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Uhmm my farmer is very cringe and flop, and Harvey's gonna be STRESSED and CONCERNED and have a lot of headaches
So the tea is a few months ago I fell victim to the too sweet edits as a new sdv player + I discovered modding and added a few dialogue mods that gave Harvey a tiny bit of rizz for a while and now my farmer has a crush on him. yeah. cue a comic of over 100 pages SO FAR because i'm insane yeah this is very dumb ppl on tiktok are enjoying it so maybe u will too!!
I base it on his quote during his two hearts event with George when Harvey mentions his eight years in med school. If he were much older, I believe he would emphasise his medical experience, i.e. that he has spent a decade as a doctor (or even better – as George's doctor). From my point of view, Harvey focuses on his school years because he's still too young and inexperienced as a doctor, and he knows George won't be impressed if Harvey says he has spent two or three years treating people.
So I think he spent his twenties in med school, residency or whatever his country requires, came to Pelican Town when he was about 30 years old, and has been there just a few years as he keeps to himself a lot. I think if he had spent many years there, he would talk to other people more.
I've read some arguments based on USA school system, which is something that should go straight to r/USdefaultism. Stardew Valley isn't in USA, it isn't even on Earth (and if it is, then apparently it's in Russia, according to Harvey's coordinates). So we simply don't know what schools, colleges, med schools or residencies Harvey has in his CV.
And I doubt he lost any years trying to become a pilot. His fear of heights is strong, he would know very early on that it's out of the question.
And I personally believe he wears shirt and has a mustache to look more like a serious and experienced doctor instead of a relatively young, inexperienced one.
I find the discourse about original characters in fanfiction rather baffling.
Some people tak about them as if they were not characters, but something entirely different, like self-inserts or some sort of "playable" characters that you come up with once and then can insert into any type of story. I find "I have an OC" statement very strange. What do you mean, "you have"? In my opinion, original characters – like any other characters – make sense only in a story. You can have a story – with any kind of characters.
There's also discourse about writing original characters as if it were something completely different from writing canon characters. If someone writes terrible original characters – one-dimensional, overpowered, unrealistic, unoriginal – the same happens to canon characters: instead of nuanced characters, they become squashed into flat stereotypes. OC problem is the same as OOC writing.
Of course, writing canon characters and original characters comes with their own challenges: you need to properly introduce an original character, but canon characters aren't really much easier: you need to understand them properly and catch their voice, because you don't simply play with someone else's dolls – you recreate them based on the instruction provided, but how succesfull it is depends on your skills.
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In Pro Snape fandom, I've often read that he's disliked because he's not a perfect victim. I thought it made sense until I got into fandoms with perfect victims – Adrien Agreste from Miraculous Ladybug and Fanny Price from Mansfield Park. They try hard to fulfil their abusers' demands, they're kind, yet they're called weak and passive. According to people who dislike them, they are to blame for the abuse they experience, because it would end if only they stood up for themselves (even though in their case, even mild opposition leads to punishment – being sent away or imprisoned).
Many people simply dislike victims. Perhaps it's easier to blame victims regardless of their perfection or imperfection – in order to believe that it would never happen to them: they would stand up for themselves and never lash out; they would never become victims...
I think there is something going on with Adrien behind the scenes. Sometimes it's only vaguely hinted (like him getting up instead of simply standing after being brought back from the trophy, his lack of reaction other than constant smile during Amelie's interview, him standing on top of the stairs during Marinette and Nathalie's quarrel) and sometimes it's a bomb – dropped and never mentioned again, like Chat Noir destroying the statue of Gabriel. I don't know how much he knows or suspects, but something seems different to me.
💬 11 🔁 21 ❤️ 89 · ADRIEN KNOWS MORE THAN WE THINK?!
Adrien's "Clue Collection" To Figure Things Out On His Own from Every Episode of S6,
another character analysis no one asked for but i will give it anyway
The reason i HATE the idea of an Adrienette break-up/Ladybug vs Chat Noir bullshit is because THAT'S what Marinette wants. She wants an easy way out of her problem. Giving away her miraculous, breaking -up with Adrien, putting all the pressure on Alya: it's all her running away from what she made wrong.
The whole lesson about Marinette's lie is to live with the consequences of her actions. Of having to work out a solution when you are given a second chance to fix things.
Adrien has learnt that though. After murdering someone (which is WAY worse than a lie) and trying to give up his miraculous multiple times for petty reasons, he understands that him being Chat Noir is more than just "i will destroy this for LB to fix". He doesn't want to feel as useless as he felt during the fight against Monarch
Now Marinette is dealing with that. Because she can't just destroy what she did, nor fix it. Her breaking up with Adrien just takes away the reason why she feels guilty. Her giving away her miraculous takes away the responsibility of having fucked up and dealing with a new villain.
Doom thinking and waiting for the worst to happen instead for trying to work for a better outcome is what we should not be doing.
Being a villain is easy, is petty. Being a better person is where the work is at
I think that many people who find Mary Bennet relatable, imagine her to be like Fanny Price. Mary is a pretentious, not very bright show-off. It is Fanny who is a neglected, abused, intelligent introvert.
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Normal fanfiction: Mr Smith was a 25-year-old gentleman with a large estate.
My stories: To find out the character's age, you need to solve a maths problem.
For example, in Portsmouth, to find out Mr Campbell's age, you need to:
wait till Chapter 7;
find out that Mr Campbell is six years older than Miss Campbell ("Fanny knew very well that it would not be the first time it had ever happened and the situation was familiar: a six years older cousin...");
find out that Miss Campbell is the same age as William ("I remember him talking about the assembly, when he and I were nineteen years old...");
remember that William is a year older than Fanny;
and then and only then you may find out that Mr Campbell is seven years older than Fanny!
In The Ribbon, in the first chapter you may learn that John has served four years in the militia:
“I am glad to hear this.” Mr Darcy smiled. “In a few days you could be a proud ensign or… Please tell me, Mr Pratt, how long have you served in the militia?”
“Four years.”
But then you need to wait till Chapter 4 to learn that he was 18 years old when he joined the militia:
When he had joined the militia at the age of eighteen...
Przez wiele lat sądziłam, że Borejkowie mają być typowymi inteligentami i dziwiła mnie nieco zmiana w ich przedstawieniu w ostatnich powieściach Jeżycjady. Ostatnio coś mi kliknęło i zrozumiałam, skąd to się bierze — że to było tam od początku. I wszystko nabrało sensu.
Inteligencja to nieco ulotna grupa skupiona na wykształceniu i wartościach: lekarze, prawnicy, pracownicy naukowi, często zaangażowani w działalność charytatywną, religijną, patriotyczną. Przez dziesięciolecia nie byli wielką elitą, bo najpierw mieli nad sobą szlachtę, która nawet trochę zubożała mogła błyszczeć swoim pochodzeniem, a potem byli ograniczeni wymuszoną komunistyczną równością. W wolnej Polsce spora część takich inteligentów nabrała wiatru w żagle i wybiła się zarówno finansowo, jak i prestiżowo. W zapomnienie poszła postać lekarza niosącego pomoc i kaganek oświaty prostym mieszkańcom wsi mimo braku profitów i wygody; taki lekarz w wolnej Polsce zaczął kupować auto z salonu, budować willę, jeździć na zagraniczne wakacje i dorabiać w Luxmedzie, co brzmi znacznie mniej nobliwie, nawet jeśli wspierał z przekonaniem dzieła charytatywne.
Inteligencja, w związku ze swoją ulotnością, nie była bądź nie jest (czy inteligencja jako taka jeszcze istnieje?) grupą jednorodną. Byli tam zawsze ludzie, dla których wykształcenie było przede wszystkim drogą do lepszego, wygodniejszego życia — ot, taka bardziej klasyczna klasa średnia, co nie znaczy, że niezwracająca uwagi na wartości. Byli tam też ludzie, których sensem życia była praca organiczna, użyteczność własna, do czego wykształcenie było bardziej narzędziem — których pewnie najbardziej kojarzymy z etosem inteligenckim, z działaczami społecznymi, z tym lekarzem na wsi, z nauczycielką-siłaczką. Ośmielę się przypuścić, że była to w istocie podgrupa najmniejsza. Była też jeszcze jedna podgrupa — szlachty wysadzonej z siodła, szukającej sobie miejsca w nowym świecie, gdzie ziemskich majątków już nie ma, a pochodzenie i herb nie grają większej roli. Spora część wpadała do pierwszych dwóch podgrup, ale nie Borejkowie.
Czy zamiłowanie Ignacego Borejki do filologii klasycznej to wzniosłe zainteresowanie inteligenta? Jeśli tak, to dlaczego tak gładko przeszło w pater familias i czarną polewkę? Dlaczego jeszcze w tym wszystkim Mickiewicz jest aż tak ważny? Bo w istocie Ignacy nie jest wzorem inteligenta bujającego w obłokach, ale dziedzica szlachty wysadzonej z siodła. Nie ma już wielkiego rodu Borejków, nie ma dworku; jest Ignacy i Roosevelta 5. Borejkowie są jak polscy czy włoscy Amerykanie, którzy kultywują zwyczaje swoich przodków, które jednak w oderwaniu od ojczyzny stają się jakąś karykaturą czy potworniakiem* dawnej kultury, z Busią, goblakami, pulpetami w spaghetti i "W imię Ojca" funkcjonującym bardziej jak jakieś magiczne błogosławieństwo niż najzwyczajniejszy element religii znany właściwie w każdym języku, a jednocześnie wierzą, że są lepsi i czystsi kulturowo niż ci, którzy dostosowali się do zmieniających się okoliczności.
*Gwoli wyjaśnienia: nie mam nic do polskich czy włoskich Amerykanów, a już na pewno nic do pulpetów w spaghetti; chodzi mi tylko o pewne zjawisko i rzadziej występujące specyficzne nastawienie.
Borejkowie nie rzucają cytatami klasycznymi (i Mickiewiczem) i nie mieszkają na kupie, bo są takimi klasycznie wykształconymi inteligentami, dla których wielką wartością jest rodzina. Ich cytaty to ich Busia i pulpety w spaghetti — nowy kod kulturowy, który ma być wyrazem kultury ich przodków. Łacina łączy ich z Sarmatami, z ich znajomością łaciny, odniesieniami do mitów greckich i rzymskich, mitycznym starożytnym pochodzeniem. W czasach dawnej szlachty łacina jednak miała zupełnie inną pozycję jako język, do pewnego stopnia lingua franca i używana regularnie w kościołach, natomiast w czasach Borejków jest już tylko pokryta pokładami (miłego) kurzu. Stąd też Mickiewicz i polonistyka — też łączą ich z kulturą przodków.
Rude włosy i wysokie czoło Ignacego to nie tylko jego cechy fizyczne; to wyraz jego szlachetnego pochodzenia, rzadkiego, wybitnego, które przekazuje w darze swoim dzieciom; bo to nie ich wykształcenie i wartości są miarą ich człowieczeństwa, ale pochodzenie również (czy może przede wszystkim). Borejkowie mieszkają wszyscy razem w małym mieszkaniu jak niegdyś ich przodkowie we dworku, jak Benedykt Korczyński z siostrą Martą i Orzelskimi — ale jest to również zwyczaj, który został przez Borejków przeniesiony z przeszłości bez żadnego względu na okoliczności; rodzina ma się trzymać blisko, mimo że już nie ma przestrzeni i bogactwa. Posiadłość Pulpecji to ojczyzna odzyskana, ojczyzna — czyli dwór, wiejski oczywiście, bo Borejkowie nigdy prawdziwie nie odnaleźli się na miejskim wygnaniu.
Rudy Józinek to dziedzic z przyszłym wąsem i byłą szabelką. Gizela to prosta chłopka i robotnica, mamka i niańka, która wychowała panienkę Melanię, która nie utrzymuje z nią potem bliskich kontaktów z uwagi na swą pozycję jako żona szlachetnego Borejki; Mila też nie szuka swoich rodziców, bo to, co znajdzie, może jej przynieść tylko rozczarowanie, bo nie będą tak szlachetni, jak powinni. Róża, bez wyższego wykształcenia, matka dzieciom, przypomina Helenę Kurcewiczównę według Fryderyka, bo jest szlachetną panną na wydaniu i nie musi być ambitna ani wykształcona. Natalia bierze nawet ślub w kontusiku; jej luby, choć pochodzenie ma słabe, jest jednak rudy i ma wąsy prawdziwego mężczyzny. Kreska, dzięki szlachetnemu pokrewieństwu z Dmuchawcem, wybiera Kmicica lat 80. niczym nowa Oleńka, odtrącając prostego Lelujkę. Naszpan polonista to Mickiewiczowski syn posiadacza ziemskiego.
Borejkowie nigdy, od samego początku, nie utrzymywali z nikim bliskich przyjaźni. Inni pracownicy naukowi byli zbyt ambitni, inżynierowie zbyt praktyczni. O jakiejkolwiek działalności społecznej nie słyszymy, poza Eksperymentalnym Sygnałem Dobra i krótko wspomnianym epizodem antykomunistycznej działalności Ignacego, o czym trudno nawet powiedzieć coś konkretnego. Borejkowie siedzą w swojej bańce, kultywując swoje karykaturalne zwyczaje szlachetnych przodków, próbując zakładać kostium inteligenta, który jednak nie bardzo pasuje, bo jest miejscami zbyt duży swoimi wymaganiami i zbyt mały na ich wielkie ego. Józek, brat Ignacego, idzie z nurtem czasu i staje się zwyczajny, boleśnie zwyczajny i nijaki, niegodny miana Borejki, ot, zwykły mieszczuch. W czasach PRL jeszcze w miarę łatwo było Borejkom bratać się z inteligencją, ale gdy nastała wolna Polska, a inteligencja skorzystała z okazji i rozpłynęła się w klasie średniej, Borejkowie zostali znów z tyłu, tuląc do siebie ten niepasujący kostium inteligenta, a jednocześnie korzystając z obrotności nieszlachetnych, prostych członków rodziny, głównie Floriana i Patrycji. Im dalej czas płynie — coraz bardziej z tyłu, coraz bardziej nieprzystający do otaczającego ich świata, a jednocześnie coraz bardziej butni i pewni siebie, wracając do nowego dworku, tak bardzo im się wszak należącego niczym ich własna ojczyzna; reszty ojczyzny nie potrzebują.
I find discussions about Austen heroes' virginity somewhat funny.
Firstly, some people seem not to understand that most doesn't mean all. Sure, in Georgian and Regency Eras (any era, I guess) most men engaged in premarital sex, but it doesn't mean that there was not a single male virgin in whole England.
Secondly, even today, when premarital sex is widely accepted in so called western societies, there are still some male virgins. And I don't mean incels, I mean virgins by choice. In Georgian and Regency Eras, religion was much more widespread and while of course most people treated it preformatively, there were still some people - just like today - who were truly religious. For them, premarital sex meant eternity in hell.
Thirdly, it was a world withouth antibiotics and birth control. Sex meant babies. Of course, many men didn't care much about their children, even their "legal" children, but still, some did. Also, sex with a promiscuous woman meant a high chance of (untreatable) STDs - which meant pain and terrible death.
(People keep writing about "descreet" widows and mistresses, and it sounds like something Mary Crawford would say xD)
Yes, that world - especially London - was full of Henry Crawfords and Willoughbys who slept with harrassed maids, visited brothels and kept mistresses (and contracted syphilis, and gave it to their wives and children, and died terrible deaths later), but there were some - even though few - men who stayed virgins. There were practical reasons to do so.
I doubt every male character written by Jane Austen, except for the rakes, is a virgin, but it's definitely possible for some.
Edmund Bertram - even though he's very flawed, he's truly religious and responsible.
Mr Darcy - he's responsible, strict and moral.
Edward Ferrars - the only Austen man who seems to feel a true calling to become a clergymen; he's responsible and dutiful. However, I think he could've made out with Lucy to some extent, but I doubt they had sex.
Mr Bingley - while I think it's less likely that he's a virgin, I think he and Darcy could bond over not being as promiscuous as the rest of society.
Mr Collins - he's stupid and ridiculous, but I think he's somewhat honest in his beliefs. (I've read that he's a virgin because he's too ridiculous... No, he could definitely go to a brothel despite his ridiculousness. You don't need any charm to pay for sex.)
Sexually experienced
Captain Wentworth - he felt no inconstancy of mind, but when he felt "weak and resentful", perhaps he tried to forget Anne in brothels? Even just a few times.
Colonel Brandon - same as Wentworth, but about Eliza.
Mr Tilney - I think he could've had a few sexual encounters during his time at university.
Tom Bertram - gambling, alcohol, why not women? Unless he's gay.
I have no idea
Mr Knightley - he's responsible and kind, he stays in his country estate, but he's also older and not interested in marriage until Emma. So I don't know.
I find discussions about Austen heroes' virginity somewhat funny.
Firstly, some people seem not to understand that most doesn't mean all. Sure, in Georgian and Regency Eras (any era, I guess) most men engaged in premarital sex, but it doesn't mean that there was not a single male virgin in whole England.
Secondly, even today, when premarital sex is widely accepted in so called western societies, there are still some male virgins. And I don't mean incels, I mean virgins by choice. In Georgian and Regency Eras, religion was much more widespread and while of course most people treated it performatively, there were still some people - just like today - who were truly religious. For them, premarital sex meant eternity in hell.
Thirdly, it was a world without antibiotics and birth control. Sex meant babies. Of course, many men didn't care much about their children, even their "legal" children, but still, some did. Also, sex with a promiscuous woman meant a high chance of (untreatable) STDs - which meant pain and terrible death.
(People keep writing about "descreet" widows and mistresses, and it sounds like something Mary Crawford would say xD)
Yes, that world - especially London - was full of Henry Crawfords and Willoughbys who slept with harrassed maids, visited brothels and kept mistresses (and contracted syphilis, and gave it to their wives and children, and died terrible deaths later), but there were some - even though few - men who stayed virgins. There were practical reasons to do so.
I doubt every male character written by Jane Austen, except for the rakes, is a virgin, but it's definitely possible for some.
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Mrs Bennet's problem isn't her middle class background. In the very same novel we have ridiculous Lady Catherine and perfectly kind and polite Gardiners who are literally in trade. Mrs Bennet could be a daughter of a wealthy landed gentleman and still be terribly stupid.
Darcy was a snob, not a rake.
No one calls Miss Bingley "Caro" in the novel.
Henry Crawford is not handsome.
The Prices have two servants (Rebecca and Sally).
Mr Price is a lieutenant of the marines, not the navy.
He's not physically abusive.
It was the Admiralty that decided who got promoted in the navy.
William Price does have a friend, who is a surgeon; but he's often replaced by a captain, because it's more prestigious, I guess.
Speaking of William, when someone writes about "William Darcy", I always think at first it's an Elizabeth Bennet/William Price fic.
While I believe Fanny Price can get over Edmund, she needs time and a reason. She won't suddenly forget him when someone else is nice to her.
A "compromise."
I just wish we had more stories where the ultimate happiness doesn't mean marrying up; more stories about the heroine herself, about equal partnerships, about the couple building their home together instead of the hero giving it to the heroine; more stories that aren't more regressive than the novels written 200 years ago.
I think one of the biggest reasons why many people dislike Mansfield Park is that they expect a romance while it is not. None of Jane Austen's novels is just a romance, but Mansfield Park's romantic subplot is especially less enjoyable, compared to other books.
So Edmund? He's not that important. Fanny and Sir Thomas (as much as I despise him) are the main characters. Edmund is just a means to an end, which is Fanny becoming truly the daughter of Sir Thomas.