#we pronounce it differently to how its pronounced in this most of the time

[diah-the-demon]

its been a few episodes since this name has shown up but every time i hear it i just think of my cat sdjlkdsjksd

[holytrickster]

also i finally finished the silm earlier and oh my god i understood narn i chin hurin so much better this time. like i know the whole thing isn't included but the fact the main parts are mentioned *after* i knew who the heck everyone in it was and where everything was happening made it so much more understandable now than when i first read it back when i was like 14 bc i went like hobbit -> lotr -> children of hurin with a lot of time in between where i forgot stuff

[txttletale]

how do ml's reconcile with lenin going for a bigbrainhaver hierarchy which just so happened to place him at the tippy top? most of the things he's quoted for writing make a kind of sense in that longwinded academic philosopher way, but, like, russia went from having a revolution against monarchy to having a monarchy, essentially, and what folks do tends to align with their desires, yeah? wouldn't that make everything he said, idk, suspicious?

we reconcile with this because none of this is even remotely true. lenin did not 'happen to be placed at the tippy top' but was in fact elected by the soviets, who worked in a very simple electoral system by which workers and peasants would elect representatives to their local soviet, who as well as administering local services would also elect members to higher bodies. the quote unquote bigbrainhaver hierarchy system in question was as follows:

The sovereign body is in every case the Congress of Soviets. Each county sends its delegates. These are elected indirectly by the town and county Soviets which vote in proportion to population, following the ratio observed throughout, by which the voters in the town have five times the voting strength of the inhabitants of the villages, an advantage which may, as we saw, be in reality three to one. The Congress meets, as a rule, once a year, for about ten days. It is not, in the real sense of the word, the legislative body. It debates policy broadly, and passes resolutions which lay down the general principles to be followed in legislation. The atmosphere of its sittings is that of a great public demonstration. The Union Congress, for example, which has some fifteen hundred members, meets in the Moscow Opera House. The stage is occupied by the leaders and the heads of the administration, and speeches are apt to be big oratorical efforts. The real legislative body is the so-called Central Executive Committee (known as the C. I. K. and pronounced "tseek") . It meets more frequently than the Congress to which it is responsible-in the case of the Union, at least three times in the year-passes the Budget, receives the reports of the Commissars (ministers), and discusses international policy. It, in its turn, elects two standing bodies: (1) The Presidium of twenty-one members, which has the right to legislate in the intervals between the sittings of the superior assemblies, and also transacts some administrative work. (2) The Council of Peoples' Commissars. These correspond roughly to the Ministers or Secretaries of State in democratic countries and are the chiefs of the administration. Meeting as a Council, they have larger powers than any Cabinet, for they may pass emergency legislation and issue decrees which have all the force of legislation. Save in cases of urgency, however, their decrees and drafts of legislation must be ratified by the Executive Committee (C.I.K.). In another respect they differ from the European conception of a Minister. Each Commissar is in reality the chairman of a small board of colleagues, who are his advisers. These advisory boards, or collegia, meet very frequently (it may even be daily) to discuss current business, and any member of a board has the right to appeal to the whole Council of Commissars against a decision of the Commissar.

—H.N. Brailsford, How The Soviets Work (1927)

you might notice that the congresses of soviets were not directly elected -- this is because they were elected by local soviets, who were directly elected, in a process that many people have given first hand accounts of:

I have, while working in the Soviet Union, participated in an election. I, too, had a right to vote, as I was a working member of the community, and nationality and citizenship are no bar to electoral rights. The procedure was extremely simple. A general meeting of all the workers in our organisation was called by the trade union committee, candidates were discussed, and a vote was taken by show of hands. Anybody present had the right to propose a candidate, and the one who was elected was not personally a member of the Party. In considering the claims of the candidates their past activities were discussed, they themselves had to answer questions as to their qualifications, anybody could express an opinion, for or against them, and the basis of all the discussion was: What justification had the candidates to represent their comrades on the local Soviet. As far as the elections in the villages were concerned, these took place at open village meetings, all peasants of voting age, other than those who employed labour, having the right to vote and to stand for election. As in the towns, any organisation or individual could put forward candidates, anyone could ask the candidate questions, and anybody could support or oppose the candidature. It is usual for the Communist Party to put forward a candidate, trade unions and other organisations can also do so, and there is nothing to prevent the Party’s candidate from not being elected, if he has not sufficient prestige among the voters. In the towns the “ electoral district ” has hitherto consisted of a factory, or a group of small factories sufficient to form a constituency. But there was one section of the town population which has always had to vote geographically, since they did not work together in one organisation. This was the housewives. As a result, the housewives met separately in each district, had their own constituencies, and elected their own representatives to the Soviet. Here, too, vital interest has always been shown in the personality of every candidate. Why should this woman be elected ? What right had she to represent her fellow housewives on the local Soviet ? In the district next to my own at the last election the housewife who was elected was well known as an organiser of a communal dining-room in the district. This was the kind of person that the housewives wanted to represent them on the Soviet. Another candidate, a Communist, proposed by the local organisation of the Party, was turned down in her favour.

[...]

The election of delegates to the local Soviet is not the only function of voters in the Soviet Union. It is not a question here of various parties presenting candidates to the electorate, each with his own policy to offer. The Soviet electorate has to select a personality from its midst to represent it, and instruct this person in the policy which is to be followed when elected. At a Soviet election meeting, therefore, as much or more time may be spent on discussion of the instructions to the delegate as is spent on discussing the personality of the candidates. At the last election to the Soviets, in which I personally participated, we must have spent three or four times as much time on the working out of instructions as we did on the selection of our candidate. About three weeks before the election was to take place the trade union secretary in every department of our organisation was told by the committee that it was time to start to prepare our instructions to the delegate. Every worker was asked to make suggestions concerning policy which he felt should be brought to the notice of the new personnel of the Moscow Soviet. As a result, about forty proposals concerning the general government of Moscow were handed in from a group of about twenty people. We then held a meeting in our department at which we discussed the proposals, and adopted some and rejected others. We then handed our list of pro¬ posals to a commission, appointed by the trade union committee, and representing all the workers in our organisation. This Commission co-ordinated the pro¬ posals received, placed them in order according to the various departments of the Soviet, and this co-ordinated list was read at the election meeting itself, again discussed, and adopted in its final form.

—Pat Sloan, Soviet Democracy (1937)

Between the elections of 1931 and 1934, no less than 18 per cent of the city deputies and 37 per cent of village deputies were recalled, of whom only a relatively small number — 4 per cent of the total — were charged with serious abuse of power. The chief reasons for recall were inactivity — 37 per cent — and inefficiency — 21 per cent. If these figures indicate certain lacks in the quality of elected officials, they show considerable activity of the people in improving government. The electorate of the Peasants' Gazette, for example, consisted of some 1,500 employees, entitled to elect one deputy to the Moscow city soviet and two to the ward soviet. For more than a month before the election every department of the newspaper held meetings discussing both candidates and instructions. Forty-three suggested candidates and some 1,400 proposals for the work of the incoming government resulted from these meetings, which also elected committees to boil down and classify the instructions. These committees issued a special four-page newspaper for the 1,500 voters; it contained brief biographies of the forty-three candidates, an analysis of their capacities by the Communist Party organization of the Peasants' Gazette, and the "nakaz," or list of "people's instructions," classified by subject and the branch of government which they concerned. At the final election meeting of the Peasants* Gazette there was literally more than 100 per cent attendance, since some of the staff who for reasons of absence or illness had not been listed as prospective voters returned from sanatoria or from distant assignments to vote. The instructions issued by the electorate in this manner — 1,400 from the Peasants' Gazette and tens of thousands from Moscow citizens — became the first business of the incoming government.

—Anna Louise Strong, The New Soviet Constitution (1937)

does this mean that the soviet project was some utopian perfect system? no. there were flaws in the system like any other. it disenfranchised the rural peasantry (although not, i would like to add, to any extent greater or even equivalent to the extent to which the US electoral system disenfranchises the urban working class) -- the various tiers of indirect selection created a divide between the average worker and the highest tier of the executive -- and various elements of this fledgling system would calcify and bureaucratise over time in ways that obstructed worker's democracy. but saying that it was 'a monarchy' is founded in absolutely nothing except the most hysterical anticommunist propaganda and tedious orwellian liberal truisms.

even brailsford, in an account overall critical of the soviet system, had to admit:

Speaking broadly, the various organs of the system, from the Council of Commissars of the Union down to the sub-committees of a town Soviet, are handling the same problems. Whether one sits in the Kremlin at a meeting of the most august body of the whole Union, the "C.I.K.," or round a table in Vladimir with the working men who constitute its County Executive Committee, one hears exactly the same problems discussed. How, be-fore June arrives, shall we manage to reduce prices by ten percent? What growth can we show in the number of our spindles, or factories, and in the number of workers employed? When and how shall we make our final assault on the last relics of illiteracy? Or when shall we have room in our schools, even in the remotest village, for every child? Was it by good luck or good guidance that the number of typhus cases has dropped in a year by half? And, finally, how can we hasten the raising of clover seed, so that the peasants who, at last, thanks to our propaganda, are clamoring for it, may not be disappointed?

—H.N. Brailsford, How The Soviets Work (1927)

genuinely, i think you should take a moment and think about where you learned about the soviet union. have you read any serious historical work on the topic, even from non-communist or anti-communist sources? because even imperialist propagandists have to make a pretence at engaging with actual facts on the ground, something which you haven't done at all -- and yet you speak with astounding confidence. i recommend you read some serious books instead of animal farm and reflect on why you believe the things you believe and how you know the things you think you know.

[gay-impressionist]

Hi! I’m starting to learn French and one thing that’s both cool and weird to me is how everything is gendered in a way (referring to someone/whose saying the statement/etc.) and I was wondering how that relates to people who identity as non-binary or gender fluid in France? Are there equivalents to they/them pronouns or neo pronouns in French?

I do plan on doing my own research about this but I figured since I love your blog and you’re really open about different cultural lgbtq+ communities I’d try here first!

That's an awesome question... with a complicated answer lmao. So buckle up and bear with me !

Basically, you can't be non-binary in French. The community found ways to do it but it's not mainstream. Most of the time, they're going to get misgendered or will have to misgender themselves to get understood.

Some things I'm going to list here are not proper French. Actually, they can even be forbidden in some circumstances, according to the law (the use of inclusive language, and more specifically le point médian, was made illegal in schools in 2021 for ex) or simply because your company etc forbids it. So use this wisely, there is a time and place for inclusive language in France.

That said, things have greatly developed over the last two decades. Which was partly because of the queer community and mainly because of feminists, who are tired of the way French erases women. More and more people are using inclusive language, at least in some circumstances and circles (for ex, i wrote my master's thesis in inclusive language and it was accepted bc i was in a leftist faculty). And inclusive language is debated as a serious issue now, which is saying something.

So, how do you use inclusive language in practice?

There are different ways, as it's informal and mostly new. People are still testing new things and trying out various methods. You can stick to one or alternate or mix them up.

Pronouns

Officially, there isn't a gender neutral pronoun. We don't have an equivalent to they. You're either talking about a man or a woman. If it's both, you use masculine pronouns ("masculine trumps feminine" rule). Same thing if you don't know the gender of the person ("masculin générique").

The most common neopronoun is "iel" (plural : iels), which is obviously a contraction of the masculine pronoun "il" and its feminine equivalent "elle". It works for nb folks or to avoid talking about someone's gender or to refer to a group of men and women. So it's equally used by the queer community and feminists.

I'm pretty sure other neopronouns exist but I can't think of any at the top of my head.

Choosing the right words

Sometimes, inclusive language is just about learning to use alternatives.

Instead of using gendered words, you can choose to use gender-neutral words or words "épicènes", aka words which are identical in their feminine and masculine form. For ex, instead of "homme politique" or "femme politique", you can use "personnalité politique". Personnalité is a feminine word but it's actually gender-neutral as you can use it for women and men alike. "Élève" (student) is épicène, as a female student and a male student are both referred to as "élève". Although épicène words as a gender-neutral option only work in their plural form, as you have to choose either a feminine or masculine article for the singular ("les élèves" is inclusive but it can only be "un" or "une" élève).

As good as this method is, it can be quite limitating. Your vocabulary will be drastically reduced and it can be quite hard to master that kind of speech so you can reach the point where you don't have to think everything over for ages before you open your mouth.

With oral French, you can take it a step further by choosing words that sound the same even if they have a different spelling. Ex, friend is "ami" or "amie" but it's pronounced the same way so if you say it out loud, people can't know how you're gendering it (as long as there isn't a gendered article/word with it ofc).

It avoids misgendering people but the downside is that, as masculine is considered neutral in French, people will often think : no gender specified = masculine. Not even because they're sexist or whatever, it's just so ingrained in our brains that it's a knee-jerk reaction.

That's also why most feminists often prefer to use explicitly feminine words when talking about women. For ex, they prefer the word "autrice" to "auteure" (female writer) because the second one sounds the same as its masculine version "auteur". And as previously mentionned, out loud, people will assume by default you're talking about a man. It's a big debate though, lots of women prefer words that sound masculine - going as far as refusing to use feminine words at all! Which sounds cool and gender-bending as fuck but in reality comes from feminine words traditionally seen as less legitimate and serious. Even today, if you look up the word empress "impératrice" in a French dictionary, the first definition that comes up is "wife of an emperor". "Woman ruling a country" comes second. Using a masculine title to refer to women can also be a way to mock them and show they're not welcome (a french deputy got fined in 2014 because he called the female president of the national assembly "Madame le président" and refused to use the feminine title "Madame la présidente").

Recently the tendency and official guidelines have been to feminize words, so I'd say go with that by default, but respect other people's choice if they specify how they want to be called.

Anyway I'm getting off-track but what I meant was that in French, if you avoid talking about gender, you're automatically erasing women (and nb people). So if you want to include everyone, you need to make it obvious.

Inclusivity as a statement

The most common way to make women and men equally visible is the "point médian" rule, which you can also use to refer to non-binary people as it avoids picking a specific gender.

Basically, it means pasting together the masculine and feminine forms of a word and using dots/middle dots/hyphens/parentheses/capital letters to create an inclusive word. For ex, instead of saying acteur (♂️) or actrice (♀️) for actor, you'll write "acteur.ice". For the plural form, there are two schools of thought : either you separate the feminine and masculine form AND the suffix used to signify the plural, or you don't. Aka, "acteur.ice.s" or "acteur.ices". Personally I prefer the second option because less dots makes it easier to read and faster to write, but it's an individual choice, both work.

There are two major downsides to this method : it only works in writing + it isn't doable for every word, as feminine and masculine words can be quite different and pasting them together that way would be unintelligible. Ex, "copain" and "copine" (friend or boyfriend/girlfriend depending on the context) would give something like "cop.ain.ine"...

You can work around that by choosing alternative words (as previously stated!). And it's still a pretty good method, especially as it works for any type of word (adjectives etc). Some people argue that it's hard to read and ugly but personally I think it's just a matter of habit (although it does pose a problem for people using screen readers). Be aware that it is the most controversial version of inclusive writing, as it's the furthest structure from how languages typically work.

If you don't like dots or want an alternative for oral speech, you can also straight up create new words that sound both feminine and masculine, making them gender-neutral. To use the previous example, "copain" and "copine" become "copaine".

Obviously, this only works if it's obvious which words they're based on. I think it's a great way to make French more inclusive but I'd advise against using it with uninitiated people as it would probably confuse them more than anything. This method is still quite niche.

An inclusive, yet binary language

As you've probably figured out, inclusive language remains quite binary in the way we approach it. It's more about making things both masculine and feminine than transcending gender and creating gender-neutral alternatives. Probably because inclusive language was more often a will to stop women from being erased rather than a non-binary friendly gesture.

Which means, there are also some rules that were created to avoid the "masculine trumps feminine rule" but don't allow room for non-binarity at all. I'll still explain them because they're interesting and you might encounter them at some point.

The proximity rule ("règle de proximité") is one of these. It existed in Ancient Greek and Latin but was dropped in Modern French in favor of the masculine trumps feminine rule. Basically, you gender things according to what's closest in the sentence instead of systematically using masculine words to gender a mixed group. For ex, instead of saying "Les hommes et les femmes sont beaux" you say "Les hommes et les femmes sont belles", as the subject "femmes" is closer to the adjective "beau/belle" than "hommes".

Another method is to systematically use both masculine and feminine words (which I personally find excruciating to write and read). Meaning, instead of writing "Les étudiants mangent à la cantine" (students eat at the cafeteria), you'll write "Les étudiantes et les étudiants mangent à la cantine".

This is mainly for the subject of the sentence : adjectives and such are gendered according to the masculine trumps feminine rule. The point is to explicitly include women, not to make the sentence unintelligible or gender-neutral.

When following this method, you also have to pay attention to whether you put the feminine subject first or the masculine. The rule is to follow alphabetical order. For ex, in "l'égalité entre les femmes et les hommes", "femmes" comes first because F comes before H. But in "Les auteurs et les autrices de roman", "auteurs" comes first because E comes before R. Etc.

This method is common as it's the only inclusive language you can get away with, given that it's a valid way of speaking French. It's even mandatory in some situations now, like in job descriptions for the french administration, in the spirit of gender equality.

So, how do I gender a non-binary person?

In short, you can use the pronoun iel + avoid gendered words and/or use the point médian and/or make up new words.

But keep in mind that if you're not talking to someone familiar with these rules, you'll have some explaining to do. And looots of people are still very anti inclusive language, because they're sexist and/or transphobic, ignorant, language purists, etc. A few years ago it was the thing to be angry about for conservatives and anti-feminists so it's still very controversial. But if you're in a trans inclusive queer space or talking with intersectionnal leftists, go for it !

I hope I covered everything (fellow french, don't hesitate to comment!) and didn't put you to sleep lmao. If you want to see some examples, you can look it up on Wikipedia or check #bagaitte on tumblr (it's the french queer tag) 😉

[rowwiz]

so is nobody else aware that L and Light's names are technical opposites of one another?

ok, so, this requires a lot of elaboration, so bear with me here. first thing to clarify is Light's name. without too much deliberation, Japan has this phenomenon (to my western understanding) wherein certain parents will name their children after English words. (this could potentially include other western languages; i am unsure.) as japanese is a syllabary, most of the time, these words cannot actually be pronounced properly in japanese. these names are often also written with presumably completely unrelated characters. light's name is one of these, having to be pronounced as "raito" in japanese, and written (as he so kindly explains to naomi) with "tsuki," the character for "moon." these names are called "kira-kira names." i am not joking. (that L never made a joke about light's name being literally a "kira-kira" name leaves me with a harrowingly destitute void in my soul.)

last thing we need to do is look at the translation for "Yagami," which approximates (to my knowledge!) as meaning "high," as in "high in power" (not "high" as in "stoned," because that's probably more like L's thing).

so, if we take an extrapolation of this, and replace light's names with their written functions—his forename as being a kira-kira name and being written as moon, and his surname (depending on how it's written) meaning "high"—we can evaluate an interpretation of light's name as being, extensively, "kira-kira moon high."

maybe my fellow death note crazies can see where i'm going with this. now, let's look at L's name, which is far more self-explanatory. his name is L Lawliet (in case you are somehow on the death note tags and were not already aware), which is pronounced "L low-light." (which, as s a side note, is a hilariously unintuitive pronunciation for his name, implying that Light (if he ever heard it) would almost certainly misspell it (made even more likely as a native japanese speaker, even given how good his english is) and potentially make him immune to a human using the death note by misspelling it six times.)

so, if we put the *phonetic* pronunciation of L's name next to the *written* extrapolation of light's, and reduce light's name to its logical conclusion, we get "L low light" and "Kira moon high." (hyphon in L's name and hyphon + second 'kira' in light's removed, as light himself is not both kiras, and removing the second kira also removes the hyphon in his name, whereafter we then logically can remove the hyphon in l's name. like homoerotic algebra.)

furthering the analogy, and allowing a little leniency (given all the other obvious similarities) that "light" can be taken as the opposite to "moon"—as in, "sunlight," and furthermore, "sun"—we output "L low sun" and "Kira moon high."

if you interpret L as the sun and Light as the moon, then congrats, it's already spelled out for you. if you interpret L as the moon and light as the sun, then it's like they carry the symbolic celestial analogies of one another in the other's name, which is some crazy soulmate shit. if you're like me, and interpret them as being both but in different ways, then both ways are true simultaneously. (to me, it speaks to how similar they ultimately are that you can interpret them as being both the sun and moon, albeit in different fashions.)

either way, they have gay ass little names and i can't believe i've never heard anybody talk about this before. so eat up, death note tumblr. enjoy your meal.

[mostlysignssomeportents]

The FTC has Big Pharma’s number

On November 27, I'm appearing at the Toronto Metro Reference Library with Facebook whistleblower Frances Haugen.

On November 29, I'm at NYC's Strand Books with my novel The Lost Cause, a solarpunk tale of hope and danger that Rebecca Solnit called "completely delightful."

The most consistent bright spot in the dark swirl of US politics is the competence of the Biden Administration's progressive enforcers: people like Rohit Chopra, Jonathan Kanter and Lina Khan, who keep demonstrating just how far a good administrator can go. Anyone can have a vision, but knowing how to execute is the difference between hot air and real change:

https://pluralistic.net/2023/10/23/getting-stuff-done/#praxis

Take a minute to contrast Biden's administrators with Trump's: Trump's administrators had an ideological vision just as surely as Biden's do, and Trump himself had a much more pronounced and explicit ideology than Biden, whose governance style is much more about balancing the Democratic Party's blocs than bringing about a specific set of policies:

https://pluralistic.net/2023/03/06/personnel-are-policy/#janice-eberly

But whatever clarity of vision the Trump administration brought to DC was completely undermined by its incompetence (thankfully!). Apart from one gigantic tax break, Trump couldn't get stuff done. He couldn't deliver, because he'd lose his temper or speak out of turn:

https://pluralistic.net/2023/11/14/when-youve-lost-the-fedsoc/#anti-buster-buster

And his administrators followed his lead. Scott Pruitt was appointed to run the EPA after a career spent suing the agency. It could have been the realization of his life's dream to dismantle environmental law in America and open the floodgates for unlimited, wildly profitable corporate pollution and pillaging. But the dream died because he kept getting embroiled in absurd scandals – like the time he sent his staffers out to drive around all night looking for a good deal on a used mattress:

https://www.nbcnews.com/politics/politics-news/epa-s-pruitt-told-aide-obtain-old-mattress-trump-hotel-n879836

Or his insistence on installing a CIA-style "Sensitive Compartmented Information Facility" (SCIF) so he could play super-spy while reading memos:

https://www.cnn.com/2018/04/26/politics/epa-administrator-scott-pruitt-sound-proof-booth-scif/index.html

Or the time he sent his security detail to the Ritz-Carlton to demand that they supply him lots of little bottles of his favorite hand-cream:

https://www.vox.com/2018/6/7/17439044/scott-pruitt-ritz-carlton-moisturizing-lotion

There were other examples in the Trump administration, but Priutt is such a good case-study. He's like a guy who spent his whole life training to compete in the Olympics, and finally got a shot, only to be disqualified for ordering too much room-service in the Olympic Village. Priutt was wildly ambitious, but he was profoundly undisciplined – and wildly incompetent.

Compare that with Biden's progressive enforcers and agency heads, who showed up on the first day of work with an encyclopedic knowledge of their administrative powers, and detailed plans for using them to transform the lives of the American people for the better:

https://pluralistic.net/2022/10/18/administrative-competence/#i-know-stuff

The Biden administration's competence translates into action, getting stuff done. Maybe that shouldn't surprise us, given the difference between the stories that reactionaries and progressives tell about where change comes from.

In reactionary science fiction, we enter the realm of the "Competent Man" story. Think of a Heinlein hero, who is "able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyse a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly."

In Competent Man stories, a unitary hero steps into the breach and solves the problem – if not single-handedly, then as the leader of others, whose lesser competence is a base metal that the Competent Man hammers into a tempered blade:

https://tvtropes.org/pmwiki/pmwiki.php/Creator/RobertAHeinlein

Contrast this with a progressive tale, like, say, Kim Stanley Robinson's Ministry For the Future, where the Competent Man is replaced by the Competent Administration, in which people of goodwill and technical competence figure out how to join forces to create population-scale architectures of participation that allow every person to contribute their skills and perspective:

https://pluralistic.net/2020/12/03/ministry-for-the-future/#ksr

The right's whole ideology insists that the world can only be saved by Competent Men. As Corey Robin writes in The Reactionary Mind, the unifying factor that binds together conservative factions from monarchists to racists to Christian Dominionists is the belief that a few of us are born to rule, and the rest to be ruled over:

https://pluralistic.net/2020/05/25/mafia-logic/#mafia-logic

The Reaganite insistence that governments are, by their very nature, incompetent and malign ("The nine most terrifying words in the English language are, 'I’m from the government, and I’m here to help'"), means that conservatives deny the possibility of a Competent Administration.

When conservatives take office and proceed to bungle the most basic elements of administration, they're fulfilling their own campaign narrative, which starts with "We must dismantle the government because it is bad at everything." Conservatives who govern badly prove their own point, which explains a lot about the UK Tory Party's long run of governmental failure and electoral success:

https://apnews.com/article/uk-suella-braverman-fired-cabinet-shuffle-7ea6c89306a427cc70fba75bc386be79

There's a small mercy in the fact that so many of the most ideologically odious and extreme conservative governments are so technically incompetent in governing, and thus accomplish so little of their agendas.

But the inverse – the incredible competence of the best progressive administrators – is nothing short of a delight to witness. Here's the latest example to cross my path: the FTC has intervened in a lawsuit over generic insulin pricing, on an issue that is incredibly technically specific and also fantastically important:

https://www.fiercepharma.com/pharma/ftc-blasts-pharmas-abuse-fda-patent-system-sanofi-mylans-insulin-monopoly-lawsuit

The underlying case is before the FDA, and it concerns the dirty tricks that pharma giant Sanofi used to keep Mylan from making a generic version of Mylan's Lantus insulin after its patent expired.

There's an explicit bargain in patents: inventors can enlist the government to punish their rivals for copying their ideas, but in exchange, the government demands that the inventor has to describe how the invention works in a detailed patent filing, and when the patent expires, 20 years later, rivals can use the patent application as instructions for freely copying and selling the invention. In other words: you get 20 years of exclusive rights in return for facilitating your competitors' copying and selling your invention when the 20 years are up.

Pharma doesn't like this, naturally: not content with 20 years of exclusivity, they want the government to step in and punish their competitors forever. In service to that end, pharma companies have perfected a process called evergreening, where they dribble out ancillary patents after their initial filing, covering minor reformulations, delivery systems, or new uses.

Evergreening got a moment in the public eye earlier this year, with John Green's viral campaign to shame Johnson & Johnson out of using evergreening to restrict poor countries' access to TB medication:

https://armandalegshow.com/episode/john-green-part-1/

The story of pharma is that it commands gigantic profits, but it invests those profits into medicines that save our lives. The reality is that most of the key underlying pharma research is publicly funded (by Competent Administrators who apportion funding to promising scientific inquiry). Pharma companies' most inventive genius is devoted to inventing new evergreening tactics:

https://pluralistic.net/2023/10/19/solid-tumors/#t-cell-receptors

That's where the FTC comes in, in this Sanofi-Mylan case. To facilitate the production of generic, off-patent drugs, the FDA maintains a database called the "Orange Book," where pharma companies are asked to enumerate all the ancillary patents associated with a product whose patent is expiring. That way, generics manufacturers who make their own version of these public domain drugs and therapeutics don't accidentally stumble over one of those later patents – say, by replicating a delivery system or special coating that is still in patent.

This is where the endless, satanic inventiveness of the pharma sector comes in. You see, US law provides for triple damages for "willful patent infringement." If you are a generics manufacturer eyeing up a drug whose patent is about to expire and you are notified that some other patents might be implicated in your plans, you must ensure that you don't accidentally infringe one of those patents, or face business-destroying statutory damages.

So pharma companies stuff the Orange Book full of irrelevant patent claims they say may be implicated in a generic manufacture program. Each of these claims has to be carefully evaluated, both by a scientific team and a legal team, because patents are deliberately obfuscated in the hopes of tricking an inattentive patent examiner into granting patents for unpatentable "inventions":

https://blueironip.com/patents-that-hide-the-ball/

What's more, when a pharma giant notifies the FDA that it has ancillary patents that are relevant to the Orange Book, this triggers a 30-month delay before a generic can be marketed – adding 2.5 years to the 20 year patent term. That delay is sometimes enough to cause a manufacturer to abandon plans to market a generic drug – so the delay isn't 2.5 years, it's infinite.

This is a highly technical, highly consequential form of evergreening. It's obscure as hell, and requires a deep understanding of patent obfuscation, ancillary patent filings, generic pharma industry practice, and the FDA's administrative procedures.

Sanofi's Orange Book entry for Lantus insulin listed 50 related patent claims. Of these, 48 were invalidated through "inter partes" review (basically the Patent Office decided they shouldn't have allowed these claims to be included on a patent). Neither of the remaining two claims were found to be relevant to the manufacture of generic Lantus.

This is where the FTC's filing comes in: their amicus brief doesn't take a position whether Sanofi's Orange Book entries were fraudulent, but they do ask the FDA to intervene to prevent Orange Book stuffing because "improper listings can cause significant harm to competition and consumers."

This is the kind of boring, technical, important stuff that excellent administrators can do. The FTC's brief is notice to the FDA that it should amend its procedures to ban (and punish) Orange Book abuse. That will make it possible for you, a person who needs medicine, to get that medicine more cheaply and quickly. In America's pay-for-use privatized healthcare hellscape, this could be a life-or-death matter.

There's plenty of things the Biden administration is getting very, very badly wrong, but we shouldn't lose sight of how its progressive wing is making real, lasting change for the better. Competent Administrations are the true peoples' champions. They beat Competent Men every time.

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

https://pluralistic.net/2023/11/23/everorangeing/#taste-the-rainbow

[yvanspijk]

The word for 'I' has many different forms in the Romance languages, such as French je, Italian io, Portuguese eu and Spanish yo. Yet all these forms stem from one Latin word: egō. Here's how egō step by step changed into a selection of its Romance descendants.

People who subscribe to my Patreon get access to extra information further explaining what you see on the infographics and videos. To give you an impression, here's the text that goes with this video.

How did these forms originate?

Latin, Late Latin and Sardinian Around the second century AD, the [g] sound of Latin egō (as in English go) started to weaken. It became a fricative sound similar to the one in Modern Spanish agua 'water'.

In this form, with only minor vowel changes, it survived until this very day in certain Nuorese dialects of Sardinian: ego. These geographically isolated dialects are known for being the most conservative descendants of Latin. Their most notable trait is the conservation of the Latin [k] and [g] sounds before i and e: Latin centum '100' with [k] became kentu, whereas in Italian it became cento with the [tʃ] sound of English check, and in French, Portuguese and many variaties of Spanish it respectively became cent, cento/cem and ciento/cien with [s].

In a Late Latin text from the 6th century, we encounter egō as eo. By this time, the consonant had been dropped. It's this form that's considered Proto-Romance, i.e. the form that gave birth to all descendants except the form in the Nuorese dialects I discussed above. Eo even remained practically intact in a number of other Nuorese dialects.

Portuguese and Romanian In Portuguese and Romanian, the -o of eo became w-like: eu. However, the Romanian spelling hides the diphthongisation of [ɛ] to [jɛ], later [je]. Cfr. ferrum > fier, and pellem > piele.

Italian and Neapolitan In Italian, [ɛ] became [e] and then [i], a sound close to it: io. This sound change didn't only happen in this word: compare mio 'my' (from Old Italian meo) and Dio 'God' (from Deo) with Portuguese meu and Deus. In Neapolitan, the -o weakened and became the schwa sound of English words like roses.

Spanish and French The form io must have also existed in the distant ancestors of Spanish and French, but there, [i] didn't stop changing: it turned into a [j], its consonantal counterpart. In both languages, this [j] eventually underwent fortition: it became a stronger consonant similar to the one in English joke, which eventually weakened again in Modern French je.

In South American Spanish, interesting things are happening. The sound change that yo pronounced as [ʒo] has undergone in the Rioplatense dialects in Uruguay and the southern part of Argentina is called zheísmo, and what's happening in Buenos Aires and spreading through Argentina is called sheísmo: [ʃo].

[youremyheaven]

The Outcaste Nakshatra Urge to be Anti-Establishment

Disclaimer: As an Indian, I find the caste categorization of nakshatras to be very icky ngl but that said I do find that it does aid in the understanding of the nature & behaviour of nakshatra natives. I do not want this post (or any post I make on a similar theme in the future) to be read to mean that it ties to caste in real life and how people of a certain caste behave irl (i honestly dont know how many of you're Indian or even know what caste is but yeah). Nakshatra caste is different from irl caste and not synonymous with each other.

Outcast nakshatras tend to rebel against the status quo and have views that are very anti-establishment. This is only natural/logical since its always people who suffer the brunt of the system that try to rebel against it or point out its faults as opposed to someone who only reaps the rewards/benefits of said system.

In Claire Nakti's video about wealth indicators in astrology, she mentioned how a debilitated Moon aka Moon in Scorpio/Jyeshta was prevalent in the charts of the billionaires and is a major wealth indicator. Whereas Moon in Rohini (which is Moon's exaltation) creates contentment which means there's no room for growth, it makes the native content to the point where they're in a state of stagnancy and decay since there's no inner motive for change or growth or transformation. Jyeshta does the opposite, they're internally conflicted, and lacking contentment, so they're driven to accumulate things externally, they keep pushing because they're constantly dissatisfied.

I am working on a separate post about Moon-dominant natives but I find this specific quality of Rohini to be very scary, I have known several Rohini Moon natives irl who were like this, they chose the easier, more comfortable path in life even though it was bound to rot them from the inside and after many years, the stagnancy gets to them and they struggle with the lack of meaning/emptiness they feel.

I mention this because its important to understand what causes a person to rebel against the order/system.

Outcaste/Mleccha (pronounced muh ley-cha) Nakshatras are Bharani, Ashlesha, Visakha and Shravana.

(pyramid diagram by me: sorry for this wonky ass pyramid idk what im doing, hope u understand)

little bit of a tangent: in an earlier post with @venussaidso we mentioned how Purvabhadrapada is seldom mentioned in discussions about Jupiter natives, in that post I said that the concluding naks of every planet kind of transcends its influence. I also feel like another reason Purvabhadrapada is kind of excluded from these conversations about Jupiter influence (even in Claire's latest video about Jupiter women, most of the focus was on Vishaka and Punarvasu with only a few token Purvabhadrapada natives thrown into the mix)

Looking at the above diagram, we can see that Vishaka is an outcaste nakshatra which is why it experiences these themes (referring to Claire saying Jupiter natives spend a lot of their lives feeling invisible, feeling like outcasts etc) the most acutely, followed by Punarvasu which is a Vaishya caste nakshatra which means it falls in the middle of the caste hierarchy but unlike the Brahmin & Kshatriya caste nakshatras who enjoy a fixed position in society by birth, Vaishya (which is merchant & farmer caste) enjoy relative privilege only due to their labour and if they fall on bad times, they may not have anything to fall back on. They're kind of the fringes of society if that makes sense because their position is not as secure as the Brahmins/Kshatriya caste naks. Obviously, they are not ostracized the way the Shudra & Outcaste nakshatras often are and given their position, its always possible for them to accumulate wealth and status and climb the ladder which is not an option available to the Shudra & Outcaste nakshatras.

Purvabhadrapada is a Brahmin caste nakshatra which is at the very top of the hierarchy. Even though its Jupiter ruled, it does not experience the Jupiterean themes of exclusion, ostracization, invisibility and the subsequent transformation to the same degree or extent. Its energies are different and not connected to the themes or experiences of Punarvasu & Vishaka which is perhaps why it's often excluded (even subconsciously).

------------------------------------------------------------------------------

Back to the main topic,

Outcaste nakshatras are social outcasts who are not accepted into society, or who feel like they don't belong to mainstream society as they're unable to conform to its views & principles. They are ostracized either for existing or for their views and behaviour.

I'm only using this flow chart to depict the hierarchy so that it's easier to understand the dynamics of different nakshatras and I have no intention of hurting or causing harm to anyone in the name of caste

Outcaste nakshatras exist outside the hierarchy as they're not considered to be a part of the system but as those who do not belong on the hierarchy at all, they are given no place in society. This is disgusting and inhumane on every level but given their position its only understandable why Bharani, Ashlesha, Visakha and Shravana, who are the outcaste nakshatras behave the way they do or hold the opinions and ideas they do. They spend their whole lives feeling "othered", so it's easy for them to see the faults in the system as they've never benefitted from it. They are villainized by others and seen as bad people (Bharani & Shravana are Manushya (human) gana naks whereas Ashlesha & Vishaka are Rakshasa (demonic) gana naks, so I will say experiences across naks will vary)

This often manifests quite literally

Jennie, Vishaka Moon has received torrential hate even though she's arguably the biggest name in Kpop right now. (the video in question is not a hate video, its about why kpop stans have a tendency to blame Jennie for everything and how for many their hate towards the system as a whole is kind of directed at her because she's the face of the system for many).

Jennie was on the cover of Elle Icons Issue in 2023 and when asked what makes someone iconic, she said:

“Someone who clearly has their own opinions and thoughts, I think you’d only be able to be called an icon if you had the ability to ask others questions through your own perspective, rather than only share answers that everyone agrees on or stories everyone could like.”

This clearly reflects a tendency to challenge the status quo which she has done throughout her career, be it being a lingerie model (v unusual for a mainstream popular idol at the peak of their career), never addressing or apologizing for her dating scandals (imo nobody should have to apologize for dating someone but again its sadly the norm in the industry) or her "daring" concert outfit choices.

I've often suspected that Namjoon is perhaps Vishaka Rising because he's also always catching strays and received unsubstantiated hate over nothing. Plus given his transformation over the years, I feel like he really embodies Jupiter's extremes.

Anywayyyyy.

What does it mean to be a revolutionary? Someone who questions the way things are and refuses to conform and wages a movement, rebellion or uprising against the system can be described as a revolutionary. To think critically and to think outside the box (the box being society) has always been rare and very few people have had the audacity to question things and rise up against the system even at the risk of their own safety and perhaps relative privilege.

People who think radically and dare question the establishment are risking scrutiny, punishment, social exclusion among other things. Many movements are led by individuals who have outcaste naks but very often they're unable to amass support and remain lone wolves in the fringes of society disconnected or disillusioned by it all.

Karl Marx, Bharani Sun & Moon, Dhanishta Rising, Mars in Punarvasu atmakaraka (also his chart ruler) and Ketu in Swati

Marx, whose critique of materialism and capitalism are still valid today lived and died in the 19th century but he foresaw the directions things would head in and literally its only gotten worse. He had his Sun & Moon in an outcaste nakshatra, his atmakaraka and chart ruler in Punarvasu which also experiences outcast themes, Dhanishta is Vaishya caste like Punarvasu (relative stability but not necessarily secure) and Swati is Shudra caste. Marx's early life was quite stable but his lawyer dad died when he was a teenager and since then he struggled with his finances and was often very poor and he died as a poor man as well.

Martin Luther King Jr- Mercury in Shravana (amatyakaraka), Venus in Shatabhisha (chart ruler), Bharani Rising

MLK Jr grew up during an era of racial segregation but his own family was a little better off that a lot of other African-American households at the time since his father was a church minister. Both him and his father spoke openly against racial segregation and demanded civil rights (including equal voting rights) for African-Americans. Like Marx who had spent the majority of his adult life in poverty and then criticized materialism & capitalism since he knew first hand what a life without safety nets looked like, MLK Jr experienced the cruelty and horrors of racial discrimination and rose against the system to demand better for himself and his people.

Mahatma Gandhi- Hasta Sun, Ashlesha Moon, Chitra Rising with Venus & Mars in Vishaka (amatyakaraka) and Ketu in Shravana

Gandhi was an anti-colonial nationalist who protested through non-violent movements. He grew up in a moderately well off family and studied in London and it was only later in life when he was working as a lawyer in South Africa and personally experienced discrimination due to his skin colour and ethnicity that he began to question all things British Empire. He had an arranged marriage at the age of 13 and as an adult he was staunchly opposed to the practice.

Nelson Mandela- Punarvasu Sun, Vishaka Moon, Mula Rising, Mercury conjunct Saturn in Ashlesha

All of these are either lower caste or out-caste nakshatras

Mandela spent 27 years in prison and then became the first President of South Africa. Mandela's early life was a relatively sheltered one as his father was a counsel to the monarch but then later lost his position. It was only in his adulthood as a law student that he had become "politicized" by witnessing the unfairness of the apartheid regime.

Che Guevera- Krittika Sun, Shatabhisha Moon, Venus in Bharani, Mars & Rising in UBP, Saturn in Jyeshta atmakaraka (and chart ruler) and Ketu in Jyeshta

Che grew up in an upper class family and was studying medicine at university when he went on a motorcycle journey, initially through his home country of Argentina and later through other parts of Latin America like Chile, Colombia, Ecuador etc and it was on this journey that he witnessed the suffering of people from poverty, hunger and disease and decided to leave medicine and pursue armed struggle to help them. He has a combination of low caste and outcaste nakshatras but his Sun is in a Brahmin nakshatra and his Mars & Rising are in UBP which is a Kshatriya or warrior nak which is interesting because Che never experienced poverty or discrimination in his life unlike all the people I've mentioned above and he believed armed struggle was the way to help people (that's the Warrior caste nak energy for u).

Arne Naess, Shravana Sun, Bharani moon & saturn (amatyakaraka) and Rohini Rising was a Norwegian philosopher and environmentalist. He coined the term "deep ecology" and is a very important figure in the environmental movement that originated in the late 20th century. He was an avid mountaineer and wrote most of his works in a mountain hut which significantly shaped his view of ecology and environment.

Again, we see how someone's experiences lead them to having the beliefs they do. I am not saying someone who hasn't had first hand experience of something cannot use their intellect to form an opinion about it (to support or not to support) but when its your lived experience you don't have the luxury of being detached from it which is why I emphasize this throughout the post. How the lived experiences of outcaste nak natives forces them to be radicals and revolutionaries.

Ted Kaczynski, Krittika Sun, Ashlesha Moon & Rising, Venus in Revati (exalted), Mars in Punarvasu & Ketu in Shatabhisha

I include him as a kind of cautionary tale because like I said before not every person who holds revolutionary ideas will be hailed as a hero.

Ted had a genius level IQ of 167 (higher than Einstein) and he graduated highschool at 16. He skipped 6th grade and by his own admission he felt very isolated among peers who were older than him. He later went to Harvard and then got his Masters & PhD (all in Math) from University of Michigan.

At Harvard, he spent 200 hours over the course of 3 years in Henry Murray's brutal psychology experiment along with many other students. Murray worked for US Intelligence and conducted mind-control experiments (suspected to be Project MK Ultra) of which this was a part. At the age of 25, he started teaching at Berkeley before quitting 3 years later in 1969 and spending the next 25 years living in an isolated cabin in the woods in Montana. Between 1978 and 1995, Kaczynski mailed or hand-delivered a series of increasingly sophisticated bombs that cumulatively killed three people and injured 23 others. He was captured and arrested and sentenced in life in prison where he committed suicide.

He had written a manifesto called "Industrial Society and its Future" where he said:

"The Industrial Revolution and its consequences have been a disaster for the human race." He wrote that technology has had a destabilizing effect on society, has made life unfulfilling, and has caused widespread psychological suffering. Kaczynski argued that most people spend their time engaged in ultimately unfulfilling pursuits because of technological advances; he called these "surrogate activities", wherein people strive toward artificial goals, including scientific work, consumption of entertainment, political activism, and following sports teams. He predicted that further technological advances would lead to extensive and ultimately oppressive forms of human control, including genetic engineering, and that human beings would be adjusted to meet the needs of social systems rather than vice versa. Kaczynski stated that technological progress can be stopped, in contrast to the viewpoint of people who he said understand technology's negative effects yet passively accept technology as inevitable. He called for a revolution to force the collapse of the worldwide technological system, and held a life close to nature, in particular primitivist lifestyles, as an ultimate ideal.

I feel like most people today will agree with his views but that said Ted was a terrorist who hurt many people and I do NOT condone violence at all. His approach was flawed to say the least but his thinking and ideology is very radical.

He was a socially isolated genius for most of his life and couldn't conceive of a different way to put his ideas forth or head some kind of counter cultural movement, instead he killed people.

Having outcaste Nakshatras (Vishahka, Ashlesha, Shravana, Bharani) can be a very challenging experience because you feel isolated, outside the system, where belonging isn't even a possibility and feel like people always reject you/dislike you/are threatened by you and you haven't even done anything. Its easy to see how these experiences can be very demoralising and make SOME individuals prone to cruel retaliation.

Octavia Butler- Ardra Sun, Ashlesha Moon (atmakaraka), Punarvasu mercury & Rising with Jupiter in Vishaka chart ruler (and amatyakaraka)

She's known as the mother of Afrofuturism and used science fiction to explore what was wrong with society.

Parable of the Sower is the first of the two-book Earthseed/Parable series. Set in a future society that has been ravaged by climate change and economic stratification, its heroine is a young woman living in a gated community who suffers from "hyperempathy" which makes her feel the pain of anyone around her. When her home is destroyed, she leads a group to found a new community, Earthseed. It was published in 1993 but it literally sounds like a prophecy of what was to come.

Her chart is filled with Shudra & Mleccha/Outcaste nakshatras along with Punarvasu Rising which is a Vaishya nakshatra that experiences social exclusion and literally the plot itself is so rooted in all of these themes from being an outsider to being hyperempathetic to founding a new community.

Christopher Hitchens- Aswini Sun, Chitra Moon & Ketu with Venus in Revati atmakaraka and Mars in Revati amatyakaraka

Hitchens has criticized just about everybody under the sun, including war criminals like Kissinger who were and are hailed as heroes. But that said his cause was never personal per se (Sun & Moon in Vaishya naks) he was merely criticizing the establishment because of the faults he found with it.

Howard Zinn- Magha Sun, Uttaraphalguni Moon, Mars in Jyeshta atmakaraka

He was a well known anti-war activist and socialist intellectual who has written extensively on the civil rights movement. He was a bombardier during WW2 and these experiences subsequently made him anti-war. He has a combination of Shudra, Kshatriya and Vaishya nakshatras and they really reflect in his life experiences as he grew very poor to parents who were immigrants and factory workers, later went to war and then became a staunch critic of it and of the system itself. Although he's experienced all of it, he spent most of his life as a professor and public intellectual who criticised it, that was his path.

In the movie The Matrix, Neo is believed to be The One who will end the war between humans and the machines and has the ability to manipulate The Matrix. The movie itself is laden with Punarvasu themes all throughout but what I found particularly interesting is the fact that Laurence Fishburne & Carrie Ann Moss who play Morpheus & Trinity respectively and who believe Neo is The One are both Purvabhadrapada Moons. Neo is ofc played by Punarvasu Moon native Keanu Reeves.

Although others are skeptical about his abilities, Neo has the backing of two PBP native which is to say, the people at the very top of the hierarchy. Punarvasu's outcast themes manifest throughout the movie, especially since Neo was not an original part of the crew, instead a hacker they happened to find and now believe to be "The One".

A little random but the K-drama Vagabond is a very interesting anti-establishment story (its full of a lot of plot twists and I don't want to give anything away) but it stars Bae Suzy who is Hasta Sun, Mula Moon and Vishaka Stellium (including Venus in Vishaka atmakaraka and Jupiter in Vishaka amatyakaraka) and Lee Seung Gi who is Uttarashada Sun & Ardra Moon

If you watch the show (SPOILER ALERT) you'll know that they're both fighting the system from the inside and the outside, Suzy's Hasta- Vaishya nak allowing her some access into the system although she becomes increasingly disillusioned as time goes and then finally realizing the truth and being cast out (Vishaka-outcaste) Seung Gi's character was already on the outside (Ardra is Shudra caste or lower caste) and then he opts for armed struggle (Uttarashada is warrior caste).

Back to something I mentioned at the beginning of the post about how Exalted Moon natives are content to the point of decay and how debilitated moon makes a native discontent and constantly striving to improve things. I felt the need to say this in relation to outcaste nakshatras because all of the people mentioned above have been through A LOT in life, including long prison terms, abuse, discrimination, violence etc, they have endured SO much and since they're on this post, most of them are remembered for their valor and perseverance and for having dared to question the status quo, demand better and change the world.

So we know that it takes someone of extremely strong resolve and inner strength to endure the things they have and come out of it with the hope that things can still change.

It reminded me of something Sirius Black says in Prisoner of Azkaban to Harry about how he didn't go insane in Azkaban where the dementors suck out every happy thought you have. He said this:

"I think the only reason I never lost my mind is that I knew I was innocent. That wasn't a happy thought, so the dementors couldn't suck it out of me...but it kept me sane and knowing who I am...helped me keep my powers...'

A radical or revolutionary thinks similarly. Interestingly enough Gary Oldman who played Sirius has UBP Sun, Revati Moon & Ardra Rising (Revati & Ardra are both Shudra caste naks)

Shudra which is the lowest caste and Outcaste naks are allies and although there are differences in the broader themes among these naks, there is a sense of comrade-ship as well.

Idk if I should share this anecdote at all but I had a friend when I was younger who was Ashlesha Moon she was othered at home and at school/college and felt very socially isolated. She often spoke about how she does not feel like she's a part of society at all and as a result of it she felt very disconnected from social happenings. It was always strange to me when she spoke about some current event that directly affected us as something super abstract or theoretical but in hindsight I feel like its because everything was impersonal for her and she never saw herself as a participant in society :(

That's it for now, I'll add more examples when I find them

[musings-of-miss-j]

no rest for the wicked (nor the foolish)

part six: in which you wrangle out information about the doctor's segments, discover a library and obtain the favour of its obscenely wealthy resident

a harbingers x gn reader series!! (includes dottore, childe, arlecchino and pantalone x reader. the rest of the harbingers will most likely not be romantic interests)

notes: is the burn even burning. slow burn, gn neutral reader who is occasionally referred to as 'miss', smart-ass reader with just a sprinkle of social anxiety and a healthy dose of skepticism

warnings: blood and organs. are we even surprised at this point

series masterlist

as always, let me know if you find any pronoun slips!! oh, and friendly reminder that reblogs help circulate my work much better than likes <3

word count: 4628 words

*  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚**  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚**  ੈ✩‧₊˚*  

“They are not clones,” he replied dismissively. “Have you nothing to say to explain yourself?”

“In that case, how precisely do you define them?” You prodded, all anxiety at your lateness forgotten in the face of this engrossing new mystery. “I’m assuming you created them. How, if not by cloning?”

The Doctor crossed his arms and stared you down. You gazed back up at him, resolute and unmoving in your curiosity. You looked different today, he noted; you apparently still hadn’t found your cloak judging from the fact you were wearing Childe’s, damn him,and the shadows under your eyes were more pronounced than usual. He frowned behind his mask. Had you not gotten enough sleep? Perhaps he shouldn’t have kept you in the lab so late; after all, sleep deprivation would make you more prone to committing foolish blunders in the vicinity of his precious experiments. He couldn’t have that.

“My segments are none of your concern,” he said with an air of finality.

“Doctor, as your apprentice, am I not entitled to having any questions outside my realm of expertise answered by you?”

Oh, you devious thing.

With a dismissive wave of his gloved hand, the Doctor swept past you towards the reflux apparatus he set up the night before.

“Provide an acceptable excuse for your tardiness, and perhaps then I’ll be more accommodating.”

You huffed and rolled your eyes, unsurprised by his persistent give-and-take mentality, and made your way to your array of petri dishes. Under different conditions, the fungi growing within them developed a multitude of characteristics; under direct sunlight, tendrils of green plantlife snaked through the mycelium, when submerged in water the fungi formed tiny yet distinctive fins, and many other such phenomena.

“I had an encounter with Lady Eight and Lord Eleven after the lab session.”

“One that lasted well past midnight?” He asked, stealing glances at you as he set up the next step of his current experiment.

“Yes,” you confirmed with a disdainful roll of your eyes. “Hence my lack of punctuality. I had to entertain guests.”

Outrage flared in Dottore’s chest. How dare they intrude upon you at such an inopportune time? Of course, he conveniently dismissed the fact that he was the one who kept you so late in the first place; as far as he was concerned, he was entitled to your company. You were his apprentice, after all.

“Understandable enough,” he conceded.

You shot him a look. “Well? Your… segments? What are they, precisely?”

He muttered something unintelligible before responding.  “Iterations of myself at various ages.”

“I counted seven of them. Are there any more? What purpose does their existence serve? How did you create them?”

“You’re terribly inquisitive today, dear student,” he drawled, holding a test tube to the light and swirling the contents. You frowned. Did he intend to leave your questions unanswered? You really were awfully curious. “Count yourself lucky that I’m in fine spirits today.”

Visibly brightening, you rested your chin in your hands and your elbows on the workbench as you waited for him to go on. You never did seem to notice that he was always in a good mood whenever it came to you and your ceaseless inquiries.

“You counted correctly, there are indeed only seven of them,” he began, preparing a solution for the day’s work with the various test tubes in front of him. “I created them using techniques similar to those utilised in ancient ruin guards, but imbedded with my consciousness and the ideals I held at different phases of my life. This allows me to approach any problem from multiple perspectives, and prevents me from becoming restricted to familiar cognitive patterns.”

You hummed thoughtfully, brow furrowed as you mulled over his answer.

“But how did you ensure that the segment’s outlooks are exactly the same as the ones you used to have? Does your current personality not create some sort of bias and alter the way in which you view your… past self?”

The Doctor nodded his approval; you were asking the right questions.

“I am not heralded as a genius for nothing,” came his amused reply.

“That is a wholly unsatisfactory answer,” you grumbled, but let it slide. “Why haven’t I seen them before now?”

He elected to ignore that.

 

You managed to wriggle out of the Doctor’s snide remarks that you were getting lazy and make your way to the dining hall on time, for once. A restock was absolutely necessary; you’d run out of food in your dorm, and considering the sizeable journey you had to make to reach the dining hall it was a much easier endeavour to just hoard quick meals like an animal going into hibernation. Besides, you didn’t want to leave Arlie waiting, either. While you still didn’t know what kind of power she held, nor to what extent it would affect you, you were far from excited to have her demonstrate that power if you somehow managed to displease her. Even the Doctor, Childe and Signora appeared more manageable; at the very least, you knew exactly how they could make your life miserable if they wished, while Arlie was shrouded in mystery save for her dizzying, razor-sharp grace. Her special brand of courtesy felt like it would leave you scarred and bleeding out if you didn’t watch your step; a knife’s edge you had to dance around and an irresistible enigma for someone as relentlessly inquisitive as you.

After loading up a plate and sliding one of the chefs a tidy stack of mora to have packaged meals sent to your dorm, you slid into the seat across from Arlie at the table by the window you were somehow consistently lucky enough to snag (luck had nothing to do with it, really. She made damn sure no one else would sit there). Clearly she’d arrived some time ago, judging from the empty pot of coffee in front of her, and she offered you a nod of acknowledgment as you sat down. After your first meeting, she’d abandoned the purple robes that had were meant to serve the purpose of disguising her as an electro cicin mage, and now whenever you saw her she donned sleek, finely-tailored suits. You couldn’t say they didn’t look marvellous on her.

 

“I was expecting to see you at dinner, not this early.”

“The doctor was an in amicable mood,” you replied, buttering your roll and slathering on a layer of too-sweet jam. Mona had perfected both the art of astrology and jams; you missed her and the flawlessly balanced confections she’d make during the rare instances she had the mora to spare.

“Why are you staring at that bread roll as though it made you an orphan before your very eyes?” Arlie’s silky voice took on a bemused edge, snapping you out of your reverie. You were more than a little surprised by her question; you liked to think of yourself as somewhat difficult to read. Perhaps you were, but nothing escaped her searching gaze.

“I was just ruminating over my research.” It no longer unsettled you how smoothly the lie flowed from your tongue.

Annoyance spiked in her chest. Inconceivable, that you would entertain any thoughts that didn’t involve her. You smiled slightly. “And your ever-cryptic identity.”

She shook her head, laughing quietly. The previous frustration quickly dissipated. “Cheeky, aren’t you?”

“Tastefully curious,” you corrected with a laugh of your own.

“It’s hardly as if you’re the most comprehensible of people, either.”

You grinned. “I’m inclined to disagree, Arlie. Why, I’m an open book!”

“I’m having trouble translating your pages, then.”

“Linguistics isn’t your area of expertise, I take it?” You teased, lifting your fork to your lips. Casual conversation with Arlie felt less like balancing on a tightrope over a clearing swarming with tigers  and more like finding that one of the tigers was actually quite civil and pleasant company, if you overlooked the teeth and claws and minded your manners.

“I’ll gladly learn if it means understanding you better.” Her silver-tongued reply and suave smile had you blushing and taking a moment to collect yourself.

“And you have the unprecedented confidence to call me cheeky,” you quipped.

Savouring the lapse in your composure, she replied bracingly. “Being timid doesn’t get you anywhere. Listen. Request forms will be issued later today. Make sure to submit yours before midnight.”

You hummed thoughtfully. “Ah, I see. To restock any necessities we might have exhausted, yes?”

“Precisely.”

Fantastic. You needed a new turtleneck sweater after the eventful dissection with the Doctor left if bloodstained beyond repair.

“I assume the Regrator is the one responsible for overseeing such matters?”

She frowned behind her mask. Just what did he have to do with anything? Why would you bring him into the conversation? Or anyone, for that matter? “Yes, that’s right.”

You shot her a puzzled glance at the sudden frigidity in her voice. Maybe she held a grudge against him, you reasoned; it was entirely possible that she was one of his higher-ranking subordinates. Or maybe she was a Harbinger who held contempt for one of her colleagues.

“The palace truly is a self-sustaining community,” you remarked. “Do soldiers and recruits ever leave for anything besides missions?”

“No. Snezhnaya is far from a forgiving place, and there’s safety to be had between these walls.”

So the Fatui were effectively isolated from the rest of Snezhnayan society, then. You vaguely remembered from an introductory politics lecture that such physical separation between civilians and the ruling body could easily cause unrest and eventually conflict, tearing the nation apart. Oh, well. Hopefully your diploma would be complete long before that happened.

 

With food in your stomach and the usual vague wonderings about Arlie in your head, you returned to the lab.

“Oh, good,” Dottore remarked without looking up from organ modification he was performing. He insisted that it was enhancement, optimisation, and you firmly maintained that it was nothing but needless meddling. “You’ve finally returned. Come here and help me locate the damned tricuspid valve.”

“Surely you’re not so old that your eyesight is failing, doctor?” You asked, removing your leather gloves in favour of the horrible yellow plasticky pair. With a contemplative hum, you leaned over the countertop to survey the bleeding heart (ha, ha) more closely. Remarkable, really, how precise the Doctor’s incisions were; even you had to swallow your pride and admit that he truly was the best of the best, the epitome of perfection so highly sought after by any academic. Noting the blood dripping onto the floor, you winced. Perfection tampered by a thorough indifference to anything that wasn’t his research would be a more accurate description. You batted away his hands and took the scalpel the two of you were always fighting over, making a clean cut through the right atrium and gently peeling away the torn muscle until you could see the flimsy tissue you were looking for.

“There’s your valve,” you said, handing him back the scalpel with no small measure of reluctance. The rules dictated that he’d get to use it for the rest of the day since he got it first, after all.

He ran his bloodied thumb along the edge of his mask before going back to poking delicately at the tissue. You grimaced, watching the white leather of his mask stain crimson where he touched it.

“Flawless,” he murmured.

“Yes, quite,” you agreed, surveying the heart over his shoulder. It had clearly been removed by someone exceptionally skilled, every slice through the tender flesh perfectly made.

Ironically, Dottore was referring to your work. And you, in general.

 

You left the lab tired but satisfied. The day’s experiment had involved lifting several heavy mechanical components; ruin guard’s remains, to be precise. To your eternal chagrin the Doctor hadn’t struggled in the slightest, although you knew for a fact his sleep schedule was deplorable and he so rarely ate anything at all; in fact, you’d made a habit of discreetly leaving plates of food around the lab for him. A dish of vegetable stir fry you’d made in a sleep-deprived haze when your stomach rumbled loud enough to wake you and most likely every one of the castle’s inhabitants, a bowl of fruit, an exquisite chocolate mousse Anya had whipped up for you, and other such snacks scattered throughout the lab far away from any dangerous chemicals. Not that you’d admit to bringing them for him, much like how he’d deny having eaten any. What a strange, prideful pair the two of you made.

Your (well. Childe’s) coat snagged on something as you walked back to the dorm, yanking you back and forcing an obscene curse from your mouth. You crouched to inspect the source, and to your surprise found it to be the edge of a door that was left cracked. It would’ve been invisible if it were closed, and hooking your fingers into the narrow gap and pulling yielded no results. The door didn’t budge. Intrigued, you knelt fully to inspect the wedge; upon running your fingers up and down the seam you discovered a series of tiny, circular indents in the wood.

“Eureka,” you whispered softly. A similar mechanism could be found in several other places in the palace after careful inspection, and to your amusement they all required the same pattern to unlock. Terrible security. You tapped the indents in the order you’d long since memorised, and allowed a tiny, smug smile to overtake your lips when the door swung dutifully open. You slipped inside. The sheer height of hundreds of rows of bookshelves made itself known, and you let out a tiny ‘oh’ of astonishment. A library. The most beautiful one you’d ever stepped foot in, at that; even the House of Daena with its towering arches and marble couldn’t compare to the soft, weathered charm of this place, all hand-woven rugs and big windows framed by velvet curtains, plush armchairs and an array of tasteful stationery littered across every surface, cream paper and deeply coloured quills and ebony ink. You stood frozen in the doorway, taking it all in. If only you’d discovered this place long ago. A quick inspection of the books on the shelves revealed a myriad of genres and topics, even a few analyses bound in leather of subjects you’d itched to study but couldn’t because they were forbidden by the Akademiya. You glanced furtively around. Silent as the grave. Before you could lose your nerve, you quickly began pulling tomes from the shelves and stowing them in your leather satchel; surely no one would complain if you borrowed a few until the next time you could visit this miraculous place. Looking back, you were appalled by your own bravado.

“Oh? And what have we here?”

You froze, a book on the intricacies of destroying Visions halfway in your satchel. Oh, curses.

“Nothing but a curious student, sir,” you replied as smoothly as you could, turning to face the owner of the voice: a well-groomed man dressed entirely in black, from his raven hair to the shimmering jewels studded on the high collar of his shirt. Nauseatingly wealthy, that much was obvious from the fineness of the fur he wore and what seemed to be a diamond ring on his finger. The part of your brain that wasn’t panicking at being caught wondered if he’d let you test whether it was real or not; a simple and visually pleasing procedure to determine the refractive index was all it would take.

The stranger picked at his gloves, watching you over the rim of a rather excellent pair of glasses (you could tell from the set of the lenses in the frames; seamless as the door you’d unlocked to get into the library.)

“Really, now? A thirst for knowledge is all that drove you here, then?”

You swallowed nervously. Just how would you get yourself out of this predicament?

“The door was ajar, and I couldn’t help but wonder what might be inside.”

He raised his eyebrows.

“And how did you manage to open the door all the way?”

You bit back the smug smile that was threatening to appear. Best to downplay yourself so as not to seem too clever; a man this rich would obviously be powerful too, and nothing good could come of revealing your assets to him.

“I don’t know, sir,” you replied, injecting as much cluelessness into your voice as you could. “I just pulled it open. My apologies for intruding, it wasn’t my intention.”

“That would be believable if I were just a touch more foolish. Unfortunately for you, I’m not convinced by your innocent act.” He smiled. “At all.”

Rich and intelligent. What a bothersome combination.

“I suppose my only defence is that I was unaware this was a private library,” you conceded, re-shelving the tome. The wistful look in your eyes as you did so was quite amusing, he thought.

“And how do you plan on earning my forgiveness?”

“What are my options?” You countered without missing a beat.

Hm. Not bad, he thought approvingly.

“Why not introduce yourself? I’d quite like to know the name of the thief who knows how to break into a library I thought impenetrable.”

You cleared your throat, embarrassed, and fidgeted discreetly with your gloves.

“I wouldn’t call myself a thief, sir. I fully intended on returning these once I had read them,” you protested, then gave him your name. “I’m an apprentice of the Doctor’s.”

Subtle realisation dawned on the man’s face.

“Oh, I see. The infamous ‘Trixy,’ no?”

“That… is indeed the nickname Lord Eleven insists on calling me by.” You were going to kill him, you really were.

He smiled. “I thought Dottore was exaggerating when he referred to you as ‘overly cunning.’ It looks like I was wrong.”

You frowned slightly at the casual use of the Doctor’s name. Archons. Just my luck, being caught nicking books from a Harbinger’s library.

“I am the Regrator.” Reaching towards you, he took hold of your hand and kissed the back of it. “A pleasure to finally meet you.”

“Likewise, sir- my lord,” you replied, flustered by his greeting and your mistake. “Truly an honour. Allow me to once again extend my apologies for imposing myself on your property.”

“Not to worry, one apology was quite enough,” he replied with another smile. How quickly he changed his tune; a moment ago you were quite worried he’d do much worse than throw you out, but now he was all class and geniality. These two-faced Harbingers really would be the death of you, forcing you to switch between subtle defensiveness and gracefully accepting compliments.

“I’ll see myself out,” you said, breaking the impending silence. “Thank you for your hospitality, my lord.”

“No, no. Stay, I insist. In fact…” He took hold of your shoulders and steered you towards the fireplace, nudging you into a chair. “Why not take a seat? If my memory serves, today you’re to receive the requests forms, is that right?”

He grinned, satisfied, when you nodded in confirmation.

“Lovely. Tell me what it is you were going to have brought to the palace, and I’ll ensure its timely delivery.”

Your eyebrows rose a fraction of an inch.

“And what do you gain from providing me this assistance?”

“Your favour,” he replied promptly, so matter-of-fact that you thought you’d misheard. Well. If he was going to take the first shot and be such a flatterer, then you could certainly play along.

“Why, you’ve already gained it by extending your cordiality,” you said, lifting a gloved hand to your mouth to hide the grin threatening to overtake your features.

Regrator laughed, leaning back in his chair and crossing one leg over the other. The flickering glow of the fireplace threw the planes of his face into sharp relief, all razor-sharp angles that could cut through diamond. Unsettled, you took to pulling at the fingertips of your gloves for a moment’s respite from his eerie black gaze, glinting like the surface of a bottomless lake at night. Maybe, just maybe, masks were preferable.

“You’re something of a smooth talker,” he remarked. “Perhaps I’ve met my match.”

“I couldn’t hope to live up to your articulacy, my lord, though I’m flattered.”

“Don’t be so humble. I understand that you’re quite the genius in your own field, no?”

You let out a quiet laugh. “Whatever gave you such an impression?”

“It’s not often Dottore goes larking about others’ intelligence,” he replied with equal amusement, watching the swirling clouds of snow outside the stained glass window. Now that caught you by surprise. Surely the Doctor, legend of the Akademiya and one of the arrogant men you ever had the displeasure of meeting, wouldn’t bestow you with such praise.

“I’m clever enough to get by,” you settled on saying, fingers itching to check your pocket watch. It had to be late, but the Regrator imposed a strange aura that compelled you to follow what little etiquette you knew of. The moment you realised this, however, you made a point of taking your watch out and checking the time. The only nonsensical rules you would allow to influence your behaviour were those that could eventually be explained; the laws of science.

“Terribly humble,” he murmured, repeating his previous statement with a touch more gratification.

“It never pays to be egotistical without good reason,” you concluded, making to get up. “It’s been a pleasure, my lord”-

“Sit, sit,” he said firmly, cutting you off. “You won’t have time to submit the request form now,” he pointed out. ‘You might as well stay and tell me what it is you need so I can take care of it.”

You cursed softly under your breath. He was right, unfortunately, and you really were in dire need of several necessities. Resignedly, you sat back down. The Regrator’s pleased twitch of his lips didn’t escape your notice; clearly he’d planned this out. Sneak.

“Much obliged,” you muttered, not without a healthy amount of resentment you didn’t bother hiding.

“But of course.”

He stared at you expectantly, that maddeningly unbothered half-smile never budging from his lips. You bit back a sigh. Best get this over with.

“Well, for starters, I need at least seventy grams each of qingxin, violetgrass, mourning flowers and lumidouce bells. Oh, and ten grams of sunsettia seeds. Other than that, one kilogram each of copper, crystal marrow and white iron, and as many chaos devices and spectral husks as you can afford.”

“That sounds similar to Dottore’s usual order, yes,” he mused. “But forgive me for asking… why the sunsettia seeds?”

“Sunsettia trees can be coaxed into growing under very harsh conditions, and I happen to quite like the fruit,” you answered with a shrug.

The half-smile widened just a touch.

“I see. Everything else on your list seems to pertain to laboratory work. Are you certain you won’t require any… more personal items?”

“No, that won’t be necessary. Although, the doctor did say you would know why I didn’t receive the standard uniform for Fatui recruits,” you added as an afterthought. He blinked, as if caught by surprise.

“Why, it’s quite simple. You’re not considered a recruit at all.”

You stared unabashedly at him. “What?”

“It’s true,” he continued, toying with the fine silver chain of his glasses. “Your file simply has 'scholar' written as the rank.”

“How ambiguous,” you bit out, dragging a hand down your face. For all their bluster and pomp, you’d decided that the Fatui were a ragtag group of disorderly misfits with no sense of how to run such a large and influential organisation. ‘Rank: Scholar? Seriously? Keqing’s voice in your head pointedly asked if you thought you would me more up to the task of filing accurate records on thousands of people. You mentally grumbled.

“Quite fitting for a mysterious person like you.”

You lifted your head to shoot him an incredulous glance. “Yes, absolutely, my lord,” you muttered sarcastically under your breath. “My every action is so veiled in mystique, I can hardly see a metre in front of me from all the smoke and mirrors.”

The Regrator chuckled quietly.

“Clearly you understand that brevity is the soul of wit.”

“Just bursting with wisecracks, my lord,” you deadpanned. “It’s time I should be going.” Rising from your chair, you cast a longing glance across the library. “…Would it be too presumptuous of me to ask for permission to visit your library now and again?”

“Permission granted,” he conceded with a nod and twinkle in his fathomless eyes. “You’d be a welcome guest at any time.”

With a grateful ‘thank you’ and a brief smile, you hurried out of the secret door and back to your dorm.

As far as you were concerned, morning had yet to begin if it was almost noon. The sky was completely clouded over, not a glimpse of the tenuous blue visible through the layers upon layers of cottony white. In your professional opinion, if the sun wasn’t visible then the day hadn’t even started; hence why you were still in bed savouring your only day off of the week.

With a contented sigh, you pulled the blankets up to your chin and settled in a more comfortable positon, the battering of the wind against your window and the distant crowing of ravens forming a lulling symphony. Sleep was just around the corner.

A crash startled you out of your pleasant half-awake reverie, the suddenness of the movement quite effectively acquainting your skull with the wooden headboard. You muttered a string of curses, electing to ignore whoever had the unparalleled audacity to make such a noise and go back to sleep. The intruder wasn’t as agreeable about your plan, unfortunately.

“Rise and shine, Trixy!” An all too familiar voice rang out. You groaned and buried your head beneath the covers. Maybe it was a hallucination that would disappear if you ignored it. Hallucinations weren’t tangible, however, but Childe very much was, judging from how he shook your shoulder and prevented you from slipping back into your slumber. You made a half-hearted attempt to bat his hand away.

“Heavens’ sake, Childe,” you rasped, curling up tighter and willing him to go away. The use of his name rather than a snidely bit out title, or worse still, just his rank, gave him pause. You congratulated yourself on managing to shock him long enough to allow yourself to settle back into the mattress. Not even a moment later you felt a freezing pair of hands grab your ankles and pull.

“H-hey!” You kicked and thrashed, but Childe just laughed and tugged you out of bed. You could’ve sobbed. “What do you want?” You grumbled, crossing your arms.

“Awww, it’s almost as if you don’t want me here,” he said with a pout, watching you rub your eyes and push the hair out of your face. You were softer around the edges like this, he thought, hackles lowered slightly and the suspicion in your eyes worn away by sleep.

“You’re slow on the uptake, but know that I’m proud of you for finally coming to a correct conclusion,” you deadpanned. “Now tell me what’s so bloody important that you saw it fit to wake me.”

He grinned brightly. “It’s your day off, isn’t it? I wanted to take you to the city!”

You opened your mouth to snap out a scathing retort that would probably have him leaving the room in a huff, then closed it again. He looked so hopeful, all wide eyes wrinkling at the corners from the wideness of his boyish grin. You wanted to kick yourself for going so soft on him.

“Alright,” you conceded. “Let’s go to the city.”

*  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚**  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚*  ੈ✩‧₊˚**  ੈ✩‧₊˚*  

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[tyrantisterror]

Who's THE Devil?

You know, from, like, The Bible?

One of the things the various takes on Hell more or less agree on is that there is one demon among the legions of Hell who more or less reigns supreme - The Devil with a capital The. What they rarely agree on, however, is which devil that is. So, for funsies, let's look at all the candidates for The Devil, shall we?

Belial

The concept of demons arguably predates Abrahamic religions, at least if we take it at its most nebulous definition of "supernatural people from an Other world who are somewhat antagonistic toward humanity." But the more specific and probably more familiar version of them began with The Book of Enoch, one of many texts that were deemed non-canonical by Christians yet still holds a great deal of influence on Christianity as a whole. It's an extended account of the Noah story, positing that a group of angels rebelled against heaven because they wanted to sleep with mortal women, and created a race of giant half-human half-angel offspring called the Nephilim (Goliath, of David and Goliath fame, was one of the nephilim). God wasn't happy with this, and sent the rebel angels to a fiery pit before killing most of the nephilim with the big ol' flood (though Goliath's lineage survived somehow I guess).

It's not quite how most people picture the War in Heaven and rebellion of the angels, but it's nonetheless where that story started, and that makes it important. This is the first take on what would become the classic origin story for demons and Hell itself. And who is the leader of the rebel angels in this story? Why our good friend Belial, of course. Belial would remain a prominent demon from hereafter, but despite having the earliest claim for the crown of The Devil, Belial has not remained the frontrunner in the race, and is generally demoted to just being a high ranking demon, rather than the Highest ranking one.

2. Beelzebub

I've talked about Beelzebub before and I don't want to spend too much time rehashing that post, so brief recap: Beelzebub began as a mean nickname for a god from a rival religion to Judaism who was named Baal Zebul, which means Lord of the Heavenly Place. Baal Zebub, by contrast, means "Lord of the Flies." Eventually Baalzebub becomes Beelzebub and, divorced from the original context of its creation, becomes a character in his own right, being a prominent demon. And because Beelzebub appeared in a lot of texts, many of them very old as demonology go, he became a major competitor for the title of The Devil, and remains so to this day. I think it's partly because the name "Beelzebub" is really fun to say, but the sheer history and volume of demonology texts portraying him as a big, powerful devil also help. In the rare stories where Beelzebub appears but does not get to be The Devil, he's still portrayed as fairly high ranking, with both Milton's Paradise Lost and Marlowe's Faust making him The Devil's right hand demon, second in command of Hell. So even when he loses the crown, Beelzebub takes home a good silver medal

3. Asmodeus

Asmodeus is another of our "predates Christianity" demons, right up there with Beelzebub and Belial, and as far as I can tell from what I've read he was originally intended to be The Devil rather than just a devil. It's kind of right there in the name - "deus" means god, so Asmodeus having that name marks him as a demon who thinks himself equal to God.

(well, ok, there's some debate about the full origin of his name, with some arguing the "deus" part was originally a play on "deva," which in turn is loosely translated as... demon. The fact that Asmodeus's name is pronounced/spelled differently to a preposterous degree is part of why the water is so muddy - Asmoday, Asmodai, Asmodee, Osmodeus, it goes on and on)

One of his better claims to the crown comes from the story of Solomon - you know, the wise king who told people to cut babies in half. Solomon's less canonical feats include enslaving a shitload of demons to build a temple for him by way of the rite of exorcism, using a magic ring and the power of Christ to compel the damned to do manual labor for him. Asmodeus is specifically stated to be the strongest demon he summons in part because he is the King of all Demons, i.e. The Devil - and the other demons weep at the sight of their king being reduced to a slave by mortal hands.

Why is this a strong claim? Because the story of Solomon in turn inspired The Lesser Key of Solomon, a text about using the rite of exorcism to summon and use demons to do your bidding. The Lesser Key of Solomon includes the Ars Goetia, which is basically a big ol' bestiary of demons, and where many of your favorite pop culture demons - like, say, Stolas the owl guy - come from. Being the King of all demons in the story that inspired one of the more thorough and exhaustive lists of demons and their hierarchies should count for a lot.

There's one other great claim to fame Asmodeus has in his favor. While not directly named in Dante's The Divine Comedy, the description Dante gives of Satan's physical appearance matches with the most popular descriptions of Asmodeus - in particular, his three heads, one of which is yellow, one red, and one black. Granted, it'd be more of a smoking gun if one of those heads was a bull and the other a goat, but they're all very ogre-like, so I still think it stands. Dante's Devil is, more likely than not, Asmodeus, and that's a BIG point in Asmodeus's favor.

4. Hades/Pluto

Ok, so, a great deal of the Old Testament was originally written in Greek, and the New Testament was written in Latin, both of which happened when belief in the Olympian Gods was pretty strong. As such, the word "Hades" appears in the Bible a lot when talking about the place where dead people go, though it probably wasn't meant to literally be the same underworld as that in Greco-Roman mythology. Probably.

But because Christianity was spread primarily by the Roman empire once they converted to Christianity, and because Europe ended up getting a centuries-long case of stockholm syndrome for the Roman Empire that involved many people in power declaring that Greco-Roman mythology was super important literature and Latin was the language of God Himself, there is a good chunk of Biblical apocrypha that treats the use of Hades as, well, a literal crossover of sorts. Which is to say that Hades the god is sometimes treated as, like, a figure in Christianity, generally a demon specifically. And because he's, you know, Hades, from, like, The Odyssey, people feel he needs to be prominent. I mean, Hades RULED the underworld in Greek mythology, so if we're stealing him for Christian folklore, he should at least be in upper management, right?

The strongest case for Hades being The Devil comes from The Book of Revelation, one of the few books in the Bible that actually contributes to demonology (despite what people tell you, demons really don't show up in the Bible that much - most of what we think of as iconic demon lore come from non-canonical works). You know the four horsemen of the apocalypse? War, Famine, Plague, and Death, right? HA, WRONG! It's Conquest, War, Famine, and Pestilence & Death, you fake horseman fan. Well, anyway the line that introduces Death/Pestilence & Death ends with "And Hell followed with him." Except, no, not really, because the specific word used is... Hades. "And Hades followed with him." Which, depending on how you want to interpret the line, could very well mean a literal, King of the Underworld Hades.

Of course, the problem with using Revelation as proof is that Revelation itself is pretty unclear on who's leading the forces of evil. Is it the Seven-Headed dragon who's cast out of Heaven at the beginning of the end of the world? Is it the seven headed leopard monster that the dragon gives his crown to? Is it the monster who crawls out of the ground to speak for the seven-headed leopard with the voice of a dragon? Is it Hades? Is it God, the one who's allowing all this violent shit to happen and frequently sending his angels to make it way fucking worse? Who can say.

So, while it's not super common, there are more than a few works where The Devil is none other than Hades himself. Disney... might not have been completely off the mark, I guess?

While I think Hades's claim is pretty weak, I should note that one of the works that puts a LOT of Greek mythology into Hell is none other than Dante's The Divine Comedy. 70% of the demons in Dante's Hell are just Greek monsters, with the remaining few being Asmodeus and some OC demons he made up with portmanteu names a la Pokemon. Notably, Hades is one of those demonized Greek figures - presented as the Judge who decides where in Hell sinners end up based on their crimes. He's not The Devil, though, so while Dante kind of helps Hades's case, he also kind of ends up making a counter argument to it.

5. Abaddon/Apollyon

Ok, so, the word "abaddon" is used in some texts to refer to Hell, and sometimes it's personified as well. It literally means "ruin." Well, in time, Abaddon is personified and become a demon, which should feel like a familiar story to you by this point. And because Abaddon can also literally be Hell itself, it's only natural that some stories posit Abaddon the demon as the rule of Hell, much as Hades is the ruler of Hades in Greek mythology. This is Abaddon's big claim, and it's not bad, but it's not super strong. Nonetheless, it was enough for at least one prominent Christian text, Pilgrim's Progress, to make Abaddon (under one of his synonym names, Apollyon) to be The Devil, so we can give him that too.

6. Sheol

The sections of the Bible that are written in Hebrew use the word "Sheol" to refer to the underworld/afterlife rather than Hades. Now, Judaism doesn't have the same Hell as Christianity, or the same concept of Heaven either for that matter, and Sheol is less a place of torment for the damned and more of a waiting room for the dead to hang out in until the Messiah comes.

Nonetheless, Sheol did get personified like Abaddon and Hades, and that personification (which, in some versions, is a batty old lady, which is fun) later became a demon in its own right, and thus, for the same reasons as Abaddon and Hades, has a claim to being The Devil by dint of also being, you know, Hell itself. Not the strongest, most popular claim, no, but a claim nonetheless.

7. Satan

Feels rather obvious, doesn't it? Ok, so, in The Bible, one of the characters who was retconned into being The Devil is the angel in the Book of Job who takes on the title of Satan. In the original context of the story, "Satan" is not a name, but, again, a title - a job title, really, roughly akin to "prosecuting attorney." The Satan in the Book of Job isn't a rebel angel, but an angel whose job is to argue for the opposing view point to make sure everyone is doing the right thing. Less "The Devil" and more "the devil's advocate."

But! Christians fucking LOVE the devil, and they want more devil in their Bible, so many translations treat (the) Satan not as the hard-working servant of God he was originally written as, but as, you know, The Devil, arch-enemy of God and justice. And so Satan becomes synonymous with The Devil, and over time more and more appearances of The Devil give him the name Satan.

I can see an argument for this being the strongest claim, because the sheer amount of works where "Satan" is treated as The name of The Devil is enormous. But I think it's important to note that many of those works actually treat it as a name for the devil, which is to say, not the only name. I guess a lot of modern works think the name is so commonly used that it lacks its punch, and so they have The Devil pull the "I have many names" schtick to sound more imposing.

8. Lucifer

So there's a part of the Bible that talks about a star falling out of Heaven as a sort of metaphor for how people can fall from grace. Well, good ol' King James translated this as not just a falling star, but specifically The Devil himself, giving him the name Lucifer, which means "light-bringer." The King James translation of the Bible is bad in that it's immensely inaccurate, but good in that it's a beautiful piece of poetry in its own right, and since it had the authority of a goddamn king behind it, it quickly became a prominent Christian text and is still the preferred translation of many Christian sects to this day.

So, you know, that's pretty fucking big as claims go. There is one incredibly prominent (if woefully inaccurate) translation of the Bible where Lucifer is The Devil. Kind of hard to fight that one.

But it doesn't end there! I would argue that the most influential origin story for Christian devils, the one that has become ingrained in the cultural consciousness as THE story of the War in Heaven, is Milton's poem Paradise Lost. That's where most of the tropes we associate with The Devil and demons and Hell really come together to form the great devil mythology - well, it and Dante's The Divine Comedy, anyway. You know which name Milton chose for The Devil?

Lucifer.

Well, ok, he also calls Lucifer "Satan" with about equal frequency, but still - Lucifer is The Devil of Paradise Lost. And because of the sheer weight that both Paradise Lost and the King James Bible have in culture, Lucifer has ended up being used as The Devil in countless works since! Not bad for a translation error, right?

While the sheer number and notability of literature that uses Lucifer as The Devil is kind of argument enough for him having the best claim, I'd like to add one more argument in his favor: dramatic irony. I think what draws people to Lucifer is the meaning of his name - "the light-bringer" - and how it contrasts with his role as the king of a pit of darkness and misery. "Light-bringer" is a heroic name, the name of a character who brings hope and joy, which makes it so delicious when it turns out our "light-bringer" is an utter bastard. It's just irresistible, isn't it?

9. Mephistopheles

A good number of demon stories - arguably the majority of them - focus on mortals who make deals with demons and end up damned to Hell for doing it. We call these stories "faustian pacts," and we do that because the most famous story of this kind is the story of Faust, a scientist/alchemist who makes a deal with a devil named Mephistopheles to learn the secrets of the universe and ends up doing a lot of sinning in the process. Since Faust is such a famous and influential story, it only follows that its main devil is frequently viewed as The Devil.

...except

In most versions of Faust, Mephistopheles is not presented as The Devil within the narrative. He's a henchman, a flunkie, with one of the bigger names like Lucifer or Beelzebub pulling the strings. So while there are a number of stories (including a few versions of Faust itself) where Mephistopheles gets to be The Devil, it's far more common for him to be a devil - perhaps a prominent devil, maybe even one of the strongest and a close member of The Devil's inner circle, but rarely the one in charge.

10. Baphomet

Baphomet is a god whose name and appearance was repurposed as a demon by The Church of Satan, and so while I have to admit that is a claim to the crown, I don't think it's a great one. First, nothing about the Church of Satan's belief system is meant to be taken genuinely, with them admitting that they view Satan/Baphomet as a symbol rather than a literal supernatural being they believe in. Second, by rights Baphomet should be allowed to be Baphomet instead of being literally demonized. I honestly think it's better for Baphomet to lose this race than to win it.

11. Iblis

Demons in Islam work differently from demons in Christianity. Rather than being fallen angels, demons are wicked Djinn - a race of people made from fire and smoke rather than ash and dirt like humans. Djinn aren't quite as powerful as angels in Islam, but do have significant supernatural powers that humans lack. Like humans, Djinn have free will and can choose whether to be good or evil - and those that choose to be evil reside in Islam's version of Hell, where they are ruled by Iblis, the first Djinn to choose the wicked path and the ruler of Islam's Hell.

Unlike Christianity, there isn't really any debate on this. Iblis is, for all intents and purposes, the CANONICAL ruler of Hell, The Devil of Islam, and thus has the strongest and really ONLY claim to be The Devil of that religion.

...but, at the same time, Iblis can't really be the Christian devil, because Christianity doesn't have Djinn, and all the iconic parts of Christian demonology kind of hinge on the idea of demons as rebel angels, which demonic djinn very much aren't. So while Iblis's claim in Islam is irefutable, he doesn't have one in Christianity. Ain't that wacky?

I think it should be noted that there are more-or-less canonical texts where Iblis isn't treated as purely evil, either, including one where he actively asks for help in repenting and is turned down because, well, evil has to exist, and someone has to rule over it, and like it or not, that's Iblis's job now. It ends with Iblis wailing that he has become the greatest martyr of Islam. Which is so fucking hardcore, I love it. In Christianity, the texts where we humanized demons are non-canonical at best and deemed heresy at worst, but Islam allowed it to be more-or-less canon. They saw the coolest takes on the Devil and said "yeah we can allow that" - so much more rad than what Christianity did with them.

~

~

~

So, who do YOU think is The Devil? You know, from, like, The Bible?

[nicisanidiot]

Has anyone else noticed the use of shadows and light in Nimona? Cause I find it really interesting how through most of the movie Ballister is stuck in the shadows while Ambrosius is always in the light.

For example:

It also draws parallels between Gloreth and Ambrosius as Gloreths statue is always bathed in lights, due to the fact we only ever see it at night (I think) surrounded by darkness.

I think it’s also interesting that once Ballister meets Nimona the contrast between shadows and light becomes even more pronounced, with the two of them living together in a darkened lair, sneaking around at night and rarely being seen in daylight. This contrasts Ambrosius who we never see without the spotlight shining on him.

This contrast becomes clearest in the “nacho” scene, when its glaringly obvious just how different the twos views on Nimona and the Institute are.

However, the motif is subverted after this when Ballister confronts Nimona on the statue of Gloreth. For the first time in the movie since the death of the queen he is in the spotlight, pulled from the shadows into the light.

This is especially beautiful as he pulls Nimona, a character who till this point had always been in the shadows, into the light with him. (There’s probably a metaphor for mental health, transness and queer identity in there but someone else can probably put that far more eloquently than me).

From this point onwards Ballister is never framed in shadows again, but more importantly, he is only framed in natural light, often with a warm tone contrasting the previous cool toned unnatural lighting (warm tones also being used in relation to Nimona):

While I think the meaning of all this could be debated my personal favourite interpretations of it are:

- the changes in lighting represent Ballister’s feelings towards himself through the film, specifically in relation to his relationship with Ambrosius (him being in shadows more after the queens death, seeing himself as inferior to Ambrosius, being in light as he is going through the “evil lair” showing his acceptance (?) of Nimona’s “passing” and his contribution to it).

- the way he is perceived by the in film audience viewing him (more shadows when he “kills” the queen, in light when he saves Nimona).

Anyway, feel free to add anything extra or any additional observations or anything I missed

(I have dyslexia so please don’t be to hard on any mistakes I’m really trying I promise)

[pinkmirth]

i love the new theme!! any hcs on our fav vamp having a crush/being jealous? <3

why thank you, nonnie! ❤︎ you’re speaking of that darling angel of a man alucard, i presume? i definitely have a thought or two on jealousy when it comes to him >\\<

this man’s jealousy could burn as fiery-hot as the sun’s raging core, but the one thing he’ll never, ever think to do is show it.

alucard simply isn’t one for disclosing his feelings, and he fears that he’ll come off as childish or insecure if he were to openly admit, so he’d just rather to keep it to himself altogether.

see, he thinks you’re unable to tell; that he appears indifferent. oh, is he wrong. you’re able to read that man of yours like a book with its pages opened flat-out. adrian can keep quiet all he likes, but the tick in his jaw, the grit of his teeth, and the deep grunt coming from his throat is palpable.

this is what he finds to be a completely eye-twitching instance: he takes you, his dear lover, to a nearby pub. it’s just to treat you to something different from the castle’s collection of white whine that the pair of you have emptied down to the very last barrel. this should be nice, he’d thought. a new scenery should be refreshing.

he’d been meaning to enjoy your company, is all. that’s why it takes him by the utmost surprise to see a drunken, grubby man smile at you, hooting your way and staring you down with what disgusts alucard to identify as lust. had he not seen him there, seated right beside you? practically glued to your hip, as he always is? it’s obvious enough to tell; the pair of you are an item. what makes it even worse is that your blatant ‘no’s’ and ‘screw off’s’ don’t even begin to discourage his advances in the slightest.

adrian’s this close to bearing his teeth like a shining dagger. it’d be his silent threat of ripping a throat straight out— but that isn’t of his nature. he conceals it, composes himself well enough for any beer-lapping simpletons not to notice the anger pouring out of him in waves. besides, you’re here, after all, and you’d have his head for inciting unnecessary violence anyway.

it’s happened a good two times now; which is more than enough to make alucard grow red in the face (surely not by the alcohol,) and begin death-glaring any man who ever so thinks to pay you the slightest glance. his quiet promise of pain to them is what buys you a few moments of peace.

“do you wish to leave?” adrian asks expectantly, his lips to your ear as he leans into you, trying his best to sound sweet. you can still make out that strain of distress, the traces of it within his low voice. he tries to play it off as a safety concern, though he knows how well you can handle yourself. it’s simply jealousy, bubbling up and catching in his throat. his pronounced adam’s apple bobs as he dryly swallows, as though trying to gulp the feeling down.

“it’s fine, my love.” you brush it off, bringing your drink to your mouth and taking a generous sip. “we can’t allow a few pigs to ruin our night, now can we?” he lets out a lowly ‘as you wish,’ and settles on keeping his arm looped around your waist for the rest of the night. that’s the most he’ll show of any possessive feelings.

though, you notice; how his grip subconsciously tightens around your waist, bringing you as close as he can get you to be. his fingers, long and lithe, twitch with a cool, silent anger, drumming against the width of your hip as he holds you. it isn’t often that he grows this way, no. it’s just moments such as these that truly cause adrian to lose his fucking wits.

you pressing a kiss to his cheek is always more than enough to soothe him. it’s like you can feel the tension dissipate from his very form. “you’re mine, and i am yours.” you reassure, hand resting at his lap. a little nod is all he gives in reply. though you know, it was just the thing he needed.

[raven-at-the-writing-desk]

In the manga version of Twisted Wonderland, it seems odd that the characters speak in Japanese but can't pronounce Enma Yuuken's name correctly. For instance, when Yuuken first met Ace and Deuce, they had trouble pronouncing his name even though they were speaking Japanese. I also wonder whether English exists in Twisted Wonderland. I am quite sure that English exists, but I don't know for sure. What do you think?

Well, remember: just because the characters’ dialogue is written in Japanese or English for us, the viewers, does not mean that the characters in-universe are communicating in Japanese or English. The language is most likely written this way for ease of understanding outside the meta of the story. Writing dialogue and speaking in a made-up language for accuracy’s sake would mean no audience member can understand what is going on.

How do we know this? Well, Enma-kun’s name is very obviously Japanese but the Twisted Wonderland characters have very non-Japanese names and do not seem familiar with his culture. Yet somehow they know perfect Japanese and speak to him in it without any issues??? But simultaneously Japanese food (Floyd’s favorite food is takoyaki) exists in Twisted Wonderland and no one has issues with knowing what it is or how it is said? And then in the light novel, Yuuya wonders if he is actually speaking Japanese, because even though he appears to be speaking and hearing his native language, he notices that the mouths of those he speaks with do not “match up” with Japanese. That just doesn’t make sense.

The light novel tries to alleviate this discrepancy by telling us that there is a “translation spell” placed over the school, so that is probably the magic that is letting them communicate in spite of a potential language barrier in-universe. However, there are also instances when Yuu travels off campus (which has yet to be officially depicted in the manga or light novel), such as hometown events or even book 6. In these cases, there are still no communication issues noted despite NRC’s translation spell no longer being present. I think this continuity error exists because there’s just a certain level of suspension of disbelief the audience has to have without thinking about the complexities of how novel language in another world works; very few isekai go to the trouble of completely developing a new fantasy language.

I’ve mentioned this before a number of times but I will reiterate here: I’m sure that Twisted Wonderland must have its equivalents to our languages in some capacity . For example, Rook speaks bursts of French and the citizens of the City of Flowers/Fleur City also speak French. The language, however, is never referred to as “French” (since “France” does not exist in Twisted Wonderland); in fact, it is given no name at all. There are many other borrowed words which would imply the existence of TWST language equivalents. Takoyaki exists so there must be a twisted Japanese language. Based on this logic, there must be a twisted English too. The Queendom of Roses is often equated to Britain, so perhaps that’s where “English” is spoken—though it could also be a more common tongue too.

TWST also has its own languages that don’t exist in our world. These are mostly different kinds of fae languages, such as the tinkering bell sounds of pixies or the animalistic snarls and grunts of nocturnal fae. There’s quite a spread here!

[laurents-laces]

It took me 84 years, but here's the notes for Pacat's Instagram live on January 22, 2022! You can find previous summaries here. This time I added a section for things that involve both capri and dark rise because there was a lot of that.

“It’s funny, I tend to write, as I think back on Dark Rise and then before that, Captive Prince, I tend to write these book ones that kind of don't necessarily reveal themselves until the end or cohere until the end or maybe are written for the re-read rather than necessarily for the first read… I kind of have this philosophy that difficult pleasures are the most enjoyable because you have to work to achieve them, and so you know, I like the idea that you get rewarded at the end of Dark Rise for reaching the end.”

Important Updates

There has been some progress on the capri News™, though it was epically delayed by the pandemic. It’s not a fourth book, hardcovers, Laurent’s POV, or a TV series

There were updates about Dark Rise and Fence too but none of it is news anymore because this happened so long ago. The capri fandom is just unlucky like that

Pacat has a new project! It’s very different and is more adult in tone than his previous works. It’s kind of monster-horror-gore, he’s been wanting to do something with a shounen horror vibe like Berserk or Attack on Titan. It’s coming in the distant future, not soon

Captive Prince

Pacat hasn't heard of the capri fandom term Smaurent (small Laurent) but thinks that the idea of him does exist in the books as he was a very different person as a young child. Pacat likes writing characters who explore the idea that one’s past leaves fingerprints on one’s present self and Laurent is the most extreme version of this that she’s written

A fan said that they think of “Damianos V” as being a roman numeral, so that Damen would be the fifth King Damianos. Pacat really liked the idea

Pacat cried for a really long time while writing Nicaise’s death scene. Got a few strange looks as he sat in the Melbourne State Library with tears streaming down his face for a few hours. Nicaise’s death was planned from the beginning, he was always a bittersweet character to write

Laurent is such a private person. Writing more from his POV would risk exploding the mystery of his character and might kill some of the tension in capri

The capri News is like a missive from Rohan- it's on its way and it'll arrive at some point, just when you need it most

A fourth capri book isn’t completely out of the question but there isn’t one planned for now

The Brazilian capri covers are their own thing but they don’t represent the books well. They have a very dark-ages-hard-masc-medieval aesthetic

How tall is Damen? Laurent thinks that he’s a foot taller and that sometimes it feels like more

Orlant: Rough exterior, heart of gold, didn't deserve what happened to him

Pacat pronounces Vere like Veer (veer off course) but that is not the correct pronunciation that Laurent and the Veretians use so feel free to pronounce it how you want

Pacat wasn’t really involved in the art for the Japanese edition but has been a fan of Chinatsu Kurahana for a long time. Usually the author doesn’t get much input for foreign editions. The Japanese publisher was very welcoming and let Pacat have some input, but he was such a fan of the artist that he let her do whatever her vision was. He gave a bit of a description for clothing but didn’t tweak any character concepts once they were drawn because he likes having different versions of the characters in different media. We shouldn’t think of it as an official version of the characters or as Laurent’s canon hair length

Dark Rise

The submission date for the Dark Heir manuscript was June 2022. At the time of this live, Pacat was just past writing the midpoint of the first draft, heading towards the climax. The climax has been planned for a long time

We absolutely get James's POV in Dark Heir. Pacat had just finished writing one of his chapters when this live happened

How would Anharion describe Sarcean in one word? The answer would change depending on whether Anharion was wearing the collar. If he was wearing it he would say whatever Sarcean wanted him to say

James is not named after the gay king james (James I of England)

We will find out about James’s mother at some point, either in book 2 or later

Pacat’s current favourite Dark Rise character to write is a new character from book two

It was important that the stewards were racially diverse. When Pacat was pitching Dark Rise he had little pictures of the characters to show what the aesthetic of the book is, it was art that he found online. Things might have changed since then but this was three or four years ago and it was really hard to find fantasy imagery of non-white characters. If you wanted to find mages or warriors in suits of armor, all the artwork had white characters. So he wanted to include different types of people in the traditional western fantasy aesthetic

Favourite part of Dark Rise #1 is the ending because it was all of the pieces falling into place

Cyprian’s surname is not St. Clair but saying more than that would be a spoiler

Stewards have family in the outside world

Pacat would love to write short stories for Dark Rise like the ones for capri but she’s a slow writer so it would be some time in the future

Dark Rise/Capri

Justice’s appearance wasn’t specifically influenced by danmei, he has long hair because all the Stewards have long hair. The Stewards have long hair because everyone in the Old World had long hair and the Stewards carry on the sacred traditions of the past. This was inspired by the delightful long-haired-Laurent contingent in the capri fandom because they were so underserved by Captive Prince. No one in capri other than Ancel has really long, butt-length hair so Pacat wanted to change that in a new series

Where do you get inspiration for jewelry like Nicaise’s earring or James’s collar? Pacat has been thinking lately about the importance of creating a strong visual aesthetic for a character. The earring was created as a plot device. It’s long because it had to be very gaudy and noticeable because Laurent would use it as a disguise later, and it has blue sapphires because blue is Laurent’s colour. It's one single earring instead of a pair because it felt more poignant as a memento. The earring was more about purpose than aesthetics, but Pacat paid more attention to aesthetics in Dark Rise. When working on Fence, Johanna is so good at creating characters with an iconic visual look, and Pacat was thinking about that when he created James. He started with the idea of red because it's the colour of blood. The collar started off as a necklace that was a drop of blood, but it was changed to be more interesting and to have more of an impact. Pacat often thinks about the scene from the Hunger Games when Katniss is about to prove herself to the sponsors and they're not paying attention to her so she shoots the apple in the boar's mouth. A lesser author would’ve had her nail the bullseye but Suzanne Collins souped it up one more level, to come up with something slightly cooler or more imaginative. So Pacat goes through his finished drafts and thinks, is there anything I can turn up to 11? And the necklace wasn't at 11. So he thought about making it a choker, then a collar. A choker with rubies looks like a slit throat and that’s a very cool image, so that’s what it was changed to

Pacat is an only child so Tom and Auguste as older brothers aren’t based on personal experiences, but the idea of siblings has a strong importance to her. Dark Rise is dedicated to her half-sister Mandy who committed suicide when she was 15, which was the year Pacat was born

Fence Comic

The process of creating Fence: First Pacat writes the script, then it gets sent to the illustrator Johanna. It goes through a few rounds of notes where the two of them talk about the kinds of things they want to see happen, what would be cute or great in the upcoming storyline, and then Johanna does sketches. Then art edits happen, but usually the art is so incredible that it doesn’t need many edits so the only usual change is to make sure that Nicholas is left handed when he’s fencing. Then Boom (the publisher) looks over it before it goes to inks, then to the colourist Joana Lafuente, then to Jim Campbell for lettering. Jim places the speech bubbles and fits the script onto the page. Where the bubbles are placed and which words are emphasized makes a big impact on the flow of the script. Then everything gets sent back to Pacat for proofreading and editing of the lettering and then it’s done

Pacat worked very closely with Sarah Rees Brennan on the fence novels. They talked a lot about how events would play out, biographical details of the characters, made canon compliance edits, saw the books at every level and loved them. It’s impressive how Sarah can turn on a dime between two sets of opposing feelings when transitioning between emotions. Her books have a lot of wit and charm but also a lot of hard-hitting emotion

There was information about Rise and a preview but I'll skip over that part because it's already out now

Personal

When creating characters, Pacat often thinks of them in terms of dynamics they’ll have with other characters, or what they want to achieve, or what kind of archetype they resonate with, or how to build a backstory that gives them layers. Characters are interesting when they have more than one motivation, when they look one way on the surface but then different aspects of them from the past are revealed

Pacat was an Earth sciences major

Pacat chooses all the fanart friday posts himself and then his assistant Hannah sends a request to the artist

Least favourite book trope: band of misfits who save the world through a hail mary pass. Pacat likes a highly confident crew, not a small rabble of people who fluke their way into saving the world. It's not a bad trope, he doesn't know why he doesn't like it. He doesn't like Firefly because of this trope

He often reads fanfic on ao3 for more of a story than was in the original or more of a dynamic that was underserved in the original. But authors can’t read fic of their own works for copyright reasons

Owns multiple copies of the Lymond Chronicles. Book four is her favourite because the ending is so intense and devastating. Pacat often thinks of that ending when deciding what to do with her own works because most authors would’ve chickened out of writing an ending like that. She read book one for the first time in a restaurant at 9:00am and stayed there until she finished the book. She probably looked like a mess because of all the laughing and crying, and at one point one of the waiters came over to bring her a handkerchief and said “are you okay?” and Pacat said “I’m just at a really intense part right now"

Pacat does brainstorming sessions with friends to come up with ideas for books and looks at art books for inspiration

He’s reading the BL manga Twittering Birds Never Fly

Danmei dramas/web novels are really long so he isn’t familiar with most of them, but he ordered MDZS and he’s looking forward to reading it because he’s heard a lot of good things about it

Pacat doesn’t usually like love triangles, whenever he ships something in a love triangle he ends up choosing the unlucky guy. He liked Gale more than Peeta and liked Edgar more than Heathcliffe

[frostfire-17]

What is cuneiform?

@ipsomaniac asked if I could explain the cuneiform system, and so I am going to give it a shot. Here goes! (Update: it got long! But there's pictures!)

Part I: What does it look like? How do we work with it?

This is the cuneiform script:

This is a first-millennium BC text of Sargon II, in Akkadian (specifically Neo-Assyrian). My user icon is a much older Sumerian text. In a second we'll see some Hittite. Just like the Latin script is used for English, French, Turkish, and many other languages today, the cuneiform script was used for lots of languages in the ancient world. It changed a bit over three thousand years of constant use, but it remains pretty recognizable because of the wedges. "Cuneiform" is just Latin for "wedge-shaped," because scholars love giving things banal names and then translating them into Latin or Greek so no one can tell.

This is a Hittite tablet:

This particular tablet is part of the royal funerary ritual (which has many many MANY tablets, many of which are way more broken than this one, and/or missing entirely). It's been pieced together from lots of fragments, all excavated separately. (You can see their excavation numbers written on the fragments, e.g. 39/c.) It's written on clay, like most of their texts were. This is a pretty good amount of preservation for a tablet this size - many are more fragmentary. I wish the picture were better, but tablets are not catalogued by how good the pictures are and it would have taken a million years to find a really hi-res one suitable for our purposes.

You can see that each symbol is made up of a bunch of wedges. These were pressed into the clay with a stylus while it was still wet. If you look closely, you can also spot spaces between words (more obvious at the end of a paragraph).

Here's a little slice of our tablet:

And here's a drawing of that same little slice. This is how scholars usually interact with texts on a day-to-day basis, because taking readable photos of tablets is difficult and going to see the tablets is more difficult. Drawings are made by experts in the presence of the tablets and published so that everyone can look at them.

Here the scholar who did this drawing (published in Keilschrifturkunden aus Boghazköi vol. 39, text no. 4) was working with only some of the fragments, and so has written in the transliteration of the left half, which they weren't copying. So you can see how each cuneiform sign corresponds to a written syllable, sometimes in lowercase, sometimes in all caps, and sometimes in superscript.

What does all this mean? How does it work? Okay. Cuneiform is a really difficult and frustrating writing system to read, for a few reasons. 1) It grew organically from a time before writing existed, so people were just kind of slowly figuring out how to use pictures to represent words; 2) it lasted for thousands of years, so there were all sorts of innovations tacked on without necessarily jettisoning any of the old stuff; and 3) it was borrowed through quite a few languages, almost none of which were related to one another, so it had to twist around and adapt to totally different sounds and word structures. So it's weird! And hard to learn, especially for us, because we are not native speakers of any of the languages that used it, and also we're not a single person existing in a snapshot of time, where cuneiform had a specific form and iteration - we're looking at its whole span of three thousand years.

THAT SAID. I can explain some stuff about it and how it worked! Here goes!

Part 2: How does it work as a writing system?

We start with a picture. Let's use a star. Like this: 𒀭

Or this:

(this is a student text copying the star sign over and over - ignore the leftmost column. I got it from this excellent thread here)

This is the cuneiform sign for the sky, or for a god. In Sumerian, the language that first used cuneiform, the word for "sky" is AN. The word for "god" is DINGIR. So this sign could be pronounced either AN, and mean sky, or DINGIR, and mean god. This sort of usage is called "logographic" - a sign equals a word. It started as just a picture of a star, and came to mean a couple of things associated with the stars.

Eventually, there reaches a point where it doesn't just only mean the word "sky," it also means the syllable "an." That is, you could use it to represent a part of a word, or a grammatical element, that was pronounced "an." (E.g., ma-ah-ha-an: mahhan, which is a Hittite word that means "when," and which is written with four signs, including our an.) This is called the rebus principle: like a rebus puzzle, a picture of an eye can also mean "I" because they sound the same. This usage supplements the logograms rather than replacing them: you could still use "an" to mean "sky." You know which usage is in play based on context. (Or at this stage, maybe you don't. Sumerian is real hard and we don't understand it perfectly.)

You can also use signs a third way, which is designed to make reading easier: as what's called a "determinative." A determinative tells you what type of thing a word is. So if you use the star symbol as a determinative, it comes before a word and indicates that upcoming is a god's name. It's not pronounced when it's used like that. Other determinatives include: male and female markers, plural markers, markers to indicate what something is made of, what kind of animal it is, etc.

So any sign you see could potentially be a word (logogram), a sound (syllable), or a soundless classifier (determinative). In practice, only some signs take on all three of these functions.

When we transcribe signs now, we write them in Latin script based on which function they're serving. That's why, in the above Hittite texts, some of the signs were written in all-caps (for logograms), some of them in lowercase (for syllables), and some of them in superscript (for determinatives).

So then Akkadian borrows the system. They like to spell words out a lot more than the Sumerians do, so more and more signs are used primarily for their syllables, rather than their meaning. The signs also take on more syllabic meanings, because Akkadian has different words behind the logograms, and also has different sounds than Sumerian. A lot of signs end up doing double, triple or even-more-ple duty (e.g. the sign for "ag" can also be read "ak" or "aq" in an Akkadian text). Once again, you know how to read a sign from context, and in Akkadian you usually actually do know, because Akkadian is a Semitic language rather than an isolate like Sumerian, so we understand it way, way better.

Akkadian keeps using the symbols as logograms, though, too. Sometimes they'll spell out a word, but sometimes they'll just use the logographic symbol for it - like how sometimes we write out "two," and sometimes just write "2". Sometimes there are full Sumerian words or combinations of words that have become logograms: that is, they're not loanwords. They're not pronounced in Sumerian. They're written as a symbol (like 2), and the Akkadian word would be pronounced underneath (like "two.") The Akkadians also keep using determinatives.

At this point, most signs at least have a logographic value and a few syllabic values. Also (to make it extra difficult) plenty of syllables have a couple of different signs that could be used to represent them. In total there's a bit over a thousand cuneiform signs, incidentally, but usually only a few hundred were in use at any given time and place.

Then Hittite borrows it! They actually overall reduce the number of signs used, and the number of signs doing double duty, so it's generally simpler to read. Hittite's sound system is totally different from Akkadian's, though - which is totally different from Sumerian's - so they do some weird stuff with which signs represent which sounds. (The result of this is that our understanding of Hittite phonetics is somewhat imperfect.) They do use a ton of logograms whenever they're talking about physical objects, especially ritual offerings. Ritual texts are A PAIN IN THE ASS to read because they're full up with obscure logograms, and so you pore over a signlist trying to work out what the bonkers twelve-wedge sign you've never seen before is, and then when you finally find it you're like, "oh ANOTHER kind of bread. cool cool."

Part 3: Let's Read Hittite! (This is probably excessive.)

So finally, let's read some together! This is two lines from the Ten-Year Annals of Mursili II, an account of the first ten years of that king's reign. It's mostly conquering, but this bit is calmer.

(ANNOYINGLY, Tumblr will not do superscript, or I cannot make it anyway, so I will put determinatives in parentheses.)

nam-ma (URU)Ha-at-tu-ši ú-wa-nu-un nu (URU)Ha-at-tu-ši

gi-im-ma-an-da-ri-nu-un nu-za EZEN4.HI.A ŠA MU.6.KAM i-ya-nu-un

That's the text rendered sign-by-sign. Everything that is separated by a dash, a period, a space, or a parenthesis is a separate sign. Words are separated with spaces. Here's a more normalized rendition of the words (still with the logograms, though).

namma (URU)Hattusi uwanun nu (URU)Hattusi gimmandarinun nu=za EZEN4.HI.A ŠA MU.6.KAM iyanun

"Then I went to Hattusa, and I spent the winter in Hattusa and performed the festivals of the sixth year."

The ú in uwanun in the first line is written with an accent because there are several signs that can mean "u" and this is the second one. Similar for EZEN4: there's more than one sign for EZEN, and this is the fourth. Scholars always write logograms and determinatives in Sumerian, because that's where the meanings were fixed. URU, used before Hattusa, is both the determinative for "city" and the Sumerian word meaning the same. ŠA in the last line is italicized and capitalized because it's a logogram that comes from Akkadian: "ša" means "of" in Akkadian, and the Hittites used Akkadian words as logograms just like the Akkadians used Sumerian words.

Anyway, that's how cuneiform works! If you made it this far you're a hero! <3

[visorforavisor]

as an Irish (we don’t call it “Gaelic”, ever) speaker and a Sunny fan, I thought it would be fun to do a bit of a post about the Irish-language scene in The Gang’s Still in Ireland, because it’s not a scene I see widely discussed but I adore it.

some background. I am not a native Gaeilgeoir (Irish speaker) — my first language is English — but I started learning it age five and have always had very high grades in it and a huge love for it. I was hugely excited about Charlie Kelly being able to read Irish in the previous episode, and even more so when he turned out to be able to speak it.

Colm Meaney, the actor who plays Shelley Kelly, grew up in Ireland and as such would have learned Irish throughout his time in school. (this has been required by law more or less since Irish independence, and it was already quite common before that. nowadays, you can get exemptions for things like dyslexia but otherwise you have to do it.) this is clear in his ease with the language. (I will do a post about where in Ireland Shelley lives at some point, because there aren’t many areas where Irish is the principal language, but that is for another day!) both the actor and the character have easy and good Irish.

Charlie Day, as an Italian-American, obviously does not actually speak the language and presumably learned the lines as a bunch of gibberish sounds. (nonetheless, some of his pronunciations do suggest he had the words written down non-phonetically too.) his delivery of the lines is god damn amazing. Charlie Kelly’s Irish is not remotely American-accented. if I heard someone speaking Irish like that, I’d assume they sounded Irish when speaking English. he doesn’t even sound neutral in Irish; he does actively have an accent (the word choices are more non-regional, not pointing to any of the three distinct dialects, but this makes sense as the same is true of Shelley’s Irish). his pronunciation is so on point and his accent is seriously just a delight to listen to. that’s serious effort to have been put in by an American in a show that routinely makes fun of Irish-Americans! I cannot stress enough how cool it is to see my national language like this and how good a job he does.

as a side note, Charlie Kelly finding Irish much easier to read than English makes total sense! he clearly has dyslexia, as well as intellectual disabilities and autism, so literacy being tricky is totally fair, but is probably being made worse in English by how much of a god damn ridiculous illogical irregular mess the language is. English has around two hundred irregular verbs, and that’s before we even begin to consider the irregularity of its spelling. Irish has eleven irregular verbs, multiple of which are only irregular in one tense. its spelling is entirely consistent and, once the rules are known, any word (pretty much) can be flawlessly pronounced from reading it or flawlessly spelled from hearing it. (I promise Irish names make sense. just not if you try to use English rules on them. the languages are very different!) Irish is one of the most regular languages out there.

so, I thought I’d go through the actual scene. I’m going to put each line, the direct translation, the subtitle provided, and a comment. hopefully this will be interesting to someone other than me!

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“is mise do pheannchara, a Charlie.” (Shelley)

direct translation: “I’m your pen pal, Charlie.”

subtitle provided: “I’m your pen pal, Charlie.”

okay, so they translate “pen pal” two different ways in this scene. the first, used here, is “peannchara”. this is a compound word, much like all those long words you get in German. it’s a perfectly good choice given there is no one standard choice for translating that concept.

“tá brón orm, ach ní thuigim cad atá ráite agat. is féidir liom gibberish a léamh, ach ní féidir liom í a labhairt.” (Charlie)

direct translation: “I’m sorry, but I don’t understand what you’ve said. I’m able to read gibberish, but I’m not able to speak it.”

subtitle provided: “I’m sorry. I don’t understand what you just said. I read gibberish, but I don’t speak it.”

I would slightly disagree with the subtitles here. the “just” bit isn’t expressed at all. in fact, there is no Irish equivalent to that word, and we often just use the English one in the middle of an Irish sentence because of this. however, I expect that RCG (Rob McElhenney, Charlie Day, Glenn Howerton) wrote the subtitles and then handed them to an Irish translator, in which case the translator did a perfectly good job. a couple of notes about the use of “gibberish” here. I love it. firstly, we totally do drop English words into sentences like that. secondly, I really like the choice to use the feminine form of “it” here (that is, to make “gibberish” a feminine noun). all languages except English are feminine nouns in Irish as a rule, so it’s just a lovely detail calling back to the fact that Charlie thinks of it as the gibberish language. also, Charlie Day really does absolutely nail that voiceless velar fricative (the consonant sound in “ach”, as in Scottish “loch” or any number of German words), a sound even many natively English-speaking Irish people are lazy about. good on him.

“níl aon ciall le sin. sé á labhairt anois!” (Shelley)

direct translation: “there’s no sense to that. it’s being spoken now!”

subtitle provided: “that doesn’t make any sense. you’re speaking it now!”

I adore the phrasing of the first sentence here. thoroughly authentic. there are much more obvious ways to phrase it, but this is absolutely what a native speaker might go with. same goes for the second, actually. Colm Meaney says the second line in a sort of shortened way (same idea as how we might turn “do not” into “don’t”) so I’ve struggled slightly with how to directly translate it. interestingly, Shelley categorises “gibberish” as a masculine noun here, but this isn’t really wrong since it doesn’t have an official grammatical gender due to not being an actual Irish word. just a little odd. also, to fit better to the subtitle of the second sentence, I personally would’ve gone with “tá sé á labhairt agat anois” rather than “tá sé á labhairt anois” (the full version of what Shelley says), as this includes the information of by whom it is being spoken.

“’s é mo dheartháir mo chara pinn.” (Charlie)

direct translation: “it’s my brother that’s my pen pal.”

subtitle provided: “but my pen pal is my brother.”

firstly, to be clear, the nuance of the sentence structure here is not captured in either of the above translations because there simply is not an English equivalent to it. secondly, Charlie uses a contraction here by shortening “is é mo dheartháir mo chara pinn”. super cool. also, there’s that other translation of “pen pal”! this one is “cara pinn”, which uses the Irish genitive case (the word mutates instead of using an equivalent of the English word “of”; this case also exists in other languages including Swedish, German, Latin, and Greek). I like this translation very much too. both work! Charlie Day again delivers this line really nicely, even stressing the word for “brother” (and pronouncing its initial consonant mutation absolutely gorgeously)! I am truly very impressed.

“níl aon fhírinne le sin, a mhic. ’s é do chara pinn… d’athair.” (Shelley)

direct translation: “there’s no truth to that, son. it’s your pen pal who is… your father.”

subtitle given: “no son. your pen pal is your… father.”

so, I really disagree with the first sentence of the subtitles here. it works, but also misses a lot of the beautiful nuance that could have been got. I would have gone with “that’s not true, son” or, more likely, “that’s not right, son”. I also disagree with the placement of the ellipsis in the second sentence, as you see (and my frustrations in translating this sentence structure to English continue, as well). however I like the use of “a mhic” (“son”) here, very much. this is a mutated form of “mac”, meaning “son” (yes, as in all of those Irish surnames; they all just basically say who the person is the son of). it carries both meanings that exist in English: an actual son, but also the use of the word as an affectionate way to refer to any man younger than the (usually male) speaker. this is a really nice choice.

·—·

so, yeah! those are my thoughts. feel free to ask any questions you like. I love this scene so much. as well as the reasons above about how good the translation and delivery is, I also love two other main things about this.

firstly, the level of dignity given to the language. Sunny makes fun of Irish-Americans all the time, but doesn’t really do the same to Irish people from Ireland, which I like (I do also wanna talk about Mac and Charlie as members of the Irish diaspora because it is so so interesting, but that is for another day). Irish as a language is not often given dignity, especially in American or English media, so I really love that it isn’t the butt of the joke here.

secondly, that such a significant scene is delivered through this language. just wonderful. after fourteen and a half series, we finally discover the biological father, and the scene cannot be separated from this beautiful language. it just is so perfect.

RCG, and of course Charlie Day in particular, we Gaeilgeoirí (Irish speakers) thank you! our little language made it to the screens of so many people around the world.

I hope this was interesting haha.

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edits: fixed some things I mistyped.