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On April 16th 2025 the US federal government has proposed to change the interpretation of the endangered species act so that it no longer protects habitat.
This is open for public comment until the end of May 19th. Please comment and make your voice heard.
Wildlife need their habitat. If the ESA redefines harm so that habitat is no longer protected, the implications for wildlife would be catastrophic.
Guys, if you have a second, please please please donate to Nader. It’s unimaginable to have your life flipped upside down by evil and almost cut off from any lines of aid at such a young age. Over the years, I’ve had people offering to send money my way for various things, and if you’re reading this and you’re one of those people, please send it to Nader. Any amount truly does help. If you can donate, please reblog.
Thanks again for your love and support through the years, I hope you can spare the same for Nader ❤️
In Gaza you can see everything bad that comes to mind, literally everything. You can see missiles falling on residential areas and exploding, completely destroying them, and no one survives. One of them and you can see the helicopter firing bullets more heavily than the rain towards the house or what remains of the houses and tents and you can see the tank firing shells towards you without and also the bullets do not stop here in the streets of the world they are clean and full of flowers but with us there are no more flowers there are only tents for the displaced and graves of the martyrs you cannot see anything beautiful all you see is only destruction, bombing, devastation, killing, displacement and hunger everything that is not beautiful you find with us everything is difficult everything is bitter we suffer listen to our cries do not leave us wars are between armies but here the war is between a Nazi Zionist army and just elderly people, women and children they have wiped out the entire youth category they have destroyed an entire generation rather they have destroyed generations they have destroyed a city they have executed our lives they have killed us and no one has held them accountable please share my blog you will not lose anything and donate to me and my family if you can or send it to a friend who can donate to me do not pass by while you have helped me please
So... I keep thinking about Mizrak and Emmanuel's conversation in the churchyard in S2E3, where Mizrak tries to appeal to Emmanuel to repent and turn against Bàthory. It's an interesting one, and worth a rewatch or two or three or seven. But the more I chew on it, the more I keep going back to the dialogue in the finale. Back to That Whole Scene™. Just, feeling this itch that there's something there. Some kind of dots to connect. And I think I'm ready to synthesize my thoughts here.
In episode 3, Emmanuel tells Mizrak, "You wouldn't question me if you'd glimpsed what I have of the other side. If you heard it sometimes in the twilight. Quiet laughter. Hell. Waiting. Whispering your name."
The laughter part is interesting, right? Like he's clearly describing Old Man Coyote/Mephistopheles. But of course to Mizrak/the audience at this point, it's the Capital 'D' Devil—or at least his own guilty conscience driving him mad. But then Maria kills him, and we actually see Old Man Coyote collect his soul.
Anyway.
Later on in S2E7, when Mizrak gets hurt, Old Man Coyote appears again. And he's laughing, and Mizrak knows that laughter must be what Emmanuel was talking about. Must be the devil. He must be damned.
So let's hop back to the finale, to the scene where Olrox turns him. Mizrak asks him, "You've seen the devil then? Waiting for me?
And Olrox tells him, "No, not the devil."
Because he knows it's not the Capital 'D' Devil, but Old Man Coyote/Mephistopheles.
But he also says, "And I think he was waiting for someone else."
I am absolutely convinced that "someone else" is Olrox himself.
Because let us go back to S2E5, when Olrox returns to the Night Creature-O-Matic. He's studying the book, and Old Man Coyote/Mephistopheles appears. Olrox says:
"I know what promises you make, and how tempting they are. And I could make good use of a powerful patron. But this doesn't belong in this world. And nor do you."
At this, Old Man Coyote leaves. This scene establishes that Old Man Coyote is trying to get Olrox to barter with him. But Olrox is clearly not willing to in exchange for whatever promise of power Old Man Coyote is tempting him with.
I am absolutely convinced that when Mizrak gets wounded, Old Man Coyote is waiting for Olrox. Expecting that if he wasn't willing to barter his soul in exchange for power, surely he will for love. Surely he'll give in and strike a deal in exchange for Mizrak's life.
So. Back to the Turning Scene. Again.
Olrox's insistence that it's not the devil, that he was waiting for someone else probably sounds to Mizrak like he's just trying to comfort him in his last moments. He kinda brushes it off with, "Still. The devil will be waiting. [...] I'm afraid, Olrox."
Which brings us to:
"There's no need to be afraid, my love. Not the devil, at least. The devil is easy to cheat."
I think Olrox's use of "the devil" here is him basically adopting the name Mizrak knows this entity by. Mizrak understands Old Man Coyote to be the devil, so he's using that language so Mizrak will understand: There's no need to be afraid of the "devil" he sees/hears. That "devil" is easy to cheat.
On first viewing, this read to me as, "You, Mizrak, can cheat the devil, and I'm going to help you. You can't die and go to hell if you're immortal."
But on subsequent viewings, it reads to me as, "I, Olrox, can cheat the devil. I can have my cake and eat it too. By turning you, I get what I want (to keep you alive/not lose you) without having to pay the devil's price."
Which I LOVE, because it makes it all sooooo much more messy. The former lets you squint your eyes and shrug and say, "Yeah, it's not exactly a GOOD thing that Olrox turned him, but what else was he supposed to do?? Mizrak was gonna go to super hell!!"
But the latter??? Ohohohoooo man.
Mizrak wasn't actually about to be sentenced to eternal damnation (that we or Olrox know of, at least). The devil wasn't waiting for him. The devil was waiting for someone else and Olrox KNEW THIS and still turned him. Not to protect Mizrak's soul/life, but to spare himself the pain of losing the man he loves again.
I've seen it said that the reason Olrox just lies back as Mizrak climbs over and bites him is because he expects that Mizrak will be upset about being turned, at least initially. But how much more appropriate does this body language become through the lens of a much deeper sense of guilt over what he's done? Of a subconscious need to punish, self-sacrifice, or otherwise try to absolve himself of that guilt? To "pay the price" on his own terms, so to speak?
And maybe Mizrak will be convinced he was going to super hell. Maybe this belief will bring him to sort of begrudgingly accept his new life as a vampire. But it will be a secret that casts a shadow over their every interaction for eternity. How long can Olrox keep that secret? How will Mizrak react should it ever to come to light? How badly will it hurt when Olrox loses him anyway—not because of death, but because his own scheme, once exposed, will likely prove to be a betrayal their relationship can never recover from???
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Fashion and Power; Hair and Identity: An Analysis of Olrox in Castlevania Nocturne
So. I've been thinking a lot lately about Olrox's design and how he dresses.
Like we have Drolta who is serving cunt in a totally different, usually wildly anachronistic, outfit every other scene... And we have Alucard still wearing the same tattered, moth-eaten overcoat he was sporting 300 years ago...
And then we have Olrox, whose outfit is very much in keeping with the style we see worn by our model french nobleman, the Marquis:
You can see the similarities between their looks: the stockings and shoes, the cravat, the tall collar, the pleats, the contrasting trims and accents, the highlights that suggest the fabric has a silken/satin sheen.
...But for his first appearance in Boston, he's wearing something similar—but not so flashy. Which makes sense, because a lot of the above details would be too ostentatious for colonial sensibilities and just not as accessible there. His Boston look is very clearly in the same style as Julia's outfit:
The boots with the dramatic cuffs, the wide lapels, the longer coat, the way the trims and accents are much more subtle, and the lack of that satin sheen we see in the French outfits.
I point this stuff out because it tells us that not only does Olrox dress well, but he dresses according to what is in fashion around him. He's not like Drolta, expressing himself by wearing whatever the fuck he wants—nor is he like Alucard, still dressing the way a past version of himself once did, existing sort of outside of time. That Olrox has two subtly different outfits in the span of ten years seems to indicate that this is a man who speaks the language of fashion, who understands the role it plays in society, and how it is used to assert power for oneself in the right contexts.
I've seen the take a few times of like, "Olrox is probably itching to take off those stuffy white people clothes" or whatever and... I can't say that I agree. I get the sense that he enjoys not just wearing fine clothes, but dressing in a way that signals to the people around him: "Do not presume that you are better than me". It serves as a form of armor, a safety blanket, a way to protect himself and assert the power he fears he will be denied otherwise.
I've said this before but like... his dialogue in his scenes with Drolta and Erzsebet is positively laden with these sort of subtle, calculated assertions or denials of power. From the moment he first arrives in Machecoul, he refuses Vaublanc's escort, thus refusing to engage on the terms they are trying to set for his visit: you are not my host, I am not dependent on you, I am here acting on my own interests and not to answer to your beck and call. He speaks carefully, politely, and hides his true feelings behind a façade of respectability. Saying all the things they want to hear, but wearing none of it on his face, in his eyes, in his tone of voice. He's playing a part, playing the game, and playing it well—all the while hiding his true intentions and dodging questions he doesn't want to answer.
That Olrox is such a careful, eloquent speaker can be read as a quintessentially 'Aztec' thing: the Nahuatl language is very full of metaphor, the nobility spoke a different dialect that distinguished them from the rest of society, and the ability to speak beautifully and wisely is something that was regarded very highly. Furthermore, the words we have on record that Motēuczōmah Xocoyotzin said to Cortés and that the Spanish would later use to claim the Mexica thought Cortés was a god, were probably more like... sarcasm. You've heard of malicious compliance; the Mexica were apparently fond of malicious politeness: over the top flattery meant to mock rather than praise. Which is exactly the vibe Olrox gives off in his exchanges with Erzsebet. ("Yes, charmed to meet you", "Flattered, for a god to have heard of me," "As you well know, I both admire and worship you, goddess," etc.)
I think his manner of dress functions as an extension of this.
While Olrox's clothing bears like, zero resemblance whatsoever to how men styled themselves in the Mexica empire (Fantastic references by Daniel Parada on ArtStation), the Mexica did have strict sumptuary laws about which classes of people could wear which types of clothes/colors/fabrics/jewelry/hairstyles. Maybe he was a commoner who had to wear clothes out of rough maguey fiber and never wants to go back to that. Maybe he was nobility and this is a mentality that he has clung to. Either way, fashion as a language of status, power, and control is something Olrox would understand intimately.
Consider Drolta for a moment: in retrospect, the fact that she has so many outfits and wears whatever she wants to the point of outshining Erzsebet in every scene she's in, was a strong indicator that she was the one with the real power, the one pulling the strings all along.
And here creates a stark contrast: Drolta who asserts her power by dressing in a way that expresses herself in her own visual language, vs Olrox, who is asserting his power in the visual language of his oppressors. Even in Drolta's more conservative outfits, there are a lot of details that are undeniably her own spin on the style; she's playing with these conventions rather than conforming to them. She does not have to play the game and follow the rules in the same way that Olrox does.
So now let's address the elephant in the room:
Olrox's hairstyle is... not at all accurate to how men were wearing their hair in pre-colonial mesoamerica, which was either a sort of shoulder-length bowl cut, shorn on the sides, or long but matted and tied back. (More fantastic references by the same artist on ArtStation) But unlike his clothing, it's also not a style that would be considered fashionable to the European upper class.
I've seen plenty of people theorize that it's meant to resemble a style that would have been appropriate for Mahican men at the time—a way to pay homage to the man he loved. But I don't really think this is the case. For most tribes in the northeast, men either traditionally wear two braids, or in times of war, a 'roach' or 'mohawk' hairstyle: with most of the head shaved except for a single lock, which might be adorned with feathers, beads, and so on. At most, Olrox's single braid could maybe be a nod to this, but not the hairstyle as a whole.
Honestly, I struggle to find any tribes whose men traditionally wear their hair loose, and I'm sure half of this design choice was just the animation team trying to give him some likeness to his voice actor. Zahn McClarnon, who is Hunkpapa-Lakota, often wears his long hair loose—though this hairstyle isn't necessarily characteristic to the Lakota either, who also traditionally wear their hair in 2-3 braids (and which to be fair McClarnon also wears often). The other half of this design choice I'm sure lies in the fact that loose hair lends more flexibility for animators to use it expressively in-frame.
Regardless, any piece of media is in conversation with a contemporary audience. Nowadays, it's pretty common for indigenous men from various cultural traditions to sport long, loose hair. And there's a reason for this: regardless of the specific beliefs and practices around hair from one tribe to another, hair has become a strong marker of cultural identity for the larger, pan- indigenous community, as the forced assimilation of indigenous people often manifested as the cutting off of indigenous men's hair in boarding schools. In this context, to grow out one's hair can be a way of reclaiming a part of their identity which has long been forcibly taken from them.
So... the cultural/historical inaccuracy of Olrox's particular hairstyle aside, we can still look at the significance of hair itself in a broader sense: Hair is important to his character.
I look all the shots we get of Olrox's hair, the way it is used in the frame, used so expressively, and it feels like... yeah. His hair is the piece of himself he refuses to let go of. The clothes can change, he can bow down to Bàthory, get branded, etc. But his hair is an inextricable part of him. In this context, his hair becomes his identity, this stand-in for his true self when all the rest of him (clothes, speech, etc) are functioning instead as a sort of social camouflage.
We normally see Olrox's hair neatly swept behind his shoulders, often with a few strands framing the side of his face. But we get a couple of scenes where this isn't the case:
The first time we get a shot of Olrox's hair kinda spread out and disheveled outside of motion scenes is the cut to him and Mizrak lying in bed after having had sex. Paired with the askew angle of his body contrasted against Mizrak's rigid body, Olrox's hair suggests that he is in a vulnerable state, that he has let his guard down if not physically, then emotionally. He has "let his hair down" and already caught some kind of feelings for Mizrak—while Mizrak spends this scene putting up a giant brick wall.
The majority of Olrox's hair here is also to his left—away from Mizrak. While Olrox has given up some measure of power here, he doesn't need Mizrak to know that yet. He turns his head to see what Mizrak is doing, and receives a clear message: Mizrak is not ready to give up any power or control. Not ready to be vulnerable with him. And so Olrox takes this cue to sit up and let his hair return to its usual, neatly gathered position—thus putting back up a kind of wall of his own as he tries to coax some honesty out of Mizrak through more deliberate means.
In the S1 finale, we see Olrox's hair cover his face just as Machecoul falls to Erzsebet and becomes enshrouded in shadows. One Nahuatl expression, "Axcan mixtlapachmana yn tonatíuh" translates to, "Today the sun has covered its face." This is an expression of grief over the death of a leader or elder, the fall of a city, or the loss of a tradition. Despite the stoicism on his face in this moment, Olrox's hair tells us how he really feels. Something has been lost, and despite the fact that he probably expected it—despite the fact that he has been here before—he is still grieving that loss.
During the S2 branding scene, we see Olrox get on one knee and bow to Erzsebet—thus arriving at the inevitable conclusion of the game he's been playing all season. In his effort to survive by playing along, conceding his pride, his ego, his integrity, his self—he still finds himself trapped. As he accepts his fate, his hair fails over his face in a pattern that resembles the bars of a cage or prison cell. (Interestingly, his dialogue before this is "What did he do?", which makes this whole scene echo his "what crime did you commit?" scene with an imprisoned Edouard in the catacombs back in S1)
In S1, we also got a scene where Olrox bows to Erzsebet, but it's very different from this one. He never gets on his knee, and his hair remains neatly draped over his shoulders. He's conceding a little bit of power, but it's a strategic thing he ultimately does with some degree of willingness. In the S2 bow however, it is because he recognizes he is cornered and no longer has any moves left to make.
In S2E6, we see Olrox waiting at the harbor, preparing to leave to return to the New World. In the previous episode, he asks Mizrak to come with him—who refuses on the grounds that they would spend their lives hiding from Erzsebet. I'm sure @mysteryanimator could write an essay about the framing in this scene and how it makes it so that Olrox is boxed in and can't leave—but his hair is flowing freely. He doesn't have to leave. He has always had a choice: the choice to stay and to fight, and to win true freedom—not just a life on the run, or the sort of double life of having to carefully navigate the social world of others and keep his true self hidden in order to survive.
Now, in the S2 finale, Olrox turns a dying Mizrak into a vampire—but they have an interesting conversation leading up to that moment, and for just about the entirety of this conversation, Olrox's hair is obscuring his face. There is something he is hiding from Mizrak in this scene, something keeping them apart and keeping this conversation from being an open and totally honest one. I've written about what I think this scene foretells, and @mysteryanimator has also done a really thorough shot-for-shot analysis about the visual storytelling happening here, which also touches on the role Olrox's hair plays in this scene.
After Olrox turns Mizrak, we see him lying in bed with his shirt open, exposing his chest and bisecting his heart. The Nahuatl "Omeyolloa" translates to "two hearts", or "the heart is split in two", and refers to an internal conflict. But Olrox's hair is splayed out around him, adding to the sense of vulnerability and being laid bare. While Olrox's hands are folded in his lap with apprehension or restraint, his hair seems to reach in Mizrak's direction in their stead. The hair gives voice to the half of his heart that cares about Mizrak and wants to reach out to him, while the rest is immobilized by the guilt or remorse over what he had to do to keep him.
I've also written a bit of analysis about how this shot mirrors the shot of Julia bleeding out in S1E1: how Olrox's hair is pooled around him the same way her blood was, and how these compositions suggest a sacrificial offering. In this scene, Olrox is offering his hair—his self—up to Mizrak in a gesture of love and penance.
Anyway I could probably go on but I have reached the 10 image limit and this is long enough already. I guess if there's a point to be made with all of this, it's that I don't think the cultural/historical inaccuracy of Olrox's design detracts from his character, but actually does a lot to tell a story about how he has been affected by the forces of colonization, and in what ways his identity as a Mexica man influences the way he now navigates the world around him.
But mostly??? I just love Olrox Castlevania Nocturne and like thinking about him a totally normal amount 🫠🫠🫠
Y'all, I can't stop thinking about Olrox's relationship with vampirism.
Despite being a vampire, despite occupying a more antagonistic role compared to the other protagonists, he is shown to quite ostensibly 'have a soul'.
He recognizes the inner conflict Mizrak is contending with regarding working with Bàthory to harvest corpses to turn into night creatures. He recognizes that night creature Edouard has a 'human soul' and wonders what he did to deserve such a fate. He appreciates Edouard's singing, rather than being annoyed by it. He refuses to bow to Bàthory until he absolutely has no choice, and questions hers and Drolta's treatment of the other vampire at the vendee (Asking "what did he do?" when they're holding him down and branding him). He tells Tera that it's good she's still following her heart. Tells Mizrak that he is driven by longing, desire, and love and not hatred and disgust.
We spend season two with all of these moments where the characters ask themselves, "Do vampires/night creatures have souls?" "To what extent are they capable of love and empathy?" and we see Olrox repeatedly act as the living proof that despite his inclination toward self-preservation... yes!! Yes they do!! And yes they are!!! The first thing we learn about him is that Julia Belmont took someone away from him who he loved very much!!!
So I keep coming back to his conversation with Tera, and I like that his line is, "welcome to immortality" instead of, "welcome to vampirism" or something akin to that. Because it presents their 'condition' as an arguably value-neutral one. They're not suddenly soulless monsters, they're still themselves, or at least capable of remaining themselves so long as they 'follow their heart'. The true struggle of the vampire is not one of a loss of the self—of being cursed to live as this soulless thing that only craves blood—but how to hold onto one's self over an eternity.
It's a struggle Olrox has embodied throughout both seasons: How do you honor yourself and the people you love when faced with injustice and impossible odds? Where does one draw the line between cowardice and survival? How many times can you compromise parts of yourself before you no longer recognize the person you've become? To what extent can this process be considered 'survival' at all?
We're used to seeing vampirism framed as a moral tradeoff: you can be young and powerful forever, but it will cost your soul/humanity. Or you can be young and powerful forever, but who really wants to live forever? If Olrox believed vampirism robbed you of your soul, it's doubtful he'd have turned his lover—but clearly he doesn't believe that. And evidently, given his proclivity towards self-preservation, Olrox does want to 'live forever'. 250+ years into his life as a vampire, he still loves, and still wants to live.
Which leaves the blood, and the fact that the very concept of a soul as we're used to seeing it in relation to vampirism is rooted in Christianity. But what weight do these kinds of spiritual arguments have for someone who doesn't share this conception of the soul, or the afterlife, or the universe as a whole?
What weight does "you'll lose your soul" have to a person coming from a population whose genocide was justified under the papal "Doctrine of Discovery", which basically said, "it's okay and even encouraged to steal from, brutalize, and enslave the people you encounter on newly discovered lands, so long as they aren't Christians/refuse to convert."
What weight does "but you'll have to feed on the blood of the living" have to a person coming from a culture where everything on earth is seen as part of the flesh and blood of the gods, and where the spilling of blood is seen as repaying a debt to those gods for giving humanity life and sustenance?
What weight does "you'll have to kill people to survive" have to a person coming from a world where capturing people in ritualized combat for the purpose of sacrificing them was considered a noble calling? An act that helps perpetuate the existence of humanity?
What weight do these arguments have coming from people who are stealing, beating, enslaving, and killing you in the name of their own God? People who don't think you have a soul anyway, or at the very least, think that the only way to save your soul is to completely surrender your beliefs, your culture, and your identity first?
You take away these arguments and you're left with the cost of immortality itself: how to hold onto your sense of self over an eternity, how to keep following your heart, how to not lose yourself.
But even this struggle is already how Olrox's people would have understood ethics and spirituality. A soul is not 'damned' or 'saved'. Rather the three components of the soul are constantly in flux, and man's great spiritual struggle lies in teotl—achieving, maintaining, and continuously restoring the balance of these components over the course of their life.
In this context, vampirism can instead present a chance to outlive the very people who are destroying your world by spilling their blood instead your own. In the face of imminent genocide, it offers survival—without having to compromise much of who you are and how you understand the world. It represents refusing to give up the fight against an enemy that wants to eradicate you, wants to destroy any and all traces of your humanity, wants to make you bow to it and surrender the very core of who you are.
How might this perspective help Olrox to justify turning the people he loves into vampires? Seeing his lover be subject to much of the same genocide, cultural or otherwise, that he experienced himself? To give someone he loved the promise of living to hopefully one day see a better future for his people? Seeing Mizrak be suffocated by the confines of his loyalty to the Catholic church—the very entity that effectively signed off on the genocide of Olrox's people—and wanting to show him, "no, I still have a soul, and so will you"? That there's "nothing to fear" in being turned into a monstrous thing? That the people who are doing this to you, who are causing your suffering, already see you as a monster anyway?
They deceived us when they told us that there is an International Court of Justice, and they deceived us when they said that they are human beings or that they know humanity, and they deceived us when they said we are with you and will not leave you. They are developing and developing and developing everything in life in order to try to reduce the death rate and preserve the lives and safety of people, but all of this is a lie. Where is all of this in what is happening in Gaza? Why does the International Court of Justice not stop the war in Gaza? Why do they not stop Israel from committing massacres? Why do they let us die? Why do they let us starve? Why do they let us be besieged? Why do they let us leave our homeland by force? Why does this indicate? Where is their humanity? Where is the International Court of Justice that they boast about? Where is all of this about the thousands of children who were killed? Where is this about the thousands of children who were wounded? Where is this about the thousands of children who lost their families, fathers and mothers? Where are you regarding what is happening to us? Hundreds of innocent citizens die daily, hundreds are injured, and dozens of homes are destroyed. Why is all of this happening to us? Aren’t we human beings like you? Don’t we deserve to live like you? We want this? We want a normal life like everyone else. We don’t want to starve, we don’t want to be displaced, we don’t want to be besieged, and we don’t want to be killed. Show some of the humanity that you claim to have. Help us, please, help us. We don’t know how long we will live, so stand by us so that we can get out of here safely.
a whole bunch of gazan mutual aid projects and nonprofits. if the decision of which individual fundraiser to give to feels too daunting, or if you just want to help as many people as possible in one go, these are great initiatives to support.
care for gaza - focuses on providing food and essential supplies. donate here or here.
connecting humanity - securing internet access via donations of virtual sim cards (esims). if you can't afford a whole plan yourself, crips for esims is a communal pool that will use your donation to purchase and maintain esims
gaza soup kitchen - provides food, medical care, and classes for children. also has a gofundme
glia gaza medical support initiative - provides medical care through field clinics and tents at hospitals. donations can also be sent through their website.
ele elna elak - provides clean water, food, clothing, and shelter. they also have a gofundme
life for gaza - raising money for the gaza municipality to repair water and waste management infrastructure
taawon - partners with local civil organizations to provide food, water, medical care, shelter, and basic supplies
the sameer project - running various initiatives providing tents, medical care, and necessities. they have their own encampment project focused on sheltering families with children, sick and disabled members, or members in need of perinatal care
islamic relief worldwide's gaza emergency appeal - provides food, water, hygiene kits, medical supplies, and psychological support
baitulmaal - provides a variety of necessities, including food, water, shelter, and medical supplies
gaza mutual aid fund - distributes food, hygiene products, water, and other essential supplies, including financial support. run by @/el-shab-hussein's amazing friend Mona. updates can be found on her instagram.
hygiene kits for gaza - provides hygiene supplies including menstrual products, wipes, and toothbrushes/toothpaste
anera - provides a variety of necessities, including food, water, hygiene supplies, medicine, blankets and mattresses, and psychological care
palestine children's relief fund - provides supplies and support with a focus on children. also has an initiative for lebanon
dahnoun mutual aid - provides water, food, tents, baby supplies, financial support, and other necessities. updates can be found through their instagram
certainly this is not an exhaustive list, so please feel free to add on other projects or organizations that i didn't include. and as always, please take the time to donate if you can and share. it truly makes all the difference.
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Have you lost a family member and felt the pain of regret and loss?! 😭
I hope you don't; for me this is our reality. Every day we lose someone we love 💔😔
Last year I lost my uncle and his entire family in a missile attack on his displacement site in Rafah, and Al Jazeera YouTube reported.
Today, I am in pain as I miss the dearest to my heart, my father, who suffered from a stroke that caused him quadriplegia. He could not cope with the catastrophic life as we lived in a tent that was like a grave. His weak body was exposed to malnutrition as a result of not providing the necessary food for his condition, and the severe cold caused him to have a heart attack that led to his immediate death.
I wake up terrified every night. I check on my family, whom I fear will die of cold 🥶😰
And it was not limited to this, but our tent that shelters my family, children, and my brother Samer, who suffers from a chronic illness, was flooded and swept away under the dirt as a result of the heavy rains. Our tent has become worn out and does not protect us from the winds and rain ⛈️⛺
Please save What's left of us, share with us, and if you can, a donation can save an entire family from death ❣️🙏
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Imagine a tent measuring 4 x 4 and 11 people live in it.
Our night is very difficult and it seems that it is the most difficult. It is possible that we will not get out alive, as the shells are everywhere and there are a large number of wounded and martyrs.
The cowardly Israeli occupation chooses the night to attack us, deliberately frightening the children and killing the largest possible number of innocent civilians. It is a merciless army. They kill us without being asked about anything because no one will hold them accountable.
Do you think Israel's boasting about obstructing the passage of humanitarian aid across its borders will be enough to make people stop criticizing us for collecting individual and family donations, arguing that "donating to trusted organizations is better" or because we won't receive them anyway?
Don't let your fears stop you from taking action. There are people working hard to expose scammers and reassure you about them. I don't know what I can do other than beg. Please, don't let us starve. My campaign has declined significantly, and I don't know why.
Please, I want any help, no matter how small. A small donation will take us to success. I want to learn, I want to study, and I want to save my parents and the rest of my family. Donate.
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