There are so so so many ways to experience the gods.
There is no right or wrong way. There is no blunt way. Its all feeling and ephemeral.
If you've felt warmth, if you've had a dream, if you've seen a crow that stares at you for too long, if something inexplicable happens and you're lucky suddenly, if you've caught eyes with a stranger and felt like you knew each other. If the candle flickers a certain way, if one time when you're singing your voice sounds gorgeous in a way you weren't expecting, these are all the presence of a god.
God phoning is popular on witchtok but half the time what they're saying is bullshit. I've very very rarely heard a voice and every single time it was my own voice, just suffused with something, saying something I normally wouldn’t say. Or maybe I would. I've never heard a clear, distinct, audible voice. Its an invisible world we're connecting with, its a different plain. We cannot experience it the same way we experience every day life.
We'll never sit down at a coffee table across from the physical manifestation of our god, and know that its them, not until after. And even then we can never be sure. That’s the nature of it. There are no absolutes, there cannot be. That’s what makes it beautiful. That’s where belief comes in. It isn't about being good enough or worthy enough or devout enough, that doesn't exist. That isn’t what its about at all. You are worthy even if the divine doesn’t manifest in a way we've been told is the only real way, and you are connecting even if you cant see it now. My most intense spiritual experiences are never something I realize are happening in the moment, its always only after that I can see it clearly.
The gods are all around us.
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Was thinking while watching that scene where Pol tells Ada about her abortion.
Polly really doesn't take on the mum role in the family to my mind, or even the matriarch/aunt tbh. And I think, there was some summary somewhere that referred to her as the consigliere and while she does perform a certain bouncing-board, plan formation role with Tommy (and only with Tommy, and only with insight into certain parts of his plans; I'm struggling to think of times the others listen to her without Tommy backing her up, S3 as example of when they don't), her other behaviours in the family also mean this isn't her role at all.
She's the wild older sister who is loving and explosive and hurtful, and incredibly, incredibly fragile, afraid and she feels so very scared, vulnerable and alone, most of the time. She just wants all her loved ones to be happy and safe and in achieving that, Tommy is frequently as much of an obstacle as he is the vehicle to get her that. I do headcanon that Polly lives 99% of her life in fear and on that edge of breakdown, it's just that she's lived with it so long she probably doesn't even acknowledge it any more. Her reactivity is so high.
So yeah, it's no wonder Tommy sort of plays that joint patriarch-matriarch role (arranging marriages etc), because Polly is *not* playing the matriarch.
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I have a question abt thunderstar's justice. Why is killing Clear Sky the wrong thing to do in this situation? I mean I know the in-character reason is One Eye is seasoning him, but there's presumably an OOC reason that that's the situation, a moral that's trying to be told. Clear Sky is not only an unrepentant serial abuser but he's *still skyclan's leader.* he's still in a position to do immense harm as a petty immature warmongering autocrat.
Largely because it will resurrect a 12-foot-long prehistoric megabeast who takes his paychecks in the blood of your enemies. The climactic ritual takes place after One Eye's first defeat in this story, which Skystar had reluctantly joined into after he watched him eat Tom.
They only managed to defeat One Eye through quick thinking on Moon Shadow's part. After this, Star Flower seduced Skystar so she would be able to use him in a ritual to bring One Eye back. She kills him 8 times, bleeding him out fully, counting as 8 individual sacrifices.
Skystar is unrepentant, yes. Thunderstar's stand isn't being done in some attempt to acknowledge Sky as a worthwhile person, or bestow 'forgiveness,' saving him here is not a 'reward'.
But this isn't retaliation or stopping him from committing some evil deed; Skystar was seduced by Star Flower to end up on the wrong side of a sacrificial alter. He joined with the other Clans to oppose One Eye earlier. He's already died 8 times before Thunder arrives.
Thunderstar could have all the might of One Eye on his own side, if he takes Star Flower's offer. He could open up Skystar's worthless throat and be done with him right here. It would feel good, it would feel so, so good.
But where is the honor in that? And where would it end, afterwards, with an ancient God released back into the world?
"A true warrior doesn't need to kill to win their battles," means that there are times you are releasing someone who will go back to a position where they could do harm. But 8 lives down, after being helplessly tortured for hours, being sacrificed to a monster he had previously lent his strength to fight... that is where it crosses the line between Justice and Revenge.
It wouldn't make Thunderstar ""just as bad"" if he took that deal. He doesn't take it because he's better than Skystar will ever be.
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What is your favourite thing about Billie Lurk?
(Answers are obvious possibly but i love when people talk about her👍)
thanks for the ask!! YEAH ME TOO I love when people talk about Billie! I can't say I have a favourite thing specifically, but I can explain why she's my fav. apologies for not taking this qn literally, but -
short answer: she’s really cool
& you can stop reading there, or, for the maybe 2 mutuals who might have time to read this my thoughts on her as a character, her meta, and her character as raw potential...
long answer:
i considered making this entire thing a gush so you could read a gush about Billie. but, part of what draws me to her is that she’s not always well written, and in fandom she’s underrated for a literal protagonist.
since you ask...
billie is a cool character
when I played Dh2 (hadn't played Dh1), I was excited to see a black woman with disabilities who was captaining a massive ship by herself. wow.
then I discovered Billie’s backstory with Deirdre, the way she responded to that, then having to survive while living on the run, and her bisexuality. as well as her history with daud & delilah. fascinating!
she’s an outsider who has so much to lose, and knows what it's like to lose everything - having lost everything not once but three times - but nevertheless speaks truth to power. she's so brave! she went and helped Emily & Corvo and she must have known they might kill her! plus, she’s smart, she’s funny, she gets shit done, she’s gorgeous.
but... the meta
mild critique of fandom & arkane incoming.
skip this bit if you want - you've been warned twice now - jump to tired Hayao Miyazaki and read from there if you'd like my thoughts on writing her.
i thought Death of the Outsider was going to be amazing and then... well. *sad trombone* i've written about that before so i won't keep banging on. i figured others must be disappointed too, so I joined a few fandom spaces in hopes of finding camaraderie.
most people with complaints about DotO didn’t like how the Outsider and Daud were handled. which is valid & I agree. but it seemed like most paid no attention to Billie; when people talk about her it’s with respect to Daud, as opposed to in her own right. you could argue for fandom misogyny because people don’t talk about adult Emily Kaldwin that much either, but in Billie's case, it’s misogynoir (compare & contrast with the popularity of thomas, particularly the popularity of thomas portrayed as a white man for no particular reason that i've been able to discern - i keep asking around, is it in the books???).
i think this is a LOT better now than it used to be, which is fantastic. or perhaps i have found the correct echo-chamber? ha.
ultimately, The Fandom is a fraction of the entire picture, and not even the important bit since The Fandom is not who these games are made for. you can't make money relying on only your hardcore fans even if all of them spent a fortune on merch, this is true for any AAA game.
while it's true that Billie is underrated from a fandom perspective - but Billie as an underwritten protagonist is squarely Arkane’s fault.
it was reasonable when she was a side character - the lack of info in Dh2 makes perfect sense (if anything there was more lore in Dh2 which is kind of wild)-
- but as a protagonist in Death of the Outsider?
.... there’s lousy writing, and there’s whatever is going on with Billie Lurk, a black woman who mostly exists as a foil or saviour for light-skinned characters. In her own game there’s barely any of her own lore except where it's relevant to saving two dudes.
lore hints at, but barely touches on what race means in the Dh universe (xenophobia is stronger in Dh1; separate essay i guess), but Arkane has patted themselves on the back for portraying non-white characters, which feels like the same thing as the aesthetic of diversity we're seeing in advertising currently because it’s in marketing trend guides. it's self-congratulatory and it's a missed opportunity for deeper storytelling.
you can see an example of diversity at its most shallow in the way that Billie’s written: there’s little engagement with her as an entire person with history & wants & preferences, and the world she walks through in that game feels like it has nothing to do with her. you could make a case for alienation as a theme, but then, how do you handle the titular premise of 'Dishonored' without ever letting Billie make changes in an environment without a chaos system? it's disappointing from that angle too.
in my opinion, whatever it's worth, it was an accident Arkane created such an awesome character - they needed someone to betray daud. congrats billie.
all this said, it makes her an underdog as far as characters to enjoy & create art & stories for. it's nice to find so many like-minded, switched on people! <3
billie's character potential
she’s got a wealth of unexplored lore, being deeply intertwined with both Karnaca & Dunwall’s fates & criminal underbellies, as well as her connections to the witches & whalers, and three Empresses.
she’s lived a few distinct lifetimes and in the games we get to meet her at two peaks (KoD & DotO) & a low (Dh2 as Meagan).
her voice is very distinct, her dry & often dark humour is entertaining & fun to write. her perspective is really interesting - she’s had the widest variety of void-powers of anyone canonically, and she’s also lived through the highest highs and lowest lows.
she's got everything going for her :) i couldn't really pick a fav thing!
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Something else that makes me sympathetic to Pharma's situation is like. Idk if there's an actual term for this or if someone smarter and more academic wrote it about some real life context that actually matters.
But, so we've already established among Pharma stans that the circumstances at Delphi were blackmail/torture with no real way out that wouldn't involve Pharma being responsible for people getting killed (either killing patients for the deal or having everyone die bc he failed his end of the deal).
And I feel like while "he's still in the wrong because he killed people" is part of it, another sort of implicit part is the idea that Pharma should've been willing to take more personal risk, maybe even risk dying? I mean, Ratchet does ask "why didn't you just detonate it near the DJD" (to which Pharma responds that he did try to get Sonic and Boom to do it, but they refused) so like
Idk I feel like we do have this social notion of martyrs as a very romantic ideal, people you can praise for being so brave and strong and righteous that they ended their own lives for their cause, while you can also coo about how sad and tragic it is that dying is what it took for them to do the right thing. But at the same time I feel like in reality, having an expectation that people become martyrs is kind of a toxic social norm bc like. It's very easy to demand that others sacrifice their lives for some Ultimate Moral Good when you yourself aren't experiencing the same hardships as they are. And ultimately it is kind of fucked up to tell someone "the moral thing you should've done was risk your life/kill yourself" because asking someone to pay their life to do the right thing is no small request. And sure, the typical response would be to call them a "coward" for caring more about saving their own skin instead of doing the right thing... but again, death is a really scary thing and self-preservation is a really strong instinct, so it kind of feels like having this binary view of "you're either a Brave Hero who sacrifices your life for everyone else or a Dirty Coward who's too scared of dying to do what's right" is kind of fucked up?
I guess the best way to describe it is that if someone willingly gives up their life as a sacrifice to others, it can be a noble thing because it's a choice they made willingly, but if it becomes a Moral Standard that in order to be a Good Person you have to be unafraid of throwing your life away and if you aren't willing to die you're a Cowardly Bad Person, that's when it becomes toxic.
Idk, I guess how this ties back to Pharma is that he was never in a position where he expected to make these kinds of moral decisions/ultimatums. He's a doctor who doesn't even get into combat, his job is to heal and not to kill, he's behind the front lines in a hospital that's supposed to be a safe, neutral place for him to heal people. So in the face of suddenly having a "murder people on behalf of me, or I murder everyone you swore to protect" ultimatum thrust upon him, I understand why Pharma wasn't """"""""""brave enough"""""""""" to "do the right thing" (whatever that would've been in the case of Delphi). You could argue that maybe a frontliner soldier accepted the burden of possibly dying for their cause and they've become used to it as someone who lives that reality every single day, but I feel like for Pharma, who's a doctor and a protected non-combatant (from what we can tell), that sort of risking of his life/living with the fact his life could be snuffed out any day isn't something he would've been prepared for at all.
And for me personally, from an outsider's perspective, it strikes me as kind of unethical to go "oh well he should've just detonated the bomb himself even if it killed him" bc again, there's a difference between witnessing a moral conundrum as a bystander versus being the person living with it and being under time pressure where it's do-or-die. Just as part of my personal standards, I feel like death is such a huge consequence/burden of someone's actions (literally you are no longer alive, any potential you had left is cut short, you cease to exist on this plane) that it feels rather callous to go "Well you should've just been willing to die for your beliefs if you really cared that much!!!"
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Here's the tentative outline of the TSG paper, as okayed by the professor whom I've been discussing the project with:
intro to the trend of recent adaptations/retellings reframing TSG as a story about grief
an assertion that the book is really about healing from childhood e m o t i o n a l n e g l e c t (CEN) (my thesis?)
defining CEN and distinguishing it from traditional grief
an analysis of CEN in the text
how this interacts with what these adaptations/retellings are doing
conclusion about the importance of the text’s depiction of CEN and why it’s worth acknowledging/exploring
It's a relief to pin this down and be able to go into this with some kind of focus. I've already got a start on the first paragraph. I'm trying a method of drafting by just constructing the basic argument and then working in all the evidence and research later. My college papers tended to take forever to write because I drafted them with Finished Perfection in mind for each sentence, which is stressful and easy to get bogged down with. We'll see how it works. The paper needs to be completed by October, probably the end of the month at the very latest, but I'd like to get it finished in enough time to fully polish and not have to stress about a tight deadline.
I can do this. Probably. It's been a few years but I might still have it in me.
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