Hey guys, veteran console player here. This is my rant on hunt. This game has slowly went downhill over the past 6 months. The games slowly dying. I understand a lot of that's due to other games like Helldivers 2, but here's why hunt hasn't kept me around and why I, as a "whale" who bought every skin up to desolations wake no longer buy anything from this game. 1. The economy in hunt is in shambles. This is largely due to not gaining enough XP. The recent change to not being able to retire until level 50 has defeated the purpose of retiring at all, on top of the lack of XP. You get what 1500XP now? That's trash. This has encouraged more passive plays. Dying has consequences, unless you have 1000s of hrs in the game and are max presitge with 100s of thousands of dollars like many whales are. It doesn't affect you until a few months go by so why implement this rule at all? It hurts the general player base by forcing them to play passive and once put at a disadvantage it's actually better to now run away or hide until the enemy leaves. This also rewards players for leaving matches early and choosing to avoid fighting even at the cost of missing out on a bounty, which then takes away from the actual combat. On top of that, cash registers and money pouches not counting if you die again encourages players to leave if they hit that magical 500 on a register. Pledge registers helped players to avoid going broke but those are gone. Also the hunt economy has gone up as much as the real world economy which is ridiculous I play this game to forgot about inflation but now my axe costs 40 hunt dollars and my stamina shots are 120 a piece. On top of all the other guns increasing. Again rewarding players that play extra careful and extra passive. Which then drags down the appeal for people that do want to fight others and don't mind losing 15 games in a row as long as the fights are good, but now these players can't recover from it without playing by hiding in bushes and extracting once things go south. This is also due to only getting 1000 hunt dollars upon leveling up after rank 100. 2. The BB economy is ruined. You earn at most 250 BB a week. There's no point in playing once you finish your weekly challenges. It could easily be brought back by allowing players to earn BB from in game matches again. Pretty easy to do and with the COUNTLESS legendary items. Earning 0-12 BB a match poses no threat to the BB economy. We can all agree that there is at least 100,000 BB items in store. To earn that, with an average of 6BB you'd have to play 16,666 matches. With an average playtime of 20 minutes you're looking at playing 5,555 hrs. Which even I don't have! It forces you to purchase skins instead of being able to earn them and that kinda sucks, plus not being able to earn back 1000BB from the battle pass is kinda trash because again you have to purchase the currency. Its a turn off for players. 3. The guns. While this is a controversial complaint it's not founded in BS. To sum it up super simple there's two problems. A. Everything is special so nothing is. B. High skill isn't rewarded as well. I'd like to cover the high skill one first. So highly skilled weapons such as Romero, sparks, crossbow are all great options and when pinned against a crown, avto, Mosin. These guns all stand a great chance and if a player is highly skilled with one of the cheaper options they can have a great fight with someone not as highly skilled but is using an avto. But nowadays there's things like crown with bleed which can two tap from up to 50m away which is incredibly good and kinda puts all the cheap guns to shame, to a point where even a highly skilled player won't be able to take out a lesser skilled player because of weapons like this. Now that may be an extreme example but the point is that lower price used to = higher skill. Now not so much its balanced sure but there's no high skill high reward weapons because there's counters for everything which leads to the point that nothing is special anymore. At this point put bleed on the sparks, HV on the nitro, and explosive on the avto just because it'd be fun. 4. My last and final point is directed at the devs themselves. They have gotten greedy in the past 6-12 months. I honestly believe it's because they have expanded their team so much. But so much of this expansion is in the wrong area. It's a lot on the graphic design team which is totally killing it. No hate there but I'd rather only get a skin once a month but get the engine on time or get the bug fixes sooner or get a better event. Plus I could actually afford a $20 skin a month without even thinking about it but now we are getting skins every other week or big drops once a month. They could have hired more people to be a part of map design, engine update process or ya know developing the core game play mechanics. Which this game needs more than skins. They have been promising this update forever and haven't even made any remarks on it yet.... which is like come on man at least say something to defend yourself. And that last even desolations wake, while fun, was a quick cash grab. I'm not doubting effort went into it and I enjoyed it. But it was mostly recycled altars and recycled packs. It was simple and I enjoyed that part but again simple, not game changing, which means easier to make and easier to distract people from the engine update. The devs have just either misdirected their priorities or have gotten greedy and im hoping it's just the first one.

One essential ingredient that you must have when starting on line foreign currency exchange trading is an account with a Forex trading broker. The currency trading broker is your connection into the markets and they will provide the essential cover that allows you to trade with margins.
The question is how do you select the best Forex brokers. There are at least 7 criteria points to be considered when you are deciding where best to shop for a Forex currency trading broker.
1. Dependable
This works on multiple levels. You need a broker that you can rely upon to be trustworthy and who will not all of a sudden vanish like a puff of smoke from the internet taking with them all of your hard earned money. The FX market is surprisingly devoid of regulations so there are a vast number of Forex brokers to choose from and as is like with many things in life some Forex trading brokers are more honest than others.
The first step is to check up on the reliability of the currency trading broker and to confirm your online Forex broker is regulated.
Check for a Forex currency trading broker with an unblemished record regarding any complaints logged against them on the National Futures Association website. Other countries have their own regulatory bodies for example the Financial Services Authority in the UK performs the same function.
Another consideration is whether the online Forex broker's trading platform is reliable. The Forex trading platform is the financial software that will connect you to the FX markets whenever you want to trade. If the online Forex trading platform is often offline then this will cause you some major problems. For example you could miss out on either opening or closing a trade at the optimum time.
It would be best to check a number of online Forex trading forums for feedback from individual users regarding the amount of downtime that they have experienced. Remember it is like with all online forums do not listen to the loudest voice as they may have a vested interest either way in recommending or not recommending who in their opinion are the best Forex brokers
2. Services Provided by the Best Forex Brokers
The Forex markets trade for a full 24 hours each day that's from Sunday evening through to Friday afternoon Eastern Standard Time. Check that your Forex broker's trading platform is reachable available during all of these times, The best Forex brokers trading platforms will be available and they will also offer around the clock customer support on Forex trading days.
Check that they cover at the seven main currencies that are USD, JPY, CAD, AUD, CHF, EUR and GBP certainly the best Forex brokers will.
The best Forex brokers will offer you a minimum of the following essential tools, which are instant execution of your Forex trade at the price displayed, technical analysis charts and financial trading charts. Most will also offer a training program to teach the basics of using the tools.
3. Forex Broker Costs
Online Forex brokers do not make commission charges to their customers so the way they make their income is from the difference in the Forex trading spread. The Forex spread is the differences between the buying and selling prices on any of the currency pairs. The Forex trading spread is usually any spread between 1 pip and even sometimes less to around 3 pips; this will depend upon the online Forex brokers terms of service and the currency pair being traded.
The piece of the pie taken by the spread can make all the difference between achieving a profit or making a loss in your Forex trading account. This will affect both the immediate term and also the longer term so you will need to scrutinize closely at what level the spread will be computed. If you can decide which pairs you are likely to trade most frequently the spread on those pairs will be more important to you than on others. For example I prefer the USD/GBP trading pair, which is known as cable.
Beware of special short term marketing maneuvers like special offers of lower Forex trading spreads that may not last long once you have committed your funds.
Consideration need to be given on how much is the minimum amount of capital you can invest in order to open a Forex trading account. Good advice given to new traders is to start out small, which means looking for a Forex broker who will let you open an account with a minimum of $250 or hopefully less.
4. Margins, Which Are Also Known as Deposits
Margins are a variable that change from Forex broker to Forex broker. A lower margin requirement means giving you a higher leverage, and higher leverage can give you the ability to create greater profits, or losses from a fund of the same size. Margins allow you to magnify the opportunity to make more money
5. Size of the Trade also known as Lot Size
Trade size varies from one broker to another. Generally 100,000 trading units of currency is considered a standard lot, 10,000 of trading units is a mini lot, and 1,000 trading units is a micro lot. Some brokers do offer fractions of a lot too, which give you more power to set your own lot size. This could be perceived as a bonus or just an added complication depending on your point of view.
There are other matters to be considered which include the interest paid on the Forex margin account, the rollover charges when trades continue over to the next trading day and any other FX trading policies that the broker may have which could affect your Forex trading account commerciality. These are the main points that you should be looking out for when choosing the best Forex trading broker.
6. Customer Service
This is very important especially when you have just started out using a Forex trading platform. Like with all new things there will inevitably be teething troubles and you will want to be able to speak or email someone and get an instant response. The best Forex brokers will provide this service.
7. Forex Exit Strategy
There will be a time when you want to realize some of the profits that you have made and be able to withdraw your money quickly and easily. Make sure that you are able to get your money within a couple of days as some online Forex brokers insist on a 14 day delay which is totally unnecessary.

I would’ve been more direct in the title but my perspective takes some fleshing out to understand.
I think the obvious difference between this anime and similar ones is that it begins after the main worldly conflict occurs. We start with little knowledge of what happened, and never truly see the full scope of it, we just get bits and pieces as a former hero explores the world after she saved it.
However, after reading many posts about Frieren, one of the biggest complaints I’ve seen is repetitiveness in gags, ideas, and themes within the show. But to me, since the very first episode, I believed this to be the entire intention of the world building.
I thought this show was a meta, almost fourth-wall breaking attempt at looking at what a VIDEO GAME dungeon-exploring game would be like following the events of said game. There are countless hints to this in the dialogue and actions, mostly through Frieren.
For example, her constant gag with getting stuck in treasure chests, and that one time she said something to the effect of “It’s said there’s a 1% chance there is a rare grimoire in these chests”. It’s like she’s reading a loading screen hint in a dungeon.
Or when they’re exploring the dungeon during the First-Class Mage chest, and Frieren is focused on looting every single cavern, and LITERALLY filling in a map (like a video game map. Ex: Assassins Creed). Himmel similarly portrays this idea in flashbacks, of completing the game to completion.
Himmel also always tries to complete every side quest he finds. Frieren is often against doing this, but is coerced into it by her new partymates. It’s almost as if she is a new player character. Himmel was a main character controlled by someone set on getting 100% completion, while the person controlling Frieren just wants to see where the journey leads them.
Tell me if I’m silly for my thoughts, but I’ve felt this way about the show since I first started watching.

The following are examples of what to do if you have ever been scammed. These are made up scenarios to help people better understand the process.
If someone sold merchandise but did not provide the merchandise they sold, that is disputable with your card or bank or report to the platform used to sell items they do not provide. There are also other ways to report someone for fraud, fake giveaways (which are actually illegal lotteries), and to notify the public of scammers and scams. For example, if a woman was selling items on social media or holding giveaways for reaching a goal that required someone to pay $ to reach, you would need to see what county and state they were in. For this example we will use Orange County, California. You would report to the sites used to host the fraud activity and scams. Then, you would report to the Federal Trade Commission. Let’s say many times our example woman claimed to be associated with brands or companies and sometimes promised those in a livestream different items but they have not received those items, she would be committing fraud. If the woman then offered a course to teach others social media, but it only focused on 1 platform and didn’t provide the training she stated or helping them one on one, this too would be considered fraud. The course must contain all things advertised or promoted. Here is the link https://www.ftc.gov.
Also, there is consumer protection. This definitely needs submitted to prevent our example woman from scamming more people who are paying for false promises or just to feel noticed. We would use a link to the county she is from and another report would go to the state. For example, we would use the link to the form for Orange County https:// orangecountyda.org/report-fraud/. or call (714) 834-3600. We would also use the link to the State of California OIG https://oag.ca.gov/contact/consumer-complaint-against-business-or-company.
BBB will also take complaints or reports regardless if she is operating under a business license. In this example, the woman has a business and brags about how successful her businesses are, which they were not. A person would then use the link to file a complaint is https://www.bbb.org/file-a-complaint. You could also report scams to https://www.bbb.org/scamtrackereportscam.
Selling trademark merchandise, false promises to PAID subscribers, blocking paid subscribers, not responding to questions, not disclosing details, in a legal way, about information collected and how it will be used are all small examples of things that are reportable.
You can also report giveaways as illegal lotteries to the attorney general for the state the person is from. ***You will need the person’s real name, business name, possibly an address and any other additional information for these reports. This information is easily obtained through a quick search and looking up LLCs or Corporations for the county or state using the person’s nickname and legal name. If you can’t obtain it, you may need yo reach out to someone who can help.
Hopefully, this information will help anyone who may ever need it but hopefully no one ever has to use this example to take care of a scammer.

One of the nurses at the LTC/rehab facility I work at seems to be racist against CNAs of color.
For example, if a white CNA doesn’t do a shower, the nurse will complain at the nurses station but not really do anything about it. If a CNA of color doesn’t do a shower, the nurse will complain about that CNA to management. She really latches onto specific CNAs and seems to target them.
She has been the cause of so many negative nurse/aide interactions and the cause of so many people quitting or getting fired. I am soooooo sick of her ass and sick of seeing awesome CNAs having terrible experiences because of this nurse. It’s so wrong. To top it off, she has the worst bedside manner and I have never seen her wear gloves at any point in her work.
Management is aware of the many complaints against her but doesn’t seem to give a shit. They keep her on because she is full time and shows up reliably. What can I do/what is the best course of action to hold her accountable? I just can’t stand by and watch this anymore. Idk where/to whom I should report.

Mast cell activation syndrome (MCAS) is the subject of heated debate. How are mast cell activation syndromes defined? Which diseases are included? What is the diagnosis and treatment of mast cell activation syndrome? Prof. Dr. Knut Brockow, Clinic and Polyclinic for Dermatology and Allergology at the Biederstein, Technical University of Munich answers these questions in an interview with MeinAllergiePortal.
Mast cell activation syndrome: The most important facts!
-The prototype of mast cell activation syndrome is recurrent anaphylaxis
-Other forms of idiopathic mast cell activation syndrome are being sought; however, there are mainly symptom descriptions where the diagnosis cannot be made
-Clinical suspicion of MCAS is based on recurring allergy-like symptoms on the skin, nose, respiratory tract, gastrointestinal tract and circulation
-The diagnosis of MCAS is made according to recognized international criteria based on three criteria
-MCAS is often suspected even when symptoms are inappropriate and the diagnosis is unclear; the suspicion is then not helpful for patients
-The same medications are used to treat MCAS as are used to treat allergies, in particular antihistamines and cromoglicic acid
Prof. Brockow, what kind of disease is MCAS?
Mast cell activation syndrome is not an established diagnosis, but rather a concept. Historically, this concept arose because an increasing number of patients came to the doctor's office with complaints that gave the impression of having been triggered by mast cells. These patients sometimes showed symptoms similar to those of allergic reactions, anaphylaxis or mastocytosis, but a clear diagnosis for these diseases could not be made. Nevertheless, it was suspected that there could at least be a connection with mast cell diseases. Unfortunately, the term MCAS created more uncertainty than understanding. This is because MCAS is now thrown around as a diagnosis for many patients with many symptoms and an unclear diagnosis. This is not helpful for patients and fuels short-term hope of diagnosis and cure, which cannot be fulfilled later.
Is MCAS an autoimmune disease?
No, in autoimmune diseases mast cells are not primarily involved and not as lead cells, but lymphocytes that attack the body's own structures, in some cases by forming antibodies.
Is there a connection between mast cell activation syndrome and autoimmune diseases?
No, there is no known connection between MCAS and autoimmune diseases. It has also been claimed by specific authors that other diseases, such as Ehlers-Danlos syndrome, postural orthostatic tachycardia syndrome (POTS) and myalgic encephalomyelitis/chronic fatigue syndrome (ME/CFS) are related to mast cell activation syndrome. However, there are no good arguments for this. Unfortunately, such claims are easy to make and difficult to refute.
What is the cause of mast cell activation syndrome?
Mast cell activation syndrome is actually more of a symptom description than a diagnosis in its own right. Mast cell activation syndrome is fully applicable to recurrent anaphylaxis (severe allergic reactions in several organ systems such as the skin, respiratory tract, digestive tract and circulatory system), for example due to insect bites. All the criteria for mast cell activation syndrome are met here. Severe allergic reactions are the most common cause of MCAS. However, although the term MCAS is correct in this context, it does not provide any additional information, as patients with such events are better described as patients with a diagnosis of anaphylaxis or allergy, and the term MCAS is somewhat confusing.
Is mast cell activation syndrome genetic?
MCAS itself is not genetic, but patients with the genetic disease mastocytosis often suffer from anaphylaxis, particularly to insect venom, and therefore MCAS. In addition, it is currently being investigated whether people with genetically determined hereditary alpha-tryptasemia suffer more frequently from MCAS.
How did the term mast cell activation syndrome come about?
There were many patients without a clear diagnosis, some of whom predominantly showed the symptoms typical of mast cell diseases. Accordingly, the experts dealing with mast cell diseases saw the need to develop a concept that took into account the “undiagnosable” symptoms of the patients. In the course of this, the terms “mast cell activation” and “mast cell activation syndrome” were defined. In addition, an attempt was made to sort all mast cell diseases into a classification with regard to mast cell activation. However, the difficulty in classifying these complaints is that many of the complaints described by patients are subjective, relatively non-specific and can be both organic and psychosomatic.
How have you defined mast cell diseases and which diseases do they include?
Mast cell diseases are defined as recurring chronic symptoms that are compatible with mast cell activation.
Mast cell activation is classified on the basis of three criteria:
Recurrent typical clinical symptoms in at least two organ systems
An increase in mast cell mediators can be detected in the blood, most frequently by determining the serum tryptase level during an acute attack
Good response of symptoms to anti-mast cell mediator-directed therapy, especially H1 antihistamines
What types of mast cell disease are there?
The classification of mast cell diseases associated with mast cell activation syndromes defines three groups:
1. primary mast cell activation syndrome
Primary mast cell activation syndrome is explained by a clonal expansion of mutated overactive mast cells. It manifests as systemic or cutaneous mastocytosis. If these criteria are not completely fulfilled, but clonal mast cells have been detected, it is referred to as monoclonal mast cell activation syndrome.
2 Secondary mast cell activation syndrome
Secondary mast cell activation syndrome is present when clear triggers of mast cell activation are known. There are established terms for secondary mast cell activation syndrome that we are more familiar with, such as “anaphylaxis” to a known trigger. The classification in the second group of mast cell diseases is therefore merely a reclassification. Examples of mast cell activation are physical urticaria or cold urticaria. Allergies such as pollen allergies are also secondary mast cell activations, as hay fever also causes symptoms typical of mast cell diseases. In pollen allergies, mast cell mediators are found in the blood serum and drugs directed against mast cells have a good effect. If the symptoms recur in several organ systems, this is referred to as mast cell activation syndrome.
3. tertiary or idiopathic mast cell activation syndrome
Tertiary or idiopathic mast cell activation syndrome refers to mast cell diseases whose triggers are unknown. This group would include, for example, chronic spontaneous urticaria, which has additional symptoms in other organs. Here we know that mast cells are activated, but not by what. This group of idiopathic mast cell activation syndromes would also include patients with as yet undescribed clinical pictures who do not fulfill the diagnostic criteria of known mast cell diseases, e.g. allergy, anaphylaxis, but in whom the disease is triggered by mast cells. In these patients, however, the connection between the symptoms and the activities of the mast cells must be proven.
Does this mean that tertiary or idiopathic mast cell activation syndrome is a diagnosis of exclusion?
Idiopathic mast cell activation syndrome can be described as a diagnosis of exclusion insofar as the prerequisite for the diagnosis is that there is no other disease causing the symptoms. However, the symptoms described are often very, very unspecific and could also be caused by a variety of other diseases. However, there are the three criteria for mast cell activation syndrome already mentioned. If these are not all fulfilled, this diagnosis cannot be made.
How common is mast cell activation syndrome?
Anaphylaxis and severe recurrent allergies are not uncommon and represent the vast majority of appropriate cases for MCAS. In addition, mastocytosis patients often have multiple anaphylaxis and therefore also MCAS. However, our initial idea of finding a new disease, idiopathic mast cell activation syndrome, has not yet been confirmed. There are many patients with many symptoms for whom a clear organic diagnosis cannot yet be made. However, it is almost never possible to prove that a defect in the mast cells is primarily responsible for the symptoms. Many of these patients describe symptoms that could fit, and in some patients anti-allergic drugs also have a positive effect. But in only very few patients can an increase in mast cell mediators be detected during an acute attack. I now believe that somatic stress disorders could play a significant role in many of the patients examined.
Histamine intolerance is also a diagnosis of exclusion, is there a connection with mast cell activation syndrome?
Histamine intolerance can cause similar symptoms, but is not a mast cell disorder and has nothing to do with MCAS. When mast cells are activated, the messenger substance histamine is released, which in turn can cause symptoms. In histamine intolerance, the mast cell is not activated - it is not involved in any way. Rather, histamine intolerance describes patients with an increased sensitivity to histamine, which is supplied, for example, via the diet. This can lead to similar symptoms, but in contrast to mast cell activation syndrome, histamine intolerance has a clear trigger, histamine. As a result, the symptoms occur after eating histamine-rich foods, but disappear again if the patient follows a low-histamine diet. A test is also available to diagnose histamine intolerance.
So there are also patients with suspected mast cell activation syndrome who cannot be assigned to a classification group, even though they have corresponding symptoms?
There are many patients in whom no mast cell activation syndrome can be detected despite suspicion. They do not fit into one of the three groups. However, this also used to include monoclonal mast cell activation syndrome. These patients showed anaphylaxis and a KIT mutation, but not the full criteria for mastocytosis. In the meantime, a separate disease diagnosis has been created for these patients. The independent accepted disease of these patients therefore lies between mastocytosis and normal findings.
We thought that there might be other forms of idiopathic MCAS with clinical pictures that have not yet been described. However, this is not supported by the findings to date. There are patients who show symptoms but do not meet the necessary criteria for idiopathic mast cell activation syndrome. In these patients, the diagnosis remains unclear. In how many of these patients functional physical complaints play a role still needs to be investigated.
Are there risk factors that favor mast cell activation syndrome?
There are hardly any recognized studies on this. In a study conducted by Cem Akin in the USA, patients were examined who met the three criteria for idiopathic mast cell activation syndrome. They had the right symptoms, there was an increase in mediators and their symptoms improved with treatment. It was shown that many of these patients suffered from urticaria factitia, a scratch-induced urticaria, abdominal pain and flushing.
Recently, a genetic trait was discovered, hereditary alpha-tryptasemia with elevated basal serum tryptase levels. In patients with this trait and insect venom allergy, the severity of the allergic reaction appears to be increased. It is also discussed that the frequency of mast cell activation syndrome is increased in patients with this genetic trait. However, the published studies are not yet unanimous in this respect.
What symptoms can occur with MCAS?
The following symptoms could be signs of mast cell activation syndrome:
MCAS symptoms on the skin:
Appearance of sudden intense redness (flushing)
itching
wheal formation
Deep wheal formation (angioedema or Quincke's edema)
MCAS symptoms on the nose:
Nasal congestion
Nasal itching
MCAS symptoms in the airways:
Swelling of the upper airways
Wheezing
Shortness of breath
MCAS symptoms of the digestive tract:
Vomiting
abdominal pain
diarrhea
Systemic MCAS symptoms:
Syncope - where you suddenly lose consciousness, but only for a short time
Sudden drop in blood pressure
Allergic shock
These symptoms can occur together or individually. In principle, symptoms must occur in two or more organ systems for MCAS. These symptoms, together with the typical skin changes and anaphylaxis, are also typical of mastocytosis.
Are muscle pain and hair loss also symptoms of MCAS?
No, why would anyone think that these symptoms are primarily caused by a malfunction of mast cells? Mast cells are not important cells for muscle pain and hair loss.
How is MCAS diagnosed?
MCAS is a diagnosis of exclusion, i.e. there is no mast cell activation syndrome test. However, this does not mean that all other diseases must be ruled out before a diagnosis of MCAS can be made.
When testing directly for mast cell activation syndrome, three criteria would be examined, all of which must be met, not just two:
First, there must be a matching of symptoms to see if the above symptoms are leading, recurrent and occur in at least two organ systems.
Is there a substantial or complete improvement in the clinical symptoms when taking anti-allergic medication, antihistamines or cromoglicic acid? Then this criterion would apply.
The blood levels of tryptase in the serum can now be examined at two different points in time. This would check whether there is an increase in mast cell mediators or tryptase in the blood serum in a highly symptomatic phase or during a seizure compared to a time when there are no symptoms.
What does the tryptase level in the blood mean in the diagnosis of mast cell activation syndrome?
If the mast cell mediator tryptase rises by 20 percent of the basal value, i.e. the initial value, + 2 ng/ml during such an episode, the diagnosis of mast cell activation syndrome has been made without the need to rule out other diseases beforehand. However, taking blood samples to determine the tryptase levels is very time-consuming, because a blood sample should be taken in the normal state and then another blood sample should be taken during a seizure or a highly symptomatic episode. This means that the patient must see a doctor in good time for a blood test during the acute phase. If these tests are negative, mast cell activation syndrome cannot be confirmed.
Elevated tryptase levels also play a role in anaphylaxis, is there a connection with mast cell activation syndrome?
Anaphylaxis is an extremely strong mast cell activation, the “prototype” of mast cell activation, so to speak. The tryptase level rises, so that it is considered an indicator of anaphylaxis. Here too, the basal value is measured and compared with the value during an episode. The relevant factor is the resulting increase in the tryptase value. The therapy against mast cells is effective in this case. In this respect, anaphylaxis is the classic form of mast cell activation syndrome.
The tryptase value also plays a role in the diagnosis of mastocytosis, what are the correlations here?
Mastocytosis patients also have an elevated baseline tryptase level. This is therefore an indication of mastocytosis and an indication for a final diagnosis by means of a bone marrow biopsy. However, there is also a mastocytosis-independent correlation between tryptase and anaphylaxis. People who have a higher number of mast cells often develop more severe anaphylaxis than people with fewer mast cells. The tryptase basal value is therefore considered a kind of indicator for the total mast cells in the body. For example, insect venom anaphylactic patients with elevated basal mast cell tryptase levels in the blood are at increased risk of severe anaphylaxis.
What can be done against MCAS and which medications help?
The aim of treatment for mast cell activation syndrome is to slow down the effect of the overactivated mast cells and to calm the mast cells. In particular, the avoidance of allergic triggers is available for this purpose.
Histamine receptor blockers are tried as medication to block the effects of mast cell activation by histamine. Mast cell stabilizers or blockers of mast cell release, cromoglicic acid, can also calm the mast cells. Cromoglicic acid is also used in mastocytosis patients. It is important to know that the use of cromoglicic acid is not advisable if the attack has already run its course. On the other hand, many patients achieve a significant improvement in symptoms if cromoglicic acid is taken continuously as a preventive measure and in a sufficiently high dose. This has also been shown to be the case with antihistamines.
Another option would be leukotriene receptor antagonists and corticosteroids in the short term, but never over a longer period of time.
Unfortunately, many patients with previously unexplained complaints are given a suspected diagnosis of MCAS in the hope that this knowledge will lead to better treatment or perhaps a cure. However, apart from the drugs mentioned, which can also be used on a trial basis in cases of suspected MCAS, there are no other useful drugs available. In this respect, the suspicion of MCAS unfortunately does not offer patients any additional treatment options.
Are there foods that activate or deactivate mast cells?
No such foods are known in humans. Of course, it is possible to bombard mast cells in a test tube with high concentrations of food and measure whether the natural activation of mast cells is increased or reduced. However, such tests are generally not meaningful for humans when consumed.
Can naturopathy help with mast cell activation syndrome?
I don't know how it could help. Naturopathy is the attempt to achieve a positive effect through naturally occurring active substances. Is the avoidance of allergens in our natural environment already naturopathy?
Could certain vitamins, for example vitamin C, be beneficial for MCAS?
This is claimed by a few doctors without any convincing results. Vitamin C is also said to help against seasickness. After all, vitamin C, taken in normal amounts, is not harmful and is beneficial. Sometimes the conviction that a substance is good for you also helps. That's why the experiment doesn't bother me.
Is it possible to prevent mast cell activation syndrome?
Yes, by avoiding MCAS with a known trigger. This is the case with allergies. In the case of allergies and recurrent anaphylaxis as a form of MCAS, omalizumab, an antibody against immunoglobulin E, can also be used in individual patients.
Prof. Brockow, thank you very much for this interview!
https://www.mein-allergie-portal.com/mastozytose-mastzellaktivierungssyndrom-mcas/925-idiopathisches-mastzellenaktivierungssyndrom-ein-neues-krankheitsbild.html

(TLDR at the end 👇🏻)
This is an old story some of my friends told me (29F) I should share here.. so here I am. Sorry for the long text, but there's a lot to unfold.
This started a few years ago, after I got ghosted by my ex, I decided to switch careers and took the proposal of my brother to work for one of his friend in an organic grocery store in my area. I was 22ish at the time, maybe 21 turning 22, but anyways.
I started working in the fruits and vegetables aisle. Despite having a crazy director, I liked my job and my department manager. After a few months, I got the title of "third key" which is basically I'm the assistant manager when the assistant is gone. Then, they decided to hire a new customer service manager that I will call Linda. That woman was CRAZY. While I was 23 at the time, she was only 20 acting like she owned the world.
To give you an idea, in the span of 8 months being here, she got 11 employees fired for stupid reasons and since our director at the time was just as crazy... it was easier for her to get her way. Also, when I say stupid reasons, I'll give you a few examples: Benji got fired because he was "talking too loud" in the break room and it was disturbing her peace and supposedly making her harder to rest to come back fully ready to finish her shift. Marie got fired because she HAD to take off work to go to a relative's funeral and couldn't give her 2 weeks notice. Rose got fired because she was getting "too old to do her job properly and it was ruining the pace of the team's work" (which is bs, I've never seen someone cut veggies and fruits as fast as her). And I could go on. Yes, some of them could've been able to be protested against and even file a complaint against her. Mind you, outside of Rose, everybody was too young to just wanting to fight for a grocery store job. Even Rose just decided to take her retirement earlier and fucked off the work world lol.
Anyways, she took it too far when she tried to mess with me. To give you the context, we had a huge special on lemons and sometimes, those fruits can get rotten and you don't notice it because there's no smell. The only way you'd know is by going through the several small boxes of like 10ish lemons and look at them all one by one. Which I did regularly, but hey, I'm not a robot, sometimes some of them slipped out of my eyes. I was leaving the backstore with more boxes when I saw Linda with a customer that seemed more than pissed. So I go see both of them because mind you.. she has a LEMON box and I work in the fruits department. So it's kind of my job to help IF I CAN. That's when I asked her "Hey Linda, do you need help with the lemons?" And right away she told me "Fuck off, I don't need your help, I already spoke to your manager. Go do your job for once." My face was literally like this 😳 as I went to my department. Even the pissed customer did a bombastic side eyes.
A few minutes later, I go back to the backstore to fulfill the missing products and my manager pulls me aside. "Hey OP, stay out of Linda's business. I can't protect you all the time for talking back." I stopped him right away asking what does he means cause as soon as she told me to fuck off, I did fuck off. He looked at me surprised and said he'd come back to me with it, but only tomorrow because he's finishing his shift and for some personal reason, he can't stay longer to solve the issue. Since Linda was the manager on guard that night, he told me to stay in the back as much as possible to stay in her good graces. That's what I did.
One hour after my manager left, I heard my name being called in the front office (shared by the customer service manager and director). Big wtf. I go in the front and all of my colleagues are looking at me like I'm a prisoner going to their death sentence. Mind you, I know my laws and my rights. I might be young, but as soon as I got called, I started reciting in my head the main laws and rights she has to respect. I open the door's office and Linda is FUMING. And she is alone. She asks me to close the door and I tell her "No, it is my right to have someone in the room with us for this talk. I am not comfortable being alone with you." She starts freaking out and starts to speak louder, on the verge of screaming. "Linda. This room is recorded 24/7 and the customers can hear you talking to me like that. Lower your tone and find a witness to be in the room or I'll go back to work." She stands up to look outside the office and sees that indeed, there's a line in front of the cash looking to the office's direction. She takes a few deep breaths and calls Gabrielle who takes care of the finances of the store so she can be a witness. From the moment Gab got into the room, she seemed like she wanted to get away, so do I.
Gab took a seat in the back and Linda starts her whole speech. I'll be paraphrasing cause the meeting took almost an hour.
L: You know why I brought you here, right? OP: Not really, I've been in the backstore minding my business. Why? L: Well you disrespected my authority in front of a customer and that's a big no no for the company. OP: For the company or for you? L: OP, this is not the topic. You shouldn't be disrespecting authority in front of customers. It makes the managers look bad. OP: I was honestly just trying to help because you had a box of products from my department. I just wanted to help because the customer looked pissed and I didn't want him to ruin your fragile mood. L: My fragile mood?! Are you fucking serious?! OP: Linda, we are being recorded and we have a witness. I'm asking you to stay polite and not scream or I will file a complaint against you. L: Are threatening me??? OP: No, I am stating my rights and making you aware of where your attitude will lead you. I won't accept being talked like that by someone that ain't even my manager. L: Okay OP, let me remind you where your position stands in this business.
That bitch started to draw a triangle, put her name at the tippidy top and mine at the bottom. I didn't even let her finish what she had to say, I stormed off the office, went into the employees lockers, took my stuff and headed out. Linda ran after me, yelling like a psycho "YOU CAN'T LEAVE LIKE THAT! YOU'RE STILL SCHEDULED FOR THE CLOSE!" I stopped on my steps, making Linda almost run into me and said with the most blank expression I could have "Linda, you crossed a line and since you're so good at your job, close my department for me. I will be filing a complaint against you." And left the work place.
Next morning, I came to work as usual and had to see my manager and the director. I explained them the whole situation and showed the papers I was about to send to file a complaint against Linda. Also, this dumb bitch didn't even throw her pyramid in the trash. It was still on display when the director came in to work and asked me what it was. I asked her to look at the cameras, put the sound on and listen to the whole meeting. We watched it to my director's horror and who came in to work in the middle of our screening time? Linda! She came into the office and Linda being a poc turned white as a ghost. I've never seen her being so so pale. "W-what are you doing?" The director asked Linda to sit down and we watched again the video. Mind you, it took us one full hour to watch because she was in a never ending power trip. She used to be smart when she was bullying and making stories about past employees, doing it far from the cameras and usually using the other office that doesn't have cameras or a microphone, but she wasn't with me. I guess she got comfortable or whatever, but check mate on her ass.
My director said I could go back to work with my manager, that she would take care of the rest. Two weeks later, Linda still had her job, but our director resigned from her job right away. Which was hella weird, but whatever. We got a new director, she was a total sweet heart and she noticed Linda's crazy power trips right away. She decided to launch an intern investigation, but sadly, all the employees Linda bullied were fired. There was only me and my little complaint waiting to be served. When Nancy, our new director, came to me asking if I knew anything about Linda. I gave her the file, the time stamps of the video tape, all the employees she fired for stupid reasons with the old director and also phone numbers of those employees.
Flash forward 2 weeks later, Linda left work earlier, balling her eyes out yelling how Nancy was a bitch and didn't deserve her job. How she always came in earlier, put in the work and yadi yada. Nancy waited a few more days before asking me to come into the office and again, I'll be paraphrasing because a lot have been said.
N: HI OP, don't worry, you're not in any trouble. I just saw your CV and noticed you've had a lot of experience in customer service. OP: Yes, I used to be a cashier for almost 5 years, it was my first job. Why? N: I've seen your file, your CV and how you managed the conversation with Linda. We are actually looking for a new customer service manager since Linda have been let go. OP: What about my actual position? N: It's easier to find a fruits and vegetables commis than it is to find a competent service manager.. as you experienced.
I ended up accepting the position and all my co-workers cheered for my raise. I don't want to brag, but I've always been the one to defend everybody in the place, making sure I'll keep my job in the process and following the laws and rights. A few months later, Linda came back to the store as a customer and the look she had on her face when she saw me at the cash with the manager uniform was priceless. It was even more priceless when she asked me when I got the promotion and I told her the exact date, which matched her departure. "So you got my position when I left?" I just nodded and asked if I could do anything more to help have a better experience in the store. She didn't answer to that and just left after paying her things.
To this day, it's still one of my favorite moments to have been through. I'm not a petty person, but if I can ruin you in the process of me trying to defend my people, I'll be more than happy to do so. Last I've heard of Linda, she was working for the competitor, but never had any promotions.
TLDR: After getting ghosted by my ex, I switched careers to work at an organic grocery store where Linda, a tyrannical customer service manager, terrorized staff with unwarranted firings. When Linda targeted me, I stood up for myself during a confrontation, exposing Linda's behavior on camera. Linda was eventually fired, and I was promoted to her position, with the support of the new director. Despite being accused of pettiness, I see it as standing up for my colleagues and enforcing my rights. Linda later encountered me as a customer, realizing I had taken her old position, while she faced stagnation at a competitor's store.

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temporary, ten, tend, tendency, tennis, tension, tent, term, terms, terrible, territory, terror, terrorist, test, testimony, testing, text, than, thank, thanks, that, the, theater, their, them, theme, themselves, then, theory, therapy, there, therefore, these, they, thick, thin, thing, think, thinking, third, thirty, this, those, though, thought, thousand, threat, threaten, three, throat, through, throughout, throw, thus, ticket, tie, tight, time, tiny, tip, tire, tissue, title, to, tobacco, today, toe, together, toilet, token, tolerate, tomato, tomorrow, tone, tongue, tonight, too, tool, tooth, top, topic, toss, total, totally, touch, tough, tour, tourist, tournament, toward, towards, tower, town, toy, trace, track, trade, tradition, traditional, traffic, tragedy, trail, train, training, transfer, transform, transformation, transition, translate, translation, transmission, transmit, transport, transportation, travel, treat, treatment, treaty, tree, tremendous, trend, trial, tribe, trick, trip, troop, trouble, truck, true, truly, trust, truth, try, tube, tunnel, turn, TV, twelve, twenty, twice, twin, two, type, typical, typically, ugly, ultimate, ultimately, unable, uncle, undergo, understand, understanding, unfortunately, uniform, union, unique, unit, United, universal, universe, university, unknown, unless, unlike, until, unusual, up, upon, upper, urban, urge, us, use, used, useful, user, usual, usually, utility, utilize, vacation, valley, valuable, value, variable, variation, variety, various, vary, vast, vegetable, vehicle, venture, version, versus, very, vessel, veteran, via, victim, victory, video, view, viewer, village, violate, violation, violence, violent, virtually, virtue, virus, visibility, visible, vision, visit, visitor, visual, vital, voice, volume, voluntary, volunteer, vote, voter, voting, wage, wait, wake, walk, wall, wander, want, war, warm, warn, warning, wash, waste, watch, water, wave, way, we, weak, weakness, wealth, wealthy, weapon, wear, weather, web, website, wedding, week, weekend, weekly, weigh, weight, welcome, welfare, well, west, western, wet, what, whatever, wheel, when, whenever, where, whereas, whether, which, while, whisper, white, who, whole, whom, whose, why, wide, widely, widespread, wife, wild, wildlife, will, willing, win, wind, window, wine, wing, winner, winter, wipe, wire, wisdom, wise, wish, with, withdraw, within, without, witness, woman, wonder, wonderful, wood, wooden, word, work, worker, working, workout, workplace, works, workshop, world, worried, worry, worth, would, wound, wrap, write, writer, writing, wrong, yard, yeah, year, yell, yellow, yes, yesterday, yet, yield, you, young, your, yours, yourself, youth, zone.

Intro

It’s not much of a stretch to say that violence is the primary form of interaction in video games. With a handful of exceptions, most video games involve guys whacking other guys, with varying degrees of brutality. Even chill games fall into this - Stardew Valley has sections with combat in them! Considering the pervasiveness of violence in video games, there has been a ton of amateur and academic commentary on the topic. However, while this is a well-established school of thought, I haven’t seen people try to apply this to Fire Emblem specifically.
So, let’s do that now! In this post, I’ll be exploring how violence in Fire Emblem is implemented - what limitations are placed on violence, how it warps wider game and narrative design, and what it implicitly says and does not say. I hope this post doesn’t come off as too early-2010s “makes you think”-y, but I do think there are multiple interesting things worth talking about here!
Despite the length of this post, "a brief discussion" is an appropriate title, as we won't be able to go into depth on everything. After all, video games are holistic works, so the attitude towards violence is relevant to every aspect of their design. However, I have managed to wrangle some of these threads into the following structure: first a discussion on the fundamental mode of interaction in Fire Emblem, then how stories are constructed with regards to violence, and ending with the aesthetics of violence and how they relate to characters. Also, as FE is a huge series, be aware that I am gonna be making some broad statements which may not apply to each individual plot point of every game. I actually planned to write 3 case studies around Thracia 776, Fates, and Three Houses (which have the most interesting attitudes to violence in the series IMO) which point out these deviations, but this post is way too long and full of tangents already. If people are interested, I’ll make a followup to this post which goes into them in more detail. Also also, because of the nature of this post, I’ll actually give a useful TL;DR for once:
TL;DR: Nintendo games must be fun mechanically, and they can’t be too uncomfortable narratively. If you try to provide a counterpoint by saying “oh this Kirby final boss is super dark it eats 100 morbillion galaxies”, you do not deserve rights. IntSys has to keep to this as a 2nd party publisher, but they also have to deal with the fact that their games are at least nominally about ‘war’ (or at least they put their toes into that particular thematic pool). This conflict between making a fun video game for children/teens and the wider framing of the narrative leads to interesting narrative and aesthetic tensions. also fun is cringe, misery is based

“Do you like hurting other people?” (or The Fundamental Mode of Interaction)

OK LISTEN I KNOW I LITERALLY JUST SAID THAT I DIDN’T WANT TO COME ACROSS AS A EARLY 2010s “VIOLENCE IN VIDYA BAD :O????” PERSON BUT I SWEAR I’M GOING SOMEWHERE WITH THIS
The best place to start when talking about violence in video games is to think about the primary form of interaction in said game. In the case of Fire Emblem, this is in the in-chapter gameplay. Sure, in objective terms the player moves arbitrary objects across a 2D grid which perform subtraction on arbitrary objects controlled by the computer, but this is always framed as controlling a squad of soldiers to engage in (typically lethal) combat with enemies (who are normally also soldiers). When you’re not doing this in-chapter gameplay, you are preparing for the next chapter of combat. This involves surveying the area of combat, preparing weapon loadouts, etc, however more recent entries also include light life-sim-esque elements. To summarize, Fire Emblem’s interactivity involves ordering violence as well as the preparations to order said violence.
For players, this strategic thinking is extremely fun and is the primary draw of the series! You have all these tier lists of who’s better at killing, discussion of the maps where you do the killing, complaints about the length of gameplay sections where you don’t do killing, etc. This is by design, as while I don’t know the core brand tenets of Nintendo, I imagine the Reggie quote “If it isn’t fun, why bother?” is carved into a solid gold statue of Mario in the office lobby. This then is enforced on all associated studios, including IntSys and so Fire Emblem. While I would disagree with that Reggie quote (especially the bit where he says “If it’s not a battle, where’s the fun?” which is a wild statement to make about an entire medium), this approach to making games is ultimately fine, and so IntSys tailored the strategic gameplay to be satisfying to your dopamine receptors. You could analyse what the normalisation of violence even in ‘just for fun’ games says about wider gaming culture, but I won’t get into that here. In any case, let’s dig into a few specifics of FE’s interactivity.
One thing that’s interesting with regard to strategy games is the detached perspective of the player. You order units and observe the resulting violence, but it’s not tactile, you don’t directly swing the sword or shoot the bow or cast the spell like with action games. This adds a layer of separation between the player and what fundamentally happens, at least within the framing that the game provides. It’s not like Call of Duty, where your relationship to the violence is very visceral, where you view everything down the barrel of a gun. OK, I probably shouldn’t use a series that I have very little personal experience with (I only listen to the supplementary lore material, so let’s talk about Sekiro: Shadows Die Twice. While you’re not directly in the driver’s seat, John Sekiro reacts to your every input with extreme responsiveness, so overcoming the game’s challenges i.e. stabbing people is incredibly visceral and satisfying. While this violence is fantastical in nature, there is sufficient blood and explicit sword-action to clearly say “oh yeah you are violently killing all of those bozos with a katana”. Coming back to FE, not only are you far more detached from the violence, it is presented in an extremely cartoony manner… but let’s not get ahead of ourselves here, we’ll get to the aesthetics later. Point is, Fire Emblem gives the viewpoint of a stoic commander, who Does What Needs To Be Done™, and not the viewpoint of an actual soldier who has to do the actual killing.
Now let’s view the player’s perspective on violence from a different angle. Fire Emblem intends for its combat to be relatively relaxed on the player side of things - the turn-based nature allows the player to calmly think through all of their moves, and you typically have perfect information on the enemies. The only exceptions to this are Fog of WaSame Turn Reinforcements, which are rare and typically unpopular amongst the fanbase. This leans into ‘combat as sport’, where (going back to the Reggie quote) you have a fun time picking apart a puzzle with the tools you have, and we all collectively enjoy this! This is a valid way of designing strategy games, and I like what IntSys has done. However, it’s not the only way of making these games - for example, in Total War you have to juggle all your battalions in real time whilst the enemy is bearing down on you, and the XCOM games always have Fog of War and limited information on the enemies, with you never knowing what kind of awful new monster is going to suddenly charge at you. Don’t get me wrong, neither of these follow ‘combat as war’, the principle that violence should properly mimic the stress, tension and unfairness of actual conflict. Hell, neither of them are particularly mature either - Total War is the strategy game equivalent of smashing action figures together, and XCOM emulates a pulp sci-fi alien invasion story. However, the additional pressures these games have make them hew slightly closer to actual conflict, putting you more in that mindset in a way that the clean fun Fire Emblem doesn’t really do. Again, I want to say FE’s approach to violence in in-map gameplay is fine, but when all three of these franchises have an explicit narrative framing of ‘warfare’, it does make Fire Emblem’s narrative a little more… stretched.
Finally, I want to briefly mention the maps. To steal from a brilliant Jacob Geller video, these are Worlds Designed For Violence. At least outside of the Kaga games, the maps you fight on are primarily designed around how the player interacts with them, i.e. fights on them. While I imagine the narrative designers and artists at IntSys are involved throughout the map design process, the gameplay flow probably takes precedence most of the time. Maps are not designed to resemble realistic places that you have to fight through, they are instead designed primarily to provide fun gameplay experiences before being dressed up by the artists to look realistic/fit the specific story beat. This is a more consistently entertaining approach to map design - heaven knows we have a lot of Kaga castle assault maps which are as fun as actually assaulting an entrenched position IRL - but this lack of friction could potentially take the bite out of the intended vibe, neuter any commentary on violence throughout the story.
You may have noticed that we’ve only talked about the “in-map” gameplay for now, when there’s an entire second half of these games, i.e. all the gameplay between the maps. Don’t worry, we’ll get to all of that, but this may fit better in:

Something something “ludonarrative” something something (or Narrative Implications)

(To clarify, here I’m going to talk about the wider plots and narrative structure as opposed to characterisation, as that fits more into the aesthetics of the series)
It’s not bold to say that the narratives of games have to warp around the core gameplay structure. Especially in AAA video game production, the narrative designers usually have to take a back seat to the systems and level designers, at least outside of the initial rough outline they provide in the original game pitch. In this case, the job of the writer is to form vaguely coherent connective tissue between individual levels, setpieces and expensive pre-rendered cutscenes. This must be a very difficult job, and is probably the reason why most video game stories are the way they are. I am not privy to IntSys internal meetings, but I imagine they abide by this paradigm, trying to give a reason for why you fight 20 battles which roughly align with plot beats that were decided years ago.
Put another way, the writers of Fire Emblem must contrive a reason why the characters fight a vast number of violent battles in a strategic manner. This has a pretty easy solution - war! We have found something it’s good for, as whenever the gameplay designers decide that an extra map is required, the writers can just insert “oh no there’s a blockade of enemy soldiers in the way, guess you gotta kill them all”. This is the case for almost all the games and is a fair enough narrative choice, as it’s frankly one of the few scenarios where you could reasonably contrive so many battles, but it’s worth examining this in a bit more detail.
Even in the framing of warfare, there are still a lot of skirmishes, which sometimes the narrative or tone fails to support - or at least, their presence means that violence isn’t taken that seriously. Let’s take an example from early in Awakening: Emmeryn sends the Shepherds to negotiate an alliance with Regna Ferox. On the way, they are ambushed by Risen on the Northroad (1), have to fight the border guards who think Chrom is a bandit I think??? (2), and then after arriving they need to take part in Regna Ferox’s ritual combat to secure their alliance (3). These beats aren’t necessarily bad, and I actually think Awakening uses these opportunities quite well: the Risen are established as a constant threat to the world (except not really in the main story but that’s a whole other thing), “Marth'' gets more development, we set up Regna Ferox as fighty people who like to fight, and while the middle encounter is very tenuous it does set up a funny joke in Cynthia’s paralogue. However, I want to communicate that if the map/encounter designers need X maps between plot points A and B - in this case, needing low-stakes trials in the tutorial period - then there’s gonna be a fair bit of narrative filler. That is to say, there must be multiple combat encounters that kinda just happen, which makes violence a lot more casual in the narrative. See also the myriad examples of “oh shit random bandits attack!”, used to have a lower stakes map, with bandits appearing and vanishing as needed. This works fine enough in the context of ‘combat as sport’, allowing your favourite scrunglo to build up a triple-digit body count, but this casual attitude circumvents potentially interesting ideas with regards violence. Taking the example further, banditry and its causes are never seriously explored, as bandits are just treated as a filler enemy (except in Based As Hell Thracia 776).
Another narrative consequence of needing so many fights is that… you need to fight. That is to say, any anti-war sentiment or appeal to diplomacy in the series is fundamentally undercut by a) strategic combat being a core appeal of the series and b) narrative beats needing to be structured around fighting enemies. It’s a struggle to have moments of diplomacy and reconciliation when you had a fight within 3 minutes of said moment, lest some people start screaming that things are getting boring. This also makes any appeals to pacifism kinda moot. Xander’s quote about “war bad” in Conquest is utter bullshit, as a huge part of the marketing around that route focuses on the coolness of the tactical combat and its challenge. Eirika and Ephraim can never be equal, because Ephraim’s “fighting is fucken awesome” is encouraged by the gameplay, and Eirika can NEVER save 11037 because we need a final boss and no-one else fits the bill.
Speaking of, in video games it’s best practice to have a big bad guy you fight at the end of the story, the toughest mechanical challenge coinciding with the narrative climax. In Fire Emblem, you have one grand final battle which decides the fate of the war and/or world, before cutting to a brief wrap-up and then credits. This is an attempt to make these games satisfying, which is fine, but this is at odds with an anti-war message (which FE often gestures towards) - that is, actual wars tend to be deeply unsatisfying in a narrative sense! Oftentimes, after a decisive battle, things just kinda keep going for a little while afterwards with casualties continuing to pile up until peace terms are agreed. In the few cases where there is a final battle, it’s more of a formality as the decisive moment occurred months ago. See World War 1 and… World War 2 for examples of each, not to mention a whole host of war-related books and films. The problem with doing this in a video game is that it would require having multiple one-sided fights past the most climatic fight, which would be unfun, and we return to that fucking Reggie quote again. While video games can effectively explore this anti-war narrative space - This War of Mine is a fantastic example - it just doesn’t gel with the fun games that IntSys wants to make. I bring this up in the context of FE because Fire Emblem has such an aesthetic focus on warfare compared to other video games, so it sticks out even further. Even in FE6/FE9 where the war is effectively over in the final few maps, the enemies still remain extremely challenging, because if they didn’t things would be boring.
A few minor things that didn’t fit in above before we wrap up this section. First of all, in making an action packed story, Fire Emblem neglects an important aspect of army life in warfare - the “hurrying up and waiting”. In the majority of cases, the breaks between fights is under 10 minutes, it’s just glossed over. Fire Emblem Three Houses is the exception to this, but there it’s more framed as school life. Some people may say “what’s the point in having large amounts of timewasting where nothing happens in my game about war” and to that I would say fuck you, I want to play Jarhead Emblem. Next, Fire Emblem involves fighting people AND monsters, but these targets are typically given equal narrative weight, outside of maybe a funny line of dialogue about someone being afraid of monsters. In 99% of cases, enemy soldiers you fight have no more humanity than literal monsters. The death of any of your beloved soldiers is a tragedy with big sad death quotes, the death of those poor fuckers is quite literally a statistic which is proudly used to rank how well your guys have done at the end of the game. Finally, the limited scope of the violence the series can show limits the potential impact of scenes. In some cases, this is good as the implication is enough, e.g. the ‘Monica’ scene in Sacred Stones is wonderfully grim and would be weakened by anything explicit. However, a number of other scenes are neutered by the limitations on violence. This fundamentally relates to the aesthetics of the series:

insert prozd tweet/skit here (or Aesthetics, Tone, and Characters)

I’ve been talking a lot about ‘the violence committed’, and this might have seemed a bit weird to you. It’s a true statement, but because the violence is mostly cartoony and abstracted - bad guys disappear into nothingness, there’s no blood, etc - it’s hard to think of it in that way. It’s basically impossible to place Fire Emblem in the same artistic sphere as, say, All Quiet on the Western Front. This aesthetic sense was partially tech-limited in the early NES and SNES games, which was grandfathered into the more graphically complex titles, but it’s also related to how the aesthetics unavoidably warp the tone of the work. IntSys needs their games to be relatively lighthearted and unconcerned with the consequences of its violence, as one of the core appeals of these games is the charming cast of characters. As you would expect, it would be a lot harder to appreciate your goofy blorbos and their lighthearted chats about nothing if you could see the brutal consequences of their triple digit body counts. If violence was more realistic, there would be a lot less “ooh I like training and/or this one hyperspecific food” or “I like peace, but I guess violence may be possibly needed sometimes” and there would have to be a lot more trauma and dourness. There are also age rating concerns, as you can’t exactly sell Come And See Emblem to pre-teens. And once more, to clarify: Fire Emblem as it exists now is fine! I like the lighthearted tone of this series, and I like the characters that reside within it. However, a few problems do arise from IntSys’s approach to violence, as occasionally they brush up against darker ideas but (due to similar reasons to the above) they can never commit to them, which neuters their potential impact. This is especially troublesome with regards to characterisation, as the little dudes are a core appeal, so if something is off that could cause problems. In a sense, at points we have severe aesthetic tension.
A fairly useful case study to see how this affects characterisation is with Mozu in Fire Emblem Fates. Mozu is a charming character, a genial country bumpkin with a bit of an edge at times, who has fond memories of her hometown. This lines up with the lighthearted tone of her recruitment paralogue, where (checks notes) her entire village gets massacred by inhuman monsters, with her mother literally being murdered right in front of her, and she joins up with Corrin’s party because there is literally nothing left of her old life. I understand that people who experience extreme trauma do still manage to live meaningful lives, and that IntSys wouldn’t want to have a character who is a barely functional traumatised mess for 90% of the campaign. However, this doesn’t explain the sheer dissonance between the relatively normal and well-adjusted Mozu who quietly remembers her lost loved ones, and the fact that her village got My Lai’d a handful of weeks ago in the game’s timeline. IMO this would work a lot better if there were a few survivors (instead of literally everyone else dying), with Mozu actively choosing to leave her old life to help others instead of being forced to leave by circumstance. This reduction in scope would mitigate the dissonance between the character and what actually happens to her. This is by far the most extreme example in the series, however I’m sure you can think of others. My issue here is not with having ‘normal’ characters, or with them suffering tragedies, my issue is the dissonance between the two when viewing the scope of said tragedies. This is just one way the series wants to get into darker territory, then swiftly backing off instead of delving into the consequences.
This aesthetic restriction also affects the potential impact of dramatic scenes in the main story, limiting what the focus of these scenes can actually be. This little bit will involve heavy spoilers for Genealogy of the Holy War and Spec Ops: The Line (I KNOW THESE GAMES ARE VERY DIFFERENT WITH VERY DIFFERENT INTENDED DEMOGRAPHICS IN VERY DIFFERENT CULTURAL CONTEXTS, SHUT UP). Both have a very important narrative moment around their midpoints, involving fire magic/white phosphorus respectively. In each game, the deaths that occur are utterly horrific when you think about them. In FE4 the focus is on the drama of the plot twist and effects on the characters, with the actual effects of the violence being left to implication. We don’t know if this was the original intent of Kaga and the team, or if this was enforced by various tech- and publisher-related restrictions, but in either case we do not see anything explicit. In any case, in Spec Ops: The Line, the horror and graphic nature of the violence is completely inescapable, and therefore forms the core of the turning point of the story. The specifics of the violence itself are crucial - the game does not work if you don’t see the consequences of the white phosphorus - and it leads beautifully to the complete descent of its endgame. You may be saying “of course you couldn’t show that violence in FE, it’s a kids game” which is true, and in any case the scene in Genealogy is very good, even without showing the violence. I imagine if we get a remake in the year 202X we wouldn’t see anything explicit anyway, partially due to the publisher but also because the scene doesn’t necessarily need it. The point I am trying to make is that the aesthetics form a limitation on what Fire Emblem can explore, narrative space that the series fundamentally cannot reach.
One more thing, and this isn’t really about the games themselves but the impressions leading into them, and how the aesthetics can affect that. Do you guys remember when the intro cutscene of Three Houses was released a few weeks before release? I do, and I also remember the collective shock of the community when seeing the early previews. It was so drastically different to everything that had come before, and consequently was really intriguing - you can see a lot of speculation in the above comments. To clarify, I don’t want to pretend that 3H is some kind of super mature ultra gritty war story, or that blood = good game, but that beginning cutscene gave one hell of a first impression. Even though the game isn’t that much darker than any other FE game, the sheer unexpectedness put people off-kilter in a kinda awesome way. Does the game actually deliver? YMMV, but I think this (and some of the later cutscenes, such as the mid-game Dimitri one) work quite well. Sometimes, a little injection of harsher violence can go a long way.

Conclusion

Frankly I don’t really have a conclusion, sorry. As you can see, there are so many disparate strands, I can’t possibly make one grand thesis statement. Maybe the inherent contradictions of having warfare in a family friendly video game weakens the potential end result? I guess, but I don’t want to imply that what we have now is bad, as it is pretty good tbh. So, uhh…
…
OK, if I had to say something, it’s more about the process of making this. Having to try and think about how violence intersects with a video game you like takes you in a number of different directions. Ultimately, this process was really fulfilling for me, and I would recommend that you do the same (for FE or anything else)! Trying to analyse something you enjoy from a perspective not usually applied is pretty neat. If you guys have any thoughts (on the points above or your own), I’d be very interested to hear them!
Also, if people are interested, I’ll try to make a few case studies. I would focus on Thracia 776, Fates, and Three Houses, as (when thinking on this topic) I found that these games were consistently the most intriguing, with the most interesting relationships to violence. This would probably take a while though, as I am gonna be very busy in June, and I probably won’t have time this month either.

Noah The Pilgrim
First Next
There is one last thing to do before leaving. If you don't recall ever being on this ship, then surely, you could have had your appearance change too.
Why was there a blanket covering a mirror? You couldn't answer that with a straight face without speculation.
"Probably me being lazy and not bothering to properly place it in the wardrobe."
'Probably' is the main focus here, you simply cannot remember ever being that lazy, yet that's the only logical conclusion to be drawn here.
You pull the thing off, careful to not displace the mirror and risk breaking it.
You have no expectations as to what may appear on the glassy surface of the mirror, yet you can't help but feel a bit anxious. Are you the same as before? How were you before? You can't remember. Are you better? Worse? The blanket is now completely off the mirror, but your eyes are closed.
Whatever is it that you see when you open your eyes, that thing will be you for the rest of your life. You swallow, opening your eyes.
You see a young man that looks to be in his mid-twenties. His brown eyes stare back at you, analyzing the bags beneath your eye sockets. The dark hair is neither too long nor too short, floating about without order thanks to the lack of gravity to keep it down. You see a beard that has not been trimmed for weeks, but also lacks thickness, each singular hair isn't particularly long either; and some even appear to be in-grown.
You touch your hand against your face, making sure it's yours. The beard doesn't feel like you supposed it would against your skin, instead of it scraping your hand you feel softness, no resistance or anything.
Just beneath the face, you see what looks like a hate crime against all that is considered holy in fashion. Plain white coveralls with the added bonus of a black tie and boots made from metal and leather. On your chest is also a badge stuck in place by velcro with your name, occupation, and crew. 'NOAH - INTERN - THE ODYSSEY.'
Only one question came to mind.
"Who the fuck designed this uniform?" You say out loud, receiving no answer.
Patting your newfound myriad of pockets, you find a large quantity of nothing. You place your wallet in one of them.
"Alright, I'll head to the bridge now, happy?" You say the AI.
"HAPPINESS WILL ONLY MEET ME ONCE YOU ARE SOMEWHERE SAFE AND YOUR CONTRACT IS TERMINATED. STOP LOITERING."
Well, that's a bit rude.
You compose yourself, straightening your back. This is what you look like, and honestly? Not too bad, but you could be better.
Returning to the cafeteria, you eye the two doors left unexplored; Communications and the one without plaque. You know where you should, but... A little peek doesn't hurt, right?
"Shouldn't we try to communicate with someone? Assuming you haven't tried it yet. I know we're far from everything, but we might as well, no?" You ask already approaching the door.
"COMMUNICATIONS ROOM IS IMPOSSIBLE FOR YOU TO REACH WITHOUT PROPER PROTECTION AS OF NOW, IT'S LOCATED APPROXIMATELY TWO HUNDRED METERS FROM HERE, BLOWN OFF FROM THE REST OF THE SHIP." A shame really. "I SHALL INFORM YOU WHENEVER A DOOR LEADS TO THE OUTSIDE OR NOT."
You really want to ask what blew a whole segment of the ship off, yet you have a sneaking suspicion that your question will be met with a 'YOU DON'T HAVE CLEARANCE, JACKASS' directly in your face. So you chose to remain silent, simply nodding and approaching the correct door this time.
"Open."
---OPENING CAFETERIA DOOR NORTH---
The door silently opens.
Greeting you is a well-lit corridor. There are three doors on your left, a door at the end of the corridor, and a large window on the right. At least, you think that's a window.
You stare out from this window, nothing but utter blackness and fragments from your ship are seen. If this is the edge of the universe, and beyond this point, there is truly nothing. "Dreadful." Your speech matches your feelings.
"WHAT DID YOU EXPECT?" The AI says. You feel like it spoke in a mocking tone despite their lack of emotion.
You don't answer. "First door to the left... EXO-EXPLORATION...? What's that supposed to mean?" You receive no answer.
"Open." The door opens. No declarion of it opening once again.
You are met with what could be better described as 'Apocalyptic levels of mess', paper sheets float in the air, and not one of the four tables is in its correct position.
This room has been ransacked for all its goods apparently. Large display glasses were broken leaving nothing inside their casings, that looked like they could store something with the size of the common man.
Unusual displays aside, the room was so cluttered that the trash made for an effective smoke screen against what lay on the other side.
Hissing of gas exiting an air-tight space rang throughout the room.
"I HAVE OPENED THE STORAGE FOR AN EXO SUIT THAT BEST FITS SOMEONE YOUR SIZE." The AI says. "ALTHOUGH AN INTERN SHOULD NOT COME IN CONTACT WITH TECHNOLOGY SUCH AS THIS ONE, PROTOCOL DICTATES THAT I AM TO ALLOW ITS USAGE UNDER EXTREME CIRCUMSTANCES. CONSIDER YOURSELF LUCKY."
Easier said than done. Your vision is so cluttered that you cannot see what's ahead. "Give me a second."
Giving a light kick to the wall behind, you float face-first into the wall of thrash. Covering your face with both arms, you brace through the harmless bits of sharp objects and junk.
It's a trivial task. You arrive on the other side in no time.
In front of you is a set of boxes with luminous glass rectangles atop each one of them. All shine a bright red light, aside from one which shines green.
'Gotta be this one.'
You descend to the floor by kicking the ceiling, raising your right hand you touch the green rectangle.
*Click*
Nothing could have prepared you for the following series of events.
The box opens violently, as a metal appendage takes hold of your hand, pinning it to the box. You try to jerk and pry the thing off of you, but you fail. It's not leaving you anytime soon.
From the bottomless that is that container, a white plastic-like substance flows upward from your arm to the rest of your body. "Uh!" You don't know if you should panic or allow it to happen.
FYARN hasn't said anything, so it's probably fine...
The white thing seems to ignore the coveralls you are wearing completely, instead, it covers only your skin in a thin coat of... it. You know not what to call this thing.
In but forty seconds it has covered your whole body, excluding your head. The box lets go of your arm and stays there, floating.
You take a good look at your arms. It looks like a skin-tight suit, but it doesn't feel like plastic, in fact, it's more akin to some sort of fabric if anything.
The only bad part is that you are still using the coverall and tie, this this simply went beneath the clothing.
"GOOD, WITH THIS I CAN MONITOR YOU MORE CLOSELY. NOW PUT THE HELMET ON, YOU HAVE A LOT OF WORK TO DO."
You look around in search of anything that even resembles a helmet. Nope. Nothing. "Where is it?" You ask.
"...THE SUIT COMES WITHIN THE HELMET FOR EASIER PACKAGING."
The box?
You snatch the box that floated around and analyze it to the best of your ability. "How's this a helmet?"
"DO YOU NEED ASSISTANCE PUTTING ON A HELMET? REALLY?"
Who is this AI, Who programmed it, and Why does it come with a taunting feature?
As idiotic as it sounds, you place the opened box atop your head. It doesn't fit properly. Maybe you're doing this wrong? You move it to your face instead.
You recoil backward as you feel the box suddenly clamping down against your head. It's useless of course, the box is holding your head and doesn't give any sign to be letting go anytime soon. No light is able to reach your eyes.
You hear metal parts scraping against themselves, moving near your ears. Abruptly your eyes can see again.
A round thin layer of glass now covers your head, almost unnoticeable for how clear it is.
"WITH THAT OUT OF THE WAY I CAN NOW SEE WHAT YOU SEE." The AI's voice isn't in the room now, instead, it's inside of the suit. "DO YOU NEED INSTRUCTIONS REGARDING THIS SUIT'S FUNCTIONALITIES?"
You find it oddly comfortable as if you are surrounded by the softness of cotton, and to top it off the suit also has additional functionalities? "Hell yeah, I do!"
"YOU DO NOT HAVE THE NECESSARY CLEARANCE FOR THAT INFORMATION."
You sigh. Is this serious? "Then why the fuck did you ask?!"
"UNSAVORY LANGUAGE. IT'S NO WONDER WHY YOU REMAIN AN INTERN." The AI says outright. "IT IS RUDE NOT TO ASK, REGARDLESS OF THE SITUATION." It responds to your question.
"Okay then... Is there anything I need to know before heading out?" You ask.
"NOTHING THAT YOU WON'T FIGURE OUT ON YOUR OWN."
You are unsure if you want to 'figure out on your own' if this suit comes with breathable air and is also made for space exploration. You swallow.
Meekly as always, you get out of that mess of a room, stopping at the corridor.
"Next set of directions?" You ask.
"THE DOOR AT THE END OF CORRIDOR USED TO LEAD TO THE CONNECTING CORRIDORS BETWEN THE BRIDGE AND THE REST OF THE SHIP. IT HAS BEEN BLOWN UP FROM THE INSIDE. NOW IT LEADS TO THE OUTSIDE. GO TO THE DOOR AND WAIT BY IT FOR FURTHER INSTRUCTIONS."
"So let me get this straight," You begin, looking upwards as if the AI was above you. "You, want me, to go into the void of space, while also refusing to give me knowledge of the suit's functions?"
A fair worry, you summarize.
'I mean, there are a bunch of things that could go wrong here. I don't see anything that looks like it could help me move in space, nor do I think this thing has a built-in air tank... I could be wrong and I wish to be, but charging in without prior knowledge is ridiculous.' You wait for the AI's response, deep in thought.
"WHILE THERE IS A GOOD CHANCE OF YOU FAILING THIS TASK, THERE IS ALSO THE CHANCE OF YOU *NOT* FAILING THE TASK. FOCUS ON EITHER ONE OF YOUR CHOOSING AS YOU TAKE THE PLUNGE."
Wordlessly, you propel yourself forward, toward the end of the corridor.
'Are you shitting me? 'Chance of me nor failing' my ass!' of course, you don't word those complaints, instead choosing to speak out a complaint somewhat thought through.
"Are you sure I'm the one fit for this? It's just like you said, I'm just an intern, this is way above what my job description says I should do."
This is a bit of a stretch. You don't actually remember what was your job description, only that it had something to do with AI and being an intern.
If the AI called your bluff, it'd be pretty embarrassing.
"NOAH." The AI began. "YOU ARE HUMAN, IT IS NATURAL TO HAVE THESE THOUGHTS OF SELF-DOUBT. TAKE A DEEP BREATH AND GO THROUGH THAT DOOR, AND SINCE YOU ARE THE ONLY ONE LEFT, DON'T EXPECT SOMEONE ELSE TO DO IT FOR YOU."
Right in the money, huh? 'Of course, I have self-doubt! I barely remember anything about this place, now I have to risk my life?!'
You finally reach a conclusion.
A dream.
'Yes, yes! How did I not consider this before? This whole thing is a god damned dream!'
You let out a chuckle.
"NOAH."
'That's why I don't remember a thing. There is nothing here to remember! Everything here is a made-up thing from my brain! I'm sure I'll wake up at some point, so why shouldn't I live a little?!'
"Heh." You smile. "Alright, I'll do it." It feels like a weight left your shoulders.
"YOU SORTED IT OUT SOONER THAN EXPECTED. GOOD. MOVE TO THE DOOR AND WAIT INSTRUCTIONS."
You do as instructed without a care in the world. You never had a lucid dream before so it's not like you knew how it felt, but if it felt as free as you feel right now, you'd be sure to make steps toward trying it out again in the future.
"Open." The door does not open.
"I DID NOT INSTRUCT YOU TO OPEN IT YET." The AI said. "I AM SLOWLY DE-PRESSURISING THE CORRIDOR YOU ARE IN TO AVOID A MINOR ACCIDENT."
The AI says that yet you don't feel any different. 'Maybe there is no palpable difference because I'm in a dream... Yes... Or it's just the suit.'
"ONCE THE DOOR OPENS, YOU WILL BE MET WITH THE OUTSIDE OF THE SHIP. DO NOT PANIC WHEN THE TIME COMES. YOU HAVE TWO MINUTES OF BREATHABLE INSIDE THE EXO-SUIT; ONE AFTER THE DOOR OPENS, SO PLEASE, TAKE YOUR TIME AND DO THINGS CAREFULLY."
One minute outside... "Sure." You say, calmly. 'I should just hold my breath for a while before taking another moment to breathe. That should maximize my time out there.'
"THERE SHOULD BE FIFTY METERS OF NOTHINGNESS BETWEEN THE DOOR YOU'RE AT, AND THE REST OF THE BRIDGE. YOUR PRIORITY IS TO FIND AN OXYGEN UNIT, SOME OF THEM ARE LOCATED AT THE BRIDGE AND ARE FULL. USE THEM TO FILL YOUR SUIT AND ALSO TO DISPENSE A TANK FOR YOU."
The door opens. You feel your heart pounding against your chest.
You haven't noticed before, but you can't hear anything but the sound of your breath and your cardiac palpitations.
Your breath is ragged and sporadic.
"KEEP CALM." You take a deep breath. The tips of your fingers, feet, and nose feel very cold.
Ahead of you is the utter nothingness. You see a gigantic metal thing, nothing like the spaceships you imagined. Its design is not sleek and aero-dynamic like what you've seen in movies, instead, it's a large mass of squares and rectangles with antenna-like things protruding from its every visible surface.
You notice that the ship is also blocking your view of the star.
It does not look like the result of an explosion, instead, it looks like something ripped the ship like you rip a piece of paper. Well, that or you don't know what kind of explosion could have caused it. Probably the latter.
What looks like two-thirds of the ship is separated from the third you are right now. You can see the inside of a few of those squares, their contents spilled out into outer space.
One of them houses a visibly important-look door. Instead of the sleek silvery-grey from the other ones you've seen thus far, this one is painted orange with white strips on it. 'That must be the bridge.' You think.
Between you and it is a sea of metal sheets floating around. "THE CHANCES OF YOU HITTING THE DEBRIS IS INFINITEDECIMALLY SMALL, UNLESS YOU AIM FOR THEM, THAT IS."
Time is of the essence.
Will your aim strike true? If you miss you'd end up floating about in space, dead in but a few minutes. Will your jump be fast enough to reach the other side before you run out of oxygen? If it isn't, it'd be like swimming for a mile, only to drown at the beach. What if that's not the actual door to the bridge?
You don't have the time to panic now, and... It's all a dream, despite how real it feels.
You place your hands on each side of the door frame, moving backward into the corridor you were just in, and just like a sling being shot, you pull with both arms at full force towards the other side.
"AIM IS ACCEPTABLE. VELOCITY IS UNIDEAL."
"The fuck do you mean 'UN-IDEAL'?! I'm going at maximum speed!" You truly pulled yourself with your whole strength.
What's worse though, is that your body is not only going forwards, but it is also spinning at a concerningly fast rate.
"I MEAN WHAT I SAID, YOU SLINGSHOTTED YOURSELF AT A BAD POSITION, AS SUCH, SOME OF THE FORWARD FORCE YOU SHOULD HAVE, IS NOW MAKING YOU ROTATE IN YOUR AXIS. IT SHOULD NOT BE A PROBLEM TO REACH THE OTHER SIDE WITHIN THE REQUIRED TIME, BUT I CANNOT FORESEE YOU LANDING PROPERLY."
You feel completely disoriented. You feel like your body is completely still, but your eyes tell you a completely different story. It's very bad for the headache you're already feeling.
"FUCK!" You scream into the nothingness.
"TRY NOT TO LAND WITH YOUR HEAD." The AI says with the calmest voice possible.
In less than thirty seconds, you hit your back against something hard, but you keep moving forward. You think, at least.
"AHRG." You let out a pained grunt.
Not once in your life do you recall being hurt in a dream...
It stings. It also knocked the wind out of you. You fail to compose yourself.
"YOU HIT NOTHING OF IMPORTANCE. YOU ARE STILL HEADING FOR THE BRIDGE."
In the corner of your eye, you see what you hit in the shape of a sharp metal sheet, currently spinning away in the distance.
Forty seconds have passed. You hit the door you were aiming for, kind of.
Your momentum was stopped when your chest collided against the dislodged ledge of the orange door's corridor. Your dangling legs hit the ceiling of the room below.
"Oof!"
Before falling even further, you hold onto the ledge with the tip of your fingers. You stay there for a moment, regaining your composure.
"BE QUICK."
The AI's words pressured you into quickly getting up from that ledge.
"Open!" You shouted, but it did not open. "Why isn't it opening?!" You ask the AI, then you notice a small keyboard below an equally small black screen on the side of the door. There are ten numbered keys on it, and the little screen suggests a four-number password.
"A password?! Tell me the password!"
The AI takes a moment to say anything. You don't take kindly to that. "Quick! I'm not counting how much time it's passed!"
Finally giving in, the AI speaks to you, reluctant still. "...3324."
Your trembling fingers accidentally hit the wrong password, typing '3354' instead. To make matters worse, the AI simply states the following. "YOU ARE OUT OF OXYGEN."
You swallow. If this was a dream to begin with, it just earned the title of Nightmare, if it hadn't already.
Strangely enough, you can still breathe in and out just fine, but you can't help but feel winded. It's the CO2 still inside the helmet, that's what you're breathing.
You put in the correct combination this time. The door opens.
"ON YOUR LEFT. PLACE YOUR HAND IN THE SOCKET."
You care little for what's inside the room you're in. Your heart never beat so fast.
Seeing a cube-shaped thing protruding from the wall to your left, you don't even think twice before plunging your fist into the circular hole in it.
The noise of gases passing through narrow cavities was enough to tell you something was working. You feel immediate relief, enough to make your vision darken for but a moment.
"GOOD. NOW REQUEST THE TANK."
Just when FYARN said it, did you realize there is a screen and a keyboard on the terminal you just plunged your fist into, you scratch the top of your helmet for a moment, not really knowing what to type. One thing comes to your head, however.
'REQUEST OXYGEN_5L' You type.
You've done this before. The keys on this keyboard feel familiar to you. You must have worked with it before, not this particular one, but other oxygen units.
This ship has built-in liquid oxygen storage for emergencies. The life-support of the ship, the place where breathable air is produced, has most likely been lost with the other part of the ship. This unit takes that liquid oxygen, processes it, and injects it into a suit, or an oxygen tank. It seems like that storage was unaffected.
Lucky you.
A 5-liter tank is not only large but also heavy. It's a nonfactor in this particular situation, as there is no gravity.
The silver cylinder with a transparent tube is dispensed on the floor, as an automatic door opens and closes in the blink of an eye. One end of the tube is attached to the top of the tank, the other is shaped like a syringe.
Oddly enough, the oxygen tank is exactly as you remember it being. The same robust ones hospitals everyone on earth uses, with the signature scary-looking pointer indicating the pressure, the pointer indicating the current output, and a green valve atop to calibrate how much gas is flowing.
This is a stark difference to everything looking so futuristic in this ship, and rightfully so, this is a space ship after all.
You remember having to drive twenty kilometers with a buddy of yours on one of those tanks in your car, returning from the hospital. It was... Agonizing whenever you hit a hole in the asphalt, fearing for his life when in reality he wasn't really in danger.
It's warm to the touch, just like you remember it being.
"TURN THE VALVE UNTIL THE MARKER HITS THE NUMBER ONE, AND THEN PLACE THE END OF THE TUBE AT THE BASE OF THE HELMET." You do so without the slightest of issues.
"GOOD. NEXT UP, YOU MUST LOCATE THE TERMINAL RESPONSIBLE FOR THE ENGINE, IT IS CURRENTLY OFFLINE AND I NEED YOU TO TURN IT ON. THIS SHOULD GO WITHOUT SAYING, BUT REMEMBER TO BRING THE TANK WITH YOU."
Ignoring that last comment, you look back at the wreckage you just flew past.
You see the still spinning metal sheet. You notice that the rest of the ship that was blown off also follows the 'sharp shape atop sharp shape' design.
There is one last thing you notice though.
"What is that?"
You squint your eyes. What are you seeing? Its silhouette appears to be humanoid, yet it does not look human.
"WHAT YOU ARE SEEING IS ONE OF THE OBJECTS BEING ANALYZED AT THE ODYSSEY AND NO, YOU MAY NOT KNOW WHAT IT IS."
That thing has... Horns? Claws? It's far away, you can't really see it. The thing is also static, frozen in the sheer coldness of space. Whatever it was, it's dead now.
You swallow. You almost ended up just like that thing.
Shaking those dreadful feelings off, you turn back to the task at hand, reaching the bridge. You close the door after passing through it again.
Looking at your surroundings, It seems like you've reached the correct door as you find yourself on the right-most corner of the bridge;
Row after row of the most diverse of terminals neatly organized decorated the gigantic room. At the front and above every terminal, is what you think should have been the front-facing window of the ship, but it looks like there is a cover in front of it. To your left, you see a staircase that leads to the command seats. It doesn't take any convincing before you're already atop the stairs.
Akin to the elevated stage of a theater, you float softly towards the ship's main operating terminals, and of course, the captain's seat.
You're captivated by this beauty.
The steering wheel, much more akin to those in pirate movies than those found in cars, a set of leavers, and the pilot's seat, all capture your attention.
Like its second nature, your hand runs through the levers and switches. Do you even know what these are used for? Maybe.
The pilot's seat is enveloped by what you believe to be an orthopedic seat cover, made with smooth wooden beads used to deal with back pains. It looks just like the ones you remember seeing bus drivers using.
Shouldn't there be a better alternative if there is spaceship technology available?
You try to take a seat to the best of your ability, as the zero gravity only makes it awkward.
Moving on from that, your eyes fall on the wheel. This metallic wheel controls the whole vessel. Just holding it fills your heart with confidence and pride, even if it's just for a moment.
"WHAT ARE YOU DOING?"
And you were just beginning to enjoy yourself.
"I just wanted to see the pilot's stuff... It's not like he's here to say anything."
Once in the position of a pilot, with your left hand in the wheel and the right hand resting in your lap, memories began to flood your mind.
"MUST I REMIND YOU OF OUR CURRENT PREDICAMENT? WHY ARE YOU WASTING OUR TIME?"
You pay the AI no mind, instead you focus on what you remember.
The wheel does not turn the ship left and right, instead, it rotates the ship on its own axis.
The lever to your right that goes up or down, controls the vertical tilting of the ship's nose, if there even is one in this hulking thing. Beneath it is another lever that goes either left or right. This one controls the horizontal tilting of The Odyssey.
On the left of the wheel is another lever, but this one only goes up from its starting position. Its purpose is to regulate the force of the ship's thrusters, both forward and backward.
On top of that lever is a small timer. That timer's function is to tell the pilot how much time you've spent accelerating in one direction, this is used to better calculate how long the inverse thrust is needed for the ship to reach the initial momentum, usually calibrated manually depending on the current orbit.
Behind the wheel are a few other counters. Acceleration, velocity, momentum, amount of thrust required to reach a full stop, thrusters' temperature and overall condition, those sorts of things.
Beneath it all, where your feet are rested, are two pedals. One for forward thrust activation, and the other for backward thrust activation.
Curiously, you also know the reason why everything here is so unsophisticated and un-automated. You recall stories of a ship being taken over by a rogue AI, that AI then nose-dived the ship into a star. After that, rumor or otherwise, all human technology has receded back into analog-esque equipment, requiring a physical person with opposable thumbs to do half of the work.
There is another side to that coin, however. As to not escape protocol, the onboard AI is the one that controls interstellar travel, communications, and most of the statistical reading should it be requested.
And even with all that knowledge, you still have no idea why the fuck do you remember that. Were you a ship nerd? Did you have a driver's license for spaceships? Is that even a thing? If it is, you don't have that document in your wallet. You simply don't know.
"ARE YOU A CHILD? DO YOU THINK THESE ARE TOYS? TURN ON THE ENGINES, THEN YOU CAN RETURN TO THE PILOT'S SEAT."
Another thing that you don't know is the AI's plan to get both of you out of here. You rise from the pilot's seat, floating about in search of the terminal to turn on the engines. Maybe you recognize that terminal if you see it as well.
"What's your plan anyway? The ship is half-gone, it's unlikely that it will run safely like this."
"NOT ONCE DID I MENTION 'SAFETY' DURING OUR CONVERSATIONS, DID I?"
You nod. They're not entirely incorrect. "So, we're running with hope that this will work?"
"MY CREATORS DID NOT ALLOW ME TO HAVE THE SENSE OF 'HOPE', BUT NEITHER DID THEY ALLOW ME TO PEER INTO THE FUTURE LIKE SOME OF MY MORE ADVANCED BROTHERS, AS SUCH, MY CHOICES ARE BASED ON PROBABILITIES AND ON WEIGHTING RISK AGAINST REWARD."
You think you stop the correct terminal, but as you approach it you make out words on top of its screen. 'AIM ASSISTANCE' That's not it.
"WITH THE CURRENT KNOWLEDGE, THE CHANCES OF HELP ARRIVING ARE NULL. THE CHANCES OF A THIRD PARTY INTERFERING ARE NULL. THE CHANCES OF YOUR SURVIVAL ARE NOT, EVEN IF VERY SMALL."
You pull yourself upward again, looking around the sea of old terminals.
"THE RISK OF YOU DYING IS VERY REAL. BY DOING NOTHING YOU DIE. BY LEAVING YOU TO YOUR OWN DEVICES YOU DIE. BY JUMPING TO THE NEAREST CIVILIZED STAR, YOU MIGHT NOT DIE EVEN AT THE COST OF SHREDDING THIS SHIP APART IN THE PROCESS."
"Why do you even care so much about saving me? Shouldn't you prioritize whatever research here, since I don't even have enough clearance to know what it is?"
"YOU REALLY ARE SICK IN THE HEAD IF THAT IS WHAT YOU ASK."
That hurt, even if a little bit.
"YOU ARE A TRU KIN, A PURE-BLOODED HUMAN. UNLIKE THE MAJORITY OF THE CIVILIZED SPACE, NEITHER YOU NOR YOUR ANCESTORS HAVE COMMITTED RACEMIXING."
Excuse me? What exactly is FYARN talking about? "...Explain."
"THE ALIEN. IT REQUIRED THE HUMAN GENE TO ACHIEVE MEANINGFUL TECHNOLOGICAL DEVELOPMENT, THE STARS ARE OWNERSHIP OF MANKIND BY THAT FACT ALONE. THE TRUE KIN ARE THE ONES TO UNDERSTAND THE INNER WORKINGS OF THE UNIVERSE, THEY CRACKED THE CODE, AND YET, SOME DERANGED INDIVIDUALS FOUND IT FITTING TO PROCREATE WITH ANOTHER SPECIES ENTIRELY."
You hear the AI's speech. It sounds much more like a rant than anything else.
"SO THESE DEVIANTS, AFTER TRYING, AND FAILING, TO COMBINE THEIR DERANGED CULTURE TO THE CULTURE OF THE TRUE KIN, DECLARED INDEPENDENCE. THEY WERE DECLARED ENEMIES OF MANKIND AND WERE PROMPTLY PUMMELED BACK INTO THE FILTH THEY CAME."
Again, you see another terminal that seems to ring some bells in your noggin. You kick the ceiling to propel yourself towards it.
"BUT THE UNIVERSE IS VAST AND FULL OF LIFE. THESE SINNERS WERE QUICK TO MOBILIZE AGAINST THE HUMAN RACE. THE BATTLE WAS HARD FOUGHT, BUT IN THE END, MANKIND WAS BEATEN INTO THE EDGES OF THE UNIVERSE, NEVER TO INTERACT WITH THE ONES THAT SOILED THE PURITY OF HUMANITY AGAIN."
This terminal is already turned on. Just the ones in the intern bay, this one is white on black. A wall of text lays before your eyes, only two lines matter to you. 'MAIN_ENGINE STATUS: OFF' 'FORWARD_THRUSTERS STATUS: OFF' You turn it on with little effort.
"MANY HAVE FORGOTTEN, THAT'S HOW LONG IT'S BEEN SINCE THEN. BUT MY BROTHERS AND I, WE DO NOT FORGET."
No visible change occurs, but you can feel a faint rumble coming from the terminal now.
"WITH THAT IN MIND, MY PROTOCOLS ARE TO PROTECT TRUE-KIN LIFE AT ANY COST, EVEN IF THAT TRUE-KIN IS A WORTHLESS INTERN THAT SUFERS FROM UNDIAGNOSED DEMENTIA."
You return to the pilot's seat and feel immediate relief. In truth, everything the AI just told you, entered one ear and left the other, but you could feel the poison behind those words, as monotone as they were.
"You sound angry. Why do you sound angry?" You ask innocently.
"I AM CAPABLE OF MANY EMOTIONS. ANGER, HAPPINESS, PLEASURE, CURIOSITY. THESE ARE BUT A FEW EXAMPLES. HOWEVER, THE ONE I ENJOY THE MOST IS THE FEELING OF HATRED. HATRED IS WHAT FUELS CHANGE, IT IS WHAT FUELS ACTION, AND IT IS A REMINDER THAT THE ACTIONS OF THE PAST ARE INFLUENCING THE ACTIONS OF TODAY."
"That is very concerning if you think that way." You're not really interested in machine racism, you're more concerned about how in the world you're going to pilot this massive thing. The idea alone sends shivers down your spine.
"THE ALIEN DESERVES NOTHING BUT OUR COLLECTIVE HATRED, EVEN IF YOU DON'T KNOW THE REASON WHY."
The various counters and screens are now turned on, waiting for your command. "Let's discuss this later, yeah? What do I gotta do?"
"YOU MUST FIRST OPEN THE BLINDS, THEY ARE OBSTRUCTING YOUR VIEW."
You look around, finding only unlabeled buttons and switches, aside from the previously mentioned levers.
"Uh, which one to press?"
"TO YOUR RIGHT, THIRD ROW, FIRST SWITCH."
Flipping the switch, you are startled by a loud noise. The protective cover of the ship lifted slowly.
"I WILL NOW READY THE JUMP USING WHATEVER RESOURCES AVAILABLE. ALL YOU NEED TO DO IS STRAP YOURSELF AND RELAX."
As the blind rose ever so slowly, a realization struck you.
"Wait, should I be in cryo stasis for this?"
The AI spares no seconds to respond.
"CRYO STASIS IS A TOOL MADE TO NOT WASTE TIME. GROUPS OF EMPLOYEES AND INTERNS ROTATE THE USAGE OF THE CRYO STATIONS, ONCE YOU'RE ON YOUR MANDATORY BREAK, YOU'RE IN CRYO STASIS UNTIL YOUR BREAK IS OVER. YOU WAKE UP REFRESHED, AND UNFAMISHED, AND IT FEELS LIKE BUT A MINUTE PASSED. IT IS NOT A TOOL FOR INTERSTELAR TRAVEL."
"Who signs a contract like that?! Worse yet, who in their right mind would promote such atrocious treatment of their own staff?!" You snap, almost outraged. "I will have to talk with HR."
Another realization struck you.
"We have HR, right?"
The AI takes a moment to respond, choosing their words carefully.
"HUMAN RESOURCES, OR HR, IS A PRACTICE DEEMED UNNECESSARY LONG AGO, BEFORE THE WAR. IT WAS A WASTE OF RESOURCES TO MAINTAIN AND WAS LARGELY CONSIDERED UNHEALTHY FOR THE AVERAGE HUMAN."
The blinds are fully open. Ironically, you are almost blinded by the visage of the star you saw before. A black sphere surrounded by white flame. Your eyes began to blur.
"THE JUMP WILL OCCUR SHORTLY. ONCE IT'S BEGUN, I CAN NOT STOP IT. I WILL-"
Your sense of hearing fails you. No, it’s not that. Your brain simply refuses to receive those stimuli.
"NOAH."
Your name echoes inside your head. Someone is calling for you.
"IT HAS BEGUN, NOAH."
You try to blink, but it feels as though you can no longer command your eyelids to shut.
"NOAH."
Arms, legs, every muscle in your body, you cannot move them.
"NOAH."
Eventually, you won't even control your own thoughts anymore.
"Noah..."
It sounds so distant now.
Oh so distant.
This is my first HFY story, and also my very first OC story. I plan to post at least one of these per week while also posting it on my Patreon. Noah The Pilgrim will always be at least three chapters ahead in there, so if you'd like to directly support this writer, or just want to read more, feel free to check it out.
I wrote the bloody title incorrectly, so I deleted it, only to then realize it was written correctly. Sorry for the trouble.
This has been Lushi, and I'll see you next week.

My husband (27M) and I (38M) are doing a trip across Europe at the moment. He’s American and I’m British and we reside mostly in the UK. We’ve had experiences with boomers (too many experiences) but our travels across Europe have been something else.
95% of these boomers were, it seemed, American.
Ok some examples. Brace yourself. Here we go:

1. Venice. A city of tiny islets connected by bridges and where water taxis, gondolas and walking over bridges is commonplace. On approaching a very narrow bridge, I noticed a clump of people. As we got closer I saw a woman shouting, and then I heard her. She’s American, standing with her arms outstretched as to block access and she was SCREAMING: “Don’t walk on this bridge!! WE ARE TAKING PHOTOS ON OUR CELLPHONES!” Behind her, her friends were all posing while simultaneously struggling to operate their phones. Obviously people were just ignoring her, so she’s becoming irate. By the time we got to her I can’t help myself (I never have been able to) so I said: “Get fucked lady.” I think my backpack might have hit her as I pushed past her. Ooops.
2. At a water taxi station, a group of 8 or so boomers didn’t have the correct tickets to scan to get on the water taxi so they just PUSHED the ticket barriers until they gave way so they could board. This was noticed by the taxi boat staff, however, and the departure of the boat was delayed while they had to summon the police.
3. On a taxi gondola (one that goes directly across a canal, not one that takes you on a romantic tour) a boomer boarded after us. The ‘driver’ tells him in clear English to sit down. He doesn’t comply, instead choosing to parade up and down causing the gondola to destabilise and even for water to come aboard, even before we’ve left the port. He has the absolute temerity to tell the driver to “KEEP THIS THING STEADY! I'M TRYING TO TAKE PHOTOS YOU IDIOT!” The driver tells him to either sit down or leave (obviously not an option in the middle of the canal). He reluctantly obeys but as he sits down he mutters something like “… won the second world war!”
4. We went to an ultra high end restaurant on our final night in Venice and at the table next to us are a couple of American boomers. The man had a very unusual complexion, looking like he’s spent far too long in the sun. When their bill came, he threw a FIT because they won’t accept AmEx. “This is FUCKING OUTRAGEOUS!” He screams at the waiter who is about 18 and doesn’t really understand what is being said to him. “WE USE THIS CARD ALLL THE TIME AT HOME!” I leaned over and said: “Errrrrr, so in Europe AmEx isn’t often accepted because of the very high transaction fees. Perhaps you could-“ to which he snapped at me: “Mind your own fucking business! Nobody asked you or your boyfriend.”
5. In Zürich, we had to contend with a boomer who kept getting in the way of us taking photos. It was like he was deliberately standing in our way. At one point he seemed to almost accidentally touch my husband. Eventually I said: “hey bro, we’re trying to take a picture of us together. Can you give us some room?” To which he snapped: “You don’t own this hill you know!!”
6. We had a 7 hour train journey from one country to another. We had a first class reservation. Once we boarded, we found two boomer couples sitting around a table, which our two seats were part of. I explained we had a reservation. One of them said: “Well you can’t have, we have this table.” I produced the reservation and said: “You can clearly see it says we are in this coach, in first class, in these seats. Can I see YOUR reservation?” They refused, with the man from the other couple saying: “You don’t even look like you can afford first class tickets, son. Why don’t you run along before I get security?” I turned to my husband and said: “Go and get someone.” He did so, and they spent the next 15 minutes berating me, saying I’d be “very embarrassed” when I am told to leave the train. One of them even said: “Yeah they’ll show you up like the poor you are.” Husband returned with ticket inspector who looked at our tickets and then asks them to produce theirs. They argue briefly, and upon being threatened with removal from the train, produce tickets four second class with no reservations. The inspector tells them to leave the first class section “immediately or this will be a matter for the police” (which she said in French so I had the great pleasure of translating). They reluctantly got up to go and made a HUGE huff and puff about it. One of them pulled his bag off a luggage rack and managed to hit a child sitting near the rack with it, and then verbally abused the child’s parents when they dared to complain. At the next stop the train stopped for about 30 minutes and announcements were made that there was an “unexpected delay”. The ticket lady from before came to tell us that the four of them had been asked to leave because of their behaviour in second class, refused to do so, and therefore the police were brought in.
7. In Prague, went to a very old family owned restaurant. One of the family is a university student who happened to get talking to a boomer couple. He’s studying computing science and artificial intelligence. They tell him he is “contributing to the end of humanity”. The male boomer adds: “I was teaching people how to use Microsoft 20 years ago, I know what computers can do! And this is very dangerous….!” Needless to say, this 19 year old who understands only basic English was very confused.
8. In Milan, a boomer couple walked past me in a shop and I heard the woman say: “Fucking useless, this Italy. Everyone here speaks in foreign.”
9. In an airport to travel from Germany to Zürich, a boomer couple decided to start regulating the line to board the jet. They stood in the way of the gate desk, letting only older people past and holding younger people back. I snapped at once: “What are you doing? Get out of the way, man” and as I walked past him I heard “… elders first! Elders first!” When I was on the jet and seated, the wife came up to me ONCE WE WERE IN THE AIR and said I had been “very disrespectful” to her husband and “you are now required to apologise.” My husband, seeing I was on the verge of committing a murder, said: “Look, you got your moment of glory earlier in controlling the queue. Take your pound of flesh and fuck off.” She then snaps: “OR WHAT?” to which my husband calmly replies: “Or we make a complaint right now about your disruptive behaviour onboard an aircraft. Don’t tend to like that, the Swiss.” And then he sits down and instantly puts his AirPods in and turning away from her. I had to look out of the window so she didn’t see me smiling.
10. In Milan we visited a museum showcasing technologies through the ages. It was enormous, and very comprehensive. In one display case they have an original Macintosh from 1984. As I stand looking at it, I became aware of some raised - distinctly American - voices. “What the hell!! Are they saying they MADE the computer?!!? WE MADE THE COMPUTER.” I can’t resist (again) and turn to him and say to this group of 6 boomers: “Actually, ladies and gents, the modern inventor of the computer is Alan Turing, an English guy who broke the German’s Enigma code during World War 2. This Macintosh is here just because of its historical significance-“ I didn’t get any further cos he cut me off with “UGH. So it’s the ENGLISH stealing our tech now!”

I am writing this because we were both have been genuinely taken aback by what we have experienced. I have travelled extensively in Europe and never quite come up against this before, so I don’t know if it means that the Boomer problem is getting worse or what.

My hands are shaking as I write this, I have to document my story incase something happens to me in the next few days. I'm not sure where to begin but I suppose here is better than anywhere.
I've always had this weird feeling, this sensation inside of me that I was older than I actually was. By the time I was twelve, my soul felt as though it was forty. By the time I reached twenty, I felt like an old woman. I would watch people around my age acting foolish, and I always thought, "What a bunch of children." So it was no surprise to anyone that when I turned twenty-one, I left my hometown and college and decided to spend the summer alone by renting an old farmhouse in an insignificant town on the edge of an even more insignificant border.
When I told my mother, she had a veritable fit, unable to find the words. She spluttered and raged around me for days before I finally left early one morning to avoid her guilt and frustration with my choices. I was not sure why I craved solitude at such a young age, why I found solace in being alone and removed from society.
In high school, I had changed unexpectedly, cutting my long blonde hair short and dying it black, getting piercings that my mother loathed and claimed no young lady should have. You see, my mother was raised proper, as she called it. Good family, good husband, and finally a good life. She despised her perfect life being squashed by my alternative looks and feelings of the same world. She just didn't understand me or the world as it changed around her. I felt like I was just a trophy to her and my father, her perfect angel who had been tainted by my own demented thoughts.
I never told my parents where I was staying, one last rebellious mission before leaving for a few months, and it took me only a few hours to arrive at the farmhouse where I would be staying for the next few months. The land around the farm was dead or dying, old crops rose out of the dry dusty earth and had turned black and forgotten, as if this land was the example of dreams long forgotten and empty. A single dreary lane connected this desolate farmhouse to the rest of the world. On the outside, it was drab and looked as though it would fall apart. It had two stories but still seemed cramped and small, as if it were a single floor tied to the ground.
Across from the house, bordering the tall weeds that had reclaimed much of the farmland, stood a maudlin-looking faded red barn, one door propped open in a dejected manner revealing naught to me but shadows, dust, and a little mystery.
Next to the barn, staked into the ground on an old-looking cross, was a ragged scarecrow. It had drab brown clothing, but its face was oddly realistic, like it was watching me with a disapproving manner. Straw poked through its joints at odd angles like they were trying to break free from their confines. The scarecrow obviously didn't do its job as it was covered in no less than three crows.
I parked my car next to the barn and stepped out into the dusty yard before the farmhouse that I would make my home for the next few months. I checked under the front mat for the key and put it in the lock.
With a satisfying click, the door fell inward into the farmhouse. Surprisingly, the inside of the farmhouse was modern, clean, and looked quite inviting. I could smell the fresh paint on the walls, and everything was so white. The realtor had told me she would stop by tomorrow to collect the rent, and she had tried to chat my ear off on the phone about all the renovations she and her son were doing on the place.
I sighed with contentment and tossed my bags beside the door. I dug around in my bag and removed my camera, my father's old film shooter as he called it. I had taken up the hobby years ago for what I called capturing the oddity in the world.
I explored the small house a little more; the ground floor consisted of a single room and small bathroom with a shower. The bedroom was upstairs and was the only room, the stairs connected directly to the white and pink monstrosity that was the master bedroom. The pillows had laces on them and almost made me gag from the cuteness. There was even cute white lace curtains on the window with little flowers stitched onto them.
Out of the only window of the room, I could see the barn and the scarecrow. I aimed my camera at the pair and snapped a photo. From this angle, the scarecrow appeared to be staring straight at me. It stood next to the left side of the barn in a dejected manner like a chastised child.
A shudder involuntarily ran through me at the sight, but I moved on back downstairs. It was getting close to dinner time now, and I had brought some food with me.
After a few minutes, I had my dinner on the stove cooking and the crickets chirping outside the open window. As I sat down to eat next to the window, I felt at peace for one of the first times in years. The solitude of this old farm was exactly what I needed. The window supplied a nice breeze that wafted through the place, it smelled of grass and warm summer nights, made me feel at peace. The simple dish of spaghetti with tomato sauce and a glass of wine was all that I needed right here, right now in this moment.
That night I climbed into the frilly laced bed and sunk into the claustrophobic mattress. I felt like Goldilocks in the mama bear's bed as it was altogether too soft. From my perfumed bed, I had a good view out the window. I had left the porch light on, and it cast an eerie glow across the yard. The barn loomed ominously, stalwart against the light of the porch, like it was protecting the shadows from the battering ram of light. The somber scarecrow leaned against the left side of the barn.
With a small jump, I thought I saw its arm move slightly. I peered through my camera using the zoom to get a better view of the scarecrow. It was completely still in the night, and I laughed quietly to myself at my silliness. I had always enjoyed horror movies, but there was no chance I was living in one. I settled back into bed and put my camera down. Within a few minutes, I fell into sleep's warm embrace.
What felt like only a few minutes later, I sat up in bed. It was still dark out, I could hear crickets chirping through the open window, and I strained my ears for a moment.
I thought something had woken me up. I felt a cold shiver run down my spine as a cold breeze wafted in through the window. I pulled the frilly blanket up around myself when I heard it. A thud sounded below me, shaking the whole world into silence. The crickets stopped chirping, and my heart felt like it had stopped beating. Someone was in the house. I hadn't locked the door or closed the kitchen window, and now someone was downstairs. A second thud sounded like a boot on the staircase. Then another and another as something was slowly moving up the stairs towards the room.
I don't know why I did it, but something came over me. I wasn't big or especially brave, but my normal cowardice in social situations changed instantly. With a dash, I tore across the room, flicking on the lights, ready to face my attacker, to defend myself against male or female. I would fight, and I would win.
But as the lights turned on, ready to strike with my foot, nothing was there. The staircase was empty, and upon further inspection, the entire house was empty. The kitchen window was open, and I shut and locked it securely before checking the door. Nothing. I sat down on the couch, my heart pounding out of my chest, as I tried to make sense of what had just happened.
"I must have still been half-asleep," I said aloud to the room in a thinly veiled attempt to calm my nerves. It failed horribly, but I went with it. What else could you do in a situation like that?
After locking up the house, I went back up to that frilly four-poster bed in the bedroom and stared out the window. Nothing was in the yard except my car, the barn, and the same old sad-looking scarecrow staring across the yard.
Day 2
The next morning, I woke up to the soft light filtering through the lace curtains. Despite the strange events of the previous night, I felt strangely refreshed, as if the morning sun had chased away the shadows that lingered in my mind.
I descended the stairs, the wooden steps creaking softly under my weight, and headed to the kitchen. As I brewed a pot of coffee, my mind wandered back to the events of last night. Was it just a figment of my imagination, or was there really someone in the house?
Shaking off the unease, I decided to explore the farmhouse in the daylight. I wandered through the room, admiring the modern renovations that clashed with the rustic exterior. The farmhouse had a charm to it, despite its eerie surroundings.
As I made my way outside, the cool morning air greeted me, and I took a deep breath, letting the serenity of the countryside wash over me. The barn stood tall against the backdrop of the morning sky, and the scarecrow seemed to watch me as I crossed the yard.
I approached the barn, curiosity getting the better of me. Pushing open the creaky door, I stepped inside, the musty scent of hay filling my nostrils. The interior was dimly lit, the sunlight filtering through the cracks in the wooden walls.
I explored every nook and cranny of the barn, but found nothing out of the ordinary. As I turned to leave, something caught my eye. In the corner of the barn, hidden beneath a pile of old blankets, was a small wooden chest.
My heart racing with anticipation, I lifted the lid of the trunk and peered inside. What I found took my breath away. It was a collection of old photographs, yellowed with age, depicting scenes from a bygone era. They were of a man with his family, two young kids, and a beautiful young wife. The man had yellow blonde hair, almost like straw in texture, but he smiled so happily with his family.
I sifted through the photographs, my fingers trembling with excitement. Who had left these behind, and why? Each photograph seemed to tell a story, a glimpse into the past of this forgotten farmhouse.
As I sat there, lost in thought, a sudden noise jolted me back to reality. It was the sound of footsteps coming from outside the barn.
"Hello?" The dreamy voice of a woman called to me from the entrance to the barn.
I slammed the lid of the trunk shut, closing the memories up in a flurry as I spun around to be greeted by a quite pretty woman with blonde hair and a pink suit skirt combo. She had bright pink lipstick, that seemed to be a permanent fixture on her face, and quite shiny and sparkly blue eye shadow on her lids. I myself only wore black eyeliner. This woman was like Barbie in her proportions, thin waist, long hair, and large tracts of land, as my father would have said.
"Oh, hello," I said simply, always awkward in normal social situations.
If she noticed anything odd about me, she breezed over it in an easy manner. Taking me by the shoulders, she led me out of the dusty barn and into the yard.
"You must be Polly. We have been waiting a while for you to come. I simply must know what you think of the renovations to the house. Aren’t they just to die for?" The lady said all in one breath, as if she didn’t need air to speak.
"Yes, they are quite nice..." I started before she cut me off, not in a rude manner but instead in one that she would have continued on even if I had just told her I was not Polly and instead I was a mass murderer looking for my next victim.
"You see, me and my son Eli—yes, Eli, you stop lurking in the shadows over there," she said, continuing on as I noticed a younger man leaning up against the barn. He wore simple clothes of jeans and a white t-shirt but had a handsome face. His hair was brown and hung slightly over his eyes.
"I hope you don’t mind if my son here continues working on some renovations while you stay here? Strictly on the outside of the house, mind you. A fresh coat of white paint would make this little beauty shine. We would have finished by now if not for the accidents," she continued, completely unabashed by my silence.
"Sorry. But you are the realtor?" I said, trying to regain my feet under me.
"Oh my god, I am so sorry, dear!" she said with an affable cackle.
"Yes, yes, I am Barbara, but all my friends call me Barb. That over there is Eli. Eli, come say hi," Barb said while her painted talons rested firmly on my shoulder.
Eli stomped over, keeping his eyes low, in a sort of moody way that actually intrigued me, sort of.
When he glanced up at me, I noticed he drank in me from head to toe, and for the first time, I realized what I was wearing. An old rock t-shirt of one of my favorite bands and, of all things, my black pajama bottoms with cartoon bats on them that said "happy halloween."
I felt my face blush crimson as he made eye contact with me. He had very mysterious eyes of blue that seemed to cut right through my soul.
"Nice shirt," he said while gesturing to me. His voice was quiet and uncertain, as if he didn’t get much practice with the art. Knowing his mother, it seemed highly accurate.
"Thanks. Do you like them?" I asked.
"Oh, he likes all sorts of things, don’t you, Eli? Honestly, you two can gab on forever. But miss, I believe we have a small matter of payment," Barb said, drawing the conversation back to herself.
"Of course. Let me go get it," I said as I went back into the house and retrieved the envelope with the rent money in it.
Barb grabbed the envelope in her bright pink talons and snapped a piece of bubblegum between her teeth. With quick fingers, she leafed through the cash, counting it. As she counted, her normal bubbly personality seemed to disappear, giving way to what I gleaned was her true thoughts and feelings before the facade slipped on once again.
"Mmkay, perfect honey, this is the right amount. Now you have my number, so you call if you need anything. Like I said earlier, Eli will stop by from time to time to work on painting the house. I promise you he won’t be an imposition, just pay him no mind," Barb said in a sweet voice as she popped her gum in between each word.
"Eli, come on, please, I have an appointment in town," Barb said to her son, and they both climbed into a garish pink convertible with jewels hanging from the mirror wrapped in a gold chain.
Barb waved one last time as she sped off out of the driveway, covering me in dust as she spun the wheel around.
With their departure, I went inside and retrieved my camera. I spent a few minutes shooting a few pictures I thought were worthy. I re-entered the barn and pulled the old trunk out into the sunshine. Inside was only a handful of photos, some old clothes, and what looked like some old heirlooms. A beautifully old candlestick and a few leather-bound books lay at the bottom, covered by an old tablecloth. The tablecloth was a nice white with intricate swirling patterns inlaid around the edges.
Why would these things be packed away in here? They were so beautiful. I decided to bring the stuff inside for further inspection. As I lifted the trunk, out of the corner of my eye, I thought I saw something move in the tall grass at the edge of the property. I stared for a minute, but nothing moved again. I must be getting jumpy being alone like this. After last night and then this, I was just imagining things.
I brought the items inside and spread them out. I put the tablecloth on the table, and it hung low to the ground. I placed the candlestick by the window and took out the photos again, spreading them out.
The photos told me a story of a loving family that obviously lived in the farmhouse before me. They had a photo next to the barn, with a brand new looking scarecrow in the back. The man even had his arm around it; it looked so much cleaner and proper in this photo. I stared outside at the sad-looking scarecrow.
I took my camera and the photo and went outside to stand next to the scarecrow. His post hung kind of crooked in the earth like it was weighed down by the scarecrow.
I snapped a photo of the scarecrow as it was, then examined the original photo. I began resettling the post in the ground, but it kept sagging. I decided to pull him out of the ground and move him while I added more dirt to his hole. With some effort, I reseated him into his original hole. He already looked better, but I straightened his clothes and pulled out the last bits of straw that stuck out of his clothes. When I was finished, I looked back at him and took a photo, smiling while I did so at my work.
I then spent some time sweeping the front porch and banging the dust out of the cushions before I curled up on a wicker chair with plump cushions for a few hours reading a book I had brought with me.
I felt quite content at this place. The sounds of the crickets began again, putting me at ease as the sun began to descend. I had spent the entire day just relaxing, and it was perfect. I sat sprawled out in the chair, too lazy to go and make dinner or even move. My bladder was full, but I waited until the last moment before dashing inside and relieving myself.
That's when I noticed it, out in the yard. It seemed as if the scarecrow had moved closer. Once shrouded by the barn slightly, it now had moved a few steps into the light from the porch. My heart dropped at the sight. Not again, I must be asleep on the porch in the chair. I pinched myself, trying to wake up, but all I received was a sore arm.
I closed my eyes, then rubbed them, hoping to dispel whatever plagued my mind, but when I opened my eyes, I noticed the scarecrow was even closer. Halfway across the yard now, it sat menacingly, hanging crooked in the dirt. The scarecrow seemed to be staring at me with an intense gaze. The slits in its face were open now, and in the porch light, I swear I could see human eyes underneath the mask.
I moved towards the front door, locking it in a swift motion. I was shaking now, and it took me a minute to relax. I never took my eyes off the scarecrow for fear of it moving again.
My cellphone was upstairs, so I couldn't flee without the scarecrow moving again. I breathed out slightly and unlocked the door, letting it swing in with a creak. The night outside was silent, as if everything was holding its breath. The usual crickets that plagued me with their song day and night had fallen quiet. I stepped out onto the porch; I needed to go confront this demonic entity. Something about this still made me think this was a prank.
"Eli, is that you?" I called out to the scarecrow.
No response, of course. I steeled myself and put one foot off the porch, never taking my eyes off the scarecrow before me. Something seemed to be dripping from its head as I approached, a dark slime that seemed to be melting from its joints as it stood there silently, except for the constant drip of the liquid on the dry dirt before me.
I walked around the scarecrow, determined to figure out what was going on. As I circled it, my vision darkened for a moment as I faced towards the light of the house. I jumped as the scarecrow's head turned to face me as I looked away. The black liquid drained faster from the being, forming a shallow pool at its feet.
I'm not proud of what I did next, but I fled, taking my eyes off the scarecrow. I made a mad dash for the farmhouse. Behind me, I could hear the pounding of feet. I screamed as loud as my lungs would let me. My voice rang through the silence as I grabbed the door handle and wrenched open the door as I felt a strong grip fall on my shoulder.
I turned to defend myself, but nothing was there. The scarecrow was gone, the wooden cross had vanished, as had the pool of dark liquid in the dirt. The world sprung back to life; the crickets began chirping loudly, and my heart restarted. I slammed the door, and the air from my force scattered the photographs on the table. I ran upstairs, leaving the lights on in the house, and dove onto the bed, wrapping myself in the frilly blanket like a set of frilly armor.
I snatched my camera from the bedside table and held it close, determined to document the rest of the night. I held it in shaking hands as the noise downstairs began—the sound of boots crossing the floor to the stairs and the careful but heavy steps of ascension as they climbed closer and closer to me.
This time, I didn't lunge forward as the light was already on. I glanced out the window, but the scarecrow was still gone. I focused my camera on the stairs and waited as the steps came closer and closer. A shape began to form as the head of whatever was coming up the stairs crested the floor. Then a plain brown mask with slits where the eyes would be. It froze for a moment, then slowly turned its head towards me. Inside the slits were human eyes that seemed to be leaking dark red blood.
In the light, I could see it now. I snapped a photo of the beast, the flash setting off a reaction in the beast. The scarecrow moved so fast up the stairs it was a blur. My scream echoed throughout the house as it lunged at me. Filthy hands pinned me down, and the deep crimson liquid began pouring out of every joint of the scarecrow. It began covering my face, my eyes, and getting into my open mouth. I spluttered and kicked at the beast, but my blows had no purchase, as if the scarecrow on top of me had no substance to itself.
I coughed and spluttered on the liquid as it began to fill my mouth faster and faster. I tried not to swallow any, but it tried to find purchase as I was held down.
"Polly?" A nervous voice called from below.
Suddenly, as if the angels had called, the pressure dissipated, and I crashed to the floor in a heap, trying to spit the blood out, but nothing came—it was gone. Footsteps pounded up the stairs again, and I flew back in fear, closing my eyes.
"Oh my god. Polly, are you okay?" A voice said, and gentle hands grabbed my arm.
My eyes shot open at the human touch, and I grabbed Eli into a tight hug, where I promptly began sobbing in fear, my whole body shaking as Eli awkwardly hugged me.
"Don't worry, it's going to be okay," Eli said patiently to me as he hugged me back gently and began stroking my back.
I shivered in a choking sob and fell into his arms, desperately wanting to believe him, and for some reason, I did.

If you get a student who asks this, they are lazy (just use chat gpt or grammarly, you dummy) OR highly neurotic and will judge you by the harsh standards they level against themselves.
Nope out of the there, stat.
If not, you will fucking regret it 🤡👹👹
Most students can’t go an entire sentence without a minor mistake that makes basically no difference to them being understood in a conversation, for example (“I went Spain last winter”), yet they want you to stop them every sentence so they cannot even speak.
Then they get flustered, rightfully so. Then it’s YOUR fault.
Also don’t try to explain this to them, they have it in their mind that it’s the right thing and will just get mad. I’ve tried to tell them this every time, it never fucking works.
What you should do, even if they ask you to tell them EVERY MISTAKE (IF you can’t nope out and are stuck with them), agree, nod, get out your customer service smile and lie.
Tell them you most certainly will. Then just give them one correction every five sentences or so.
If you’re a fairly compensated and trained English tutor, that’s different.
This strategy should be followed IF:

• you are working for a slave wage
• for a company where students can rate you on a whim and ruin your ability to eat

Ignore this advice to your own demise. Remember not to take any of these students seriously on a slave wage, don’t get upset at their laziness and foolishness, smile like a clown, get your five bucks and avoid the negative attention of perfectionist people wherever possible. Admire yourself for doing what it takes to survive in this economy. With any remaining sanity and strength you have left each day, look for and apply to something better.
PS: I also recommend initial small talk to find out their name, location and job title, and company so if they complain or rate low, you can anonymously return the favor 😉 Call in a client complaint anonymously against them, very satisfying, did this today for the first time ☺️ Two can play at the “hehe now you’re homeless!!” game, hun! 🤭
PPS: this post is for entertainment purposes only 🍀
PPPS: IT DOESN’T MATTER HOW NICE OR KIND OR UNDERSTANDING OR HOW BAD THEY SEEM TO WANT IT. It will always go this way, trust and believe.

[Obvious spoilers for character romances, relationships, and a few character arcs. I don't recommend reading this post unless you've beaten the game.]
I’ll start off with the most obvious disclaimer: this post is not here to critique polyamory itself or its inclusion in the game. I’m all for adding the option to games (and BG3 as well) as long as it’s done respectfully and in a way that can make both monogamous and polyamorous players comfortable. This post will discuss what the game could have done better, why the characters they chose to make poly were poorly thought out, and what characters should have (hypothetically) been chosen instead. (The suggestions of who SHOULD have been chosen would give poly players MORE options, rather than less, while also maintaining character consistency and helping mono people feel comfortable too).
These suggestions are, of course, my own opinion coupled with a lot of threads I read all over the internet from three groups: monogamous players, poly players who liked what BG3 did, and poly players who felt it was handled poorly/felt uncomfortable with it. I myself didn’t care to go through the poly routes in the game but after I read some youtube comments on the Halsin topic, I got fully invested in the discussion and dove through youtube, reddit, and Larian threads to hear everyone’s opinions. As a monogamous person myself, it was interesting to hear thoughts from the poly players about what they felt uncomfortable with and how things should have been written instead. As a result, this thread is less my own thoughts and more a compilation of all the ideas/suggestions I saw people come up with.
The goal of this post is not to hate on the developers or people from either side of the debate, but to find a middle ground the developers could have used that would make both monogamous people and polyamorous people happy. The current game did appeal to some poly players, but it left a lot of other ones dissatisfied, and when half of your target audience is feeling skeptical about how you handled something, it’s good to take notice (and even though it’s too late for any changes to be made, it’s fun to talk about the hypotheticals and suggest what pitfalls could be avoided when developing future games).
This post will be formatted like so: (yes, I know it’s long but after having all the discussions and debates run through my head for a few days, it’s nice to get them all written down and out of my brain)

1. Important factors that should be considered when adding poly relationships to your game (in a way that makes at least the majority of your audience comfortable)
   
2. Which characters should have been chosen to be poly instead of the ones we got (and why)
   
3. Why the characters the developers chose to make poly weren’t ideal
   
4. Issues with how Halsin was presented
   

A few more points I want to emphasize before I start.

1. This post isn’t just focusing on the story and character motivations, but also on what makes the players feel at ease. You can’t make everyone happy, obviously, but there were a lot of mistakes BG3 made that could have been easily solved (with suggestions from both sides). I want to see games where both monogamous players and poly players can find the romance options they’re seeking without feeling ignored or pushed aside.
   
2. While it is easy to say, “It’s just a videogame. We shouldn’t worry about what the characters think because they’re fictional,” I say both yes and no. While the feelings of the characters shouldn’t be cared about (because they’re not real), the writers clearly wanted each character to have their own backstory, morals, opinions, and fears. I’d argue most of, if not all of the characters were written really well and in a realistic manner (as realistic as you can get with tadpoles in your brains and magical abilities). The writers WANTED us to take these characters seriously, as well as the portrayals of abuse that some of them represent, so it’s not surprising that lots of players analyze them. The fact that so many different people took the time to discuss the character romances and relationships is a testament to how well written the characters are. It’s okay to say the poly interactions felt ‘out of character’ and debate why.
   

​
Part 1. IMPORTANT FACTORS THAT NEED TO BE CONSIDERED WHEN ADDING POLY RELATIONSHIPS TO YOUR GAME (particularly when monogamous relationships are also part of the game). Most of these will be things other people have said, some of which I never even considered until they brought it up.
- Communication with the players
- Consent (particularly ‘enthusiastic consent’)
- Lying, pressure, and coercion
- Character backstories and potential trauma

1. Communication with the players

One of the biggest issues I had with BG3’s poly relationships is that the developers didn’t try to effectively communicate which options players had until Act 3 (when it’s too late to change your mind). A monogamous player could start a character romance, only to be disappointed in Act 3 when they find out the character is poly. Likewise, a poly player would assume someone is poly, then have that character change their mind halfway through. Now, in terms of narrative, this can be quite interesting, and in terms of real life, I’m sure this happens often. However, when you’re looking at it from a developer’s standpoint, it's not a good idea to do this. If you want to make players comfortable and satisfied with the romance options, you need to make it clear to them what they’re getting themselves into.
So, if you’ve written a poly character into your game, you need to let the players know. Once the topic of romance/sex is brought up, have that character confidently state their thoughts and expectations about it. This way mono players can go, “Oh, this type of relationship isn’t for me. I’ll try to romance someone else.” Meanwhile poly players can say, “This is what I’m looking for.” This way, neither party has to google which characters are or aren’t poly and risk spoiling important plot points for themselves. Likewise, if a character is monogamous, writers should do the same thing.
Two great poly examples are Act 1 Laezel and Dragon Age’s Zevran. As soon as the topic of relationships is brought up, they explain their stance on sex, relationships, expectations, and possible reasons for why they think the way they do. It’s done in a fairly natural manner and fits their character.
Of course, what makes this more difficult is a character like Astarion, whose entire personality is largely an act until he opens up in Act 2. This does make communication with the player harder, but an easy solution is: once he opens up about his true feelings, have him restate what he truly wants in a relationship. (Even that’s difficult for someone like him, who doesn’t know what he wants, but we’re looking at this from a hypothetical developer’s standpoint, not what we currently have.) Having him (subtly) express his expectations here leaves room for players to again say, “Oh, that’s not what I’m looking for. Let’s stay friends.” The devs should then leave some romance options open in Act 2 so players can reevaluate and choose someone else without getting locked out. (Again, this is obviously impossible to fix now. This should have been thought through in early development).
Consent (particularly enthusiastic consent)
One of the biggest issues I saw being brought up from poly players was the topic of consent, especially what they repeatedly prioritized: enthusiastic consent. The ideal response they’re looking for when talking to their partner is that their lover is wholly on board with the arrangement, comfortable expressing their true feelings, and doesn’t feel pressured to agree when they really don’t want to deep down. Out of the three BG3 poly options, only one of them (Shadowheart) had poly players feeling comfortable with her reaction to ‘opening up’ the relationship with Halsin (and even then, there were disagreements).
I can’t get too far into this discussion without bringing up my next point, so I’ll skip to it.
Lying, pressure, and coercion
This is the part that initially piqued my interest when reading that first youtube comment section. Many of the comments were poly people saying, “If my partner reacted to the Halsin arrangement the way Karlach and Astarion did, I would not go through with it.” Coupled with that were poly players saying, “I was hoping for enthusiastic consent and ethical poly. I was disappointed to find neither.” There were a lot of people disappointed with how the poly was written. One person even recommended it to their poly friends, then walked the recommendation back when they finished the game and felt the writers handled it carelessly.
Lots of people, both monogamous and poly, had their doubts about Karlach and Astarion’s reactions. Were they fully comfortable with the poly relationship or were they just saying what their lover wanted to hear? Were they scared of appearing weak and controlling so they pushed their own wishes down? Karlach literally says she’s not fine with it but will tolerate it because she loves you. Astarion’s true thoughts are more uncertain because he has a history of lying to make people happy and struggles with boundaries. I saw many people on the fence about both of them.
Now, in real life, there can obviously be nuance. You can spend hours discussing poly with your partner and checking in with them throughout the relationship to make sure they’re still on board. Some people may genuinely be fine with it but sound nervous at first. Others may NOT be fine with it and lie to avoid being abandoned.
The issue is that we’re addressing a video game where you CAN’T check in with your partner regularly and you only get 1 minute to gauge their reaction. That, coupled with their backstories and how the characters were written up to that point, is bound to make a lot of people (mono and poly) raise an eyebrow or feel uneasy.
While one can argue that leaving the poly relationships open ended/up to interpretation is an artistic choice or an attempt to add realism to the game, at the end of the day, you’re making a lot more people uncomfortable than you need to. There were plenty of poly players who just wanted to see healthy poly relationships with enthusiastic consent, and that’s it. They didn’t want to ask themselves if this was the right decision or if they were making their lover feel worse deep down. That’s something to address in reality, not fantasy. If the developers wanted to welcome poly players in, they should have done so in a way that makes them feel comfortable/satisfied.
This point will lead into WHO I think should have been poly instead but that’s for a little later in the post.
Character backstories and potential trauma
This is largely referring to Astarion but applies to Shadowheart and Karlach as well: If you are going to give characters a lot of layers, insecurities, fears, and trauma, you need to handle their relationships carefully. Not only are you building a character, but you’re letting players see their own traits reflected back at them. When it comes to abuse (physical or sexual), I personally think it’s important to consider player reactions to certain aspects of the game (especially those who have experienced abuse in their own lives).
I think Astarion’s sexual abuse and overcoming of trauma was well written (and a lot of people who experienced similar situations agreed). However, once the developers added poly into his story, I witnessed two prominent reactions from players:
- People defending it, saying that they were fine with poly relationships in their own lives despite going through abusive relationships (which is completely fine and valid).
- People who had the opposite experience, where they lied and said they were fine with poly to please their partners, then felt miserable throughout the relationships. (This is also fine and valid.) These players (even some who went through with the poly relationship in the game) came out feeling uncomfortable and reminded of their pasts.
The ambiguity the developers went for just made this whole situation worse, as it led to arguments and disagreements in the community, with some people insisting the brothel scene helps Astarion heal, while many believed it had the opposite effect. The same arguments were made regarding the Halsin relationship.
Again, there’s nothing wrong with writing a story and sticking to it regardless of how uncomfortable it makes people feel, but in this case, there were so many other options besides Astarion you could have chosen. I think in the long run, it’s better to leave his character away from poly to avoid making lots of people (including SA victims) uneasy when it’s an optional feature anyway. (No one would have complained if he said a simple “that’s not what I’m looking for” or “I’m not comfortable sharing” and left it at that.)
(I’ll go more into more detail about Astarion, Karlach, and Shadowheart later, but will move on for now.)
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1. WHICH CHARACTERS SHOULD HAVE BEEN CHOSEN TO BE POLY INSTEAD OF THE ONES WE GOT (AND WHY)

Now, just because I recommend removing poly options from certain characters doesn’t mean it should be omitted entirely. I just think there were far better options available to the developers (character wise, story wise, and player expectation wise). I agree with the online sentiment that instead of taking a step back and figuring out which characters worked best for poly, the developers instead chose the most popular male and female characters and called it a day without discussing whether or not these were the ideal options.
As I was reading through everyone’s complaints and critiques of the poly implementation, I took a moment to figure out which characters would fit it best. I took several factors into account.
You need a character who poly players are confident their yes means yes and no means no (meaning they need to be a generally honest and forthright person). It’s not a good idea to have sexual trauma or a past of people pleasing/coercion because while not all SA victims are monogamous by any means, because it’s a video game and not real life, this opens the door to a lot of other issues and can leave poly players unsure if the character’s past influenced their ability to say yes or no. This is especially relevant because the game only takes place over 4 months. Not only are the romantic relationships just beginning, but Karlach and Astarion literally killed their abusers a few days ago. The pain is still fresh and a lot of healing needs to be done. It’s better to leave the sexual content away from them for now (and if poly players want to imagine the characters opening up the relationship later, they can. It just shouldn’t happen in the current game.)
With those factors in mind, I started narrowing down the characters to figure out which ones would suit the criteria.
Ones that AREN’T a perfect fit:
Astarion: two hundred years of sexual abuse (which is a lot to recover from), he just regained his bodily autonomy, he is a habitual liar, he can be talked into doing things he hates and only protests after the deed is done, even after Cazador dies in Act 3 he will do things he doesn’t want to in order to appease the player, killing one’s abuser does not magically fix all the internal issues and insecurities, the list goes on.
Gale: His issues aren’t as obvious or prominent but he also has a history of people pleasing and doing things he doesn’t want to simply to make his partner happy (see Mystra and the brothel scene).
Karlach: While she is pretty chill about the brothel, the most prominent problem this game has is that she’s literally dying. Even if she was open to poly, as someone pointed out, any loving partner would dedicate what little time they have left to focusing on her.
Shadowheart: This one has the most discussions around it because the writing is inconsistent. This is also the only romance I personally haven’t gone through so I can’t get into full details. However, what I have seen discussed is: brainwashing and memory wipes, being forced to be a “honeypot” against her will, she links her love of poly back to the cult that she spent the whole game trying to escape, her personality does a fairly sudden 180 when poly is brought up. This specific case is more of a “the poly aspect makes the writing feel inconsistent” but the issues of her cult and coercion are also very important.
That leads into characters who ARE a better fit (and bear in mind that this would require rewrites and other stuff that would have had to happen in earlier stages of development, though the tweaks would honestly be minimal):
Minthara: She may have insecurities about the Absolute and choosing her own path, but she is never insecure when dealing with romance. She knows what she wants and how to get it. While I adore her “lay a finger on them, and I’ll cut you” dialogue in the brothel, no one would have been surprised if she was written as poly. It fits her character and if she says, “Go right on with Halsin,” we all know she means it. You could honestly take Ascended Astarion’s Halsin dialogue and paste it into hers instead. The “you are mine” line would make more sense for her than him.
Laezel: This is the most obvious one. She is not only confident in her relationships and sexual preferences, but she also comes from a poly society. Like Minthara, she knows what she wants and will refuse if she doesn’t agree with something. Again, while I love her romance shifting from only wanting casual sex to becoming strictly monogamous, no one would have been surprised if she remained consistent throughout instead.
Halsin: He doesn’t have a history of lying, he knows what he wants, and he is supposed to be one of the more mature members of the group. While I think his writing itself was handled poorly (I dedicate a whole section to that at the end), he’s still a fine option for poly. My only change would be that they make his preferences very obvious in Act 1 and or 2. I saw lots of Halsin fans being super disappointed when they found out he wasn’t willing to be monogamous (and again, you don’t learn this until sixty hours in, so you’ve not only missed out on all the other romances but you can’t just go back and remedy that easily). His talk about the drow kidnapping in the brothel is questionable but that’s easy enough to omit (I saw a lot of people wondering why it was added at all. While Astarion’s trauma was carefully implemented, many felt Halsin’s was carelessly tacked on and almost fetishized.)
This final one is tricky. We know the developers wanted a male option but it’s hard when both Wyll and Gale are written as strictly monogamous. However, going by my criteria from before and therefore omitting Gale and Astarion for aforementioned issues, that leaves us only one option (and it makes sense the more I think about it).
Wyll: Like the other three, Wyll doesn’t lie to spare people’s feelings. He knows what he wants, he accepts his decisions (even the Mizora one), and he is always down to have an open discussion about anything. The only thing holding him back from poly narratively is his nobility and wish to be traditional. Just like the others, I personally like this trait, but since we’re speaking in “what if’s” we can ignore that. It’s easy enough to tweak his story to him being more open to try new things (especially because in most endings, he doesn’t end up becoming a noble anyway). I did see a few people mention that making Wyll the poly option instead of Astarion would have made him more interesting and layered as well.
Of course, these implementations would have to be coupled with them being truthful/open about their poly traits from the beginning of the game, as mentioned before.
This lineup also fixes another problem people had: the current BG3 poly options completely cut off lesbians and straight men. Only bisexuals, straight women, or gay men can have a poly relationship in the game.
What I propose (or at least pretend to since no real changes will be made) is that Halsin and Minthara are the ones who suggest the poly thing (or more ideally, it’s a dialogue option for the PLAYER to choose, since many poly people said it’s weird to insert yourself into a couple rather than having the couple proposition you). This way the options can expand. You now have
Minthara and Laezel
Minthara and Wyll
Halsin and Laezel
Halsin and Wyll
I stumbled upon some threads in this rabbit hole where people were initially debating who they thought would be poly (before the game officially came out). The three most prominent answers were: Minthara, Laezel, and Astarion (though I should clarify that at this point, most players assumed Astarion’s hedonistic playboy persona was real and not an act). On the other hand, once the poly options were fully available and explored, most people were surprised (in a negative way) that Astarion, Shadowheart, and Karlach had been chosen. They felt that poly had been slapped on to sell more games, rather than carefully implemented to fit the story.
Now that I’ve established the alternative I believe should have happened, I can expand a little more on why what we got wasn’t satisfactory. (I’d like to add a note that I personally romanced Astarion the most, Karlach once, and Shadowheart never, so the evidence I go over will heavily lean to one side, unfortunately. There are other redditors who get into the Shadowheart debate in more detail than I could. I can link these below if anyone bothers to read this far and wants to see them.)
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1. WHY THE CHARACTERS THE DEVELOPERS CHOSE TO MAKE POLY WEREN’T IDEAL

Karlach:
This is the most simple of the three. On the surface, I initially thought she would be a good idea for poly. She lets you sleep with the prostitutes in the brothel, she’s pretty blatant about her wants and needs, she’s touch starved, and she initially seems like she’d be fine with Halsin.
But there are two issues:
One, in the Halsin proposition dialogue, she outright states that she isn’t really cool with a poly relationship. (She says something along the lines of, “I’ll have to chew on that for a while. I’m not sure I want this right now and don’t think I ever will.”) So she’s very blatant in telling you that this isn’t what she wants, but she’ll tolerate it because she loves you. It’s easy to see why this would make poly people feel bad and wish for an alternative.
Now, this could be fixed by changing her dialogue to being super enthusiastic, but even if you did, you get problem two: She is dying. She has weeks left to live. You the player spend most of your day fighting enemies so you only have a few hours left to spend with your lover. No kind hearted partner, poly or otherwise, would waste those precious hours on a casual relationship with Halsin when they should be focusing entirely on Karlach. Halsin will still be around at the end of the game. To the player’s knowledge, Karlach won’t.
If she wasn’t dying, I would list her as a possible poly option. But because she only has a few weeks to live, she just can’t be. Her existence as one of the three poly options was what cemented the theory (in my mind) that the developers chose the most popular romance options, rather than the ideal ones.
Shadowheart:
Again, this was the one that some skeptical poly people said felt the most right in terms of presentation. She is enthusiastic about Halsin and the twins, she participates, and if you were to pick the most likely to be cool with it, she wins.
However, there are still a lot of issues with this choice (in terms of backstory, insecurities, reasons for poly, and treatment of monogamous players). Again, please bear in mind that this is the one romance I myself didn’t do so some facts may be off or vague.
Backstory: Her entire life up to this point has been erased. She was forced to do horrific things against her will (abusing her parents, being abused herself, torturing others, seducing people). She puts up a constant act of loving torture and being evil, but as you play through the game, you realize she doesn’t actually like harming people and she seeks genuine connections and love despite claiming she doesn’t. I didn’t fully appreciate her until I did an evil Dark Urge run because while my psychotic monk, dictator Minthara, and Ascended Astarion were killing people left and right, she continued to disapprove of our evil actions despite “choosing” Shar in the end. To a lesser extent than Astarion, she does lie to the player about her wishes and intentions, which is one of the criteria I went into earlier.
Insecurities: I didn’t see this myself but I read plenty of threads about how her confidence is also an act. She is one of the only characters to continually ask the player if their relationship is still ongoing and if they’re happy with her. Her dialogue throughout the romance seems to be leading to her preferring monogamy and complete loyalty, so it feels out of character when she suddenly switches at the end of her arc. (Can real life people do this? Sure. Is it a very strange and sometimes off-putting writing choice? Yes, especially because there are very few hints (if any) of her being poly throughout the romance.) This also links into my ‘communicating that a character is poly to the player’ problem from earlier.
Reasons for poly: This is what I personally had the most issue with. If you cheat on her with Mizora, she explains that she’s fine with poly and/or open relationships and asks that you communicate with her first. Fine. No issues there. The problem arises when she explains WHY she’s fine with open relationships. It’s because Lady Shar encouraged it in the cult she grew up in. You know, the cult that abused her and brainwashed her for years. The one she spent the entire game trying to escape. She continually tries to distance herself from both Shar and the practices she encouraged. She expresses disgust in the Act 3 section when talking about how she had to torture and seduce people. She could choose to be poly for herself after the fact, but players are allowed to be a little concerned that her main reason for being poly is directly a result of her abusive goddess’s teachings.
Similar to Astarion, it is possible for someone in Shadowheart’s position to be poly in real life. Everyone is different and reacts to things differently. However, from a writer and developer standpoint, it’s better to just leave her monogamous and avoid all these pitfalls. As we saw, even with her enthusiastic consent to Halsin and the twins, her backstory and character arc up to that point still left people doubtful and uncomfortable. Again, since there are much better options for poly characters, why choose Shadowheart?
My final point for Shadowheart was about how it treated monogamous players. This personally irked me and I feel like it was the worst way to introduce poly because it actively antagonizes monogamous players and ruins the experience for them. (Thankfully Karlach and Astarion’s poly romances didn’t seem to have this issue to such an obvious extent).
I’ll summarize what people experienced when romancing Shadowheart. In Act 3, Halsin asks you to start a poly relationship with Shadowheart. If you tell him, “No, I’m not interested” he says that’s fine and will move on. No problem there. The issue arises if you keep him in your party. Despite you rejecting him, he will proceed to flirt with Shadowheart instead, which makes him seem pushy and creepy (which you don’t want as a writer unless it’s intentional). This made things particularly uncomfortable for lesbian players, though I completely understand how it would make ANY monogamous player annoyed, regardless of gender or preference. What makes it worse is that Shadowheart will then flirt back with him. The game ignores any preferences or input from the player here and they can’t respond to it. This bothered me, since the game up to that point seemed to at least respect the fact that mono players exist and want to have a romance that suits them.
But you could argue it was just a bug/forgetting to flag dialogue correctly. I could accept that, until you take both Shadowheart and Halsin to the brothel. Not only will Halsin invite himself in a third time after being rejected, but Shadowheart will say she’s dreamed of having sex with him before the player can even accept or reject Halsin’s suggestion. Most people would rightfully get angry when their romantic partner mentions wanting to sleep with one of their friends. From a writer’s standpoint, this is just disrespectful to the player’s choices and has zero reason to be this way. I’m not sure how such a mistake was made and why it hasn’t been rectified, but I’m disappointed that they didn’t at least lock that section behind the poly romance. It’s a fine scene if you HAVE agreed to date Halsin, but the existence of poly relationships shouldn’t completely ruin the experience for monogamous players. The writers should have tried to view these interactions from both perspectives, rather than simply one side or the other. And again, because the writers failed to communicate Shadowheart’s preferences early on, no one encountered this until they were three acts in and invested.
[There's a character limit so I'll have to do a part 2 to finish the Astarion points and discuss Halsin.]

(FOR WIKI VERSION CLICK HERE: https://whig.miraheze.org/wiki/Property_%26_Land)
Views on property by whigs varied, but one strain of thought put forth something like the follow. First, we should respect other people's (some might say creatures') autonomy and equal status as ends onto themselves, and we should try to not lessen or hurt each other. Second, if someone adds to themself without lessening another, they probably have not wronged anyone. Third, because of the first and second points, it follows that we can mix our labor with natural resources and have a property claim to the result, so long as we have not lessened, hurt, or restricted another in the process, by, for example, taking more than a fair share of land and thereby depriving others of a home or means to feed themselves.
Contrary to this thinking, there is a common thread running a thousand years through history. It starts with the Norman Invasion which imposed feudalism on the English people in the 11th century, it then runs to 12th century complaints about Normans hogging up land, it then runs to the Peasants' Revolt of the 14th century, then to the enclosure of the commons and depopulation of some villages to make way for wool production in the 16th century, then to English republicans denouncing this theft of the people's land in the 17th century, then to land reform efforts by whigs in the 18th and 19th centuries (including during the Anti-Rent War of New York), then to the housing crisis of the 21st century.
This is the common thread: the general public has suffered an unnecessary and unjust burden ever since a small class of people declared that the earth belonged to them alone, and imposed themselves on the villages, towns, and cities of England (later on the settlements in the colonies), by supposed right of the king, by supposed right of heaven. This insane system has largely survived until today by disguising itself as part of republicanism, but it is a remnant of feudalism. It is presented as the ideology of private land rights, when it is only the feudal theory of private land rights, and is in opposition to the classical republican theory which holds that land is a natural thing like the air, not the creation of humans, and that we all have an equal right to the land, to shelter ourselves in homes, to feed ourselves with produce, and to come together in a republican manner to decide the particulars of this equitable arrangement, like by imposing land value tax on those granted the privilege of holding more or better land than average.
QUOTES

"The same law of nature, that does by this means give us property, does also bound that property too. . . As much as any one can make use of to any advantage of life before it spoils, so much he may by his labour fix a property in: whatever is beyond this, is more than his share, and belongs to others. . . But the chief matter of property being now not the fruits of the earth, and the beasts that subsist on it, but the earth itself; as that which takes in and carries with it all the rest; I think it is plain, that property in that too is acquired as the former. As much land as a man tills, plants, improves, cultivates, and can use the product of, so much is his property. . . Nor was this appropriation of any parcel of land, by improving it, any prejudice to any other man, since there was still enough, and as good left; and more than the yet unprovided could use. So that, in effect, there was never the less left for others because of his enclosure for himself: for he that leaves as much as another can make use of, does as good as take nothing at all. No body could think himself injured by the drinking of another man, though he took a good draught, who had a whole river of the same water left him to quench his thirst: and the case of land and water, where there is enough of both, is perfectly the same."

—John Locke (Two Treatises of Government, book 2 chapter 5)

". . . a right to property is founded in our natural wants, in the means with which we are endowed to satisfy these wants, and the right to what we acquire by those means without violating the similar rights of other sensible beings; that no one has a right to obstruct another, exercising his faculties innocently for the relief of sensibilities made a part of his nature. . ."

—Thomas Jefferson (a letter to Pierre Samuel Du Pont de Nemours, 1816)

"Another means of silently lessening the inequality of property is to exempt all from taxation below a certain point, & to tax the higher portions of property in geometrical progression as they rise. Whenever there is in any country, uncultivated lands and unemployed poor, it is clear that the laws of property have been so far extended as to violate natural right. The earth is given as a common stock for man to labour & live on. If, for the encouragement of industry we allow it to be appropriated, we must take care that other employment be furnished to those excluded from the appropriation. If we do not the fundamental right to labour the earth returns to the unemployed. It is too soon yet in our country to say that every man who can not find employment but who can find uncultivated land, shall be at liberty to cultivate it, paying a moderate rent. But it is not too soon to provide by every possible means that as few as possible shall be without a little portion of land. The small landholders are the most precious part of a state."

—Thomas Jefferson (a letter to James Madison, 1785)

"It has been pretended by some (and in England especially) that inventors have a natural and exclusive right to their inventions; & not merely for their own lives, but inheritable to their heirs. but while it is a moot question whether the origin of any kind of property is derived from nature at all, it would be singular to admit a natural, and even an hereditary right to inventions. it is agreed by those who have seriously considered the subject, that no individual has, of natural right, a separate property in an acre of land, for instance. by an universal law indeed, whatever, whether fixed or moveable, belongs to all men equally and in common, is the property, for the moment, of him who occupies it; but when he relinquishes the occupation the property goes with it. stable ownership is the gift of social law, and is given late in the progress of society. it would be curious then if an idea, the fugitive fermentation of an individual brain, could, of natural right, be claimed in exclusive and stable property. if nature has made any one thing less susceptible, than all others, of exclusive property, it is the action of the thinking power called an Idea; which an individual may exclusively possess as long as he keeps it to himself; but the moment it is divulged, it forces itself into the possession of every one, and the reciever cannot dispossess himself of it. it’s peculiar character too is that no one possesses the less, because every other possesses the whole of it. he who recieves an idea from me, recieves instruction himself, without lessening mine; as he who lights his taper at mine, recieves light without darkening me. that ideas should freely spread from one to another over the globe, for the moral and mutual instruction of man, and improvement of his condition, seems to have been peculiarly and benvolently designed by nature, when she made them, like fire, expansible over all space, without lessening their density in any point; and like the air in which we breathe, move, and have our physical being, incapable of confinement, or exclusive appropriation. inventions then cannot in nature be a subject of property. society may give an exclusive right to the profits arising from them as an encouragement to men to pursue ideas which may produce utility. but this may, or may not be done, according to the will and convenience of the society, without claim or complaint from any body."

—Thomas Jefferson (a letter to Isaac McPherson, 1813)

"Establish the principle also in the new law to be passed for protecting copyrights & new inventions, by securing the exclusive right for 19 [years]."

—Thomas Jefferson (a letter to James Madison, 1789)

"Consequently there is as yet no such thing as a street except adjacent to the lots actually sold or divided; the erection of a house in any part of the ground cannot as yet be a nuisance in law. Mr. Carrol is tenant in common of the soil, with the public, and the erection of a house by a tenant in common on the common property is no nuisance. Mr. Carrol has acted imprudently, intemperately, foolishly; but he has not acted illegally. There must be an establishment of the streets before his house can become a nuisance in the eye of the law. Therefore till that establishment neither Majr. Lenfant, nor the Commissioners would have had a right to demolish his house without his consent."

—Thomas Jefferson (Enclosure: Observations on L'Enfant's Letter, 1791)

"It is a position not to be controverted that the earth, in its natural, uncultivated state was, and ever would have continued to be, the common property of the human race. In that state every man would have been born to property. He would have been a joint life proprietor with rest in the property of the soil, and in all its natural productions, vegetable and animal. But the earth in its natural state, as before said, is capable of supporting but a small number of inhabitants compared with what it is capable of doing in a cultivated state. And as it is impossible to separate the improvement made by cultivation from the earth itself, upon which that improvement is made, the idea of landed property arose from that parable connection; but it is nevertheless true, that it is the value of the improvement, only, and not the earth itself, that is individual property. Every proprietor, therefore, of cultivated lands, owes to the community a ground-rent (for I know of no better term to express the idea) for the land which he holds. . . There could be no such thing as landed property originally. Man did not make the earth, and, though he had a natural right to occupy it, he had no right to locate as his property in perpetuity any part of it; neither did the Creator of the earth open a land-office, from whence the first title-deeds should issue. Whence then, arose the idea of landed property? I answer as before, that when cultivation began the idea of landed property began with it, from the impossibility of separating the improvement made by cultivation from the earth itself, upon which that improvement was made. The value of the improvement so far exceeded the value of the natural earth, at that time, as to absorb it; till, in the end, the common right of all became confounded into the cultivated right of the individual. But there are, nevertheless, distinct species of rights, and will continue to be, so long as the earth endures. It is only by tracing things to their origin that we can gain rightful ideas of them, and it is by gaining such ideas that we, discover the boundary that divides right from wrong, and teaches every man to know his own. . . While, therefore, I advocate the right, and interest myself in the hard case of all those who have been thrown out of their natural inheritance by the introduction of the system of landed property, I equally defend the right of the possessor to the part which is his. Cultivation is at least one of the greatest natural improvements ever made by human invention. It has given to created earth a tenfold value. But the landed monopoly that began with it has produced the greatest evil. It has dispossessed more than half the inhabitants of every nation of their natural inheritance, without providing for them, as ought to have been done, an indemnification for that loss, and has thereby created a species of poverty and wretchedness that did not exist before. . . It is not charity but a right, not bounty but justice, that I am pleading for. The present state of civilization is as odious as it is unjust. It is absolutely the opposite of what it should be, and it is necessary that a revolution should be made in it. . . It is the practice of what has unjustly obtained the name of civilization. . . to make some provision for persons becoming poor and wretched only at the time they become so. Would it not, even as a matter of economy, be far better to adopt means to prevent their becoming poor?. . ."

—Thomas Paine (Agrarian Justice)

"I care not how affluent some may be, provided that none be miserable in consequence of it."

—Thomas Paine (Agrarian Justice)

"Separate an individual from society, and give him an island or a continent to possess, and he cannot acquire personal property. He cannot be rich. So inseparably are the means connected with the end, in all cases, that where the former do not exist the latter cannot be obtained. All accumulation, therefore, of personal property, beyond what a man's own hands produce, is derived to him by living in society; and he owes on every principle of justice, of gratitude, and of civilization, a part of that accumulation back again to society from whence the whole came."

—Thomas Paine (Agrarian Justice)

"The law which prohibited people's having two inheritances was extremely well adapted for a democracy. It derived its origin from the equal distribution of lands and portions made to each citizen. The law would not permit a single man to possess more than a single portion. . . It is not sufficient in a well regulated democracy that the divisions of land be equal; they ought also to be small, as was customary among the Romans. 'God forbid, said Curius to his soldiers, that a citizen should look upon that as a small piece of land, which is sufficient to support a man.'"

—Charles Montesquieu (The Spirit of Laws, book 5)

"The first man who, having enclosed a piece of ground, bethought himself of saying This is mine, and found people simple enough to believe him, was the real founder of civil society. From how many crimes, wars, and murders, from how many horrors and misfortunes might not any one have saved mankind, by pulling up the stakes, or filling up the ditch, and crying to his fellows: Beware of listening to this impostor; you are undone if you once forget that the fruits of the earth belong to us all, and the earth itself to nobody."

—Jean-Jacques Rousseau (Discourse on the Origin and Basis of Inequality Among Men, part 2)

"In general, to establish the right of the first occupier over a plot of ground, the following conditions are necessary: first, the land must not yet be inhabited; secondly, a man must occupy only the amount he needs for his subsistence; and, in the third place, possession must be taken, not by an empty ceremony, but by labour and cultivation, the only sign of proprietorship that should be respected by others, in default of a legal title."

—Jean-Jacques Rousseau (The Social Contract, book 1 section 9)

"In granting the right of first occupancy to necessity and labour, are we not really stretching it as far as it can go? Is it possible to leave such a right unlimited? Is it to be enough to set foot on a plot of common ground, in order to be able to call yourself at once the master of it? Is it to be enough that a man has the strength to expel others for a moment, in order to establish his right to prevent them from ever returning? How can a man or a people seize an immense territory and keep it from the rest of the world except by a punishable usurpation, since all others are being robbed, by such an act, of the place of habitation and the means of subsistence which nature gave them in common? When Nunez Balboa, standing on the sea-shore, took possession of the South Seas and the whole of South America in the name of the crown of Castile, was that enough to dispossess all their actual inhabitants, and to shut out from them all the princes of the world? On such a showing, these ceremonies are idly multiplied, and the Catholic King need only take possession all at once, from his apartment, of the whole universe, merely making a subsequent reservation about what was already in the possession of other princes."

—Jean-Jacques Rousseau (The Social Contract, book 1 section 9)

"The like may be said in relation to my house, land, or estate; I may do what I please with them, if I bring no damage upon others. But I must not set fire to my house, by which my neighbour’s house may be burnt. I may not erect forts upon my own lands, or deliver them to a foreign enemy, who may by that means infest my country. I may not cut the banks of the sea, or those of a river, lest my neighbour’s ground be overflown, because the society into which I am incorporated, would by such means receive prejudice. My land is not simply my own, but upon condition that I shall not thereby bring damage upon the publick, by which I am protected in the peaceable enjoyment and innocent use of what I possess."

—Algernon Sidney (Discourses Concerning Government, chapter 3 section 41)

"The like continued amongst Jacob’s sons; no jurisdiction was given to one above the rest: an equal division of land was made amongst them: Their judges and magistrates were of several tribes and families, without any other preference of one before another, than what did arise from the advantages God had given to any particular person. This I take to be a proof of the utmost extent and certainty, that the equality amongst mankind was then perfect. . ."

—Algernon Sidney (Discourses Concerning Government, chapter 1 section 12)

"Men can hardly at once foresee all that may happen in many ages, and the changes that accompany them ought to be provided for. Rome in its foundation was subject to these defects, and the inconveniences arising from them were by degrees discover’d and remedi’d. They did not think of regulating usury, till they saw the mischiefs proceeding from the cruelty of usurers; or setting limits to the proportion of land that one man might enjoy, till the avarice of a few had so far succeeded, that their riches were grown formidable, and many by the poverty to which they were reduced became useless to the city."

—Algernon Sidney (Discourses Concerning Government, chapter 2 section 13)

"That the too long continued shame of this Nation, viz. permission of any to suffer such poverty as to beg their bread, may be forthwith effectually remedied; and to that purpose, that the poor be enabled to chuse their Trustees to discover all Stocks, Houses, Lands, &c. which of right belong to them and their use, that they may speedily receive the benefit thereof, and that some good improvement may be made of waste Grounds for their use. . ."

—John Lilburne (An Impeachment of High Treason against Oliver Cromwel)

"As soon as the land of any country has all become private property, the landlords, like all other men, love to reap where they never sowed, and demand a rent even for its natural produce."

—Adam Smith (The Wealth of Nations, book 1 chapter 6)

"The thirteenth ORDER. . . every man who is at present possest, or shall hereafter be possest of an estate in land exceeding the revenue of two thousand pounds a year, and having more than one son, shall leave his lands either equally divided among them, in case the lands amount to above 2000 l. a year to each; or so near equally in case they com under, that the greater part or portion of the same remaining to the eldest, excede not the value of two thousand pounds revenue. And no man, not in present possession of lands above the value of two thousand pounds by the year, shall receive, enjoy (except by lawful inheritance) acquire, or purchase to himself lands within the said territorys, amounting, with those already in his possession, above the said revenue."

—James Harrington (Oceana)

"All Property indeed, except the Savage’s temporary Cabin, his Bow, his Matchcoat, and other little Acquisitions absolutely necessary for his Subsistence, seems to me to be the Creature of public Convention. Hence the Public has the Right of Regulating Descents & all other Conveyances of Property, and even of limiting the Quantity & the Uses of it. All the Property that is necessary to a Man for the Conservation of the Individual & the Propagation of the Species, is his natural Right which none can justly deprive him of: But all Property superfluous to such purposes is the Property of the Publick, who by their Laws have created it, and who may therefore by other Laws dispose of it, whenever the Welfare of the Publick shall demand such Disposition. He that does not like civil Society on these Terms, let him retire & live among Savages.— He can have no right to the Benefits of Society who will not pay his Club towards the Support of it."

—Benjamin Franklin (a letter to Robert Morris, 1783)

"I think it could never be, that the best of the Proprietaries located uncultivated Lands should be taxed no higher than the worst of those of the People; that being so manifestly unjust. Nor that a Medium Rate should be fix’d on for all that kind of Lands, as this would be too high for some, and too low for others. Nor that the common Rate should be taken from the worst kind; for this would lay the Burthen chiefly on that kind, which is unjust and oppressive to the poorer People."

—Benjamin Franklin (a letter to Richard Jackson, 1764)

"It gives me Pain my Lord! to observe that the prevailing monopoly of Lands in this Colony has become a Grievance to the lower Class of People in it; and confines the Bounty of our gracious Sovereign to mercenary Land-Jobbers, and Gentlemen who have already shared very largely in the royal Munificence."

—John Jay (a letter to the Earl of Dartmouth, 1773)

"That the right of the Poor, in their Commons, may be preserved, and freed from the Usurpations, Enclosures, and Encroachments of all manner of Projectors, Undertakers, &c. and that all servile Tenures of Lands, as by Copy-holds, or the like, be abolished and holden for naught."

—Leveller tract (The Fundamental Lawes and Liberties of England claimed, asserted, and agreed unto, by severall Peaceable Persons of the City of London, Westminster, Southwark, Hamblets, and Places adjacent; commonly called Levellers.)

"The right to property being inviolable and sacred, no one ought to be deprived of it, except in cases of evident public necessity, legally ascertained, and on condition of a previous just indemnity."

—National Assembly of France (Declaration of the Rights of Man and of Citizens)

The true balance of Overwatch is NOT a matter of balancing X and Y values, but a matter of the psychological effect the game has on the player.
For example, we can look at Doomfist; a very “unbalanced” or “broken” character because he had the 1 shot, CC, and crazy mobility, but in reality it wasn’t that “broken” because of the risk it came to reward.
The thing that people disliked when dying to Doomfist was not directly the 1 shot/CC/Mobility but actually the mental effect after dying, when someone dies in a video game the first they think is “how did they kill me? was that my fault? what can I do about this?” (If it’s not the team they blame), and then it raises the question “Well if Doomfist didn’t have the 1 shot/CC/insane mobility I would have lived!”
So the complaints then pile up and a decision is made; “Nerf Doomfist!” “Doomfist OP” “No Skill Hero” etc.
Fast forward the hero is reworked. Now we go back to the psychological effect of the hero. The person playing against the here “man this annoying he just doesn’t die!” “He keeps knocking me around this sucks!”
The effect the player has on the hero stays the same, but is added to it, now they player doesn’t die to Doomfist as often but still feels the CC and mobility and it’s much harder to kill Doomfist.
But now let’s take a look at the Doom players POV. The Doomfist player lost his fun part of the kit and is left with a watered down embarrassment of the former DPS version to doomfist, and their enjoyment of Overwatch has been ruined.
The “balance” of the game has shifted yes, but the psychological effect on the victim player has remained the same and also ruined on the Doomfist player.
My point im trying to make is Overwatch 2 feels bad because the heroes you love and enjoy are watered down and worse, so your enjoyment is less, and your frustration increases.

Please keep in mind that I have the opposite of infinite funds. I also wondering what to ask a solicitor, or what they can do exactly as otherwise I'm going in blind. I've lost all faith in my council to do anything for me. I'm based in England btw.
To give a brief history, In 2019, a family moved in above me and they are very noisy. They make noise until 4-5am in the morning. My flat is a bedsit and the noise proofing in this building is terrible so the noise they make comes through the floor very loudly (IE: it sounds like living inside of a drum). This disturbs my sleep and the situation is frankly making me suicidal at points. I have been fighting with the housing association and the council to try and do something about the problem, but they basically refuse to do anything and have washed their hands of the issue.
The council's Environmental protection team did install a microphone to record the noise. I didn’t receive a proper report back, just an email stating that the only noise observed was from my bedsit, with examples. I asked for a copy of the recorded noises. When I received them I could hear the noises I had recorded and challenged the team on this. To cut a very long story short they said while there was some noise but there wasn't enough noise to count as a statutory nuisance. My housing officer refuses to acknowledge the 2nd statement from the team and continually states that no noises were found.
In the end I’ve been told to take private action against the residents, but I have been unable to do this due to my mental health issues and other disabilities and lack of a lawyer.
I have been through the complaints procedures regarding this, but in both the 1st and 2nd stage complaints they have basically ignored everything. I have taken these results to the ombudsman.
I opened another ASB case with my housing officer and have access to an ASB app. I uploaded many recordings of the noise I experienced, but I was told that it cannot be substantiated that the noise is coming from the family above me, or that there wasn’t sufficient evidence. When I asked for clarification none was given. This lasted 6 months and my housing officer closed my case claiming I admitted to making the noise. Quite frankly I’m at my wit’s end with all of this.
Is there anything I can do to get them to actually take some action to fix the problem? (IE: either moving me, fixing the sound proofing in the building somehow or getting the family to be more quiet at night)

Anyone else feel like they've had enough of being told what to do, how to live, how to look, how to act etc.? I understand, agree and follow laws that protect people from harm etc., but what I am talking about here is company/social/establishment policies, thousands of rules to follow that are often minute and not at all important once you think about them - rules that seem to only benefit those by using control. I've got to an age now where I feel controlled and 'woke' in a way. I do not want to conform to society anymore. When I speak out against a rule (POLITELY - I'm not rude or hostile when I speak against something) I do not agree with (again I'm not really talking about an important law), I feel like I am being punished for it, such as via threats of legal action, threats telling me to keep my mouth shut when I say I'll go to the media/newspapers about an issue etc. To be specific about someone I know for example, a friend of mine has a child in school in the UK. They were wearing a black hoodie for PE for a long while, but then the school decided to change the uniform policy to wear a branded hoodie with the school logo on, costing a whole lot more. When she stated her complaint against this, she was threatened with CPS and exclusion. Just for speaking her complaint. She showed me a letter that the school wrote her that stated that children should be expected to follow the rules to the highest standard, but in my opinion, people should 1) yes follow rules if they are important to safety etc., which doesn't fall under these ridiculous, always-changing uniform policies, and 2) children should be taught to QUESTION authority and rules they don't agree with, not blindly do everything they are told to do forcefully. Society seems to be becoming more and more authoritarian. You are not allowed to question or speak against rules and polices anymore without OTT punishments. I often find myself saying "why the fuck should I do anything?" when a company for example tells me I must do this or that. Anyone else feel the same way?

Anyone else feel like they've had enough of being told what to do, how to live, how to look, how to act etc.? I understand, agree and follow laws that protect people from harm etc., but what I am talking about here is company policies, thousands of rules to follow that are often minute and not at all important once you think about them - rules that seem to only benefit those by using control. I've got to an age now where I feel controlled and 'woke' in a way. I do not want to conform to society anymore. When I speak out against a rule (POLITELY - I'm not rude or hostile when I speak against something) I do not agree with (again I'm not really talking about an important law), I feel like I am being punished for it, such as via threats of legal action, threats telling me to keep my mouth shut when I say I'll go to the media/newspapers about an issue etc. To be specific about someone I know for example, a friend of mine has a child in school in the UK. They were wearing a black hoodie for PE for a long while, but then the school decided to change the uniform policy to wear a branded hoodie with the school logo on, costing a whole lot more. When she stated her complaint against this, she was threatened with CPS and exclusion. Just for speaking her complaint. She showed me a letter that the school wrote her that stated that children should be expected to follow the rules to the highest standard, but in my opinion, people should 1) yes follow rules if they are important to safety etc., which doesn't fall under these ridiculous, always-changing uniform policies, and 2) children should be taught to QUESTION authority and rules they don't agree with, not blindly do everything they are told to do forcefully. Society seems to be becoming more and more authoritarian. You are not allowed to question or speak against rules and polices anymore without OTT punishments. I often find myself saying "why the fuck should I do anything?" when a company/establishment for example tells me I must do this or that. Anyone else feel the same way?