#you kind of have to look at these things through the lens of the culture that theyre taking place in to some extent

[crabbunch]

anyways i think that danzo and hiruzen are like those two old heckling muppets. i want to dunk them in milk and throw them against the walls. i think that they should work together to commit new war crimes. to me their dynamic is very much NOT "hiruzen indulging an old friend in his evil acts cuz hes sentimental" and very much "hiruzen is in charge of propaganda so hes 'nice' and danzo does the dirty work and sometimes they try to assassinate each other for fun." thats romance babyyy!!!!

[moghedien]

lae'zel, permission, and what she actually wants

the thing about Lae'zel is that she's always looking to someone to give her permission

basically her entire life up until the beginning of the game has been a fight to be allowed to live. she has to prove she's better than her peers. she has to prove that she's worthy of fighting for Vlaakith. hell, even when she was an egg, she would have had to prove she was worthy of hatching because if she'd been a bit late she wouldn't have even been allowed a chance.

she doesn't really do anything unless its what her goddess and her society allows and she'll do exactly what is prescribed. she bristles at any attempts to find a cure for the tadpoles that aren't going to the creche because that is what she is supposed to do as a good githyanki. anything else is a deviation from what is allowed, even if it might work.

so you look at her romance through that lens, it really sort of pulls everything together.

In the act one scene, she's still following the rules like a good devoted of Vlaakith. She will sleep with you one or two times if you ask her to, but will bristle at anything more than that. She's a totally typical normal githyanki after all (she isn't), and it isn't normal for githyanki to have any kind of serious romantic relationships. "love" isn't even a real thing, and is just a strange mental illness that cowards use as an excuse (all of these are things she actually believes at the beginning of the game based on various bits of banter and dialogue where she's reflecting retroactively on her previous beliefs). Straight up, anything beyond casual sex is not allowed, so she doesn't even question it as an option.

Then by the time you get to the Act 2 romance scene, Lae'zel's entire world has been upturned for unrelated reasons. She did everything as she was supposed to and nothing she wasn't and Vlaaktih betrayed her. Her entire culture and society betrayed her despite her never doing anything without their permission.

It seems like she is somewhat quick to accept that and switch her allegiance. Her entire existence was because Vlaakith gave her permission to exist, and then Vlaakith betrayed her no matter how devoted she was. So Vlaakith is a liar and she learns that Orpheus is a possible answer to solve the Vlaakith problem, so now she's committed to Orpheus.

It seems like a quick turn, but if you look at Lae'zel as someone who needs permission, then it makes more sense. Vlaakith can't give her that anymore, so she needs someone else to tell her how to live, so that becomes Orpheus, who of course conveniently isn't there to actually tell her to do anything. So she does as Voss says to try to save him and that becomes her entire life motivation. Because what else can she possibly do? She needs someone's permission to decide how to move on now.

By the time you get the Act 2 romance scene, Lae'zel is on this path, right? If you look at the actual Act 2 romance scene, its basically her asking for permission again. Not in the way you'd immediately expect, because while she is asking like, your permission to develop your relationship into something further, its not just you she needs permission from. She needs her societal expectations to give both of you permission.

To elaborate, you're a fucking wrench in all her expectations of what is right. You were supposed to be a one or two night casual fuck, and then she went and got fixated with you. She calls it an obsession. She says its bothering her more than Vlaakith's betrayal, more than her people hunting her, more than the worm in her head. Those are all problems that she has some instruction on how to address. You, she has no fucking clue what to do about. Rebel githyanki aren't exactly giving instructions on how to pursue romantic relationships with people while planning on how to take down Vlaakith. Even if they are more lenient and accepting of those kinds of attachments (which we have no idea if they are or not), she hasn't been around any of them long enough to figure that out.

In her feelings for you, she's confronted with feelings that to her culture are perverse and which she has no societal context for. Even if there was someone who might give her the go ahead to pursue that relationship, she has no idea who they might be. She's someone who's entire life has revolved around what she has permission to do within her society, and she finds herself drawn to do something that she has no way of even figuring out how to approach in an acceptable way.

And despite all of that, and all the complications around what asking more from you would mean from a githyanki standpoint, she still gets to a point where she wakes you up in the middle of the night and begs you to do something about it.

She's frantic and confused and its clear she doesn't even really know what she wants from you, so she asks you to prove yourself and fight her. Its not because she thinks you're too weak for her. She admits she finds you strong the first time she comes onto you. Alternatively, she basically negs you after having sex with her by calling you weak and a coward and she is more than pleased to have sex with you again after doing so. Strength or weakness has nothing to do with why she needs you to fight her.

She needs you to fight her because that's how she's always had to prove herself worthy of existence. Her entire life has been a series of peers and comrades she had to fight in order to prove that she could go on. So when she doesn't know what else to do about you and there's nothing else to tell her how to proceed, she needs you to fight and prove that you (and her) can go on.

But the thing about the duel you have, is that the outcome doesn't actually matter. Regardless, it does give her what she needs to know to go on your relationship, but not in any ways she expected. Regardless if you win or she does, she gets overwhelmed and realizes that she wants you and she wants you to want her. Something definitely starts to shift in her mindset after the fight.

If you win, she's alarmed by the contradiction that she should feel ashamed for having lost. If you lose, she's alarmed by the contradiction of feeling no joy in having beaten you. She realizes that she doesn't want to be doing the thing she's supposed to do (fight to prove her worth) and instead wants to protect you. She also says that she wants you to protect her, which is something that she only says if you lose the fight, which I think is notable and makes the shift a bit more obvious.

Because she only says it if you lose. You lost. You just showed you were weaker than her. And she still wants you to protect her. By all githyanki standards, you shouldn't even be worthy of living if you couldn't win the fight, but she not only doesn't want to see you hurt, but she wants you to see that she doesn't get hurt. Not only should this not make sense because you lost, but it is maybe the first time Lae'zel has admitted she doesn't want to have to rely only on her own strength. She wants to rely on you, even if you're weaker and couldn't beat her in a fight. That challenges everything she has ever believed in her life probably as much as being betrayed by Vlaakith did.

If you win the fight, she doesn't admit that, but I think the sentiment is still there. It just isn't something that she has to directly confront in the moment because you proved that you can protect her. In that instance, she's coming to terms more with the fact that she should feel weaker or ashamed but isn't. In either instance, she was asking for permission from her ideals on how to deal with the You problem. In either instance, she's confronted with something that challenges that. Either you fail to meet the expectations she thought she had, and she finds out she doesn't care, or she fails to meet the expectations of a githyanki soldier and she finds out she doesn't care. Because either way, she figures out she wants you more than she wants to be the good githyanki that does what she's supposed to and act like she's supposed to act. Being "obsessed" with you should be perverse and wrong, but she embraces it whether she has permission (from her society) to do so or not. That is an extremely big deal.

And even before we get into Act 3, there are some interesting beats here about Lae'zel's romance in Act 2 still. One of the two things I want to discuss is the kissing. After the main Act 2 romance scene, you get new dialogue options, including asking her to kiss you.

This is kinda where we get into my opinions on the best choices to make with her romance, and I'm aware that these are my opinions and people deciding to do other things isn't incorrect. I'm pointing this out because I'm gonna start talking a lot about choices soon and which ones I think are the best thematically and from a character standpoint. They are my opinions. You are allowed to disagree. I will however be defending and arguing my opinions here. You don't have to get angry or defensive if you did something else or don't agree with my conclusions.

Now, back to kissing Lae'zel. The notable thing about asking Lae'zel to kiss you is that her initial reaction is embarrassment. It's somewhat of a turn from how she is open about talking about your sexual encounters before this. The entire fight scene, which may have ended up with the two of you making out in the middle of camp until it faded to black, was seemingly in front of everyone and she had no concern about that.

Kissing just out of the blue though? She's shy about that.

Because just kissing for no reason is soft and pointless, really (and if you watch the Lae'zel kissing animations, they are all in fact very soft and sweet). You don't really need to do it. Before hand with the sex and whatnot, she fully has arguments about why that was ok and even beneficial for the overall task at hand. Soft little kissing though? There's no reason to do that unless she wants to. Hence her embarrassment.

Now, she won't kiss you in Act 2 when you ask because of her embarrassment. Not unless you persuade her to do it. You only have to persuade her once and if you succeed, the first time she is clearly nervous and looks around uncomfortably. In all honesty, it seems somewhat uncomfortable to persuade her especially given her initial reaction. I do, however, think its the best thing to do for her.

Yes, she's uncomfortable. She's uncomfortable with your entire relationship now because she's has no experience even knowing about a situation like this and from a githyanki standpoint, affectionately kissing in public for no reason is basically outing yourselves as being perverts. She also very, very clearly wants it. The way you persuade her, is by pointing out that she probably wants this. And if you succeed in pointing that out to her, she is smiling and afterward when you ask her to kiss she is clearly happy and very soft about it all.

If you don't persuade her, I believe you can still kiss her without the check if you wait until after the Act 3 scene, so she is clearly comfortable with it at some point. Persuading her might seem like you're pushing her past her comfort zone. That's honestly why I didn't do it for a while. But looking at how she reacts after the fact and what happens after, I do feel like its not so much pushing her out of her comfort zone. Its more challenging her to push against her initial ideas of what she thinks she should do and instead encouraging her to do what she wants. More on that later.

The other romance beat that happens in Act 2 occurs some time after the main scene in camp, when she get about as vulnerable as she's been yet. She asks you for softness. She wants to be with you and she doesn't want the rough, passionate, hedonistic type of night that has been all of your relationship up until this point. She asks for gentleness, softness, and she's terrified. She says outright that its terrifying for her to ask this and she's been working up the courage to do so.

This is meaningful in multiple ways, because its not only a sign that your physical relationship is becoming something more than just sex. Its a sign of how much Lae'zel has changed. Because Lae'zel is someone who needs permission in everything. Up until this point, we haven't seen her ask for permission, she simply waited for her betters to give it to her and denied herself if they didn't. When it was someone who isn't above her, she makes demands. She doesn't ask permission. Ever. Now she outright asking you for permission to be gentle and soft. She didn't just need to build up the courage to be soft. She needed to build up the courage to ask to be allowed something she wanted.

As I stated before, I think Lae'zel's instinct is to not take into account what she actually wants, but to just go ahead with whatever she thinks she's supposed to do. That's how she was raised and indoctrinated after all. Gently pushing against her first reactions to things allows her a chance to push against that instinct of behaving how she was indoctrinated to behave. I think her asking for a softer touch is a sign of this changing for her. The Act 3 scene is even more so.

The Act 3 romance scene is sort of the height of Lae'zel's character growth. One thing that makes me sort of sad is that I feel like you don't really get to see the fullness of her character unless you romance her. That's true with other characters I've romanced so far to some extent, but not as much as with Lae'zel.

But here you romanced Lae'zel, so you get to see her admitting how much her perceptions have changed because of you helping her see things differently. She has different perspectives and she finds beauty and bliss in things she used to find dread in. She loathed the sun, and now drags you to a roof top just to stare at it coming over the horizon (please don't stare into the sun). She finds herself liking Faerun and the colors in it. She admits all of this before she brings up what she actually wanted to talk to you about.

Lae'zel has no terms in which to describe your relationship. She doesn't know about dating (or courting) or marriage and she doesn't actually even know what the word love means. She doesn't ever say the word until six months later in the epilogue, but what she's describing to you on how she feels is without a doubt love and what she's asking of you is more or less marriage. She doesn't have the terms or any cultural context to make it easier to ask, but she wants you to stay with her, whatever happens. That's the only way she can really describe it. Staying with her. Because even if you've only actually known each other a short time, you might be the most constant thing she's ever had in her life, and she's probably terrified of what it means when the Absolute is dealt with and there is no mission keeping you together. She isn't asking for permission now to stay with you, but is asking for you to stay with her. Where you might be and doing what, who knows, but she is for the first time just pursuing something she wants that she hasn't been given explicit permission for beforehand.

And then, we get to saving Orpheus.

This is where my thoughts might get controversial, but as I said, you're free to disagree but I'm arguing for my ideas here.

I'm not sure how any of this changes if you go a different route in the final parts of the game, so I can really only speak on the options you get if you saved Orpheus and he became Illithid.

So you do the thing that Lae'zel has been lead to believe she needs to do and free Orpheus. I personally cannot blame the man's attitude given his being imprisoned for who the fuck knows how long and the fact that he is still willing to sacrifice himself. However, it is clear that he is perhaps not quite as understanding as Voss lead you to believe he would be. Given that he tells you that you should have let his guard kill you if you were actually on the same side as him, which notably would have doomed everyone and lead to the Absolute's victory. But again, centuries of imprisonment, we cannot blame the guy.

The point I want to make with bringing that up at all, is that, even in these little bits of conflict that don't really amount to anything in game, its a crack in the ideal of Orpheus. He isn't every grand thing that Voss promised you and Lae'zel he would be. He's not bad here and gives us no reason to think he is, but its a crack. Lae'zel didn't have any reason to doubt Vlaakith or see her imperfections until it was too late, after all. I'm not saying the two are equals, but Lae'zel went from worshipping an evil false-goddess to holding up that goddess's enemy in similar reverence in a shockingly short amount of time. The girl jumped from a cult that worshipped one powerful figure to a radical rebel movement that held up another. And we immediately see little tiny cracks in the facade of Orpheus.

Lae'zel won't. Lae'zel doesn't know how to be anything but utterly devoted to the highest figure of authority she sees as worthy to follow. Lae'zel won't know to be wary. But you should be wary as fuck about what Orpheus is going to ask of her.

Cut to the end. We win, the absolute is defeated, yay! Mind Flayer Orpheus is asking Lae'zel to kill him and take up his mantle and lead his rebellion against Vlaakith.

In that moment, you have really two options. Technically there are multiple dialogue options, but really there are two. You can let her go (and potentially go with her) or you can persuade her to stay. If you tell her to do what she wants, she and you will leave on dragons to fight the rebellion against Vlaakith.

I do not think this is what Lae'zel wants.

When Orpheus is giving her this duty, she doesn't look happy about it. She just finished the single most traumatic event of her life, which turned everything upside down and completely shook who she is as a person. Now she is being handed what she had said she wanted. The means to free her people and defeat Vlaakith. She has a silver sword. She's being given not one, but two red dragons. And she just looks fucking sad. She looks exhausted as Orpheus is commanding her to do this.

She is someone who has never lived a life where she was able to want her own goals or life. She was Vlaakith's. Now she's being ordered to carry Orpheus's legacy. And I do believe she wants to stop Vlaakith and save her people from her control. But she is being given all of the burden of doing so and commanded to begin immediately upon completing her previous ordeal.

Lae'zel has been following orders her entire life. She isn't one to even consider what she actually wants and instead does what she thinks she's supposed to do. So when Orpheus tells her to do this, she is going to obey the authority figure like she was been indoctrinated into doing. When you ask her what she wants, she will say you're coming with her because she's at least broken away enough to do that but not to consider that she doesn't want to go.

Gently pushing against Lae'zel's immediate reactions, as I said, is I think the way to get her honest, genuine desires. If you persuade her to stay and disobey Orpheus, she does seem suddenly energized. She will then say that her destiny is not for Vlaakith or Orpheus to decree. Her destiny is hers alone. Neither Vlaakith nor Orpheus will give her permission to do that, but you can. She doesn't obey you. You aren't an authority figure and you have probably shown yourself to be weaker than her at several points in the game. But you still give her permission to choose her life and she accepts that.

And this, is how you break the Lae'zel out of the cycle that she finds herself. in. The only way she isn't perpetually bowing down to some authority figure is if she stays in Faerun. Because she escaped the authority of Vlaakith and immediately went to Orpheus, who now she can't even escape because he's dead and she is the one holding up his legacy on his behalf. She can't choose to leave once she's accepted that responsibility, and she frankly does not look like she wants to accept that responsibility.

If she stays on Faerun, she is still fighting Vlaakith. Not only because she is literally hunting down and murdering Vlaakith's forces, but she's living completely free of Vlaakith's influence in a way she couldn't otherwise. She isn't living under Vlaakith's rules, nor having to live in direct antagonism to Vlaakith's rules by forming a new society from scratch for the githyanki. She's just living. Occasionally going and massacring Vlaakith's soldiers as a means of survival, but otherwise just living how she wants and with who she wants. And in theory, she could go and join the rebellion proper any time in the future. If she stays, her future isn't certain, and that, I think, is the best thing for her.

In the epilogue, if you are with her on Faerun, its clear she doesn't really let herself rest still. She busies herself (and you) by tracking down Vlaakith's forces to eradicate, and she tells you of another one she found, noting that she can't rest for long. You have the option to push against this gently, suggesting taking some time off. No persuasion needed. She not only agrees to take some time off, but she immediately has a vacation suggestion which she has clearly been looking into and is excited to check out. But Lae'zel is not someone who is going to consider what she actually wants. She's going to suggest what she thinks she should be doing, but with some gentle push back, will let you know what she actually wants.

Because you're not really rejecting her ideas when you push against the instincts that have been indoctrinated into her. You're giving her permission to decide what she wants to do, and Lae'zel is always someone looking for permission.

[communistkenobi]

Hi, genuine good faith question if you'd like! How is TOS racist? It was my understanding that the OG Series was like, huge for equality in media?

I’m speaking primarily about the content of TOS itself, not its historical impact - I understand it had various historic firsts in terms of having characters of colour in respectable roles, which I’m not dismissing. My experience with the discourse on here surrounding the show is that people front-load these character representations as emblematic of the show’s progressive politics. Which, if we want to go that route, TOS was contemporary to the US civil rights movement, which provides us with a handy measuring stick to see how TOS actually grapples with race, not just the presence of characters of colour themselves. I'm going to be kind of defensive in this explanation, not towards you specifically, but because I have had this conversation with people online many, many, many times, and so any defensiveness on my part is in anticipation of arguments I know will come up as a result of making the basic claim that a show made in America in the 1960s is racist. I'm also going to be copy + pasting from an older post I've made on the subject since it's been a while now since I've watched TOS so some of the details are fuzzy.

Like okay, the premise of TOS is that the Enterprise, as an ambassador of Starfleet/the Federation, is seeking out new alien life to study. The Prime Directive prohibits the Enterprise crew from interfering with the development of any alien culture or people while they do this, so the research they collect needs to be done in an unobtrusive way. I think this is the first point at which people balk at the argument that TOS is racist or has a colonial conception of the world - the Enterprise’s mission is premised on non-interference, and I think when people hear ‘colonial’ as a descriptor they (understandably, obviously) assume it is describing active conquest, genocide, and dispossession. Even setting aside all the times where Kirk does directly interfere with the “development” of a people or culture (usually because they’ve “stagnated” culturally, because a culture "without conflict" cannot evolve or “develop” beyond its current presumed capacity - he is pretty explicitly imposing his own values onto another culture in order to force them to change in a particular way), or the times when the Enterprise is actually looking to extract resources from a given planet or people, I’m not exactly making this claim, or rather, that’s not the only thing I’m describing when calling TOS racist/colonial.

The show's presentation of scientific discovery and inquiry is anthropological - the “object” of analysis is alien/foreign culture, meaning that when the Enterprise crew comes into contact with a new being or person, this person is always read first and foremost through the level of (the Enterprise’s understanding of) culture. Their behaviour, beliefs, dress, way of speaking, appearance, and so on are always reflective of their culture as a whole, and more importantly, that their racial or phenotypic characteristics define the boundaries of their culture. Put another way, culture is interpreted, navigated, and bound racially - the show presents aliens as a Species, but these species are racially homogeneous, flattening race to a natural, biological difference that is always physically apparent and presented through the lens of scientific objectivity, as "species" is a unit of biological taxonomy. Basically species is a shorthand for race. This is the standard of most sci-fi/fantasy genre work, so this is not a sin unique to Star Trek.

Because of this however, Kirk and Co are never really interacting with individuals, they are interacting with components of a (foreign, exotic, fundamentally different) culture, the same way we understand that a biologist can generalize about a species using the example of an individual 'specimen'. And when the Enterprise interacts with these cultures, they very frequently measure them using a universalized scale of development - they have a teleological (which is to say, evolutionary) view of culture, ie, that all cultures go from savage to rational, primitive to advanced, economically simple to economically complex (ie, to capitalist modes of production). And the metrics they are judging these cultures by are fundamentally Western ones, always emphasising to the audience that the final destination of all cultures (that are worthy of advancing beyond their current limited/“primitive” stages) is a culture identical to the Federation, a culture that can itself engage in this anthropological mission to catalogue all life as fitting within a universal set of practices and racial similarities they call “culture.”

This is a western, colonial understanding of culture - racially and spatially homogeneous people comprise the organs of a social totality, ie, a society, which can then be analysed as an “object,” as a “phenomenon,” by the scientists in order to extract information from them to produce and advance state (ie Federation) knowledge. The Enterprise crew are allowed to be individuals, are allowed to be subjects with a capacity for reason, contradiction, emotion, compassion, and even moments of savagery or violence, without those things being assigned to their “race” or “culture” as a whole, but the people they interact with are only components of a whole which are “discovered” by the Enterprise as opportunities to expand and refine the Federation’s body of knowledge.

Spock is actually a good example of what I'm talking about, because he is an exception to this rule - unlike the others in the crew, his behaviour is always read as a symptom of his innate Vulcan-ness, where his human and Vulcan halves war for dominance in his mind and character. Bones (the doctor, one of the main cast) constantly comments on Spock's inability to feel things, that he is callous and unsympathetic, ruled by Vulcan logic to such an extreme that his rationality is a form of irrationality, as his Vulcan blood prohibits him from tempering logic with human emotion and intuition. Now you can argue that Bones is a stand-in for the racists of the world, that Spock proves Bones wrong in that he is able to feel but merely keeps it under wraps, that Vulcans are not biologically incapable of emotion but merely live in a socially repressive culture, but this still engages in the racial logic of the show - Vulcans are a racially-bound species with a single monolithic culture, and Spock's ability to express and feel 'human emotions' is the metric by which he is granted human subjectivity and sympathy.

And on the flip side you have the Klingons - a “race” that is uniformly savage, backward, violent, and dangerous. In the episode Day of the Dove, where Klingons board the Enterprise along with an alien cloud that makes everyone suddenly aggressive and racist (this show is insane lol), the Enterprise crew begins acting violent and racist, but the Klingons don’t change. They aren’t more violent than before (because they already were fundamentally violent and racist), and they don’t become less violent when the cloud eventually leaves (because they are never able to emerge from their violence and savagery as a social condition or external imposition - they simply are that way). Klingons are racially, behaviourally, psychologically, and culturally homogeneous, universally violent and immune to reason, and their racial characteristics are both physical manifestations of this universal violence as well as the origin of it. The writers and creators of TOS are explicitly invoking the orientalist idea of the “Mongolian horde,” representing both the American fear of Soviet global takeover as well as blatantly racist fears about “Asiatics” (a word used in the show, particularly in The Omega Glory where a fear of racialised communist takeover is made explicit) dominating the world.

This is colonial thinking! Like, fundamentally, at its core, this is colonial white supremacist thinking. Now this is not because TOS invents these tropes or is the origin of them, it is not individually responsible for these racial and colonial logics - these conceptions are endemic to Western thought, and I am not expecting a television show to navigate its way outside of this current colonial paradigm of scientific knowledge. I’m also not expecting an average person watching this to pick out all the intricacies of this and link it to the colonial history of Europe or the colonial history of western philosophy/thought. But this base premise of Star Trek is why the show is fundamentally colonial - even if it was the case that the crew never intervened in any alien conflict, never extracted any material resources from other people, this would still be colonial logic and colonial thinking. The show has a fundamentally colonial imagination when it comes to exploration, discovery, and culture.

I think a good place to end is the opening sequence. The show's first line is always "Space! The final frontier." I do not think the word frontier is meant metaphorically or poetically - I think the show is being honest about its conception of space as an infinitely vast, infinitely exotic frontier from which a globally Western civilisation (which the Enterprise is an emblem of) can extract resources, be they material or epistemic

[no-where-new-hero]

omg I need your thoughts on the terminally o line author culture bc ngl it makes my eye TWITCH, there are authors I deliberately avoid even tho I've heard their stuff is good bc they're like that 🙈

HHHHH oh good lord, okay, from how I see it, there are two angles on this, both aggravating and sad: the official decree one and the spontaneous ecosystem one.

The officious one is that the nature of publishing nowadays demands an author have an online presence. You need Twitter/X. You need to let every potential reader know your book is coming out. You need engagement through reviews and pre-orders incentives (if you buy now you’ll get a special keychain!!) and word of mouth assurances from your peers that yes your book is as cool as you say it is. You need a newsletter with links (more buying! more voting on lists that are simply popularity contests!) and promises you’re still working on the next thing, don’t forget about me in the morass of everyone else doing the same thing. You need an Instagram and TikTok now to post pretty pictures and videos because one or two authors made it big off this kind of promotion and now everyone thinks it’s the ticket to the bestseller list (sadly, it seems to be working). You need an OnlyFans (a joke but I do recall a twt spat that was a joke/not joke about how rupi kaur will always be more beautiful than her critics and people who took issue with the conflation of beauty with talent). At the end of all this, you’re basically an influencer, a content creator creating content for the content you should be focusing on creating, the finished novel. And the novel itself seems to be disappearing behind the masks used to promote it (fanfic-style tropes, moodboards, playlists, memes) until I now no longer trust the book that I’ll pick up to have any resemblance to the enticements that brought me here. I’ve seen an author or two complain about the stress all this self-promotion generates, but it’s become such an entrenched part of the industry, I think people just accept it. And thus spend too much time online hoping that if they tweet just a little more, produce just one more reel, maybe that’ll be the difference between a sale and no sale.

The other side of this, distinct but obviously connected, is the ecosystem created by this panic of being perpetually visible coupled with the fact that so many of the new authors came of age during the rise of internet fandom culture. That opinionated community mindset that blurs the line between anonymity and friendship is the lens they bring to their own work. I mean, it makes sense I suppose—if you love yelling about characters and words, why wouldn’t you do that once you start to produce your own? This really came home to me hearing about that reviewbombgate “scandal” and how people involved were in reylo circles and that was used to provide receipts. You’re interacting with your readers and peers about your intimate work but they are also all strangers. They will not always give you the benefit of the doubt, and now—as opposed to the past when maybe the worst that could happen was a handful of bad reviews in newspapers—you will either be tagged in hate reviews, sub-tweeted, explicitly called out, demanded to atone for your sins. It’s no longer the morality of consumption but the morality of production. Of course, the easy answer is just log-off, touch some grass. But that can work only when you and everyone else are separated by anonymous accounts or when you have no platform to maintain. As an author trying to make your livelihood from this, suddenly it’s do or die. We’re in a strange moment of authorship bringing the Internet’s echo-chamber and claustrophobic into the real world (this is a lie: publishing now is no longer the real world. But it looks like it) and thus you can kind of no longer escape things.

Will the average reader who isn’t aware of all these machinations care about reviewbombgate? Would a reader browsing at Target think about the controversies around Lightlark? Very likely not. But the impression I’m getting more and more is that the average reader isn’t the one buying all the books. Or shall we say—a bestseller’s status relies on bookstore stock. Bookstore stock is only huge when they know a book will be a good investment. They’ll only know a book is a good investment if it and its author has street cred based on booktokkers, bookstagram, bloggers and reviewers (have you noticed how many books out these last maybe 1-3 years have these kinds of accounts thanked in the acknowledgments? Yeah), and THESE are also chronically online people who will Know. And decide the cast of fate.

Honestly, @batrachised, I see why you avoid these kinds of writers, though I wonder how long it’ll be before the disease becomes epidemic.

[mariacallous]

“There are only so many books on Ukraine we can review each month,” an editor from a major British newspaper tells me at one of the country’s largest literary festivals. He looks a bit uncomfortable, almost apologetic. He wants me to understand that if it were up to him, he’d review a book on Ukraine every day, but that’s just not how the industry works.

Since the start of Russia’s full-scale invasion, I’ve had a glimpse into how several industries work: Publishing, journalism, and the broader world of culture, including galleries and museums. Even before the big war, I knew more than I wanted to about how academia works (or rather doesn’t) when it comes to Ukraine. A common thread among all these fields is the limited attention they allocate to countries that do not occupy a place among the traditional big players of imperial politics.

Cultural imperialism lives on, even if its carriers often proclaim anti-colonial slogans. It thrives in gate-keeping, with editors and academics mistrusting voices that don’t sound like those higher up the ladder, while platforming those who have habitually been accepted as authoritative. “We’ve done Ukraine already” is a frequent response whenever you pitch an idea, text, or public event centering the country.

The editor who can’t keep publishing reviews of Ukraine-related books walks away, and I pick up a copy of one of the UK’s most prominent literary magazines to see their book recommendations. Out of a handful of reviews, three are on recent books about Russia. It seems like the space afforded to Russia remains unlimited. I close the publication to keep my blood pressure down.

Keeping my blood pressure down, however, is challenging. When my social media feeds aren’t advertising another production of Uncle Vanya, they’re urging me to splash out on opera tickets for Eugene Onegin. What happened to the dreaded “cancelling” of Russian culture? The Russia section in most bookshops I visit in the UK is growing daily with everything from yet another translation of Dostoevsky to accounts of opposition figures killed or imprisoned by the Kremlin.

The international media focus on the August 2024 release of Russian political prisoners was yet another example of how the more things change, the more they stay the same. While these released prisoners were provided with a global media platform to call for an end to “unfair” sanctions on “ordinary Russians,” there was no mention of the thousands of Ukrainian civilians who continue to languish in Russian jails.

The ongoing international emphasis on all things Russian goes hand in hand with a reluctance to transform growing interest in Ukraine into meaningful structural changes in how the country is perceived, reported on, and understood. Although there has been some improvement in knowledge about Ukraine since 2022, the move is essentially from having no understanding to having a superficial grasp.

Each time I read a piece on Ukraine by someone not well-versed in the country’s history and politics, my heart sinks. The chances are it will recycle historical cliches, repeat Kremlin propaganda about Russophone Ukrainians, or generalize about regional differences. And to add insult to injury, such articles also often misspell at least one family or place name, using outdated Russian transliterations. A quick Google search or a message to an actual Ukrainian could prevent these errors and save the author from looking foolish. Yet aiding this kind of colonial complacency seems to bother neither the authors nor the editors involved.

I often wonder what would happen if I wrote a piece on British or US politics and misspelt the names of historical figures, towns, and cities. How likely would I be to get it published? And yet the same standards do not apply when it comes to writing about countries that have not been granted priority status in our mental hierarchies of the world. We can misspell them all we like; no one will notice anyway. Apart from the people from those countries, of course. And when an exasperated Ukrainian writes to complain, I can almost see the editors rolling their eyes and thinking, “What does this perpetually frustrated nation want now? We’ve done Ukraine. Why are they never satisfied?”

It is not enough to simply “do Ukraine” by reviewing one book on the war, especially if it’s by a Western journalist rather than a Ukraine-based author. It’s not enough to host one exhibition, particularly if it is by an artist or photographer who only spent a few weeks in the country. Quickly putting together a panel on Russia’s war in response to a major development at the front and adding a sole Ukrainian voice at the last minute doesn’t cut it either. This box-ticking approach is unhelpful and insulting.

It is important to acknowledge that some Western media outlets have significantly enhanced their coverage of Ukraine over the past two and a half years. They have typically done so by dedicating time and resources to having in-house experts who have either reported from Ukraine for many years, or who are committed to deepening their knowledge enough to produce high-quality analysis. However, many of these outlets still seem compelled to provide platforms for individuals entirely unqualified to analyse the region. Surely this isn’t what balance means?

Since February 2022, more than 100 Ukrainian cultural figures have been killed in the war. According to the Ukrainian Ministry of Culture, by May 2024, over 2,000 cultural institutions had been damaged or destroyed. This includes 711 libraries, 116 museums and galleries, and 37 theatres, cinemas, and concert halls. In May 2024, Russia bombed Factor Druk, the country’s biggest printing house.

When I attended this year’s Kyiv Book Arsenal, Ukraine’s largest literary festival, each panel began with a minute of silence to honor the memory of colleagues killed in the war. All this is in addition to mounting military losses, many of whom are yesterday’s civilians, including journalists and creatives who have either volunteered or been drafted into the army. This is the current state of the Ukrainian creative industry.

To save time for Western editors, publishers, and curators, let me clarify what all of us perpetually frustrated Ukrainians want. We would appreciate it if they turned to actual Ukraine specialists when working on Ukraine-related themes. Not those who suddenly pivoted from specializing in Russia, or who feel entitled to speak authoritatively because they discovered a distant Ukrainian ancestor, or those who have only recently shown interest in Ukraine due to business opportunities in the country’s reconstruction. We would be grateful if they took the time to seek out experts who have been studying Ukraine long before it became fashionable, who understand the country in all its complexity, and who care enough to offer Ukrainians the basic dignity of having their names spelt correctly.

I like to fantasise about a time when editors of top Western periodicals will choose to review books on Ukraine not simply because the country is at war and they feel obliged to cover it now and again, but because these books offer vital insights into democracy, the fight for freedom, or the importance of maintaining unity and a sense of humor in times of crisis. I hope for a day when galleries will host exhibitions of Ukrainian art, not just because it was rescued from a war zone, but because the artists involved provide fresh perspectives on the world.

I also dream that we, the perpetually frustrated Ukraine specialists, will eventually be able to focus on our own scholarship and creativity rather than correcting the mistakes and misleading takes of others. This will happen when cultural institutions, publishing houses, universities, and newspapers acquire in-house experts whose knowledge of Ukraine and the wider region extends beyond Russia.

Dr Olesya Khromeychuk is a historian and writer. She is the author of The Death of a Soldier Told by His Sister (2022). Khromeychuk has written for The New York Times, The New York Review of Books, The Guardian, Der Spiegel, Prospect, and The New Statesman, and has delivered a TED talk on What the World Can Learn From Ukraine’s Fight for Democracy. She has taught the history of East-Central Europe at several British universities and is currently the Director of the Ukrainian Institute London.

[beneathsilverstars]

i do think it makes sense for isabeau and loop to kinda hate each other at first....

like loop tried to kill siffrin when he was already sick and weak. even though loop lost or decided not to go through with it, isabeau still witnessed the aftermath. and he's so protective!! yes loop is also siffrin but that makes it MORE of a betrayal. like if siffrin tried to kill mirabelle or smth yknow, it's fucked up for someone you love to attack someone you love. but maybe if it was actually siffrin he would find it easier to understand the weird situation and forgive them - but loop is a different person now, and they're a person who's mean to isa's siffrin!

and then on loop's side, you've obviously got the jealousy (isa likes siffrin, not me) and attempt to create distance (this isn't my isa, just a fake copy). but you've also got loop's feelings towards their own isa, which could be pretty complex at this point. kinda depends on your headcanons for exactly what loop's og timeline looked like, but. they could be mad that og!isa never tried to confess like new!isa did, was loop!sif not good enough? or they could be mad at themself for not realizing isa liked them in their own timeline even though he was being more obvious, like, i fucked it up worse than stardust did and this isa is just a constant reminder.

loop is just very upset about many things, and i think isa would make the next easiest target after siffrin, bc he's strong and kind - easier to lash out at than anxious mirabelle or young bonnie or intimidating odile. plus, since romance has more cultural precedence as a sharp dichotomy that leads to jealousy, it might be easier to channel their feelings through that simpler lens (isa will never cuddle me like that bc he's not dating me, and never will bc he already has sif) rather than the more nebulous concept of friendship jealousy with its wider range of possible conclusions (maybe mira would tell me secrets like that if i worked to become closer friends, but maybe she never would. oh god now i have to figure out what i actually want and what i'm willing to risk to reach for it). so it's easier for loop to focus on being mad about the more straightforward thing that they clearly can't have.

anyways what i'm saying is loop and isabeau keep glaring at each other over siffrin's head bc obviously they both sat next to him at the dinner table even though that regrettably means they're stuck being near each other.

[blueberry-lemon]

An introductory guide to getting into Sonic the Hedgehog...

…if you're a grown-ass adult who is busy and doesn't want to play a bunch of video games but thinks the characters look sorta cool.

If you've ever been curious about Sonic as a series but haven't known where to start, I have some recommendations! I think Sonic is a cool and still somewhat unique thing because it takes cartoony characters (like a Mickey Mouse or Felix the Cat) and lets them jump around in cool action sequences through the lens of a shonen anime. It's colorful and usually pretty light-hearted, and I think the character designs are pretty iconic.

There's two handy places you can start without prior context, to see if it's something you'd be into...

Getting Started: If You Wanna Read Something

The IDW Sonic Comics

There were years of different Sonic comics back in the '90s and early 2000's, but the franchise got a complete reboot and fresh start with IDW Publishing in 2018. If you're looking for the most straight-forward way to get into this world of characters, I think this is a great start. You don't need any prior knowledge whatsoever to crack open issue 1 and get started. All you need to know is "Sonic and his friends protect the world by fighting against an evil scientist named Dr. Eggman, who they just recently defeated after he briefly took over the world."

I love these comics and I feel that the writers and artists who work on it have a really good sense for this series. Reading issues 1 through 12 will get you the first major story arc. If you like it so far, I highly suggest reading up through issue 32, when another major story arc concludes. After that, the world's your oyster! Unlike the tangled web of Marvel or DC comics, IDW Sonic has a very simple and linear reading order. You pretty much just read the issues in order, and occasionally there are spinoff stories that are optional to read.

Getting Started: If You Wanna Watch Something

Sonic Mania Adventures

Maybe comics aren't your thing and you want something even quicker. These are a series of animated shorts that are lovely. Conveniently, they've been compiled together by Sega into one little video right here.

It's a great intro to some of the main characters, and combines cartoon slapstick with some amazing action sequences.

There's also a nice little epilogue short.

Sonic CD's intro cutscene

If I had to pick a single 1-and-a-half minute clip to embody what I like about this series, it would be this very simple intro movie that plays before Sonic CD. Check it out!

Sonic Origins/Sonic Origins Plus Cutscenes

In 2022, Sega released a compilation of the classic Genesis games on modern consoles. In it, they added a few animated cutscenes. You can watch those cutscenes, plus the Sonic CD intro and the Sonic Mania Adventures episodes, all compiled into one handy Youtube video.

Taking The Next Step: If You Wanna Read Something

The Archie Sonic Comics

You might have heard that Sonic had a comic series published by Archie Comics from 1992 to 2016. This was a vast, overarching series that wrote an original story by weaving together ideas from the different Sonic cartoons and games. It went through several different writers, many different artists, and obviously spanned over multiple eras of pop culture.

It's pretty cool! The fact that it was so long-running, and the fact that Sega wasn't very strict with what the writers could do, led to a lot of buckwild lore, new characters, and plot developments. That said, it's also pretty bizarre, complicated, corny, and cringey at times. There is a stretch in the middle that is pretty infamous among fans.

You have a few options for jumping in.

Option A: You can start at the very beginning and read all of it. If you do this, it is going to be like a One Piece / Homestuck / etc. kind of undertaking, and you're going to be pushing through the good and the bad of huge genre and tone shifts. That's your call!

Option B: You can brush up on the main characters on a wiki and then start at Issue 160, when Ian Flynn (who now does a lot of work on IDW Sonic) became the lead writer. More specifically, you can jump in at the start of a new story arc by starting at Issue 175.

Option C: You can start at Issue 252, when there is a universe-altering event that essentially retcons all of the characters and plot threads from the previous writers and starts completely fresh. Easier to keep track of and you won't have to worry about all the previous plot and lore.

If you want something you can read in a single sitting, you should instead read Sonic: Mega Drive, a short-lived miniseries published by Archie that follows "Classic Sonic" characters (aka, the same vibe and art style of Sonic Origins, Sonic Mania Adventures, etc.) It's really great!

Taking The Next Step: If You Wanna Watch Something

Sonic the Hedgehog (OVA) aka "Sonic the Hedgehog: The Movie" (1996)

This is, essentially, a 1-hour Sonic anime movie. You can watch it in Japanese or in English. I adore it. It makes up its own lore and continuity so you don't need to know anything before going in, besides generally knowing a one-sentence synopsis of who Sonic, Tails, and Dr. Robotnik are. It's action-packed, well-animated, and has great music. Enjoy! Sonic X If you're enjoying what you've seen so far, and you want something much, much longer...there's an official 78-episode anime adaptation of Sonic called Sonic X. It's an original story that loosely pulls together some ideas from a few of the games. It's mostly intended for a younger audience, but I hear if you watch it in the original uncut Japanese, it feels a little less "for kids."

Other Ways To Get Into Sonic

There's some great video essays on Youtube about the series!

Professional animator Dan Floyd did an in-depth video looking at the highs and lows of Sonic character animation in the games starting from Sonic 1 up through Sonic Forces.

Super Bunnyhop plays through the first level of a bunch of Sonic games to compare how the mechanics, physics, and level design feel throughout the games' history.

Liam Triforce has a great deep dive on the franchise's music.

You can play The Murder of Sonic the Hedgehog, a murder-mystery-party themed visual novel put out by Sega. It's nice and short, so you can finish it in an afternoon.

If you haven't seen them already, you can check out the live-action/animated hybrid films Sonic 1 and Sonic 2 featuring Ben Schwartz and Jim Carrey, they're pretty good. That Sonic Prime cartoon that's currently on Netflix is pretty good too.

This may sound strange, but honestly you might enjoy poring over the sprite sheets from the old games. In particular, I really like the sprite animations from the GBA games, like Sonic Advance and Sonic Battle.

Sega is pretty lax about allowing noncommercial fan games, so there's at least a hundred different Sonic fan games out there by hobbyist developers. Check out the Sonic Amateur Games Expo and the Sonic Fan Games HQ.

You can watch LPs or cutscene compilations of the games on Youtube! If you watch Sonic Adventure, Sonic Adventure 2, and Sonic Heroes, you'll get a crash course on most of the characters.

And finally, of course...you can play the games if you want to! There's a number of them that are available on Steam, Switch, Xbox, and Playstation if you don't have access to older consoles.

There's a lot of different angles to come at Sonic as a franchise, and lots of different entry points. Have fun!

[thelongestway]

hey no shade but you know dungeon meshi isn't actually based off dnd right? there are definitely some overlapping concepts and it can be fun to analyze it through a dnd lens but really it's its own homebrew fantasy setting. just checking bc i nearly got in an argument w someone over dungeon meshi lore the other day only to realize it was because they were trying to apply dnd lore to it ahahaa

Oh yeah, absolutely, it's its own thing. You don't even have to go far to show how it's its own thing: for one, the whole set-up with the dungeons being what they are isn't found anywhere else in D&D-inspired material that I know. You could maybe reflavor Halaster's Undermountain to something like the Dungeon Meshi dungeons, but that would be another layer of homebrew. That said, I do have the feeling that Ryoko Kui grew up on the same kind of D&D material that I did - stuff like Elminster's Ecologies, or old school Greyhawk materials. Her story genuinely feels like an AD&D game run by an old-school DM, maybe even earlier in the editions (hi, Chilchuck and "I'm a rogue, I'm not gonna fight"!). I don't mean that she follows D&D canon in any meaningful sense--her stuff isn't set in Greyhawk, nor on Abeir-Toril, nor on Krynn, etc. But I do think she's someone who's inspired by old school stuff, even as she makes her work thoroughly her own.

An acquaintance of mine once wrote that long tabletop games gain a quality that she called "being well-trod". This is when the players and DM are so familiar with the world they live in that it becomes, well, lived-in. They don't need to look up rules anymore to extrapolate: they understand the logic of the setting, and they get the same kind of intuitive feel for the world that we do when living in our own world, in real life. A feeling of where the boundaries lie, and how things work.

This is how I feel about Dungeon Meshi and D&D. It feels like a work written by someone who walked the same paths that I did, and whose work is therefore both new and startlingly familiar. That's it in a nutshell, but then I also wrote a bunch of examples, which got very long, so cut for length and spoilers!

I wrote somewhere in the tags on my Dungeon Meshi posts that it's incredibly surreal reading a story that seems to be informed by the exact materials that you base your own homebrew games on. Kui takes her work in a wholly different direction than I did - but the disparate elements of the story would fit in like a glove, because they're based on similar logic. I could quite literally take any of the ecologies elements of Dungeon Meshi and put them into a given module I'm running, and it would need less adaptation than 5e material. And most of the cultural/racial elements of Dungeon Meshi? That, too. Where it's not a one for one match, it would so easily be explainable by "different continent".

Let's take the example you're probably here from: the Canaries and elves in general, and let's take elves in general first. In D&D, there's been a switch in models of elven aging throughout the years: from "they are literal babies up until 60-ish, and then have 40 years of actual adolescence" to "yeah they grow to full adult size at about the same speed as the other races, and are then just culturally considered too young to make their own decisions". I am decidedly not a fan of the second model - I think it takes away from the cool biologies early D&D thrived on. BG3's treatment of Astarion's age of death, for instance, keeps throwing me. Yeah, I get it: it fits in with the edition they're working off, but I hate it. That's not how things work on our Faerun! But then we get to Marcille's backstory, and we see that she has the problems old school half-elves did, and you're like "oh, well of course someone invested in weird cool biology as an author would interpret elves like that." Her treatment of age makes sense to me. She makes the races as alien as possible, and hits that vibe of "D&D-style fantasy is its own thing, with its own set of rules" that I love. In contrast, and unlike any prototypes I know, Kui takes her half-foots in a different direction! They don't live longer than tall-men, they live shorter lives, closer to goblinoids. And I think it's for the same reason: because it's that much cooler to have different experiences of life in humanoid races. This is decidedly Not D&D, but it would absolutely fit into that vein.

With smaller details, I keep joking around here that the Canaries are grey elves, and of course they're not. But then Kui keeps putting in these tiny little details - which can be either nods to existing material, or the same extrapolations that other authors drawing upon high fantasy tropes have made. The white ships that have travelled all the way from Tolkien's Valinor to Evermeet and now to Shima. The fact that the Canaries have basically the right color scheme for grey elves threw me completely: I was not expecting that! Elves being that specific brand of destructive that they are - jeez, the Canaries would be right at home in Myth Drannor, or during the Crown Wars. So I joke around about these specific dolts a lot, and I am having an inordinate amount of fun seeing if my predictions that come from running a Myth Drannor game for a good long while now come true. And it goes on. Marcille doesn't prepare spells, and the magic here is obviously not Vancian. But Mithrun's teleport shenanigans are literally stuff I've done in games. The differences between races in D&D aren't because of wishes made by mortals; they're built in by gods for their own purposes. But the towns that spring up around anomalous spots and that have to deal with the weirdness have the same vibe. Kui draws on a more extensive tradition than just D&D, of course, but she transforms the tradition in a very similar way to old D&D. Of course the elves' magic in Kui's work does weird and creepy stuff with soulbinding and immortality; that's been their dark side since Tolkien and Celebrimbor's work with Annatar, and then it turned into stuff like elves regularly sacrificing their lives in high magic rituals in Faerun. Of course Senshi's backstory is about the dwarves that have dug too deep - but they are, of course, distinct from gnomes, and the gnomes are a peculiar and interesting breed of arcana specialists. Of course Chilchuck is a Burglar - but he works on dungeon delving unions, of all things! It's a familiar transformation, so the world makes sense to me, and I love it. So yeah. Tl;dr: not D&D ofc, but the vibe is there, and I am having fun with it.

Also - can you tell me about the argument? I am super curious, and I wonder if the person you were arguing with was working from 5e material.

[chanchanchanko]

AUGH dungeon meshi thoughts...

like marcilles experience with being a half elf and my experience as half japanese it just like.... hit in a way i didnt know it could hit like

the age thing???? I visibly did not age in the same way as my peers -- i was infantilized and over sexualized at the same time -- i was told that i looked desirable now but i would age terribly because i was half. or that my features were just a fad and not the beauty of a 'real' japanese person. my peers saw me as a freak and i threw myself into my studies.

i have wanted so badly for people to know and understand my cultural experience. i see why marcielles wish was so alluring like. i dont 'hide' my identity its just that ppl dont understand bc its a very specific experience to grow up in the way i did. and its like, why do i have to live so isolated. not even through the lens of hardship but like just a shared culture: an unspoken understanding of the shape of the world and the flow of the seasons.

i remember thinking a lot when i was younger: why do i have to meet everyone where they are, why cant i have someone who walks with me -- every half person i met, its like we both have a moment of oh someone gets it. i think being half, especially half in japan and america, gives you a particular insight to the way people relate to one another

and UGH the way marcille wants these soft, kind things. she wants a do over. she wants to be innocent and oblivious. but she feels so responsible because it feels like shes the only one who can See. Dungeon meshi does such a great job of empathizing with this loneliness and pain while also showing you that this isolated thinking is a trap. very blessed to have my own autistic adventuring group haha

[alliepretends]

Since I posted one of my Dimension 20 hot takes, and didn't literally explode. I think I'll post the other one that really matters to me.

The discourse around aroace Riz is really hard for me. And I find it really hard to be empathic toward people who think about it differently than I do. And I think it's important to put that lack of empathy in context. Fandom (and by this I mean the broader fandom culture, not D20 fandom specifically) has generally been an extremely hostile space for aromantic people. Shipping is the central pillar of fandom engagement and dialogue. And a romantic lens is typically the very first lens applied to the source material when it is brought into fandom spaces. By that I don't just mean it's what people think about first, I mean analysis tends to pass first through the lens of romance, and then only things the romantic lens can't lay claim to are left for other kinds of analysis. Even for aromantic people like me, who very much enjoy romance when it exists in the realm of fiction, it's hard not to feel like there's a message in that. "Characters, and the fiction they exist in, are only valuable when seen through the lens of romance. Regardless of the genre of the source material. That's because romance is unquestionably the most important and defining feature of life. Unless it's sex." This can get pretty extreme if you become a fan of something with an especially strong central ship (like a Supernatural), where it can feel like literally all analysis of any aspect of the work has to tie back to the ship. In my experience, the sub-culture of fandom, for all its trappings of queer acceptance, is far more arophobic and aro-hostile than any other culture or sub-culture I participate in. Not because fans are actively making anti-aro posts or hate aro people, but because romance is elevated as the primary element of human experience. The only one really worth talking about and exploring. The only one worth writing fics about or dedicating massive posts to. It is worth noting that the Dimension 20 fandom (and, based on my experience, actual play in general) seems to be less romance-focused than other fandoms. There's lots of gen fic. There's lots of discussion that doesn't focus on romance. But that doesn't mean the Dimension 20 fandom somehow exists separately from overall fandom culture. The baggage of that larger culture still informs this fandom.

And that's why the way Riz gets talked about feels like such a slap in the face. He is the first example I (and I expect many others) have encountered of a heavily-coded aromantic character popular with fandom. And yet, that hasn't freed him from the fandom scramble to read him through the lens of romance. I'll admit to being a bit of an extremist on this. I know that for many aromantic people having a single qpr that fills many of the needs of romance is really an important part of their experience. Many of my aromantic/aspec friends feel this way. But I don't even like qpr Fabriz. Because even though that is an authentic and important part of aromanticism to represent. With a character like Riz, whose fears are explicitly based around the lack of access he has to coupledom, qpr Riz still feels like an attempt by romance-oriented fandom to jam the first aromantic character the sub-culture gets its hands on into something that looks enough like traditional coupledom that no one has to change their romance-oriented outlook. The myth of the OTP can live on if you just change some of the verbiage. I know there are arospec people that would also feel excluded if fandom fell in line with my perspective and kept Riz as far away as possible from anything resembling romance. I don't actually know what the right solution to these problems is. We got thrown one bone and there's a bit of a desire to fight over it (Wikipedia's list of aromantic characters has 18 characters, and while that's not all of them, it's a decent percentage). But I did want to put this out in the world. Because I feel like there's a lot of context and baggage missing from this discourse. And all I really want is to have fandom still be able to treat an aromantic character as valuable even when they can't neatly pair him off

[crazycatsiren]

To understand mythologies, myths, folklores, folk tales, you kind of have to try to look at them through the eyes of those who lived and breathed during the eras when they were written, in the places where they were told and retold and passed down the generations.

You kind of have to learn how people lived and worked back then and where they were, how societies were structured and maintained, how cultures were made and kept, how things were in those time periods and how they impacted and influenced folks' ways of living and thinking.

If you only ever see them through a 21st century first world lens, I guarantee you, it just ain't gonna work.

[susandsnell]

I LOVE YOUR POINTS ON THE EVER AFTER POST. YES YES YES.

Thank you so much friend! I am alas a person who forever has a lot of Fairy Tale And Folklore Thoughts™️ equally coupled with my feminist lens, and I find a lot of analysis tends to go into the black and white instead of accepting stories as reflections of cultural worldviews within the time/place from which they originate, for better and for worse, and that value can be gleaned as well as criticism can be made. Anyone who follows me knows I have a bee in my bonnet about the Let Women [in period pieces] Be Unapologetically Feminine brigade and their angry insistence that any feminist lens or challenging of the social mores of a period piece, classic, or otherwise historical work is anachronistic, and Actually We Loved Being Oppressed And Didn't Know To Complain And Nonconforming People Were Freaks and I do feel this way in my approach to fairy tales as well.

If you don't mind me getting a bit controversial, this is why the liberal feminist side of the backlash to Rachel Zegler's Snow White comments about her being afforded more agency and interiority than a film written nearly 100 years ago by white American men adapting a centuries-old fairy tale (the racist chuds were to be expected) was so disingenuous and disheartening. "why isn't it Empowering if a female character is kind and sweet and feminine despite her suffering and Lets Herself Be Rescued" do you hear yourself!!! that's what patriarchy still expects/demands of us!! While generic Girlbossing of fairy tales is annoying (and can have the subtext of victim blaming of the "why didn't you fight back" variety), it's not much better to be Ashamed Women Are So Simple and Actually The Men Were Right To Tell Us What To Do.

Perreault's (and to a lesser extent, Grimm's) Cinderella has a psychologically realistic response to abuse that a real person should never be shamed for, but likewise, she is a fictional figure meant to instruct (in the former case) upper class young ladies in pre-Revolutionary France that passivity is the peak of femininity, and it will be rewarded handsomely with a reprieve from mistreatment, as You Have Succeeded At Your Gender Role.

This isn't to say there isn't value in validating that Cinderella's response, but ideally there is just as much a place for Danielle punching her wicked stepsister in the face and pulling a sword on a libertine nobleman, as much space for Vasilisa the Beautiful to consort with Baba Yaga and (knowingly or unknowingly, it's unclear) burn her wicked stepfamily alive with witchfire and win her place in court through her talent at weaving, as there is for Branagh's Cinderella to, with quiet dignity, use forgiveness as a means to release the hold her abusers have on her to move forward to the happy life she's always deserved. Because even in the latter case, again a continuation of Perreault and Disney, the focus isn't on Cinderella's Moral Womanly Correctness, but on what's good for her, what helps Ella heal, and what a happily ever after looks like for Ella.

And that's the important thing - not whether or not Cinderella waves a sword or bows her head, but that the focus is on her interiority and agency, and not assigning a higher moral value to her response to abuse as The Correct Response, whatever such a response may be.

[newwillinium]

The Great Khans and the Tribes of Zion/Honest Hearts

So I noticed this a few nights ago when I was trying to decide what route to go for my newest Fallout New Vegas character, and I noted something that I don't think many people have really ever clicked on.

-][-

The Great Khans, in Fallout New Vegas, are written as stand-ins for Native Americans.

Hear me out.

They are a people who have been pushed east out of their ancestral homelands time and time again, later finding a home for themselves in the Mojave. They warred with other native tribes, Mr House and what would become the Families, and then later were subject to a brutal attack on their civilians which led them to be stuck on land that was their own but was sparse in resources and are unable to meaningfully fight back against the rising Imperialistic powers of Mr House and the NCR (President Aaron Kimball later referencing and using the same "Sea to Shining Sea" rhetoric as the United States did during the Great Western Expansion, at Hoover Dam).

But what really clicked this for me was that, in the NCR ending where the Great Khans ally with the New California Republic, they are once more kicked off of their land and are sent off to a far off distant Reservation.

After the Second Battle of Hoover Dam, the Great Khans returned for a time to Red Rock Canyon. The NCR's pressing need to expand proved greater than its promise of amnesty, and before long the government decided the Khans had to go. The surviving Great Khans were relocated to an isolated, barren reservation, well north of NCR trade routes

Sounds really familiar right?

And looking at the Great Khans within this context, really reframes the context of their raiding and deep bitter anger that the Elder Khans like Papa Khan and Oscar have against the NCR.

Colonization is an ugly brutal thing, and it is also a complex one.

Like the Great Khans in New Vegas, many Native American tribes ending up raiding American citizens as a way to fight back, to strike against a rising imperialistic threat that was eager and willing to grind them against their heel, to kill their culture and bring all under the American Empire.

They fought, raided, begged, pleaded, sent letters to congress, lobbied Congress and the President and the Director of Indian Affairs, even as the infinitely more wealthy and powerful United States (even just off of the weary years of Civil War) did little to nothing to step the Westward push and actively allowed it's military to perform as it may on and off orders to get the natives off of land that had once been promised to them but was now deemed too valuable for a mere treaty to hold any sway.

And to bring this back to the actual conversation I want to have, is that I wanted to state this realization of mind in order to contrast it with another example from the exact same game.

The Dead Horses, Sorrows, and White-Legs of Honest Hearts.

Where as the Great Khans are treated with a kind of weary respect, of a people crushed beneath the wheels of a infinitely more powerful empire, struggling to find hope in a FUTURE for their people and culture, the Dead Horses and Sorrows and White-Legs are. . .honestly written with far less respect in my eyes.

The Sorrows are being actively converted by a White Savior in Daniel, who sees it as his burden to show these "innocent savages" the true faith and demands that they give up their home so that they are not "tainted" by the harshness of reality. Where they have no other visible leaders then this Foreign Priest calling their faith and interpretation of his teachings through their own cultural lens as wrong-headed.

Where Joshua Graham, the butcher who helped Caesar commit cultural genocide on dozens of tribes alone, is elected War Leader by the Dead Horses and in some endings becomes worshiped by them. Even he warns Follows-Chalk to stay in Zion lest he be corrupted by the dangers of the wider wasteland.

Now you sound like Joshua. He always tells me the tribal life is better, that I should stay here and forget the outside world.

And the White-Legs are treated as nothing but a people wholly existing of hate that deserve to be destroyed because they have been fooled by Ulysses and Caesar. Never humanized, never given a chance to learn the truth for themselves, they are written and treated almost like generic Orcs in many fantasy settings. No matter what this tribe and people are consigned to doom and slaughter.

-][-

And I say all this because I find it deeply weird how disparate these ideas and depictions are between the main game of New Vegas and it's Honest Hearts DLC.

Why are the Great Khans given so much dignity and pathos, when the Honest Hearts tribes feel almost like caricatures?

Why is Honest Hearts the way it is? And why is the writing so disparate between the two sections of the game?

[velvetures]

May I RQ a reader who is trying to learn their language to help them feel more comfortable, but feels insecure due to them not really being fluent? They mispronounce and misuse the slangs in context, but hopes they can make the boys see the effort they are trying to go through for them.

Lessons In Miscommunication

A/N: Hi doll, I hope you don't mind me using König for this one. I've got a lot of experience with Spanish irl, but that's not super applicable here, haha. To anyone who's German... please forgive me. 🤍 Summary: You're on comms during a mission getting a small lesson in König's language while waiting for your next orders from HQ. Things get complicated, and there's a language and culture barrier that makes things... challenging. T/W: canonical warfare, cursing, non-fluent use of German, flirting, feelings, and some other stuff probably. Not proofread, as always.

To put it simply, you didn't expect just how difficult it would be to learn a new language in your twenties. Sure the science spoke to the provable trouble you would have compared to a much younger version of yourself, but for all meaningful purposes, you really didn't think it would be this nuanced. And while Spanish, French, and other languages were of great importance, there wasn't anyone who could teach you those. The one person around was König, and he spoke German.

When you'd approached the topic nearly eight months ago, he'd been honestly shocked and surprised that you'd come to him in the first place and secondly that you thought he would be a good teacher. He was often thought of as reliable as a Colonel, but giving you suitable enough tutoring in German to be conversational was nothing short of uncharted territory for the pair of you. This made for very interesting moments in and outside of missions as well as a few times where it would've been better if you'd used an online app or something to keep from unintentionally embarrassing yourself.

Posted almost two miles away from the Colonel on a rocky outcropping overlooking a small encampment of a radical terrorist group, you laid on the hillside with a rifle and radio trying to pass the time between now and when you'd get the call to secure the site. The men and women down below were only one small stop-off point for a far larger caravan of armored trucks and a few tanks carrying supplies and weaponry toward the closest city of Almazra. It was a threat that couldn't come to fruition if the buildings and people still living there were to be left standing by the end of the week.

On the other end of the two-mile distance was König and a selected squad of men who were waiting just as impatiently as you were to not only get this mission over with but to get out of the damn desert heat. For security's sake, you knew you should be keeping the airways clear for any kind of information about the insurgent's movements, but König had insisted that this would be a perfect opportunity for you to get some practice in without losing focus of the task at hand. Your job at the moment was to keep eyes on the encampment through the lens of your sniper rifle and report anything that looked to be of importance.

König's definition of what was important could be easily debatable, yet it did ensure that you could make simple connections between real-world objects and the German words or phrases that matched. Whether or not the Colonel realized it or not, both of you had slightly gotten off the target of what you were supposed to be talking about and wandered into the more... personal aspects of things. Specifically just how bad you wanted to be home after nearly a full month away from American soil and your personal home.

"Ich habe für immer Fernweh," Your accent was certainly progressing, at least in the Colonel's mind, but he wasn't quite sure exactly what you meant by that.

"Was meinst du damit? Kannst du es dieses Mal auf Englisch sagen?"

His voice sounded a little confused and more than a tinge humored at the way you'd sounded so... formal. Even diplomatic to a degree. It was one of the more difficult parts of teaching you. Dialects, slang, and even simple English-to-German translations didn't always have a very direct or clear answer. Often it meant that you would say something with full intention and innocent honesty, and König would have to keep himself from chuckling. Most of the men he worked alongside didn't speak for one reason or another, so getting to hear at least one person -especially you- made the near and far miscommunication more than worth the effort.

Looking through your scope at a group of five sitting around a small fire, you sigh a bit, trying to think of how to explain yourself.

"I meant I'm feeling homesick," You mutter a little more quietly than necessary, almost as if saying it in English was broadcasting your secret while German somehow kept it from being found out. "What did you hear me say?"

König chuckled, his laugh vibrating in the speakers of your comm quite nicely. "You said you have wanderlust forever," You could hear him smiling from the other end. "It's okay, sometimes the words don't always mean exactly what you think they do. I had the same problem when I learned English." For a moment he paused, laughing softly again. "I still can't say Squirrel... properly."

"Vielleicht habe ich doch Lust auf etwas..." You mutter a bit frustrated and somewhat skarkily under your breath, making a small jab at wordplay not thinking that König could hear you over the radio or that he'd be more shocked to hear you say such a thing.

The radio stays silent for a long few minutes, almost tricking you into believing that you'd been safe in making your comment under your breath without any audible witnesses. Only on the other end, the Colonel was struggling between the actual meaning behind your words, the way it sounded so damn sexy... and how he was supposed to actually answer you without sounding too affected by something as simple as your voice.

"Se-Sergeant..." His voice sounded a little weak, much in the same way it did when he was in an uncomfortable social situation. "What did you just say?"

Instantly your body tensed up from fingers to toes and you felt a shock of heat roll through you. König heard you. Right away you assumed by the growl in his question that you were going to be in for some kind of punishment. Maybe even a good ass-chewing in front of the rest of the squad for saying something so easily considered lewd and totally unprofessional to utter in the presence of a superior officer. Your best bet was apologizing, and hoping he'd just let it go...

"I'm sorry, I was just frustrated and-"

His voice deepens over the radio, almost like he's got it pressed right up against his mouth. "Say it again." The command felt heavy in your stomach. "Now."

You repeated the phrase, staring through the lens of your scope with bated breath. waiting to hear what the Colonel would say in response. And the last thing you expected was to hear an almost pained sort of growling sound vibrating in your ears. It made you shiver and despite König being almost two miles away, it felt like he was breathing down your neck.

"Du klingst so hübsch, wenn du das sagst..." A noticeable static over the radio took your attention, but when it didn't get worse you had the mental capacity to translate what König said word by word until you had the full sentence running through your head.

The time between his praise and your response was nearly indistinguishable between seconds and years. Had it not been for you watching your targets moving in real-time through your scope, you would've thought the whole world had come to a stuttering halt in anticipation of your response. Yet it seemed that the world still had to do other important things which included bringing the key turning point of this mission right to your front door with the sudden sound of an approaching squad tailing the convoy of insurgents giving information and callouts for how to proceed forward. Of those, orders for König and his men to begin working down the side of the mountain to intercept the meeting of the convoy and the small ground sitting in tents around a high-burning fire.

"Ich werde später herausfinden, wie hübsch man klingen kann, wenn man schmutzige Dinge auf Deutsch sagt." The Colonel's voice growled lowly, almost threatening in a sense.

There was no telling what would happen after the mission ended and there wasn't a threat of being shot or failing to secure Almazra. What you could count on was König finding you and testing out his theory of all the things you could say in his language they may or may not have been provocative - on purpose or not. Something in your body shivered in delightful nervousness and anticipation of just how he planned on getting that kind of information out of you. A couple of ideas swirled in your mind, but the movement of the incoming convoy didn't allow you the luxury of daydreaming about your Colonel or how your mistaken words and German lessons had landed you here.

Comments and Reblogs are Always Helpful <3

[canichangemyblogname]

@trans-buckleyy (this is my main), I got into watching 911 ~September 2022 and looking back through some of my old message/posts about it I was talking about how the gifs I'd seen on tumblr made me think buddie were together. So yeah I definitely got 'baited'/misled by the fans (I didn't start watching for buddie specifically, they just came up on my dash the most) - I commented at the time that a lot of the posts on tumblr about 911 felt like they were only through the lens of buddie shippers so I can see how so many people were misled, fortunately for me the illusion shattered as soon as I actually started watching the show. Though there's been a massive shift in attitude, when I first joined the fandom most people were happy shipping buddie and not believing it would ever become canon, now it seems like everyone has convinced themselves it will. Imo they're kind of setting themselves up for disappointment.

I’m sure I’ve said this before on my blog: capitalism combined with the white supremacist suppression, homogenization, or sterilization of cultures & traditions leads people to make consumption and products part of their identity. Fiction and fandom fill a need to belong that often replace real support systems and community (this is why so many in fandom feel lonely). Rather than a hobby, fandom is part of some people’s identity. So, pushback against popular fan interpretations— or fanon— can feel like a personal attack.

It seems to me that the blogs that just do fandom things to do fandom things—like shipping, that are happy to delineate between canon and fanon, and that understand that fanon is fanon and will likely never go canon are also the same blogs that love things like “rare-pairs” and “multi-shipping.” They seem to approach it from a “it’s never that serious” mentality and really just seem to want to have fun with it. It’s a hobby, not part of how they define themselves. Hobbies and interests are welcome to change, whereas people see identity as fixed and deterministic (it’s not, but that’s a whole other discussion).

There’s been a massive shift in attitude because the landscape has changed. Many of the most hard-core fans have staked their group belonging and (fandom) worldview around buddie. It was *the* singular 9-1-1 fanon relationship (the rest are all canon). It brought them together with people, people who they now see celebrating more on-screen queer representation. They feel spurned. Videos are surfacing of some of the most hard-core sobbing over Buck being confirmed as bi, but not getting buddie. They're telling their audience/followers that if buddie never goes canon, their quality of life will decrease, and they’re repeating many of the same things you (and many other fans) mention: they were led to believe this was a done deal, a foregone conclusion. How does one admit they’re likely wrong about “endgame” when they’ve spent the better part of 6 years supporting this and believing in it? They’re having far more difficulty accepting this than you did. Unlike you, actually watching the show did not set their expectations for what canon will likely be.

I also think there has been a massive shift in the way fandoms approach shipping since the end of Supernatural. A good chunk of the SPN fandom simply stopped watching the show, but continued creating for it. The fandom still dominates on fan-driven sites despite the show now being off-air for 4 years. Many SPN fans had largely given up on canon, preferring fanon, and admitted as such. Until “Destiel” went “canon.” (It didn’t, not really and not technically.) People shifted to this idea that they— the fans— could pressure networks and producers to canonize their ship (they can’t) or make decisions the fandom, a very niche part of an audience, would prefer (they can't). After Buck was confirmed bi, some of the most popular takes were, “This is revolutionary! Just 4 years ago, Supernatural was queerbaiting us all to superhell, and now we have 9-1-1 making a character bi 7 seasons in."

Ultimately, this idea they can pressure shows into making fanon a reality reveals that they have no concept of how television shows are made and produced or how decisions are made at the production and network levels. They are not going to persuade a network plus every writer, every producer, and every showrunner involved to agree to do what they want. But we still see fans in fandom believe they can get all these people to make decisions for the sake of fandom. Just look at the Our Flag Means Death fandom and their billboard fiascos.

Because buddie is part of how this subset of 9-1-1 fans define their sense of belonging, if Buck is in a relationship with anyone other than Eddie, this threatens their community and their relationship with the media itself. Tommy is to these 9-1-1 fans what Eddie was to Buck in 02x01: competition. This is why this same group treated the actresses who played former love interests like shit, too, including death threats and attempts to doxx or "cancel" them. Everything that challenges their (fandom) worldview must be removed. They can't and won't get the network to budge, so maybe they can try to get the actors themselves to quit or the producers to budge. After all, they have "direct" access to these individuals (they don't).

This all seems fantastical just writing about it. The logic doesn't logic, but logic isn't going to logic when social media creates parasocial relationships. Social media makes it seem like we plebians are closer to the patrician class because of how we're exposed to personal aspects of their lives. Repeated exposure to a media persona causes a media user to develop illusions of intimacy, friendship, and identification, and the more prevalent social media is in the media user's life, the more parasocial the online relationship becomes. So if your belonging and part of your sense-of-self identify with being a buddie shipper, then so, too, does the media persona, leading to people like Oliver Stark or Tim Minear being "number one buddie defenders" (they don’t care, y'all, I promise).

Now, add to this the way that m/m shipping has been constructed as inherently subversive (despite the reductive and sometimes regressive tropes that slash-fic uses) and as a form of activism, and you now have people not just identifying with shipping and staking their well-being on a ship, but also believing it is a morally righteous cause to campaign for. To them, they're fighting for representation and the expansion of queer stories. So, when the network and show expand queer representation without them or their ship, they're confronted with the reality that what they're doing doesn't do a damn bit of help. They're forced to ask themselves if their feverish promotion of and support for this ship may not have been about representation. I've seen some of them conclude that 1.) being forced to look critically at shipping is just misogyny because the majority of people in these fandom spaces are women, 2.) they're a queer woman, so, of course, it was about representation, they support and care about queer men and are an m/m ally (yet reblog posts about shooting us if we flirt with men in ways they don't like with the excuse "I'm a woman, I'm allowed to hate men"), 3.) actually, the buddie ship is "superior" representation because it is culturally diverse because Eddie's Latino (yea tokenization!!).

This all plays a large part in why they aren't taking it well when called out for homophobia and the xenophobic hypersexualization of Latino men because, to them, shipping culturally diverse m/m relationships is inherently "progressive" and "subversive" (again, despite the reductive and regressive tropes they use in their writing). They don't need to look critically at what they're saying or how they're hurting marginalized men because they believe they are putting moral pressure on the networks to be more progressive or subversive. Meanwhile, they're drawing rhetoric and ideas from existing queerphobic worldviews and legal structures (like echoing the rhetoric similar to gay panic, a US legal strategy to excuse crimes such as murder and assault on the grounds that the victim being queer led the perp to violence - a.k.a shooting a man for the way he flirted with another man) to tear down canon queer representation, just as they previously used misogynistic tropes to tear down Ana or Taylor or Ali or Marisol.

TL;DR— Many factors have contributed to the wide meltdown and "fandom schism" we've witnessed, not just the fact that some people explicitly started watching for buddie and have skipped whole swaths of the show to fit a "buddie interpretation."

[a-goumang-ripoff]

My Thoughts on the Character Writing of Nine Sols

Alright, it's finally time to autistically rant on this account to my heart's content because HOLY FUCK I LOVE NINE SOLS!!! It has such amazing gameplay, and I don't think I could ever forget the Lady Ethereal fight in my life, easily one of my favorite bosses ever (and I love how she's written but that's a rant for another day).

I think my favorite thing about Nine Sols is the fact that it's such a densely packed game where literally everywhere you look you can find some kind of underlying message, even in small areas. And every Sol has its own underlying message and you bet your ass you'll be seeing rants from me on probably every one of them eventually.

For now though I'm sticking with rambling about the general writing of the game because I love it but also hate it sometimes and I love this game so much that I need to rant about how much the parts I despise piss me off. Before I start ranting off though, I should preface with this: if you aren't aware, RedCandleGames is a Taiwanese game company whose previous game, Detention, contained an easter egg which mocked a member of the CCP, I think it is safe to say that Nine Sols can easily be interpreted as a massive hate letter to China wrapped up in a beautifully gruesome story with amazing gameplay.

This isn't something that screamed out to me when I first played, but I had a suspicion something like this might pop up because of the storyline with the humans, they're shown to be livestock to these Solarians with only Lady Ethereal objecting to them being harvested for their brains (and eventually Yi but it was also his idea). They're treated as lesser beings, subhuman if you will, that are feared, hated, and stereotyped, but shown by the game to not warrant any of that treatment and be entirely capable people. Something was going on but I was quite unsure what it was.

It wasn't until the Fengs, who I fought after Ji, that it really set in what a lot of these messages I've been noticing could be about. I am very well viewing all of this through a specific lens and I don't think I'm right about everything but I am certain to say that the Fengs are absolutely a hate letter to Chinese nobility, between the Fengs' lack of care about anything besides profit/entertainment and the fact that Nuwa has clearly endured the horrors of foot binding (mishappen feet + entirely unable to walk) while still being a spoiled brat, not to mention the incest.

Everything after that kind of fell into place, it's not all about Chinese culture and government, but things definitely started falling into place when I started thinking back on everything. It started to make sense why they made Goumang a fascist who quite literally owns slaves before giving her easily the most disturbing fate in the entire game.

I do really love Nine Sols for all these little messages, but I also feel like sometimes they entirely give up on writing a unique character in order to send a message with them. Yanlao, Goumang, Jiequan, Nuwa, and Eigong are all very basic tropes that either lack deeper character, or their deeper character motivations don't seem to line up with their character.

And what do I think these characters all have in common? They're all being used to send a message about culture and/or government. Yanlao's demand for respect and power just because he's old, Goumang's fascist ideologies, Jiequan's dynastic bloodline, Nuwa's wealthy apathy, and Eigong's drive for immortality and tendency to lie or bend the truth. It feels like their characters were made secondary to the message they were attempting to send. I can say this about Yi as well, he's a very typical edgy protagonist trope I see a lot in East Asian media, though his character development is really well written so I can overlook that.

Another thing I've noticed is that the characters I think aren't sending as strong of messages, or at least not messages geared towards criticisms of government and aspects of East Asian culture, seem to be a lot more well written, and a lot of the stuff I've seen in the Nine Sols community confirms that. People tend to love Ji and Lady Ethereal and enjoy Kuafu. Ji and Lady Ethereal are so amazingly written in my opinion, maybe it is just that I relate to them a bit too much, I just feel like their stories are really enjoyable and make you feel something other than "what the fuck just happened." Kuafu I feel is just inoffensively written, he's not super tropey, but he's not amazingly written either, so he's kind of just this inbetween spot that makes him enjoyable.

Also note that I haven't talked about any of the non-sol characters, most of them I have not thought about nearly as hard (except Heng but I will break down and sob if I ever try to talk about her in length lmao) and thus don't feel like I can safely comment on them with the same confidence as I've had for the sols.

I am not saying that RedCandleGames should've forgone writing the messages into their characters that they did write, I just feel like there could be more effort put into the actual characters themselves and going about these messages in different ways to majorly improve the experience of this game, not that it isn't already amazing. Well now that that's out of my system, I'm probably gonna be making more rants about different parts of Nine Sols because I love this game and I also enjoy ranting about the parts I dislike lmao, easily one of my favorite games ever.