Keep Wondering

me ( / ): Yes. No, wait...

fae (they/them): It's too late.

“Grace says he would like half of dome to be water.”

“Oh, is necessary for humans to have large amounts of water question?”

Small Eridian equivalent of a sigh. “No. Not needed for life. In fact Grace will die if he falls in water and does not get out.”

“Tell him we give him water in containers that won't kill him. Lots lots lots of water on Erid for Grace to drink.”

“No. Grace say he want water on ground. Also want it with excess sodium chloride compound so it will be unhealthy for drink.”

“Grace want this liquid for celebration.”

“Of course.” They scan it. “You have wrong liquid. This contain compounds which are poisonous for humans.”

“Yes yes yes. Grace say humans like feeling of being slightly poisoned.”

So from then on whenever one of us called something problematic, he would make us talk it out until we could name the “bad” thing we were hinting at. In this particular class, 7/10 it was some type of oppression, and the remainder was like, “I’m uncomfortable because this is very new/confusing/pushing boundaries that made me feel safe.”

Once we stopped calling things “problematic” and stopping at that, class got way more interesting and... we all had to say, like, “that’s racist” or “that’s misogynistic” or “ew capitalism gross” out loud, which a lot of us had never done in a classroom before. Or we had to be like, “Uhhh... I’m not sure what’s so bad?” and confront our own beliefs and that was maybe even more useful.

“And we loved it, we were all having a great time, but then he saw my sister and I, and he just got this - this look in his eyes, and then-”

She hesitated, worrying the coarse material between her fingers. “Things got pretty bad after that,” she muttered. “I know it’s silly, but I try to keep - her - comfortable. We don’t know if she can still hear us, or see us, or if she’s even still in here, but I like to think she is. I talk to her when I can, I leave music on when I’m out of the house. I tried to convince my parents to bring her with us when we went to Disneyland, but they didn’t - didn’t really take that well.”

the following events ensued:

1. predictable lively discussion on the preparation of Wienerschnitzel, in which natives and wurstaboos are pro-puff and everybody else is like *confused dog head tilt* why wouldn’t you want the crust to stay ~attached to the thing you put it on? as with other fried foods?

2. thirty “Bad Schnitzel is my band name” jokes

3. thirty “Bad Schnitzel is my stripper name” jokes

4. one “ah yes, Bad Schnitzel! a lovely spa town” joke

5. this absolute masterpiece:

You are not going to pass a skillcheck against a rip current once it has you.

Waves will not bow to your physical prowess no matter how impressive.

Shock does not care that you used to be on your school swim team.

If you hit your head, being good at swimming isn't going to turn you face-up while you're unconscious.

4 year old me: why must we do this

Fantastic old woman in the leopard print coat: "Why yes, my tooth IS real silver! Nobody ever asks me that. Do you like cats?"

1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.

2) the people who run Disney would be the first to fall in line with a fascist regime.

3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.

And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?

That one is from his autobiography, Becoming Superman. See also:

When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didn’t actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvin’s skull that lodge in Samuel L. Jackson’s hairpiece). The resultant cuts were actually more permissive than he’d expected, so he cut a little more and submitted it, and it got passed with an R.

The second story is about that artist on Morrowind whose name escapes me (I’m not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and “working” for another few hours on a second, “toned-down” version, and it worked every time.

The reason I bring these up is that the thing that drives censors isn’t some extant physical rubrick of what is and isn’t acceptable, it’s the idea that they can have absolute power over someone else’s creative work. It’s about the social dominance of the interaction.

There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.

specific examples include but are not limited to

why is an evil timeline character design disabled? (why do the heroes go through equally punishing battles and never lose an arm, a leg, an eye?)

why are the futuristic scifi terrorists uniformly darker skinned? (why are the heroes so much lighter?)

why is the greedy boss fat? (why are the heroes skinny?)

why is the criminal mastermind heavily scarred? (why is the brooding, traumatized hero unscathed?)

why is the predatory creep a bearded person in a dress and makeup? (why are none of the heroes trans women?)

who taught you that this is how things are?