Answers to "please stop"
No.
I can't.
I won't.
I don't want to.
I don't know how.
I will soon.
But then how will you learn?
We're almost done.
It's almost over.
Ask me again!
Oh well, if you're asking that politely…
Fine. For now.
Only once I've come up with something more fun.
Only once you've come up with something more fun.
Or what?
I know you can go a little bit longer.
You know I won't.
I love it when you beg.
I hate it when you beg.
I'm so bored by your begging.
Not until you're too weak to ask me to.
But I don't have anything better to do.
I wish I could.
Alright! See? All you had to do was ask nicely.
I'm not doing anything.
What, exactly?
Just once more, I promise!
Just once more, I promise! (🤞)
You're doing this to yourself.
You wanted this.
You want this.
You know you made me do this.
Are you ready to give me what I want, then?
I will once you give in.
What will you give me in return?
Why should I?
You know there is only one way to end this.
You know there is only one way this will end.
(Answers to "it hurts")
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I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.
It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages"
And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series.
Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.
The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.
What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.
But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.
There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel.
it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.
On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.
But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.
My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.
The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.
I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.
And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it!
The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.
It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important.
And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.
And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?
There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.
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oh my god, fine, i didn't go to bed because 🥺 what about nerd kirishima 🥺
like it's sero's fault that you even meet him, because he keeps flinging shit at you across your shared desk, and you get into this stupid war with office supplies that turns VIOLENT, until one of you — him, for sure — gets their foot caught in the web of wires under the table and yanks them all out, causing both your computer screens to go dark.
"you idiot, you're gonna get us fired!"
and he's like, "chill, chill, chill, i can fix this."
and his idea of "fixing it" is calling the company's support desk and asking for his buddy kirishima to come down to your department because he's got something cool to show him. and the "something cool" is the absolute disaster of dusty, unplugged cables that are hanging loose on the floor.
the first thing you notice about him — because how couldn't you — is how big he is ????? this little dweeb from support, who is actually not little at all. six foot something, with a white button-up that's clearly too tight on him, his red hair pulled back into a bun, and some STUPID. LITTLE. GLASSES. WAAAAAHHH.
and he gets on his knees — slacks straining over his thighs — to look under your desk to fix this mess, and he keeps having to readjust his STUPID. GLASSES. and you're just sitting perched on the edge 😌 watching him 😌
you ask him, "want me to hold that for you??" and he SMACKS his head into the underside of your desk, hissing out a little "ow, shit!" before rearing back to look up at you, a lil wide-eyed, pink-cheeked !!!
very quickly, his eyes cut to where your legs are crossed in your skirt, right by his head, before he's asking, "sorry, what?"
and he's just so stinking AKFHFUSLALHDLALA that you nod to his shirt pocket where he's got his phone, the flashlight on, struggling to see under the desk. "i said, do you want me to hold that for you?"
"oh, no, no!" kirishima is quick to look away, down to his wide, now-dusty hands. "that's—no, i don't want you to have to do that! thanks, though!"
"you should," sero pipes up, sitting in the chair at his desk, useless. and he's probably got, like, twizzlers or something from the vending machine, chewing on them as he grins at kirishima. "should get down on your knees and—"
"dude!" kirishima grits, neck bobbing as he swallows. and now even his ears are pink, so you can't help but to ask—
"you don't want me to help you?"
and he's like, stressed !!! like, "oh, no, no, that's not what i meant! if you wanna get down here, then i'd be glad—or, y'know, if you—"
but the more he keeps talking, the more nervous you can see him getting, and the more your smile stretches until he's just ducking back under the desk before you can tell that he's starting to sweat akfjeisjdjalndhak
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