Hi Lena! I don't think this has been answered before, but does thoret have any effect on Elementals?
Hi @medusatree! Yes, thoret does weaken and affect Elementals! It affects anyone who has "taika" as described in the Glossary, essentially!

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Hi Lena! I don't think this has been answered before, but does thoret have any effect on Elementals?
Hi @medusatree! Yes, thoret does weaken and affect Elementals! It affects anyone who has "taika" as described in the Glossary, essentially!

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Would Trouble’s eyesight be effected by Thoret at all?
It would, but only if it was directly touching him (i.e. he had thoret shackles on or something to that effect)! He'd still have really good natural eyesight, though: it just wouldn't be as amazing as it tends to be when he chooses to concentrate!
So thoret doesn't affect endarkened, right?
No, it doesn’t!
could you explain more of how thoret works? i'm fascinated by it, WAY TO GO for freaking me out when i have no fear of caves!
Yay, thank you anon--I’m glad that section had its intended effect! >:)
Think of thoret as Blest’s kryptonite for Diminished: it works pretty much the same way (from what I remember of kryptonite). It doesn’t need to be directly touching a Diminished person to have an effect on them, but touching it directly does often burn the victim. But just being in proximity with it can sap a Diminished person’s powers, weaken them, or make them ill (like radioactive material). Notably, it has this effect on all Diminished Gifts, including magic, arma, and grace. Elves don’t lose their long lifespans necessarily, but their thinking and speech becomes garbled and confused, they became slow and clumsy, and at times they even fall into a coma.
These effects aren’t permanent, and when you take thoret away, the Diminished person will always recover their powers slowly--like a limb that’s gone asleep slowly waking up again, little by little.Â
But you’d think this would absolutely nerf Diminished people: why wouldn’t the Autarchy make bullets out of it? Or swords? But thoret is exceedingly rare (well... until you... you know...) and prior to this, the only known objects made of it were the Seven Manacles of the God-king Shabarat (no one really calls them this anymore, it’s like a fairytale name), all of which are in possession of the Autarchy. (Also, for thoret to have its intended effect in the form of a manacle, say, it must be forged from PURE thoret--nothing else, or else that Mage or Ket or Elf is going to find a way out of it.)Â
There are RUMORS that the Autarch wears a secret amulet of thoret around her neck, but these are unconfirmed and unverified stories, likely made up to explain her immunity against Diminished assassins and to deter certain rebels from making an attempt. If it were true, an amulet would protect her from, say, being enchanted to walk off a balcony, or spied on, but the spells and wards of her Court Mages could also prevent this.Â
Finally, it should be noted that thoret doesn’t have any known effect on Norms whatsoever! There are a few things in the world like this, like the plant witch’s bane, which is poisonous to Mages but no one else, but it only serves to reinforce the division between the Norms and the Diminished.Â
I hope that all makes sense! Thanks for your question!
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Hebdo/PEN
The idea is that a convincing liberalism should be free of any taint of hypocrisy. The liberal is disingenuous if he is not at the same time rigidly anti-racist and rigidly anti-censorship. But the demand that liberalism be free of any taint of hypocrisy can only logically be made by those who are themselves fanatically strict liberals. This is of course impossible: the very idea of such a liberal is an oxymoron. And that's what disconcerts liberalism's critics.
If liberals are all about tack and trim -- as Holbo says, 'a healthy liberal is one who dialectically tacks and trims, in pursuit of liberty, btween extremes of illiberal arch-rationalism and anti-rationalism' -- their opponents' concern is to deny them their recourse to talk of absolutes and ideals. But isn't it the whole point of the liberal's project to disembarrass us of the divine validation we formerly claimed for our most cherished beliefs?
Can the liberal ground his talk of ideals at all? I think he can: he can do so as effectively as any of his antagonists. And how? This he doesn't state explicitly, but shows in what he does. He grounds it in an assertion of the nothingness of the divine. This is an assertion he is never done making -- but so what if he must repeat it to make it secure? The liberal is nothing without his extinct God, the God he invokes whenever he denies God, and proclaims the purposelessness of things. It has as much of a presence in his life as the vengeful deity has in the life of the evangelical.
Perhaps the critics of Charlie's blasphemy betray a sort of nostalgia for the divine, a nostalgia liberalism has made futile. Then again, that's just the sort of thing a liberal would say.
Car les âges d'or n'ont qu'un temps et au milieu des années soixante-dix, deux cinéastes anticipent le virage reaganien que se préparent à prendre l'Amérique et son cinéma dans les années quatre-vingt. Steven Spielberg et surtout George Lucas qui, après un film audacieux à la limite de l'expérimentalisme (THX 1138, 1971) et avant La Guerre des étoiles (Star Wars 1977), pressent ce que Jean Baudrillard, à propos du "succès de Reagan", qualifiait dans Amérique " : "d'entreprise de résurrection en trompe l’œil de la scène primitive américaine". "Cela devenait déprimant d'aller au cinéma", déclare George Lucas à propos d'American Graffiti (1973). "J'ai décidé qu'il était temps de faire un film qui fasse du bien aux gens, pour qu'ils se sentent mieux en sortant du cinéma. Je me suis rendu compte que la jeune génération était perdue. Les gens ne faisaient qu'une seule chose, s'asseoir dans un coin et se défoncer. Je voulais retrouver le sens de ce qu'était l'adolescence pour une certaine générations d'Américains, disons de 1945 à 1962." En arrêtant l'action d'American Graffiti quelques mois à peine avant le début de la guerre du Vietnam et l'assassinat de Kennedy, George Lucas signe un film rétro sur l'Amérique des années cinquante, ses courses de voitures, ses clones de James Dean et ses valeurs refuges, comme si l'heure était venue de biffer la contre-culture de la décennie écoulée et de procéder enfin, aussi bien cinématographiquement que politiquement à la résurrection anachronique d'un monde parfait.
Jean-Baptiste Thoret, Le cinéma américain des années 70, p.44