#what a Narrative can change; what it can't....

[velvet-vexations]

The thing about comparing Kipperlilly's grudge to hating DEI and affirmative action is that those things are exactly what she's advocating for. The Bad Kids are not receiving accommodation for anything - and in fact Aguefort seems like the type to despise things like accommodations and would tell disabled people to pick themselves up by their bootstraps, but I digress -rather, they have direct connections to massive save-the-world plots three years in a row now that puts them way ahead of everyone else. Though they put in hard work, that doesn't change the fact that no one else working as hard as they can will ever equal being told to go stop a god from coming back and coincidentally your dad (a) worked directly with that dead god's primary agent in the past and (b) is now a super cool angel secret agent who will directly assist you in the task. Oh, and also, your teammate's parents are the dead god's primary mortal agents. And also they kidnapped your other teammate's dad because he's a powerful demon lord so now she's involved too. And you all happen to end up on Leviathan, where Fabian is an instant celebrity who immediately gets a cult worshiping the planks he walks on because they all work for his rich undead infernal dad.

The issue is that people keep mapping it to the real world and seeing "tragic backstory" like it would be IRL, which is a mistake. It's not a disability. They don't go to normal school to become accountants or NASA engineers, they are there to be doing exactly that shit that their backstories rope them into. Like, this isn't Buffy, they aren't saving the world incidentally, this is school for saving the world to pursue a career in saving the world. Spyre functions so differently from IRL that everyone is dramatically failing to comprehend the actual situation everyone is in.

And the thing about hating affirmative action is that it presumes someone only got into whatever not because they have skill, but because of their race or something like that. That's manifestly different from what's going on here. Kipperlilly has no doubt the Bad Kids are incredibly powerful and skilled - but their backstories gave them opportunities to use that power and skill that no one else will ever have regardless of effort or even luck. The Bad Kids can't go five seconds without tripping over the revelation that the BBEG for the year is one of their second cousins. That just doesn't happen to other people, period. The world revolves around the BK's in ways it will never revolve around anyone else so the Bad Kids will always get the massive adventures to save the world and be the top of their class because they're personally connected to the narrative.

Remember, Brennan has confirmed that other AA students do not do shit like that. They do exactly the sort of missions you'd expect them to - go in dungeon, fight monsters, come back. It's not "uh, the Rat Grinders should have just gone out and saved the world too", that's not how it works. AA students are not usually expected to, their rat grinding is just a more tedious and efficient version of what they would be doing otherwise. The BK's don't get involved with these plots simply because they're the most heroic heroes ever who seek wrongs to right, they do it because every single time everyone but Gorgug (who is for the most part absent major narrative stakes) was born someone that would get those in's, feats reproducible by no one else.

"Ah, but the Seven-"

The Seven prove the tragedy of it. Because Kipperlilly is right, but she's also wrong. The brilliance of BLeeM this season is that he's crafted a narrative inseparable from the meta of how the game works. In a very real way this is like the Dungeons & Dragons versions of Tron. The fact that it's a series of fictional TTRPG sessions is essential to the universe and it's story, in a Twin Peaks-ian way.

Because, see, it's not actually, technically magical trauma that gives out those narrative advantages. Magical trauma is just the most obviously visible side-effect. What the issue actually is is that, as everyone has noted over and over again, the Rat Grinders are NPCs, and it is therefore impossible for the world to ever bend itself around them the way it does for the PCs. Except, most are just saying that as a funny haha joke.

No, like, literally, that's the issue. They will always be in the shadow of the handful of people that the people constructing their world, their timeline, their very existence, has decided matter. They are doomed by narrative causality to be "boring". And I'm going to take a moment to say here, isn't it crazy no one is talking about this when we just got done with Neverafter which was all about this exact thing????? Like, literally the BBEG was the Authors. That is the situation here, more or less.

Anyway, there will never be a demon attacking that due to a curse is only vulnerable to hot licks from Ruben's guitar passed down from the first gnomish rocker. Mary Ann will never be the prophesized liberator of kobolds enslaved in dragon dens. Ivy will never find out her father was secretly a super-soldier for the Council of Chosen who before he was assassinated left her notes detailing a sinister plot within the government of Solace.

People keep having a hard time with this because it intuitively doesn't feel right to ever classify something like losing a father in any context to have some kind of bright side. But if you take nothing else away from this post, let it be this: Adventuring as it's done in Spyre is not something done in the real world. Adventuring is something everyone chose to go to AA to learn and put into practice as their long-term career. And in that, absolutely these things give the PCs a completely one hundred percent insurmountable leg-up on the thing they're all in competition for.

And it being completely insurmountable in that way further goes to show the difference between hating that situation and hating affirmative action. Even AA is not a guarantee that a specific member of the majority will lose out on something and a specific member of the minority will get it instead. As soon as the character sheets were rolled everyone else at Aguefort may as well have just gone home and started studying to be accountants because the main characters had been chosen. Or they could keep going and hope they get a spin-off, I guess.

But Kipperlilly does keep trying, for she doesn't really comprehend the true eldritch horror beyond her existence shackled to the bits of a bunch of comedians, and her solution is to adjust for those unfair advantages.

Which is affirmative action.

How is that not obvious.

[sleepygaymerdisease]

Does anyone else think about how Shinji said this twice...

The first time was somewhat innocent, because he didnt believe in the idea of fate. He refused the idea outright because it was just too bleak. He wanted to think that there was a way for everyone to live, so why believe in something like destiny or predetermination?

And yet... He likely said this out loud to comfort Tezuka, to motivate him, to keep him from giving into despair. Shinji does not believe in fate, but the person he is dragging out of the battle field does, and he wants Tezuka to borrow his own feelings of determination and passion for just a moment, so they can both live to see the next day.

But what Shinji doesnt understand is that Tezuka did this sacrifice precisely because of Shinji's passion. Shinji has nothing to offer to this man because Tezuka has already made the choice to purposely refuse the benefits of Shinji's savior complex. He make his choice the moment that he walked out the door of Atori, and purposely distanced himself so Shinji wouldn't try to die for someone else. Tezuka explains that he changed fate for Shinji to live. Tezuka explains that he took this man's place so that Shinji can fight in this war, so that Shinji can find an end to the violence. Tezuka wants him to continue where he would fail, where he would have blamed himself for the death of another friend and never gotten back up.

Shinji wishes there was another option, that he could have somehow seen this coming and stopped Tezuka and figured out a way to live too... But what can he really do? Tezuka's last words left such an impact on him, and while Shinji originally didn't believe in fate, he could not help but lean into the idea after Tezuka's death. He tends to weigh other people's ideas more than his own in his head, so when Tezuka dies because he followed his principles to the end like this... He just can't deny it as much as before. Denying that fate exists would be spitting on the face of his friend's choice, right?

So the idea sits with him. The idea that fate was already changed... He's not sure if he can believe it, but he can't not believe it, either. There had to have been another way that things have gone, right? That's what he wants to think, but he cannot deny the weight of Tezuka's ultimate choice. He has to learn to accept this, somehow, but it's hard for him, it's hard to remember which thoughts are his own and which thoughts are borrowed from his memories of Tezuka. Shinji slowly becomes burdened by the idea of fate. Believing in Tezuka's last hope is the only way for him to continue, it's the only way for him to cope.

And that's when the narrative throws a fucking curveball. This character, wrattled with grief, finally trying to move on from that horrible moment of senseless violence, is forcibly dragged backwards. Six months. Six entire months happening all over again right before his eyes. Shinji gets an impossible second chance to fix what never should have happened. He knows who is going to die and he has the time to prevent it. He can change it.

But he discovers that he cannot change himself. He watches everything in horror as it happens all over again because he cannot break out of his own skin. He can't change his habits, he can't think different thoughts or change his actions, he can't seem to remember the details of that future that has not happened yet. His future self, and his future grief, is buried deep inside of him. He tries to claw his way out in any way he can, but he is trapped in the prison that is himself. He can only catch the smallest glimpses of clarity through the bars of his cell, and by then it is often too late.

When Shinji finally gets back here, to this moment, he must have repeated these words. He cannot change his thoughts, after all. So he says it and it means the same thing as before; he wants to comfort Tezuka and lend him his own determination and will to live. But there is now an additional meaning to it, isn't there? There is now a layer of despair. A part of Shinji is so, so desperate for things to change. A part of him knows that Tezuka diverted fate for his sake, and isn't that diversion a part of fate now too? Can't we change that too? Do not die when fate tells you to die. Don't do this, don't leave me again.

[muffinrecord]

I've been pretty positive about Yuu so far, but watching her magical girl story... hmm.

Basically I like everything about Yuu, but man that serial killer bit is the only thing that really sticks out as an overt bad choice. Having Nagisa stand around and watch Yuu kill people is such a weird choice, it feels more like fanfic than actual canon. Like this doesn't feel like something that could happen in Magia Record-- or hell, even in Madoka Magica either.

For example, Sayaka has a scene on a train where some dudes are being sexist assholes and it's left up to the viewer to decide if she kills them or not. It doesn't go: Sayaka killed them and also they were calling out for help the entire time while Madoka watched you know?

That said, this is something I can see in a bunch of the spinoffs (Kazumi, Oriko, Suzune), but I think everyone agrees that the spinoffs are of dubious quality. I love me the spinoffs but they're a hot mess.

I dunno. It's one thing to know that Yuu is a serial killer, it's another thing to have a character watch her go around and kill people and not intervene in any way. Especially in a story that goes out of its way to not do that. Walpy hitting Kamihama is noted to have no causalities at all (which goes a little too far in the other direction imo but it is what it is), Suzune isn't able to kill anyone in Kamihama and is dealt with by kicking her out (and not killing her), the deaths in arc 2 are mostly accidental and have massive consequences, everyone is forgiven in the end-- this isn't a story that really has "watch someone kill people and do nothing" in it's cards, you know?

I actually liked Nagisa's Wish for a lot of things. For example, I like that Nagisa didn't think she could be a magical girl until she saw Yuu, because she assumed that magical girls had to be good people-- aka, Nagisa did not think she was good. But that's not because Nagisa is a bad person. Nagisa is just unloved, and since she's a young kid, she's internalized that to mean that something is wrong with her, not that something is wrong with her mom. It's heartbreaking to see her go from "I can't be a magical girl," to seeing Yuu the murderer, to then going "oh okay if she can be a magical girl then so can I." Like sweet pea, your mother not loving you is not the same as being a killer. You've done nothing wrong. You are not a bad person for having Feelings and Emotions about the neglect you are experiencing.

However the serial killer/organ seller bit just goes too far for me and it kind of overshadows a lot of the better ideas present in Nagisa's Wish. Like how can you focus on the interesting ideas about justice or self worth when there is a serial killer/organ stealer walking around.

I think that the best qualities of Yuu are her design and how creepy she is-- having her actually go all the way and be a serial killer/organ seller actually makes her less creepy in my opinion. Yada yada, less is more, leave it up to the viewer's imagination. If she was just off, if we just knew that something was wrong with her and that people are disappearing but it's not outright stated what she's doing... I dunno. That would make her a lot more scary to me. A lot of fear can be found in apprehension and outright telling all the details will fill in too many gaps.

Like, the things that we all like about Yuu would be her voice direction, her memory issues, the way her Live2D is designed to be slightly off kilter from everyone else, the gap between her attitude and the darkness she engages in, the weird weaponry she uses and how it changes the way she walks/moves-- all of this is effective because it is offputting and different, not because the narrative is telling us "hey she kills people and sells their organs."

Basically I really love Yuu, but I do have some criticisms for her character and I understand why some folks don't like her.

That said, it did lead to this fantastic line from Kyubey so like,

You take some, you lose some.

[unproduciblesmackdown]

also to go "wow this is just like in pentiment" about absolutely anything and/or "wow this is just like iphigenia crash land falls on the neon shell that was once her heart (a rave fable)" about absolutely anything further:

the Narratives within crash land falls where like, in the end iphigenia being Given the story of both "this is going to happen anyways" and "so why don't you see it as a noble sacrifice to accept." the situation happening to Create a story that she was killed, so her father must be tragic, and sympathetic. that iphigenia does take on that Narrative of taking on the Noble Willing Sacrifice, and it kills her, but she also would have been killed anyways, as everyone also knows. that we even get a bit of pentimentesque [other characters observe & assess things] like, the fresa girls as a chorus, and one at the end like yeah She Was No Saint, i saw everything, but being cut off by The News that's like yeah looks like iphigenia was killed, that seguing into her father saying yeah she was killed, god's will was done, She's A Saint now. seguing to the emcee who introduced the play, but that superceded by achilles, and that superceded with iphigenia's extasis monologue as the end of the play. that whether iphigenia's a saint or not, she dies. that [the whole play] tells us as much, like, this isn't a What If kind of retelling where she escapes her fate, this is a retelling examining itself like, she Will die because the story's preset, so what to do with this as the story that has to take her there, what to do with this as iphigenia who has to go there

that iphigenia takes on another narrative in addition to the one offered by like, violeta as guide and oracle telling her she has to die (As A Noble Sacrifice), that again (as per iphigenia in aulis being like uh hey daughter. let's go to aulis so you can uh marry achilles (it is to be sacrificed)) achilles is this bait, but it's only in the ending that there's any Story about being with achilles, and when iphigenia goes to the mercenary soldier who she knows will kill her, she's the one telling him what to tell her about where she's going and why, i want you to tell me achilles is waiting for me....and she still dies, because This Is The Story. as also applied to the reality, iphigenia as another dead and missing girl following & preceding many; any disappeared deaths when consumed as disposable & replaceable, not given part of any narrative about it. while also iphigenia only gets a chorus of fresa girls from there being crosses put on the factory wall with their names, with one girl even remarking like hey they spelled my name right for once. but at the same time they're also like, both mere Apparitions but also like standins for people who are simply alive. real [shades]esque kind of, i suppose, but like they're not Sanctified for dying either, they'll comment on iphigenia but not with any like, divine knowledge, just as this out of place rich girl. whether iphigenia's A Saint or Not A Saint, she's still dead either way. she wants to be a fresa girl, they maybe want to be her, but everyone's doomed anyways thanks to way larger forces and the Stories that have been told and will be told again

but there's also the moment right before the final section wherein, before she's having to say what she wants within the bounds of [she has to die], there's achilles asking "you still want me" and iphigenia answering with "i want everything" and her vision for, like, getting to be alive actually, i'm on the gulf where the sea is gray, and no one wants a piece of me....the whole inciting event here where iphigenia wants to evade her fate however she can, exiting the bounds of her life, the physical bounds and the family unit and walking away from the rank of status / class / wealth, trying for [have her body for herself] and what the body wants, the sensuous indulgences of (a rave fable), let's hear some more about the roman state like "we don't like the examination and challenge and upending of class and convention in a bacchanalia, so only do the official versions we permit;" the Threat of people's desires for themselves, when that's going to be counter to those in power who'd want these people to be resources at their disposal; the burden on the disempowered to suffer [the only way out is through] with the Additional pain & loss that has to be taken on in pursuit of their autonomy, while also of course suffering for the autonomy they lack, that restricted and controlled and mitigated versions of what you might want are deigned to be provided or permitted so that you have Something, but that everyone's actual undeniable personhood will always be spilling past those bounds, the potential power of transgressive pleasure when one's wellbeing and autonomous choices are counter to the power structures that have to constantly try to suppress and preclude this. achilles just as bait, doomed to die like iphigenia is also still doomed, sex was never going to save everyone and the [recognizing connection as these two parallel people / We're The Same] with your lover here is not going to save everyone but it still makes more things possible for them both; iphigenia does know what she wants, and gets some of it because she wants it, same with achilles in turn, while it can't save anyone from their fates still. but it can mean something even if it doesn't transcend, like even a fleeting night of insignificant dancing that doesn't change anything can mean something, and we all die, but that doesn't mean it's Nothing to be killed any more than it's Nothing to have your desires or choices one way or another to be wrung out of your life before you are

anyways, the stories. the Looking and Presenting here. achilles and iphigenia first encountering each other as images put together and presented by someone else for their own purposes. the presence of what's seen through film/camera/recording versus in person; the potential power relations and even violence in framing, presenting, and the intended looking and assessing. repeated language about eyes/looks that burn, while also that connection between iphigenia and achilles, and their finding the least room in what they do have of their lives for more of their own wants and selves and something genuine and not predetermined, is also connected to eyes and looking and being seen and light and burning. while they're also connected to the protection and possibility of night and darkness, getting to exist and be Without being lit up or seen; that with the power that's still in play, it's never like, well then you should have nothing / no reason to hide; the penultimate moment in the play with achilles being one that's in person and fades into darkness, rather than coming in from the light of a projection / video onscreen as the introduction....iphigenia needing to be guided through a crossroads to even get to achilles in person; violeta giving the Advice and Story and Tradition to pray to eleggua, as iphigenia does before getting to encounter achilles for real, who also doesn't get to break out of a role or a fate in full in any way, but their tragedies are like, pointing towards [autonomy, imagine it] in both the ways they manage to find a little bit of it for themselves, in no small part for simply recognizing each other as in the same boat here, and in the ways they still don't have it and still can't get it

and anyways it's also inevitably saying like, telling a story?? this Play is a told story!! looking? assessing? interpreting? you're doing that in the course of experiencing it! and it's really so fucking true.

[lgbtlunaverse]

I've talked before about how I think Jgy's specific attitude to defending his actions comes less from a genuine conviction that he's in the right or holds no responsibility and more from a knowledge that any punishment he'd be given would be more because of who his mother was than anything he actually did, and a person with more power of a "cleaner" background wouldn't be punished the same way. Why accept "consequences" for his actions when that's just a smokescreen for what people really want to punish him for. Daring to stand before them instead of knowing his place.

And if I do envision a socratic dialogue with an imaginary nie mingjue in my head, a counterpoint might be that, well yeah at first, sure. But there's a point where punishment doesn't get worse than, y'know, death. And surely at some point in canon jgy passes the threshold where, even if he wasn't the son of a sex worker, he would... "deserve to die" isn't right here because I personally don't believe in the death penalty but basically that, within the moral framework of the world of mdzs where the death penalty is universally accepted, characters would, regadless of his background, rationally agree that the just punishment was death. The moment jgy crosses this threshold, then- and I have no interest in debating when this would be- it wouldn't matter that in reality his punishment was really for something else, because it'd be virtually the same as the "just" consequences of his actions.

And what I like is that the story FORCES you to ask that question, to entertain that argument, and perhaps see the flaws in it. Because it expicitly kills jgy for something he didn't do. Huaisang couldn't have said anything, and jgy would still have been taken prisoner, and the cultivation world would still have demanded his head. He'd have been tried for his crimes and executed. The story could have done that, and everything i said above would still have been true, but you could very easily wash your hands of it and say that justice was served.

Instead Huaisang lies, and Jin Guangyao is killed for something he never did. And the story asks: does that change things? Does it matter, that he died for something he didn't do when all of his actual actions were already enough to doom him? And if it does, what else does that change? Because that has always been the case. That was always going to be the case.

[moongothic]

You know I realize I forgot to mention this before in the Crocodile Power Level Speculation Post/Ask (btw I did go back to edit it so it's actually legible and has a point now lmao)

I really wanna know if Croc has any new tricks with his hook

Like in Alabasta the dude had a poison hook under his regular hook, which was also hiding a tiny blade beneath it as well. This is all fine and dandy, absolutely iconic etc etc

And then we never see him reuse either feature again.

Now to be fair, the only other time we could've seen Crocodile use them would've been in Marineford, but the dude just escaped from prison. Although people are quick to meme about the Marines being 'kind enough' to let Crocodile keep his gigantic fucking hook in prison-- If we're being realistic here, they probably let him keep the base of the hook simply because without a hand any shackle would just slide off his wrist and fall off. Of course he wouldn't still be able to escape or anything since he'd still have the Seastone cuff on his right, but if they wanted to keep him properly shackled then letting him keep even just the hook base would just be the easiest option for the Marines.

It's the fact that the Marines went out of their way to retrieve his missing hook attachment and gave it back to him that's a bit wild

But let's keep in mind that Luffy did break the poison hook back in Alabasta. Even if the Marines let Croc keep the hook attachment, I find it extremely unlikely they would've gone out of their way to fix/replaced the poison hook when the guy's going to jail anyways. If anything it'd make far more sense if they got rid of whatever poison might've still been left in the base and confiscated the blade. Like there's an argument to be made for the Marines letting Crocodile keep his hook due to disability reasons, but the poison and the purely stabby weapon? Not so much

So really, it's very likely the reason Crocodile never used his other weapons in Marineford might've just been that he literally didn't have them on him at the time, just the basic hook

But hey, it's been two whole whooping years. That would be plenty of time for him to replace the broken hook and blade and get some new poison into the hook base too while he's at it

Or

Are there any new weapons Crocodile could've gotten inserted into his hook base that he could whip out

Like just because he could get a new poison hook it doesn't mean he has to get a poison hook, same for the blade as well, right

To be fair, dude feels very old fashioned so I'm not expecting any Inspector Gadget kinda tech from him. Like I don't think Crocodile's knowledgeable about stuff like that himself, at least not enough to install any technically advanced weaponry into the hook on his own, and IDK if he'd trust his hook with anyone to "upgrade it" either for an extended period of time either

But could you imagine if Croc had gotten access to a busted ass Pacifista and stole a laser and had it built into his hook base. He just pulls of the hook and starts blasting people with the laser. How fucking funny would that be. Franky eat your heart out

[sskk-manifesto]

(´･ᴗ･ ` )

[bonebabbles]

im curious, do you think there is any good way to portray a redemption by death? like, can a character truly be made a better person by dying? or is it just an all-around bad trope? i vaguely saw what the authors were trying to do with tom and sandgorse's situations, but they just sucked too bad and gave it the absolute wrong effect imo

I think there's a way to make anything work! So I won't say "NO NEVER." But personally, I have a big bone to pick with it so I avoid it

A redemption death doesn't give the character time to meaningfully change, imo, or truly make up for their actions. That all has to come before the death itself. And even the very idea of giving your life up to "redeem yourself" just... sits uncomfortably with me.

Dying never makes a person better. It just kills them. A person who's dead is not changing nor growing.

So Tom and Sandgorse... what their deaths are supposed to do is re-frame everything they did before that point. With no apology on Sandgorse's end for how badly he hurt his son or wasn't there for his mate, he was a good enough person to die for someone else and thus must be forgiven. Tom thrashes two women and they both die because of him, but he was still willing to heroically throw his life down for his child, and so he is 'worthy' of being avenged and honored.

No growth. No change. No acknowledgement. The death is supposed to add sympathy to them, while there's no actual reckoning of how they hurt their victims. Not even a real consequence. "Their intentions were good, and this is proven through the ultimate sacrifice." As if that changes anything. It doesn't.

I think if there's an decent example of a redemption death in warriors, it's Bluestar's. I still have problems with how it believes Stone and Misty have to "forgive her" for some reason, REALLY don't like the fact that this series has always equated redemption and forgiveness... but that aside? Just focusing on Firestar, ThunderClan, and Bluestar?

I think what makes the moment so strong is that it is a moment of clarity through her cruelty arc. We saw the heroic person she was at the start of TPB. We know that her actions are coming from anger, spite, and paranoia. That is never shown as a thing to be excused. But while she's wrapped up in her own misery, Fireheart is being the leader she isn't.

And her last life is a return to form, spending it the way she is supposed to, as a leader, and as his mentor.

Her arc could never be about 'growth' because... she WAS a great leader. She WAS selfless, long ago. Her redemption death is a return to that, and a plot necessity. Bluestar and Firestar cannot both exist.

But, anyway, it's generally a trope I'm not fond of. I think that nearly anything can work in the right context, but I think it's so situational that I personally avoid it when possible.

[fideidefenswhore]

things that make you go hmmm.

[gideonisms]

I saw your tags on that one post about starting your job and I'm not a dancer or a poet (by trade) but I feel the need to tell you that that metaphor resonated deeply within me and my own existential crises I'm always having. I feel like it belongs on one of those web weaving posts or something and I guess I'm just saying thank you for sharing??? I dunno human beings are always being made to feel so alone or despair for one reason or another but I always feel like it's JUST me doing all this freaking out and everyone else is hunky dory. To see it's not just me makes me feel less alone. so, thank you

Anon, this is so sweet! 🥺 I am not a dancer or a poet by trade either it's just existential crisis hours on here sometimes ♥️ I can relate to feeling like everyone else is doing fine and you're the only one freaking out. Sorry you're feeling that way, it sucks! But idk I think almost every human experience is shared by someone, at the same time as we're all struggling to understand each other. Hope you find people you can unwind around a bit, even if it takes a while. Wishing you the best!!

[reanimatedgh0ul]

while i love danny and valerie being soft tender and wholesome w each other i have yet to elaborate on why i personally get equal if not more enjoyment out of them specifically in a pre reveal context being allowed to love each other in a way that's messy imperfect and flawed

[hylialeia]

anyway what sucks is I like media that explores how destructive and poisonous cycles of abuse are and how an individual response to trauma can result not in healing but further abuse. but I also like media that looks at oppression and injustice and says this has to stop and you should rage against the violence done to you and people like you and you should burn it down rather than let it continue.

[sunfoxfic]

me: oh yeah I've tried writing out of order in the past, it almost always ends with me rushing to the most climactic bits of the story and not finishing the bits between and I understand that telling the story in bits and pieces is valid but I get more long term enjoyment out of a story if I can bridge it together into a complete narrative. Because of this I try not to write out of chronological order, or sometimes the order that the narrative is in when the narrative isn't in chronological order. I've spent a few years trying stories in different ways and this consistently has the best outcome for me

Someone who I've spoken to twice: But sometimes you just have to get the scenes out! Don't be afraid! You can write in whatever order you like! It's best to write when you're inspired! Just write what you want to write now! This is what works for me! I am giving you permission! Do it! I don't care what you say about how this does or does not fit into your personal process, this is what I think you should be doing because it works for me and therefore should work for you!

[greatshell-rider]

shoutout to violetshine for not immediately murdering sleekwhisker’s ass the moment she saw her you Know i would not have done the same

[homo-house]

hey uh so I haven't seen anyone talking about this here yet, but

the amazon river, like the biggest river in the fucking world, in the middle of the amazon fucking rainforest, is currently going through its worst drought since the records began 121 years ago

picture from Folha PE

there's a lot going on but I haven't seen much international buzz around this like there was when the forest was on fire (maybe because it's harder to shift the narrative to blame brazil exclusively as if the rest of the world didn't have fault in this) so I wanted to bring this to tumblr's attention

I don't know too many details as I live in the other side of the country and we are suffering from the exact opposite (at least three cyclones this year, honestly have stopped counting - it's unusual for us to get hit by even one - floods, landslides, we have a death toll, people are losing everything to the water), but like, I as a brazilian have literally never seen pictures of the river like this before. every single city in the amazonas state is in a state of emergency as of november 1st.

pictures by Adriano Liziero (ig: geopanoramas)

we are used to seeing images of rio negro and solimões, the two main amazon river affluents, in all their grandiose and beauty and seeing these pictures is really fucking chilling. some of our news outlets are saying the solimões has turned to a sand desert... can you imagine this watery sight turning into a desert in the span of a year?

while down south we are seeing amounts of rain and hailstorms the likes of which our infrastructure is simply not built to deal with, up north people who have built everything around the river are at a loss of what to do.

the houses there that are built to float are just on the ground, people who depend on fishing for a living have to walk kilometers to find any fish that are still alive at all, the biodiversity there is at risk, and on an economic level it's hard to grasp how people from the northern states are getting by at all - the main means of transport for ANYTHING in that region is via the river water. this will impact the region for months to come. it doesnt make a lot of sense to build a lot of roads bc it's just better to use the waterway system, everything is built around or floats on the river after all. and like, the water level is so incomprehensibly low the boats are just STUCK. people are having a hard time getting from one place to another - keep in mind the widest parts of the river are over 10 km apart!!

this shit is really serious and i am trying not to think about it because we have a different kind of problem to worry about down south but it's really terrifying when I stop to think about it. you already know the climate crisis is real and the effects are beyond preventable now (we're past global warming, get used to calling it "global boiling"). we'll be switching strategies to damage control from now on and like, this is what it's come to.

I don't like to be alarmist but it's hard not to be alarmed. I'm sorry that I can't end this post with very clear intructions on how people overseas can help, there really isn't much to do except hope the water level rises soon, maybe pray if you believe in something. in that regard we just have to keep pressing for change at a global level; local conditions only would not, COULD NOT be causing this - the amazon river is a CONTINENTAL body of water, it spans across multiple countries. so my advice is spread the word, let your representatives know that you're worried and you want change towards sustainability, degrowth and reduced carbon emissions, support your local NGOs, maybe join a cause, I don't know? I recommend reading on ecological and feminist economics though

however, I know you can help the affected riverine families by donating to organizations dedicated to helping the region. keep in mind a single US dollar, pound or euro is worth over 5x more in our currency so anything you donate at all will certainly help those affected.

FAS - Sustainable Amazon Fundation

Idesam - Sustainable Developent and Preservation Institute of Amazonas

Greenpeace Brasil - I know Greenpeace isn't the best but they're one of the few options I can think of that have a bridge to the international world and they are helping directly

There are a lot of other smaller/local NGOs but I'm not sure how you could donate to them from overseas, I'll leave some of them here anyway:

Projeto Gari

Caritás Brasileira

If you know any other organizations please link them, I'll be sure to reblog though my reach isn't a lot

thank you so much for reading this to the end, don't feel obligated to share but please do if you can! even if you just read up to here it means a lot to me that someone out there knows

also as an afterthought, I wanted to expand on why I think this hasn't made big news yet: because unlike the case of the 2020 forest fires, other countries have to hold themselves accountable when looking at this situation. while in 2020 it was easier to pretend the fires were all our fault and people were talking about taking the amazon away from us like they wouldn't do much worse. global superpowers have no more forests to speak of so I guess they've been eyeing what latin america still has. so like this bit of the post is just to say if you're thinking of saying anything of the sort, maybe think of what your own country has done to contribute to this instead of blaming brazil exclusively and saying the amazon should be protected by force or whatever

[edenaziraphale]

You can feel however you like about the efficacy of the strike currently taking place, but if you're posting advising folks against participating because "that's not how a global strike works", I really encourage you to examine your behavior and your motivations. We know this isn't the traditional or perfect, platonic ideal of how a global strike should look or function, but it isn't about that. It isn't even particularly about efficacy in the traditional sense of a strike. No-one thinks that this is going to end the bombing. No-one thinks that this action is going to change the political marketplace forever. But a very public, very well-known Palestinian activist and journalist has requested on the public, global stage that this action be taken. The least that we can do, while we also do other active work in this arena, is respect her wishes and galvanize on her behalf. It does not hurt any of us to do what we can. It does not take away from activism for Palestine as a whole to participate in this event. What it could do is show the global public that the narrative has changed, the people stand with Palestine in ways that can translate into action. What it definitely does do is let Bisan and others know that they're being heard. That we remember them. That we're here. I can't think of a single reason not to do what you can. I can't think of a single reason not to do everything you can. And the very least of what we can do is take her request seriously.