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@doctorjanedee

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Honestly, my biggest frustrations with the redemption arc discourse is, on top of people saying we need more pure evil villains (we don't), is all the people going "okaaaaayy you CAN redeem the character, but there NEEDS to be accountability!!! No one is obligated to forgive you!!! They have to struggle forever with their worst impulses!!! They need more than a 'slap on the wrist'!!! They need to keep suffering and know everyone hates them forever!!!"
Like, gee, okay. Glad to see grudge-holding is such a key part of your personality that a fictional story demonstrating the lack of it is the most threatening thing to your sense of self.
Honestly a lot of the backlash to redemption arcs seems to boil down to people searching for validation to keep being angry and hateful forever/keep dehumanizing people they don't like...
I encountered a Reddit convo that is relevant to this ask:
[Source]
I wouldn't call it a "fetish" â revenge power fantasy works just fine â but yeah, it is thinly veiled as a purity testing thing.
Jax isn't an evil villain, nor did she get a redemption arc due to her self-sabotaging tendencies. If she had redeemed herself, certain people would be going after Gooseworx EVEN HARDER than they are now.
Characters who aren't like Zuko getting redeemed seems to bring out the worst in fandoms.
This person is so right:
[Spoilers for... The whole series? | Why do so many people say that Jax received "no consequences" for her actions?]
Undergoing Death of Personality when she didn't want to go is an ultimate example of someone facing the consequences of their actions, I'd say.
"Jax "got away away scott free" my foot.
do you wanna see the west with me?
äşŹé˝ // Kyoto, Japan

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One of my personal game design white whales is an OSR game that takes the modern roguelike "core advancement schema is constrained to single runs, plus some sort of auxiliary metaprogression based on rewards for completing runs" and cross-breeds it with the "dungeons are mythic underworlds/fragments of other worlds/living creatures parasitising our reality" conceit that some contemporary OSR games go for to produce a game where the core rules furnish robust character creation procedures but simply have no concept of advancement, incremental or otherwise, and then each individual adventure module has its own context-specific advancement schema which is only effective inside that particular dungeon, and goes away outside of it.
e.g., one dungeon might allow characters to advance by progressively enbodying mythic archetypes to produce something resembling a conventional class-and-level system, save that the "character classes" are specific to that dungeon, and a different dungeon which nominally has the same advancement schema would have a totally different set of playbooks; another might have fully randomised advancement in which player characters acquire weird body-horror mutations that grant mildly game-breaking super powers with no ability to influence which ones they get; and a third might have wholly extrinsic advancement based on acquiring golf-bags full of magic items with oddly specific functions. In each case, progression through the relevant advancement schema would be extremely rapid, such that exploring its full gamut in the span of a single adventure module is feasible, and player characters would "reset to level 1" once that module is complete.
However â and this is the keystone of the entire exercise â we're explicitly not obliging GMs to basically design a whole new game every time they want to roll their own adventure module, because 90% of the text would consist of a long list of modular pieces of advancement schemas which can be plugged together like Lego bricks to produce whatever the dungeon at hand uses, tied together with some sort of monstrous set of Big Stupid Tables which enable advancement schemas to be randomly generated, with the GM's only obligatory responsibility being to invent an aesthetic for the dungeon which justifies these particular elements coming together in this particular configuration.
To pose a particularly silly example, imagine rolling up a new dungeon and getting the schema elements "randomised, non-hierarchical upgrades", "upgrades are intrinsic modifications to the affected character's mind, body, or soul", and "each upgrade is a self-willed NPC and accessing its advanced functions requires persuasion, negotiation, and/or bribery". Is it a biopunk dungeon where characters advance by acquiring talkative parasites with incongruous goofy accents? Is it like a Disco Elysium thing where you advance by learning skills, but the skills are alive? Do you have ghosts in your blood?
Thinking about the kinds of characters who would do that for a living is extremely fun.
The core book's character creation chapter would of course include a Big Stupid Table of potential explanations for why you're doing this to yourself.
@evilweirdo replied:
The cheap lethality of some of these games would absolutely work better in a roguelite kinda thing
Dungeon where the only advancement trigger is "dying".
TUESDAY AGAIN NO PROBLEM
{via}
are you "self-aware" or are you intellectualizing your emotions because you don't know how to feel them?
I like that this one didn't really blow up but it has been the number one most common post I see in my notes ever since. wall-to-wall âhey. fuck youâ type responses interspersed with thoughtful reflection.
I continue to have no resolution for this thought, we are poleaxed together, so I'm very pleased that my emotional terrorism has gone according to keikaku.

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so i read The Goblin Emperor over the weekend!
I just started The Witness for the Dead, but I'll be honest, I'm sort of sad we're not still following Maia. Love Maia.
Strongly feel that this sad nineteen year old virgin should be in a polyamorous relationship with his wife, his secretary, and all of his nohecharai, since all of them want him so bad it makes them look stupid.
You know how medieval villages near disused Roman aqueducts would just gradually dismantle the aqueduct for worked stone rather than quarry their own? I want to play a tabletop RPG with a classic shitty-little-village-with-ancient-ruins-under-it dungeon crawling setup that's basically that. You're not going down there to loot gold and magic swords: you're looking for pieces of sorcerous infrastructure you can pry loose and repurpose to meet the village's everyday needs. Give me the fantasy equivalent of those rural English taverns that don't have indoor plumbing but do have flatscreen TVs.
I love a good Very Specific Resource. Here are the links to my posts about resources carefully crafted to share a specific bit of history (updated as needed)
How Fast Was the Mail - Interactive map that giving mail delivery info in the US 1882-1908, also general railroad network information
Streaming Music from Around the World - No algorithms, lots of options, amazing music nerds helping you discover more music.
Professor Shoelace - everything you ever needed to know about shoelaces
Commercial Pattern Archive - over 50,000 scanned sewing patterns dating back to the 1850s
Public Domain Image Archive - thousands of images from various repositories no longer under copyright
Medieval Murder Maps - interactive maps of murder and accidents in medieval London, York, and Oxford
Travel in Times - plan travel routes in England and Wales in various centuries
The Quilt Index - a digital repository of quilts, makers, and their stories
Louis Armstrong Archives - Some highlights from the archives and how to access the full collection from home!
RSN Stitch Bank - hundreds of sewing and embroidery stitches, their uses, their structure, how to make them, and history!
Archive of 80s mixtapes - a whole lot of tapes from the 80s and also tapes of background music from Kmart in the 80s and 90s
Feast Afrique - What started as an exploration and celebration of West African culinary heritage has since expanded to include history, language, culture, and customs of West Africa and the African diaspora.
Letterform Archive - Thousands of high quality images celebrating graphic design, calligraphy, and typography. The beauty of letters!
Historic Menu Collection - Over 17,000 historic menus, 1.3 million historic dishes transcribed. Historic popularity and price range, map it, and more.
Palestinian Embroidery - Digital archives dedicated to the preservation of Palestinian embroidery. Over 1,000+ free patterns
Black Craftseople Digital Archive - enhancing knowledge of Black crafts people (both free and enslaved) and the objects they produced.
Georgian Lady's Magazine Embroidery Patterns - Free embroidery patterns from 1770-1819
The Dutch Textile Trade Project - History and trade of textiles in the 17th and 18th centuries. Fabric types, images, data on trade.
Estonian Knitting - Bog knits! History! Techniques!
Walter Crane (1845-1915)
Illustrasjoner til eventyret âSkjønnheten og Udyretâ av Jeanne-Marie Leprince de Beaumont.
Les eventyret pĂĽ EventyrForAlle.no: https://eventyrforalle.no/diverse/jmb001
Illustrations for the fairytale âBeauty and the Beastâ by Jeanne-Marie Leprince de Beaumont.
âToymakerâ as a job description in fairy tale fiction is one of my favourite bullshit occupations. âDollmakerâ is fine, âcarpenter who makes wooden toys as a side hustle between jobsâ is fine, but so many stories have a character whose entire occupation is described as âtoymakerâ and is heavily implied if not explicitly confirmed to have made all of the toys in their shop, from wood boats to plush animals to porcelain dolls to music boxes to tin soldiers, all made under the tiny hammer of one person.
And itâs not impossible for one person to be at once a highly talented seamstress and tinsmith and carpenter and clockwork engineer and every other talent in the world that would allow you to build everything from china dolls to rocking horses, but to be all that and then single-handedly supply the whole stock of an entire toy store? In a rural whimsical little fairy tale village?? By themselves???
Well, if we consider that fairytale fiction often takes a mixed-story approach... We have to take into account that it is a world where you have Pinocchio, and The Nutcracker, and Vasilisa's doll, and the Brave Tin Soldier... So the "toymaker" job might be, in a fairytale world, very different from what we understand as "toymaker"...
Maybe it is closer to the work of a botanist or an animal-breeder? Or deemed a safer variation of the "mad scientist" career path? Maybe a toymaker is forced to have an extensive education due to all the risks of your work coming out to life or being key to someone's destiny? Maybe it is more of a holy man job than one may think?
I'm obscurely reminded of Frances Hardinge's Cuckoo's Song.
[mild spoilers]
The Shrike is definitely in that nebulous intersection of mad scientist, engineer, and toymaker, even if the dolls he makes aren't necessarily toys. IMO he's certainly in that mold even if he's never specified as a "toymaker" by the text.

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some thoughts on tolkien-the-environmentalist
I thought I might write up some meta/analysis around Tolkienâs conservative âenvironmentalismâ being uncritically viewed as an objectively âcorrectâ opinion, and viewing it through a temporal lens, ie what it was that influenced my approach to fics like Unsightly or The Culling of the Cormorant or Snakebite. I was initially not going to post it because I feel like this is a subject that can easily be misconstrued into âoh you think caring about trees sucks huhâ when that is literally the opposite of what Iâm claiming. However, my circus, my monkeys, etc.Â
Anyway, Tolkienâs pastoralism and conservationist spirit are often treated as though they were the singularly politically uncomplicated parts of his imagination (especially by those who really want everything they consume to be morally âpureâ lmao), but I don't think that is at all true. And I also think that much of the environmentalism within the books has less to do with environmentalism itself and much more to do with his ideas around temporality, ie I think the reason many adaptations or readings of his work fall flat in attempting to discern his thoughts on trees is because they ignore how the legendariumâs ecological stances are deliberately bound up with its stances on historical continuity, inherited custom, settled habitation and relatively stable social relations. To conserve in name trees and fields, and through them conserve certain relationships between people, land and time.Â
Which is why I think âpastoralismâ is a more appropriate category to describe the appealing treefucker spirit of the books than âenvironmentalismâ. To very quickly go into the difference: environmentalism begins from the ecological fact that landscapes are dynamically indifferent to the boundaries placed around them, while pastoralism begins from a human community already situated within a landscape and asks how that community might preserve its relationship to said landscape. And the reason I prefer sticking to pastoralism is because Tolkien repeatedly assigns moral weight to the passing of time, and the effect of time on the people occupying a landscape.
The social ideal of the Shire, so prevalent on this website that you actually have people calling it a communal anarchist utopia and what not, is how it exists in perfect correspondence with its own, localised landscape, where everything belongs to a continuous historical organism ever since the three nomadic Hobbit-groups settled and intermingled within the region. So far from being anarchist, I think the utopian quality of the Shire rests in a fantasy that history stopped changing the fundamental terms on which a community exists. He doesnât actually even say itâs a utopia, or make a narrow hard-conservative argument of all change being objectively bad, but is quite clear that all change comes from âwithinâ, from local and regional actors in the service of a greater national cause. Frodo saves Middle Earth, and in doing so, saves the Shire.Â
Corporate and you: how to handle large scale group organizing and master bureaucracy without going fucking insane.
So, couple disclaimers at the beginning. This is the how to survive Corporate and why you need to learn bureaucracy rant I mentioned a few days back. This is based on my 12 years working (and thriving!) in a Corporate environment based around the US but not being physically living in the US. It's also the result of 20 years doing consistent activist work with large scale organizations and doing mostly logistics support.
Full disclosure, the realization this rant needed to exist came from a very popular blog chronicling a Bad Work Spiral and a friend sharing that with me, and me having a Weird Uncomfortable reaction to it. I will not be linking to this person because they're already having a really shitty time of it, and having a random stranger they don't know from Adam writing commentary on how to avoid landing in that kind of situation seems to me deeply unkind.
I want to be clear and upfront about this from the beginning: these observations are not meant to absolve an abusive, toxic workplace just because it's Corporate. What I'm trying to do is give you tools to navigate boundaries in Large Groups Of People, of which Corporate is one of the most common places you will find yourself in. Not knowing how to navigate the dynamic makes you vulnerable to exploitation; it never makes you responsible for it.
So with that in mind:
What the fuck is Corporate?
One of the best descriptions Iâve ever seen to understand why, for example, I as a public defender should stick within the confines of that role and yell when things outside that arenât being done, rather than try to be more than a lawyer to my clients.