থি পিছ কালেকশন | ব্যবসায়ীদের জন্য পাইকারি সন্ধান | three piece collectio...
The examination consists of a written test
The Food Corporation of India, set up under the Food Corporation Act, aims at fulfilling some basic objectives of the food policy like providing Wholesale Three-Piece Cans effective price support in order to protect the farmers interest, effective distribution of food grains through public distribution system and maintenance of buffer stocks to ensure food security. The SSC conducts exams for the FCI recruitment. It is entrusted with the task of conducting written examination on behalf of the FCI. A number of vacancies appear from time to time for recruitment to the FCI. The vacancies are for various zones like the north zone, east zone, south zone, west zone and the north east zone. The interested candidates can apply online and register themselves for the written examination. The candidates can apply offline as well.
The examination consists of a written test which is followed by a Computer Proficiency Test. For typists, a skill test is conducted. However these tests are only qualifying in nature. Placements are provided on the basis of the performance in the exam.BHEL (Bharat Heavy Electricals limited) is a premier engineering organization of India and is involved in power generation, transmission, telecommunication, industry and transportation. It brings out vacancies for the post of engineers from time to time. The candidates who wish to work for the organization are required to take the GATE (Graduate Aptitude Test of Engineering). The scores obtained by the candidate in this exam are considered for job in BHEL. On the basis of a personal interview the final selection is made. BHEL recruitment 2012 will also follow the same process. The candidates can submit online applications to appear in this exam. They will also have to apply separately online to BHEL and provide their GATE registration number. The candidate should fulfill the required eligibility criteria in order to appear for the exam.UCO bank is a public sector bank that was founded in the year 1943.
It has a country wide presence and a strong capital base. It also takes out various vacancies for various posts from time to time for clerical as well as officer posts. UCO bank recruitment considers the score obtained in the IBPS exam. For the year 2012, it has taken out 1100 vacancies for PO. The candidates can apply online on the official website of the bank. The minimum weighted score for the general candidates is fixed at 136 while for SC/ST/OBC/PWD it is 126. It is a great opportunity for the young generation who aspire for a promising career in the banking sector. The exam will consist of a written test and a score will be provided to the candidate based on his performance. This IBPS exam score will be taken into consideration for UCO bank recruitment and no separate exam will be conducted by the bank itself.The interested candidates can try their luck by giving the above mentioned exams and hope for a bright and commendable future ahead in their career path.
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ঠিকানা: আজিজ গার্মেন্টস
গাউছিয়া মার্কেট (৪র্থ তলা), দোকান নং-৩৯৩
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the more i learn about politics and the more i engage with people who engage with politics the more im learning to distrust people who have grand macro narratives about the world and how everything works and why everything is the way it is.
im starting to notice people form this grand holistic vision of the world and then when they get into the particulars, when they have to go into details about specific things, they will always go into them with an eye to try and retrofit them into their grand narrative, and if what they are examining doesnt fit their grand narrative well then they have to find the way to make it fit.
and this desire makes sense, ideally you should be able to form a grand unified theory of the world and if you are confident enough and followed the right steps then that grand theory should have enough predictive power that any new piece of information you come across fits the theory! it would be nice if we were capable of doing this. but we cant! not after studying for a few years, not after studying for a few decades! the world is too big, to complicated, too multifaceted, too fractal.
the way i think people get trapped in these situations is that when they are young and just starting to learn about the world they will try as fast as possible to understand it, to come with some grand unifying theory of politics that can explain everything and make sense of everything. and they will learn about a couple of subjects and absorb certain key pieces of information, and based on those three to ten to fifty specific things they learn they will use them as scaffolding to form an all encompassing cosmovision of the world, and then that will get cemented and calcified into their brains and any new information they absorb afterwards will have to be made to fit this already established grand view. for example holocaust deniers, their grand narrative is “the jews control the world” and everything has to be examined not on its merits but with that lens in mind first and foremost, there is no piece of evidence that can move them from that narrative because individual evidence or data cannot stand against the much bigger weight of their already established grand vision of the world. everything that fits reinforces it, everything that doesnt fit is fake or propaganda.
that is one version of it.
ocassionally this grand view will get shattered, either because they were exposed to radical new information from sources they deeply respected or because life experiences shocked them to their very core. but then what happens is that they will scramble to rebuild a new (better, improved, enlightened, now for real) cosmovision of the world using the new information. and will double down on it. before they were blind but now they see the light. and the emotional impact of enlightment will fuel this new grand narrative such that it may calcify even harder and get perpetually stuck there. like people who were in support of vaccines as young but then they learn about the corruption of big corporations and big pharma and they become staunch antivaxxers.
then, in the few cases where this happens a third time at that point the person will just fall into a sort of epistemic helplessness where they cannot trust anything or ever hold into any position at all. the problem with this is that they may become distrustful of any micro statement as well, no matter how well researched and supported it might be, because they will see how it leads back to some grander narrative and thus anything connected to a grander narrative is immediatly suspect because they have first hand experience with how they can distort your thinking. like people who will see no difference between leftists and conservatives because “they are both pushing for an agenda”
and we end up in ideological nihilism.
i think the best option is to disregard grand narratives wholesale without that influencing how you examine specific particular micro points. if you come across a big giant vague grandiose statement just ignore it, such as “the big hegemonic power of capital controls the world and all the big banks and world powers are colluding to instaurate a new world order” dont engage with it, you literally cannot argue against that. there is no point of attack, that person is lost.
if you come across much more particular statements like “the policies of hurland belgager had a negative impact in the gdp of skavenia in 2005″ now you have an empirical question which can be critically engaged with (bear in mind this statement might be motivated by your interlocutors grand vision but by the principle of charity and good faith and with the goal of having a productive discussion you should engage with the statement on its merits otherwise we could never have conversations about anything)
i *may* be willing to listen to some renowned, respected, well established expert who has been doing this for a lifetime but even then i will grab it with pincers and a heap of salt. i much rather listen to an expert talk about the very particular and specific subject of limited scope that they’ve been studying their whole life rather than their big ideas they have about life and the world.
chel those prompts... they are SO GOOD. was very hard to pick, but what about 9? or if that one's a repeat, 19?
Ah, Byte, thank you so much for the prompt!! This one got away from me a bit, but I hope you enjoy it <3 (And welcome to my Stewjon!)
For prompt #19: A spear as a walking stick
So the saying goes
"You know, all this reminds me of an old Stewjoni saying," Obi-Wan says, leaning against their balcony and gazing at the sprawling gardens below.
Cody looks over, curious. Obi-Wan never speaks much of his home planet or its culture; he'd assumed, perhaps foolishly, that Obi-Wan had adopted Coruscant as his home wholesale.
Obi-Wan’s eyes are unreadable when he glances towards Cody. “Yes. It goes: a smart man fears the hidden knife, but a wise man fears the dull one."
Beneath them, the roiling sea of ivy-like plants lies lazy and untamed in the blue-white light of Stewjon’s supergiant of a sun. The garden and the structure that overlooks it have been kept at the barest minimum threshold of livable through the sporadic maintenance of the nomadic trains that, once or twice a solar cycle, eventually make their way here. Cody runs a thumb over the brittle pink sandstone of the stone railing and feels a few pieces brush away as he tries to understand what Obi-Wan is saying. His training had been in information and not metaphor. The war’s problems had been more logistical than literary.
Cody leans over and knocks his shoulder into Obi-Wan’s and attempts to respond in kind. "A dull knife’s not so bad so long as you’re not the one wielding it.”
“Indeed,” Obi-Wan says, as frustratingly non-committal as he was before, and when Cody squints at him for more information, he shakes his head. The gold medallion around his neck swings with the motion and glints strangely in the blue sunlight. Cody has wanted to pick it apart earlier, to hunt for how any voice recording device could survive the sun's erratic emag, but Obi-Wan had waved it off. Cody stares at it, bites back the same urge, and swallows his questions as he runs the words back over in his mind.
‘A dull knife?’ As much as he hates the Stewjoni tendency towards metaphor and idiom, he has to admit that it’s an effective protection against ever being caught in a lie. How can you find a lie in someone’s words when you can’t even find their meaning?
Wait. “Do you think other Speaker believes he’s doing the right thing? That he’s just—incompetent?"
“I think it’s something we should consider,” Obi-Wan says as a door opens behind them. They turn, as in-sync now as they ever were on the battlefield, and they face the messenger who steps into their rooms as a united front.
“We’re ready for you, Speaker Kenobi,” the man says, and Cody and Obi-Wan step forward together.
It’s only the third day of debate, but Cody feels as though they're in the middle of a three-month siege. The air is filled with that same mix of tension, dread, and monotony, although there’s considerably more food.
Stars, he even can’t lean towards Obi-Wan for an explanation like he did that night at the Corellian opera, where the opera house had banned translation devices out of some archaic belief in the inherent beauty of the incomprehensible. Then, Obi-Wan had whispered explanations beneath his breath into the close space between their cramped mezzanine seats, his voice smooth and clever and, honestly, more interesting than the drama playing out a sixty feet away.
Now, Obi-Wan’s the one on stage. And he isn’t alone.
“And why should we continue to pay the Republic’s fees? When Republic protection was the only thing that threatened us?”
Speaker Catiline’s voice echoes through the open-air auditorium with a gravity and weight that Cody almost envies. It’s a commander’s voice, deep and authoritative, and on the field, it would brook no argument.
Across the raised platform from him, Obi-Wan brooks an argument.
“Alleged threat,” Obi-Wan corrects, but Catiline shakes his head.
“It is true that a Republic ship entered our airspace and crashed to our surface,” he says. “A ship can be defined as a Republic protection. And regardless of how it got there, that protection killed six men.”
Cody bristles, his back teeth grinding. By that reasoning, the Separatists could have loaded Republic starships into cannons and launched them at the Speaker caravans—and Catiline could still claim the danger came from the Republic.
But he is still, technically, corect.
“We didn’t need a crashed Republic ship on our roads. We didn’t even need working Republic ships in our skies,” Catiline continues. “The Separatists could not have taken this planet any more than the Republic could not defend it.”
Cody tucks another protest behind his teeth. Unlike on Coruscant, Stewjon’s courts do not forbid speculation. He keeps a careful eye on Obi-Wan’s hands. Other than the Speaker Medallion, he hasn’t changed any part of his wardrobe. His hands flash from beneath the long bells of his sleeves, and Cody calms to see them warm and steady and Obi-Wan speaks.
“Regardless of the planet’s natural protections, you still benefit from protected Republic trade routes,” Obi-Wan says. “And if we are in the business of speculation, Speaker, I might note that the next martial threat to the galaxy may not take the form of an army formed entirely of robots.” He gestures to the murmuring crowd filling the concentric lines of sandstone benches. “Organic armies, as you may remember, have no trouble surviving here.”
“No need to question whether I remember the histories, Kenobi. But it has been two decades since you learned them, has it not? Perhaps we should hold a Telling and see whose memory is sharper.”
Cody leans forward, curious. He’d known that Obi-Wan’s impeccable memory for stories and language stemmed from Stewjoni practices; he hadn’t realized there were competitions for it, though. He wonders—
“My memory is sharp enough to remember what we are debating, Speaker, and I don’t think it was the histories,” Obi-Wan says, and titters of laughter crop up in the crowd like weeds through duracrete.
“Mm,” Catiline concedes with a nod of his head more gracious than Cody had thought him capable of. “Perhaps. But your armies never studied here, Kenobi. No army has. No modern army could wage war without their droids and datapads, their terminals and their communication arrays. They would be helpless without all of their technological methods of thinking and remembering. So why should we worry?”
It’s the first time Cody’s heard a Stewjoni native acknowledge the disparity between the galaxy’s technology and their own—or, more accurately, their lack of it. The massive blue-tinged sun hangs high in their pale atmosphere, apparently unremarkable beyond its size and color, but Cody knows better. He wonders what the flares look like from the planet’s surface; he wonders if, given enough time, the flares could become predictable. From the corner of his eye, he thinks it gets a smidge brighter, and he wishes he’d checked the shielding on their dropship a fourth time as he turns his attention back to the stage.
“The modern army of today, perhaps not. But the modern army of tomorrow? Of ten, twenty years from today? I don’t think we can rule it out,” Obi-Wan argues. “The cost of that future security is a simple agreement to remain within the Republic. It seems a small cost to me.”
Catiline laughs. Even his laugh is arresting: deep and resonant. “A small cost? Careful, Kenobi. That statement’s up for review on the Medallion, now. How could the cost be small? When it would invite thousands of your clones to make their residence here?”
Cody sits up, senses sharpening, and he sees Obi-Wan mirror the action in lock-step from twenty feet away.
“If you have a problem with clones—”
“Not with clones,” Catiline interrupts, and an angry murmur at the faux pas stills as he continues. “With men who were bred and born to combat. They can have no other story in their hearts but violence. You can use a spear as a walking stick, Master Kenobi, but that does not change its nature. He is dangerous. They all are."
Even from this distance, Cody can see Obi-Wan bristle. The line of his shoulders could be used to level a foundation, and his eyes flash an electric blue in the strange sunlight. Cody has rarely seen him so angry.
"And a hammer can build as well as break," Obi-Wan snaps. "Do not forget that some people in this galaxy have managed to acquire more than one use, Speaker."
An excited murmur rolls through the crowd, accented by a few soft claps, and a bell sounds for both order and a break in the proceedings. Obi-Wan and Catiline bow to each other, to the crowd, and to each other again before stepping off opposite ends of the stage. Cody makes his way down the amphitheater steps, and he doesn’t think he’s imagining the relief in Obi-Wan’s small smile when he looks up.
“Cody,” Obi-Wan says, as exhausted as he ever lets himself sound, and Cody resists the urge to put a hand in the small of his back to keep him upright. “They’re calling for an hour recess. Would you mind terribly taking lunch in our rooms?”
“I’ll grab it for us now,” Cody says. “You go on up.”
He gives into the urge to rest his fingertips in the shadow between Obi-Wan’s shoulder blades as he walks towards the food, pushing lightly as he goes.
Their rooms are light, airy, and in a state of managed-disrepair exactly the same as the outer balcony. The sheets are fresh, though, and the pallet is clean of bugs even if it is on the floor, so Cody can’t complain. Obi-Wan is sitting cross-legged on the bed closest to the window when Cody elbows his way through the curtain that separates their rooms from the rest of the hall.
“Hey,” he says softly, careful not to spill food or drink as he makes his way over. Obi-Wan must already know that he’s here, but some meditation states are harder to cleanly withdraw from than others. He wants to give Obi-Wan as much space as he can. “You ok?”
Cody wonders if that particular lie will be caught by the council reviewing the Medallion records. If the Jedi Council never caught on, though, he doesn’t have high hopes for Stewjon’s.
Obi-Wan opens his eyes slowly, then shakes his head when he sees the monochrome assortment of square flatbreads, jerky, and small red berries on the plates. “Ah. I’d forgotten how much I didn’t miss the food here.”
Cody grins and tears into a piece of bread.
“I don’t mind,” he says. “I’m still getting used to food that hasn’t been cranked out of a nutritional vat and baked into a square. It’s nice to get back to my former definition of a square meal.”
Obi-Wan’s answering laugh bounces from the sandstone walls towards the open window and its waving, gauzy curtains. They eat in silence for a few long minutes, both of them still accustomed to the battlefield routine of inhaling as much food as possible before the next alarm or crisis sounds.
When they’ve both finished, Obi-Wan sits back, and Cody meets his eyes with as much steady calm as he can muster. Obi-Wan draws on the air of Jedi sage as surely and obviously as Cody straps on his plastoid armor.
“Cody… I must apologize for my words earlier,” Obi-Wan says, holding Cody’s gaze. “I hope you don't mind my equating any of you to tools. Relating any of you to objects is to make a shoddy metaphor. All of you are far more than—than your ability to serve a purpose.”
Ah. Ah. Cody is the one who has to struggle not to look away, now. It’s something that Obi-Wan has told him before, but he has never understood it. As much as he wants to believe Obi-Wan, he understands Catiline’s viewpoint more than Obi-Wan’s. The war is over; the clones are struggling to find their place in peacetime. They, all of them, are desperately looking for a purpose to serve.
Cody is grateful beyond words that his own purpose survived the war.
“It’s fine,” Cody says. He remembers Obi-Wan’s earlier warning about Catiline’s motives, and he wonders, for a brief second, if Catiline really would be doing the right thing by keeping the clones off Stewjon. The clones were at least half the war, and the war never came here. Maybe it’d be best if it never did.
As if he catches the tail end of that thought, Obi-Wan shakes his head. The kindness in Obi-Wan’s eyes, as clear and impenetrable as well water, drives Cody to glance down at the food between them. He won’t argue, he thinks. It isn’t an argument worth winning.
But Obi-Wan’s warm, scarred hands reach for his, and Cody looks up again.
“You know what the Medallion means,” Obi-Wan says, and Cody nods. It’s one more thing he knows but doesn’t understand. “You know I’m not lying. So then, believe me—Cody, you must believe me—that you have far more than violence in your soul. You can be a spear and a walking stick and a hammer, and even if you were none of those things, I would still want you with me. I would want you with me even if you served no other purpose than being in my life.”
The words slide, hot and too heavy, into Cody’s throat and stick there. He can’t swallow past them; he can’t swallow them. The Medallion gleams green-gold in the sun. They are, in a word, unmaking. Impossible to believe, and impossible to refute.
Catiline’s words ring in Cody’s head, pounding to the rhythm of a new headache. He’d said his piece while wearing a Speaker Medallion too.
Obi-Wan squeezes Cody’s hands. “Okay?”
And Cody marshals himself as he once marshaled armies, and he tucks the wildfire inferno of his emotions and protests back behind the safe haven of his ribcage. He isn’t a Speaker, he thinks. He has no Medallion. No one’s listening for his lies.
“Okay,” he says, and the noon bell tolls.
Thank you again for the prompt; I hope you enjoyed it!
Everything Everywhere All At Once succeeds in all kinds of ways no film has any right to.
[Light spoilers hereon!]
It’s a Hollywood blockbuster science fiction action adventure family dramadey about a multi-generational Chinese American family.
Its lineage seems to somehow contain The Matrix, Watchmen, Neon Genesis Evangelion, The Fifth Element, Lucy, Brazil, Monty Python’s The Meaning of Life, and the entire corpus of Philip K. Dick derivati that Hollywood pumped out after Blade Runner., especially Total Recall (based on ”We Can Remember it For you Wholesale”). In other words, it should be the remnants of a half dozen stone cold classics (and a few very trashy bits of nonsensical fun) I’ve already seen, insulting the memory of its predecessors by doing nothing not already done better elsewhere. And yet its freshness thrilled me.
The Chinese American immigrant experience animates the movie’s drama. In fact, much of the emotional economy and storytelling approach of the film requires it to be about the Chinese American immigrant experience. And despite being in no sense Chinese nor an immigrant, I was along for every beat. EEAAO isn’t a pander piece for a specific demo; it uses the balancing act of family life—the specific and specifically Chinese American family life of the Wangs—to explore core, universal facets of the human condition.
Assigning cosmic significance to family dynamics in fiction, especially when it involves ordinary people who aren't clearly supernatural in some way, is a pretty tough formula to swing. But EEAAO works surprisingly well in this regard too. We discover very good reasons why the very fate of humanity pivots around the Wang family. The mother’s struggle to understand her real place in the cosmos and ultimately fight to reach her daughter really is what’s needed to save the day, even though, again, the Wangs are sort of Just A Normal Family, and the TV Tropes aficionado within me can't but be delighted at that.
And there are so many other things the movie does that should be impossible. It’s stiflingly, armrest-grippingly tense and effortlessly lighthearted. It’s saturated with toilet and bedroom humor and channels remarkable gravitas. It has parallel versions of people leading different lives making the same grand discoveries, aware of each other but not. It has sausage-fingered alternate reality people, middle-aged laundromat owners doing world-class kung fu because they stick office supplies up their noses, even though we’re never outright told how this all fits together, and it all makes sense.
And as I kept asking myself how EEAAO manages to do so many impossible things, I kept coming back to three core pillars of its success: (I) the economy of the characterization, (II) its core science fictional conceit, and (III) the way the movie operates according to a kind of psychoanalytic family pattern.
[Heavier spoilers from hereon! Go watch the damn thing!]
The most reliable litmus test I've found for whether I will appreciate movies, especially as stories, is whether there is good economy of characterization. By this I mean that all the things that the characters say and do, and the spaces they're in, etc., should do developmental work as much as possible as often as possible. In some ways, this is even more important to me than whether the premise of the movie is terribly original or whether the world fits together tidily.
EEAAO is very good at this. The first twenty or so minutes of the movie are an incredibly stressful experience, maybe one of the most stressful I've had watching a movie about something (to that point) pretty mundane. And in so little dialogue, you learn so much about Evelyn Wang—because you see how tough, efficient and pushy she has to be to function in her day-to-day life. You see how she’s been driven to her worldview—which causes her to fall into the broken patterns she does with the people around her.
And this is really great because it's obvious that despite all the compromises, sacrifices, accommodations, and shoves she is constantly making or giving to those around her, the way they and she are left dissatisfied seems hopelessly overwhelming even to an outsider. As the viewer, you're sort of left thinking, "well, of course. How could it be otherwise?"
And from the way that Evelyn zips through the laundromat to the way she tries to meet her father and daughter in the middle on their values while leaving her father confused and her daughter feeling unseen and unrecognized, is just...maybe not totally original, but exceptionally well executed upon.
And the way Evelyn's husband, Waymond, is unmistakably passive in the beginning, and so incredibly resourceful but also deeply and powerfully kind in parts 2 and 3; the way the IRS lady is so detestable for the first half or so of the film but rises to the sympathy of the viewer by the end as yet another victim of the processes that are so far beyond the reach of any particular person; the way the daughter's pretty normal sense of listlessness and emotional confusion is given such galactically dark proportions—they all serve to develop Evelyn's character too.
Because you're seeing them as she experiences them. The film works to validate her experience as yours even while showing how necessarily parochial and limited that perspective can be. It's like really great modernist literature.
EEAAO is science fiction in the parallel universes tradition. Its core new idea is verse-jumping: the ability to draw on memories, skills, experiences from parallel universes where one made very different life choices.
There are so many ways a plot device like the verse-jumping could have fallen so hard on its face. But it never does. It's pretty difficult to impeach from within the logic of the film and its far-fetched premises. And it buys the film so incredibly much.
First of all, it's just such potent wish fulfillment, and it's the most original entrant in the category that I've seen in years. So so so many people fantasize about growing hobbies and flights of fancy into a level of mastery that would command world renown and the ability to save the world.
But like, it's pretty hard for a movie to be truly kind to that kind of fantasy life. For one thing, we mostly all know that this probably isn't going to happen. Like, how could a dilettanteing hobbyist hope to compete with talented people who were groomed from early on to be world class at something—most of whom fail at it?
And even if you could, who's to say you'd actually be happy as eg. the best kung fu master in the world, especially given what you'd have to sacrifice and how many other flights of fancy you'd have to foreclose?
Yet the movie caters to exactly this want in a way that almost completely silences all of those pretty powerful doubts.
Evelyn’s half-baked hobbies are the thing that she uses to feed the unfocused bit of her soul that hasn't been completely cauterized off by her life and choices, and the price she pays indulging them constantly reinforces to her the need to be so disciplined in life. Yet it’s exactly these hobbies she needs to restore order the universe.
This next bit sounds like mystical nonsense, and maybe that’s because it is, but it’s also psychologically true: the parts of us that we want so badly to shut down but feed anyways out of some desire to be kind to ourselves, or at least not lose our minds, sometimes do turn out to be what we needed to turn to all along. And no experience in life lets us practice inner reconciliation more than those moments where the thing within that we want to crush ends up saving us.
Like The Matrix, EEAAO is an achievement at the level of implicit philosophizing through entertainment (and frankly, with both stories, the philosophizing going on unspoken in the background is generally more interesting than the philosophy that characters drop in dialogue).
This might be the weakest leg of my argument because it's about psychoanalysis, which I think largely consists of unfalsifiable pseudoexplanations that reveal more of their originators' psychological peculiarities than actual human universals, which has put me off of ever mastering psychoanalytical tradition. At the same time, psychoanalysis asks important questions we don't seem to have great veridical answers to, and many of those questions bear directly on how to tell good stories. This means the language I must use to talk about how EEAAO's story works is language that I not only consider suspect but lack confidence I fully understand, and it puts me in the tough position of not really believing my argument, not wanting to tacitly endorse the truth of the ideas I use, and having no other way to develop my point.
I think EEAAO is so easy to get into as a story because it's kind of psychologically true at the level of Jungian archetypes; Joseph Campbell perennial mythmaking; and even Jordan Peterson Maps of Meaning-style philosophizing about bringing order to chaos and venturing into the unknown.
But it also seems to be psychologically true in a more classically Freudian tradition as well.
Starting with Freud: the conflict between Evelyn and Joy, at least before it's dissolved through an act of love (wonderfully presented in the movie), is like the classic struggle between the Life Drive / Eros (Evelyn) and the Death Drive / Thanatos (Joy).
Through her life, Evelyn trying to bring organization/structure (Freud: the life drive; Peterson: order; Deleuze: being the tree; Nietzsche: master morality/the Apollonian) not just to her life but ultimately the universe. In all these regards, she is a fundamentally conservative force and is, despite her efforts, not fully integrated. But her conservatism is rooted in a desire to grow something beautiful and ward off the evils that chaos would bring into the thing she's building.
And it’s in this situation, of trying to shape her environment and those of the people around her, of trying to balance traditional values and liberal open-mindedness, that Evelyn drives Joy to feel not just unrecognized (in both the commonplace and Hegelian senses) but unrecognizable.
To hold herself together when all other facets of her identity turn in on each other, Joy turns to irony—asserting the nonexistence of values (Freud: the death drive; Peterson: venturing into Chaos; Delueze: being the rhizome; Nietzsche: slave morality, the Dionysian, revaluating of values).
On all of these levels, it makes sense that Evelyn is Joy's mom. Evelyn sort of starts the story as the Devouring/Tyrannical parent (thesis) and becomes The Hero fighting Joy’s Everything Bagel of disarray and nihilism (antithesis) and fixes things by finding a way of reaching and understanding her daughter, enabling her to retain her traditional role while bringing harmony and reconciliation (synthesis). And the key to this synthesis turns out to be the Wang family dad, Waymond.
When Evelyn is being destroyed by her daughter's Everything Bagel (nihilism), the thing that enables her to revive her thesis is the goofy, kind-hearted compassion of her husband—because by this part in the movie, she has remembered the strength and resourcefulness Waymond is capable of across many parallel worldlines, and she has seen that his kindness and embrace of life’s absurdities is a kind of symbolic superpower. That superpower is ultimately what Evelyn needs not only to save herself but to rescue her daughter from evil, which even (Alpha Universe) Waymond and Grandpa thought was a lost cause.
Dad ends up being what's needed to construct the synthesis, even though Evelyn is ultimately the one doing the synthesizing. And Evelyn falls back in love with him for it. That hopelessly romantic part of her that foolishly chose Waymond as a husband all those years ago turned out to know an important truth: he brought something to the table that would let her rescue her child and those around her and, in Lacanian terms, do the impossible and construct l’objet petit a by the movie’s end. It's really nice. 🙂
it must be the dream of every director to use AAA blockbuster firepower to tell an amazing new story, and it's so rare to pull off.
So many commercial factors work against bringing the kind of artistic integrity needed to even attempt this to large-scale filmmaking. Perhaps greatest among them, we have the following paradox: to make a great modern myth, you need to take storytelling risks that just usually don't pay off super well. The balancing act involved is a kind of illegible art that even the most effective filmmakers cannot reliably stick, and certainly not where box office performance is concerned. Better, Hollywood has concluded, to just make an entire movie out of Save the Cat! patterns, reverse engineer the broadest possible shared memeplex of the (usually predominantly white) consumer demography you’re trying to reach, and test every plot point in focus screenings.
If EEAAO has been through this wringer, it somehow survived it with artistic integrity intact. While it’s obviously the product of commercial forces, those forces were managed by people who knew what things they wanted to do differently and managed to do them.
And so I surmise that the Hollywood producers and execs who abound in internet legend for the incredible movies that were never made and we will never see thanks to their smoldering hatred of all good and noble were, this time, all of them deceived, for EEAAO is the long-prophesied wonderfully crafted flashy movie forged implausibly in the Hollywood crucible. You obviously should go watch it.
a fun little piece of anecdotal information that isn't relevant to anything is that a good friend of mine lives in a small studio in manhattan with her boyfriend. over the course of the pandemic her boyfriend has had covid THREE times! (Poor dude got alpha, delta and omicron.) They're both triple vaxxed now. Guess how many times my friend's gotten covid? Zero. She's been tested a thousand times even while her boyfriend was actively sick. Never positive once. They live in the same 300sqft with almost no walls. Never split to quarantine or anything, just luck of the draw. Just something to think about.
I know a married couple that lives nearby who has had the same thing happen to them. She'd had COVID twice and he never isolated from her and never got it. We'd joke about him just having a cast iron immune system - but last week he finally got the Rona.
Not from his wife - from a passenger in a shared vehicle. Of course we're waiting to see if his wife goes three for three now. They're both under thirty - she's triple vaxxed, he isn't vaxxed at all (a common situation where I live, in the backwoods of rational thought).
I think because BigHit said Jimin hadn't been IN CONTACT with any members during the (1-2 days) time he was infectious, that people just believe that wholesale. And it might well be true. The holiday weekend was going on, Jimin and Jungkook have verifiable history of using their time off to do things separately as much as together. Nothing wrong with that and it doesn't mean their relationship is tanked or non-existent.
But it is also entirely possible that they did spend time together during that time and that Jimin got sick because his immune system was already busy fighting the infection in his appendix. Jungkook didn't have that complication, maybe also had better/different antibodies from his shots, just didn't catch it. Anything is possible and we cannot use COVID as a barometer for their relationship.
Thanks for pointing that out, anon! :)
ok I gotta know about the idea dumpster
Haha, that is where all the ideas I definitely don't have time for go to live indefinitely. :') Basically, if I have a WIP idea that I think could be fun, but I don't think it's fun enough to devote time to right now, I toss it into that doc to save it for the distant future.
Some highlights of this doc include (plus either excerpts from their summaries or their entire summaries wholesale):
Dayenu: An estranged Jewish brother and sister travel across the country to attend their father’s funeral. Along the way, they unpack what drove them apart, where their lives went wrong, and everything in between. [Actually nearly became one of my WIPs at one point.]
Beautiful Guardians: A socially anxious girl thinks her best friend has dumped her for a clique of four beautiful but not-quite-popular girls the moment the two of them entered college. Then when she’s ambushed by a demon, she finds out that her best friend and this new clique are actually a team of magical girls. Then it turns really, really gay. [Was going to be my Original Fic Big Bang piece before I decided to finish AtB instead.]
Fantasy Novel That Totally Isn't a Legend of Zelda Fanfic Because Fuck Breath of the Wild's Lore: [Actual summary is very tl;dr with no pieces that would be great for excerpting, so an explanation instead: Ganon Proxy (henceforth GP) finds out that he's the reincarnation of a great evil, destined to eternally threaten the world. He would very much like to not be that because he's a decent guy, thanks very much, so he sets off on a quest to break his reincarnation cycle. Meanwhile, Link Proxy (LP) is the reincarnation of the hero destined to stop GP every single time, and he's just been summoned because monsters have started appearing in the land, and the royal family suspect GP has been awakened. However, LP crosses paths with GP pretty early, only to find out that, no, GP has had nothing to do with the monsters, so they decide to team up to figure out what's up with the monsters—and maybe unlock the secrets of the cycle trapping them both.]
[The original plot to Midsummer Knights, which was somehow a murder mystery.]
I Have an Elf Who Wants to Fight God, and I Don’t Know What to Do With Her: [It’s] a story about an elf who wants to murder all the gods because she thinks they don’t do jack for the mortal realm. And it’s a comedy. [Actual excerpt is literally five paragraphs long.]
Whatever Happened to Alan Mack?: [Also tl;dr, but basically, the MC is going through her brother's things while he's in a hospital after an attempt on himself, and she discovers that he actually leads a double life as a highly successful but mysterious online artist, the titular Alan Mack. The story splits into three from there, where it covers the sister's life of professional success but personal emptiness, the brother's life of rejection and mediocrity, and the stories Alan Mack would share through his comics. It eventually culminates in the sister realizing she should do better for her brother, but I never did write down whether or not the brother ever makes it out of the hospital.]
Oh God, I Hope You Don't: Dramedy about a lit critic and an author and the subjective nature of criticism. [I literally don't know where I was going with this, but I loved the title too much to not mention it here.]
Also, side point: These are the highlights. There are definitely more ideas on that doc, but, uh. There's a reason why they're languishing in Idea Limbo. :')
Thanks so much for the ask!
Tracking goals with a bulletin board instead of a planner
I don't know how helpful this is going to be to everyone, but switching away from using a planner was an absolute GAME CHANGER, so I'm going to share my system because it's not as intuitive as a planner, but at least for me, it's much more effective.
This got kinda long(ish) so the following is under the cut:
why I switched from using a planner to using a bulleting board
what kind of goals I set with this system
how it actually works (how to set it up, and use it to actually track goals)
affordability (spoiler alert: it’s better than most planners)
First of all, why did I switch?
My biggest issue with using a planner was that I wasn't seeing my goals often enough. In the closed pages of a book, they are very nicely hidden, and goals I can't see are goals that don't exist. This took me, oh..... five years to realize (starting when I first tried setting and tracking goals), but once I did, everything suddenly made sense. As far as I can tell, the more often you're interacting with your goals, the more likely you are to complete them.
What kind of goals do I set?
I track goals quarterly, which means I set new goals at the start of every three months (January, April, July, October). This is pretty effective, as I can set ambitious enough goals that I have to actually work to meet them, but there's enough space for setbacks like "I don't wanna" and "Oh look! Life!" without completly obliterating my chances of being able to finish. Quarterly goals are also pretty standard, at least for corporate America (idk about elsewhere, but it seems fairly likely).
In terms of content, I set several goals for the following catagories:
school/academics (if you don't go to school, work-based goals could go here instead)
social media and writing (most of my social media presence revolves around writing, so I kinda lump them together)
personal/private goals (home-based, tasks that I need to set aside more time to do, family, etc)
self care/habits I want to build (take a walk daily, eat breakfast, screentime limits, read books, etc)
This quarter, I have five for each section, which means twenty goals overall. That's a lot. (I'll get to my metric of success in a sec) The benifit though, is that pretty much all of the most important parts of my life are accounted for, meaning that it's not about making time for my goals, it's about structuring my day so that the bulk of it focuses on one goal or another. Whenever I'm bored, I can see what I have on my goals list, and I'm usually able to find something that's interesting to me in the moment. (This method of spreading out goals to cover multiple facets of my life is heavily inspired by Jenna Moreci's goalsetting method)
How does success work?
(The stuff above was adapted from Jenna Moreci. This part is lifted wholesale from what she does.) I have a lot of goals. Because of that, it's pretty unlikely that I'm going to be able to complete all of them, and setting that expectation is a great way to end up failing, and lacking the motivation to do much of anything. Therefore, a successful quarter is completing at least 50% of the set goals. It's still a challenge - I still have to complete 10 goals in 12 weeks, but it's doable. A success is listed as a win, whereas not completing 50% is a loss. Since I am a competitive person by nature, putting it in a win/lose dichotomy is an excellent motivator.
This is great and all, but how do you actually set it up?
Okay this is the fun stuff! So it would seem like the board would get pretty crowded pretty quick, but it actually doesnt.
I do all of my tracking on notecards. Each card holds five goals on them, which I write in pen, and I mark my progress by highlighting a progress bar on top of the row I've written my goal on. This means I can tell at a glance what goals I have the most or least progress on, and approximately how far I have left to go. I don't have to get bogged down by writing out fractions/percentage completion, which would definitely clutter things up.
To set my board up overall, I used string to block out four columns, each with header labels: Quarter, Week, Day, and Other.
The quarter column is where I list all of my goals I've set without breaking it down into little pieces. I have four notecards in this section, each with five goals apiece. It's the way I track how far I am toward completing the whole goal. Since some goals take most of the quarter to complete, I only update the progress bars once a week.
The week column also has five notecards, but broken down into pieces I can accomplish in a seven-day period. Usually, I set it up, so that the goals on each card directly correspond to the goals on the quarter goal card to it's direct left. You can mix and match which goals you work on any given week, but it's effective for both keeping everything organized, and also for making sure I'm not neglecting anything. I also make sure to label each of the week goals what it's the week of (for example [W- Mar 4] would indicate that this is a weekly goal card, and also that it's the week of March 4th). This is useful in case I want to go back and see what I was up to at any given time.
The day column looks a little different in that there are only two notecards. This is to help limit what what volume I'm trying to take on, because one of the biggest demotivaters is seeing a giant pile of work and knowing there's no way to finish it in the time you've got. Usually, I align the first card with the top row established by my quarter/weekly goals, and I write out five things I want to achieve during the day based off what I've written in my top two weekly goal cards. The other card is on the third row, and corresponds to the third and fourth weekly goal cards. As a very strict rule, I don't give myself more than four hours of work each day (this excludes going to class). I've experimented with other timeframes, and I've found going over that number means my chances of doing what I've set out to do plummet if I assign myself more.
The Other section is where I keep all of my past week/day notecards. On top, I have my weekly goal notecards in one of those triangular paper clamp thingys (I have been informed that these are technically referred to as binder clips), organized in chronological order, with the most recent at the front. Below that, I have my daily goals. This way, I have my progress easily accessible (this comes in useful for proving that yes, I did do the dishes three times last week and yes, it's your turn)
How affordable is it?
Actually really affordable. Yes, it takes up more wall space, but you can get a bulletin board for about $20-$45 depending on where you shop (sometimes they cost more, but usually you can find one in the given range). Notecards cost on average about $3-$4 per 100 card pack (which lasts about two months if you use front and back). Thumbtacks cost about two to three dollars, and a small ball of yarn costs about three to seven dollars. This means tracking for the first quarter costs about $35-$60 dollars, but every quarter following is between $4 and $7.
For comparison, most quarterly planners, cost about $25-$35 dollars per quarter.
Over a year, that adds up to:
$50 - $80 for a bulletin board tracker
$100 - $140 for quarterly planners
Over two years, it adds up to
$65 - $100 for a bulletin board tracker
$200 - $280 for quarterly planners
Anyway, that got pretty long, but maybe it'll be helpful to you!
থ্রী-পিছ বৃহত্তর পাইকারি মার্কেট ফূলবাড়ীয়া
Old Reliable (Final Rose)
As the group of aerial Grimm swooped in, they were greeted by a spray of gunfire from the flak cannons mounted on the Aerial Defence Grid Tower. The few that managed to survive the barrage were soon picked off by the lasers that functioned as a second line of defence.
The trooper who’d observed the whole thing with a set of binoculars radioed the all-clear to his comrades before patting the side of the tower affectionately.
“Sure beats having to shoot at them myself, buddy.”
The tower, of course, did not reply. It simply continued to scan its surroundings with a variety of sensors as its inbuilt reloading mechanisms prepared for the next assault. Its self-monitoring program also noted a growing number of faults and mechanical issues that would soon become problematic.
“It’s almost a shame that they’ll be retiring you next week.” The trooper grinned. “Still, I’m kind of curious. You’re one of the last generation one towers still standing. I wonder what the generation three they’ll be replacing you with will be like.”
X X X
The Aerial Defence Grid is a system designed to protect the airspace over civilisation. It is a joint project between not only the Four Great Kingdoms but also a great many other nations as well. Its objective is to create a wall that prevents the incursion of aerial Grimm, as well as additional defensive strongpoints that can deal with any larger attacks that do manage to breach the outskirts of civilisation.
Although it was originally proposed decades ago, it truly began to hit its stride with the advancement of drone construction techniques and automated monitoring and self-repair systems that allowed for the construction of towers at an unprecedented rate. These same towers could then be largely trusted to take care of themselves although all are staffed by normal troops as well.
Due to the long-standing nature of many of these towers (some are more than twenty years old), many of the troops stationed there have come up with nicknames for their towers. Over time, as the towers are replaced, it’s not uncommon for bits and pieces of the old ones to end up in the possession of the soldiers who watch over them.
One particularly famous first generation tower actually ended up being transported wholesale (supposedly disarmed) to stand as a monument in a harbour city. It would later prove its worth when the city was attacked by Grimm. It turned out the tower was not disarmed, and it provided valuable supporting fire throughout the battle.
That tower is the tower in this snippet, which would come to be called ‘Old Reliable’.
The Erins are so fricking bad about making plots that entirely hinge on the protagonist(s) being the only functional/competent individual and/or just making everyone else grossly incompetent/stupid.
Like for real my old English teacher told me “if your story’s main conflict could be fixed by someone talking to someone else over a mild misunderstanding , then you need to work on it”
But that is literally the plot of at least three warrior cat arcs.
While I definitely agree that Erin Hunter’s plots are extremely thin and often poorly made and poorly thought through, I don’t actually agree with your teacher--which I have no problems saying, since I’m also an English and creative writing teacher.
I feel that a lot of writing advice people offer isn’t actually any good wholesale, and that context makes a significant different re: how useful and relevant a piece of writing advice is for a specific person’s specific work. This advice sort of implicitly implies that any plot that could theoretically be solved if the characters “just talked” about things isn’t “good” writing, and therefore needs to be improved.
But that’s just not true. Some of my favourite Shakespearean plays are built primarily on character misunderstandings, but they remain compelling stories even so, because of how those misunderstandings are told. And that’s kind of the thing that advice of this sort skips over--it will tell you what to do, but doesn’t often explain why that rule of thumb has become popular.
The reason people make broad strokes like this and claim that people hate misunderstanding-based tropes/narratives is because people hate contrived misunderstandings. In other words, people hate when characters who have no reason not to talk simply don’t communicate with each other--because it seems incorrect for the characters and thus it breaks the verisimilitude of the story. Reading is kind of engaging in an implicit contract with the writer, at least for most types of fiction. The writer says: believe me that what I say is real, and I will tell you a good story; and the reader says: tell me a good story, and I will believe you. If the writer breaks the contract by writing something that does not feel real after requesting the reader buy into their world and story, then the reader is yanked unceremoniously out of the story and is usually and understandably pretty mad about that.
I think that’s often where you get criticism of “bad writing” that people can’t really articulate the cause of. People can usually recognise when the writing isn’t holding up its end of this bargain, and when the reader is getting shafted quite unfairly after their buy-in to the work, but can’t always explain how or why they know that.
Anyway. For comparison, look how popular and beloved tropes like “mutual pining” or similar is, when overwhelmingly that particular style of plot is based in two people misunderstanding the feelings, words, and/or intentions of another, and then not communicating their own feelings or questioning their assumptions of the situation or inquiring after the truth at length. Those circumstances would be solved by “just talking” (the word just does so much to make talking seem easy, doesn’t it?)--but how many people with a crush, especially on a close friend, see “tell them how you feel, directly” as a simple and easy option?
To suggest that talking openly and honestly in that situation doesn’t require courage and maturity, doesn’t require a scary amount of vulnerability, isn’t a considerable risk in several ways, wouldn’t be accurate. So we recognise that it’s a form of verisimilitude for characters in this situation not to speak openly, and so we don’t feel it’s contrived. But it’s still often informed by and built upon misunderstandings--it’s just that a lot of people either don’t notice that, or actually find joy and delight in the trope of misunderstandings when it contributes to the overall experience of the narrative.
So yeah! Don’t want to 1. defend Erin Hunter (heaven forbid) or 2. school your teacher, but I don’t think misunderstanding as a trope is good or bad, and advice that suggests one way or the other isn’t really credible to me. It’s just a tool, and the only real factor is how good the writer is at using it + selecting the right context to do so.
** the disclaimer still applies: don’t fucking dogpile, don’t harass using this as a springboard. furthermore, do NOT @ robin about this for fuck’s sake she’s already taken far more than what was warranted and this is not about her **
@daciafelix, out of respect for robin’s request to lay things to rest, I will be speaking to you on a separate post here.
however, I will not be letting your replies on the post in question slide. I’m very angry with you, and I want you to fucking know it. I’ll paste the three replies here.
mirrorofprinces go back under the bridge please. Robin, you should ignore the trolls, they aren’t solitary creature it seems. You apologized and you should move on. I am tired of seeing a good author beaten down by people who don’t seem to understand how nonprofit fictional worlds work, not to mention reality. Dear “Chinese diaspora” , your trauma is real, attacking people is not the way to solve it. This type of attitude is what got Archiveofourown banned in China.
what the actual fuck was this? “Dear ‘Chinese diaspora’“? you have the audacity to tell us not to attack people while mocking us in the same goddamn breath? the lack of self-awareness that takes is stunning. congratulations for lowering the fucking bar once again!
perfunctorily saying that our “trauma is real” means nothing when the rest of your response dismisses us wholesale as “trolls”, insults our cultural identity -- one that we have repeatedly explained is a complex, difficult topic -- asserts that we have no grasp on the politics of fandom, that we’re delusional, and then!! has the fucking sanctimonious presumption to blame us for CCP censorship of AO3 in china. whether or not you intended any of that is irrelevant, because you still fucking said all of it and we still fucking heard it.
you don’t know jack fucking shit about the 227 event and it shows. the lack of respect that you exhibited in this reply is unbelievable. I was fucking there when this went down, I cried for days. I watched my chinese friends having mental breakdowns in private forums, a chinese friend i had met literally two weeks prior on AO3 emailed me in dismay for what had happened -- this is someone who had been working up the courage to send me a message for literal months and we managed to exchange emails just before the firewall went up -- you don’t understand, you can’t understand the sort of devastation that was felt. if you did, you wouldn’t have brought it up like this as a cudgel for sweeping our legitimate pain aside. blaming the victims for the acts of a violent and oppressive government is a fucking shitty look.
Cloudyfromoobsession I have read it [*the chinese diaspora statement], it makes me really disappointed. They treat fan fiction as some deep existential writing, which is not necessarily wrong but they have to acknowledge that not everyone is divining the meaning of life in a mdzs fic or any other fandom. Transformative work as a principle is based in the exploration of alternative visions starting from a canonical point, there is no rule that fan fic needs to appease a certain portion of the fandom or even stay true to canon.
I see that you have shit reading comprehension as well! not to mention a seriously questionable philosophy on the responsibility of transformative work as a whole. once again, you mock our genuine efforts to express something very important to us by saying that not everyone is trying to “divine the meaning of life” from a fic -- we never once said that fandom wasn’t supposed to be lighthearted and fun -- I’m pretty sure we said the opposite in fact! I love that you think that our concerns are a matter of taking things too seriously! you’re basically just telling us hey, it’s not that deep! let it go!
why should i fucking have to let this go when so many people act like you and have in every sphere of my life from the time I was born? why should I continue to bite my tongue, smile and play nice? because it’s not convenient when the model minority kicks up a fuss?
“there is no rule that fan fic needs to appease a certain portion of the fandom or even stay true to canon,” you say, like our race, identity, generational trauma, are just a matter of differing headcanons or taste. this isn’t about fucking appeasement, it’s about human respect and compassion. no, there’s no rule that all fic has to match anyone’s personal taste, but there is a fucking expectation that fic, and any other creative endeavor in this community, has a responsibility to examine its own impact in context. how explicit must the harm be before you put your foot down? if the characters said “ching chong” and chinese diaspora shouted it down, would you still say, “well, it doesn’t have to appease you”? “just look away”? “but I liked it”?
tell me to ignore my own oppression again for your personal comfort, I fucking dare you.
mirror, as the author has asked to put all this to rest I will not engage with you. I’m well aware that Chinese censorship is a more complex issue and larger that a fandom spat, and yes it had nothing to do with chinese diaspora fans, it was the spirit of this type of “poisoning the well” I was invoking.Limited word comments are not good for exhaustive discussion. But being rude and dismissive to someone who apologized(I mean the author) makes you an immature bully. Good day
funny how you think you can act like you’re taking the moral high ground by acting like you’re complying with robin’s wishes to “lay things to rest” when you ignored her requests to stop defending her twice with your asinine bullshit. if you’re going to act like you’ve got the moral high ground, you better make damn fucking sure you actually have it.
I am going to give you. a sliver of the benefit of the doubt and try to believe that you didn’t intentionally try to justify your sinophobia using a turn of phrase with antisemitic associations (one that was already discussed at length during the previous incident). I know that the history of “poisoning the well” isn’t terribly well-known, so this is just a reminder/to let you know that it’s a loaded phrase and should be used with caution, especially in a discussion that involves antisemitism.
in any case, you’ve already demonstrated an incredible amount of ignorance regarding chinese politics, so I don’t see any reason to believe that you are “well aware” of the complexity that underlies chinese censorship. the fact that you invoked it at all betrays how little sense you have of the history, how close it is, how much very real, terrifying harm has been wrought -- people love to use the CCP as a gotcha! to shut down or derail conversations about sinophobia. it’s an extremely common tactic, whether or not you realized it. do you all not realize that the people who suffer the most from an oppressive government are the people that live under its shadow? why is that so hard to grasp?
i have friends younger than me whose parents were close enough to tiananmen to hear the first shots ring out. the daughter of one of the photographers of tank man that snuck it out of the country is a year older than I am. my mother has been cautioning me for having political views since I was in middle school, citing the red guards of her generation and how they were manipulated and left to die by the CCP. I could tell you about shit that happened in my immediate family that would make your blood curdle. these stories are not unique or rare. keep that in mind the next time you want to whip out the CCP in an argument.
you’ve stated that limited character replies aren’t a good medium for discussion. fine. you’re welcome to pick this up in reblogs if you want. I’ve said my piece. good fucking day.
"Canon” and “not canon” in the Adventure/02 universe
This is something I want to talk about, because it has a certain degree of relevance to the question of what I choose to take into account in my analyses and what I don’t. I write a lot about Adventure and 02 because both series are ridiculously consistent over their 104-episode runtime, but there are times when things contradict or don’t quite track together, and I have to figure out how to best rationalize them -- which means I need to make arbitrary decisions on what to count and not count, and when one does make those kinds of decisions, you’re very liable to get the complaint: “but that’s not canon!”
Which always makes me think: who decided that? And in the end, this is something that I think extends beyond just Digimon; every fanbase for everything always wants to believe there’s a clear-cut answer to things that everyone’s supposed to follow in a canonical timeline, and things that fall outside it. And sometimes, for some franchises, that is doable, because official staff will actually say outright that “this counts, and this doesn’t.” But that’s not how Toei and Bandai work, and their modus operandi has always been to toss a bunch of often-contradictory stuff at everyone and go “figure it out yourself,” and I think at some point the fanbase really needs to acknowledge that this so-called clear-cut boundary of “canon” and “not canon” doesn’t actually exist at all. Or in other words, any assertion of something being “canon” or “not canon” in the Adventure and 02 universe is purely something arbitrarily defined by fans, and was never determined by official - which, conversely, has actually encouraged you to take as much as you want and figure out the rest yourself.
Before we begin, I do want to make clear that this is not about one’s personal canon based on one’s own preferences -- that is to say, if you’re going “I don’t consider this canon because I don’t like this/don’t want to work with this,” then that’s entirely your right, especially if you’re doing creative work and need to decide what to apply and to not to apply. (Although, as always, one must be conscientious and respectful of those who do like it and consider it canon, because everyone’s going to differ on this.) What I am talking about is when people take a substantial part of the franchise that they otherwise like, such as a movie or drama CD, see one detail that’s contradictory in terms of the timeline or lore, and take that as evidence of “yep, the entire thing’s not canon. We’ll just throw the entire thing out, then.” It just makes me think -- you threw out a perfectly good work for that?! That’s such a waste!
First of all, Toei and Bandai don’t work that way
In general, a lot of the contradictions in the series have a “right hand is not talking to left hand” problem, because as much as we would like to believe that a Digimon series is written by a single consistent entity, the franchise itself is a huge trade-off between Toei and Bandai, and a lot of things from Bandai -- spinoffs, crossover material, games, what have you -- don’t exactly have a stellar track record of being vetted by Toei anime staff. It’s pretty well-known that game portrayals of certain characters can be really off or have misleading info, and even V-Tamer’s somewhat guilty of it. So this is going to happen no matter whether you like it or not, and it happens with any long-running kids’ series that involves a collaboration between multiple companies like this.
Moreover, the traditional custom for Toei “side movies” (in this case, meaning things like the original movie, Our War Game!, Hurricane Touchdown, and Diablomon Strikes Back) is that they’re produced with minimal involvement from the original series’s core staff -- at most, the producer is lightly involved -- and are sometimes even worked on simultaneously with the start of the original series, so you often end up with a movie that’s impossible to fit anywhere in the series timeline because there wasn’t any communication with the two sides. And for that, it’s all too easy to dismiss those movies as “non-canon”, with the fanbase arbitrarily deciding that canon ones are canon because they fit -- but Toei itself has never taken this stance.
The other thing is that, given that Adventure/02 is famous for its ridiculous level of worldbuilding consistency thanks to its director Kakudou’s conscientious efforts on it, it means that as a result, anything not made by him was prone to running afoul on it, and it’s not like the stance back then was to just reject all of it wholesale. “Doesn’t comply with the lore” is so often equated with “not canon”, but Kakudou, the author of that lore, not only made no indication of invalidating or disliking those non-compliant things, but also conversely made an active effort to make those things relevant in spite of that! (See: Our War Game! below.) The official stance is to not deny those works for being noncompliant -- it’s just that Kakudou seems to be the detail-oriented kind of person who personally prefers to work with things that have a high level of consistency (he’s very quick to say “I wasn’t involved on that” whenever someone brings up something from said external materials, not in any condescending way, just “I wasn’t involved, so don’t attribute that to me”). In fact, one of the reasons there wasn’t initially a third Adventure series was that he had difficulty finding a way to adhere to the higher-ups’ pressure to keep all of these contradictions consistent -- so the official stance itself is to try and maintain all of those side works, and that it would be better to end the series itself than to have to do something like deny them.
Which makes things very frustrating for the fans, of course, but nevertheless, that’s how it is -- even back in 2000, the right-hand-not-talking-to-left-hand phenomenon was this significant! And it would have been easy for official to step in and go “okay, we’ll put a statement out here that these don’t apply,” but no, the stance was be that it would be better to stop dragging it out longer and cancel a whole series than to deny those works, which leads us to the current situation. (Plus, think how insulting it would feel from a PR perspective if someone got attached to one of those “non-canon” materials only for official to come out and outright say “yeah this doesn’t count anymore”; we can name examples of this happening in other franchises that have understandably gotten a lot of people upset, and it would be especially offensive to do this right after said material had been released.)
Bolstering the concept of official staff’s very loose opinion of “canon” are the Adventure novels, which were supervised by Kakudou himself and written by Digimon episode screenwriter Masaki Hiro, and are non-compliant with Adventure timeline by design, because it’d be bad for the format to try and depict every single detail in the anime in the form of three novels. Several events are condensed or shuffled out of order, or even sometimes completely different (Koushirou’s incident with Vadermon goes very differently from the anime version). Despite that, this is said directly to be intended as a series of novels to help people understand Adventure and 02 better, and several details in Two-and-a-Half Year Break and Spring 2003 are incredibly consistent with it (namely in the sense of details meant to retroactively connect Adventure to 02, and other background details like Daisuke’s backstory). So you are supposed to do some kind of mental leap where you don’t take the contradictions around the actual events too seriously, but still accept the spirit and the background information you learn from it and retroactively apply it to Adventure and 02 -- and, presumably, that’s probably what you’re expected to do with everything else, too.
And this isn’t even getting into the fact that the anime itself has occasional contradictions and errors due to things like animator error or simply different writers writing different episodes -- the Adventure and 02 staff were certainly very detail-oriented, but they are human and of course inevitably slipped up here and there. How seriously do you take honorifics shifting from episode to episode in ways that don’t seem intentional, or the fact every background material refers to Osamu and Ken having a bunk bed and yet the actual episode with both of them fails to depict it? How do you deal with the fact that the Animation Chronicle is one of the most extensively useful post-02 reference materials with tons of production background info not revealed in the anime, and yet is infamously full of suspected typos that would cause some pretty massive implications if true, or all of those other Bandai and Shueisha-commissioned “side books” and other pieces of media meant to entertain the kids while the series was airing but clearly had no input from Toei staff whatsoever?
In the end, frustrating as it is, the answer seems to be the same as ever: figure it out yourself.
The standards for what’s “canon” and “not canon” are way too arbitrary
Let’s look at a handful of things that have been historically dismissed as “non-canon” by the fanbase:
The Adventure mini dramas and Armor Evolution to the Unknown: Drama CDs that were generally dismissed as non-canon because they’re “too crack” to be canon (their writing style is of the “it’s okay to push the boundaries of characterization for the sake of comedy” sort, and it wouldn’t be until later when we finally got some more serious drama CDs). The latter is full of honorific inconsistencies, most prominently Daisuke and Ken still being on surname basis at a time they’re not supposed to be (due to the fact that it was released while the series was still being produced). But official word is that you’re still supposed to consider them canon -- and yes, that’s Kakudou himself giving official sanction to a drama CD that involved a massive amount of fourth wall breaking and a completely unexplained reunion between the Adventure kids and their Digimon sometime between 1999 and 2002 (apparently this wasn’t the only one, either). How is this supposed to work? Figure it out yourself.
Hurricane Touchdown: The funny part is that up until Kizuna validated Wallace’s existence, there was no actual consistent agreement on why this movie shouldn’t be canon (the Western side being “evolutionary form timeline violations”, the Japanese side being Wallace’s status as a Chosen Child prior to 1995), which really goes to show you how arbitrary all of this is. It also has a sequel drama CD in the form of The Door to Summer, which is also contradictory with Hurricane Touchdown’s ending, so we’ve got two layers of “it can’t be canon because...” -- and yet it has a lot of interesting Daisuke characterization, and, heck, the whole character of Wallace himself, that would all be rejected if you throw this out wholesale. Then Kizuna came along, and there’s a general sense of hesitation against easily denying officially-sanctioned “main” entries like that, which retroactively forced people to somehow skip past all that and accept it, just for the sake of Kizuna’s notability.
Diablomon Strikes Back: Similar to the above, it used to be constantly dismissed as “a non-canon fun movie” because of the evolutionary forms that appear in it, despite the fact that 02 itself established that it wasn’t that hard to restore evolutionary forms if you figured something out. Somehow, a ton of people treated it as such an impossibility that “they figured it out in the first three months of 2003″ would be a viable explanation, and yet official word is that of the second through fourth movies, this is the one that had the most amount of initial consultation with the TV anime staff! And then tri. and Kizuna came along and clearly had high-level evolutions in play too, and dismissing DSB on these grounds meant dismissing those by proxy, and a lot of people were too intimidated to do that and decided to retroactively validate DSB instead, after years of having dismissed it for this reason. Again: look how arbitrary this all is.
The tri. stage play: Mainly because its timeline of events doesn’t fit tri. at all (in regards to the reboot and part 5). This is a fair assessment to make in light of the fact that it doesn’t seem to work very hard to be compliant with the very series it’s branded with, but, funnily enough, it’s actually more lore-compliant with the original Adventure and 02 than the tri. anime series is, and yet the few minor contradictions it makes with the tri. anime series are sufficient to consider it completely kicked out of canon, yet those same people who declare it so aren’t as willing to hold the anime to that same standard just because it holds a more prominent “main” position.
On the other hand, let’s look at some of the things that have been more likely to be accepted than the above:
Our War Game!: Reading this is probably going to make everyone go “whaaaaaat?”, but yep: according to Kakudou, the second through fourth movies were all made without his supervision or involvement and thus have lore contradictions (although he also made sure to say that they’re very fine movies, too). We still haven’t figured out what the lore contradiction is, and so the fanbase considers it canon, and even 02 itself makes multiple references to “the Diablomon incident” in 2000, so you can’t consider this non-canon in the slightest...but yes, according to the official side, it’s actually got a contradictory incursion somewhere in there. There is one hypothesis as to what it is, and it’s such a minor thing that no fan or even official member of staff would dare deny the movie for it, but it still contributes to how arbitrary this entire concept is: Kakudou didn’t want to give anyone (except Miyako, who’s based off a real person) canonical birthdays or blood types for the sake of preventing horoscoping, but Sora’s birthday is portrayed as being around March in the movie. And yes, Kakudou himself refers to this as being something that only happened because he wasn’t involved. (Remember what I said about him historically being quick to disclaim involvement on anything he wasn’t involved on, regardless of how much of a minor detail it is, yet doesn’t necessarily intend to deny the work entirely due to it?)
Tag Tamers: A very vital part of Ken’s backstory that establishes a lot of context behind the Dark Seed and the elusive Akiyama Ryou, which also does not make sense with 02′s timeline and characterization at all, presumably because Bandai and Toei weren’t properly communicating on what kind of details they needed to iron out for this. But of course, all of us would like some explanation to Ken’s backstory, and we have to apply some kind of logic as to how that makes sense, and I’ve yet to see people declare Tag Tamers (or any of the other WonderSwan games) as entirely non-canon as a result.
tri.: For obvious reasons, it’s a “major entry in the franchise”, so people are generally more averse to dismissing it so easily (or, at least, for reasons that aren’t related to pure preference), but I find it rather ironic that Kizuna’s the one that got all the attention for apparently being lore non-compliant, when the exact same lore points mentioned in Kakudou’s reasoning as to why it’s non-compliant (along with a ton of things that actually were in Adventure and 02′s text) are gone against even more regularly and prominently in tri., whereas Kizuna still goes out of its way to adhere to most of these and only seems to have incurred a contradiction in terms of originally intended ideology, and, possibly, its extensive use of the aforementioned movies. (Recall that this got brought up for Kizuna specifically because Kakudou was initially consulted for it; he wasn’t involved in tri. to begin with at all.) See above on how people’s unwillingness to write this one off so easily despite everything ended up retroactively dragging DSB into “accepted canon” territory; that’s how arbitrary this entire thing is.
Then, tied to all of this and making it even more confusing is Kizuna, which, again, putting all issues of personal preference aside, is basically being torn back and forth between all of these whenever you try to apply one of the above arbitrary standards. It’s allegedly lore-noncompliant with Kakudou’s lore and thus lacks his involvement, but it does have the involvement of original series producer Seki Hiromi who was known to be responsible for the series’s original human drama themes (including the premise of 02 itself) and personally vetted the scripts so that everyone could be properly in-character and the original themes still intact; it’s supposedly a “main” entry to the point where people will stop denying older works’ canonicity because of it (see Hurricane Touchdown above), but, legally speaking, is actually classified in the same “gekijouban” category that the first four movies and things like the Tamers through Savers movies are; the staff will say to hell and back that the 02 epilogue still holds (and the movie makes abundant retroactive references in both worldbuilding and themes to it), but many people out there will still insist that the movie ending that way means that (like with DSB above) “they figured it out” between the movie’s ending and the epilogue is apparently some kind of impossibility, and either the movie is non-canon or the 02 epilogue is invalidated now. (My personal stance on this is that the epilogue itself provides the answer to how they figure it out if you look closely at the movie’s themes, but that’s a tangent.)
The point I’m trying to make is that regardless of whatever stance you take on all of the above points, this is all extremely arbitrary, and these fanbase rationalizations on why this and that isn’t canon are constantly contradicting each other, shifting, and occasionally based on really meaningless things. And, again, it’s fine if you’re saying that you don’t consider this or that canon because you personally dislike it or where it went, or you find it difficult to work with, or between two contradictory things you prefer one or the other (I certainly have my fair share of strong opinions in this regard) -- but it would be better if we all admitted this and went “I just don’t consider this canon” instead of acting like there were ever some universal consensus or official backing.
"It didn’t happen this exact way, but something resembling it still happened”
So, we’re in this uncomfortable situation where we’ve been handed a ball of knots and have to work with it (a very frustrating situation especially for fanfic writers), and I have to personally say that I think all of this comes from people having far too inflexible of a concept of “canon” and “not canon”, especially to the point of rejecting a full-on perfectly fine entry just because of one timeline issue. I honestly think it’d be better if we could rather take a certain stance close to the Pixiv dictionary wiki’s view of how Wallace can appear in Kizuna: “(some version of) Wallace exists in the timeline of the main story.”
Right, so: Hurricane Touchdown is contradictory. The evolutions don’t work at that point in timeline, and Wallace shouldn’t be able to be a Chosen Child from before 1995. Those things don’t work with Adventure and 02′s timeline and lore. However, let’s look at the following story: let’s say that, between 02 episodes 14 and 15 (when the movie first screened), while school was on break, Daisuke and his friends went on a summer adventure to the US and met a boy named Wallace, who had a struggle regarding one of his partners losing his sanity, and bonded with him and helped put his partner to rest. No part of this contradicts 02 at all. There we go! So we can safely say that some story that mostly resembled Hurricane Touchdown happened in the canon timeline. Some of its details weren’t exactly the way they happened in “the movie we, as the audience, saw” -- but something that substantially resembled the movie still happened in the universe of Daisuke and his friends. And you can apply that same logic to Tag Tamers, or any other vital canonical but ostensibly contradictory material -- the media that we as the audience got may not accurately reflect the events in universe, but there’s absolutely nothing saying that some more timeline and lore-consistent alternate version didn’t happen in canon instead.
Moreover, even Adventure/02 itself gives you a bit of precedent for this concept -- namely, the fact that the final episode of 02 reveals that the entirety of Adventure and 02 is part of Takeru’s novels. It’s a pretty common theory that there might be differences in the way “the story we got” was presented, versus how they actually happened in the world Takeru lived in -- of course, Takeru certainly went out of his way to remove as much bias from the situation as he could, but you can hardly say that he, as a human, would be completely free from it, and he himself even admits that everyone he consulted had differing opinions on the events in question. And not every single piece of Digimon media has the Hirata-Hiroaki-as-Takeru narrator, which means that perhaps it’s not entirely out of the question that the different takes on the stories that the Tokyo Chosen Children went through in their youth would not be entirely consistent with each other, depending on who’s telling it. But that doesn’t mean that those events necessarily didn’t happen at all, just that some of the details were different from what we as the audience saw.
In the end, I leave the rest to everyone else to figure out -- as I said, I think this is a decision everyone will have to make for themselves, whether they’re a fanfic writer picking and choosing what to include for the sake of a coherent fic, or whether they’re just expressing a preference to not have to think too hard about or work with something they’re turned off by. (And in the case that there is someone who expresses their dislike of working with something and doesn’t want to consider it canon, I think it’s very rude to give them grief for that, and conversely, if you don’t want to consider something canon but encounter someone who doesn’t have as much of a problem with it, it’s very rude to try and expect them to change their opinion to yours.) But I do think it would do well for all of us to have a bit more of an open mind and a creative attitude towards these kinds of things before trying to shove everything into a “fully canon” and “fully not canon” binary.
How about Codywan 'hiding face in neck' for the writing prompts? x
Cody hears the news at the exact same time as the rest of the galaxy: famed High General Obi-Wan Kenobi, recently reported dead, has miraculously returned to life.
The Coruscanti Times breaks the story, but the words are prescriptive. They read like a missive from the Chancellor’s office, flowery and full of stiff praise, and Cody doesn’t doubt a lucky Times author is getting a promotion just for copy/pasting a state-sponsored email. He wonders if they’d waited to get an image of Obi-Wan stepping off a starship before hitting send, or if the picture had been included.
Still, still. His thumb lingers on the pad over Obi-Wan’s face, where his contemplative frown is unencumbered by his usual beard. Even without the beard, it’s impossible to tell what he’s thinking. Obi-Wan Kenobi may hate politics, but he’s very good at them, and his expression gives nothing away. Is he angry? Upset? Is he satisfied with a job well-done, grateful for the chance to do his duty to the Republic?
He looks tired, Cody concludes. Obi-Wan’s hands are tucked into the robes of his sleeves, but Cody thinks he’d see white knuckles if they weren’t.
There’s a clatter and a shout in the halls outside of his quarters, and Cody lets out the breath he’d been holding for three long weeks. Obi-Wan Kenobi is alive, he thinks, tasting the words in his mind as he rereads the headline and heads to the door. Emotions flood into his brain like blood into a constricted limb, tingling with painful new sensations.
When Obi-Wan’s transport lands in the hangar of the Vigilance, there’s barely room for the ship to touch down. Every trooper in the 212th had desperately wanted to be there, and Cody had set up a ship-wide broadcast for anyone who couldn’t fit. In any other situation, he’d have done the proper commander thing and given his spot to some deserving shiny, but.
Well. Any other time.
If Obi-Wan’s surprised to see almost a full complement of clone troopers vibrating with enough energy to power a Venator-class starship, he doesn’t show it. He smiles and waves, and stars, stars, it’s good to see him. It’s one thing to read about it, to see a picture—but it’s another to stand in front a dead man, to breathe the same air as him, and to know everything’s going to be okay.
Obi-Wan steps down the ramp towards Cody, and there’s a question in his eyes that doesn’t match the certainty of his stride. His hands are shaking.
“Cody,” Obi-Wan starts, but he stops, uncertain, and Cody has no idea what Obi-Wan could be uncertain about. He’s home; he’s alive; that’s all there is.
Cody lifts his helmet off with a depressurizing hiss.
“Welcome home, sir,” he says, and, behind him, there’s a vast tidal wave of white and orange as all of his troopers remove their buckets, too.
And Obi-Wan’s still hovering, just barely within arm’s reach, when someone—Cody still doesn’t know who—sings the first line of Vode An. The chorus grows, sweeping through the gathered ranks, a deep baritone thrum of kote, darasuum kote echoing throughout the vast room, filling the room with pride and joy and we shall bear this weight together.
“Cody,” Obi-Wan says again, tinged with desperation, and his legs are shaking like a newborn foal’s. It’s probably some aftereffect of the transformation or his fight with Dooku, but Cody can’t ignore it like he usually does. Valor and discretion have deserted him, replaced wholesale with relief.
So he moves forward as Obi-Wan falls inward, and his arms move automatically to lock around Obi-Wan’s waist. Obi-Wan is soft and warm in his arms, still shaking like a leaf, and if it’s one thing to read about a dead man and another to see him, it’s a whole new universe to hold him. After a second’s hesitation, Obi-Wan’s own arms come up to squeeze just as tight, and Cody hooks his chin over Obi-Wan’s shoulder and closes his eyes.
He smells like bacta and the stale air of space travel, and he feels like hope.
The 212th surges forward, reaching out to touch whatever piece of Obi-Wan they can reach, building long chains of hands on armor from their general to the hangar walls, and their voices never waver. In Cody’s arms, Obi-Wan chokes and presses his face into the curve of Cody’s neck, just above where his chestplate ends, and Cody can feel a wetness start to seep into his blacks.
He nestles his fingers into the ginger waves of Obi-Wan’s hair, cupping the back of Obi-Wan’s head with his palm, and he adds his own voice to the chorus welcoming their general home.
Send me a ship & a prompt from here, if you’d like!
Mistborn Cosplay PART 1
I want to cosplay a specific Mistborn in the books named Vin. We'll go over the rest of her costume later. The two images I'm using as inspiration are below:
Brandon has mentioned he imagines the strips being individually sewn with a softer inside and heavier inside, which I did for the top layer of strips. As far as length, he said within an inch or two of each other. So when trimming my strips I wasn't particular about them being exact. He also mentioned he imagines the strips being ½-1 inch wide, but I went with 1.5 inches just to save some sanity. Remember you can play with this and do whatever you want!
What you'll need:
-6.5 yards of a dark grey or black fabric like cotton, denim, or a lightweight wool. I got this black sweater/wool fabric at my local fabric store.
-15 yards of a dark grey or black lining, like silk, satin, or nylon ripstop. I got this ripstop online at Fabric Wholesale Direct.
-Black or grey all purpose thread
-A sewing machine
-Simplicity 5794 cloak pattern (we're using pattern A)
-A rotary cutter and mat
-A sewable seam adhesive (I used HeatnBond Lite)
-Lots of time and patience!! The strips alone probably took me a good 30-35 hours. I listened to WOK and some of WOR while making this.
I should also note that I was very generous with the fabric, partly because I didn't know what was necessary for the project. I cut my strips along the width and my fabric was 60" wide, so I had 60" strips. I ended up trimming them to probably 40-48 inches. If you have wide fabric you could cut lengthwise to save fabric, or find fabric that's already 48" wide instead of 60".
Making the cloak
Drawing from the inspiration photos, I wanted to create a cloak where the strips were all attached to a capelet. The black and white image has two capelets if you look closely, with strips attached to both, which is what I decided to go for using Simplicity pattern 5794 A.
I want to have one layer of the heavier fabric strips on the top capelet, with a layer or two of lining strips underneath, and another layer on the bottom capelet.
Quick disclaimer- the lighting in my basement craft room isn't great, sorry! I also forget to take pictures at every step.
Start by cutting out just the capelets and hood pieces for pattern A out in your heavier fabric. If your fabric has a pattern or grain like mine, make sure they line up. I’m cutting mine in size XS but in hindsight would have used size S. I'm 5'9" for reference.
Cut out the same pieces in your lining.
Follow the directions to sew the pieces together. You should have three separate pieces (upper capelet, lower capelet, hood). Do the same for the lining. Don't sew any of the capelets or hood to each other yet. If your fabric doesn't like to iron flat at the seams like mine, you can do a top stitch.
Then, measure the circumference or outer edge of the top capelet (minus a seam allowance for sewing them together) and divide by the width you want your strips to be. I measured with a string, then measured how long the string was. I went with 1.5 inches for my strip width. The resulting number is how many strips of your heavier fabric will be on the top layer (64.5 for me. I made 65 but ended up only fitting 63.) Cut out strips of your heavier fabric to that width including a seam allowance (so 2.25 inches for me), and 50-60 inches long. We'll trim them later. Cut out the same strips out of your lining.
I folded my fabric in half lengthwise and used this video to help me with cutting the strips. He explains it better than I could here.
Then right sides together, sew your heavier fabric strips to your lining strips. Leave both short ends open. Turn your strips right side out with a chopstick or knitting needle. Iron flat if needed. If your fabric is heavier and won't lay flat, sew around the edges in a top stitch.
LINK TO PART 2
How much did “Chintz” or “Calico” cottons cost in the 18th Century?
In this century, when we think of “calico” we more than likely envision a cotton with a small print a la Little House on the Prairie, but calico in the 18th century was just a name for printed cottons and had nothing to do with a specific pattern or design.
It’s interesting to note just “how” printed fabrics were accomplished. A wood carver would create a wooden block of a pattern - such as a cluster of flowers, etc. That block or “stamp” would then be brushed with mordant to make the dye adhere to the fabric. The artisan would then stamp the design on the fabric, then dye the whole piece. It would then be rinsed to reveal the stamped design.
Attached is a copy of a bill of goods from New York dated 1793. I needed to know how much a yard of printed cotton would cost for one of my novels that is set in 1773. As a writer, research of such minutiae is par for the course, but as a costumer I was doubly curious.
“Chintz” was a type of printed cotton produced in India, The Calico Acts (1700, 1721) banned the import of most cotton textiles into England, followed by the restriction of sale of most cotton textiles. It was a form of economic protectionism, largely in response to India (particularly Bengal), which dominated world cotton textile markets at the time. Parliament began to see a decline in domestic textile sales, and an increase in imported textiles from places like China and India. Seeing the East India Company and their textile importation as a threat to domestic textile businesses, Parliament passed the Calico Acts as an attack on textile importation. This is the same reasoning Elizabeth-1 enacted sumptuary statutes on “black dyed woolen hats.” But I leave that topic for another time! The point being is that protecting English trade by banning certain imports was not a new device.
During the 18th century the monetary system in the colonies was in pounds shilling and pence. There were 20 Shillings to the pound and 12 Pence per Shilling. Also at the same time each colony had their own currency system. For instance the New York pound was worth 30% less than British sterling, with a NY shilling equivalent to only 8 pence sterling instead of the usual 12. Among the list of goods purchased on the 7th of May 1793 according to the bill of sale pictured, is a 14 x yards length of ‘Fancy Chintz’. It cost 3 shillings 9 pence per yard with the total cost coming to two pounds, twelve shillings and 6 pence.
Now, do not quote me as an expert. I’ve drawn my information from several on-line sources and it’s been suggested that these prices are very likely listed at wholesale, or purchased for “cost,” as the buyers themselves were merchants and would mark it up to make a profit.
Let’s consider wages in the time period of 1773 thereabouts. According to what I’ve been able to source on-line, the average wage for a farmer would be about 10 pounds per year. A day laborer, or farm hand, would make about 6 shillings per month. When you work out the comparison using wages of each era and try to calculate how much ONE yard of chintz would cost, it appears that it was equivalent to approximately three quarters of a day’s wage (in 1793).
Depending on the width of the fabric a typical round gown, which is a gown that isn’t split up the front and worn with a decorative petticoat, would take about 6 yards or more. I’m making that estimate based on what “I” would purchase for a textile that is 45" wide. That means the cost of ONE gown would equal to about a week’s wages! HOLY COW!
For us in 2021, cotton is an inexpensive textile. A polished cotton or chintz now days costs about $20 a yard. The brown and ivory fabric I used in the recent gown I shared cost about $19 a yard because it was a historical reproduction, but on average printed cottons cost about $10 a yard, while wool fetches a price of anywhere from $25 to $40 a yard! In the 18th century wool would have been much more affordable than cotton chintz or calico.
I’ve included some of my FAVORITE cotton prints that I’m anxious to have an opportunity to use on a robe a’ la polonaise! They are ALL available on Spoonflower. They are NOT historical reproductions, but… close enough to pass some prints from the 18th Century.
You can view my full “collection” of cotton prints on my Pinterest page:https://www.pinterest.com/…/cotton-prints-historical…/
A blog I used for reference: https://oldepatchart.com.au/…/11/18/yard-chintz-cost-1793/
Other sources were found on a Google search.
Tian Guan Ci Fu
where is it and what is it
it’s a chinese webnovel by mxtx, the same author who did untamed; it exists as a webnovel, finished and kindly translated here, the manhwa, the donghua (animated adaptation) happening right now, and there’s a live action adaptation in plans, directed by the same guy who did untamed. the donghua is gorgeous, the adaptation i’m unsure about but prepared to be hopeful, the manhwa seems to be very pretty. but all the adaptations only cover the very beginning of the novel for now, so i went ahead and read the novel, and i have no regrets. it helps that the translation is very good - not without awkward translatorese, but it has consistent and engaging flow and style, and it’s also pretty good at conveying mxtx’s humor without awkwardness. it reads pretty well.
what’s it about?
the world is split into two parts: mortals and various ghosts and demons and entities share the land, while ‘heaven officials’, aka gods, live in the heavenly kingdom in the sky. pretty much anybody can become a god if they do something really heroic or memorable and/or cultivate (meditation, training, virtuous behavior) really hard. when above, the gods rule their domains and fulfill their believers’ wishes; they work sort of like pratchettian gods, dependent on their followers’ beliefs and getting influenced by them. heavens are strictly hierarchical, with their own economy and pecking order, and the gods aren’t particularly sinless or benevolent; mostly it’s a question of scale.
our hero, xie lian, is a prince of a prosperous kingdom who’s been on a fast track to ascension for most of his very short life; he’s talented, he’s virtuous, he’s kind, he’s strong, and his only peculiar flaw is (somehow naive, but well-meaning) obsession with equality and value of human lives and so on. he becomes a god, unexpectedly, at seventeen, after slaying one especially dangerous god, and rises in heaven at the peak of his faith, influence and happiness.
…and then he finds out about drought and incipient trouble in his own kingdom, and, being a young and righteous god too close to his mortality, eschews heavens and returns to save everybody. it, to put it lightly, does not go well. at all. in fact, it goes catastrophically wrong, and, having lost everything, xie lian ascends again, only to get into a fight with the heavenly emperor, and get banished again, this time for good. he roams the mortal lands for next eight hundred of very lonely, luckless and hard years, technically immortal but not invincible, with his powers and his luck stripped away, and leans to make do, eking out a living as a scrap collector. his temples are desecrated, his name is forgotten, his kingdom is long gone, and - well. so it goes.
so it goes! until one day, to everybody’s great surprise, he ascends once again: a humble, gentle, immune to embarrassment, unflappable man, an embarrassment to heavens, a 'laughingstock of three realms’ who just wants to be left well enough alone. he’s Tired.
instead of rest, he gets sent to investigate a dangerous ghost stealing brides who pass through its mountain, and there, during the course of the interrogation, has his first (he thinks) meeting with a terrifying, old-powerful and vengeful ghost king named hua cheng, who likes to terrorize heavens from time to time. but said ghost king seems to be very benevolent and very interested in helping xie lian, and xie lian is pretty instantly smitten… with knowing what’s the cause of such interest.
…and meanwhile, in the beginning, there'was an unlucky boy, born under the worst stars, whom xie lian saved from falling once, while still mortal, and promptly lost track of. a lot of things happened to this boy, who wanted to be the most devoted worshipper to xie lian the god of the sword and the flower. as one does, you know.
that’s the beginning! from there on: investigations, heavenly secrets, old friends and enemies and acquaintances, thematic parallels, old tragedies, more pining than you can shake a stick at, grand acts of love.
is it good?
it’s very, very good. it’s the first fantasy cnovel i read (aside from the hilarious one about a guy traveling back in his own timeline and becoming a sugar baby to a mafia boss, which was in a very different league), so i don’t know which things are baseline and which things are unique, but it had a very solid foundation: ambitious multilevel, multi-timeline plot coming together in the end both events- and emotions-wise, beautifully iddy main relationship, maybe multifaceted characters who change and grow and clash together in fun ways, a clear and heartfelt understanding of its own core themes.
it’s also, unexpectedly, very funny, in this visual, slapsticky, begs-to-be-adapted way - i found myself laughing out loud over it a lot of times, and it possesses this gift of swerve between understated but earnest emotions and all-out jokes that i associate with… a bit of prattchett and a bit of gintama, honestly. take it as you will.
(oh my god the mecha. i will laugh over this one until i die.)
it also made me cry several times; granted, it’s not like it’s this time, but those were very heartfelt tears.
and the main duo?
first let me say that xie lian was lifted out, wholesale, out of my deepest character preferences. he fell really, really far, and did some bad things, and some very horrible things were done to him, and by the time we meet him he went through everything and achieved this effortless kind of traumatized, humble, accepting, wryly self-deprecating, utterly competent chill that makes a character incredibly appealing to me. he’s kind, and he’s sweet, and he’s gotten any possible embarrassment at least a couple of centuries ago, and he kinda made peace with himself and kinda didn’t. i love him.
and, thankfully for me, hua cheng, the ghost king, loves him a whole damn lot, a ridiculous amount, an epic, over-the-lifetimes, life-shattering amount, and he’s a terrifying presence to everybody else and a shy, protective, sweet dork to xie lian, and every time they’re together on page my entire heart is just. it’s AMAZING. he’s a great combination of playing the obsessive protective yandere stalker-lover trope straight and putting it on its head, by making hua cheng not just revere but respect xie lian, in all his good and bad decisions.
they are just so - good for each other, holy shit. they get each other so well. they’re the best ever power team. i love them.
(the rest of canon is various character reenacting “really? in front of my salad?” meme at them. it’s hysterical, and it’s the best. everybody teams up to tell xie lian that his boyfriend is Problematic way, way before xie lian clues into the fact that he does have a boyfriend, and he’s having none of it. i love it.)
and the themes?
okay, so. roughly half of this novel is ridiculous iddy pining, and a fourth of it is various tropes (off the top of my head: soulbond, sex pollen, body switch, de-age, various shades of identity porn… crossdressing…) played very shamelessly. but it also really benefits from having an overarching set of ethical questions, and while it deals with them a bit shounen-style, it still deals with them, and it makes the whole text fresh, and sweet, and bold.
is it possible to save everybody? should you try to save everybody? if you lack the powers to back your convictions, does it make you complicit? when is it possible to stop the cycle of suffering, what can you do if you want to but can’t? if you tried and people you failed turned on you, whose fault it is, where does the blame stop?
Detailed spoilers begin from here, and i would REALLY advise to stay unspoiled, because the domino reveals are very fun
i loved the various ways the novel sets all those pieces up and then overturns them and then returns to them. xie lian wanted to save everybody and it was arrogant naivete of an untried, untested, privileged young man who never had a real challenge before; his presence made things escalate quicker, and yet everybody around him pretended it was his attempt to make things better that ruined everything, and not a combination of factors outside of his control. and yet he accepts the blame, because it dovetails with his shame at not having enough powers to back his intent up; and yet his triumph over bai wuxian is that he doesn’t, after all, renege on his initial drive to help people.
my most favorite part of this novel is that its turning point, the lynchpin of the whole novel, the moment that keeps xie lian’s soul and safety intact, is not his personal purity and drive; it’s not even hua cheng’s devotion and sacrificial love. it’s just a moment of little, grudging, human kindness from a little, petty, rude man whom the history will sweep away soon. the bamboo hat in the rain. the rest of the plot keeps twisting and turning and coming back to itself, but this? this was unquestionably, beautifully clear, and i loved it. it’s never about the gods, it’s all down to - fallen human is human, ascended human is human, and human is not some state, virtuous or sinful, you get stuck with - it’s a multitude of choices, and there’s never a final one.
and incoherent spoilery screaming for people who read it already
oh my god i had SO MUCH FUN. i’ve been flailing on meme for days, because somebody just finished reading there too, and i’m still bursting with ALL THE FEELS. ruoye origins oh my god! that hat! jin wu’s backstory and ultimate end! e-ming’s praise kink! pei ming’s little shippery 'hoho’! hua cheng’s horribly handwritten stick and poke tattoo of xie lian’s name! the lanteeeeeeeeeeeeerns. feng xin and mu qing on the bridge, making up with each other and with xie lian! hua cheng trying to explain to xie lian that his habit of using himself as bait and pincushion at any given moment is deeply emotionally upsetting to him, and succeeding! banyue’s learning from xie lian to be a truly horrible cook! the entire deal with shi qingxuan and he xuan and the wind fan in the end. THE CAVE. THE GIANT MECHA. aaaaaaaaaaaaaaaaaaa and aaaaaaaaaaaaa and aaaaaaaaaaaaaaaaaa and i am beset, beset by feelings. come scream with me.
soo a while back I was talking book recs with some of my mutuals, and after that I figured I could maybe do a book recs post for all of you :) so here it is: 11 books off my shelf that I like and that you maybe haven’t read yet.
1. All the pretty horses
author: Cormac McCarthy
summary: a sort of coming-of-age story of two boys from Texas, who run away from their respective homes to become cowboys in Mexico. cue friendship, adventure, crime and romance, and, as the title indicates, horses. they talk about horses so much. two horse guys doing horse things. you’d probably wish they were gay, they aren’t, but for Man Protagonists Doing Manly Things they are surprisingly decent dudes. also the way McCarthy makes you long for a romantic, dark yet beautiful America should honestly be illegal
author: Hermann Hesse
genre: eerie slice-of-life with occult and Jungian symbolism
summary: this book is… strange. the plot of the book is this: a new boy shows up at the narrator’s school, saves him from bullies, they become friends. normal, except the guy has like, unearthly mysterious charm, and is also just. really weird. and his family is in a sort of a cult? life goes on, and the two guys grow up, and go their separate paths, and we follow the narrator’s spiritual development. bizarre, melancholic, fascinating, beautifully written, kinda gay, this book is my literary soulmate. read it if you want a glance into the deep recesses of my heart, I guess.
3. The hitman’s guide to house cleaning. How to stop killing people and start doing the dishes
author: Hallgrimur Helgason
genre: dark comedy
summary: if you vibe with that ex-yakuza-husband manga everybody is talking about, you might vibe with this book, except it has a little less cuteness and more swearing, I think? a Croatian mafia hitman living in America is wanted by the FBI. he runs to the airport, murders a random guy, steals his plane tickets and his identity, and thus ends up impersonating a preacher at a parish in Iceland, and has to deal with wacky neighbours, mafia past catching up, the challenges of pretending to be a good guy, and household chores. irreverent, hilarious, and oddly heartwarming. features a passionate Eurovision watching scene.
4. Labyrinth of reflections & False mirrors (there’s a third part too but I’ve never read it)
author: Sergey Lukyanenko
summary: honestly Russian sci-fi is its own thing, so this is cyberpunk in themes, but in vibes, it’s that unique weirdness and post-Soviet melancholy rather than your standard neon-lit cityscape. the plot is this: real world sucks, but at least we have a new generation of VR sets that are so good they actually trick your brain into thinking the virtual world is the real one. unless you are a so-called Diver, and your brain is immune, like the protagonist, whose job is to search-and-rescue people who forgot to unplug and their real bodies are dying of starvation. so he does that, until one day he is drawn into mystery and intrigue in a deadly and labyrinthine heartland of a digital world. won’t spoil further but it’s a good one, y’all.
5. A child across the sky
author: Jonathan Carroll
genre: whatever the hell it is that Carroll has going on… nightmare surreal soap opera?
summary: every Jonathan Carroll novel has more or less the same premise: a whimsical protagonist with trauma and emotional baggage like from here to the moon and back has creepy weird shit happening around them, meets love interest, more creepy weird shit, catharsis. I read all of them in one summer and they totally blurred together, and I tried googling summaries but I can’t track down which one had the scene with the giant face in the sky, which will be seared onto my synapses forever. I’m afraid it might’ve been Bones of the moon, which was otherwise not the best (basically a wholesale rip-off of Barbie’s story from The Sandman except with bonus abortion trauma), so I’m sticking with recommending this one because it was the first one I read, and it got me to pick up the rest of Carroll’s books. they are basically interchangeable, but by god do they stay with you in a vague but unrelenting way.
author: Stanislaw Lem
genre: hard sci-fi but then it gets philosophical
summary: a crew of five astronauts from Earth crash on an alien planet. while they are trying to figure out how to make their ship airborne again, they also set off exploring this weird world they found themselves in, and meet its inhabitants. except they can’t communicate with the aliens, and they really struggle to understand what’s going on, as everything they perceive becomes entirely filtered through their own preconceptions and experiences - for example, where one sees peaceful symbiosis between two alien species, the other sees parasites and slaves, etc, and each tries to act accordingly but is basically stumbling blind. so it’s a neat parable about cultural differences, projecting your views onto reality etc, while also being a decent piece of space adventure.
7. The ringmaster’s daughter
author: Jostein Gaarder
genre: slice-of life with a bit of magical realism vibe going on
summary: the story of a guy with an overactive imagination, earning his living by selling ideas to creatively burnt-out writers. which is, like, a really cool concept in itself! there are places where it slightly blurs the line between dream/fiction and reality, and it does it very well, but overall it’s more of a family drama and psychological exploration of the characters. it is very intriguing and engaging though; I’ve read it ages ago but it did very much stick with me, and I always list it as one of my personal favourites.
8. Drive your plow through the bones of the dead
author: Olga Tokarczuk
genre: murder mystery, but…
summary: ...but the narrator is an eccentric old lady; she’s a retired architect, a devout practitioner of astrology, an avid fan of William Blake’s poetry, and a passionate animal rights activist. and when a bunch of local hunters, poachers and animal abusers get whacked, she starts to believe it’s the animals themselves taking rightful revenge. I won’t reveal anything further, but it’s a really atmospheric, thought-provoking story, and it will make you root for the protagonists SO VERY HARD. also adapted as a very good film titled Spoor, directed by Agnieszka Holland.
9. Three bags full
author: Leonie Swann
genre: murder mystery, but…
summary: ... but the protagonists are a flock of sheep living in the idyllic Irish countryside, who one day find their beloved shepherd’s body, stabbed to death, and decide to solve his murder. which is absolutely hilarious as a concept, and also those sheep have way more personality than a lot of human characters in media, honestly. it is really funny, but it’s also a really good detective novel. if you like classic British detective vibes, like Miss Marple etc, if you like murder mysteries but don’t vibe with/are tired of edgy violent grimdark settings, you’re gonna love this book.
10. Time, love, memory
author: Jonathan Weiner
genre: non-fiction / popular science
summary: the story of the geneticist Seymour Benzer, and other scientists who were doing research on fruit flies to uncover the role of different genes, and started making connections between genes and behaviour. the book strikes a very good balance between being anecdotal and digestible for a layman, and conveying actual scientific information; it’s also real good food for thought re: how much genetics affects our personality and behaviour, and how certain concepts we think of as definitive for humanity have their roots in other organisms, and how much we might have in common with a little fruit fly. I might be biased as a geneticist but it’s goddamn fascinating alright
11. Revenge: eleven dark tales
author: Yoko Ogawa
genre: uhh… sad and creepy?
summary: the English title is a bit misleading, because not all of them are about revenge; the Polish translation (which afaik is more direct from original Japanese) is something like, “loud as a funeral, silent as a grave”, which suits the mood of it much better. anyway, this is a collection of eleven short stories, and they’re all about death, in its different forms: a tragic accident, passing away in old age, a suicide attempt, terminal illness, and a few murders. all tragic, unsettling, very morbid and quite bizarre. also while each story works as a standalone, they are interconnected by recurring characters, places and motifs, so you get that added fun of jumping back and forth between them and making those connections, and a feeling of an elaborate structure without it being overcomplicated.
Meta Fic rides again
I'm a little stuck on how to word something in my Nano 2020 project so I decided to take a break by trying to read “Scum Villain’s Self Saving System” again and failed horribly because I got to the part when Binghe comes back and my interest died a quick and messy death for yet a third time. Someone write me a giant pile of gen-fic and LiuShen AUs to heal my heart.
Here, I’ll start us off:
Spite and Fury (or; PEDW is a hive of Scum and Villainy)
So bitter-old-man!Madara dies of old age after he passes his Epic Revenge Plot over into Obito’s keeping, and the Sage’s knockoff-brand cycle-of-transmigration peels Indra’s chakra out of Madara’s soul - which results in dying!Madara having a screaming ragefit that sends his spirit-and-chakra careening through the void between worlds
At which point shattered-and-fragmenting-more!Madara gets into an altercation with the System and since the System is a little bitch it tosses Madara into the worst possible Fate it can think of (see: PEDW)
Transmigration bullshit and Sharingan fuckery smash into each other in a gigantic clusterfuck of asspulls
Madara is missing bits because Indra’s imprint got ripped out
The Shen Jiu base soul is missing bits because torture and previous abuse of his character by the System
The resulting villain amalgamation is Not Pleased
Instead of landing in the divergence point chosen by the System - aka the Qi deviation fever shortly after Binghe arrives at Cang Qiong Sect – we instead have the jigsaw puzzle mashup of Mads-and-Jiu land in baby-slave Jiu’s body
The good news is Madara and Jiu stop fragmenting because they end up woven together - they’re stuck together as an almost-single person only with two different sets of memories
Character exploration is going to be an EVENT
Also the Madara part of them is really happy with the silky smooth hair
Also Yue “lets-Binghe-kill-him-because-he-thinks-Shen-Jiu-is-dead” Qi is cast is a much better light when compared to Senju “stabs-his-sworn-brother-in-the-back” Hashirama
So Mads-Jiu plays it close to canon for the first few years - the only real difference is that he tags his Jiejie with a tracking seal for after he escapes from slavery - he’s not leaving his ability to find her again up to chance or developing a reputation as a whoremonger if he can help it
When he gets bought by the Qiu is when Mads-Jiu starts being a manipulative little shit like we all know he is
Xanatos-pileup-or-bust!Mads-Jiu basically lets Yue Qi escape alone because he NEEDS Yue Qi to become Cang Qiong Sect Leader for his long-term plans to work properly
So Mads-Jiu warns Yue Qi that if he has to be CAREFUL because cultivating is dangerous and if Yue Qi comes back missing any pieces then Jiu will cut the EXACT SAME BITS OFF HIMSELF
And so Yue Qi is EXTREMELY safety conscious and the life eating sword drama is avoided entirely
Of course he’s also taking longer to reach his initial strength levels than in canon because he isn’t rushing
So there’s nothing like Yue Qi showing up early to trigger a plot divergence alert in the System
Mads-Jiu is more pragmatic regarding Qiu Haitang’s so-called innocence this time around - and so he arranges for her to catch the Creeper Qiu bro abusing and assaulting Shen Jiu
Haitang is HORRIFIED AND DISGUSTED to see what her brother is doing to her fiancé and also TERRIFIED by the fact that he talks the entire time about how sweet it’s going to be when it’s HAITANG under him
The Qiu burn on schedule but Haitang kills her fair share - double Qi deviations FTW!
The system does not notice such a minor change in the background events - Jiu kills the Qiu, burns down their house, and Haitang survives the fire with vengeance raging in her heart
Mads-Jiu kills the demonic creeper that was hanging around because ew no and also keep your hands of Haitang
Again, it’s too close to canon for the System to notice - Jiu killed him in defense of a “childhood friend” so hahaha again
Instead of being used as a stalking horse by an evil master Mads-Jiu runs off with Haitang to track down and rescue his Jiejie
Afterwards Mads-Jiu “has an idea to help find Qi-ge” by asking around for him at the Immortal Alliance Conference
Of course there are more shenanigans and Yue Qi saves all three by claiming that they’re Cang Qiong disciples - so of course he drags all 3 of them back with him and wibbles at the current Sect Leader until he lets them all join
Still (mostly) following canon! Ha! So no “punishment” events get triggered in the System (which is mostly dormant because the Protagonist isn’t born yet XP)
Qiu Haitang was supposed to join a Sect! Jiejie got sold on schedule! Shen Jiu killed the Qiu and his “first master”! Yue pesters his Shizun into letting his sibling(s) join the Sect in an unorthodox fashion!
But the devil is in the details
And the devil’s name is Uchiha Madara
Jiejie ends up as Peak Lord for Talisman Peak because magic and seals saved her before
Haitang ends up Peak Lord for Hidden Peak because she refuses to be caught unawares by a dangerous secret ever again... also because she’s a mean sneaky bitch and owns it
Having more than one sibling for the Sect Leader to blatantly favour means less wholesale resentment directed at Mads-Jiu as well
However the Jiu part of them has memories from PIDW and also SVSSS - so he knows that shit is going to get horrible once Su Xiyan gets knocked up
Obviously the answer is to seduce all of his fellow peak lords into a glorious polyamorous clusterfuck so as to promote skinship and pack bonding and harmony among the sect leadership
(It worked for PIDW Binghe with his wives and SVSSS Shen Yuan with getting Bing-mei to chill his tits after all and nobody can trip you into bed quite like a shinobi)
And so Cang Qiong’s family aesthetics get rocked so hard that instead of panting after his Shizun baby disciple Binghe decides to seduce his peers...
... and his rivals
... and other sect’s disciples
... and the occasional demon
Mads-Jiu is really proud of his baby demon lord but makes sure not to single Binghe out - instead every Qing Jing disciple gets rewarded and punished at the same time
It promotes bonding! And teamwork!
And prevents the utter destruction of Mads-Jiu’s chrysanthemum via oversized demonic pillar!
There is totally going to be an extra where Mads-Jiu realizes that the average size of a male cultivators pillar is DANGEROUSLY EXCESSIVE
NOBODY NEEDS THAT MUCH PILLAR
Even HIS pillar hasn’t escaped the curse
BIGGER IS NOT BETTER!
How the fuck is he supposed to fight if he can’t even wear pants comfortably!?!?
(No wait come back Mu-shidi this shixiong is sorry it wasn’t mockery it was a perfectly reasonable tantrum that was a long time coming now stop sulking your dick is very pretty let shixiong make it up to you~)
And at some point there will be a wild Bing-ge who appears to cause trouble with a mirror that’s intended to temporarily transform people into the form of their last life - he aims it at the native Bingbing to get him out of the way so he can steal the “nice” Shizun
It would have been Pom time for Bingbing but Mads-Jiu pushes him out of the way
And cue giant explosion of dark Qi as a bonus expansion pack of Madara’s 10-tail Jinchuriki time with powers-and-memories gets downloaded into Mads-Jiu
Mads-Jiu the “Heavenly Demon Demi God” drops several mountains worth of flaming meteor rock on the invaders and then goes on a giant flaming skeleton rampage against Bing-ge
... Bing-ge has changed his mind he doesn’t want this Shizun take him back and oh gods the shrieking
How does he shriek so loud? Doesn’t he need to breathe?
... ok so Shizun breathes fire that’s good to know
Whelps time to bravely run away
And then the amassed sects need to figure out how to calm down the rampaging hell beast
The youngest Qing Jing disciple is brought out and told to cry for Shizun
Actually-a-broody-hen!Mads-Jiu whips around and starts fussing over his baby student
Because baby why are you crying stop it tell Shizun who hurt you and he will BURN THEM TO ASH
The last bit I have an idea for involves Mads-Jiu getting yanked though dimensions because Edo Tensei where he instantly twigs to what is going on and pushes the “righteous cultivator” skin to maximum strength
He shoves all the baby ninja behind him and keeps barrier spamming the zombie army - because ew no stay away from the children resentful corpses
Zetsu is included in the zombie army shall not pass smack down
Zombie!Tobirama is appalled because wut? Wasn’t this supposed to be Madara’s zombie? What is happening?
And I dunno something where he “notices” the resentful energy surrounding Danzo because stealing the eyes of the people you murdered is bad karma
So Mads-Jiu does a spirit thing and the ghosts of the Uchiha rips Danzo apart while screaming about his guilt in full view of the entire Village
And then Mads-Jiu goes home because filial little Bingbing came to get him and he’s not enjoying upending the shinobi social order nope not at all whom exactly do you take him for?
... Yes he’s done and ready to go back to his spouses now he’s sure the ninja have all learned better than to raise living corpses now anyway