#does it still count since its still indigenous?

[cyanidesurpryse]

as a gay indigenous man, i have now declared myself the ceo of olrox and none of yall can stop me. sorry but it is what it is.

#castlevania netflix #castlevania nocturne #netflix castlevania #castlevania #olrox #i want to cosplay him really badly and i prob will #my only concern is that im a lightskinned indigenous person #and i dont want someone to think im a white person appropriating him #also im not aztec im native american #does it still count since its still indigenous?

[nochd]

I haven't said anything about the Gaza situation mainly because you should be listening to people who know more about it than I do. But it's becoming apparent that this is one of those issues where people who do have personal stakes in the matter are finding it difficult to know who they can trust.

So here's what I do know about Gaza, Israel, and Palestine. I'm not going to talk any more than I can help about what I don't know. And -- let me make this super clear -- people commenting on social media, including here, to make factual claims intended to draw me to their side and treat some other category of people as my enemies, does not count as a change in my state of knowledge.

The Israeli state right now is attempting to wipe the Palestinian population of Gaza off the map. This is called genocide.

On 7 October, Hamas publicly attacked civilian targets in a manner calculated to cause widespread fear and panic. This is called terrorism.

Nothing justifies either of these actions, not even each other. The killing of innocent people is never justified by their being of the same ethnicity or nationality as some other person who is guilty of an atrocity.

Even if an innocent person benefits in some fashion from atrocities committed by another person -- as one could argue that the citizenry of a colonizer state do -- that doesn't justify violence against them. At most they might reasonably be asked to contribute to some kind of reparations.

Jews and Palestinians can both reasonably be described as indigenous to the land.

In terms of the Israeli state's actions towards the Palestinian people, and the benefits it thereby accrues, it is to all practical intents and purposes a colonizer state.

If you think the previous point justifies terror attacks on Israeli civilians, and you're a white person living in the US or Australia or Canada or South Africa or Aotearoa... then boy oh boy do I have news for you.

Most Israelis have nowhere else to go. Israel might accept Jewish immigrants without requiring them to renounce their previous citizenship, but that's because so often that previous citizenship is revoked or cancelled or at least made non-viable by their former country.

Fascist groups in the West hate both Jews and Muslims and are happy to spread hateful misinformation about either under the guise of standing up against atrocities. They are smart enough, much as we might wish otherwise, to infiltrate leftist communities if we are not vigilant.

Violent attacks on Jewish communities around the world have gone up by over an order of magnitude since October.

Most Jews, including Israeli Jews, oppose what Israel is doing in Gaza right now.

I'm not comfortable with framing the issue in terms of whether the state of Israel "has the right to exist". Israeli people, like all people, have the right to exist and live in peace. States are artificial entities, not conscious beings with the capacity to flourish or suffer, and it makes little sense to regard them as having "rights".

States do, however, have duties and responsibilities. The primary responsibility of any state, the reason why we have such things as states at all, is to defend its people's right to live in peace.

For people to live in peace, their country has to be at peace, which means that the state's duty to defend its people includes the duty to make peace when possible. The state of Israel is grossly, chronically derelict in this side of its duty.

On 7 October Israel was about to sign a peace treaty with Saudi Arabia. Hamas's attack was timed to disrupt that treaty.

Hamas of all people knows how Israel habitually responds to terror attacks. They cannot have been expecting any response much different from the one they got. From this I am forced to conclude that Hamas prefers a genocidal war against their own people to a peace in which Israel is still there.

Hamas denies the Holocaust and promotes the fraudulent "Protocols of the Elders of Zion". A Western group who did that would be uncontroversially described as neo-Nazis.

The Houthis in Yemen, who are opposing shipments of aid to Israel, have slogans including "death to Israel, a curse upon the Jews". Again, any Western group who did that would be considered neo-Nazis.

Of the people who use the slogan "from the river to the sea", the percentage who use it to invoke a call for genocide against Israelis is neither 100% nor 0%.

There is a certain word beginning with Z which you'll notice I haven't used in this post. This is because it is a dangerously ambiguous word. Some people use it in the legitimate, specific political sense of "Israeli nationalism". Others use it to mean "any restraint or moderation in considering how to respond to Israel's actions". Still others use it to mean "an absence of antisemitism".

The US is an ally and supporter of Israel. I do not know the political reasons why. Wrapping those unknown reasons up in a bundle and labelling it with the aforementioned Z-word adds nothing to my understanding.

Some component of the US's support for Israel comes not from Jewish people or their allies but from Evangelical Christians concerned with Israel chiefly as a site of apocalyptic prophecy. I do not know what weighting this component has in the total mix of the US's politics.

Some people argue for a one-state solution, with Israelis and Palestinians as equal citizens. Some people argue for a two-state solution where each group has its own government and laws. For each, I have seen the claim that it is the only possible solution made with great confidence by people who know more about the situation than I do. I do not know which side is correct.

I do know that any proposal where one group just isn't there any more is a non-solution.

#israel #palestine #gaza

[readingrobin]

I'm still trying to get the hang of the whole "posting content" thing, but I think providing a reading wrap-up every month will allow me a little more to work with. January was a fairly standard reading month. I was able to get through ten books, though I added quite a few to my TBR. Kind of had a mini heart attack when I realized that, according to my Storygraph, I have about 1,731 titles on there. Well, at least I know I'll never run short of reading material.

Total Books Read: 10

Total Pages Read: 3,689

Books Read:

The Devil Aspect by Craig Russell - (Review) (3.5/5)

Sweep: The Story of a Girl and Her Monster by Jonathan Auxier - All I have to say is that the best kind of children's fiction tends to be the ones that expertly balance the harsh cruelties of life, especially during the Victorian era, with an unshakable sense of hope and a lot of heart. Sweep is one of those books that doesn't shy away from the reality and history of children in peril, but there is a warmness in its pages that comes from feeling and seeing the love and protection of dear ones long since passed. Definitely a bit of a tearjerker, but in a good way. (4/5)

The Kingdom of Back by Marie Lu - (Review) (4/5)

Property of the Rebel Librarian by Allison Varnes - Looking at the world around us, this book couldn't be more relevant, as book bans are sweeping across schools and kids are left without a choice in what they want to read. Though it presents a somewhat simplistic scenario of censorship gone wild, it's definitely meant as an accessible way for young readers to be introduced to the process of book banning and what can be done to make your voice heard. (4/5)

Season of the Bruja Vol. 1 by Aaron Duran and Sara Soler - A really beautiful graphic novel that highlights the conflict of surviving indigenous traditions vs. religious colonialism. Stories that point out the hypocrisy and brutality of the Catholic church scratch such a good itch for me. The world is a little shaky though, not much is exactly explained and you almost need some prior knowledge of Mexican mythology going in, but it's worth checking out. (3/5)

A Winter's Promise by Christelle Dabos - (Review) (4/5)

Such Sharp Teeth by Rachel Harrison - (Review) (4/5)

The Ivory Key by Akshaya Raman - Though it takes a while to get going, The Ivory Key does have a great readability to it as the action finally kicks in about maybe halfway through. Up until then, the book spends a great deal laying the foundation of this world: tensions between cities, the role and history of magic in this society, the dynamics of the main characters. I will say, being introduced to at least seven different important characters in the span of 30 pages is a tad overwhelming at first, but it levels out the more you keep reading. While I did enjoy it, there was nothing particularly exemplary about the story that wowed me. The Indian-inspired setting and mythology makes it stand out, but everything else used the same tropes, beats, and twists that I've seen time and time over with little to add to them. I liked it enough to want to read the second book coming out later this year, but probably not enough to keep it on my personal shelf. (3/5)

Black Panther: The Young Prince by Ronald L. Smith - Read this one in a day and was fairly satisfied with it. It'll definitely appeal to middle grade readers looking for Marvel tie-in stories, as it has a quick pace and a good amount of action and mystery. For me, I don't think I enjoyed it enough to continue with the sequel, but it was nice to see a younger T'Challa and M'Baku out of their element away from Wakanda and how dynamic changed over the course of the book. (3/5)

Scavenge the Stars by Tara Sim - For a book inspired by The Count of Monte Cristo, the story itself was incredibly simple and told fairly straight-forwardly, but I think that works in its favor. I'm at the point where I'm starting to tire of long-winded society dramas so I appreciated it for having a bit of focus. Everyone's motivation is clear, with a natural twist or two popping up along the way, plus a great amount of casual queerness. Though the world-building wasn't exactly intricate, there is a good sense of aesthetic and personality in the setting of Moray from its high status venues to the seedy gambling dens. I'm interested to see where the story goes in the sequel! (3.5/5)

Average Rating: (3.6/5)

#robin's book log #reading wrap up #book wrap up #the devil aspect #sweep: the story of a girl and her monster #the kingdom of back #property of the rebel librarian #season of the bruja #a winter's promise #such sharp teeth #the ivory key #black panther the young prince #scavenge the stars

[albertonykus]

Doraemon Movie Review: Nobita and the Haunts of Evil (1982) and New Nobita's Great Demon (2014)

What is Doraemon? The title character of the Doraemon manga and anime is a blue robotic cat from the 22nd Century who keeps an array of high-tech gadgets in a portable pocket dimension on his belly, and has traveled from the future to improve the fortunes of a hapless schoolboy named Nobita. Although relatively obscure in the English-speaking world, Doraemon is a Mickey-Mouse-level cultural icon in East Asia (and some other regions, too). The Doraemon franchise was a big part of my childhood, and there are still elements of it that I enjoy now.

Doraemon has released theatrical films almost annually since 1980, most of which involve Nobita and his friends (kind Shizuka, brash Gian, and crafty Suneo) getting swept into adventures thanks to Doraemon's gadgets. Despite being of potentially broad appeal to fans of science fiction and animated films, there are very few English reviews of the Doraemon movies, so I'm embarking on a project to write about all the films that have come out so far. Good luck to me…

Movie premise: Nobita and his friends explore Central Africa and discover a hidden civilization.

My spoiler-free take: The original is a very solid adventure film... that I cannot honestly recommend, due to the way it caricatures Indigenous Africans.

Fortunately, the biggest problems in the original are rectified in the 2014 remake, which also retains the strongest points of its predecessor. I think it’s a movie that not only gives a good sense of what to expect from Doraemon films, but is also fairly enjoyable on its own.

POTENTIAL SPOILERS AFTER THIS POINT

Review: This is a movie that establishes (or at least solidifies) many recurring elements of future Doraemon films. The main characters go on an adventure in an exotic setting, using Doraemon’s gadgets to live and travel comfortably. They come across an isolated society that is being menaced in some way, and team up with newfound allies to overcome the threat. However, even with the reuse of this formula and overlapping themes in later films (this won’t be the last movie that involves a dog civilization, for one), I think Nobita and the Haunts of Evil does a good job at maintaining its own identity. The creative way in which Shizuka saves the day stands out in particular, and to my knowledge remains unreplicated by any of the more recent films. Oh, and Gian gets a fair amount of character focus, too.

Shizuka-saves-the-day count (cumulative): 2

This movie and its remake both have very ominous-sounding English titles. Based on my limited understanding of Japanese, “Haunts of Evil” is not exactly an inaccurate translation, but in the context of the story, the intended meaning seems closer to “unexplored realm”. (The Doraemon movie where they actually encounter demons comes later...) That being said, this probably is one of the darkest Doraemon films. There’s more than one implied villain death, attempted assassination, actual assassination, a crocodile getting impaled through the head, and multiple instances in which one or more of the main characters almost certainly would have died without sheer luck or third-party intervention. It certainly makes for an exciting adventure narrative, if nothing else.

For fellow natural history enthusiasts, it’s interesting that this film includes cameo appearances from some obscure African wildlife.

(Note that the sapient dogs use aardvarks as their equivalent of horses.)

If I were grading based solely on the story, this would be at least a four-star Doraemon movie. However, one element in this film prevents me from even recommending it at all. There is a scene that features Indigenous African people, who are depicted with, shall we say... highly stereotyped character designs. While acknowledging that a star-based scoring system cannot fully encapsulate issues like this, the least I can do is shave off a star and add a content warning.

Star rating: ★★★☆☆ + content warning

Luckily, one does not need to watch the original to get a taste of the story, because this movie has a remake...

Review: First things first: although I cannot speak to their cultural representation, the character designs of the Indigenous Africans in this remake are substantially improved, as one should expect from a movie made in the 2010s.

On the whole, I think this is a competent remake that keeps most of what made the original film good. The biggest narrative edits mainly amount to giving some of the movie-exclusive characters more screentime and character focus, which for most part I don’t feel strongly about, but they don’t harm the movie in any notable way. I have few qualms about awarding the four stars I was going to give the original to this version.

(... Why is Shizuka the only main character who is unarmed and looks scared on the movie poster though? That doesn’t reflect her actual role in the story at all.)

And for those who liked the African wildlife cameos in the original, this one adds even more!

Star rating: ★★★★☆

Original or remake? Obviously, the remake wins based on its depiction of the Indigenous Africans alone. Even without considering that though, I have little to complain about the remake.

#Doraemon #Anime #Nobita and the Haunts of Evil #New Nobita's Great Demon #ドラえもん

[mermaidsirennikita]

What are you looking forward to this awards season? I think Killers of the Flower Moon and Women Talking are my most anticipated. I’ve read both books and they’re excellent. I just really hope for the former Scorsese is thoughtful with how it’s framed; like Leo’s character’s indigenous wife really should be a co-lead with him…

The trailer for She Said looks so tepid to me. But the industry will prob be eager to award it. Idk whose the lead there, they might run both in supporting. I love Naomi Ackie but I’m so over biopics. I hope Michelle Yeoh’s hype can sustain…I’m sure Margot will win for Babylon though. I feel like the narrative is already that she’s “due,” despite her only having been in Hollywood for like 8 years. And the academy doesn’t believe in recognizing WOC in lead actress.

Good question! I'm definitely interested in Killers of the Flower Moon. That cast is.... stacked. Jesse Plemons is looking for that Oscar, obviously De Niro is a legend, I'm excited that Brendan Fraser is doing something serious business in the midst of his mini comeback, and Leo and Scorsese are always a pretty safe bet for a collab. However, I am.... very worried about how the subject matter is going to be handled. I think Scorsese is extremely talented, but I don't think he's necessarily equipped to handle this sensitively. Nor do the sea of white guys leading the cast is a great sign. I'm excited for Lily Gladstone, though; I hope her role is substantial. How often does an actress of Blackfeet descent land this kind of movie? (Answer: not enough.) Also, love that she's from Montana.

Women Talking does sound good, though likely an incredibly difficult watch. I won't lie to you, I'm kind of a bit... over.... Frances McDormand playing a certain kind of role, which is often "offbeat, hardcore lady of some sort" and I hope this is different? Nor am I huge fan of Rooney Mara--I think she can act, but I also think she's been overrated at points. But Ben Whishaw and Claire Foy I love, and I though Jessie Buckley was really good in The Lost Daughter, so it could totally be an acting showcase. Tbh, I think the focus being on Mennonites gives this a much more interesting spin than She Said.

Like, to me, She Said could very well come off as self-congratulatory when in reality Hollywood has done basically nothing to combat the rampant sexual predation in the industry. I'm not super interested in this. I think Zoe Kazan is kind of an.... ironic choice for this movie, as she's like, OOOOOOLD SCHOOL nepotism. So watching someone with the last name Kazan play someone EXPOSING HOLLYWOOD will be odd. Carey is fine as an actress, but tbh I'm so bored of her doing the same thing over and over, which is like... kinda hollow feminist treatise. Suffragette, Promising Young Woman (which I have very mixed feelings on)... Okay now.

I'm not against good biopics, and I think Naomi is super talented, but I have my doubts about the ability to... tell an honest and sensitive story about Whitney. I think so much remains in debate about her--her relationship with Bobby Brown, her issues with drugs, the abuse she experienced in her childhood, her sexuality. Then you add to her tragedy the fact that her daughter died so shortly and tragically after her. I'm just very wary.

As for who will win Best Actress--lol, y'all have gotta stop counting these chickens so early. Remember when everyone was telling me Kristen Stewart was DEFINITELY gonna win Best Actress? Who the fuck knows what'll happen. I can't see anyone surpassing Michelle Yeoh's performance, but the release date of the movie, its unconventionality, and Michelle being a middle-aged woman of color who's not from the U.S. is going to make that an uphill battle for her. But I don't think Margot is a shoe-in at all. I think Margot is seen as very talented, but I don't think she's gotten like... WOW reviews since I, Tonya. I still really don't get why she was nominated for Bombshell, as the reviews for that movie were meh, she wasn't a standout, and her subplot was pretty harshly critiqued by some.

In her favor is the fact that she will be playing Clara Bow, but against her is the fact that she will be playing Clara Bow. Plus, she's got Amsterdam coming down the pipeline. There was a time when being in a David O. Russell movie guaranteed you a nom, but tbh I think that movie may be overshadowed by people finally reckoning with his horrendous behavior. Margot (and the entire cast) has been dogged a LOT online for working with him. I think he's also vulnerable because it's been a while since his last movie (which was underwhelming on every level) and his winning streak of The Fighter - Silver Linings Playbook - American Hustle was a long time ago. Since Joy, everything went down with Weinstein. And while I think critics fawning over three of his closely-released movies in a row gave him protection, a movie about the wonder mop or whatever with a Jennifer Lawrence on the brink of her big backlash hit his armor. The thing is that men in Hollywood get away with their sexual misconduct all the time, but he's also an asshole to talent and difficult to work with. Big names have dragged him; Clooney, Amy Adams. Imo, the potential for bad press with Amsterdam is huge and could hit anyone involved in that movie. There are people I like in it--Margot, John David Washington. There are people I dislike--Anya. I hope all of them get backlash for working with him, and I think they could. As for Babylon, I guess I've gotta bite based on the cast and the subject matter, but God Chazelle is annoying.

I'm excited for the Knives Out sequel--I don't know how that'll fare awards-wise, but tbh the original got more noms than I expected for a movie that was actually fun and easy to follow. The cast is once again great, and tbh? It's early does, but wouldn't be shocked if Kathryn Hahn got nommed. She's a hardworking character actress who can do drama and comedy equally well and if it's a good movie with a good role I could see her getting a supporting nom somewhere... The Globes if nothing else lmao. But who knows at this point.

Blonde will be interesting. I doubt it'll go anywhere serious awards-wise, but I can't tell if it's going to be a total mess critical flop thing or a "polarizing, let's reevaluate in 30 years" type of movie. Netflix being terrified of its content doesn't necessarily mean it'll be bad. It's based on a deeply weird book and has been adapted by a deeply weird director. I am honestly just SO interested in seeing how Ana does with Marilyn's voice, because that's a tough gig for a native English speaker, let alone someone who's ESL with a naturally heavy-ish accent like Ana.

I'm super interested in Don't Worry Darling. It looks really stylish and fun, kinda topical for today, and while Florence has aggravated me lately.... She's very talented. It's not a matter of if, but when she wins an Oscar at this rate. Chris Pine could also get some praise, imo, as he's been consistently underrated and excels in this types of ~mysterious charismatic man~ type roles.

I think I'll have to see The Menu for Nicholas Hoult, and I do love the premise... But lmao I'll have to put up with Anya bug-eyeing the camera and people acting like it's TALENT. It's a tough job but somebody's gotta do it.

I have very little interest in The Fabelmans but with that cast, the fact that Spielberg is directing, and the autobiographical nature means it'll be in some kind of conversation. Like, I really just need people to realize that Spielberg isn't.... very interesting anymore... and I doubt this'll do that but we can dream.

I'm looking forward to My Policeman. I don't know if it'll be kinda trite and expected for a "closeted man period piece" movie, or actually good, but I love Emma Corrin and I honestly appreciate the hustle with Harry Styles this year, so.

I'm really hoping that The Woman King is good. Viola got some (.... deserved) bad press for her Michelle Obama recently, but I will say that she's normally the type of actress I could totally see racking up another win, so who the fuck knows? To me, it doesn't quite read as a movie that will get that for her, but like... again, you never know. Is it gonna be awardsy? Or is it gonna be the kind of historical epic that actually works as a popcorn movie, which people used to make all the time (think Braveheart, Last of the Mohicans) but don't anymore. Either way, I'm watching.

Bones and All could be good? I do not... like... Timothee, but Taylor Russell could be on the verge of a breakout and tbh the hilarity of Chalamet being in a cannibal movie is kind of difficult for me to resist.

Anyway, that's what I've heard some chitter chatter about as of late. WE SHALL SEE.

[noficciondelacreole]

HER

BY MARIA SHAKERA KALAN

I love to question and to be questioned. I think that is what completes my “I am..” life description since my mother vomited on me in her womb back when she was eighteen. So young of her. So pure of you, mother. I did question being born several times, but not even once of her being a parent to me. Yes, I lied. She birthed I from an indigenous environment, yet never grew up with the culture system she taught me. For I saw a lot of holes, mother; holes of rationality by our fellow tribe justifying the rights of men to own four wives. Holes of truth by embracing capabilities of women is not defined as provoking men to make them do less, mother. We are not a pet waiting for one another as a pet companion. 

We, mother, did not have to be standing behind a man. We, mother are more than that. I thought that being friends with curiosity would lessen the question marks fleeing around side–to–side of my head wherever I go but—it made me ask for much beyond, mother. “Did I fail you as your daughter, mother?” Reminiscing the part as far as I can remember when my troubles started from a trade. Words of my father being spitted from his dark lips due to cigarettes still fresh like a new born child in my head. “I will give you a present, kay, ” he uttered my innocent nickname that I no longer recognize. “But swear to me that you will be staying inside of your room, ” says in his sweetest voice. And as young as bud wanting to be handed that surprise present. I began to grant him what I do not understand.

Never minding who the girl he is with in our living room. Father arms kissing her nape, circling her neck, savoring their moment like a teenager lover. That girl does not have the same visage as my mother. Not until I turned eleven. People taught I the meaning of one word containing eight letters called cheating. The irony of father being my former teacher who challenged me to learn nouns and counting, yet forgot to tell me how to tell mother the words of truth passing through between the gaps of my teeth. “How could you sin to us, father?” Mother flew to miles–and–miles away they call; abroad to be a domestic helper. I do not have any idea of its meaning as a six–year–old but—they say, a mother is going to care for a child she does not own. 

Made grandmother prepare my breakfast every morning. Pile my clothes after getting dry. Wake me up for school. Speak to me of her wisdom. Brush my hair when I cry. Hold my filthy hand and step on stones with her to walk towards being a woman. She treated me like she was the one who carried me for months and months since she felt sick by me, until now I became sick to her. Grandmother did not make me seek a mothers' hug. Did not let me feel longing for a mothers' lullaby. Grandmother made me question the people sending regards for my—mother. “Which one of my two mothers?” I became the daughter of a broken family. Depression handed me itself says; “am here, always. Trust me.” And I did. 

Blade razor and academic pressure started to be friends with me, says, “worry not, kid. I will be slicing off your anxiety on that wrist. I will make you meet your desire grades brought of procrastination and academic validation.” Yes, they did. We became close, really. Even along walking two kilometres from school to home, not wearing student shoes from hiding it caused by bullying I viewed as a normal happening in every. Single. Day. Of. My. Life. “Is this what life supposed to be?” Never mind. Maybe it is. Maybe life really meant to suffer. Maybe life really meant trouble. Maybe life meant to question me about the existence of our known God. Maybe life meant for me to become atheist. And maybe, that is exactly what life must be.

 “Can I still carry to live like this?’’

[petalsbleedingbeak2]

See when I learned the whole “no nation would accept refugee Jews en mass” thing I figured that was WHY Jews wanted to carve a space where no one could kick them out or kill them. When I learned about the “repeated expulsions from every European country going back hundreds of years” I understood it even more. You can maybe understand why Jews don’t trust a one-state Palestinian solution when the cry is “Israelis should self deport” or “gas the Jews” or “there’s no such thing as an Israeli civilian” or “theres Israeli civilians but they deserve death”. I don’t think it counts as projecting when Hamas’s charter for 30 years of its 35 year existence has been “exterminate all Jews from the region”. The threat to Israeli civilians is not a hypothetical one, it’s one being enacted on purpose by a group that *claims* to represent Palestine

NONE of this is to say that Israel is innocent or justified, but when people say “you can criticize Israel and support Palestine without being antisemitic” like. They’re right, it’s possible, I just wish I saw it more.

Too many people say Israel shouldn’t have been founded, and when they don’t know that no country would take enough of us that were fleeing, I chalk it up to bad education. When I see people say it who KNOW we had nowhere to go and were NOT safe in Europe (see: post WWII massacres/pogroms in many countries - history doesn’t take long to repeat itself and they knew it), all I see is that they would find it more convenient if Hitler had finished the job.

I’ll end this by saying that when I have this conversation with Israelis, I stress the Palestinian side more. I just want to set context that I’m not stressing that side with you because I largely already agree with a lot of what you’re saying. We have a lot in common and in arguments like this it’s too easy to let “we disagree on a few topics (even if they’re very important)” turn into “we are on opposite sides”. It’s almost 3 where I am so I’ll wrap up instead of letting myself obsess over details and phrasing. I’m just some jackass on the internet with no real power over your life, but I am hoping this angle may tint your perspective. Either way, I am hoping the best for you.

Your concerns are legitimate and I understand them, though there are some issues.

I would take the 'Jews wanted to carve a space where noone would kick them out or kill then' argument, haven't it been for a couple of occurencws, namely

- forced displacement of Ashkenazi and other non-Palestinian diasporas to Palestine by the West, effectivelly turning "Israel" into a ghetto based on the ideological grounds of the Holocaust,

- constant attacks and ongoing ethnic cleansing of the Indigenous Palestinians by "Israeli" occupation forces. IOF commit the same atrocities that were carried out on Jews during the Holocaust against Indigenous Palestinians since the Nakba.

Again, Hamas. I call bullshit. Hamas does't speak for the Palestinians, just like IRA doesn't speak for the Irish, Al Quaida doesn't speak for Iraquis, ISIS doesn't speak for muslims. Moreso, Palestinians themselves denounce Hamas. Hamas, for the record, was born as a resistence fraction AFTER IOF occupation of Pakestine. Yet its actions still don't speak for the Palestinians. Neither does Hezballah, or PLFP, or any resistance group. You just cry wolf. Hamas is the IOF creation and zionists are the only ones to blame for it's existence to begin with. Hadn't zionist fascists terrorize Palestine, there would be no Hamas in the first place.

There is no such thing as "Israeli civillians" since "Israel" is not a legitimate state. On top of that, military service is mandatory for IOF by the law, so they are never civillians. They are off duty backup, if you will. IOF doesn't have civillians.

"No country would take enough", again, this is literally what was used as justification for the Holocaust. The entire existence of IOF is ideologically grounded in the Holocaust. Nevertheless, you are purposefully rwisting the facts. No one said there should be no Jews in Palestine. Jews have been in Palestine since forever and have been peacefully living side by side with the Palestinians. The problems started when "Israeli" occupation government started to limit the rights of the Indigenous people and creating this occupational of hierarchy. As always, zionists lie to twist the narrative. You know you are making up shit that utterly misses the point and you're doing it with the purpose of diverging attention from the point into the field of emotions when you can be a crybaby and muddy the waters around the facts. I ain't buying that.

Honestly, I ain't reading any further. You've proven enough that you're an antisemite who ignores Jewish history and want to turn Jews into this genocidal terrorist group.

Long story short,

#Answered #free palestine 🇵🇸 #from the river to the sea palestine will be free #glory to the freedom fighters #glory to the martyrs #fuck israeli fascists #zionism is antisemitic #anti Nazi #anti antisemitism #tw: genocide #tw: Holocaust

[writingwithcolor]

I'm writing an AU of a movie that takes place in the 1880s USA, where a travelling white character and a Jewish character are waylaid by Native Americans, who they befriend. Probably because it was written by and about PoC (Jews) the scene actually avoids the stuff on your Native American Masterpost, but I'd still like to do better than a movie made in the 1980's, and I feel weird cutting them from the plot entirely. I have a Jewish woman reading it for that, but are there any things you (1/1)

2/2 1880s western movie ask--are there things you'd LIKE to see in a movie where a white man and a Jewish man run into Native Americans in the 1880s? I do plan to base them on a real tribe (Ute, probably) and have proper housing/clothes and so forth, but right now I'm just trying to avoid or subvert awful cowboy movie tropes. Any ideas?

White and Jewish Men, Native American interactions in 1880s

I am vaguely concerned with how you only cite one of our posts about Native Americans, that was not written by a Native person, and do not cite any of the posts relating to this time period, or any posts relating to representation in media. 

Sidenote: if you want us to give accurate reflections of the media you’re discussing, please tell us the NAME. I cannot go look up this movie based off this description to give you an idea of what my issues are with this scene, and must instead trust that the representation is good based off your judgement. I cannot make my own judgement. This is a problem. Especially since your whole question boils down to “this scene is good but not great and I want it to be great. How can I do that?”

Your baseline for “good” could very well be my baseline for “terrible hack job”. I can’t give you the proper education required for you to be able to accurately evaluate the media you’re watching for racist stereotypes if you don’t tell me what you’re even working with.

When you’re writing fanfic where the media is directly relevant to the question, please tell us the name of the media. We will not judge your tastes. We need this information in order to properly help you.

Moving on.

I bring up my concern for you citing that one—exceptionally old—post because it is lacking in many of the tropes that don’t exist in the media critique field but exist in the real world. This is an issue I have run into countless times on WWC (hence further concern you did not cite any other posts) and have spoken about at length. 

People look at the media critique world exclusively, assume it is a complete evaluation of how Native Americans are seen in society, and as a result end up ignoring some really toxic stereotypes and then come to the inbox with “these characters aren’t abc trope, so they’re fine, but I want to rubber stamp them anyway. Anything wrong here?”. The answer is pretty much always yes. 

Issue one: “Waylaid” by Native Americans

This wording is extremely loaded for one reason: Native American people are seen as tricksters, liars, and predators. This is the #1 trope that shows up in the real world that does not show up in media critique. It’s also the trope I have talked about the most when it comes to media representation, so you not knowing the trope is a sign you haven’t read the entirety of the Native tag—which is in the FAQ as something we would really prefer you did before coming at us to answer questions. It avoids us having to re-explain ourselves.

Now, hostility is honestly to be expected for the time period the movie is set in. This is in the beginnings (or ramping up) of residential schools in America* and Canada, we have generations upon generations of stolen or killed children, reserves being allocated perhaps hundreds of miles from sacred sites, and various wars with Plains and Southwest peoples are in full force (Wounded Knee would have happened in 1890, in December, and the Dakoa’s mass execution would have been in 1862. Those are just the big-name wars. There absolutely were others). 

*America covers up its residential schools abuse extremely thoroughly, so if you try to research them in the American context you will come up empty. Please research Canada’s schools and apply the same abuse to America, as Canada has had a Truth and Reconciliation Commission about residential schools and therefore is more (but not completely) transparent about the abuse that happened. Please note that America’s history with residential schools is longer than Canada’s history. There is an extremely large trigger warning for mass child death when you do this research.

But just because the hostility is expected does not mean that this hostility would be treated well in the movie. Especially when you consider the sheer amount of tension between any Native actors and white actors, for how Sacheen Littlefeather had just been nearly beaten up by white actors at the 1973 Academy Awards for mentioning Wounded Knee, and the American Indian Religious Freedom Act had only been passed two years prior in 1978. 

These Native actors would not have had the ability to truly consent to how they were shown, and this power dynamic has to be in your mind when you watch this scene over. I don’t care that the writers were from a discriminated-against background. This does not always result in being respectful, and I’ve also spoken about this power imbalance at length (primarily in the cowboy tag).

Documentaries and history specials made in the 2010s (with some degree of academic muster) will still fall into wording that harkens Indigenous people to wolves and settlers as frightened prey animals getting picked off by the mean animalistic Natives. This is not neutral, or good. This is perpetuating the myth that the settlers were helpless, just doing their own thing completely unobtrusively, and then the evil territorial Native Americans didn’t want to share.

To paraphrase Batman: if I had a week I couldn’t explain all the reasons that’s wrong.

How were these characters waylaid by the Native population? Because that answer—which I cannot get because you did not name the media—will determine how good the framing is. But based on the time period this movie was made alone, I do not trust it was done respectfully.

Issue 2: “Befriending”

I mentioned this was in an intense period of residential schools and land wars all in that area. The Ute themselves had just been massacred by Mormons in the Grass Valley Massacre in 1865, with ten men and an unknown number of women and children killed thanks to a case of assumed association with a war chief (Antonga Black Hawk) currently at war with Utah. The Paiute had been massacred in 1866. Over 100 Timpanogo men had been killed, with an unknown number of women and children enslaved by Brigham Young in Salt Lake City in 1850, with many of the enslaved people dying in captivity (those numbers were not tracked, but I would assume at least two hundred were enslaved— that’s simply assuming one woman/wife and one child for every man, and the numbers could have very well been higher if any war-widows and their children were in the group, not to mention families with multiple children). This is after an unknown group of Indigenous people had been killed by Governor Brigham Young the year prior, to “permanently stop cattle theft” from settlers. 

The number of Native Americans killed in Utah in the 1800s—just the number of dead counted (since women and children weren’t counted)—in massacres not tied to war (because there was at least one war) is over 130. The actual number of random murders is much higher; between the uncounted deaths and how the Governor had issued orders to “deal with” the problem of cattle theft permanently. I doubt you would have been tried or convicted if you murdered Indigenous peoples on “your” land. This is why it’s called state sanctioned genocide.

This is not counting the Black Hawk War in Utah (1865-1872), which the Ute were absolutely a part of (the wiki articles I read were contradictory if Antonga Black Hawk was Ute or Timpanogo, but the Ute were part of it). The first official massacre tied to the war—the Bear River Massacre, ordered by the US Military—places the death count of just that singular massacre at over five hundred Shoshone, including elders, women, and children. It would not be unreasonable to assume that the number of Indigenous people killed in Utah from 1850, onward, is over a thousand, perhaps two or three.

Pardon me for not reading beyond that point to list more massacres and simply ballparking a number; the source will be linked for you to get an accurate number of dead.

So how did they befriend the Native population? Let alone see them as fully human considering the racism of the time period? Natives were absolutely not seen as fully human so long as they were tied to their culture, and assimilation equalling some sliver of respect was already a stick being waved around as a threat. This lack of humanity continues to the present day.

I’m not saying friendship is impossible. I am saying the sheer levels of mistrust that would exist between random wandering groups of white/pale men and Indigenous communities wouldn’t exactly make that friendship easy. Having the scene end be a genuine friendship feels ignorant and hollow and flattening of ongoing genocide, because settlers lied about their intentions and then lined you up for slauther (that’s how the Timpanogo were killed and enslaved).

Utah had already done most of its mass killing by this point. The era of trusting them was over. There was an active open hunting season, and the acceptable targets were the Indigenous populations of Utah.

(sources for the numbers: 

List of Indian Massacres in North America Black Hawk War (1865-1872))

Issue 3: “Proper housing/clothes and so forth”

Do you mean Western style settlements and jeans? If yes, congratulations you have written a reservation which means the land-ripped-away wounds are going to be fresh, painful, and sore.

You do not codify what you mean by “proper”, and proper is another one of those deeply loaded colonial words that can mean “like a white man” or “appropriate for their tribe.” For the time period, it would be the former. Without specifying which direction you’re going for, I have no idea what you’re imagining. And without the name of the media, I don’t know what the basis of this is.

The reservation history of this time period seems to maybe have some wiggle room; there were two reservations allocated for the Ute at this time, one made in 1861 and another made in 1882 (they were combined into the Uintah and Ouray Indian Reservation in 1886). This is all at the surface level of a google and wikipedia search, so I have no idea how many lived in the bush and how many lived on the reserve. 

There were certainly land defenders trying to tell Utah the land did not belong to them, so holdouts that avoided getting rounded up were certainly possible. But these holdouts would be far, far more hostile to anyone non-Native.

The Ute seemed to be some degree of lucky in that the reserve is on some of their ancestral territory, but any loss of land that large is going to leave huge scars. 

It should be noted that reserves would mean the traditional clothing and housing would likely be forbidden, because assimilation logic was in full force and absolutely vicious at this time. 

It’s a large reserve, so the possibility exists they could have accidentally ended up within the borders of it. I’m not sure how hostile the state government was for rounding up all the Ute, so I don’t know if there would have been pockets of them hiding out. In present day, half of the Ute tribe lives on the reserve, but this wasn’t necessarily true historically—it could have been a much higher percentage in either direction.

It’s up to you if you want to make them be reservation-bound or not. Regardless, the above mentioned genocide would have been pretty fresh, the land theft in negotiations or already having happened, and generally, the Ute would be well on their way to every assimilation attempt made from either residential schools, missionaries, and/or the forced settlement and pre-fab homes.

To Answer Your Question

I don’t want another flattened, sanitized portrayal of genocide.

Look at the number of dead above, the amount of land lost above, the amount of executive orders above. And try to tell me that these people would be anything less than completely and totally devastated. Beyond traumatized. Beyond broken hearted. Absolutely grief stricken with almost no soul left.

Their religion would have been illegal. Their children would have been stolen. Their land was taken away. A saying about post-apocalyptic fiction is how settler-based it is, because Indigenous people have already lived through their own apocalypse.

It would have all just happened at the time period this story is set in. All of the grief you feel now at the environment changing so drastically that you aren’t sure how you’ll survive? Take that, magnify it by an exponential amount because it happened, and you have the mindset of these Native characters.

This is not a topic to tread lightly. This is not a topic to read one masterpost and treat it as a golden rule when there is too much history buried in unmarked, overfull graves of school grounds and cities and battlefields. I doubt the movie you’re using is good representation if it doesn’t even hint at the amount of trauma these Native characters would have been through in thirty years.

A single generation, and the life that they had spent millennia living was gone. Despite massive losses of life trying to fight to preserve their culture and land.

Learn some history. That’s all I can tell you. Learn it, process it, and look outside of checklists. Look outside of media. 

And let us have our grief.

~ Mod Lesya

On Question Framing

Please allow me the opportunity to comment on “are there things you'd LIKE to see in a movie where a white man and a Jewish man run into Native Americans in the 1880s?” That strikes me as the same type of question as asking what color food I’d like for lunch. I don’t see how the cultural backgrounds of characters I have literally no other information about is supposed to make me want anything in particular about them. I don’t know anything about their personalities or if they have anything in common.

Compare the following questions:

“Are there things you’d like to see in a movie where two American women, one from a Nordic background and one Jewish, are interacting?” I struggle to see how our backgrounds are going to yield any further inspiration. It certainly doesn’t tell you that we’re both queer and cling to each other’s support in a scary world; it doesn’t tell you that we uplift each other through mental illness; it doesn’t go into our 30 years of endless bizarre inside jokes related to everything from mustelids to bad subtitles.

Because: “white”, “Jewish”, and “Native American” aren’t personality words. You can ask me what kind of interaction I’d like to see from a high-strung overachieving woman and a happy-go-lucky Manic Pixie Dream Girl, and I’ll tell you I’d want fluffy f/f romance. Someone else might want conflict ultimately resolving in friendship. A third person might want them slowly getting on each other’s nerves more and more until one becomes a supervillain and the other must thwart her. But the same question about a cultural demographic? That told me nothing about the people involved.

Also, the first time I meet a new person from a very different culture, it might take weeks before discussion of our specific cultural differences comes up. As a consequence, my first deep conversations with a Costa Rican American gentile friend were not about Costa Rica or my Jewishness but about things we had in common: classical music and coping with breakups--which are obviously conversations I could have had if we were both Jewish, both Costa Rican gentiles, or both something else. So in other words, I’m having trouble seeing how knowing so little about these characters is supposed to give me something to want to see on the page.

Thank you for understanding.

(And yes, I agree with Lesya, what’s with this trend of people trying to explain their fandom in a roundabout way instead of mentioning it by name? It makes it harder to give meaningful help….)

--Shira

#platypan #genocide #native american #North America #america #history #american history #media #representation #asks

[ultranos]

This au is so cute! It also seems to follow modulus to some extent so i was wondering how Zula ended up with her toy shop instead of a smithery?

Following parts of modulus' setup is probably the easiest route, tbh.

So, here’s one possibly way things could go down. (I’m not sold on this yet.)

Maybe this 'verse hews even closer to canon than modulus does. So the foundation of the UR and Republic City looks more like what we got in LoK, with the other nations having way more of a say than the local government (and also weird monuments to Zuko and Aang).

The coalition of the indigenous EK peoples and the FN outcasts in the colonies that explicitly had a minuscule chance of success in modulus? That fails here, practically strangled in its cradle. Sozinist views in the colonies grow stronger in the later days of the war, and that doesn’t change in the immediate aftermath of the war, as people try to flee Zuko’s Fire Nation.

A last gasp of the cruel and petty men clinging to whatever remains of their power.

Minh, living publicly as a man despite the danger, never gets a fair chance to make a living. He never learns how to blow glass. Instead, he learned the precision work that he can do better than Thanh, working with his brother directly.

Thanh stays the same. Thanh has loved his brother since the moment he was born and there isn’t a force in this world or the spirit world that can change that. He’d willingly give up a limb if it meant he could give his little brother the world. And since the world here demands Minh carve himself to fit it, Thanh will carve the world to make a space.

And their mother agrees with him. This place will not accept her son, so the matriarch of the Kanuchi clan packs up the whole family and decides to try their chances on one of the outermost Home Islands.

(The entire Kanuchi family might just live by the motto “fuck around and find out”. Over in modulus-verse proper, Asami fits in very well with this extended family.)

When Azula escapes, she runs for the coast. Steals a boat and sails off alone, with no goal other than to get away. Except, reality ensues. Because firebending and military prodigy she might be, this does not translate to maritime sailing. And so the obvious thing happens to an unskilled 14 year old out on the open sea.

Luckily, the first ship that comes across this sad, derelict boat is sailed by people who firmly believe that they owe assistance to any shipwrecked survivor they might find. And the half-dead, salt-encrusted teenager dressed in prisoner rags lying on this boat certainly counts for that.

Two important things about this ship:

the sailors are employed by a certain trading company that has a NWT woman as one of its owners.

the first mate is a Kanuchi, a cousin of Minh and Thanh’s.

Azula gets better on this ship, and the thing about ships? There’s always something that needs to be repaired. So that’s how she starts. Her talent with the small mechanisms reminds the first mate of his cousin, and he eventually tries the idea that maybe Azula would consider an apprenticeship? At this point, Zuko has declared her dead, so technically she doesn’t exist. An apprenticeship not only legally gets her some kind of identity as a ward of the family, but also an identity period. And Azula has to admit, the possibility of going back to the FN without the baggage of being “Princess Azula” is incredibly tempting. That it involves learning more about the thing she’s always been interested in just makes it irresistible.

So despite the twists, Azula still ends up meeting Minh and Thanh. And having those very important revelations about her (or their) own identity.

The cousin, who we’ll call Shin, still keeps tabs. And he’ll come around and check up on Azula every so often, and sometimes they meet up with some of his crewmates. Then there’s one time one of the company owners is sailing on the ship with her daughter on a trip to the FN. Shin has a bit of a dilemma when his employer’s daughter ends up with a very obvious crush on his one-time ward. (Shin is not paid enough for this, but it is priceless entertainment)

Azula’s conflicted. She does like Shujiao but a relationship between two women isn’t possible in the FN. (Azula’s not quite ready to poke at the question of if it would actually be two women, because is she even sure she is one?)

Then Zuko repeals that law. And Shujiao tells Azula to stop being an idiot because she’s not going away that easily. And, well, Azula’s never been one to let incredibly obvious golden opportunities pass by.

#atla #kinematic studies au #at least a possible version #basically azula spends 1-2 years on a boat #before an adult is like how about we get you actual training #nos answers things

[parlerenfleurs]

It feels like we are living through the end. I saw a video about the scientists who tried raising awareness in front of a bank. One started crying talking about the future and his son. Another shouted that they'd tried everything.

The movie Don't look up plays on loop in my head.

Climate is a constant low hum at the back of my mind. It has been so since my childhood, living in one of the most gorgeous places on Earth, but still counting every drop of rain, looking at new buildings and thinking, this destroyed a piece of land. And yet people need a place to live. But why does it have to be like this?

The low hum isn't so low anymore. I feel weak with disbelief, weak with the draining of my optimism. Everything any of us does is too little, too late - those in power don't care. We've put them in power. We created this system. We are stuck in it, or we believe we are, and it amounts to the same thing. People care about immigration, their retirement, the price of fuel, their next holiday. How could they not? The system makes these things important, doesn't it. We can't just care about good food, helping friends, creating beautiful things, resolving issues. The issues we have are all insane.

We grab at every piece of comfort and happiness we can, because if it the end, might as well enjoy things while they last, right? I'm sitting there, drawing funny characters for entertainment. One of my friends and colleagues cannot bear it anymore, she feels how meaningless it is, that we are destroying the earth and she's drawing cartoons.

A childhood dream, turned absurd.

I feel weak with disbelief. My country elects presidents who don't care about the climate crisis. After all of this, still, it's not the priority of most people, wether we saw the branch on which we are sitting or not. They just want a cushion that's a little less uncomfy while we wait for the saw to saw through.

It feels like the end, already, because it has been decades of scientists and activists blowing the whistle and still we march on. An insane species. Or rather an insane society, that does its best to silence and assimilate indigenous knowledge and culture like a real-life agent Smith.

How did it come to this? How did it come to this?

#climate grief #Bloom talks #I guess I'm losing the battle against despair since the elections

[qqueenofhades]

So I’ve been thinking about the end of empires lately, the way they behave, the patterns that emerge, things like that. Yes, I know. What a lovely topic. Lol. My brain likes punishment. Shhh. Anyway, I was wondering what we have learned from past ended empires that could help us understand today’s world? Do you have thoughts? Any book refs on this? Thanks qqueen!

Aha, okay, I'll give this a crack. I'll try not to get bogged down in too much pedagogical woolgathering about how it is defined, determined, decided, or otherwise applied as an analytical concept, but we'll say that an "empire" is a geographical, political and territorial unit that comprises multiple countries/regions, is united under one relatively centralised administration, ruled either by one all-powerful figure or a small circle of powerful elites (usually technically answerable to the former), and held together by military, financial, and ideological methods. The basic model, as established by the Romans: take their sons to serve in the army, make them pay their taxes to you, and worship Roma, the patron goddess of the city, alongside their own preferred religion. Simple, straightforward, and lasted for five hundred years (almost a thousand if you count the Roman Republic which preceded it). We hear a lot in Western history classes about the "Fall of Rome," which is usually presented in popular narratives as the moment when everything went to pot before the "Dark Ages." Is this true? (No.) If so, did it happen because, as is often claimed, "barbarians/savages were attacking Rome and overthrew it?" (No.)

The collapse of the Western Roman Empire is way more than we can get into in the course of one ask, and there are other fallen empires to consider: for example, the Aztec, Ashanti, Russian, and British ones. It's a subject of debate as to whether modern-day America should be termed an empire: it fits most, if not all, of the historical criteria, but is an empire only an empire when it declares itself to be one? The long and sordid history of American imperialism, whether it's a rose by any other name or otherwise, is covered in American Empire: A Global History by A.G. Hopkins, How to Hide an Empire: A History of the Greater United States by Daniel Immerwahr, and A People's History of American Empire by Howard Zinn. All are worth looking into.

Overall, I think the basic similarities for what makes an empire fall would include:

it geographically overextends itself (Roman, British)

it is attacked by foreign rivals and internal enemies (Roman, Aztec, Ashanti)

it becomes massively financially indebted and deeply politically unstable (Roman, Russian)

it resorts to heavy-handed attempts to punish dissatisfaction among its people, spurring popular resistance (Aztec, Roman, British, Russian)

it is emerging from a period of long war internationally and internally that has strained it militarily (Roman, British, Russian)

it simply gets devastatingly unlucky thanks to a combination of unforeseeable external factors (Aztec, Ashanti)

And so on. Basically, the administrative bureaucracy gets too big to manage itself, the ever-increasing financial exactions can't pay for the necessary wars to maintain and expand its borders, people become dissatisfied both outside and inside the imperial system, and since no human institution or nation-state lasts forever, down it comes. However, I would caution against too much insistence on a total or categorical end of any of these societies. You've probably heard of Jared Diamond, who wrote uber-popular bestsellers including Guns, Germs, and Steel and Collapse, focusing on how human societies survive, or not, from an eco-scientific perspective. However, Diamond is not a trained anthropologist, archaeologist, or historian, despite writing extensively about these subjects (he's a professor of geography at UCLA) and a whole bunch of eminent historians and anthropologists got together to write "You're Full of Shit, Jared Diamond," also known as Questioning Collapse: Human Resilience, Ecological Vulnerability, and the Aftermath of Empire.

This book basically blasts Diamond (as he deserves, frankly) for removing all social/cultural factors from his analysis in Collapse and only focusing on ecology/science/environment. Geographical determinism can shed light on some things, but it's very far from being a total explanation for everything, completely divorced from the human societies that interact with these places. For example, did the Easter Island society of Rapa Nui collapse because the Polynesian people "recklessly" overexploited the environment (Diamond) or the impact of European diseases, colonialism, slave trade, and other direct crises, combined with the introduction of the non-native rat to the islands? (Spoiler alert: The latter. You simply can't write about these societies as if they're just places where things somehow happened thanks to natural processes, entirely outside of human agency and cultural/social/political needs.)

Anyway, the silver-lining upside, especially in an incredibly gloomy political milieu where the current American system was nearly overthrown by the last president and hordes of his fascist sympathisers (as they were talking about on Capitol Hill today, incidentally), is that the usual story of human societies is resilience rather than disappearance. None of the empires listed above, with the exception of the Aztecs (conquered by the Spanish, decimated by smallpox, and resisted by internal indigenous enemies) totally vanished. Their structures and ethos often just got a change of paint and name and carried on. For all the ballyhoo about the "Collapse of Rome," the Western Roman Empire had been an almost entirely ineffective political entity for years and the capital had already been transferred to Ravenna well before 476. There were outsider attacks, but Rome had weakened itself by a constant succession of military coups, palace intrigue, too-heavy taxes, and a simply too-vast area to effectively control. The Eastern Roman Empire, however (aka the Byzantine Empire) carried on being a major political player straight through the medieval period and only ended in 1453, with the Ottoman sultan Mehmed II's conquest of Constantinople.

Even the Ashanti Empire still exists today, as a small independent kingdom within the modern African country of Ghana. The Russian and British empires no longer exist under that name, but few would deny that those countries still retain considerable influence in similar ways. When people talk about the "collapse" of societies, especially non-Western societies, it also produces the impression that they did in fact just disappear into thin air, often as no fault of the invading Westerners. (Sidenote: I suggest reading "Settler Colonialism and the Elimination of the Native" by Patrick Wolfe in the Journal of Genocide Research. The whole thing is online and free.) How many times have we heard that, say, the Mayans/Mayan Empire "vanished," when there are up to seven million Mayan speakers in modern Mexico? If you're insisting that they're gone, of course it's easier to act like they are.

Anyway. I think what I'm trying to say here is that in terms of lessons for the modern world:

empires always (always) fall;

this comes about as some combination of the above-mentioned factors;

however, the societies previously organised as empires almost never disappear, so the end of an empire does not necessarily mean the end of its attendant society, culture, countries, etc;

empires often re-organise as essentially similar political units with different names and can maintain most of their former status;

empire is an inherently unequal and exploitative system that often relies on taxonomies of race, gender, power, and class, with the usual suspects at the top and everyone else at the bottom;

empire is usually, though not always, related to active colonialism and military expansion, and as soon as it cannot sustain this model, it's in big trouble;

the idea that human societies just disappear solely as a result of inadequately correct economic choices and/or ecological determinism is a lot of shit;

And so on. The end of an empire isn't necessarily anything to fear, though it can, obviously, be incredibly disruptive for those living within the country/countries affected. And until we learn how to move, as a species, permanently away from political and ideological systems that give so many resources to so few people and nothing to so many others, we're going to continue to experience this cycle.

#history #history of empire #history of racism #flynnanimal #ask

[naladot]

Thoughts on the linguistics of A:TLA

Part 1/?

The worldbuilding in Avatar: The Last Airbender is extraordinary. The enduring fandom proves that. However, there is one element of the worldbuilding that’s always irked me a little, and that’s how they depict language. While I understand that certain things are necessary for a half-hour cartoon marketed to kids, and that even films committed to realism are never totally successful in showing the creative and exciting messiness of human languages, I still wish that A:TLA factored in real-world linguistic knowledge a little bit more. But that’s where fandom comes in, right? 

These musings are things I’ve thought about for my own fic writing, and I thought I’d share in case anyone else finds them interesting. I will say that I know a little about a lot of things related to linguistics, but no one person’s knowledge is exhaustive, so I welcome input and commentary! I’ll be posting a number of these musings, though I don’t know how many exactly yet.

Why does everyone in A:TLA speak the same language?

The short answer, again, is because it’s a half-hour kids’ cartoon that was distributed by a US television corporation. The long answer is… you’d have to bend your mind into some complex pretzels to believe that everyone in the A:TLA universe actually speaks the same language.

In the real world, multilingual societies are the norm, and monolingual the exception. Many of you reading this post probably come from a place where this is a “duh” statement, but in heavily monolingual areas/communities, it’s often surprising! Regarding multilingual societies: I once asked some friends from Kenya how many languages they know, and waited while they counted out multiple languages and explained the differing degrees of comprehension for each and the situations where they used them. Over a thousand languages were spoken in North and South America before European colonization. Papua New Guinea is famous for over 800 known languages. As for an even smaller region, the government of Taiwan recognizes 16 different indigenous people groups, each with its own languages. And actually, even supposedly “monolingual” societies like the US continue to see regional variation in accents (the US is, of course, not really monolingual, even if some people’s agenda is to pretend that it is).

Diversity is an expected feature of human languages. To say that the world of A:TLA is somehow monolingual is incoherent when we are shown cultural differences on every level except linguistic throughout the show. We occasionally get nods to linguistic change, like Aang’s great “Hotman” scene in season 3, but otherwise all the characters seem to speak and read the same language. I think a realistic version of A:TLA would require significant linguistic diversity, especially since the way societies are depicted across the show would give rise to linguistic differences.

My biggest quibble: Chinese characters as the writing system for everyone

Linguists typically divide spoken language and written language: you can be a complete master of spoken language without ever being able to read and write. From a linguist’s perspective, the spoken form of a language is the “real” language. In this sense, cultures that never develop writing are NOT considered to have more “primitive” or “simple” language than those that do. But people in literate cultures nevertheless tend to express a tight link between a language and its written form, and writing systems bear some vestiges of that link. While writing systems may spread (Chinese characters, Latin script, Arabic script), the adoption of a writing system shows some sort of interaction between cultures. Nothing happens in a vacuum.

Throughout the show, Chinese characters (also known as Han characters, or Kanji in the Japanese context, Hanja in the Korean context, etc.) are depicted as the only writing system. Most of the characters are shown to be literate. Katara, for example, is shown reading inscriptions on multiple buildings/monuments (The Cave of Two Lovers, The Serpent’s Pass, etc.) as well as writing a letter for Toph. The show has (deservedly) been praised for taking the time to accurately use Chinese characters, instead of gibberish, like the movie we pretend doesn’t exist. Brkye obviously put time and care into depictions of writing and the show benefited greatly from the hard work of the consultant they worked with, so my issue is not with that at all.

My quibble is that writing systems develop within a context, and there is no reason that all of the societies in A:TLA should be using a logographic writing system (or at least not the SAME one). Elementary schoolers learning to read and write in Chinese must devote a good amount of time to the process. Even where simplified characters were introduced, children still spend a decent chunk of their schooling memorizing characters. (Of course, every language has elements which are challenging for schoolchildren, but I will focus on this writing system for now.)  As someone who learned Chinese as an adult, I can also attest that it is possible to read without being able to write—and I have many technological resources for checking definitions and radicals and so on which are not available to the A:TLA characters.

That said, it’s of course much more difficult for an adult to find the time to develop literacy in Chinese than it is for a child. But to the point, do the cultures in A:TLA show the necessary conditions for the main cast to learn to read and write in this writing system? I think it makes the most sense for the standardized version of this writing system to have spread from Ba Sing Se outward. I think this partly because the Earth Kingdom draws the most cultural inspiration from China on several levels, so it makes sense that a similar standardized writing system would develop there. I also think this makes sense because we’re directly shown that Ba Sing Se is a center of government, education (Ba Sing Se University), and literary culture (Sokka’s stint in the poetry club) in a way that isn’t directly shown in other A:TLA locations. For this reason, I will refer to Chinese/Han characters as “Ba Sing Se logographs” for the remainder of this post.

In particular, the depiction of the Southern Water Tribe doesn’t really suggest that Katara and Sokka should develop literacy in this particular writing system, i.e. Ba Sing Se logographs. At the beginning of the show, we are introduced to a culturally and geographically isolated SWT. All the men older than Sokka have left to fight in the war, and the people that remain are (perhaps unrealistically) few in number. There is no indication that anyone in the SWT is corresponding with anyone outside of it, or that the Fire Nation is attacking them on their own land anymore. In addition, Katara and Sokka are shown to take part in duties such as fishing/hunting as their role within their tribe has become increasingly important due to the absence of all the adult men.

So at what point are they finding the time to sit down and practice writing hundreds of Ba Sing Se logographs? Where are they getting reading materials to be introduced to a literary register of communication? Maybe there was a store of old SWT texts written in Ba Sing Se logographs that they use for their studies (likely from before the earliest Fire Nation raids) but by the time Sokka and Katara are learning to read and write, those are outdated. So let’s say that somehow, Gran-Gran was ordering new scrolls of epics and poetry from the occasional trade ship—does she order a dictionary scroll set as well? If you come across a character that no one in your tribe has ever read before, you can’t sound it out because logographic writing systems don’t have a direct correspondence to pronunciation. You might be able to guess the meaning or pronunciation, but if the text doesn’t provide any clues or it’s a word no one else has heard before, guessing isn’t going to do much good. In that case, young Katara and Sokka are forced to either skip the unknown word, make it up, or wait for the next rare ship and hope that the sailors have a habit of reading.

I think it’s realistic that they might be literate in a limited set of Ba Sing Se logographs which are deemed relevant to the reading material the SWT people have on hand and might use in potential trade (the show doesn’t actually suggest that anyone is trading with the SWT, but let’s say that this happens, as they had to be getting news of the war somehow). But then I would suggest that, if you want to imagine the SWT as a literate society, the SWT should also have an independent script, maybe an “alphabetic” type of script (though it wouldn’t have to be—it could even be another logographic system). Perhaps this is shared with the Northern Water Tribe; perhaps it developed independently of whatever is used in the North. What they write would be relevant and useful to them. They can journal, write letters, write inscriptions on their homes and pottery, label their clothes, keep records of conflicts within the tribe, read religious texts, map out genealogies, write down their own epics, graffiti on the walls of the watchtowers Sokka tries to build, and so on. 

If they do not have an independently developed SWT script, they are leveraging a writing system (Ba Sing Se logographs) in which new words cannot be comprehended or used. Due to their isolation, their reading material is likely to be old and infrequently updated, thus diverging from whatever is going on in the other nations. And if the SWT invents new words, they have to decide on a correspondence with a character set—which won’t be used by anyone else in the world because they aren’t really interacting with anyone else in the world at this point. So even if the SWT were using Ba Sing Se logographs as their only writing system, their isolation would naturally result in a new and regionally/culturally specific version of that writing system. And this would be the case even before the war, since they are still geographically isolated to some degree. No matter what way we set it up, the SWT in particular should diverge linguistically from other regions in the A:TLA world.

Also, it’s only after Katara and Sokka leave with Aang that they would be exposed to or have reasons to utilize many genres of writing that aren’t relevant to the SWT context. For this reason, I think it is also more poignant that the SWT has its own script, to emphasize those things which are distinctly SWT genres of writing. (Plus, the idea of Sokka and Katara writing notes that no one else can understand has so much potential!)

This whole thought process presupposed that the SWT was speaking more or less the same language as the rest of the world, though I don’t think that would be the case (as shown above). Add in a spoken language difference, and you see even more differences in how those Ba Sing Se logographs are actually used!

More thoughts on A:TLA linguistics to come.

#avatar the last airbender #a:tla #a:tla meta #atla meta #katara #sokka #southern water tribe #linguistics #avatar: the last airbender

[zoethebitch]

Got tagged by @dinospy to post my 3 favorite albums I'm gonna talk about these a little bit this might be long

1. En Español - The Mavericks

This is a relatively new one it just came out last year but I have not been able to stop listening to it. I was vaguely aware of The Mavericks from their country hits in the 90s but I had no idea they were still together and making music.

There's always been a little bit of Tejano influence in their music but this is their first full album in spanish and it definitely feels like a turning point compared to the rest of their stuff and I hope they continue in this direction. They've always been difficult to pin down to one genre even in their heyday they tiptoed the line between americana and norteño and they've since toyed with more jazzy and rock sounds. Here they fly right over all that and start giving us genres from several different Latin American countries. There's still the ranchera and mariachi sounds of their roots on some tracks but others delve into cumbia and salsa and there's even a little bit of a ska beat on one.

There's a significance to these genres spanning across Latin America bc they released this album in response to the worsening immigration crisis here and they wanted to represent the distinct cultures within Latine culture as whole and it also reflects the makeup of the band who are mostly children of immigrants from these different countries, all of whom are being imprisoned in concentration camps right now.

The political nature of the album isn't apparent just from listening to it but it does slap. There's covers of old mexican standards from icons like Juan Gabriel that feel fresh and new but also original tracks that definitely sound like old standards and I ended up searching for the original artist only to find that they are it. It's an album that really spoke to me immediately and it's grown dear to me very quickly. And its also encouraged me to look at some of their earlier work, which as a chicana living in the south, I can absolutely relate to.

2. Dimanche a Bamako - Amadou & Mariam

This is the one I always recommend whenever someone asks me for music recs. It's an album that I think can appeal to anyone. Very solid, very danceable, lots of catchy tracks, polished production by Manu Chao, who btw also has an album called Clandestino that very nearly made this list.

Most of it is in french but don't let that deter you. What's not in french is mostly in Bambara I believe but there's several languages indigenous to Mali and I'm honestly not sure which ones are used here. I don't understand 99% of what they're saying in these lyrics but the vibe throughout the entire album is immaculate and that's what counts.

These two also have a lovely story where they met in a school for blind children and fell in love and began playing music together and became really great at it and eventually found a global audience and won grammies and it's all very heartwarming. And their music also combines elements from different genres all over the world, from their West African roots, to sounds from Cuba, India, the Mediterranean, and of course influences from American blues and rock.

And they do blues and rock a lot better than anyone in America right now. There's something poetic about that. How blues and rock were stolen from black people, who were descended from those stolen from West Africa, and then that music made its way back there, to its home really, to be reclaimed and made better. Not just by these two there's a lot of really really great blues and rock music coming out of Mali and Senegal and Burkina Faso in the past 15 maybe 20 years. This album is I think my favorite example of it tho.

3. Nighthawks at the Diner - Tom Waits

This is an oldie but a goodie and I always find myself coming back to it every few weeks. It's only his second album and I think it might be his only live album. I do enjoy his later weirder stuff. Rain Dogs is fantastic. Orphans and Mule Variations are also highlights. But I've always enjoyed his earlier stuff best. The jazzier nightclub sounds paired with that growling rumbling voice that sounds absolutely drenched in whiskey and cigarette smoke just hits like nothing else. It sets a mood. And I love that mood.

It doesn't matter where I am or what time it is when I put this on I'm transported. It's full of old references to Los Angeles nightlife that I don't get bc I'm too young and I've never been there but the crowd is having fun and so am I. The atmosphere is fake and Waits' persona is too but it doesn't matter. The performance is masterful enough that you don't care that it's actually a recording studio that they somehow setup tables and chairs and a bar in. For those two nights they recorded this, it was a jazz club. Not a good jazz club, not the glitzy glamorous Vegas lounge type jazz club, but a kind of shitty run down jazz club. And it's better that way.

Whenever I feel like visiting again I can just put this album on, pour myself a drink, light up a smoke and relax. No cover charge. Of course there's less opportunity to flirt with the waitress or the other patrons but sometimes that's a good thing.

[richincolor]

Today is Rich in Color’s eighth anniversary! Can you believe it?

We’ve read so many fantastic books over the years, so our bloggers compiled a list of eight books that we wanted to recommend to our followers. These books are ones that we love and that have stuck with us through the years. How many of them have you read?

All American Boys by Jason Reynolds and Brendan Kiely Atheneum/Caitlyn Dlouhy Books

In an unforgettable new novel from award-winning authors Jason Reynolds and Brendan Kiely, two teens—one black, one white—grapple with the repercussions of a single violent act that leaves their school, their community, and, ultimately, the country bitterly divided by racial tension.

A bag of chips. That’s all sixteen-year-old Rashad is looking for at the corner bodega. What he finds instead is a fist-happy cop, Paul Galuzzi, who mistakes Rashad for a shoplifter, mistakes Rashad’s pleadings that he’s stolen nothing for belligerence, mistakes Rashad’s resistance to leave the bodega as resisting arrest, mistakes Rashad’s every flinch at every punch the cop throws as further resistance and refusal to STAY STILL as ordered. But how can you stay still when someone is pounding your face into the concrete pavement?

But there were witnesses: Quinn Collins—a varsity basketball player and Rashad’s classmate who has been raised by Paul since his own father died in Afghanistan—and a video camera. Soon the beating is all over the news and Paul is getting threatened with accusations of prejudice and racial brutality. Quinn refuses to believe that the man who has basically been his savior could possibly be guilty. But then Rashad is absent. And absent again. And again. And the basketball team—half of whom are Rashad’s best friends—start to take sides. As does the school. And the town. Simmering tensions threaten to explode as Rashad and Quinn are forced to face decisions and consequences they had never considered before.

The Marrow Thieves by Cherie Dimaline Dancing Cat Books

In a futuristic world ravaged by global warming, people have lost the ability to dream, and the dreamlessness has led to widespread madness. The only people still able to dream are North America’s Indigenous people, and it is their marrow that holds the cure for the rest of the world. But getting the marrow, and dreams, means death for the unwilling donors. Driven to flight, a fifteen-year-old and his companions struggle for survival, attempt to reunite with loved ones and take refuge from the “recruiters” who seek them out to bring them to the marrow-stealing “factories.”

Wild Beauty by Anna-Marie McLemore Feiwel & Friends

Love grows such strange things.

For nearly a century, the Nomeolvides women have tended the grounds of La Pradera, the lush estate gardens that enchant guests from around the world. They’ve also hidden a tragic legacy: if they fall in love too deeply, their lovers vanish. But then, after generations of vanishings, a strange boy appears in the gardens.

The boy is a mystery to Estrella, the Nomeolvides girl who finds him, and to her family, but he’s even more a mystery to himself; he knows nothing more about who he is or where he came from than his first name. As Estrella tries to help Fel piece together his unknown past, La Pradera leads them to secrets as dangerous as they are magical in this stunning exploration of love, loss, and family.

Picture Us in the Light by Kelly Loy Gilbert Disney-Hyperion

Danny Cheng has always known his parents have secrets. But when he discovers a taped-up box in his father’s closet filled with old letters and a file on a powerful Silicon Valley family, he realizes there’s much more to his family’s past than he ever imagined.

Danny has been an artist for as long as he can remember and it seems his path is set, with a scholarship to RISD and his family’s blessing to pursue the career he’s always dreamed of. Still, contemplating a future without his best friend, Harry Wong, by his side makes Danny feel a panic he can barely put into words. Harry and Danny’s lives are deeply intertwined and as they approach the one-year anniversary of a tragedy that shook their friend group to its core, Danny can’t stop asking himself if Harry is truly in love with his girlfriend, Regina Chan.

When Danny digs deeper into his parents’ past, he uncovers a secret that disturbs the foundations of his family history and the carefully constructed facade his parents have maintained begins to crumble. With everything he loves in danger of being stripped away, Danny must face the ghosts of the past in order to build a future that belongs to him.

The Astonishing Color of After by Emily X.R. Pan Little, Brown Brooks for Young Readers

Leigh Chen Sanders is absolutely certain about one thing: When her mother died by suicide, she turned into a bird.

Leigh, who is half Asian and half white, travels to Taiwan to meet her maternal grandparents for the first time. There, she is determined to find her mother, the bird. In her search, she winds up chasing after ghosts, uncovering family secrets, and forging a new relationship with her grandparents. And as she grieves, she must try to reconcile the fact that on the same day she kissed her best friend and longtime secret crush, Axel, her mother was taking her own life.

Alternating between real and magic, past and present, friendship and romance, hope and despair, The Astonishing Color of After is a novel about finding oneself through family history, art, grief, and love.

Pride by Ibi Zoboi Balzer + Bray

Zuri Benitez has pride. Brooklyn pride, family pride, and pride in her Afro-Latino roots. But pride might not be enough to save her rapidly gentrifying neighborhood from becoming unrecognizable.

When the wealthy Darcy family moves in across the street, Zuri wants nothing to do with their two teenage sons, even as her older sister, Janae, starts to fall for the charming Ainsley. She especially can’t stand the judgmental and arrogant Darius. Yet as Zuri and Darius are forced to find common ground, their initial dislike shifts into an unexpected understanding.

But with four wild sisters pulling her in different directions, cute boy Warren vying for her attention, and college applications hovering on the horizon, Zuri fights to find her place in Bushwick’s changing landscape, or lose it all.

The Gilded Wolves (The Gilded Wolves #1) by Roshani Chokshi Wednesday Books

Paris, 1889: The world is on the cusp of industry and power, and the Exposition Universelle has breathed new life into the streets and dredged up ancient secrets. In this city, no one keeps tabs on secrets better than treasure-hunter and wealthy hotelier, Séverin Montagnet-Alarie. But when the all-powerful society, the Order of Babel, seeks him out for help, Séverin is offered a treasure that he never imagined: his true inheritance.

To find the ancient artifact the Order seeks, Séverin will need help from a band of experts: An engineer with a debt to pay. A historian who can’t yet go home. A dancer with a sinister past. And a brother in all but blood, who might care too much.

Together, they’ll have to use their wits and knowledge to hunt the artifact through the dark and glittering heart of Paris. What they find might change the world, but only if they can stay alive.

Felix Ever After by Kacen Callender HarperCollins

From Stonewall and Lambda Award–winning author Kacen Callender comes a revelatory YA novel about a transgender teen grappling with identity and self-discovery while falling in love for the first time.

Felix Love has never been in love—and, yes, he’s painfully aware of the irony. He desperately wants to know what it’s like and why it seems so easy for everyone but him to find someone. What’s worse is that, even though he is proud of his identity, Felix also secretly fears that he’s one marginalization too many—Black, queer, and transgender—to ever get his own happily-ever-after.

When an anonymous student begins sending him transphobic messages—after publicly posting Felix’s deadname alongside images of him before he transitioned—Felix comes up with a plan for revenge. What he didn’t count on: his catfish scenario landing him in a quasi–love triangle….

But as he navigates his complicated feelings, Felix begins a journey of questioning and self-discovery that helps redefine his most important relationship: how he feels about himself.

#all american boys #the marrow thieves #wild beauty #picture us in the light #the astonishing color of after #pride #the gilded wolves #felix ever after

[excelsi-or]

your type (pt. 7)

Hellooooo~ I’m in a writing mood lately and have been paying more attention to this story again. :) so you’ll get a few more parts this month. 

BIPOC rec: Braiding Sweetgrass - Robin Wall Kimmerer; a beautiful book about botany and its influence on Indigenous people and how we can relate their teachings to climate justice. My favourite quote: “All flourishing is mutual.”

I’m also going to reblog this post with a bunch of links to support Daunte Wright as well as the protests in the U.S.

w.c. 1.4k (this one’s a bit shorter, but the next part is a LONG one. Like the longest post I’ve ever done across all my stories. I don’t want to split it up. So be prepared and enjoy :))

pairing: jihoon x OC/reader

pt. 1; pt. 2; pt. 3; pt. 4; pt. 5; pt. 6

Like every day for the last month, Jihoon is waiting for her in the hallway outside her lab. She closes the door behind her and notices the paper bag in his hand.

“I made us lunch.”

She blinks. “You made us… lunch?”

“Yeah.”

She ducks into the student office to grab her water bottle. When she reemerges, Jihoon motions with his head for her to walk with him.

“We need to talk.”

She lifts an eyebrow. “What about?”

“Just have to lay my cards on the table.”

Jihoon had gone over what he was going to say with Seungcheol, Mingyu, and Soonyoung the night before.

“It doesn’t need to be a big fancy speech,” Seungcheol said. “Just say how you feel.”

“I don’t…” He couldn’t exactly argue that he felt nothing. And his friends were clear that they didn’t think he felt nothing. “I don’t know what I feel. I just don’t think we can win this bet and we should call it.”

Soonyoung smacked the side of his head. “You can. And here’s what you’re going to say.”

“I want to be honest with you about my intentions so that you’re not confused as to why I’m hanging around you.”

She nods slowly and then takes a swig of her water. “Seems very formal of you.”

They walk right through the skywalk and take the stairs out onto the green. They find a tree to sit under. The air is warm, but there’s an intermittent breeze that makes it tolerable. He pulls two bowls of spicy ramen that he made before coming and hands one to her. It, at the very least, gets a smile on her face.

“I want you to know…” Jihoon pauses, stirring his noodles and watching the steam rise from the container. “I’m all in.”

She doesn’t miss a beat. “All into what?”

So, he doesn’t either. “This. Us. Whatever this is I’m pursuing. I want you to know that the stories you’ve heard about me are probably true, that I have hurt other people before, but I want to try with you.”

Her chewing slows, as she processes these words.

“Look,” Soonyoung had said, “it’s not lost on her that you’re a player. And Jihyo’s told hyung that some of your past girlfriends have shared… their opinions about you. You can’t hide those.”

“I know that someone like me has hurt you before and you don’t have to tell me about him ever, but I don’t want to be that guy. I want to be someone you can trust. Someone you can trust to give you the honesty you deserve.”

He’s started adlibbing off of Soonyoung’s speech. The speech had something about heaven and finding himself. It was too romantic and there was no way someone like her would buy it.

Meanwhile, her stomach is churning and she isn’t sure if it’s from the spicy noodles or from what Jihoon is saying. “You’re saying,” she searches for the words she wants to use, “you want to date me?”

“Yeah.”

“Just… me.”

“Yeah.”

She leans back against the tree and makes a point of stirring her noodles to cool them, mostly just stalling for time. A third woman had come to her while she was walking into the chemistry building that morning. It was as if all of Jihoon’s past conquests were gravitating towards her in some weird twist of fate.

Which was a strange coincidence, because Jihyo had just spent the better part of last night convincing her to give Jihoon a chance.

And now hearing Jihoon speak like this is messing with her head further.

“What happened to your date last night?” She shakes her head. “You told me you had dates lined up for the next week.”

“Cancelled. All of them.” Jihoon knew she knew about Ara yesterday. “Including yesterday’s.”

“All because you suddenly want to date me?”

“No, because I realized that unless I tell you what I want straight up, you won’t know. And my actions and what I want weren’t lining up. So…” Jihoon makes a point to catch her gaze. “I’m trying.”

“She’s not going to believe you,” Mingyu had said. “So, the best way is not to convince her that you’ll be good but that you’ll try to be better. For some reason, girls love when we say we’ll try to be better than we once were.”

She pauses. She’s about to put food in her, but sets the bowl down instead. “How many girls were there before me?”

Bewildered by this question, Jihoon says, “I can’t count that.”

She shakes her head. “Not one-night stands. Not girls you were only with for sex. Actual people that you actually dated.”

Jihoon swallows hard. Being honest here could ruin everything he’s built up until this point. “Maybe 7.”

She nods. “Name them.”

Jihoon bites his tongue.

“If you dated them, they must have meant something to you. You gave them more than a few nights.”

So, he does. He lists them off, but her face doesn’t look happy. Which maybe it wouldn’t because he’s listing off his exes, and she’s never come off as a masochist.

“Chaeyoung?”

Jihoon freezes. Almost immediately, his mind is scrambling and he’s unsure why.

“She’s in your lab,” Jihoon says in disbelief.

“What did you tell them all when they asked you why you weren’t talking to them?” She’s reaching with this question; hoping and dreading that Jihoon really is the creature of habit she’s learned him to be.

And it’s only through this sudden interrogation that Jihoon is realizing how intensely these past women of his have outted him. And it explains why she’s been distant. He hangs his head in shame, because he cannot believe he’s being called out like this. “It was something like…” He turns away from her, hoping a breeze carries his voice away. “‘I’m ignoring you now, please leave me alone.’”

“So, tell me how I’m any different to those girls. Tell me this whole thing isn’t some orchestrated game you’ve played over and over again.”

Jihoon doesn’t know how to answer.

“Jihyo told me that I was being too harsh with you. That the stories I was hearing were coming from women who had been hurt by you. That heartbreak distorts all the good parts about a relationship.” She waits for him to look her way. “My experience with heartbreak is… varied, that’s for sure. And you’re right. Your reputation is exactly how I felt like I was treated the last time I gave my heart to somebody.” She picks up the noodles and lets them slip through her chopsticks.

Jihoon can feel the tiniest flicker of hope rising in his belly, can’t explain the way his heart lifts.

“But my friends keep telling me that I’ll never know good love if I don’t let myself be vulnerable again.” She looks at him, studying his features. What she’s searching for neither of them is sure. “But I’m really, really scared that…”

Jihoon nudges her gently with his hand, careful not to touch her too much. “You can talk to me.”

Her gaze is unwavering. “I’m scared that I’m just going to be another notch on your bedpost.”

The magnitude of work required to win this bet hits Jihoon’s chest like a ton of bricks, hard. He’s sure it almost winds him. But he can see the cracks in her armour right now and he would be stupid (not to mention his friends will strangle him) if he doesn’t wiggle in just a little bit.

His voice is gentle. “I can’t promise that I won’t hurt you.”

“I never liked promises I know people can’t keep. They make real promises redundant.”

Completely fine by him.

“Can we just try it out?” He knows this formula works.

Except the pause is so long that he swears she’s going to say no. “Fine.”

His eyebrows lift, so does that hope in his belly. “Really?”

She nods, a small smile tugging at the corner of her lips. “Yeah. Really.”

Jihoon realizes that she’s definitely played his game before with other men when he glances at her lips and she smirks.

“That does not mean that you can kiss me right now.”

He smiles genuinely for the first time since they started taking. “Fine.” He recognizes the warmth spreading through his chest. It’s a nice feeling. One he hasn’t felt around anyone in a while.

“Thanks for the ramen, by the way.”

“Not too spicy?”

“I mean, yes, but it’s still good.”

“Does this mean that you’ll come to the studio and listen to those songs after work?”

She hums. “Yeah, okay.”

#woozi #woozi imagines #woozi scenarios #Lee Jihoon #lee jihoon scenarios #Seventeen #seventeen scenarios #seventeen imagines #svt

[witch-apologist]

I keep seeing those racist anti C/As saying well Catra wasn't confirmed a woc in the show so it doesn't count as if her skin isn't literally brown? Like what level of delusion are they on? And then when they realise their argument makes no sense, they'll say well if she is a woc she shouldn't be a cat person because that's racist (and spop does have racism issues, like most media that need acknowledgment), as if that changes the fact that she's still a woc? And if they care about that genuinely and not as a cheap gotcha then they wouldn't continue to perpetuate racism against Catra.. Not to mention, in this case there are other poc in the cast, including darker skinned poc than Catra, who are not animal people, so she is not the sole representative of poc from the show. While it'd be an issue if Catra was the only brown or darker poc: we have mermista, bow, netossa, etc.

And then they try to justify it with "its fur tho" yeah we didn't know that until season 5 and we still don't know for sure if its all fur or some fur/some skin and even if it is fur she is still going to be subconsciously viewed as a woc because she's a humanoid whose primary color is brown and also her story is very much a POC story. Being just as capable has her white counterpart but being constantly sidelined, being constantly dismissed, having to spend her entire life fighting for herself, the fact that she (in contrast to white AND princess AND she ra adora) did not have the same privelege to allow her to escape from her abusive home and become a "good guy" (cycle of incarceration and crime anyone?) Having a bitter outlook on the world because from a very young age you are shown that you are Not Welcome in the world around you. The fact that her people an indigenous people of Etheria seem to have been nearly wiped out? We never did see that faceless Magicat princess who likely maybe did not survive or was in hiding. Like she's brown fucking get with the program if Catra is white so is Glimmer since Etheria doesn't have an Asia. (Yes I saw them literally use there being no "Latin America" in Etheria to argue that Catra isn't a WOC)