Lets Hear It For Transgenderism And Faggotry. Can I Get A Round Of Applause For Transgenderism And Faggotry

Alia Atreides written in the style of Disco Elysium with the skills being represented by her ancestors in Other Memory, hit post

Y'all ever get So Angry that the only way you know how to cope is to recreate "Saturn Devouring His Son," by Francisco Goya? No? Just me?

Ok so for everyone here saying dune is a white savior story, i'm gonna need you to understand that paul doesn't save anyone here. He just takes the fremen from a forced opression into a willing one, by shackling them with his own made up religion.

He's still a tragic figure, because he doesn't really want this but he knows that this is the only path in which he still has some amount of control on the bloody space crusade led by his worshippers. Every other path has the same result but worse. So he tries to fight that "terrible purpose" every step of the way until he reaches the breaking point, his son (sir Not-appearing-in-this-film) dies and he just goes "fuck it, this is gonna happen anyways, might as well just commit to it" and ends up being responsible for the deaths of like 60 billion ppl. But he isnt a white savior here.

Spoilers for dune messiah :

In the sequel, its made pretty obvious that the space jihad sucked ass for everyone. No one in the galaxy likes the imperium, the fremen who came back are maimed, old cynical veterans who fucking hate paul for having sent them on a meaningless crusade across the universe, and paul himself has grown from a young idealist forced to bear the burden of prescience into a bitter, cynical and jaded old man who cant be bothered to give two shits about anything but his rapidly deteriorating interpersonal relationships with the ppl around him. Thats the tragedy part. Thats the part where you look at the full picture and you're like "well thats sad, he was such a nice little kid at first."

As for the "white savior", if the whole "everything has gone to shit" wasnt enough to convince you thats not the case, paul literally has a scene whe he just looks at the reader and says "i am literally worse than h*tler" and stilgar unironically responds "well yeah i mean his k/d ratio was kinda shit tbh my lord"

correct me if i’m wrong cos i don’t watch dune.. but i’ve seen people call paul a tragic character. except isn’t he a whole white coloniser tricking indigenous poc into believing he’s a prophet to serve his own interests? that’s inherently evil that cannot be a tragic character imo

so yes that is correct that is what happens. the tragedy is that he is a sixteen year old boy who gets a vision of this happening and he is TERRIFIED and absolutely does not want this to happen at all. He does not want the holy war he does not want to be the chosen one he initially very much wants to fight alongside the fremen as equals trying to liberate themselves from their current colonizer without becoming the messiah because they have common political cause.

And then the entire second half of the first book (and the second movie) are about the concessions he makes to himself bit by bit by bit (well it’s the only way to save his mom and sister. well it’s the only way to prevent nuclear war. well he does want his revenge. well maybe he IS special.) Until by the end he has lost 100% of his humanity, fully wants to be the messiah and is willing to manipulate people into thinking so, and has declared himself duke of arrakis in his father’s name and made a play for the imperial throne.

you’re right that it’s evil. the book and these movies agree with you. the tragedy is watching a child who desperately wanted to avoid this slowly completely lose himself to it anyways. i don’t think “tragic” and “evil” are inherently mutually exclusive.

The Professor Case - Three Sad Faces and Three Dead Men

There is a man in your life you love, admire and respect more than anything. Your greatest desire is to follow in his footsteps, and to eventually make him proud. However, before that can happen, he tragically dies under obscure circumstances. You’d do anything to know what happened; to give him some sort of justice. But the more you know about the truth, the more you realise that maybe he wasn’t as noble as he always appeared. Before his death, he left you a letter that you didn’t receive.

Are you Barok van Zieks, Asougi Kazuma or Gina Lestrade?

The heart of the drama of the Professor case is made up by this series of cascading tragedies, where each is both a repetition of and directly caused by its predecessor. The cycles of betrayal, disillusionment and grief play out in delayed motion across time, the same story with different characters wound to different speeds so they all come crashing to their endpoint at once. The spiral of repetitive continuation joins the three tales both into one continuous history, and also the same tale interposed three times upon itself. Kazuma’s story cannot begin without Barok’s coming to its first temporary end, just as Gina’s cannot without Kazuma’s catalysis. Yet as we line up Gina, Kazuma and Barok, we see the same face, displaced across time – tearful and shocked, furious and vengeful, bitter and resigned. In the same way, we see Klint layered over Genshin layered over Gregson: deeply loved, sharply fallen, and dead.

This triangulation, more than anything else, emphasises the game’s thematic throughline that the past cannot be put to rest without the truth. Klint’s lies become Genshin’s lies become Gregson’s lies, just as Barok creates Kazuma creates Gina. Past, present and future collapse into a grief that endlessly reproduces itself. The impossibility of moving forwards when the threads of bewilderment and doubt remain manifests itself in the literal reiteration of the event, again and again. Time loops between the courtroom and the graveyard. The years pass. The years do not pass.

In this temporal overlap, Gina articulates the grief that wells beneath Barok’s bitterness and Kazuma’s sharpness, while Kazuma’s single-minded vengeance is a warning as to how easily that grief might be shaped into a sword, and Barok shows by example what lies at the end of that path: ten years later still unhappy, still chained. As they come together in the courtroom, Gina in the witness stand, Barok in the dock and Kazuma at the prosecution’s bench, it is a symbolic trial of not the self, but the role. To leave one of them still trapped in the morass is somehow to leave all of them – their shackles, after all, are the same. The question that passes between them, from corner to corner is this: is it a crime, to have grieved so deeply that your grief became a weapon? The outcome of the trial doesn’t quite answer this question. It asks another instead: is grief grounds for justice? And crucially: who was holding the weapon that grief made of you?

However, of this unhappy triangle, Barok is the only one to have actually completed the climactic, mistaken, mistrial of justice. He is the only one to have received closure at the cost of integrity, and to have lived with the aftermath. He is the only one to not only have believed he knew the truth, but also that he had delivered justice. While Kazuma stands on the cusp, and Gina is literally at ground zero, Barok has both the advantage and misfortune of hindsight. Hindsight – and reflection. He hasn’t escaped his story. But he has walked out the other way, into what he believes is the long epilogue, when it’s in fact just the sagging middle. It’s what allows him sharp, pointed insight into the other two: he recognises himself in their faces.

Van Zieks: I say nothing of whether or not I'm the Reaper. That's the task of this court to decide. But there is one thing I can say unequivocally: That girl is no detective.

Gina: Eh? Wha...? Nah, that's right, I ain't. I'm an inspector!

Van Zieks: Repeating rumours heard around the Yard... Reading entries from a notebook of unconfirmed origin... That's not testimony. It's practically a script. No doubt the rest of this trial will go exactly as you've clearly planned.

Kazuma: .........

Van Zieks: Your hatred of me is understandable. In your mind, I'm sure I am the Reaper...who sent your father to the gallows all those years ago.

Kazuma: ...!

Van Zieks: But you're in danger of becoming a far more sinister Reaper yourself... ...by attempting to have me condemned with this feeble excuse for testimony.

The ease with which Barok identifies the truth is striking. This is a scripted trial. Gina’s grief is causing her professional integrity to fall apart, a fact that Kazuma is using to indict Barok. Kazuma’s anger is causing his professional integrity to fall apart as he treats the courtroom like his personal arena for revenge. Kazuma’s anger, Barok demonstrates, is something he understands, deeply. Gina’s grief is something to this day he mirrors. Yet, Barok harshly points out, emotion is no excuse for a miscarriage of justice. It’s a show of both deep understanding and scathing judgement. The cool-eyed detachment with which he evaluates the situation is admirable. It is also something Barok from ten years ago would not have been able to do.

However, there is a fatal flaw in all this, which is that it’s much easier to recognise when an accusation is false from one end than the other. As ever, Barok stops just short of applying the same tier of insight into the events of ten years past, looking just to the left of the gaping wound that the trial left. Even as more and more irregularities come to light, it is only at the final push that he truly faces to the idea that this one trial could have been a massive pile of lies. This is an incredible blind spot, coming from the man who espouses he ‘trusts no one’, who has the both the suspicion and the deductive ability to find out Gregson’s position as the Reaper. It is an incredible blind spot, coming from the man who had the clarity to suspect, even for a moment, his own, dear, brother.

It's here that we see Barok’s true weakness – and the damning piece of evidence of how deeply he is still chained to that moment, ten years ago. Can a prosecutor of Barok’s calibre truly never have suspected, if not at the time, then ten years later? Even as Sithe’s lies came to light, even as Gregson’s involvement in the Reaper became apparent? But as Barok rejected Klint’s guilt, so he rejects that the events were not as he believed them to be: on the basis of evidence, to be sure, but evidence given disproportionate weight for how much he did not want it to be true. Even as Kazuma desperately links every piece of evidence, no matter how unfitting, into his certain conclusion that Barok is Gregson’s killer, so Barok takes what evidence he receives and slots them neatly into the narrative he most wants to believe: this man died so my brother cannot be guilty, the ring was found so Genshin must have committed the crime. He refuses to entertain alternative pathways, even as doubt creeps in. Even as things stop fitting. Until the very last moment, when he is forced with damning evidence to change his stance, he clings to his brother’s innocence. Within him grind the cogwork of his truth-seeking logic machine mind against the bloodied flesh of his heart. After ten years, that flesh is wearing thin.

It's this that brings him to the exact same level as Kazuma and Gina, who fight for Genshin and Gregson’s innocence respectively. However, it cannot all be true at once. All three cannot be innocent together: something has to give. As each of them beseech Ryuunosuke for comfort, they find instead the truth.  

But let’s step back a little. The similarity between Gina, Kazuma and Barok make the differences in how they are treated startling. Barok, on displaying a lapse in professional integrity following the worst events of his life, receives full prosecutorial authority from Stronghart to go head-to-head in the trial of his brother’s death. Meanwhile, Stronghart allows Kazuma to slide in sideways, using Gregson as a cudgel to pin Barok for Genshin’s death. But Gina, when she breaks down in court and cries out that Gregson is innocent, is harshly reprimanded and told to hand in her badge. Why the difference?

The answer is obvious: a noble young prosecutor is a much more useful tool to Stronghart than a barely literate pickpocket from the streets of East London. The debt Barok owed to Stronghart protected Stronghart from suspicion for nearly ten years, while enabling Stronghart to centre an entire conspiracy around Barok in the blind spot that debt created. Similarly, Kazuma is a useful tool to wipe out the Reaper conspiracy’s last members and exonerate Stronghart once and for all while being easily disposed of as a foreign exchange student. But what’s Gina got to give? What value does Gina have that Stronghart might find useful? The answer is: nothing. Gina has nothing, and so it’s her that Stronghart lets loose on his distaste, his condescending dismissal. It’s her that he belittles and talks over – that his true feelings for those he has used comes out.

Barok is the first and most perfect paradigm of the narrative that the other two emulate. Immediately after his brother’s death, he seeks out the culprit (so he thinks) and prosecutes him successfully in court for the crime which he seeks vengeance for. Kazuma is a little shakier: ten years after his father’s death, he seeks out the culprit (so he thinks) and prosecutes him on the basis of an unrelated crime while barely hiding that his real reason is his father’s death. It’s with Gina that the real tears in the fabric show: disoriented and grieving, she’s dragged into court and gives emotional testimony that implicates someone she’s not even 100% sure is guilty. She isn’t even the one doing the prosecuting. These are different stories, with the difference in perfection scaled primarily by how perfect a tool Stronghart sees in them. But they are also the same story, dressed better or dressed worse. And they reach the same ending.

When the dust finally begins to settle, we zoom into how each of them react to the momentous change in their understanding of their own lives. Standing before Klint’s portrait, Barok takes the painful step to acknowledge that his brother is truly ‘no more’, even as he wears his prosecutor’s badge with mixed feelings to the complex legacy left behind. Kazuma entrusts Karuma to Ryuunosuke with the promise to retake it after mastering the violence he suddenly realised he was capable of. But Gina, surrounded by her friends, takes back Gregson’s pocket watch and vows to uphold his legacy by becoming a great detective herself.

At first glance, this raises a lot of question marks. Has everyone forgotten that Gregson was involved in a double-digit number of murders? Well, to some extent, yes. However, from another perspective, while Barok has to grapple with the person he became in upholding a false legacy, while Kazuma has to grapple with the person he felt the potential of being in chasing a false vengeance, Gina had not yet taken the steps towards becoming an upholder of falsehoods herself, wittingly or unwittingly. It is with this uncomplicated sincerity that she can take on Gregson’s legacy, since it never yet had the chance to twist her into bitterness or hatred – as it did to Barok, and as it did to Kazuma. While she may have to grapple with Gregson, she does not have to grapple with herself. In the worst time of their lives, Barok had Stronghart, who plunged him into a ten-year long darkness and scapegoated him as the Reaper. Kazuma had no one, only memories, and anger enough almost to kill. But Gina had Ryuunosuke, and through him, the truth – for all.

Be wary of linguistics rant, Elden Ring ahead

Ok so I just made a different post about this but I need to elaborate: The Elden Ring messaging system is legitimately such an interesting microcosm about how language is used as a tool and shaped to suit the needs it's being used for. I could actually make an entire study about how this can be used to better understand the formation of pidgin languages in the same way that epidemiologists studied the Corrupted Blood Incident in World of Warcraft to better understand the mechanics of how disease affects human behavior. Video games as an academic lens into peoples' minds has always been a fascinating topic to me, and by the end of this, you'll see why.

First off, message.

So for those not indoctrinated into the series/game, Elden Ring is a big open world game made by From Software, which won game of the year 2022 among some other awards (if you've played it or know anything about it, just skip to the next header). Each player plays as a Tarnished and explores this massive environment called The Lands Between individually, but if another player is walking in the same area that you are, you can see their "ghost" moving through the world, and you can "invade" or "be summoned" into another player's iteration of the world in order to briefly interact with it before returning to your own iteration. This occupies a weird space in between singleplayer and multiplayer, with these heavily limited and kind of random methods of interaction between players, but that's not the most interesting way of communicating with your fellow Tarnished; that title goes to the messages system. You can write a message onto a small stone, and leave it on the ground, and then that little stone with the message on it will have a random chance to appear in any player's iteration of the world for them to read. This is a tradition which has been going in From Software's games long since before the inception of Elden Ring, although I'm mostly going to be focusing on the message system of that title, because documenting the history of the 13+ years running Soulsbourne franchise is way too much, even for a nerd like me. The point is that messages are a lot more likely to be seen than any other method of player-to-player interaction, and you can even leave little "gestures" to go with them, where the reader can see your character striking a pose while they read the message. What a neat little mechanic, which definitely doesn't have any hidden layers of depth, and certainly wouldn't spawn an entire emergent system of pseudolinguistics, right?

No message ahead, be wary of mimicry

Well, when I said that messages are written by other players, that was a lie. To make a message, you don't type it out with your keyboard, you select what you want to say, from a big list of preset phrases. It works that way for a lot of reasons, foremost of all as a profanity filter, but also to prevent too many spoilers and maintain atmosphere. The sets of phrases are incredibly limiting, famously requiring players to use weird fake old-english diction in order to express a simple thought (Strong foe ahead, be weary of death. Look carefully ahead, visions of item. Suffering, o suffering, why is it always bad luck? etc). This seems like a limitation which would put a serious damper on anyone trying to actually communicate their thoughts, but gamers are a persistent sort, and have a lot of trouble taking no for an answer. They also have way too much time on their hands, and like to solve puzzles, a terrifying combination of traits, and the perfect one to accidentally create a conlang. With the unexpectedly massive audience that this game picked up on launch, millions of people left messages desperately trying to get something across, and if the game's preset vocabulary didn't contain the phrases to express it, they would forge their own path. Any big fans of linguistic history can already tell the direction that this might be going, as we move on into the next chapter:

Teacher, Liar, Lovable Sort

When the game released, there was chaos. The Lands Between are fraught with hidden passages, deception, and blatant bullshit, and the first kind of players leaving messages tried to helpfully communicate what you could trust, and what you couldn't. This is what the message system was intended for after all, giving advice to your peers, and what many people still use it for today. The second kind of players tried to do the opposite, deliberately leading people to their doom, just because they could. The third, and most numerous sort, were simply awestruck at everything the game had to offer, and left a series of remarks on the beauty and humor of the world. The messages left by each group are pretty easy to differentiate to the trained eye, which is the main feature causing me to point out this division of players. Let's call these groups the teachers, the liars, and the lovable sorts. A teacher can be recognized if their messages suggest something within reason, and being backed up by the peer-review of nearby messages to the same effect. If three messages are all sitting on the ground next to eachother, each saying something along the lines of "seek up, look carefully ahead", then a local collage of teachers are trying to let you know about a secret path ahead leading you up towards a hidden objective. However, a single message next to a bloodstained cliff-edge stating "jumping required ahead" is almost certainly a liar, trying to deceive an unsuspecting player into making a dubious leap. Liars sometimes use slightly simpler grammar than teachers do, being less committed to getting their point across. Wait a minute, linguistic variance based on intent? No no, this is just a video game about fighting monsters, surely such an interesting emergent system wouldn't arise from something like that. Lastly, the lovable sorts have the most ranging grammar, spanning from a simple word such as "dog" (a word used colloquially to describe all creatures, from turtles to dragons), to complex sentences requiring the combination of many phrases. However, a lovable sort can be differentiated by the fact that they merely remark upon the world as it is, instead of trying to offer advice to other players, as a teacher or liar might. Some of their most iconic phrases are "Elden ring ahead", used to sarcastically denote a dead end where a player might have been expecting treasure, "you don't have the right, o, you don't have the right" which indicates a locked door, or the world-famous "try finger, but hole", a phrase which explains itself. The most incredible thing about the words of the lovable sort, is that they all require a little bit of thinking to understand their actual meaning, but once you get the hang of it, it becomes like a second language to you! Wait a minute, a second language?

Message? Wasn't expecting introspection

As time went on, the three main groups of message-writers still kept chugging along, creating new works of writing every day, but advancements in understanding of the game's inner workings allowed these messages to become more and more complex. Compound words started to be formed to represent concepts outside of the preset vocabulary, like "skeleton, house" for coffin, "dung, key" to describe the donkeys accompanying traveling merchants, and "edge, lord" being used to refer to the NPC Ensha, a man wearing flamboyant armor made out of bones who takes himself way too seriously. It's worth noting in this section that for a specific period of time, The Lands Between were overtaken by a horde of messages stating only the words "fort, night". Despite the crude and humorous nature of the entire thing, it was clear to see that the linguistic patterns of the Elden Ring community were evolving into their own beast, far beyond the usages that the developers had intended. Words had shed their original meaning, to instead take up contextual meanings based on how players used them, effectively becoming different words entirely. Depending on how you define this, it's either a microcosm of incredibly fast and severe linguistic drift, or the emergence of a new pidgin or conlang entirely. If you really stretch things, you could almost call the message system of Elden Ring an entirely new language in and of itself.

Well done, victory ahead!

I think that video games are an excellent way to observe human behavior under conditions which are controlled, accelerated, and completely recordable, and this is the closest that we've ever seen to an entire language growing completely from scratch. People are always the same, whether you want to call it instinct or just cyclical tendencies, but normally the formation of a new language can take incredible periods of time, hastened only by tragic events like diaspora or massive losses of cultural knowledge (research what's been happening to Gaelic as a spoken language for more info about this sort of thing, it's kind of depressing but is also important to learn about, and there's a lot of people on this site talking about it who can do the topic way more justice than I can). Even for other topics which either require great passage of time, or great tragedy in order to research (I.E. geology or epidemiology, respectively), there are a lot of simulations and predictive models which can tell us how these systems behave without actually experiencing them. Linguistics has never had this sort of thing...until now, perhaps. Obviously there won't be any academic breakthroughs based on a bunch of people online all writing "rump ahead", but it's an incredibly interesting thing to see happening for a field which is so hard to actively advance, and it could lead to actual scientific methods of generating new languages via human interaction for research purposes. Of course, there's always the sizable chance that this goes nowhere and I just wrote this insane rant because I like to type, but if nothing else, I at the very least exposed some of my mutuals to "try finger, but hole".

what do you mean elon musk did a nazi salute on live tv at the united states presidential inauguration twice and is now erasing the evidence off the internet by replacing the footage with the crowd cheering instead?

would be a shame if people reblogged this, wouldn’t it?

Big spoilers for an optional and fairly hidden area in SOTE ahead !

Holy fucking shit midra is so fucking cool

The abyssal woods have the creepiest ambience out of any game since bloodborne's cathedral ward imo, loved every bit of it. My only complaint is they are a bit too big and kinda feel empty as a result. Other than that, the winter lanterns, the in-game messages and the music are a 10/10 for me.

Midra's manse is wonderfully creepy, with its labyrinthine halls that loop back into each other and hidden passageways behind paintings. The enemy selection was very fitting, going from spectral inhabitants and guardians to a veritable legion of inquisitors, probably the ones responsible for midra's current state if you ask me.

And oh my goodness that boss. That was honestly my favorite boss of the entire game. No bullshit, no endless combos, no ludicrous delays, just an overall great boss. It's up there with lady maria as one of my fav fromsoft bosses tbh. The fight feels so smooth, elegant, its just a banger all around. The ost is also just peak. I also love that little introductory part where you just beat an old wounded man for a minute before the fight starts, its that little fromsoftware goofyness in the middle of this daunting dreary place, i love it.

Overall, one of the best dlc areas so far for me, the build up, the dungeon and the boss were all brilliant.

My biggest criticism is the remembrance. The greatsword of damnation should have been a madness weapon tbh, it would have felt much more fitting. Its also a bit sad that we don't get midra's drip, it would have been great if they did sth like the dragon hearts or lamenter's visage where you use an item to get the frenzy head and boost madness incantations/skills. That incantation is pretty cool though.

Another thing to add is that Igon is physically forced to admit he cannot hunt bayle by himself. For all of his recklessness and single-minded devotion to this hunt, he can barely drag himself up the jagged peak. To quote him directly : "My limbs are limbs no more, my heart is twice-over filled with fear, but my soul yet lies on the mountain."

He knows he cant do it by himself, he can barely even psych himself up to do it, let alone actually fight. Hes forced by his circumstances to admit that he cant do it alone, no matter how much he wants to, no matter the depths of his hatred.

In contrast, captain ahab is missing a leg, yes, but he has a peg leg that is sufficient for him and his purpose, he has money to hire a crew, and he has a boat and whaling equipment to hunt with. He has a crew that doesnt really dare to question him bc of his sheer aura of hatred and determination. He has the means to pursue this hunt alone if he wishes, he can be the main character of his story and get revenge himself.

Igon doesnt even have a weapon to start with. He spends an excruciating amount of time making a bow from dead dragon bones and intimately carves every single harpoon he plans on piercing bayle with. Eventually, once he's made weapons, hes forced to admit that by himself, he wont be able to make it up to bayle. He cant walk, cant run, cant afford good equipment, and cant even get to bayle. What he can do, is send his spirit, his hate-driven and relentless soul, to help someone who can. It is the only way he can free himself from the inextricable hold bayle has had over him since they last met.

The Igon and Ahab comparison/difference

This will not be a whole comparison of the two characters, (I'll save that for a rainy day), but there is something I find really interesting with these two gents that I find often gets overlooked as people just go 'oh yeah Igon is captain Ahab' and end the discussion there.

To first get the obvious out of the way, both characters have monomania for their respective foe, and both share a narrative similar to the end of a Faustain tale or at least there story is a continuation of one already told, both crippled after their fights and both will not let injury, judgment, people or God from killing their enemy.

Now, the main and obvious comparison that is made comes from the speech Igon gives when you summon him for the bayle fight. But this speech also shows something, a difference between the two, a difference that ties to their fate.

In igons speech, he introduces the tarnished first, giving them the title of Drake Warrior and only calling himself by his name. Igon wants Bayle dead by any means necessary, and to achieve his goal, he has the humility in asking the for aid of others he views can help (gameplay wise, that is by allowing the tarnished to summon him for the fight). Igon saw the tarnished slay the mountain drake and chose you as someone who could help achieve his goal. Whereas Ahab depite having a whole crew of rallyed up whalers doesn't view the aid of others as anything more than a convince, to him, Moby Dick will be killed by him and only. Constanly disregarding even imput from those who only wish the best for everyone such as Starbuck. Ahabs determination to kill the whale with his own harpoon is what led him to getting killed and dragged to the depths of the ocean, dead, unsuccessful.

Igon incontrast by following and completing his quesline igon dies of his injuries sure, but after successfully defeating Bayle saying

'Bayle the dread, you shall haunt me no longer'

Igon achieved peace and a concussion to his goal, where Ahab did not. Igon recognised where and when he needed help through his rage and determination.

[There's also, tho like the comparison needed with what Moby is representative of compared to Bayle, but that's not important right now]

Hey what if we were both depressed young teenage boys with no sense of self-worth pushed forward by a single-minded drive that was born in october from our mother' deaths and we both severely repressed our childish interests in order to seem more mature and respectable so that the older people around us wouldn't try to stop us from doing what we have to do in order to make everything feel right again because they could never understand it (because we don't let them try to) and we put the brunt of the blame on an older male figure who has to be responsible for it all and should only receive unilateral scorn because otherwise nothing in our lives would make sense anymore and we were both child soldiers who only joined in order to pursue our own self-destructive goals more easily and we both liked to use spears, would that be fucked up or what ?

october 3rd. october 4th. same thing