Artist for Nova 44 | here for art and animal facts | she/they | enormous nerd | Chronic pain enjoyer. | I also sell stuff - my Etsy shop is dead but lives again at https://asterandorchid.com
I am obviously having a grand old time with woodturning and am angling for some lathe time tomorrow but I gotta say
As someone who has mostly made stuff via additive manufacturing type methods. The amount of wood shavings that have to go to waste hurts me deep in my non existent soul.
and again, I know I am aware that is the entire process, you start with Material and you remove everything thats not Object and the removal is usually destructive that is kind of inherent to the thing.
You can save most shavings and use as mulch/give to somebody for their garden! Theyâre often good compost additives, depending on what stage the compost is at. You can also pack them into a muffin tin and melt wax into them to form fire starters for campfires.
And of course thereâs always the classics: perform dark blood rituals and imbue them with the souls of children who died lost in the woods, then stuff them into a cloth form to create a brand new haunted doll.
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As much as I rag on how totally dishonest most TTRPG marketing is, the fact that the average player or game master seems to know less than nothing about how TTRPGs work doesn't make honest marketing easy.
Well, this post is kinda about how âcrunchyâ has lost basically all of its meaning because nobody defines it the same as each other, but what it is supposed to mean is that the game involves a lot of ânumber crunching,â in other words a relatively high degree of math per scenario, procedure, etc.. However a lot of people use it just to mean âthereâs a lot of rules,â regardless of whether those rules involve math or if those rules are frequently layered on top of each other(as in, thereâs a lot of rules to account for in any given situation), and many others take it to mean âthis game has combat,â âthis game is bad, regardless of complexity,â âthis game is good, regardless of complexity,â or âthis game has rules that canât be absorbed through osmosis.â
Even if youâre using it âcorrectlyâ I still donât think itâs that helpful of a term because a lot of games have âcrunchyâ elements but are not âcrunchyâ all the way through. They may have some mechanics where you have to check a bunch of modifiers, and others where there's just like one or two.
Ultimately TTRPGs are an EXTREMELY varied and inconsistent medium, where the average fan has only played like one example, so descriptors like this don't tend to get you very far.
These pescatarian birds are directly exposed to PFAS contamination due to the island's position near the St. Lawrence Seaway.
Over fifty years of data show a peak in PFAS (also known as "forever chemicals") content in seabird eggs in the 90s, followed by a decrease as regulations went into effect. The most recent findings show a 70% decrease of most common PFAS.
While continued vigilance a regulation is needed, this data indicates that regulations are working to reduce PFAS concentrations in marine ecosystems.
Yes!!!! I did a review of literature on PFASs in human drinking water about half a year ago, and there is a lot of really good progress! Please celebrate this, please don't let this solution be forgotten (at least so quickly) as the ozone layer or acid rain.
We are making genuine progress! Producers are dramatically altering how much they use PFAS and how much gets released in effluent, but also there's a lot better understanding of how to remove PFAS from the environment!
I've been mulling over your posts re: breathing exercises for a while and like⌠it makes sense to me that given how you've experienced a lot of techniques aimed at coping with anxiety as intensely invalidating & disenfranchising of your feelings, needs, intuitions, nervous-system responses, etc., that practicing a breathing method with a rigid externally imposed structure might activate that same distress. Does that resonate at all? (If so, it also means a lot of the well-meaning unsolicited advice you've been getting about technique would miss the mark for you since it's aimed at, so to speak, symptoms not causes.)
If you're in the market for more well-meaning unsolicited advice⌠it seems like you've had pretty good luck with taking an intuitive, curious & sometimes-playful, sensory-based, descriptivist-not-prescriptivist approach to other types of grounding & centering practices. I would consider what your goals/hopes for doing breathing exercises, then try to get in a place/position where you're physically comfortable, breathe in a way that feels intuitive for you, start paying attention to your breathing & how you feel, and then maybeâif you're vibing with itâtry intentionally varying your breathing in whatever ways seem like they might be interesting, and see how they make you feel. Rather than taking a technique that works pretty well for most people and trying to figure out how to adapt it to work for you, start from the ground up, from your individual beingâlike getting a bespoke suit rather than buying off the rack & getting it tailored.
I guess my posts were worded as though I was searching for advice on how to make breathing exercises work for me, but I was more interested on understanding why they don't, and for the people for whom breathing exercises do work, why they do work.
However I have received such varying and contradictory answers on how breathing exercises are supposed to work and what they are doing physiologically, that I think answers to these questions are impossible.
I believe the reason it feels concerning is that I am trying to heal my medical fear, and the way I was taught this was supposed to work is that I was supposed to expose myself to the feared thing while using "coping skills" to mitigate the fear.
However, for me, all the common "coping skills" that purport to be able to shut down or reverse the physiological reaction of fear do not work.
The success I have found with healing has been through engineering experiences that feel safe, not controlling my own physiological responses of fear. I'm not even sure if "coping skills" broadly are appropriate here; when I was experimenting with "safe" medical experiences, getting my vaccines at the grocery store pharmacy, I found it comforting in some ways to acknowledge and feel those physiological responses. The physical process of fear in my body is, essentially, my body's preparedness to protect itself, and I envisioned my fear as my werewolf-self: a huge wolf wrapping her body around me and growling in warning while I get my flu shot.
I even found it helpful to imagine myself "transforming into the wolf" so to speak: surrendering control to the fear. I have a hard time articulating why this resulted in feeling confident during the potentially scary situation rather than avoidance.
"Surrendering to fear" in common speech would mean leaving and not getting the vaccine. Is it really true, or is it just an assumption that if a person surrenders to their fear, they will only avoid?
I think it's possible my problem with breathing exercises is much more fundamental than technique. Fundamentally, such "coping skills" are about reversing and shutting down the process of fear, and the assumption that this is good and desirable to do comes from a hierarchical view of humans as consisting of a "lower" body and a "higher" mind, with the mind having "evolved past" the body necessitating a relationship of power and dominance over the body by the mind.
This leads to the view that what the body knows is false and cannot be trusted, which is the fundamental idea underpinning the diagnostic category of "anxiety."
What I came to, entirely on my own and because I had no other option, is that my fear, or my wolf-self, tells me about my safety needs. Not only do these safety needs include physical safety from harm, they also include the need to have human dignity and to be protected from forceful violation. Fear that is connected directly to one of these safety needs is what I call "Saw trap" fear: it is primal and gut-wrenching and deeper than cognition, because it directly defends the self. It feels like how it feels to be caught in a trap and have to cut through your own leg to escape.
I think you can't cognitive-behavioral-therapy your way out of fear of rape, gruesome mutilation, or excruciating pain (not the thought of these things, but the imminent, certain threat) because it's essentially hardwired. That's what fear is FOR. You can't big brain yourself into no longer being an animal except through an extreme and maladaptive level of dissociation.
And I reckon that doing breathing exercises doesn't make you feel any better about having to saw off your leg either. And even if it did, why.
So a lot of my medical fear is that "animal-with-its-leg-in-a-trap" desperate biting clawing fear, a visceral certainty of unbearable harm and violation to the body, and that fear lives in me, in the deepest parts of my body and mind. There is a deep foundation of unsafety that my body learned from trauma.
So, my theory is that attempting to stop the physiological processes of fear does not work as a "coping skill" because it is suppressing a primal instinct that is foundational to the safety of the self.
In fact, I think that breathing exercises may be somewhat triggering to me at this point in my life because they activate the memory of feeling not allowed to be safe, not allowed to feel, not allowed to defend my body from harm. The Wolf fights me when I try to control my own breathing because she exists to protect me and she feels that I am preventing her from doing that.
In the years since I began unlearning the mainstream view and re-learning the animal self, my "anxiety" has been much less disruptive and paralyzing. But it goes completely opposite and contrary to everything I was ever taught and I'm trying to figure out how to work with that.
Why does it work to hand over control to the Wolf when getting my flu shot? Well, my fear exists to protect me, and in a strange way, her watchfulness and readiness to defend when I am in a vulnerable situation is reassuring. It's kind of an assurance that if the fear gets to be too much for me to be comfortable, she'll know what to do. And after the flu shot, the Wolf gets to feel that she successfully kept me safe.
I'm trying to apply this philosophy to going to get a blood draw (a higher stress experience associated with some trauma) but most of the resources or advice I would find online completely contradicts everything I've been doing.
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I live on the east coast, it's pretty damp here, and there are corn farms just outside town, and my gardening relatives have grown corn successfully.
BOM says our mean yearly rain is just over a metre, while yours is 70cm. Could be about when the rain is, because yours is mostly in July/August, while our wettest months are February and March
One year we moved to a house by a little creek. I was 14, and I tore up the grass and prepared a little plot all by myself. I planted corn because it was an easy crop for the region, and I'd grown a lot in much worse soil in the past. It grew beautifully: nearly every seed germinated, and they were all growing upright and strong in rich soil near the creek. I had probably 50 plants on the little plot.
And then. The neighbor dog (owned by the landlord) decided this was her only place to play. For four days straight, she made a beeline right for the corn, jumping on it, breaking the stalks, dashing through and making a nest on it. The first few days I tried to run her off, asked the landlord to keep the dog away, and splint the stalks. Then I gave up. I was so mad, I broke the rest myself so I wouldn't see the dog do it.
My dad accidentally planted corn via bird seed one year. It did shockingly well. (American East Coast). Their dog very patiently waited until the corn was ripe and picked to start carefully, deliberately disassembling the corn stalks, shredding them with the most attention to detail Iâve ever seen her use. She also attempted to make off with the harvested cobs and squash because she is a very tooth oriented girl.
There's this category of TTRPG where the seemingly only selling point besides maybe artwork is giving players permission to jerk off to their own moral purity as manifest from buying the TTRPG.
Candela Obscura is the strawman put forward in this post, but itâs a game that actually exists:
[This was partially written by @ashweather, another member of the A.N.I.M. team.]
Let me preface this by saying that I donât think that the makers of Candela Obscura are morally evil, or that I think less of your moral worth if youâve played or enjoyed this game. Itâs just that, at best, the game has a really obnoxious and cowardly tone and at worst has a lot of shit in it that looks really bad if you think about it for more than 5 seconds.Â
If you think that tabletop RPGS are art (and we do), then they can be analyzed like art. They can have unfortunate implications or reflect unexamined reactionary politics. This post is going to be taking screenshots from both the quick start guide and the full rulebook to make this point - while the text between the two is broadly similar, the quickstart guide is more overtly finger-wagging and hostile, saying the quiet part out loud.Â
The thing about Candela Obscura is that it takes place in a fantasy 19th-century England/USA, but it really wants to pretend that it doesnât. It wants the aesthetics of this setting and almost every trope that comes baked into it, but also wants to act like itâs above all that. It wants to have its cake and denounce it too. Itâs so pants-shittingly terrified that it or the players might say or do something âproblematicâ that it loops back around to being incredibly offensive.Â
To take just a few examples, the text is absolutely riddled with this kind of sentiment:
(What the fuck do they think an âexplorerâ is? Also, I think I have some bad news about 19th century doctors.)
Okay. Look. A lot of this is gesturing at principles that are unobjectionable or even useful to keep in mind when writing a setting like this. Yes, itâs ideal to have a non-Eurocentric historical understanding of technology and culture. Yes, refugees are human beings with their own valuable skills and perspectives. Yes, if you uncritically write an expy of Victorian England or late 19th-century New England, youâre gonna end up with a bunch of insane stereotypes (especially Orientalist ones) that you probably shouldnât just blithely put to the page without thinking about them. And yes, bigotry is a bad thing, obviously.
The problem is twofold: The first is that Candela Obscura feels the need to take a patronizing tone towards its own readers, as though they were incapable of engaging critically with the setting or subject matter on their own terms. The second is that despite all of this finger-wagging, Candela Obscura absolutely does not present a setting with any critical thinking put into its basic construction. (We checked, by the way. None of what we are about to present is supposed to be in-universe propaganda. If it is intended to be, this is not made clear at all in the text itself.)
The game takes place primarily in the city of Newfaire and its surrounding environs - the Fairelands. The Fairelands are prosperous and idyllic, and all but outright stated to be âthe good guys.â All of the âproblematicâ aspects of the societies the game is emulating are either scrubbed without thinking about the implications of scrubbing them..Â
(Donât worry guys thereâs no colonialism here, this version of fantastical New York was settled on a Terra Nullius where nobody lived, right over the ruins of an ancient society with a mix of Egyptian and Mesoamerican coding who practiced strange and corruptive magicks. Remember, reader, this game wants you to go out of your way to avoid reproducing any harmful stereotypes from the era.)
..or are present without any historical or structural reasons for them to be present:
(Donât worry guys, sex work is lawful, profitable, safe, and socially acceptable! Oh yeah all the sex work happens in shady, spooky-looking crime districts that cops monitor, filled with drug-filled dens of illegal vice, though. By the way, there is no brothel listed in this districtâs points of interests, or any further discussion of what sex work in Newfaire is actually like.)
There are so many examples of this that we could spill a novelâs worth of digital ink talking about it. (We just donât have time to get into, for instance, their adventure inspired by the âradium girlsâ where the primary victim of the dangerous substance in question is a customer who is already dead when the adventure starts and not the workers who make the products.) Honestly though, this paragraph says more than we could in a hundred pages:
Here we find out that we are reading a TTRPG setting that has the same understanding of bigotry as the movie Crash. No institutionalized bigotry, just âbad actors who hold terrible beliefs.â Just bad apples, with no personal history or cultural roots to their ideas, who presumably sprung out of the ground one day declaring themselves Republicans. Not only do these bad actors come from nowhere, they donât go anywhere either. They donât belong to any social movements, they donât get organized, they donât push for regressive political changes, and if they ever do, they certainly never succeed at those goals.Â
You see, despite these bad apples, the soil they grew from is pure. And you know something else about the idyllic, almost utopian Fairelands? Theyâre under assault.
Thatâs right! Hale (which the Fairelands is a part of) is under assault from the dastardly, corruptive forces of⌠uh, âOtherwhere.â (Yeah, do they all have hooked noses and recessed chins too?) Thatâs where all of the dirty foreigners invaders come from, who want to take away the prosperity of the Fairelands!
Oh, or maybe their whole culture were all coerced into doing it by an evil rock or something, which is definitely less xenophobic. But whatever, who cares what the reasons were. The Fairelands are under attack, and as the dominant power in the world, they need to defend themselves. Against the âcolonists.â With nukes chain lightning.
(That last sentence continues on âtens of thousands..â You get the picture.) So, whew, glad thatâs over! Otherwhere is still really dangerous, though. They might even be developing weapons of mass destruction of their own:
You know, if Candela Obscura were a person, I have a feeling I wouldnât want to hear its thoughts on Israel.Â
You might be asking, where do the PCs fit in this? Well. The PCs are members of the in-universe organization Candela Obscura. They are an enormously powerful and widespread secret society of sometimes-cops sometimes-vigilantes who fight against the corruptive forces of magick to keep humanity safe. They keep dark secrets, âperform questionable acts in the name of the common good,â and operate entirely without oversight or responsibilities to anyone other than this organization. We are assured that this organization has the best interests of the regions they operate in and of all humanity in mind.
Itâs actually fine - cool, even! - that PCs are secret police/CIA agents who engage in morally dubious acts for the purported common good. Newfaireâs society being deeply flawed is fine! The Fairelands as a political entity furthering an explicit narrative of being persecuted is fine! The problem is not that any of these elements exist, the problem is that Candela Obscura is utterly allergic to examining them. The text seemingly does not understand the setting it has presented at all.
The game wants to be anti-conservative, but the only kind of story it can produce is one of heroes who are ultimately aligned with the dominant power of the world, preserving the good and righteous status quo by fighting against corruptive, foreign, magical forces. âGay transgender women of all races can be holy knights secret police fighting to protect the good kingdom democracy from the endless hordes of the evil dark race that has threatened its borders for a thousand in recent years!â
On a first read a while back, I said Candela Obscuraâs gameplay mechanics make it sound like a game more meant to create âactual-playâ shows than to be actually played. On examining the text more closely, thatâs more true than I even realized at the time. The reason the game has all these bits about how not to be problematic - all of these instructions for avoiding engaging with the more controversial aspects of the setting - is because itâs not really intended as a game to be played in a private environment. Itâs intended as brand guidelines for putting on an actual play show. If you google Candela Obscura, the IMBD page for the actual play series appears before the store page for the rulebook.
It seems like the game really doesnât want you to play a character outside of your own culture. And sure, as stated earlier, it is a good idea not to have a mysticized idea of other cultures, or represent them in a callous way. For a private game played at home, though, this is not really something you need to dedicate pages accounting for. Nobody outside the table has to hear a poorly-done accent or contend with a less-than-perfectly researched religious portrayal - and if there is a pervasive issue with someone being bigoted or leaning on stereotypes at the table, frankly, that is a problem that is outside the scope of a TTRPG to address.
However, if you are an actor on a show, portraying people from different cultures comes with a whole different set of (much more justified) baggage. Candela Obscuraâs approach to player attitudes on the setting makes so much more sense as brand guidelines than it does as a codification of how to play a game. "Donât have actors appear in insensitive costumes on camera." "Donât have actors say foreign words they donât know how to pronounce on camera." "Remember not to have your white actor do a Romani 'fortune-telling' scene on camera." "Donât show anything that could negatively affect the perception of the brand."
Weâd like to end this by contrasting this attitude with Coyote & Crow, a game made by indigenous Americans, and one that is also actually meant to be played. Coyote & Crow invites all players to (respectfully, in good faith) create characters from indigenous cultures. The creators have challenged those who avoid their game on the basis that âthey donât want to be disrespectful by playing itâ because that would involve portraying a Native character - in the end, who is that helping? That attitude results in potential players who remain just as ignorant of Native American cultures and - more importantly - donât buy or support their game!
I have encountered this firsthand. I'm a massive history nerd, especially about pirates (among other things, but pirates are relevant to the story). I was hanging out in a system agnostic TTRPG server and Pirate Borg was mentioned so I talked about my idea for a historical fantasy campaign set around historical pirates and the Nassau Pirate's Republic. Started explaining some basic ideas, how it's basically about trying to keep this rogue nation together amid external hostility from England, France, and Spain and internal strife caused by a lack of trust and Edward Teach's descent into madness. Naturally this brings up Blackbeard and his crew, which contained several escaped slaves, and that the Queen Anne's revenge was a former slave ship. I immediately get the *several people are typing...* and am welcomed with several messages that Pirate Borg takes place in an alternate history where slavery never happened. I end up trying to have to defend myself, explaining the *true facts* that most pirates were escaped slaves, both native and black, and that a lot of pirate ships were captured slave ships because they had thicker hulls and could take more punishment in a fight. They were like "But you can have diverse crews and sturdy ships without bringing slavery into it." My response was "you *could*, but then you lose valuable historical context and systemic evils to fight against, I like running stories about making the world a better place." Some people understood that, but many of them *literally* shot back "But thinking about slavery makes me uncomfortable, so maybe just write it out of the setting?" That's when I shut up but I was just screaming in my head "YES, THE POINT IS IT SHOULD MAKE YOU FEEL UNCOMFORTABLE AND WANT TO CORRECT IT"
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[Freeze frame in the middle of an amazingly wild chase scene of some poor soggy bastard getting chased by an enraged crowd]
"Yep, that's me. You're probably wondering what's going on, and how I got into this situation in the first place."
[The stop unfreezes for a few seconds as this terrified target takes a few more desperate running steps, pausing again just as someone is about to grab his ankle]
"Well, the truth is, I still actually don't know what this was about. But I do know how I got here: I can never resist an angry mob. Now watch me get this fucker."
[the seizing hand grabs the runner by the ankle, he falls down and proceeds to get unceremoniously beaten to death. The protagonist brushes the dust off their clothes and the rest of the movie continues normally. The killing at the beginning scene is never mentioned again.]
I was at a courthouse once, and saw an indigenous australian woman in a dressing gown very carefully and gingerly making her way down the steps outside the courthouse, surrounded by family who were helping her down the stairs. We asked if she was OK, because she looked awful. She looked like she should have been wrapped up in bed with blankets and hot soup, not on the steps of a courthouse.
One of her family told us that she had given birth yesterday evening, but that Child Protection services had taken her baby away with no warning, claiming that she wasnt prepared to look after him. What had happened, is that she'd literally only just given birth -- hadn't even passed the afterbirth yet, is holding her blood-coated, crying, newborn baby to her chest -- and a nurse asked what her feeding plan was. She was tired from the birth and distracted by the brand new baby in her arms and thrown off by the timing of the question, but still, she managed to answer, and said she planned to breastfeed him whenever he was hungry.
Well apparently that wasn't enough of a plan for the hospital staff, who reported her and claimed that she was unprepared to look after the child, and claimed that had no social supports, and that the baby was at risk if left with her. All because a brand new mother, 30 seconds after giving birth, didn't have a PowerPoint presentation ready to go that cited the timing cycle she would feed her kid on, and instead simply said that she would feed him when he was hungry.
Child Protection services showed up, took her kid, and she was told to show up to court the next day to contest custody if she wanted her baby back.
So a woman who had given birth less than 24 hours prior was forced to rally her family and show up to court to prove that she a) had a feeding plan for the child, and b) had enough social supports to justify reclaiming her baby.
It was one of the most appalling things I'd ever seen. I don't even know if she won her case. They didn't know at the time we saw them, and after that brief interaction on the stairs, i never saw them again. I sincerely hope she got her newborn baby back.
That was about 5 years ago. And the exact same kind of thing is still happening today.
News broke today from a South Australian whistle-blower of the appalling treatment new mothers frequently receive, including hospital staff taking the baby away from the mother "for medical tests," only for the mother to then be told, with absolutely no prior warning, that the baby was not going to be returned to her.
I don't want to get all "hur hur that's not realistic" to amateur writers, but I want to make sure that everyone knows this: in a medieval or medieval-ish setting, someone who's seen an archer before would definitely be able to tell whether someone's an archer just by looking at them.
Archeologists can't tell for sure whether someone was assigned male or female when alive from bone structure, but they can tell whether someone was an archer. Longbow archer, anyway. The way their arms and shoulders were strongly muscled in a very asymmetrical way is pretty much unmistakable, and they were muscled enough that it's visible in their bones. If someone's seen what archers look like, they can tell whether a stranger they've never seen before can shoot a bow or not.
Finding an unarmed and unconscious, soft-bodied and narrow-shouldered stranger in the woods, the first clue that this mf is not a ranged nor melee fighter is not by whether his fingers are calloused in the right places for a bowstring. A medieval bowman was built like a brick shithouse.
RPG where it's very easy to overcome all of the bosses nonviolently through correct dialogue choices, but actually doing so locks you into the bad ending; in order to get the good ending, you need to do a bunch of obtuse side quests in order to goad them into fighting you.
#honestly this sounds fun #gimme the options #i wanna know what my choices are #how ambivalent can i be? #but also it's so much funnier that this concept makes violence the correct answer (via @cuzosu-blog)
Yeah, you could definitely play a scenario where violence is the morally correct answer for laughs, but you don't have to.
If you wanted to play it straight, one might imagine a game about fighting a fascist state where all of the bosses are The One Good Nazi types with very sympathetic, human reasons for collaborating with the regime â there's the Sad Dad who's only committing mass murder because they're holding his kid hostage, the idealist who genuinely believes they can reform the system from the inside, the moral coward who rationalises their atrocities as harm reduction because if they quit, whoever replaced them would be even worse, etc. â and all of the talky nonviolent options for dealing with them involve compromising the player character's principles.
The final boss is naturally a totally unsympathetic Hitler 2.0 type, but before you can fight him he hits you with the old Mustapha Mond monologue, and if you've let even one of his buddies off the hook, he turns the tables on the conversation-fu trope and persuades the player character to stand down.
The achievement for getting the good ending is, of course, titled "The Only Good Nazi Is A Dead Nazi".
friend of mine recommended a video essay that's like 5 hours long about why it's currently a whole Thing for fascists to claim they only eat meat and demonize vegetables etc etc, and it's genuinely quite well researched in many places and contains some fascinating history and has made me feel very weird about my status as an adult who enjoys drinking milk. but I've not finished it and I genuinely don't know if I will because at one point the ol' "you can't say you care about animals and also eat animals" chestnut got dropped by the white vegan essayist and it put such a bad taste in my mouth that I had to leave instantly
like idk man it just feels genuinely parodic to dedicate hours to analyzing how foodways have frequently been used as white supremacist propaganda and then casually toss out an argument that pretty invariably demonizes indigenous hunting practices with 0 regard for traditional knowledge and land stewardship guiding those practices
Every time I hear a white vegan say that I want to throw the rubble of the Klamath Dams at them.
The largest dam removal in U.S. history. So successful that the salmon that havenât run freely in the river for literally over a century came back the next year. Not steady progress over a decade as expected, the very next salmon run they came home. No one alive saw salmon in that river outside the hatcheries kept by nativeâs tribes and the Department of Fish And Wildlife scientists desperately trying to save them. One of the activists who helped bring the suit spoke of their dying grandmother making them promise to bring the fish home, and they didnât know how that was possible, but they spent decades doing it.
The legal basis for successfully suing the power company who owned the dams was Indigenous treaty rights to eat the fish. Eating the fish was the one thing in a century that succeeded in being a clear and legally binding right that superseded the desires of white capital and industry. I have been going to the public interest environmental law conference off and on for 20 years where a lot of organizing for Undam The Klamath happened. Iâve heard updates about every legal tact they tried as they happened, and they tried everything.
There are healthy, thriving salmon, trout, and lamprey in a rewilding and recovering Klamath River right now as a direct result of Indigenous people eating them. Of their legally binding right to eat them. They sure as fuck care more about those fish than any white vegan ever could. They are salmon people that the Creator sent Salmon to feed, while charging the People with protecting and stewarding them. Itâs not possible to learn about salmon and trout in the Pacific Northwest without learning this, and itâs unambiguously racist to dismiss this symbiotic relationship.
The white vegans are trying to get all hunting and fishing banned in Oregon, and thatâs quite possibly the single most catastrophic thing that could be done to the animals here because we killed off all the major predators of creatures like deer and without anything hunting them their numbers will explode, eat all the vegetation, destroy the ecosystem, and then die along with everything else in that failing ecosystem. Controlled hunting of deer is vitally necessary for the deer to survive. This is something Native people know, but patronizing racist savior-complex white people refuse to listen to.
I have a whole collection of Oregonâs Public Broadcastingâs documentaries about Klamath River or the larger story of fish and people in the region. If you watch nothing else, watch Klamath Dams Are Coming Out, First Salmon Ceremony, After The Dams, and First Decent (Native made). It could not be clearer that the salmon are being protected and nourished by the people who eat them, and that stewardship is a massive part of their creation myths. But it contradicts political vegan dogma so they donât listen.
#also do you have any idea how much conservation is funded by people who want to eat those animals#at least in the us anytime someone buys ammo or hunting equipment or hunting licenses that money goes directly to state wildlife agencies
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nasa is using a 3D world graphic for the solar eclipse thingy today where germany is still devided in east and west adjfglkafdhgadfg. buddies, it's been almost 40 years.
So I showed this to a physicist and they were like "Oh! Yes! It's a figure from Fred Espenak's very old paper where he did a bunch of eclipse graphics! I've been looking at these my entire internet life, basically, for every solar eclipse! They called him Mr. Eclipse. He just passed away recently đĽş"
Anyway apparently Mr. Eclipse made 5000 years' worth of solar eclipse graphics, which you can find the simpler versions of here
So now instead of laughing at NASA for their outdated graphics I'm emotional about Mr. Eclipse and his hard work
ok so like âthe secret life of xâ movies tend to not strongly explore the actual reasons why, exactly, their life has to be secret⌠they donât really focus on it within the narrative. They do usually have some small justification for why animals or video games or toys or whatever have never just revealed themselves:
Thereâs no stated reason. They just pretend to not be alive. We usually can suspend our suspension of disbelief here because when itâs something like a video game or an emoji because any odd occurrences is perceived as a glitch or something similar but the actual reason why they arenât too hung up on this kinda shitty lot in life isnât said
They get something out of their current relationship with humans (like in toy story)
They have some specific reason to hide that theyâre alive, like they die if theyâre seen (like in the christmas toy)
They perceive themselves as sentient, talking creatures, but humans canât understand them. They just see a squeaking mouse or an inanimate hot dog or whatever.Â
and the last one is what most animal movies do, and itâs like, not devoid of weird implications but you can see where it mostly works.
but barnyard is the outlier here: it goes with tier one: the animals can talk and walk on two legs but just pretend that they canât for unstated reasons.Â
in the history of the barnyard world non human animals, at some point, decided to just pretend to be unable to speak. a âcowâ or a âcoyoteâ or a âhenâ do not exist as we know it in the barnyard universe. the baa of the sheep is false; the ewe doesnât understand it either. they only made up that noise to hide the fact that they speak human languages. a dog barking and running on all fours is a facade. animals naturally walk on their hind legs and made up whole postures just to appear non sentient.
and for what? what do they gain from this? they have no rights and no voice by their own choice. at one point a donkey claims the farmer is a good person because heâs vegan and a pig mentions bacon - this is not a fantasy universe devoid of death and misery and meat. do animals, in hushed whispers, remind their children not to sob in their real voice as theyâre taken away? do the dogs not beg for kindness when theyâre tied up and hit? do cows and chickens not cry for their life in the slaughterhouses? does a rat not scream a human scream when the trap misses their neck and only breaks their spine? Why? what is the point? They loose so much and have everything to gain.
anyways does everyone remember this really awful cat. it only appears in one scene but i can just sense the porn of it that would pop up if i googled itâs name
Actually the TV series Back at the Barnyard interestingly implies it may be a sort of religious tradition for animals to pretend to be non-sapient around humans, possibly a religion created by humans themselves, which eventually just became a cultural tradition in general once it became clear humanity no longer expected animals to talk and walk upright anymore.
With Otis briefly being indoctrinated into a Buddhist cult of cows who revere a âSun Cowâ, which is revealed to be a cow with qualifications to become Kobe beef. As part of their traditions, the designated âSun Cowâ is heavily pampered, before being slaughtered and served for a Japanese restaurant. This is treated as a great honor amongst them.
This nearly happens to Otis before he is rescued, though the cow cult lets him go without much fuss. Presumably they continue sacrificing their own to become high quality Japanese meals afterwards, but respect Otisâ decision not to go through with it.
Very interestingly, farm animals are not only aware humans eat them, but also seem to support it to varying degrees, or otherwise are surprisingly neutral. Even as Otis resists the idea of being eaten, heâs not exactly lifting a hoof to stop the practice in general. Itâs just that ingrained into their society as a fact of life, in spite of the morbidity of it. Otis and his friends are seemingly the only ones who donât want to be eaten, and are treated as being âimmatureâ for not wanting to go through with this sort of cultural obligation to be consumed, which relates overall to the themes of the movie, Otis not willing to accept the responsibilities his father and other animals in the Barnyard expect from him.
Being eaten appears to be a warped right of passage for animals in the Barnyard universe after a certain point and in other barnyards, which is a very dark-yet-fascinatingly realistic approach to a secretive 'talking animal societyâ that coexists with humans, but that doesnât mean they arenât aware that this is fatal, though many adopt an eerily blasĂŠ attitude towards their own mortality, or otherwise express only mild concern, with Otis usually seeming the only exception at times, hence why other animals outside of the main Barnyard cast, as well as the older animals within it, regard Otis and his associates as being 'spoiledâ for their lack of obligation to allowing themselves to be killed and eaten.
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