are involved by rhaenyra to both take part and learn.

the generational trauma goes crazy in this show, but all these characters are so compelling. i dont think there is a single main character that doesnt interest me. yes most of them are bad people and have done awful things, but its also so interesting to see how they got that way and see how one fathers actions, or lack thereof, caused so much destruction.

[thatsonemorbidcorvid]

“My reporting on stalking began in 2018, when I launched a national anti-stalking campaign, Unfollow Me, at my former employer Vice, in partnership with the stalking advocacy service Paladin. Using freedom of information laws, I found that more than 60 women had been murdered by stalkers in a three-year period, despite having reported them to the police.

Alice Ruggles, Shana Grice, Molly McLaren. I cannot forget their names. Their last moments haunt me. How Ruggles’ ex-boyfriend slashed her throat with a knife as she cowered from him in her bathroom. How McLaren’s ex-boyfriend stabbed her 75 times in a car park in broad daylight. How Grice’s ex-boyfriend subjected her to unthinkable terror in the months before her death – he let himself into her house and watched her sleeping – before murdering her, and setting fire to her body. All three women reported their stalkers to police, who did next to nothing. Grice, unbelievably, was fined by Sussex police for wasting police time. It’s been six years now, and all I see is the same police apologies and hand-wringing. Nothing has changed.

What I believe underpins all of this is a rich seam of misogyny. Men – and it is mostly men who are stalkers, although of course they can be victims too – who feel entitled to women’s time, their attention, their bodies and sometimes even their lives. And police forces that regard women as time-wasters and their complaints as histrionics, for objecting to this. Stalking victims deserve to live in safety and peace. Right now, as a society, we are failing them.”

[heretichromia]

Exploring the Relationship Dynamics Between the Abyssal Hunters

I had a few people either misinterpret or express confusion regarding this post that I made, so I want to make a different post covering the same (and more) material that's more rooted in explicit textual evidence which doesn't use emotionally-charged language. I'm going to try my best to stay neutral here and discuss multiple possible interpretations.

In short, I want to break down all that we know regarding the nature of the relationships shared by the four* Abyssal Hunters. In long, see below. And...I mean long, it's 5,000 words.

*Abyssal Hunters as a faction of Ægir; sorry, Andreana. Note: Minor Path of Life (CN) spoilers below. None of the major events are spoiled, but I do talk about a lot of the context that the event gives us on Ægir society and the backstories of the Hunters.

What we know from the text:

I'll keep this segment as objective as possible, and only state things that I can directly argue as nearly indisputable from textual evidence. Some interpretation work is going to have to be done here, however, and I'm open to anyone who disagrees with anything here pointing out the passages in the text that contradict my assertions.

Ages:

This is a subject the community as a whole is widely misinformed about, so I'm highlighting it separately.

We know from Path of Life that the expected lifespan of an Ægir is around 150 years.

Gladiia is likely in her late 30s. She has 17 years of combat experience, which we're led to believe began relatively shortly after she received independence from her abusive, neglectful, and controlling mother. She was appointed as Consul of Technology before becoming an Abyssal Hunter, though her module description characterizes her as having been unable to decide the trajectory of her life, which implies to me that she was not free of her mother for very long before the operation. We don't have reason to believe Ægir uses child soldiers nor appoints children to be Technology Consuls, so this places her minimum age at around 35 and her likely age as a little older than that. She was still characterized as a young Consul ten years after her appointment, so I don't believe she'd be much older. Late 30s is my best approximation; much older than that, and things begin making less sense regarding the multiple parental figures still present in her life.

Skadi is likely also in her 30s, though the actual bounds are wider than Gladiia's. She has 13 years of combat experience, making her 31 at the youngest. However, from Path of Life we know that she was the most skilled technician in her division prior to becoming an Abyssal Hunter. This means she probably had at least a few, if not several years of work experience out of the Academy. If she's younger than Gladiia, it's likely not by many years, and she could even be conceivably older than her. I think she's probably a small handful of years younger, if you had to ask me my personal interpretation.

Laurentina is the youngest of the Abyssal Hunters. She has seven years of combat experience, implying that she joined a decade after Gladiia. This places her minimum age at 25. We can imagine she's probably not too much older than that, since she never fully embraced a career as a sculptor before changing circumstances caused her to apply for the Abyssal Hunters. She's probably in her mid-to-late 20s.

Ulpianus is the oldest, and potentially by a considerable margin. He was the first Abyssal Hunter, becoming one twenty years ago, as well as one of the scientists who created the Abyssal Hunters to begin with. He was already one of the most preeminent scientific minds of Ægir by this point. Since Ægir can live to 150, this means the upper bound on his age is potentially very high. This man could conceivably be in his 80s or older without it breaking anything we know about the story. The lower bound of his age is probably somewhere in his late 40s at an absolute minimum, assuming that the Ægirian process for becoming an accomplished scientist is anywhere remotely similar to the real-world one. It's completely up to speculation where his actual age falls between those bounds.

Connections between the Hunters:

An important note to make here that isn't precisely a connection, but does inform them: Ægir as a society does not have a compulsion towards nuclear family structures. In fact, the opposite is true. From Path of Life, we know that Ægir are usually raised in groups in dedicated schools. Ægir seems to prioritize careers over interpersonal relationships, and direct blood family ties are much weaker. Ægirian women don't give birth to their children directly; the embryos are surgically removed and then grown separately.

Laurentina's close relationship with her biological parents was noted as being somewhat atypical, and they still didn't raise her themselves. Instead, they allowed childcare services to raise her while frequently taking her with them on their trips when they could. Gladiia's upbringing, where she was isolated by an abusive and neglectful mother, is also atypical. From her conversation with Clemenza, we learn that she was in fact strongly suggested to give up Gladiia to childcare services, but refused to do so.

Onto the actual connections:

Gladiia met Ulpianus in the earlier years of the Abyssal Hunter project, when she was a young, emotionally vulnerable woman who was actively seeking new familial connections (see: her module). Given how well Ulpianus understands the other Hunters (implied in Stultifera Navis and displayed in Path of Life), it's very unlikely that he wasn't aware of this. Ulpianus declined his student Underflow's application to the Abyssal Hunters because he didn't want her to become like him. It's likely, then, that he personally processed Gladiia's entry into the Abyssal Hunters.

We know from Specter the Unchained's module that the two of them spoke at least somewhat often, discussing subjects like philosophy. In the one conversation we see, Ulpianus is explaining to Gladiia his concerns about the direction Ægir is heading in these "protracted days of calamity," and she seems to either agree with or absorb his pontification. He certainly takes the lead in this conversation with the "young Consul," and while a mentorship role can be inferred from this, it's not directly stated anywhere.

From Gladiia's IS3 ending, we know that Ulpianus never directly indicated to her that he felt any connection between them, nor did he bring up concepts like seniority around her. However, his actual feelings concerning her were clearly more sentimental than he let on, as he unexpectedly sacrificed his life for the sake of his "junior." Gladiia hadn't realized he was so sentimental until it happened, but in retrospect she looked back upon it warmly, realizing she never truly understood Ulpianus.

We have fewer interactions between Ulpianus and Skadi than we do between Ulpianus and Gladiia, but we can infer something of a dynamic from what we do have. Ulpianus trusted Skadi implicitly. From Path of Life, we know that he treated her differently from the other Hunters in his company. Ulpianus was a brilliant tactician who gave complex plans to each of his soldiers, but when he got to Skadi—who frequently spaces out when listening to others, and by her own admission in the event doesn't like to think—he merely told her that he trusted her to carry out her duty. He understood her, and didn't belittle her for her weaknesses. He had faith in her, and was right to do so; Skadi completed every mission exceptionally.

In the Second Company, meanwhile, Gladiia and Laurentina clearly had a closer relationship than just their positions would imply. Gladiia considered herself Laurentina's teacher, instructing her not only in the art of war but also in life skills. Their first lesson was not in violence, but in dance (Specter the Unchained OpRec). Whereas Laurentina is now frequently associated with her dancing, not just in narrative framing but actively by Ulpianus in Path of Life, she had barely danced much at all prior to her dances with Gladiia.

Already by the time of her aforementioned conversation with Ulpianus, Gladiia had developed a fondness for her subordinate. She even smiled when she spoke of her glowingly, something she almost never does. Gladiia, as critical as she is of almost everyone, can hardly find fault with Laurentina. From the aforementioned OpRec, we see that even Laurentina expects her to lecture her more than she does. Frequently, when confronted with her peculiarities and the choices she makes, Gladiia will approve of them warmly. The OpRec also has a wonderful passage of them just talking and spending time with one-another. It's very warm and gives a lot of small insights to their relationship and their relationship with the arts (a subject they're both very attached to) that I can't really explain effectively here without exploding the already extremely high word count. I'd recommend reading it if you haven't already.

In short, though, the relationship between Gladiia and Laurentina is very warm despite Gladiia's frequent brusqueness and coldness. In Ægir, they would see plays together—but because of Gladiia's insistence upon minimizing distractions while experiencing art, would sit apart. In Specter's post-Under Tides OpRec, Laurentina had to practically beg Gladiia before she showed her any more warmth than would be warranted to any other subordinate, as Gladiia kept her emotions tightly to her chest. Laurentina's emotional intelligence and close bond with her allows her to see through Gladiia's practiced emotionless exterior. Like Ulpianus, she understands Gladiia well enough to see through the strong facade she fronts to get glimpses into the deep well of anxiety beneath. In Laurentina's story in IS3, their bond is described as so close that she doesn't need to speak with Gladiia to understand her. She continued to dance with her as their primary method of silent communication for months after Gladiia had ceased speaking because of how much she hated how the Seaborn assimilation had changed her voice.

Of course, Laurentina and Skadi also share a deep bond, which is probably the most well-known one. Though how well they knew each other prior to the attack on Ishar'mla is still somewhat unclear—though it's clear from multiple sources (e.g. Specter OpRec, Path of Life, etc.) they weren't strangers—the important bulk of their relationship concerns their time spent together at Rhodes Island on land. Tortured by the Church of the Deep's horrific experiments and driven insane by the originium that Bishop Amaia injected into her spinal column, Laurentina was in an almost unrecognizable state when she was reunited with Skadi (Specter OpRec). She'd developed a second personality called Specter as a result of her experiences, one that was fully unfamiliar to Skadi, and the real Laurentina seemed to be locked away inside her own mind, in endless sleep, unable to awaken.

Skadi took care of Laurentina. She was not easy to care for. Beyond just requiring intensive care to keep her alive, Specter was mentally unstable. She would be unable to leave her treatment room for long stretches of time, and if the way she spoke to Skadi during her OpRec once she'd 'fallen asleep' again is any indication, some of the things she'd say to Skadi were truly vile. To continually bear this cannot have been an easy burden to shoulder, but Skadi would nonetheless come into her room constantly, sing songs to her, and tell her stories. Laurentina heard it all, though she couldn't speak. Though she teased her for it mercilessly when she awoke after Under Tides, she expressed legitimate gratitude to Skadi for all she'd done taking care of her.

If their bond was not intensely close before, it is now. Laurentina, now awake, teaches Skadi to dance in Unchained's OpRec, just as Gladiia taught her before. Just as she can see through Gladiia's facades, Laurentina understands Skadi enough to be able to see through hers to the genuine, warm, and caring person she is. Skadi, meanwhile, goes to great lengths to make sure Laurentina is okay. She cared more about her wellbeing than she did about obediently listening to the orders of her superiors; when Gladiia came to take Specter from Rhodes Island, she protested, and followed Gladiia to Sal Viento to take her back.

Skadi and Gladiia do not have nearly as warm a history. Both are rather emotionally unintelligent and wear masks of indifference around each other. That isn't to say they don't care about each other, though; if anything, we have plenty of evidence to the contrary. Gladiia did not hesitate for a moment about risking death for Skadi's sake in Under Tides, feeling a duty to protect her from both the First to Talk and the monster that dwells inside her head. They share a bond of camaraderie that's constantly reinforced in every event.

In Stultifera Navis and its supplemental material, we got more inklings of the development of a deeper relationship between them, though it's naturally strained because of their natures. Skadi, who always calls Gladiia "Second Captain," accidentally called her Gladiia in SN—to which Gladiia brusquely remarked that she was getting rather comfortable around her. She corrected her mistake and hasn't made it since. In the oft-mentioned now Specter the Unchained OpRec, when Laurentina teaches Skadi how to dance she remarks that Gladiia would like to dance with her. Skadi brushes this off as a mean-spirited joke, but it's much more likely that Laurentina knows they both feel an unspoken fondness for the other and is steadily poking at them to share it with the other.

Lastly, and certainly least, we have Laurentina and Ulpianus. There's...almost nothing here. We know that they're not strangers, and from Path of Life we know that Ulpianus at least understands Laurentina well enough as an individual, but as far as I'm aware there's not much to suggest what sort of relationship they may have had beyond just comrades, if any. Ulpianus seemed to become disinterested in continuing his conversation with Gladiia once she started gushing about Laurentina, but that's more likely a case of him being averse to talks about feelings in general than it is any distaste for Shark herself.

---

Possible interpretations:

From this, we have a pretty good idea of the general shape of how these dynamics work. There's a lot of room to talk about the intricacies of their relationships, and I...can't cover every single possibility here.

I'd love to. If you ask me, I can keep yapping. I didn't write all of this because of some solemn dedication to archiving these fictional fish. Please, litter my inbox if you have questions. I can yap endlessly.

Instead, I'll focus on some of the predominant interpretations that I've seen across discussions and fanworks. Namely, the idea of the Abyssal Hunters as a family and the idea of some of the Abyssal Hunters as romantic partners.

I'll be covering interpretations that are both supported and not supported by the text to varying degrees. I'm going to outline how well I believe the text supports these interpretations, which is obviously going to be subjective, but I'm going to try to keep my own personal bias out of it. I have my own preferences, but I will be as neutral as I can be here.

The Family Angle

The Abyssal Hunters are a found family. That's not so much subtext as it is text—again, see Gladiia's module about how she failed to find the warmth and belonging she sought from her biological family, and instead searched for a new family. They have dynamics between them that are clearly at least meant to mirror existing family dynamics.

But a found family is not the same thing as a biological family. It does not necessarily feature the same dynamics as you'd find between actual family members. The "family angle" is the interpretation that the relationship between all of them is in fact completely familial in nature. While found families do not preclude romantic and sexual relationships between their members, a familial relationship between these characters implies that their bond is strong in a way that is neither romantic nor sexual in nature.

This, in itself, is neither confirmed nor denied by the text. It's consistent with what we're shown, and is perhaps one of the more 'pure' interpretations of these relationships—in the sense that it doesn't read more into the characters than the information presented. The Abyssal Hunters are characterized in expressly familial terms, and so this interpretation says that this is the extent of their dynamics. For clarity, it is neither more nor less correct than other interpretations for this, and is not personally my own. If there's anything limiting this interpretation, it's that Ægirians don't have nuclear family ties in the same way that we do, but that doesn't in my view contradict a familial interpretation as much as it modifies how it's perceived by the characters.

There are, of course, a lot of different ways you can approach the family angle. I'll outline some of the more sensible ones that can be concluded from the text.

One of the more common interpretations is that of the three female hunters as siblings. Again, there's no real confirmation of this in the text—only sentiments that the bond between them is thicker than blood—but there's nothing in the text which contradicts this. They certainly could play into typical sibling dynamics fairly well, with Gladiia as the serious, beleaguered older sister who whips the younger siblings into shape, and Laurentina as the brattiest child of the family who's nonetheless more emotionally intelligent than her stubborn sisters. It's one I see a lot, and I don't really see an issue with it.

Another common interpretation is that there exists something mirroring a parent/daughter relationship between the Captains and their subordinates: Ulpianus/Skadi, and Gladiia/Laurentina. From what's been outlined above, there's definitely food for this sort of interpretation in the text. Gladiia, for instance, is definitely motherly towards Laurentina. I do not believe this is a coincidence; as someone who was failed by her mother in horrendous ways, she's taken on a motherly role towards those she cares for and whom she believes she has a responsibility for. I think this, in itself, is a fine interpretation.

I think it gets much weaker when it's taken a step further into a literal parent/daughter relationship between them. These are adult women. At most, the age gap between Gladiia and Laurentina is a little over a decade, and they were adults when they met. She might feel a motherly responsibility for this woman, but I do not believe she'd consider a fully adult woman only around a decade her junior to be her daughter. Friendships between people in their mid-20s and mid-30s happen all the time in the real world. They are not, by any stretch of the imagination, anything like real parent-child relationships. The age gap between Ulpianus and Skadi is likely wider, and thus it's more reasonable that Ulpianus would see someone Skadi's age that he met in her 20s as someone who could have been his daughter. Even in that case, their dynamic would be heavily qualified by the fact that he has always known Skadi as a fully adult woman.

One similar possible dynamic that I almost never see is the idea of Ulpianus as a father for Gladiia. They're of similar ages, and if he saw Skadi as someone who could have been his daughter, he surely see Gladiia as the same. Gladiia, as well, desperately needed a parental figure in her life and never got one. They clearly have a senior/junior, possibly mentor/student relationship in the text, even if neither of them explicitly acknowledge it as one. This is the logical next step, which many have taken for the other plausible parent/daughter relationships, but I never see this one.

The Romance Angle

People like shipping. I'm people, too. I like shipping. It's pretty natural that, when it comes to characters we like that have close relationships like this, there's going to be people who are primarily invested in slapping two or more of them together like Barbies. Some of these relationship dynamics are more plausible than others.

Here's where some of the objectivity might break down. I'll try my best to limit my personal bias, but it's extremely hard to speak objectively about topics that are so obviously subject to personal interpretation.

First, I'd like to emphasize that Ægirian social dynamics, likely including romance, are alien to us. The likelihood that these characters would feel exactly the same about romance as we do in a predominantly monogamous society structured around nuclear families with a marriage at the core is...very low. Ægir and the nations of land are fundamentally different in ways that make understanding one-another difficult. Listen to some of Specter the Unchained's voicelines expressing her frustration about how she doesn't have the means to convey to the Doctor everything she'd like to. While we can (and should if we'd like to) have fun with applying our concepts of romance to them, we should always keep in mind that they might not actually share them as characters.

On the more fun side, this opens up a world of possible arrangements. We can speculate, for instance, that these characters might be much more open to polyamory than others might. Or, perhaps, their courtship looks very different from ours, and we can explore how that might look through fiction. One relationship existing does not need to preclude the others even in our society, much less theirs.

The most obvious potential romance that most people would identify among the Abyssal Hunters is Skadi and Laurentina, and I have to agree that it's one of the most plausible, if not the single most. I...don't think I even need to linger too much on this one, because most of it's already been laid out. Their story reads like a tragic yuri plot. The romance is practically already written; if you showed me the exact same story that these two have, but they kiss at the end, it would not remotely feel like it came out of nowhere. It's one of many dynamics between characters that would be readily interpreted as romantic by a wider audience if, say, Skadi were a man. It's already one of the most popular Arknights ships as-is! It fits their characters, and makes sense as an interpretation.

It isn't necessarily the only interpretation of these characters, of course. As discussed, there's a wide array of ways you can interpret their bond, and many are just as supported by the text. While there's plenty of subtext that can be said to be romantic between them, that subtext can all be interpreted in platonic and familial ways. This is a Chinese gacha game; we're not going to get explicit confirmation of any of these relationships, and all romantic subtext will be written to resemble other kinds of subtext. That means that other subtext that was legitimately not meant to be romantic can scan as romantic. There's no strong argument here for authorial intent regarding the two of them either way.

...You can tell how strong the potential for a ship here is that I felt the need to use one of the two paragraphs I spent talking about it to discuss how it's not necessarily the only possible dynamic.

The second most likely, in my eyes, is Laurentina and Gladiia, which I'll elaborate further on than Skadi/Laurentina because of its rarity as a ship by comparison; it's legitimately plausible that most who might read this haven't considered it at all. Of the pairs possible within the trio, they're the two with the oldest history, who clearly have a deep and intimate bond. The exact nature of this bond is subject to interpretation, of course. As discussed earlier, Gladiia is quite motherly when it comes to Laurentina. A familial interpretation of the two of them is common, but as uncommon as a romantic interpretation is, I think it's both easily supported and already has plenty of material in the text to feed it. You can easily read the time they spent together in Specter the Unchained's OpRec as a date. That their dynamic has motherly characteristics does not stop it from being romantic. Plenty of romances in popular fiction have motherly elements to them; that behavior can simply be Gladiia's chosen language of love.

An issue that I can imagine is the power dynamic between them—not necessarily even as a moral argument about the ship, but as an issue between their characters. Laurentina was, of course, young when she joined the Abyssal Hunters, and Gladiia became both her superior and her mentor. I would be surprised if Laurentina was much older than 21 at the time, and I would not be surprised if she was in fact 18. Gladiia, meanwhile, would have been probably in the range of 28-30. While almost the same exact age gap would be present between Laurentina and Skadi, who would have met her at a similar time, the fact that Gladiia served as her mentor definitely colors the relationship in a different way.

As someone who clearly felt a responsibility towards Laurentina, I find it very unlikely that the nature of their relationship was immediately romantic. Even though Gladiia was immature in many ways and inexperienced compared to others of her age as a result of her isolated childhood and arrested development caused by her mother's abuse, she still likely would have seen a romance as unacceptable between the two of them. That may have even contributed to the arm's length she seems to sometimes keep Laurentina at, to the latter's chagrin.

However, critically, they aren't that age anymore. Laurentina is firmly an adult who can make reasoned decisions for herself, and frankly often showcases more emotional maturity than Gladiia does. Their situation is radically changed. Gladiia is still her commander, but she's her leader more because of mutual trust than any necessity to follow the orders of the Ægirian military. They're no longer student and teacher; they're much more akin to equals now. There are now things that Laurentina can teach Gladiia; Gladiia is now the one who most desperately needs character development. The barriers that could have stopped their feelings from becoming a romance have eroded, and there is now the potential for one to form that is completely fitting within the bounds of the text and our understanding of their characters.

...

Okay, it's time to discuss the subject matter of the post I linked at the top of this one. Ulpianus and Gladiia.

...Almost everything I've just said about Gladiia and Laurentina applies doubly here.

It's the same dynamic. A junior who becomes an equal. It's much more common, in my experience, probably because it's heterosexual. Like with the other dynamics, there's nothing in the story that outright contradicts it. I do think its claim is weaker than the last two, though. I find it much harder to believe that Ulpianus would have harbored romantic feelings towards Gladiia.

She was much younger than him at the time they met, compared to the age gap between the other Hunters and Laurentina, and—as mentioned—he was likely very aware of her emotional immaturity, vulnerability, and desire to form real connections for the first time in her life. Ulpianus is, from what we can tell, a very thoughtful man who understands his comrades very well and reckons solemnly with the consequences of his actions. As I put it in a previous post, he's a man who "constantly pontificates on duty, responsibility, and what 'ought to be.'" I don't believe a principled man like Ulpianus—who is stubborn about principles to the point of contentiousness, who considers emotions to be secondary to duty and righteousness, who is prepared to throw away everything for what he believes in, including his life and his humanity—would do anything that could be considered taking advantage of an emotionally vulnerable young woman. That seems incredibly contradictory to his character. Even if she's grown physically, I think it's easy to read from his actions that he still sees her as someone who's still immature. I think he would have a much harder time seeing Gladiia as an equal peer than Gladiia would Laurentina.

Now, to play devil's advocate somewhat, I will say that there's material within this to work with. The love of a man who won't even confess that he cares at all for his younger student, much less act upon his desires is a setup for what could be a great fan-made story. I don't personally think it could ever end with the two of them together while staying true to their characterization, but that's up for interpretation. This is, however, not the way I see this ship characterized at all. If anything, they're most popularly depicted as ex-lovers or the husband/wife of a nuclear family. I've probably belabored the point enough that I don't need to break those concepts down, so I'll leave it there.

Briefly, I want to pay some lip service to the idea I floated earlier of a...fish polycule. I don't believe that Skadi and Gladiia have the most romantic flags at present out of the trio, but (especially in the event that both of them are romantically involved with Laurentina) I can easily see them growing closer and eventually breaking down the barrier of communication between them that stops them from expressing their fondness for one-another in ways that aren't professing they'd want the other to kill them if they became a monster.

There's not a lot of material in the text for this, but that's hardly stopped anyone before. It certainly hasn't stopped me. I ship Gladiia with Lavinia/Penance. I don't need them to acknowledge each other's existence to see a line there; I'm not about to judge anyone for pairing off two characters who have had considerable screen time together, where one nearly died for the sake of the other.

Lastly, I feel like I should at least mention e.g. Laurentina/Irene and Gladiia/Kal'tsit. Mostly because this post isn't about those dynamics. I could talk about Gladiia/Kal'tsit. I could talk about the parallels in Gladiia's first IS3 scene, where Gladiia's recollections about her mother's neglect are immediately juxtaposed with Kal'tsit's concern for her. I could further elaborate on Gladiia's complex relationships with the concept of motherhood, and how Kal'tsit relates to that. I won't. But I could.

I don't even know if I ship Gladiia/Kal'tsit as a romantic couple. I just like their relationship a lot, whatever form it takes.

---

Endnotes.

Thanks for reading! I don't have a sweeping conclusion to finish with; the point of this post was just to compare and contrast popular fandom depictions of these characters with the actual material found in the text.

I hope you enjoyed, or learned something. I know there's so much goddamn text in Arknights that it's kind of impossible for anyone to reflect thoroughly on every single part of it. If you have any questions, criticism, or suggestions, my inbox is open!

[neyafromfrance95]

are we EVER going to talk about the ageism against women properly?

bc it has been growing rampant in gen z and the arguments against it aren't exactly addressing the issue through examining the double standards people have for women and men.

yes, ageing is a privilege but i don't think that this argument is doing anything to dismantle the patriarchal mentality that is ingrained in our culture.

in many ways, people's counterpoint to "women expire after the xyz age" is basically "well, ageing is a privilege and natural so you should be ok with being an expired undesirable grandma whose only purpose is taking care of children bc at least you're not dead". we are never going to actually dismantle the ageism against women if this is our only argument.

we have to address the fact that women aren't allowed the same standards that men are.

men are allowed to have two types of desirability - a boy and a man. we don't say that men in their 50s look good *for* their age, we say that they grew well into their age, we simply say that they are attractive 50 years olds.

but women can only be and feel beautiful and desirable if they are young. if a woman in her 50s is objectively fine, we say that she looks good *for* her age, insinuating that there is no way she could ever *just* look good at 50, no "for"s, since she isn't 19-25 anymore and that's the only age range when a woman is truly attractive and desirable.

isn't this actually abhorrent? the fact that people can live up to about 100 years but women are taught to believe that only in 6 of these years they are in their prime? that patriarchy tells women that after their early 20s they are expired and the only valid way for them to be desirable and beautiful is to try to replicate the qualities of the 20 years old version of themselves that according to the same patriarchy, older women can no longer posses?

and the argument that women should not wish to be desirable at all in the name of feminism is very faulty, imo. it often comes from young and pretty women who don't really understand what being deemed "undesirable" in society means. the assumption that women being ok with the patriarchy telling them that they should feel expired after 25, should feel like they looked better in their 20s even if they take a better care of themselves now, should just do the "grandma" stuff while their male counterparts still get to experience romance and the life to its fullest, is not going to be some kind of a feminism win.

the "ageing is a privilege" has started to feel like an argument for women to once again settle for the bare minimum (at least you aren't dead) and conform to the unfair limitations the patriarchy forces on women.

i think what needs to change is us giving these misogynistic double standards any sort of validation. they are not rooted in some kind of universal truth about the inherent difference between men and women, they are rooted in patriarchy. we need to stop acting like younger and older women are in competition and start acknowledging that both are desirable and beautiful in their own ways.

i know that this post won't get much traction, but i feel like we need to talk about this topic more bc the internalized ageism that gen z women have is going to mess them up and the counterpoints to their assumptions are sometimes weak and unhelpful.

edit: thanks for yall's input in the reblogs! i would love to hear more from people so please feel free to reblog and say all that's on your mind regarding this subject since we really need to start addressing this and keep the conversation going!

[blackhistorystoryteller]

AFRICAN VOODOO

The deep truth about AFRICAN VOODOO

African Voodoo: Unraveling the Mysteries of a Rich Spiritual Tradition

African Voodoo, often shrouded in mystery and misconceptions, is a complex and fascinating spiritual tradition with deep-rooted cultural significance. This ancient belief system, practiced in various forms across the African continent and the African diaspora, offers a unique perspective on the relationship between humans, nature, and the divine. In this article, we will delve into the world of African Voodoo, exploring its history, beliefs, rituals, and its enduring impact on the cultures and societies where it thrives.

A Diverse Tradition

Voodoo, also spelled Vodou or Vodun, is not a monolithic belief system; rather, it is a diverse and adaptable spiritual tradition that has evolved differently in various regions of Africa and beyond. Its origins can be traced back to the indigenous religions of West and Central Africa, where it was practiced by different ethnic groups. Over time, African Voodoo underwent syncretism with Catholicism and indigenous beliefs in the Caribbean, particularly in Haiti, giving birth to Haitian Vodou, which is perhaps the most well-known form of Voodoo.

Core Beliefs

At its core, African Voodoo centers around the veneration of spirits, ancestors, and deities. These spirits are believed to have the power to influence human life and the natural world. Each spirit has a specific domain, and practitioners seek their guidance and assistance through various rituals and offerings. Ancestor worship is a fundamental aspect of Voodoo, as it connects the living to their familial lineage and heritage.

The Loa, or spirits, are a central focus of Voodoo ceremonies. These spirits are intermediaries between humans and the ultimate divine force. Practitioners often enter trance-like states to communicate with the Loa, who possess them temporarily during rituals. The Loa are known for their distinct personalities and preferences, and offerings such as food, drinks, and dance are made to appease and honor them.

Rituals and Practices

Voodoo rituals are colorful and lively events filled with drumming, dancing, singing, and the use of symbolic objects. Rituals are often held in temples or outdoor spaces, and they vary widely depending on the specific tradition and purpose. Some rituals are celebratory, while others are intended to seek protection, healing, or guidance.

One of the most famous Voodoo rituals is the "Voodoo Doll," which is often misunderstood. These dolls are not meant for causing harm but are used as tools for healing or connecting with a specific person's spirit. Pins may be used symbolically to focus intention.

Voodoo in the African Diaspora

The transatlantic slave trade played a significant role in spreading African Voodoo to the Americas, particularly in regions like Haiti, New Orleans, and Brazil. In these places, Voodoo underwent further syncretism with local beliefs and Catholicism, resulting in unique variations of the tradition.

Haitian Vodou, for instance, is a vibrant blend of African Voodoo, Catholicism, and indigenous Taino beliefs. It has had a profound impact on Haitian culture and played a central role in the struggle for independence from colonial rule.

Misconceptions and Stereotypes

African Voodoo has been the subject of many misconceptions and stereotypes, often portrayed negatively in popular culture. These portrayals frequently focus on the more sensational aspects of Voodoo, such as curses and zombies, rather than its rich cultural and spiritual dimensions. It's important to recognize that Voodoo is a legitimate religious practice for millions of people, and like any belief system, it encompasses a wide range of beliefs and practices.

African Voodoo is a complex, multifaceted spiritual tradition with a deep and enduring cultural significance. It is a testament to the resilience of African heritage and the ability of beliefs to adapt and evolve over time. Beyond the stereotypes and misconceptions, Voodoo represents a profound connection between humans, nature, and the divine—a connection that continues to shape the lives and cultures of those who practice it.

Communication with the spirits, often referred to as Loa or Lwa in Voodoo, is a central aspect of Voodoo rituals and practices. Here's an overview of how practitioners communicate with these entities:

1. **Rituals and Offerings**: Voodoo rituals are the primary means of communication with the spirits. Practitioners gather in a designated sacred space, such as a temple or outdoor altar. They often create an elaborate ritual environment with symbols, candles, and ceremonial objects. Offerings, including food, drinks, tobacco, and other items, are presented to specific spirits to gain their favor and attention.

2. **Dance and Music**: Music and dance are essential elements of Voodoo ceremonies. Drumming and chanting create a rhythmic and trance-inducing atmosphere. Through dance and music, practitioners enter altered states of consciousness, allowing them to connect with the spirits more profoundly. It is believed that the spirits may possess individuals during these ceremonies, providing a direct channel for communication.

3. **Possession and Trance**: One of the most distinctive aspects of Voodoo rituals is the concept of spirit possession. Practitioners, often referred to as "servants of the spirits," may enter a trance-like state during which a particular Loa or spirit is believed to take control of their body. In this state, the possessed individual may speak in the voice of the spirit, offering guidance, advice, or requests on behalf of the spirit.

4. **Divination**: Divination is another way to communicate with the spirits in Voodoo. Practitioners may use various divination tools such as tarot cards, cowrie shells, or casting of objects to seek guidance from the spirits. These divination practices help practitioners understand the desires and intentions of the spirits and may provide insights into their own lives.

5. **Prayer and Invocation**: Voodoo practitioners often use prayer and invocation to establish a connection with the spirits. Specific prayers or invocations are recited to call upon a particular spirit's presence and assistance. These prayers are typically passed down through generations and may be spoken in a specific language or dialect.

6. **Voodoo Dolls**: Contrary to popular misconceptions, Voodoo dolls are not used for causing harm but are symbolic tools for communication. They can represent a specific person or spirit and are employed in rituals to convey intentions, requests, or healing energy to the spirits associated with them.

It's important to note that communication with the spirits in Voodoo is a deeply spiritual and cultural practice, and the methods may vary among different Voodoo traditions and communities. Voodoo practitioners believe that these rituals and practices maintain a reciprocal relationship with the spirits, offering offerings and devotion in exchange for protection, guidance, and assistance in various aspects of life.

Masquerades and Voodoo in Africa: A Cultural Tapestry of Spiritual Expression

Africa is a continent rich in cultural diversity, and its spiritual practices are as varied as its landscapes. Among the many vibrant traditions that permeate African culture, masquerades and Voodoo (often spelled Vodun or Vodou) hold significant places in the hearts and lives of its people. This article explores the fascinating intersection of masquerades and Voodoo, shedding light on how these practices are intertwined with African spirituality.

**Masquerades: The Embodiment of Spirits**

Masquerades are a prominent cultural phenomenon across Africa, characterized by elaborate costumes, masks, and dances. These performances serve multifaceted purposes, including entertainment, social commentary, and spiritual expression. However, it's the latter aspect, the spiritual dimension, that ties masquerades to Voodoo and other indigenous African belief systems.

1. **Role of Ancestors**: In many African cultures, masquerades are a means of connecting with ancestors and spirits of the deceased. The masks and costumes worn by performers often represent these spirits. During masquerade ceremonies, participants believe that the spirits inhabit the masks and interact with the living. This interaction serves as a way to honor and seek guidance from the ancestors.

2. **Protection and Cleansing**: Some masquerades have protective roles in communities. They are believed to ward off evil spirits, illnesses, or other malevolent forces. These masquerades often perform purification rituals, symbolically cleansing the community and its members.

3. **Harvest and Fertility Celebrations**: Masquerades are frequently associated with agricultural and fertility rites. They may perform dances and rituals to ensure a bountiful harvest or to promote fertility among the community members.

4. **Social Order and Governance**: Masquerades also play a role in enforcing social norms and maintaining order within communities. They may act as judges, mediators, or enforcers of communal rules during their performances.

**Voodoo: The Spiritual Heartbeat**

Voodoo, a widely practiced religion across West Africa and its diaspora, is deeply entwined with masquerades and the spiritual fabric of the continent.

1. **Ancestor Worship**: Voodoo places a significant emphasis on ancestor worship, much like masquerades. Practitioners believe that the spirits of ancestors are ever-present and can influence the living. Offerings, rituals, and masquerade performances are ways to honor and seek the guidance of these spirits.

2. **Connection to Nature**: Voodoo, like many African belief systems, recognizes the close relationship between humans and nature. It views natural elements, such as rivers, forests, and animals, as inhabited by spirits. Masquerades often incorporate nature-centric symbolism in their performances.

3. **Trance and Possession**: Both Voodoo and certain masquerades involve altered states of consciousness. In Voodoo, devotees may enter trances and become possessed by spirits, similar to the possession experiences during some masquerade ceremonies. These states facilitate direct communication with the divine.

4. **Rituals and Sacrifices**: Offerings and sacrifices are common in both Voodoo and masquerade traditions. These rituals are believed to appease spirits and seek their favor.

**Cultural Resilience and Transformation**

While masquerades and Voodoo have endured the test of time and colonization, they have also adapted and evolved. In the African diaspora, especially in the Americas, they fused with other cultural elements and religions, giving rise to unique traditions such as Haitian Vodou and New Orleans Voodoo.

masquerades and Voodoo in Africa are vibrant expressions of spirituality, culture, and identity. They are living traditions that continue to shape the lives and beliefs of countless individuals and communities, offering insights into the enduring resilience and adaptability of African cultures in the face of change and adversity.

The timing for Voodoo practices, like many spiritual traditions, can vary depending on the specific tradition, the purpose of the practice, and the preferences of the practitioner. There is no universally "best" time for Voodoo practice, but certain times and occasions are commonly observed:

1. **Festival Days**: Many Voodoo traditions have specific festival days or holidays when practitioners gather to perform rituals and ceremonies. For example, in Haitian Vodou, the Festival of the Ancestors (Fèt Gede) is a significant event where people honor and communicate with their ancestors. These festivals often have fixed dates in the Voodoo calendar.

2. **Full Moon and New Moon**: Lunar phases are significant in various spiritual practices, including Voodoo. Some practitioners prefer to conduct rituals during the full moon or new moon, believing that these phases are particularly potent for spiritual work. The full moon is often associated with amplifying energy and intentions, while the new moon is seen as a time for new beginnings.

3. **Nighttime**: Many Voodoo rituals take place during the nighttime. This is believed to be a time when the veil between the spiritual and physical realms is thinner, making it easier to communicate with the spirits. Candlelit ceremonies, drumming, and dancing are common elements of Voodoo rituals conducted at night.

4. **Personal Preference**: Individual practitioners may have their own preferred times for Voodoo practice based on their personal experiences and beliefs. Some may feel a stronger connection to the spirits during specific times of the day or year.

5. **Life Events**: Voodoo is often integrated into various life events such as births, marriages, and funerals. The timing of these rituals is determined by the occurrence of these events.

6. **Consulting a Voodoo Priest/Priestess**: For more specific guidance on the timing of Voodoo practices, consulting a Voodoo priest or priestess is advisable. They can provide insights based on their knowledge and experience within their particular Voodoo tradition.

It's essential to remember that Voodoo is not a monolithic practice; it encompasses various traditions and regional variations, each with its own customs and beliefs. Therefore, the best time for Voodoo practice can differ significantly from one tradition to another. Additionally, Voodoo is deeply rooted in cultural and spiritual contexts, so practitioners often follow the customs passed down through generations within their specific communities.

[dollypopup]

"But everything Lady Whistledown wrote was true!"

. . .does it matter?

Is the price for cruelty truth? Does it cease to be unkind if it is honest? Was the bullying many of us were subjected to swept away simply because it was, in some ways, objectively true? Because I have been fat all my life, and the people who weaponized that against me were 'just being honest'? When it took me longer to answer a question due to my processing with ADHD, were people right to call me 'slow' and laugh just because it was true?

Are rumors okay to spread if they're 'true'? No matter how much they harm others? Is the hurt someone experiences at the hands of gossip inconsequential because it happens to be private information made public against their will- but is still, at the core of it, genuine?

Can we out queer people, just because it's true? Can we reveal locations?

Do the ends justify the means? How much blood is okay to spill in the name of honesty? Who asked for Brutal Honesty to knock on their doors? Or is it allowed to come into our homes unwarranted simply on the basis of existence?

Where is tender honesty? Compassionate honesty? Empathetic honesty? Gentle honesty?

My issues with Lady Whistledown, and thus Penelope's actions and how people defend them, do not rest upon the truth of them. They rest on the unkindness. They rest on the fact that Penelope wants to 'be better' but is still, at the core of it, revealing information that is not her business or right to reveal. That she herself was at the bladed end of that experience and cried and cried and cried- and still chose it. That she knows the pain she can cause, and does cause, and yet cannot let it go for the sake of the power it holds.

It's not all her fault. She lives in a sexist society. She is a woman who has been made powerless because of misogyny and then snatched that power back. In some ways, it's impressive.

But we have to acknowledge the cruelty of it. That the people who pay are predominately woman. Those she cares for. The disenfranchised. That she herself has paid. That Colin has. Eloise has. Marina has. Kate, Edwina, Daphne, Cressida, modistes, and countless staff who came under scrutiny have paid.

I just want her to grow in Season 4. I want her to recognize she can pursue her passions without gossip and rumors. I want her to write stories and go traveling. I want her to make new friends outside of what she can provide for them with the power of her publication. I want her and Colin to be in love knowing they're moving forward together, instead of him being a mirror for 'her light' as she burns herself out.

I want more for her than 'brutal honesty'.

[dukeofankh]

There's gotta be a word for whatever the opposite of objectification is. Like, the obvious option is "Subjectification", but that's apparently the point in development where you realise you have a distinct individual personhood or something like that.

I just feel like there's this constant current within my experience of masculinity where my desires and actions are treated as much more significant and/or dangerous than they actually are. More than that, that in all aspects of my relationship to my community, the only acceptable or even coherent way to describe that relationship is in terms of my effect on others, and never the other way around. And that trickles down into so many weird little pockets of conflict.

One example of that has been biphobia, even from partners who are bi women, or jealousy, even from non-monogamous partners with a lot of dates, because a dude desiring or having sex with someone apparently just feels...more...notable/worth worrying about than a woman doing the exact same thing. Another one has been dealing with mental health struggles, in which female partners' depression is something to be lived with and nursed, while my own is this anxiety-inducing thing that I'm on some level doing *to* them.

It's kind of the converse of the shitty adage, "if he wanted to, he would." That concept being blown out to "if he wants to, he will," and even "This is a walking Agency Machine who happens To You. All actions are premeditated. All effects both material and emotional are intentional."

Like, it's one of the shitty byproducts of our inability to discuss the objectification of women outside of the sexual. Our society splits humans into subjects and objects. Speakers and Topics. Intentional, driven agents and passive, helpless commodities. And it's not that we should all be Subjects at all times or something, or that I want into the passive Object club, it's that we are all both subjects and objects.

We gendered that and split it in half. We associated being a subject with masculinity and being an object with femininity. And it's a pretty massive struggle for people to unlearn that on a foundational level even if they understand intellectually that that's bullshit.

Like, I have thought this way before, aimed this "Subjectification" style of thinking at others. But it was when I was a literal child and I thought this way about my literal parents. It's exhausting to face that framing in egalitarian relationships with fully grown women my own age.

[robynator]

yknow what i absolutely love about dghda? how socially unaware all the former blackwing subjects are. like these guys have no clue what to do in normal society and that absolutely makes sense

dirk is the most well adjusted out of all of the ones we know of and even he climbs into this random guy's apartment through the window, immediately calls him his assistant and then declares that he lives there now. he's clueless. he wants friends but he doesn't know how to talk to people, even after 16 years lived in freedom

and then there's bart and the rowdy 3

bart doesn't know how radios and tvs work, nor what hotels are. all she's known her whole life is blackwing labs and the fact that she's supposed to kill people. so that's what she does. she doesn't know how to talk to people, she just goes with the flow

and of course the rowdy 3, the absolute icons. unlike dirk, who wants to be a part of society, and bart, who really doesn't care, they actively reject social norms. they saw punk culture and ran with it. they're rude, violent and, well, rowdy. and they like that. but they're also stupid in the way that you would be if you grew up in a lab with (probably) next to no real education. none of them have any functioning braincells or social grace and that works for them

i didn't talk about mona or francis/moloch bc we don't really have a real frame of reference for either of them. mona is an inanimate object 99% of the time and francis has been in a coma for several decades

[tsukii0002]

RAD headcanons

Thanks to a tawdry publication I was able to read comments and opinions about why demons go to school and it left me thinking about it for days…. So here goes the headcanon resulting from that meditation about RAD.

Long text is coming!!

Headcanon on the structure, politics and history of the RAD!

The RAD is a recent new institution, established some time after the war.

Most of the nobles, the court and other powers of Devildom opposed or objected to this new institution.

Diavolo was also supported by many intellectuals and power figures (poets, sorcerers…)

So once the RAD was in place, Diavolo's identity as leader of the Devildom was consolidated (whatever the prince said went without saying).

Now, if Diavolo and Barbatos are among the most powerful demons... why aren't they teachers? Well, because in the society of the demons each type of demon had a function, they were super specialized.

In a manner of speaking, demons know a lot about their own and nothing about other things. For example the incubi and succubi were specialized in manipulation magic or curses that stole vital energy, while they did not know about potions or other types of curses (super specialization) .

Therefore, one of the goals of the RAD was to have experts in any subject to teach ALL demons about that subject. Barbatos may know a lot about potions but surely there would be a demon who would have dedicated their entire life to the art of potions and would be superior to the butler in that aspect.

This would explain why the "bosses" are Diavolo and the brothers, but they are not teachers but students.

Although Diavolo is a "student" everything must be reviewed and approved by the prince in order to move forward.

Considering that there would probably be a very wide range of the population in which age means nothing, we have teachers that are younger than some students.

This brings us to the next point, the RAD is an institution that seeks, in a way, social equality. By providing the opportunity for demons to have a general education, it frees them from having to follow a particular profession.

And this gives rise to a modernization of society with the emergence of new professions and companies such as Corvo or food and fashion franchises, models, magazines, amusement parks…

So a minor demon does not have to dedicate himself to what a minor demon used to dedicate himself to and can dedicate himself to something different, like cooking for example.

The RAD allowed Devildom to break out of the traditional structure that dominated the pre-Davolo reigns.

All with the intention of pursuing his dream, before achieving equality among the three kingdoms he will have to achieve equality among the people of his own kingdom.

With that said, we move on to the fact that RAD is one of the fundamental pillars for the aspirations of our demonic golden retrier: to break the taboos and myths of the Celestial Realm and the human world.

And there is no better way than education.

Diavolo's dream goes in steps, first we teach how the celestial realm works, then we try to establish bonds of cordiality, then that angels are not so threatening and then we bring in an Angel (humans are easier).

To achieve this, a school that is teaching the truth is essential.

Surely the RAD has also taken examples from the Celestial realm or from human educational institutions to create a unique institution that encompasses something of the three worlds, hence the various contacts with witches, wizards and other creatures.

Solomon helped to create the first curricula, zero evidence but no doubt.

As many of you commented, living a very long life means having to be constantly learning, imagine human society how fast it advances (evidence in season 3) in order to keep up with it is necessary to keep learning.

Also there were many reigns, a lot of history prior to what we know, to unravel all that and teach you that history it takes time, new inventions, new contributions or corrections of what is already known...

However, the RAD is divided into blocks, for basic studies, medium studies and advanced studies (which would be where our demons and ourselves are), according to what each student wants to learn.

Attendance at the RAD is not obligatory for demons, only those who aspire to certain jobs, such as historian, professor or politician have to have specific mandatory training.

In the RAD the youngest demons are those equivalent to 12 or 13 years old. Luke is a clear example (I'd like to write about his interactions with demons his age, Mephisto's brother perhaps?)

It took Mc months to understand the structure of the RAD because of its complexity and apparent meaninglessness.

Barbatos attends only the classes he likes.

Diavolo goes to all the classes because he wants to experience the most normal life possible, as some of you commented.

Lucifer attends almost more tutorials with teachers for problems caused by his siblings than he does classes.

Only Barbatos, Diavolo and Lucifer can leave class whenever they want, the other brothers need permission for special situations.

Solomon has pacts with a professor or two, and the tension in his classes are fun to watch.

Mc has been and continues to be lost in the RAD.

Diavolo will try to incorporate any funny events from the human world (thanks MC) even if they are preschoolers.

In short, to say that the RAD is an institution that goes hand in hand with the government and attacking it means attacking Diavolo's reign.

If you have come this far thank you very much, I know that a brick like this is hard to swallow, (re-reading it I have decided that soon I could write the constitution of Devildom XD)

Again thank you very much for reading and I would love to read your headcanon about the RAD, its students, teachers, etc. …. Best wishes.

.

.

[madschiavelique]

Hello can you make a headcanon what type of woman/partner miguel would be his type ? Tysm

okayy so i will mostly be speaking here mentality/personality wise and not physically wise (i think miguel would probably focus more on the way his partner thinks than their appearance)

little note : i based some of my thinking and reasoning on the fact that miguel's mbti is ISTJ and thought about how he would get along with other mbti types

headcanon : miguel's type content warnings : none word count : 485 tag list : @fandom-ash

he is probably a man who likes a match that can connect with their values, work styles and schedules. which doesn’t mean that he is completely immune to the possibility of being adventurous

i’d say he is a traditional man, so he’ll probably search for someone like that too, but he’ll still seek for someone that can get him out of his comfort zone, such as fun and loving individuals who live in the moment – who are still able to respect tradition, of course, and that can decrease his overall stress simply by their presence

he’d also need an intelligent partner, or at least someone with whom he can have deep discussions

he wants someone who is independent – he spends enough time already baby sitting an entire society, and dealing with a childish partner isn’t really what he’s searching for in a relationship

since he is a man who, when making decisions, places rationality ahead of emotions, he’d really have to take time to methodically evaluate his partner

which brings me to an important point : he needs someone who is patient. he doesn’t fall in love easily, he’s actually the exact opposite of a quick lover. it takes time to know him, he likes to take time to know his partner, and likes to take it even more for him to truly commit to a relationship

he’s not the kind to enjoy risk-taking, especially when the subject is love. he takes his time to date to properly evaluate his partner before making any moves

he can find it difficult to express his feelings directly through words. during debates, he can struggle to find the proper word to express his expression and thoughts, which emphasizes the need for someone be patient and that will not judge him to hastily

I think we can say that on some globality with miguel, what you see is what you get, honesty and straightforwardness is a pillar in his relations, so his partner has to be honest as well.

he might sound too cold from time to time in his words, which can sometime be involuntary, so his partner should preferably be able to see through the tone of his words and focus mostly on what message he’s trying to express

he has a strong sense of duty and responsibility so he will work hard at fulfilling his promises – sometimes sacrificing himself in the process because he always put others first, which is why he needs someone responsible that can bring him back on firm ground in reality and can properly take care of him by showing him how to put himself first sometimes

he wants someone that is dependable and reliable, someone confident and self-assured, that will keep their objectivity in any situation

since he is practical, logical and very grounded, I can imagine him searching the same qualities in his partner

honestly, I think what miguel is searching for is someone that has a similar way of thinking to him, but that is less afraid of taking risks and ready to work for their relationship

[justthoughts1310]

Boruto is a Gay Manga! Is that so hard to admit???

So, today I emailed one of the most prominent YouTube Naruto/Boruto commentators an email with the subject line: "Boruto is Gay Manga! Is that so hard to admit?" Now, I admitted in my email that my subject line is clickbait, and I didn't go into intensive well-supported detail. However, I did say, "Why do you keep ignoring Mitsuki's (queer) feelings for Boruto?" The interesting thing about this content creator, and many other individuals, is that he wants Boruto x Sarada to be endgame. However, he doesn't want this because he likes the pairing. He wants this because he actually wanted Naruto x Sasuke to happen, and this is the next closet thing.

Which is crazy right? It's crazy that so many people wanted Naruto x Sasuke to be together. However, I'm sure Kishimoto knows that these same men would swear off Naruto forever, if the main character was revealed to be queer.

So, then you end up with Boruto x Sarada, where Sarada is not Boruto's equal. No, in a patriarchal society she is not Boruto's equal, she is instead the BALL for which men choose to play with and measure their own masculinity. Don't believe me? Sarada is the last Uchiha, and in the first chapter, she (an Uchiha) had to be rescued by a no name male ninja that we literally never hear about again.

Sarada's anime design looks like this pre-time skip:

And this post-time skip:

I want to take the time to remind all of you that this is a character design of a 12 year old girl and a 16 year old girl. Both of which are under age, any sexualization of the two is pedaphillic in nature.

Men's sexualization of children goes into their rampant and obsessive need for control at all costs, but I digress.

You know who thinks this character design is awesome and doesn't question anything about it, despite the fact that both outfits are completely impractical for an active duty shinobi? Men.

You know who thinks this character design is disgusting and a complete miss? Women.

Someone who should have been positioned as an equal to the main character in Boruto has become nothing more than an object of men's perverted fantasies both heteronormatively and homoerotically. What do I mean by homoerotically? Remember, the real reason that people want Boruto and Sarada to be end game is not because they think these two have a ton of chemistry. Sarada is a level 10,000 nag that could bring her mother to shame, and men hate being nagged.

The real reason men want Boruto x Sarada to happen is because their pairing is the realization of Naruto x Sasuke.

I, also, need you to realize that a large part of Sarada's character development is the fact that she has a crush on Boruto. In contrast, as far as we know so far, Boruto has a crush on nobody.

Which highlights this underlying ideal that many women have realized for a long time. Men DON'T like women. I don't care where you go in the world. An overwhelming number of men don't like women. I'm not even convinced that many men enjoy having sex with women, because let me tell you something... Having sex with the only goal being to climax is the least enjoyable sex that anyone can experience. Orgasming becomes boring after a while. Try to enjoy the ride.

Yet, climaxing is often the sole frame through which men see sex and sexual completion, while completing discarding the pleasure of women. How do I know, because only 50-70% of women have orgasmed from heterosexual encounters. I imagine that number is 100% for men who have orgasmed while having sex with a woman at some point (probably most points) in their lives.

Men are taught from a very early age and are socially conditioned to NOT like women. Even within the Naruto series this is evident. I mean think about it, the woman that Naruto had the most chemistry with (and probably should have ended up with) was a flat-chested nag who didn't appreciate Naruto until he became strong. It's giving incel, red-pill mindset.

Now, who was that woman? Sakura.

Who was she based on? Kishimoto's wife.

Shocking right? Many of you may have had no idea that Sakura is based on Kishimoto's wife. Now, do I think Kishimoto secretly hates his wife? No, but that's irrelevant.

Yes, Sakura is based on Kishimoto's wife, and Kishimoto wrote a female character that men HATE!!! Sakura is undeniably the most hated character in all of Naruto (male or female). I wouldn't be surprised if she is the most hated female character in all of anime.

Sakura is, also, the strongest woman in the entire show (next to Kaguya) and yet, she always needs to be saved. She is stopped and under minded constantly by the most miniscule thing, and then she needs to be saved by Naruto, Sasuke or Kakashi like clock work. Why, because they need their hero moment, and women are but an object. Women are the ball, and the enemy is the opposing team.

Here's the thing: You all need to understand that according to the light novels, under Naruto and Sasuke, Sakura is the most powerful shinobi (male or female) in the entire Naruto Universe (pre-Boruto). However, you wouldn't know that from watching the anime or reading the manga.

Then who is the most beloved female character in Naruto, the one that Naruto ends up marrying and having two super powerful children with? The woman who has large breasts, always cheers for Naruto despite him not knowing she exists, always needs to be saved, and largely keeps her mouth shut: Hinata.

When you really think about it, the entire Naruto series is about Naruto (a loser) chasing after Sasuke who hates him, but what does Sasuke represent? Sasuke represents the pinnacle of athleticism, skill, sexiness, cleverness, fame, and aloofness that a man could ever dream of having. When Naruto chases after Sasuke, he's chasing the idea of masculinity itself. In Naruto's adulthood, he has a more emotionally intimate relationship with Sasuke then he does with any woman: Hinata or Sakura. Naruto surrounds himself with men. He's always around men: Shikamaru, Konohamaru, Sai, and Kakashi. He solely asks for the opinions of men when it comes to major decisions that effect the fact of the entire Leaf Village and World.

The whole Naruto series is a celebration of men at the expense of women. These men have hard-ons for each other.

Now, some might say that it's not sexual, but it is! How do we know that, because Kishimoto created Boruto x Sarada to be endgame. He is approaching the fulfillment of a homoerotic relationship in a societally correct way, when the truth is that he (and all men) want to skip the middle man and have Naruto and Sasuke be together. Yet, at the same time, none of these men want to be gay and be giant fans of something that is gay. Why, because being a fan of something gay makes straight men feel gay, and a man is not supposed to be gay in a patriarchal society.

I watched a whole video where a straight man talked about watching a gay male anime, and it made him wonder for a second if he was gay, simply because he thought it was a good show. Once again, I digress. In a patriarchal society, a man is supposed to gain the respect and admiration of other men all while subjecting, conquering and controlling women. Once again, to reiterate, women are the ball. Women have no thoughts, feelings, autonomy, or rights? Women are not human. After all, why would a ball represent anything other than being a tool of the sport used for the purpose of scoring points?

The Naruto series is a mirror reflection of society, and how men value men, men want men, men desire men, and (straight) men don't give a damn about women. Of course, some do, but many men don't. Women are nothing more than trophies to be shown off and touted around.

All that matters is the male gaze. We see this all the time. Do you know who likes 6 ft tall men, with 6 pack abs, 6 pairs of shoes, who make 6 figures? The giga-Chads if you will. I'm going to give you a hint: It's not women.

Men lust over this stuff, men get hard over this stuff, they salivate over this stuff, and obsessive over creating the perfect male body either for themselves, someone else, or a fictional character. I need you all to realize that ALL of those Marvel action shots of Chris Evan's and Robert Downey Jr's bulging muscles, and Chris Hemsworth's nakedness are shots written for men by men.

Have you ever stopped to think what kind of men women drop their panties over?

They are men like Pete Davidson, Dylan O'Brien, Timothee Chalamet, Tom Holland, and Harry Styles (sorry that I only listed white men). This men stand in direct contrast to everything men say that women want.

Look, this post is going long, so I will say summarize with these two points:

Naruto has always been gay, so of course Boruto is going to be gay. Even if Boruto ends up with Sarada, it will still probably be a gay series. The series idolizing, romanticizes and sexualizes the idea of all things masculine from the male perspective.

I think it would actually be the most beautiful ending if Boruto x Mitsuki becomes romantic endgame, because at least Kishimoto will be honest with himself about what his motivations really are. He wants to live in a world in which he can be in an emotionally intimate, vulnerable, and transparent relationship with a man that he admires who admires him in exchange. I think that's what most men actually want (whether that involves sex or not), but men don't ask for that because, well: No Homo. So, instead, we have a male loneliness and despair epidemic.

Now, you make ask justhoughts1310, is it wrong for men to like each other?

Of course not! I am a woman who loves women, values women, admires women, and thinks women are so amazing and beautiful. I am blown away by all that women are.

A large part of the Barbie movie, was the admiration of the amazingness of women despite all odds and obstacles. What I have a problem with is men denying their true desires and motivations, and in turn treating women as a prop in the games that they play to win over the approval of other men. Basically, men. If you want to have a dick measuring contest, leave all of us women and the rest of the world out of it.

[todomitoukei]

I've seen many saying that LOV don't want redemption and it was better for them to die and it's really pisses me off.

What do you think of this? About the LOV dying because they don't want redemption?

Unfortunately, many people in this fandom seem to not understand storytelling or care about whether the content they consume is well-written or not (and even go as far as defending it!).

Suggesting the lov members don't want redemption is just the most obvious way of saying "I didn't understand these characters" and those same people probably also think the story's message of "you're a victim? discriminated against? a minority? hmmm... best we can do is have you die in peace. and you better be thankful for it :)" so I wouldn't worry too much about those people. All we can do is hope they get better.<3

The reason it makes zero sense to claim they don't want to be redeemed is that it indirectly also suggests that they don't want to live. But it is precisely that will to live that pushed them to villainy in the first place.

They all have shared experiences of being abused, neglected, ignored, discriminated against and/or overall being mistreated by people - both their families and society as a whole.

Growing up, the members of the lov just wanted to be accepted and loved, unfortunately most (if not all) people did not give them these very basic human needs, despite them all having been vocal about their needs from the very beginning.

With that, all that was left for them was to stand up for themselves, even when no one else would.

As the story progresses, we see that they love and want to be loved - namely by each other as well as certain people around them.

People want to live, the lov being no exception. And they want to be saved, but the world made them believe that there was no place for them to exist and be loved the way they are, a thought they decided to refuse. They refused to be killed by society - both in spirit and physically. They refused by being louder, by not allowing society to look away and ignore them anymore.

The lov is a cry for help. It's almost poetic how the fandom reflects the society in the story so well, claiming that they're "too far gone" when in reality, no one is ever beyond saving.

Claiming the lov members don't want to be saved is the same as the hero characters in the story telling themselves they somehow saved the villains and calling it a day even though they're all either imprisoned or dead.

It's funny because a few years ago people complained a lot about "mental illness being romanticized" especially online, but as soon as people see mental illness that they don't consider "cute" enough, for lack of a better term, we get horrendous takes such as "killing is bad, there's nothing left to do for these people :/ oh, but the abuser cried so he's cool now!!"

At the end of the day, people will have bad takes and claim their subjective opinions are objective even though they fail to deliver any substantial arguments or consider the fact that maybe, just maybe, people that relate to the lov exist and that the message they (the fans) and the story send is incredibly damaging.

So just a friendly reminder to anyone that does relate to the lov in any way, shape or form: You're valid and cool and deserve your needs to be met; to be loved and to be happy. Even if you're not crying and begging on your knees to be saved, you can still want to be saved. If fighting is all that's left for you then do because you deserve to live.

Finally, let me just leave you with this: Are these the words of someone that doesn't care about being saved or redeemed?

[ceoofhelaegon]

Why Aegon won’t rape Alicent.

(because apparently that needs to be said.)

I’ve seen many people theorise that Aegon has some sort of Oedipus complex with Alicent (wrong brother but I digress.) but that is simply not true.

Aegon since episode 6 is shown to be extremely rebellious, he is less than thrilled with the idea of marrying Helaena, which is interesting.

He actively doesn’t seek Alicent’s approval in episode 9 is shown that she is frustrated with Aegon’s behaviour and wants him to do better, it’s clear that he doesn’t spend time with Alicent nor Helaena.

The Helaena aspect of it is interesting because Helaena is his wife, it could be rationalised that Alicent made Helaena to Aegon and that would make him absolutely obsessed with the fact that Helaena came from the object of his desire.

We don’t know much about Aegon’s desire, but in my interpretation is that he was abused in a way that deeply traumatised him, he was masturbating in front of a window with the high risk of falling, that is not normal behaviour especially for a fourteen year old.

In my opinion, Aegon’s desire became even darker as he grew. But he needed to find an outlet for that, which are alcoholism and frequenting the Street of Silk, and probably the main reason why he frequents the child fighting pits (why was that a plot line in the show? medieval society would’ve put those children to work, not kill each other, I digress.).

People theorise that the reason why he will attack Alicent is because he won’t have his outlets anymore but you fail to realise the ending of his coronation.

His main goal all of his life was to be accepted, he wants to be loved, to feel loved. The small folk are giving that to him, and in the teaser we saw him with friends.

Despite the many allegations, Aegon is not a psychopath. He is capable of awful things but that doesn't mean he has no feelings, despite being two very different Aegon's motivation is his family, before facing the small folk, he saw that his family respected him as King and then was able to see his subjects also approve of him.

In season 2, I think his arc will be about revenge and he will be focused on trying to prove himself. His family was attacked, and he won't take that lightly (yes, antis Aegon cares about his children and his wife, cry about it).

He is determined and he has a clear goal in mind now...something to live for, his dark desires will be the last thing on his mind. Judging by Larys' quote, he will be closer to Aegon than Alicent and I believe that Larys will distance Aegon and Alicent, he won't hear her or her counsel.

The irony is that he is doing everything to save his family but at the same time, he won't listen to any of them...i.e. Firing Otto, dismissing Alicent and even his brother.

This will be an interesting parallel, Aemond was the other that Alicent sought out the most, and she didn't seek out Aegon at all, she only had disapproval for Aegon, he will remember that, Alicent never showed any faith in Aegon. Now he has the approval of the small folk and his Lord friends, while Aemond will try to earn his mother's forgiveness after Luke's death.

TLDR; Aegon's arc will have him further away from Alicent, and he won't try to earn her approval because he doesn't need it anymore.