To clarify, I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

This is my attempt at a re-submission due to some misunderstandings on the first attempt. I now know that there are different definitions of the word “ship”, but for the purposes of this article and to keep things simple I will use the definition of “a relationship that’s rushed and/or forced with no real development.” I hope you can understand as I do not know of any other single word to describe that concept. If you do, perhaps you can tell me. Also, fair warning, this is long form content (some 10 pages), if you like it but can’t read it all at once you can save it and come back to it over a period of time, or you can stop reading whenever you get tired of it and still discuss those parts of it with me that you have read. But keep it civil if you want a civil response.
With that, to qualify the title, no, Ezra and Sabine do NOT absolutely have to be a couple, but if they were to become one, it would NOT be a ship. Ezra and Sabine’s relationship has had years of development. Could they remain as simply friends? Yes, but ironically, it was their “friendship” that felt like more of a ship. It felt like the Ahsoka show, helmed by Dave Filoni, was going out of its way to tell us: “no, they’re not a couple, they’re just friends.”
I believe that Filoni made some very poor writing choices to stress something that didn’t really need to be stressed, such that it almost felt like he was in denial. The line “I love you like a sister” was never in Rebels, Filoni essentially had that retconned in, and like many I was put off by their (largely) emotionless reunion. Even if they were “just friends” I believe there would be a great deal more emotion displayed between two people that hadn’t seen each other in some ten years, especially when one of them was in a precarious situation when they parted. I also believe Ezra would be far more curious about Sabine being Force sensitive, perhaps even offering to help train her when she told him that her training hadn’t gone as well with Ahsoka. He did help to train her with the Darksaber, didn’t he? Why that never came up is another discussion, but for now, let’s focus on shipping.
In case you think I’m desperate to have them as a couple, no I’m not. I’m about the furthest thing from it. Like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers) I DESPISE shipping. Absolutely DESPISE it. With a flaming passion. Perhaps for this reason, and maybe some others, like many millennials and Gen-Z’ers (and perhaps some Gen-Xers and boomers), I’m generally wary of nearly all romance in fiction, and generally avoid it in my own work. The sad reality is that romance is perhaps the most abused genre in all of fiction, all throughout history. It has been so badly abused that many people, including myself for the longest time, have equated romance with shipping, though I’m slowly beginning to see that they are not the same thing, and one does not necessarily have to go with the other.
But sadly, many writers, through time immemorial, have not been able to separate them, going back into ancient times and perhaps even into pre-history, that is before languages were actually written down. Some of what is considered great literature; classics like Romeo and Juliet, are predicated on shipping, though at least the consequences of this “whirlwind romance” are shown to be fairly stark. Star Wars itself is no stranger to shipping, resulting in a very awkward incestuous kiss when Luke was shipped with Leia, then Leia was placed with Han and Lucas made Luke and Leia brother and sister, apparently having forgotten his original ship. Later Lucas essentially shipped Anakin and Padme, resulting in some of the most cringeworthy dialog in the history of film. Many fans of the Prequels even have been somewhat critical of Anakin’s portrayal, particularly in regards to the “romantic” scenes, with many describing them as “creepy”. Some have speculated that this was intentional, though personally I think it was just the result of bad writing on the part of George Lucas, and an impatience on his part for Anakin and Padme to become a couple, hence “shipping”.
One might wonder why this is so prevalent in fiction, and tragically, one does not have to look far. Fiction is merely a reflection of reality, therefore the reason that shipping is so common in our stories is that we fall so easily into it in real life. Indeed, entire cultures may be based around shipping, or at least very heavily wrapped up in it. Throughout history arranged marriages have been the norm, and the idea of marrying for “love” is something relatively new. To be fair, I’ve actually met people in arranged marriages who seemed to be fairly happy, but those same people were very open in telling me that many despise that aspect of their culture, and that it is quite normal for those in an arranged marriage to try to get out.
People might come together for “love” without marrying, but even then it often creates expectations that might turn into a burden. Even when a marriage is voluntary and for “love”, people are often left unsatisfied, such that today in the West the divorce rate is something like 50%. Happy, stable, long term relationships seem to be the exception across cultures and across the breadth and width of time. And yet pursuit of love and some kind of relationship seems to be the highest calling for many people, both in real life and in fiction. And it could be that the accumulated disgust is finally starting to boil over.
To be fair, this may not be the first time in history that the pendulum has shifted. You may recall that in Victorian times attitudes changed drastically, as compared to the previously bawdy Elizabethan times. Looking at a play from Shakespear, if you can understand the language, you’ll see all kinds of vulgar references, as well as what I believe are fairly sappy romances like in the aforementioned Romeo and Juliet, though I can’t say for certain whether Shakespear was actually endorsing that type of attitude towards “love” or presenting it as a cautionary tale, maybe even something to be ridiculed in some of his other plays.
But regardless, Victorians as you may well know had a very conservative attitude towards anything to do with romance, and would often avoid the subject in many places, or tread very carefully around it, as if walking on eggshells. It’s not that people stopped being romantic, in fiction or real life, but it was treated as something very serious and even dangerous, with many urges repressed or even suppressed entirely. This had all kinds of effects on society, both positive and negative. On the positive side, it reinforced the ideal of people being committed to their partners, and of marriage as a sacred institution rather than a “casual hookup” as was more common in Elizabethan times. Likewise it reinforced ideals of modesty and chastity, which may be coming back into vogue, though under different names. But just as there were positive aspects to these attitudes, so were there negative ones.
Just because the urges I described were repressed did not mean that they disappeared. In fact, they often morphed into things that many would consider “unhealthy”. From one statistic that I saw, in Victorian times about one in every 60 houses was a brothel, with the modern rate being closer to one in 6000. Additionally, the rights of women were often repressed, such that they could not fully express themselves and find their own identity, and path in life, as individuals. Just as Elizabethan ideals gave way to Victorian ones, so did the Victorian ideals gradually begin to erode.
Perhaps it began with the Jazz Age of the 1920’s (the “Roaring Twenties”), or with the increased interconnectivity of people traveling to different parts of the world during World War I, not to mention the cynicism that pervaded throughout the West in response to failed old ideals leading to the deadliest war in history up to that point, but many Victorian ideals began to be seen as a joke, and even resented for their “oppression”, which to be fair was not entirely unjustified. But regardless, people gradually, and at times not so gradually, became more and more “liberated” and promiscuous. This culminated in the Sexual Revolution in the late 1960’s, when what had previously been seen as a vice and even a sin was now seen as not only “normal” but as a healthy form of expression, a virtue even. And just as these ideas were embraced in real life, so too were they reflected in our films, TV shows, and other media, often to the consternation of older people and institutions, like the Vatican. The Catholic Church even went so far as to “ban” certain films, that is to declare them immoral for good Catholics to watch. Many of the films that were banned back then, or at least controversial, like The Graduate with Dustin Hoffman, are fairly tame by today’s standards.
It continued through the 70’s, at times warming and at times cooling through the rest of the century, until you could argue it reached a kind of crescendo in the early 21st century with the advent of so-called “dark romance” and the publication of books like Fifty Shades of Grey. (Ironically, many of the themes within this “dark romance” can trace their roots back to the Victorian era, yet another indication that repressing urges without addressing them often doesn’t work out as one might hope.) But as happens all too often, just as something reaches peak popularity is when it begins to go out of style, and that is what we may be experiencing right now. As weird as it may sound, we may actually have come full circle and may be on the cusp of a “New Victorian Age” (complete with “dark romance”, even). Web sites like Porn Hub and OnlyFans, as well as other similar sites, may be the new “brothels”, and what was once openly celebrated may be going underground, to an extent. The effects of this on society have been interesting to say the least, and at times I would even say bizarre.
Whilst many younger people seem content with these changes, many older people are concerned. I’ve seen a number of books, films, and other media receive positive reviews for example based specifically on their lack of romance. Many of these books/films, etc. fall into the “young adult” category, meaning that it is young adults obviously who mostly consume them. At the same time I’ve heard a number of older people, mostly boomers and Gen-Xers, criticize these same books/films for their lack of romance. Even some older millennials seem upset by the changes, as perhaps evidenced by Jennifer Lawrence’s latest film No Hard Feelings (though to be fair that film may be lampooning the older generation’s frustration as well as the younger generation’s frigidity). So just as in the past older people were concerned about the promiscuity of the youth, now it actually appears that many older people are concerned about the youth’s lack of promiscuity.
Who could have seen that coming? But to be fair, the younger generation hasn’t gone completely frigid. As stated earlier, much of the promiscuity has gone “underground”, or online, which many would argue is not very healthy as it might undermine actual relationships, whether they are romantic in nature or simple friendships. And speaking of that, friendships within stories nowadays often aren’t portrayed in a very authentic or compelling manner, perhaps because in ditching romance modern writers haven’t quite yet learned how to replace it with something else. In other words, the “New Victorian Age” may not be an exact repeat of the previous one, but may have its own twists and turns, for better and for worse.
This may all essentially be a manifestation of the Human Condition, in that we just can’t seem to find a happy medium, neither in real life nor in fiction. Thus we keep swinging from one extreme to the other, apparently getting wilder with each swing.
So where does all this leave us? What is it that we really want in our lives, and in our stories? Especially in regards to relationships? I think at some level we all want to see good and healthy relationships between people and/or characters, whether romantic or platonic. I believe at some point we would like to see good examples of both friendship and romance, and I would argue that the best examples of romance have them combined. Even a toxic relationship, if well portrayed or documented, can be instructive and serve as a good example of what to avoid in our lives that we might be happier and relate better to each other. A good relationship, by contrast, can give us something to aspire to and inspire us to not only look for the right kind of person to complement our lives, but to make ourselves worthy of that person. And here I’ll add that I’m perfectly aware that in real life (and thus in fiction) relationships can be very complicated and heavily nuanced, with elements of both “good” and “bad” in them. Just as people change over time so can the relationships between them change, at times getting better and at times worse, sometimes breaking entirely and sometimes growing stronger. Relationships can have just as many layers and dimensions as characters, more even perhaps, and a skilled writer should be able to reflect this complexity. At other times a relationship can be fairly straightforward, simplicity sometimes being the best approach. But regardless, the audience should be able to relate and identify with what they are seeing, such that hopefully they can incorporate the lessons from it in their own lives.
Where can we find good examples of relationships to study? There may be a number of them in the real world, but the trouble with studying real world relationships is that they’re often much more complicated than fictional ones (just as real people are more complicated than fictional characters), and for many of them it is almost impossible to know all the details and nuances because they are often kept private, understandably so, and even if they aren’t it can still be difficult, due to unique circumstances, to see how to relate them to our own lives. Additionally there may be far more disagreement about a real life situation than a fictional one, with many more points of view. To keep things simple, for the purpose of this article I would like to focus on fictional relationships. (And fair warning, there will be some spoilers.)
One of the best places to look, I would argue, would be the films of Hayao Miyazaki. (And this is pretty significant to Star Wars as you will see in a bit.) A film of his that stands out to me the most is Princess Mononoke. Like many of Miyazaki’s films it has elements of romance, and yet subverts them in a way that makes complete sense and feels very genuine, without taking away from any of the accompanying charm. It starts with two young people, San and Ashitaka, and as soon as they encounter each other there is a kind of expectation of romance. This may be inevitable to some degree when you have a man and a woman of about the same age encounter each other in a story, especially if they happen to be adolescents. The expectation may not be inherently bad, and Miyazaki does play with it. Both characters are thrust into dangerous situations, at various points end up saving each other’s lives, and at a certain point I think it is obvious that they have feelings for each other. I was certain that at the end of the film, they would be together, and if things had gone that way, it would make complete sense. Instead, they go in different directions, but remain good friends, and considering their backgrounds and differing worldviews, this ends up making even more sense to the story.
Essentially, Miyazaki could have gone for the more conventional, tried and true “love conquers all” narrative, where the characters’ feelings for each other would negate everything that comes between them, they would somehow find a common ground in spite of their differences, the romance would not only take over the narrative but somehow also solve all the problems in the story, and then the couple would live “happily ever after”. Such an approach is not inherently bad or wrong, and is fairly common in Western media and storytelling. We can see it in films like Fern Gully, and more recently James Cameron’s Avatar, both of which have been compared to Princess Mononoke. As you can probably guess, the problem is that at a certain point such a narrative can become fairly simplistic, and lack nuance.
Miyazaki’s films, by contrast, are very heavily nuanced, and are anything but simplistic. In Princess Mononoke the characters San and Ashitaka don’t help each other simply because they are “in love”, but because it is the right thing to do, regardless of how they might feel about each other. Yes, romantic feelings are certainly alluded to, but they are not essential to the plot, for it could have worked just as well without any romantic allusions. And ironically, this makes those allusions even more valid, even if they are unrequited. How so?
Consider that if love is essential to a given narrative, is it not relegated to being nothing more than a plot device? Again, this is quite common in Western media and storytelling, and is not inherently bad or wrong, but when it becomes a trope or cliche, I believe it is the essence of where shipping comes from. Many storytellers get caught up in this, usually without realizing it, and while a story can still work even with shipping, I believe that it usually works that much better without it.
This extends not only to Miyazaki’s handling of romance but also to other things like environmentalism, the conflict between man and nature, and the contrasting ideals of human progress vs. preserving the natural order. Movies like Fern Gully and Avatar, as already mentioned, handle these themes in a fairly simplistic and I would even say hamfisted manner, whereby all progress and technology is shown as being inherently “bad” and in service to “evil”, while everything that’s “natural” is shown to be inherently “good”. Even our notions of good and evil, and right vs. wrong, are challenged by Miyazaki, with nearly all of his characters having complex motives and multiple dimensions to them, as well as understandable reasons for doing the things that they do. Rarely can any one of his characters be branded as a simple “villain”, and rarely is any one individual the source of conflict in his stories, again in contrast to most Western narratives.
I’ll reiterate once more, a simple, straightforward narrative is not inherently a bad thing, whether the themes being dealt with are romantic or anything else. Sometimes it is in fact the best approach. But the best stories in my opinion are usually the most nuanced, that challenge our notions of what we believe to be true, and that force us to think about what we do with our lives and what we could do differently. To that end Miyazaki introduces all manner of themes and motifs within his films that are familiar to us but shows them in a light most of us might not have considered, thus giving more dimension to our understanding of things.
“How is any of this related to Star Wars?” you might ask. It is quite related, and you don’t even have to look all that closely to see it. A very influential figure within Star Wars was very heavily inspired by the works of Miyazaki, and that figure is Dave Filoni.
This video shows the connections in some detail:
https://youtu.be/Q_4L0BbSpHo?si=04jDo6qFCnZT135w
But to summarize if you’ve seen any of Miyazaki’s films, especially Princess Mononoke, I think the callbacks in Filoni’s work will be all too obvious, especially in Star Wars Rebels. Some of the scenes in Filoni’s work look like they were taken directly from Miyazki’s films, and many of the same themes and motifs often come up. The relationship between San and Ashitaka I would argue is very similar to the relationship between Ezra and Sabine, and not just because both couples rode wolves together.
Incidentally, Dave Filoni was also heavily involved in Avatar: The Last Airbender, which I would also argue was at least to some degree inspired if not by Miyazaki then by Japanese anime in general. The relationship between Aang and Katara was developed with great care and was allowed to build very slowly, as opposed to simply shipping them. Likewise other characters very gradually developed as individuals and in their relationships, at times stumbling as they did so, and making mistakes, before finding their way back to the right path.
All of this is in stark contrast to George Lucas, whose character development is often very rushed at best, and at times some might say almost non-existent. So essentially, even though Lucas has said that Filoni has been “like a son” to him, and I believe referred to Filoni as his “padawan”, I would argue that Filoni is ultimately as much a student of Miyazaki as he is of Lucas.
Again, you might ask, “What does all this mean for Star Wars?” It means a great many things. It means that Dave Filoni has taken Miyazaki’s lessons to heart, and can handle things like romance, as well as other kinds of relationships, quite well most of the time. Like Miyazaki he can play with romance, tease the audience with it at times even, leave the romance unrequited, and yet still have it feel satisfying. A prime example of this is the love triangle that Ahsoka was involved in with the young Separatist Senator, Lux Bonteri, and Steela Gerrera. As wary as I am of romance and as much as I despise shipping, love triangles I normally despise even more, but this one seemed to actually work. It never took over the main story, and even though Ahsoka’s feelings were ultimately not reciprocated, she still learned from the experience, and grew and developed further as a character because of it. The other characters involved in this triangle also grew and developed from their involvement, though unfortunately not all of them made it. All in all it was a good bit of storytelling and gave the audience something to consider.
When a relationship in one of Filoni’s stories does bloom into a full blown romance he also generally handles it quite well. For one Filoni is sparing with actual romance, so that when it does occur, it can be that much more appreciated. And rather than rushing or shipping it, Filoni normally takes his time to build it up. An example of this is the relationship between Kanan and Hera. Some might argue that this is perhaps the best developed romance in all of Star Wars, at least in Canon. Built up over four seasons, at times it wasn’t certain whether it was a romance or a friendship, or perhaps even a professional partnership. Perhaps even the characters themselves were not certain, though it was hinted all throughout the narrative that something was going on. To this day I don’t believe anyone can say definitively when it became an actual romance, and I believe Filoni did this intentionally because he wanted to be subtle, rather than making things too obvious and having the romance take over the narrative, as it usually does. When it finally did become obvious as to what was happening, it felt very much earned, in a way that is seldom accomplished in other works of fiction, including Star Wars.
The relationship between Ezra and Sabine was also fairly well written, for the most part anyway, at least in Star Wars Rebels. Ezra was almost immediately smitten with Sabine, but being a young teenage boy, it was understandable that he would feel that way about an attractive girl. Over time he learned to see her more respectfully, as a colleague and even as part of his adopted family, not just as a pretty face. Sabine for her part found Ezra annoying at first (c’mon, what teenage boy isn’t?), but as he matured and she found out more about him she came to understand and respect him more, and see him as a friend and almost a brother, with there being potential for something more.
There were times when the relationship could have been better written, like in the episode “Blood Sisters”, where Ezra was written to be a bit too immature to make Sabine look wiser. But overall, the bond between them developed fairly well; both saved one another at various times, and took risks and made sacrifices for each other’s sake. Both reassured and comforted the other when they needed it, and it was endearing to hear their banter when they became more familiar and trusting of each other.
So why then was I so disappointed in how they were portrayed in the Ahsoka show? The thing is, after how well their relationship was built up in Rebels, as I’ve already mentioned it was strange to see how lackluster and uninspired their reunion was.
Within the Ahsoka show itself Sabine was shown to be almost obsessed with finding Ezra, living in what used to be his home, watching a recording of him over and over again, and calling out his name as she woke up in the middle of the night. She even risked bringing Thrawn back into the Galaxy, which ultimately happened, just so she could see Ezra again. After all that, when she finally does encounter him, her reaction seems fairly casual, as does his, as if they’ve been apart for no more than a week, rather than 10 years. Not too much happens between them afterwards either. Like I said Ezra does not appear all that curious about what happened with Sabine, how she found him, and how it was that she was now Force sensitive. Sabine likewise did not seem curious about what had happened with Ezra, and how he had gotten away from Thrawn. And with Ezra rescued and returned home, suddenly it didn’t seem as though Sabine was all that interested in him anymore, nor he all that concerned with her, though they were just as far apart as they had been at the start of the show. To be completely honest it made me wonder what the point of the whole show was. Were they just working to set up Thrawn’s return to the Galaxy? As some have said, Ezra felt like nothing more than a Macguffin in the show. Was Sabine and Ahsoka’s search for him just a plot device?
Considering how skillfully Dave Filoni had written his stories in the past, what happened in this latest project of his does not make much sense. Was he so concerned about “shipping” and so desperate to avoid it that he inadvertently “shipped” them in the other direction? Was there some sort of external pressure on him about how to write this story to have more of an appeal to “modern audiences”? Maybe some combination of those factors?
And here I’ll add that when I say “modern audiences” I don’t mean that in a contemptuous sense, though you may think I do. If there is any contempt on my part it is for those in charge of telling our stories, or those in charge of those telling our stories, who do not seem to grasp these basic truths. The truth is that audiences at their core don’t really change throughout the ages, only superficially so. Trends come and go but certain truths and ideals are eternal, and universal. How people relate to each other fundamentally does not change, whether they are friends, or more than friends. And deep down, I believe everyone (or nearly everyone at least) wants the same things. Nearly everyone at some point wants some kind of a connection with another human being, to know that they are not alone in the world, and to know that there is someone else who sees and understands things as they do. While this desire can certainly lead to abuse, and absolutely has, it is still innate to us and is not inherently wrong. Finding ways of connecting and relating to other people is one of the great challenges of life, but many would argue it is the most worthwhile of challenges. It may be the whole point of life if you think about it. As complex as it may be, many would argue it is what makes life worth living, and likewise makes for the best stories. Just as it may be the whole point of life many would say that is what most stories are about at their core: people trying to relate to one another.
Sadly, just as in real life, most stories unfortunately don’t quite get it, and the Ahsoka show in my opinion was an example of this, made all the sadder by the fact that Dave Filoni had done quite well with these characters up to that point. We may never know for certain what exactly went wrong and why, or if it can ever be “fixed” at this point, but I can’t help but feel curious. Maybe in the future Filoni will find a way to make it make sense, but I’m not sure how. And to be completely honest I don’t feel quite as enthusiastic to find out as I used to.
Also for the record I would like to add here that there are other factors that put me off from the show, such as Sabine’s Force sensitivity, that came about without much build up. But in this article I specifically wanted to focus on shipping because there seems to be so much misunderstanding around it.
I hope that I was able to clarify some, if not most of this misunderstanding, so that people could better appreciate what shipping is, where it comes from, as well as what it isn’t. Many people today are understandably sick of shipping characters, myself included. But I hope people realize that in overcompensating for something, we often come back around into the very thing that we are overcompensating for. Or sometimes, into something even worse. This may apply to nearly every facet of life, by the way, not just shipping. Finding a happy medium in how we portray our fictional relationships may help us to better understand relationships in real life, as well as how to navigate them. Neither fictional nor actual relationships can ever be perfect but they can always be better. To this understanding then I hope that I was able to give my own modest contribution, and if nothing else I hope we can connect on that.

....
https://zenodo.org/records/6210570
https://ibb.co/0V8yCGB
https://ibb.co/JvncMQ4
https://ibb.co/pLc96p2
https://ibb.co/NVq0CFk
https://ibb.co/sFy0xDY
She looks like Jennifer Doudna, literally:
https://ibb.co/gD5rPy9
What if?
What if the lipo-nanoparticles and the ACE2 gene-silencing CRISPR RNA-gene-drive 'inoculation' program are part of Club of Rome's Odum's "reduce America's population by 2/3rds hopefully voluntarily by 2030?" What if this was and will become Utopia? What if Deagel's 2025 population statistics that accounts for this 2/3rds population reduction, which was sponsored by Kissinger, the Rockefeller foundation and Edwin Deagle Jr., knows more about this?
https://ibb.co/Pr9YffM

"The analysis of the SARS-CoV-2 structure in light of the functioning of the CRISPR-Cas9, Cas12a and CasX mechanism suggests that the virus is man-made through genetic modification. [...] Covid is not acting like other viruses and many various symptoms in human body have been observed. [...] The modifications in the backbone’s phosphate group induced by CRISPR engineering create a highly imbalanced state. The entropy and therefore the repulsion forces strongly dominate in this type of virus."

What if they gave you AIDS and sterilized you? What if the optimal CRISPR-Cas9 lock-on markers out of any nGG, ie markers for future gene editing, was part of the plan? And hopefully none of this is sexually transmissible. Sticking a peen in an Extinction Level Event... is it worth the risk? We should ask Ian this. He did look grayer after screwing Jessica.
https://ibb.co/bvcf1F7
https://ibb.co/b2JcCS1
https://ibb.co/3TK03M0
https://ibb.co/HPs7nX8
https://ibb.co/Rvb0ZDB
Utopia (UK):

• "SARS doesn't exist."
  
• "The planet can support only 1 billion."
  
• "We leave 5 to 8% unaffected."
  
• "Janus consists of protein and an amino-acid." (CRISPR)
  

I chose my own people."

Spikeopathy’: COVID-19 Spike Protein Is Pathogenic, from BOTH Virus and Vaccine mRNA

https://mdpi.com/2227-9059/11/8/2287

The modification of mRNA with N1-methylpseudouridine for increased stability leads to the production of spike proteins for months.'

Uncanny similarity of unique inserts in the 2019-nCoV spike protein to HIV-1 gp120 - withdrawn (January 2020)

https://biorxiv.org/content/10.1101/2020.01.30.927871v1

Amino acid residues in all the 4 inserts have identity or similarity to those in the HIV-1 gp120 or HIV-1 Gag."

What's the common denominator? European DNA. The injection is ethnically adjusted to deplete ACE2-expression of European DNA but not those carry k26r polymorphism, ie. Ashkenazi J's and the Amish.
https://ibb.co/2KNmdCH
Where is ACE2 located? Also in mitochondria, the cell's battery. Why cancer? CRISPR, mitochondria and p53 disruption, oxidative stress. Once modRNA gets into cells, they're released to hijack cell's machinery to produce full-spike proteins, endlessly. Spike proteins downregulate ACE2-protein expression of mitochondrias and silence p53 the guardian of genome. And the CRISPR Cas9/Cas12a awaits for gRNA to act.
An idea of giving cells the instructions to synthesize pathogenic spike-protein to develop immunity is imbecilic in the first place. But urging people to get one without a prescription promising getting back to normal (that's been destroyed for this purpose) - a crime.
But Rockefeller's (Rockefellos) Cub of Rome would never think of doing anything like this. The network in Utopia is fictional, right? Read Kissinger report, read the Jaffe memo!
Rockefeller's Population Council:

"fertility control agent' designed to lower fertility in the society by 5 to 75% less than a present birth rate; to be included in water supply in urban areas." (1969).

https://ibb.co/7gJBNwq
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https://ibb.co/kQkHmkk
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https://ibb.co/N2p6vms
You see, just like women refused to smoke in public until they saw it as a form of liberation. Covid is our liberation. If things go to plan. We won't know for many years.
The public would never support the most powerful men working to reduce the numbers of the "lower class" until we saw OURSELVES as a deadly virus to the planet. That's been the goal from the get-go.
In the population control document that Rockefellers sponsored it suggests multiple methods of involuntary sterilization such as adding “fertility control agents” to water supplies, temporary sterilization of all young women “via time-capsule contraceptives,” and compulsory sterilization of men with three or more children.
Those are just ideas they floated, it's not like they ever funded or implemented them. It's not like they made an anti-fertility vaccine! They did.

Its not like they ever went thru with an actual involuntary roll out of this tho, we woulda heard about it!

You might have seen this 2014 story "debunked." In 2014, Kenyan doctors found traces of HCG in Tetanus vaccines being distributed by WHO/funded by Gates. Why is this important?
HCG is the same pregnancy hormone that is used in conjunction with Tetanus in that SAME ROCKEFELLER FOUNDATION FUNDED INDIAN INFERTILITY VACCINE. Doctors in the Philippines and Mexico also claimed to have found HCG in their WHO distributed Tetanus vaccines in the 90s (they did). The WHO didn't fund the development of that Indian vaccine (BECAUSE THE ROCKEFELLER FOUNDATION DID)!
https://ibb.co/cyXwns8
https://ibb.co/y5QVdc6
https://ibb.co/bXNNmhS
https://ibb.co/bKfNqrf
It is important to note that this Anti-fertility vaccine has been in development since 1988 thru 2014 to this day.
It does appear as if the Rockefellers have implemented their "involuntary fertility control" and have used Tetanus vaccines as cover to test this pet project of theirs, but that's speculation.
The goal of the network also reminds me of "Children of Men," originally published in 1992 and set in England in 2021.
https://ibb.co/V3fyDKH

"Armageddon Begins - Russian Detonates Nuclear Bomb, Kazakhstan Annihilated." The newspaper reads in opening of the film.
Children of Men' (2006) Plot - In the year 2027, after 18 years of total human infertility, war and global depression have pushed society to the point of collapse as humanity faces extinction.

Did you know that "Children of Men" was written by Phyllis Dorothy James, referencing Pat Frank's "Mr. Adam" and "Alas, Babylon" written back in 1950s?
Given the quality of sperm declining due to fluoride, chemical exposure and such, and mRNA-medicine affecting fertility of men and women, that's the exact match.
Joel E Cohen, the Rockefeller University Professor on Population heavily acknowledged the significant drop in fertility rate of white populations in US and EU, explaining driven immigration to sustain the level and boost 'economic prosperity.' As the saying goes, Just as the Egyptians made G‑d’s firstborn (the Israelities) suffer, G‑d punished - measure for measure - the Egyptians’ firstborn. All the firstborn would lose the life-energy that until then kept them alive." This is the 188th Mitzvah and accompanies the gene drive which is Janus to a T. Bye, bye!
https://ibb.co/y41N4NK
https://ibb.co/vBdPw1x
https://ibb.co/rdtvXDH

Angiotensin-converting enzymes (ACE) play a dominant role in fertility (2013):

https://pubmed.ncbi.nlm.nih.gov/24152441/
To solve population bomb, just sterilize the entire world with:

• release bioengineered disease binding and exploiting ACE2
  
• silence gene expression through CRISPR-Cas9 mRNA
  

https://ibb.co/L69ngrf
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Presented for your viewing:
https://ibb.co/wrz03dk
https://ibb.co/JWZt7bL
https://ibb.co/qnSyYVp

CRISPCas9 gene drives in genetically variable and nonrandomly mating wild populations (2017)

https://pubmed.ncbi.nlm.nih.gov/28560324/

A drive targeting Ace2 might therefore conceivably be used for direct population suppression.”

DARPA invests $100m in gene-drive technology - new gene-editing technology, which many people fear could lead to deliberate and unintended damage on a huge scale (2017):
https://eandt.theiet.org/content/articles/2017/12/darpa-invests-100-million-in-gene-drive-technology/…
Harvard, Wyss Institute - CRISPR-Cas9: Gene-drive:
https://wyss.harvard.edu/media-post/crispr-cas9-gene-drives/

Little is known about the role of p53 in the regulation of ACE2. An earlier study reported that p53 suppresses the replication of coronavirus through ACE2 degradation in humans.”

https://researchgate.net/publication/350180861_A_tissue-_and_gender-specific_regulation_of_the_SARS-CoV-2_receptor_ACE2_by_p53_in_pigs
https://ibb.co/wzxtjHh
https://ibb.co/8mJ455t
And to conclude, Epstein associate George Church, who said arranged marriages using gene sequencing as Haredim have been doing is ideal; Epstein associate Martin Nowak - Evolutionary dynamics of CRISPR-Cas9 gene drives (2016)...
https://biorxiv.org/content/10.1101/057281v1.full
...with Matthew Liao, want to design humans using gene editing.
https://ibb.co/QdqsfyJ
https://ibb.co/zQv8rDs
https://ibb.co/PQtDgvh
https://ibb.co/jDQkB7x
https://ibb.co/TR023k6
https://onlinelibrary.wiley.com/doi/10.1111/bioe.12519

The Rockefeller Foundation - Bionics, Transhumanism, and the End of Evolution (2019):

https://foresightfordevelopment.org/video-library/bionics-transhumanism-and-the-end-of-evolution
Here's the end; how fun it will be, how fun, indeed:
https://ibb.co/8rbdNzY
In Grant's drawings it says they put the ghost cell in the buffalo and the man eats the buffalo and rots. People won't physically rot from consuming the food, they'll just be sterilized when they take the vaccine, or they will, because Prions.
Like I'm crazy so don't take too much of what is posted here that seriously, but do if your life depends on it.
Utopia experiments manuscript was the plot for 2025. I'm shaking in my socks.

Recently I got surgery on my knee from a football injury. They took my blood before it, and because I do biology at school, I looked at the results when I was bored afterwards. One of the things it said was that my blood type is AB positive, which I thought was quite cool, since it isn’t very common. I already knew my father’s blood type is A negative because he donates blood, and I had gone with him a couple of times. My mother had come to visit me, and I had asked her if her blood type was AB positive or B positive. I wanted to know because I find genetics really interesting, and I’d always liked doing punnett squares and knowing how things work. She asked me what I was talking about, and I asked her which one of those her blood type is. She said it was O positive, and asked me why I wanted to know. I said that was impossible, and she must be confused. She said I was the one on pain medication, so I was confused. And that it was just blood, I’m healthy and fine, so that’s all that matters.
I thought I must be confused, so I looked it up online, and like I thought, it was literally impossible that I could have that blood type. My mother had to have either AB positive or B positive blood, because otherwise I would have A type blood or O type blood. I figured that maybe she had just forgotten, since both my test and my father’s ones had to be right. But it just seemed a bit weird, so when I got home I looked at one of the papers my mother had kept in the drawer from when she had some medical tests done. And it said that she had O positive blood. I was just confused. I knew there had to be a mistake, somehow. Maybe the hospital had done my blood wrong, or they had written my mother’s blood down wrong. I didn’t even consider my parents weren’t my parents, it just didn’t seem possible. There were photos of me as a newborn, my mother holding me, I look like all of my siblings.
I could have just let it go, but it just didn’t seem right. While my mother was at work, I went through more of the papers. Every single time, it was O positive. I just thought rationally, and decided that they must have taken my blood wrong. I had gotten a couple of blood tests in the past as a child, and I managed to find them at the bottom of the drawer. They all said AB positive. There had to be some kind of explanation, so when my mother came home, I went and talked to her and I told her that with our blood types, I couldn’t be their child. And I wanted to know why, and if she knew why, and if I got mixed up in the hospital or had a blood transfusion or something. She said to wait until my father came home. I was just so confused, I didn’t get how this was possible.
Then when my father got home, they ended up telling me what had happened. My sister, or my actual mother, became pregnant at fifteen. My parents wouldn’t tell me anything about my father, I don’t know much they do know, but they said that instead of having my sister be ashamed and tied down with a child because she was sixteen when she gave birth, as soon as I was born, I became their child. My parents lied to everyone and said it was a cryptic pregnancy. Because my sister didn’t show much, and they didn’t tell anyone, no one knew. They adopted me when I was very young. The rest of my parents’ children were all quite young when I was born, the eldest was eleven. She knew, but the rest of them didn’t and thought I was my mother’s baby, because that was what my parents told me. Everyone thought I was, because I look a lot like the rest of my family. I always thought I looked a little bit different, but I figured it was genetics, I’m never going to look the same as everyone else. My parents said they didn’t want me to know about it, I didn’t need to know, but there was no way they could explain this and I was old enough to understand it now.
Now it feels like everything I thought my life was isn’t real at all. I thought I had six siblings. Four sisters, and two brothers. I thought I was the youngest, I only very recently turned eighteen. My sister, or my mother, lives in a city about three hours away. I don’t know a lot about her because she moved away from home when I was three. I would see her occasionally, and sometimes at holidays, but not often. Maybe about four or five times a year. She doesn’t seem like she is my mother, I always thought she didn't really care much about me. While quite a few of my siblings would fuss over me and play with me when I was little and go to my important games, she mostly ignored me. I only have a couple of significant memories with her and she definitely wouldn't be proud of me or anything, there's nothing special about me.
I used to ask my mother about her but she never told me much about her. I don’t know what I’m supposed to do next. I have a good life, I know I do and I'm lucky. But now I don’t even know who my father is, it’s like part of me is missing. I don’t know why I look like I do, literally all I know is what his blood type is. I'm really confused. Now I know, I don't know if I'm supposed to talk to her about any of this, or if she just wants to leave her alone, which I would understand. I really don't know what I'm supposed to do now, I think my parents are a bit disappointed I know now, and in some ways I am too because now I know everything I thought was real isn't. I want to know about my father, I want to know about part of who I really am. But my parents won’t tell me, and I don’t know if she will either. She probably just wants me out of her life, and probably never wanted me and wishes I wasn’t there at all. I don’t want to disrupt her life either. When I asked my mother, she said I should just leave it, and she won't want to talk to me, but I don't think my mother has talked to her for a while either. I don't know if I'm supposed to do anything, or just leave it, but I feel like it's quite an important part of my life and although I love my parents, or my grandparents, I still want to know about my biological mother as well.
English isn't my first language, so I'm sorry if any of this is incorrect. I did read over it, but if something doesn't make sense I can clarify it :)

this might be a lot and not the place for this but someone bear with me (22m) please ;_; was talking to my family about my experiences with magic mushrooms, and my grandfather (mom’s side) said something like “be careful, my brother had a schizophrenic episode after taking lsd- we found him rambling about the molecule and he had poorly drawn out a picture of the molecule on the ground.” but i don’t think there’s ever been a conversation about him having schizophrenia? anyway then he went on to ramble about the “this is your brain on drugs”/scrambled eggs commercials that would come on tv a long time ago. and given our family histories which i will elaborate on, i feel like this is a conversation that should have happened much sooner?? or maybe he was just talking out of his ass idk lmao
mental illness seems to run in the family on both sides with alcoholism being pretty prevalent in a lot of both my mom and dad’s relatives. my dad’s brother killed himself with a gun when they were in highschool and my dad found the body. ultimately he became a pretty abusive alcoholic, and he was really prone to mood swings looking back at it. I was put in therapy after my mom divorced him but we never really talked as a family. my older sister inherited his hip deformity that made him unfit for the catholic high school his brothers all went to, and a virus that caused her to have emergency surgery at birth (which left her deaf in both ears, and she stands 4’7” at 25 years old) he picked on her and our older brother a lot, and we all struggle socially. My brother kept to himself a lot until he died at 19 in a freak car accident on a road trip with his friends. Guy with dementia snuck out and got in a car with his dog at like 2am, took an exit ramp onto the highway going the wrong way right as they took the same one, spun out and all then all lights went out, so they got rear ended by a tractor trailer. that model of jeep had a defect where the trailer hitch would break and push in to the gas tank, causing an explosion. happened a couple times prior and was actually almost recalled years before (-: trucking company policy was call your superiors before anyone else, phone records reflected that phone call did in fact happen while those kids were burning to death. i dont blame that poor driver knowing what little i know about trucking and their work conditions, and i got half of a music degree paid for by my share of the settlement. i’ve always felt like that would not have happened if these were not several upper middle class suburban families who were affected by the tragedy, who could afford to pursue legal action for years against an entity like that. I think the community rallied to donate some but even then, it was a fairly affluent community
the last time i saw my dad was at my brothers funeral. i was 14 and it had been a couple years already, but he aged so poorly much i mistook him for his dad who had died a decade prior. i don’t think we spoke until a few years later on the phone, and it was the last time we spoke. he was antagonizing my mom with his usual nonsense that she was making him out to seem like a bad guy to us, and that she was secretly in love with her cousin (who she has always been very close to) — i told him to go fuck himself — that was a reccuring taunt of his our whole childhood, which i always thought was weird but never thought much of it. eventually my brother no longer wanted to visit my mom’s extended family once he had a say in it, and he never really wanted to talk about it either. a few years after my brother died, we were visiting the cousin in question, when i woke up just in time to see them kiss. I went back to sleep like I saw nothing and my sister texted me in the morning telling me she saw the same thing.
Apart from the yknow, incest, she remarried two years before my brother died- so naturally we confronted her about it and she just sort of fawned and said she had too much to drink and that it won’t happen again. they always get too drunk together at family events and I have glimpsed kissy face emojis and other suggestive language on her phone that she obviously was trying to shield with her hands.
Now I’m questioning pretty much everything. I don’t think it was long after that when my dad went missing, which my mom only noticed because he hadn’t sent birthday cards for a whole year, and within a year of that he was found in florida, dead on the street with fentanylin his blood. he was either dosed or killed himself. My family told me he died of natural causes accelerated by his alcoholism when it first happened and didn’t mention the fentanyl until very recently. Im wondering what else could they have they lied about or just have not told me because they don’t think I need to know?
One thing I try not to think too much about is something my mom said just once when I was little, about how when my sister was born the Doctors advised them not to have more kids bc it would be risky, “but I turned out fine” or something. My dad never came to visit our family on my mom’s side that i can remember, and when I was really little we spent a lot more time with her cousin doing a lot of quality time stuff; movies, mini golf, etc. The guy also drank a lot but he’s had better luck kicking the worst of his habits I guess.
JFC what do i make of all of this
….
i also sometimes feel like i’m getting schizo-baited by all of my targeted adds and articles on all of social media and sometimes i feel like im being watched so i don’t go anywhere or talk to my friends much at all. i went to a protest the other day and saw the typical undercover cop in his “hello fellow kids” getup, next day I step out of work to go to a coffee shop and the same dude in the same outfit is sitting next to the door when i go to leave. anyway please advise

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A fanfiction of The Nature of Predators by SpacePaladin15 https://www.reddit.com/HFY/comments/u19xpa/the_nature_of_predators/
Previous Prologue Next
Memory Transcription Subject: Slanek, Venlil Space Corps
Date [standardized Earth time]: August 21, 2136
Walking into the lab, we were welcomed by a Pokemon that looked oddly familiar to me, a pink creature with predatory eyes and small wings that looked completely vestigial. It wasn’t until I saw the Human inspecting a large screen embedded in the wall that I recognised them. Lilith and Sara, who were among the first Terrans to have visited Venlil Prime. Lilith, whose species was the ‘Clefable’ if I remember correctly, gestured for the three of us to come further into the lab.
“Hello there, thank you for coming so soon after settling in! It seems a lot of Venlil are quite excited to do the Infinity Energy tests.”
I give a slightly nervous ear flick in response.
“I uh, really just wanted to get this over and done with.”
“Right, well in that case you’ll be glad to know that this takes no time at all. It’ll be over before you know it, and you’ll have your exchange partners beside you through the whole process.”
I look up at Marcel and Felix, who both give me further reassuring glances. Marcel seems a little nervous though, awkwardly standing just in front of the door and obviously having no idea what he should be doing. As the Clefable leads me over to a chair and gestures for me to take a seat, she passes over a piece of paper and a pen.
“This is the consent form, please read it out completely and carefully before writing your basic information and signature.”
Lilith then bounds away to converse with Sara, who is still looking at the large screen teeming with strange writing and graphs. As I read through the consent form, I only grow more worried.
‘Permanent Infinity Energy infusion.’
‘Monitored for remainder of Space Corps service.’
‘Possibility of previously unknown side effects.’
I look over to Marcel and Felix, beckoning them over with a wave of my tail. Marcel kneels down beside the chair, bringing the three of us to roughly eye level as Felix rests on his shoulder.
“Sorry, but can you two just… stay close? This seems a bit more intense than I was expecting.”
Felix nods furiously, followed by Marcel giving a small, closed mouth smile.
“Of course, we’ll be right here.”
“After this is over, we can all get some food from the cafeteria. A nice salad or something, alright?”
The Human’s suggestion sounds nice, and my tail sways in agreement. I sign the form after reading through it a second time, and Lilith soon comes over to collect it. As she does so, I see Sara walking over with some wires and wool clips. She places them on a nearby table before turning to finally address me.
“Hello Mr Slanek, sorry for the wait. It’s just, the data we’ve gathered so far from the other Venlil is beyond fascinating. It's an amazing opportunity to investigate how life not native to Earth reacts with Infinity Energy and uh… you probably don’t care, sorry.”
With a lightly red hue showing in her cheeks, she grabs the wires and clips, and gets started on attaching them to various points on my body. From my knees to my paws, snout, ears, stomach, chest, tail… almost everywhere, really. This all only makes my nerves grow even more.
“Now, just as a warning, this will probably hurt a bit. It’s only for a moment though, and it just means that everything is working.”
As Sara attaches the last clip to the wool on my back, she walks back over to large screen on the opposite wall, which I am surprised to find now displays a wireframe model of myself. I notice my paws are beginning to shake slightly, and I turn towards my exchange partners, hoping to find solace. Not so long ago, I would never have even fathomed the idea of looking to predators for comfort, but now…
I reach out a shaking paw towards them. After hesitating for a moment, a look of surprise coming over his face, Marcel reaches out and takes hold of it. Felix scurries down the Human’s arm and places his own small paw on top of mine as Marcel gives it a gentle squeeze.
Turning back to the rest of the lab, Sara is swiping her hand to rotate the wireframe model of my body, while Lilith is retrieving something from a large, formerly locked box nearby. She pulls out a small yellow crystal, and walks back over to me. Sara sidles up beside her partner, and double checks the wire clips one last time as the Clefable holds out the crystal to me.
“This is a revive, which will inject Infinity Energy directly into you. Make sure you hold onto it tight, ok?”
I take a deep breath, giving Marcel’s hand and Felix’s paw a gentle squeeze as I do so.
“Understood.”
I reach out with my other paw, and grab onto the revive. For a moment, nothing happens, but then the revive begins to glow. I shut my eyes tight against the blinding light, and tighten my grip on the crystal. A strange sensation, like waves of pressure, emanate from where the revive touches my paw. Through my arm, across my chest, up my neck and down my navel un-
“BRAKH!”
I cry out as pain suddenly engulfs my snout and legs. A loud beeping noise comes from the clips attached to them, which I silently pray means that everything is working as it should. It feels like my legs are trying to rip themselves apart at the knees, and I understand instantly why I’m sat down for this. My snout too lights up, as if on fire without the heat, forcing me to grit my teeth until my jaw starts hurting as well from the preassure alone. I tighten my grip on both the revive and my partners. I feel weight shifting, and Felix’s paw disappears. Not a moment later, something warm and fuzzy jumps up onto the chair beside me, reaching up to rest a paw on my shoulder.
“It’s alright, we’re right here.”
I go to wrap my tail around him, only to find something strange. My tail has gone numb. The mixture of sensations, from numbness to pain, continues for a little while. As the revive breaks down into grey dust, I can finally open my eyes and unclench my teeth. Steadily, the searing pain fades, leaving my tail numb and my snout and legs sore. I breathe deeply again, and I turn my attention to Felix and Marcel. I retrieve my paw from Marcel’s grip and Felix hops back down from the chair. The Human reaches over to lightly pat me on the back.
“There we go, all over now. You did great, Slanek.”
“Th-thanks.”
Lilith comes over and begins detaching the clips from my wool, while Sara is already tapping away at the screen, the wireframe model of my body now looking very different than it was before. The majority of it is now coloured a stark white, although notably my snout and legs are a dimmer shade of muted grey. The only splash of actual colour is in my tail, the entire limb a vivid purple, most intense at the tip. After inspecting it for a moment, Sara turns back around to address me.
“Thank you for coming, Mr Slanek. The full results of this test will be sent to your holopad shortly, but I’ll give you the most important information now.”
Sara taps the screen a few times, and labels written in Venscript appear as a key for the colours.
White – Mixed
Violet – Poison
Grey – Unknown
“Your results are consistent with what we’ve seen in all the other Venlil that have been tested so far. Most of your body contain a mixture of all Types of IE, similar to Humans. Different Venlil seem to have the Poison IE concentrate in different areas of the body, I’ve seen it in arms, abdomen, throat, wool and elsewhere. For you it’s in the tail, which so far seems fairly common. The grey zones are the most interesting, as they’re in the same areas for each and every Venlil; the snout and legs. Combine that with how this energy isn’t quite Normal but also not Typeless, not to mention it’s almost complete lack of reactivity to external or internal stimuli… it will certainly be an area of research I'll happily dive into soon.”
As Sara explains the results of the test, Marcel helps me to stand up again. At first, I’m a little unsteady as my legs still feel slightly odd, but leaning on his arm helps. The numb feeling in my tail slowly fades, and I experimentally shake it back and forth a few times. There is… Poison in it? It doesn’t feel any different, at least at the moment. After Lilith and Sara once again thank me for my cooperation, the three of us are ushered out of the lab, left standing together in the hallway as another mini herd files in after us. I turn to look up at my companions, a slight bloom making its way onto my face.
“Hey, uh, sorry for what happened in there. To predators it’s probably a show of weakness to need someone sticking nearby but-”
“Okay, we’re nipping that ‘weakness’ shit in the bud right now.”
Felix’s surprising angry voice catches me off guard, and for a second I’m worried that I said something to make him mad. I realise that, in a way, I had… but not for the reason I thought.
“Needing a friend ain’t weakness, Slanek. Just look at Marc and I!”
Marcel smiles at the Buizel, before turning his gaze back down at me. His predatory gaze seems stern, and yet somehow friendly, despite that being essentially oxymoronic.
“Slanek, if I’ve learned anything from my time in the military, it’s that ‘weak’ and ‘strong’ are meaningless words in isolation. People can only reach their full potential when they have others lifting them up, whether they be a Human or Pokemon. I doubt Venlil are any different.”
Something flashes through my mind, a memory that Marcel's words invoked. Of course. One of the first pieces of Terran media I saw after First Contact; 'The Power of Us'. Felix nods along excitedly, jumping down from the Human's shoulder to be a bit closer to my level.
“Never call yourself weak again, alright? Marcel and I were already growing stronger with just the two of us, but now we have a brand-new friend? The three of us together will be unstoppable!”
Marcel snickers slightly.
“Not really the angle I was going for, but sure. Anyway, that packet of chips wasn't nearly enough. Like I said earlier, let’s go grab something from the cafeteria, alright?”
Seemingly immediately forgetting the previous topic, Felix’s eyes light up and his tails whir into action.
“Oh! I hope they have Wacan berries!”
As Felix rapidly ascends back up onto Marcel’s shoulder, my own tail begins to sway back and forth again. The predators’ kind words lifted my spirits and cast aside the embarrassment I had felt, spurring me to happily step forwards and follow the Human’s lead towards the station’s cafeteria.
As we made our way through the halls, I paid more attention to the various pairs and trios we passed. The Venlil all ranged from bubbling with excitement, a spring in their step as they walked joyfully beside their partners, to barely containing their fear, shaking slightly as they stuck close to the walls and avoided looking at most of the more predatory looking Pokemon. I wasn’t at either extreme, though I was leaning towards the former. I strode beside Marcel with contentment, mentally thanking my past self for signing up for the program. I was nervous to meet them at first, but it took almost no time at all for me to recognise the friends I had already been speaking to over text for whole herds of paws at this point.
When we reached the cafeteria, the place was already alive with many Terrans and Venlil. Some sat just with their exchange partners, while others gathered into larger herds, with the countless conversations happening between them melding together with the clinking of cutlery. Even out here on this station, with by far the strangest creatures in the Universe, the sound of people enjoying each other’s company was oh so familiar.
The three of us collected our meals and decided just to sit by ourselves, eventually finding a spot near a rather short Venlil sitting with a large, purple serpentine Pokemon that was presumably their partner. As Marcel and I set our meals down on the table, Felix quickly grabs a pastry from Marcel’s tray.
“I call dibs on the Wacan muffin!”
Marcel has selected some sort of soup for himself, while I chose a simple bunt leaf salad, although my serving seemed to have some sort of fruit in it that I didn’t recognise. I prodded the yellow chunks around, trying to determine if I had gotten some underripe juicefruit or something, catching Marcel’s attention.
“That’s Shuca berry. Not really my thing, but it’s decently popular.”
“Oh, it’s an Earth fruit?”
“Yep, looks like the kitchen’s experimenting with mixing cuisines. This soup is… surprisingly spicy.”
Looking up at the Human, I find that his face has turned a slight reddish hue, the flush no doubt signifying that he was struggling. A quick peek at the contents of his meal provides an answer, making me whistle slightly in laughter.
“Ah, that would be firefruit. Fitting name, isn’t it?”
“Fuck, you can say that again.”
As I watch my Human partner gulp down his glass of water, I pick up a few bunt leaves along with a small chunk of the Shuca berry and pop them in my mouth. The yellow fruit goes well with the bunt leaves, providing a mild but nice sweetness with the slightest kick of spice. Though, obviously not nearly as much as Marcel’s firefruit. The Human soon excuses himself to refill his water, Felix throwing a teasing quip his way between bites of the muffin.
“Fire Type doesn’t suit you, Marc!”
While trying to stifle my laughter at my friend’s misfortune, a slightly alarmed, raspy voice coming from my right catches my attention.
“Ssssevik, are you alright?”
Turning to my right, I find the large serpent Pokemon sitting nearby looking at her Venlil partner with concern. He is holding a paw over his stomach and groaning slightly.
“Y-yeah Arbok, I’m fi-fi -hurk-”
He gives a horrible sound somewhere between a burp and a retch, grabbing the attention of a few other people around us.
“Wassss it the berriesss?”
“N-no it’s -hurk- I think is the Pois- -hurk-“
Thinking quickly, one of the nearby Humans passes the Venlil a plastic bag. He accepts it and tries to thank them, only for his attempt to be interrupted by more retching. Just as he seems to lose control of his meal completely, he cries out.
“Gastro Acid!”
Instead of the typically yellowy green, the Venlil expels a thick, deep purple fluid into the bag. After a single powerful heave, the Venlil looks back up, seemingly slightly dizzy. A moment later, a sizzling sound can be heard coming from the bag, the bottom of which soon breaks. The acidic substance spills onto the floor, having corroded through the plastic like it was nothing. For a while, nobody makes a sound, nor barely moves. Venlil, Human and Pokemon alike in our little section of the cafeteria are all staring at the poor little Venlil who in turn has his eyes glued onto the now useless plastic bag. As for the purple acid, it soon fizzles away into nothing, leaving the floor spotless with no evidence that it ever existed.
The sound of approaching footsteps makes me turn around with a slight jump, finding Marcel returning with a new glass of water. His eyes dart first to the silent crowd, then to the small Venlil, then finally to me and Felix.
“Uh, did I miss something?”
Previous Prologue Next
~~~~~~~

NoPokedex

Humans - Typeless
Gojid - Steel/Rock

• Sovlin: Metal Claw & Rollout

Venlil - Normal /Poison

• Kam: ??? & Poison Jab
• Slanek: ??? & ???

Arxur - Dragon/???

• Isif: Dragon Pulse & ???

Tilfish - Bug/Dark
Zurulian - ???/???
Farsul - ???/???
Kolshian - ???/???
Yotul - ???/???
Mazic - ???/???
Dossur - ???/???
Sivkit - ???/???
Krakotl - Flying/???
Harchen - ???/???
Duertan - Flying/???
Thafki - Wate???
Sulean - ???/???
Iftali - ???/???
Drezjin - Flying/???
Jaur - ???/???
Letian - ???/???
Leshee - ???/???
Yulpa - ???/???

Recently a portrait painting of King Charles III was inaugurated by him, it was filled with red, the red color there should actually represent the blood and pain of the innocent population in colonial countries that suffered under the hands of monarchy during the British time.
The reason I am writing this is because of my grandfather, who shared me an incident that happened with his father in colonial era Bangalore. My great grandfather lived in Old Mysore (present day it is a separate district called Chamarajanagar), he once had to come to Bangalore to get some documents sealed by the Bangalore sub-commissioner (it was related to some land disputes), so he traveled all the way to Bangalore.
I will give you the context of how Bangalore was at that time, British had a large cantonment area in Bangalore, some parts of the cantonment was protected by a wall (present day central Bangalore and Indiranagar and surrounding areas), the British lived inside the cantonment, the infrastructure inside the cantonment was amazing, good educational institutes, churches, bungalows, parks, party places etc, British had a lavish lifestyle, there were guards who made sure no unauthorized Indian came inside the cantonment without their permission. Rest of the city was separated and literally no one even cared about that, it was Maharaja of Mysore who used to do some developments in those areas after seeking approval from the British.
So coming back to the story, My great grandfather was stopped by the Guard at the Cantonment office, the guard was an Indian, he said the commissioner was not there and he would be back by the evening, since it was a sunny day, the guard allowed my great grandfather to come inside the wall and sit under a roof. My Great Grandfather apparently slept under the roof, one British (white) soldier came out of nowhere and hit my great grandfather with the back of his gun on the shoulder, kicked him and asked him to get out (apparently he didn't knew my great grandfather was allowed inside by another Indian-British soldier) , my great grandfather started bleeding on the shoulder, nobody cared, after sometime the sub commissioner came, looking at my great grandfather, he asked what had happened, my great grandfather explained the whole story, after listening to the story, the commissioner laughed like a beast and asked my great grandfather to come again the next daty as it was evening.
This is just one incident, like this there are many incidents and atrocities that happened to all of our ancestors, we should never forget that, whenever I see some Indians admiring the royal family of UK, my blood boils.

First time reader of Wolfe and I'm having an amazing time working my way through shadow and claw. I had to read this chapter a couple times to try and grasp it; it's extremely dense. I'm still finishing Claw of the Concilliator so my thoughts may change. I'd love to hear your thoughts.
The Tale of the Student and His Son Analysis
“Once, upon the margin of the unpastured sea, there stood a city of pale towers.”

• The unpastured sea evokes Hamlet “the undiscovered country” death and the unconscious. Pale refers obviously to a light color but also feebleness. However, a tower symbolizes wisdom and stability and the balance of forces (light and dark, fire and water, order and chaos). Wolfe is already painting this city in contradiction.

“In it dwelt the wise. Now that city had both law and curse.”

• Another symbol of duality: loss and gain. The wise give the law but simultaneously curse the city.

“The law was this: That for all who dwelt there, life held but two paths: they might rise among the wise and walk clad with hoods of myriad colors, or they must leave the city and go into the friendless world.”

• Here’s another contradiction: the wise wear myriad colors symbolizing their acceptance of all, but their law is built on exclusion, a brotherhood without.

“Now one there was who had studied long all the magic known in the city, which was most of the magic known in the world”

• The magicians study pan (all). They are comparative mythologists, occultists, Jungians, etc. (This, ironically, is Wolfe). Pan in Greek mythology is a cloven foot and horned god that plays the “pan flute”, and is associated with nature and sex. He is often accompanied by nymphs.

“And he grew near the time at which he must choose a path. In high summer, when flowers with yellow and careless heads thrust even from the dark walls overlooking the sea.”

• High summer is a reference to the “dog days” of summer. In ancient Greece, this was the hottest and most uncomfortable part of summer. It’s called the “dog days” because it coincides with the heliacal rising of Sirius in the constellation Canis Major. Furthermore, the Greeks believed the luminous Sirius (from seiros: scorching) caused the extra hot days. I mention this because it relates to the alzabo which in the Lexicon Urthus is from the archaic Arabic “al-dhi’b” which refers to a wolf, a jackal, or a star in Canis Major.

“How may I - even I who know nothing - have a place among the wise of the city? For I wish to study spells that are not sacred all my days, and not go into the friendless world to dig and carry for bread”

• Another paradoxical and ironic statement: he’s been studying all his life, but knows nothing. A Socratic kind of wisdom but also represents spiraling madness. Critically, he wants to study non-sacred spells; he turns away from the divine.

“ Do you recall how, when you were hardly more than a boy, I taught you the art by which we flesh sons from dream stuff? How skillful you were in these days, surpassing all the others! Go now, and flesh such a son, and I will show it to the hooded ones, and you will be as we.”

• Groomer! And if Wolfe is trying to evoke ancient Greece with this story, it’s well-founded that older Athenian men would often indulge their passion for youth. This would explain the use of the carnal word “flesh” to describe the creative process. Sex magic is a common occult practice and is certainly non-sacred. The passing of seasons represents the cyclical nature of trauma and abuse.
• Wolfe uses very unsettling language: “And the old man who had taught him thought of the beauty of the trees that had for so many years delighted his eyes like the white limbs of women.”

“Winter came stalking into the land from his frozen capital, where the sun rolls along the edge of the world like a trumpery gilded ball and the fires that flow between the stars and Urth kindle the sky. His touch turned the waves to steel, and the city of the magicians welcomed him, hanging banners of ice from its balconies and heaping its roofs with glaces of snow.”

• Perhaps a reference to Saturnalia but does not follow the ancient Greece theme. Saturnalia occurred near the winter solstice because the sun enters Capricorn, the astrological house of Saturn, at that time. Capricorn fits in with the Pan imagery as it too is a goat-like being.
• Saturn represents the cyclical course of time and season (Greek equivalent Chronos). Saturn would regularly devour his own children; this fits into the aforementioned cycle of trauma.
• Saturn is often represented with a sickle: a symbol of mankind’s partial control over the natural world.

“In spring, the most beautiful maidens of the city, the daughters of the magicians, were clothed in green; and while the soft winds of spring teased their golden hair, they walked unshod through the portal of the city, and down the narrow path that led to the quay, and boarded the black-sailed ship that waited them. And because of their golden hair, and their gowns of green faille, and because it seemed to the magicians that they were reaped like grain, they were called Corn Maidens.”

• Here the sickle imagery is introduced directly. The Corn Maidens are human sacrifices, but are compared to grain and corn; sent into the “unpastured sea.”

“Looking from his window saw the maidens filing by, he set aside all his books and began to draw such figures as no man had ever seen, and to write in many languages, as his master had taught him aforetime.”

• Is this not what Wolfe does in his writing? He constantly appropriates ancient words from forgotten languages to do his “magic.”

“ At first it seemed to him that all the skill his master had taught him of old had deserted him, for from the first light to the moonlight he was alone in his chambers save for the moth that fluttered sometimes to show the insignia of Death at his undaunted candle flame.

• More meta stuff: writer's block
• A moth showing the insignia of death is an interesting comparison. This moth could be interpreted as the final stage of metamorphosis before death. It could also refer to the Bombyx Mori, the silk moth. Mori in this sense means mulberry, but mori can also mean death (as in memento mori). The silkworm has a similar symbology to the scythe in that it represents man’s control of nature. This is the domesticated version of the silkworm that relies completely on humans for its survival and is genetically modified to promote silk production. This reflects the city’s practice of human farming and sacrifice.

“Then there crept into his dreams another; and he, knowing who that other was, welcomed him, though the dreams were fleeting and soon forgotten.”

• The Irony here is that although he works tirelessly practicing his magic, he only summons the being when he is not working, asleep and unconscious. He welcomes this being into his mind. “He heard the step, always in another room” He’s unable to pinpoint this being’s being; he can only pinpoint its secondary effects. As he continues his magic, the aftereffects become increasingly pronounced until finally the illusory becomes real. Milton describes hell as “darkness visible.” I think Wolfe is going for a similar effect here.

“Then the student dared turn himself where he sat, and he saw standing before him a youth haughty of port, wide of shoulder, and mighty of thew. Command was in his firm mouth, knowing wit in his bright eyes, and courage in all his face. Upon his brow sat that crown that is invisible to every eye, but can be seen even by the blind; the crown beyond price that draws brave men to a paladin, and makes weak men brave.

• The student’s creation terrifies him, but he doesn’t want to show his fear.
• “Haughty of port” meaning prideful with an air of superiority. Going back to Milton: “round he (Satan) throws his baleful eyes, that witnessed huge affliction and dismay, mixed with obdurate pride and steadfast hate.” Classic Luciferian pride.
• Contrary to popular depictions of Satan, he is one of God’s highest creations: “Whoever he is, the “Devil” is among the very first and best creatures of God. He is, so to speak, perfect enough, wise enough, powerful enough, one can almost say divine enough, to know God and not to surrender to him - to know him and yet opt against him, to desire freedom from him. But since this freedom is impossible in the love and light which always lead to God and to a free surrender to him, it must of necessity be fulfilled in negation, hatred, and rebellion.” (Alexander Schmemann). Satan is God’s highest creation but he is the most base, he is wise yet chooses irrationality, in Wolfe’s description he wears the invisible crown that all see. Satan is an ironic, paradoxical, and tragic figure.
• Milton also describes Satan as a commander

“Often I have seen, like a green serpent called by the notes of a pipe, a column of green slip down the cliff below our city to the quay.”

• Again Wolfe uses Miltonian imagery: “Thus they Breathing united force with fixed thought moved on in silence to soft pipes that charmed Their painful steps O’er the burnt soil.” Both descriptions suggest a snake charmer playing his pipes.
• This connects Satan and Pan: pan pipes as well as ostensible concern for his nymphs

“At this the young man’s eye flashed, and he demanded: ‘Who is this ogre, and what form has he, and where does he dwell?’”

• The ogre is the beast and the minotaur that lives in the west. The West is another symbol of death and the unconscious.

“His name no man knows, for no man can approach near enough…His harbor is an isle to the west, where a channel with many a twist and bend, dividing and redividing, reaches far inland. It is on the isle, so my lore teaches me, that the Corn Maidens are made to dwell; and there he rides at anchor in the midst of them, turning his eye ever to left and right to watch them in their despair.”

• Does no man know its name because no one has discovered it or because it doesn’t exist? Or are both the same?
• Eye of Sauron reference. Masonic all-seeing eye which masons say represents the omnipresence and omniscience of God, but, in reality, represents an all-powerful control system that constrains mankind. When Severian first goes against his guild he says of his fellow torturers: “ I saw them as powerful, the active principle of an inimical and nearly perfect machine.” Severian first realizes that Nessus is a vast control mechanism; the torturers are a gear in the infernal machine.
  
• The beast lies in the labyrinth. The twisting and bending channels describe a labyrinthine structure without directly calling it a labyrinth. When Domnina first observes Father Inire’s mirrors: “She ran to the curtains hoping to find another door behind them, but as soon as she pulled one aside, one of the eight walls painted with labyrinths opened and Father Inire stepped out. Behind him she saw what she called a bottomless hole filled with light.” Wolfe is trying to show that the beast, the control mechanism, is tied to these mirrors.
  
• The young man fleshed from dreams relates to the fish fleshed from reflected light in Father Inire’s mirrors. They are both paradoxical creations; how can one create reality from the virtual (dream stuff and mere reflections)? The fish is clearly a reference to Christ and the ichthys; Domnina even references Pascha. But this Christ is a virtual Christ, an antichrist. In Revelation, the Antichrist is depicted as the ape of Christ, but ultimately the Antichrist is a mere illusionist: “And for this cause God shall send them strong delusion, that they should believe a lie” (Thessalonians 2:11).
  

“For I am Noctua, the daughter of Night, and the daughter too of him whom you have come to slay…For though he did not know why, being of the stuff of dreams he was drawn to her; and she, who eyes held starlight, to him…At this the princess took pity on him, for all who have the stuff of dreams about them seem fair in some degree at least to the daughters of the night, and he fairest of all.

• Noctua means owl from Latin nox meaning night (and she is quite literally from her mother Nox). Nox is an important aspect of Thelema or the occult practices of Aleister Crowley. Nox is the formula of the night of pan, the “crossing of the abyss” and the union with “our lady of abominations” Babalon (from Revelations the whore of Babylon). In Nox, the adept experiences unification with the All through ecstatic destruction of the ego-self, dissolving duality into one or, in other words, nonsense. Ego death is a core element of mind control (MK Ultra and Project Monarch** remember the silkworm symbol).
• It’s clear from this passage and later passages that many others have been sent on this mission in the past. However, Noctua feels a particular affection for this commander.

“At length Night came, and they saw her striding from islet to islet with her bats about her shoulders and her dire wolves dogging her steps. No more than an easy carronade shot from their anchorage she seemed, yet they all observed that she passed not before Hesperus or even Sirius; but they before her. For a moment only she turned her face toward them, and none could be certain what her look conveyed. But all of them wondered if indeed the ogre had taken her without her will as her daughter had said; and if so, if she had not lost the resentment she might be imagined to have felt.”

• Hesperus represents Venus the morning star in Latin Lucifer or light bringer. As Russell puts it, the evening star is the morning star; it represents the drama of a hero striving for the highest seat of heaven but being cast out of heaven (matches the movement of Venus in the sky). Another connection to Sirius.
• Another suggestion that perhaps this quest is not as it seems.

“In ancient times, so it is said, a tattered child, the daughter of a fisherman, found on the sand a stoppered flask, and by breaking the seal and drawing forth the cork became queen from ice to ice. Just so it seemed, an elemental being, strong with the strength of the forging of creation, debouched from the tall smokestacks of their ship, tumbling over himself in dark joy and growing with a rush, as the wind comes.”

• This could be a Pandora’s box reference, critically Pandora. Another dualistic notion, that what saves the day also causes doom. Or perhaps Odysseus’ bag of winds; the aid turns into the curse. Fits into the overall narrative of the story that Severian is both a torturer and a hero. He is “severed” and “severs” into two. Dorcas: “All of you are torturers, one way or another.”

“Then he strode to the rail and looked down; but with such an expression that no one, not even the most brave, dared to look at him. When he lifted his eyes at last, his face was set and grim and with no word to any man he took himself to his cabin and barred the door.”

• Obviously despondent. Either about the evil he released into the world or that his great battle was with a phantasm or that the whole quest was a lie.

“But on the morning of the third day, the young man fleshed from dreams came out of his cabin and began to walk up and down the deck as he was wont to do”

• Allusion to the resurrection of Jesus on the third day. His cabin serves as his “tomb.”

“At this he looked up into the very vault of the firmament. And some thought he prayed, and some that he sought to restrain the anger he felt against them, and some only that he hoped to gain inspiration there. But so long did he stare that they waxed afraid, even as they had when he had peered into the water, and one or two began to creep away. Then he said to them: “Behold! Do you not see the sea birds? From every corner of the sky they stream. Follow them.”

• He’s come back from the dead but is filled with anger.

“None of them ever forgot that night”

• Nothing like an orgy after a long day of work.

“Certain of the Corn Maidens wed those princes who, having spent years so long enchanted that they are loath to leave that life (and have in that time learned much of gramary), build palaces on lily pads and are seldom seen by men.”

• They go out to become demonic forces in the world. Lily pads are a call back to Chapter 2 of shadow: “When I think of my own death, or of the death of someone who has been kind to me, or even of the death of the sun, the image that comes to my mind is that of the nenuphar, with its glossy, pale leaves and azure flower.” The nenuphar exists above and below the water; they exist in two worlds just as their journey took them from the east to the west.

“And when he beheld their dark sails, smutted by the burning tar that had blinded their enemy, he believed them blackened in mourning for the young man, and he threw himself down, and so perished. For no man lives long when his dreams are dead.”

• Absurd ending to the story. You can't help but laugh at the ending. Jonas even suggests that the end of the story has been edited.
• IMO, he kills himself because the “hero’s” journey was never meant to be a success. The hooded ones need the ogre to have the utopia.

I want to develop a character who has DID derived from PTSD, which in turn arose from a four-day period of suffering different atrocities. The character has no explicit memories of this four-day period, but their subconscious locks it away to avoid the pain of trauma and develops disorders as a defense mechanism. In addition to the mentioned disorders, the character has developed a refusal to eat food due to an apparently irrational line of thought and sensation that if they eat, they would be hypocritical for something, and therefore, more guilty. The character has 5 personalities. So far, I've only been able to conceptualize 3: the assistant, the machine, and the monster.
The monster is the murderous and harmful personality. It's what the character most instinctively tries to avoid manifesting, even if they don't know exactly why. It's the embodiment of their potential evil, and its appearances are always accompanied by tension and suspense. Even if not actually manifested (or is it?), the mere fact of appearing in nightmares and hallucinations already triggers panic attacks in the character. This is the most mysterious personality because the character has doubts about the nature of this personality that doesn't offer many explanations beyond the simple fact that it knows everything about him and is playing and affecting him; Is it a personality or a distinct demon? Is it a delusion or is it real? Is it himself or a separate being pretending to be him to scare him? Is it capable of killing the personalities, and if so, why doesn't it do it immediately instead of leaving the personalities unharmed? Why psychologically torture him if the function of fragmented personalities is to help in self-preservation? If it's real, why does it let him escape at the end of its ''games''? This personality (or not) is physically the largest, the most technological, the most inhuman, and presents more feats of strength despite appearing less, all geared towards psychological torture mainly, a literal kind of haunting like Pennywise's. It wreaks psychological havoc on the character in each of its personalities, and the most sensitive one, which is the one the other personalities most try to avoid being impacted by the monster, is the assistant personality, the personality that personifies human essence and, being based on the Superego and Ego and reflecting the distant past spent with his deceased good mother whose values were transmitted in his childhood and adolescence, is the personality that tries to maintain order, predominate, and reunite the fragmented personalities, although this self-imposed role is not easy and it is difficult to deal with the fear of what could happen if people found out that he and the other four 'people' are actually the same person who has DID; it is difficult to represent order while his other parts are more inclined to chaos and there is no direct interaction between the personalities. The assistant personality has blindness, whose degree varies depending nuancemente on the external and internal security situation it feels, but is always present because it results from an unresolved trauma. Glasses are used, the only one who does this. Blindness is more present in the assistant personality and less manifested in the other personalities because they are more detached from humanity. The assistant personality is the most divergent from what the character was before DID. Its form is more human, shorter, and less cybernetic, precisely because it reflects a distant period from the current one of the character. (A side note: the character is, in a way, a shapeshifter, so its personalities have a distinct form, some more similar to each other and others less similar, and vice versa. The metamorphosis is restricted to the forms the character has already had in its life and afterlife, and those forms it did not have are a more adapted version of the personality concept). The assistant is the most sensitive personality and the one that most tries to be virtuous, and because of these characteristics, it is the most vulnerable to the monster.
The machine personality is the psychological barrier. A wall for any emotions. An internal shield for trauma. It looks like a robot, like a machine, both for sentimental and behavioral issues. It does not feel emotions, is extremely rational, and is very connected to technology. Indeed, it is the most technological personality in the purest sense of the word, while the monster personality is the most technological in the most monstrous sense. Its function is to offer a more impartial view of situations and, because of the monster, to be the most solid shield for the assistant personality not to be haunted directly (and possibly killed) by the monster.
There are 2 more personalities to develop, and I'm working on it since it's a new idea I had.
The character is Vox.
The conceptual ideas for this fanfic that I intend to create, combined with my hobby of self-studying psychology/psychoanalysis/psychiatry, made me realize that I attribute four disorders to Vox:
• DID: According to the DSM-5 criteria, to be considered DID it is necessary: ▪︎Two or more distinct identities or personality states are present, each with its own relatively enduring pattern of perceiving, relating to, and thinking about the environment and self. ▪︎Amnesia must occur, defined as gaps in the recall of everyday events, important personal information, and/or traumatic events. ▪︎The person must be distressed by the disorder or have trouble functioning in one or more major life areas because of the disorder. ▪︎The disturbance is not part of normal cultural or religious practices. ▪︎The symptoms cannot be due to the direct physiological effects of a substance (such as blackouts or chaotic behavior during alcohol intoxication) or a general medical condition (such as complex partial seizures).
• PTSD: Symptoms of PTSD fall into the following four categories. Specific symptoms can vary in severity.
Intrusion: Intrusive thoughts such as repeated, involuntary memories; distressing dreams; or flashbacks of the traumatic event. Flashbacks may be so vivid that people feel they are reliving the traumatic experience or seeing it before their eyes. Avoidance: Avoiding reminders of the traumatic event may include avoiding people, places, activities, objects and situations that may trigger distressing memories. People may try to avoid remembering or thinking about the traumatic event. They may resist talking about what happened or how they feel about it. Alterations in cognition and mood: Inability to remember important aspects of the traumatic event, negative thoughts and feelings leading to ongoing and distorted beliefs about oneself or others (e.g., “I am bad,” “No one can be trusted”); distorted thoughts about the cause or consequences of the event leading to wrongly blaming self or other; ongoing fear, horror, anger, guilt or shame; much less interest in activities previously enjoyed; feeling detached or estranged from others; or being unable to experience positive emotions (a void of happiness or satisfaction). Alterations in arousal and reactivity: Arousal and reactive symptoms may include being irritable and having angry outbursts; behaving recklessly or in a self-destructive way; being overly watchful of one's surroundings in a suspecting way; being easily startled; or having problems concentrating or sleeping. Many people who are exposed to a traumatic event experience symptoms similar to those described above in the days following the event. For a person to be diagnosed with PTSD, however, symptoms must last for more than a month and must cause significant distress or problems in the individual's daily functioning. Many individuals develop symptoms within three months of the trauma, but symptoms may appear later and often persist for months and sometimes years. PTSD often occurs with other related conditions, such as depression, substance use, memory problems and other physical and mental health problems.
The four tabs below provide brief descriptions of four conditions related to PTSD: acute stress disorder, adjustment disorder, disinhibited social engagement disorder, and reactive attachment disorder. Source: https://www.psychiatry.org/patients-families/ptsd/what-is-ptsd • Psychotic Depression: Psychotic depression Some people who have severe depression may also experience hallucinations and delusional thinking, the symptoms of psychosis.
Depression with psychosis is known as psychotic depression.
Symptoms of depression Someone with depression feels sad and hopeless for most of the day, practically every day, and has no interest in anything. Getting through the day feels almost impossible.
Other typical symptoms of depression may include:
fatigue (exhaustion) disturbed sleep changes in appetite feeling worthless and guilty being unable to concentrate or being indecisive thoughts of death or suicide Doctors describe depression as mild, moderate or severe depending on your symptoms, how long it lasts and how much it affects your daily life.
Read more about the psychological, physical and social symptoms of clinical depression
Symptoms of psychosis Having moments of psychosis (when people lose some contact with reality) means experiencing:
delusions – thoughts or beliefs that are unlikely to be true hallucinations – hearing and, in some cases, feeling, smelling, seeing or tasting things that are not there; hearing voices is a common hallucination The delusions and hallucinations almost always reflect the person's deeply depressed mood – for example, they may become convinced they're to blame for something, or that they've committed a crime.
"Psychomotor agitation" is also common. This means not being able to relax or sit still, and constantly fidgeting.
At the other extreme, a person with psychotic depression may have "psychomotor retardation", where both their thoughts and physical movements slow down.
People with psychotic depression have an increased risk of thinking about suicide. Source for more information: https://www.nhs.uk/mental-health/conditions/psychotic-depression/
• An as-yet unidentified eating disorder: This is the only one in which I do not know which exact diagnosis it fits into. It is a consequence of the trauma from the four-day period - including this period being one of the biggest mysteries in history and a great source of theories for readers, as it is the root of Vox's psychological mess, the divergence point that originated the entire fanfic and which the protagonist DOES NOT want to remember - that resulted in the trauma of eating. He does not feel like eating, not even the SIN OF GLUTTONY is able to make him eat - he is immune to her powers - and feels an apparently inexplicable instinct of guilt and hypocrisy when trying to eat, as if he were the worst being in the universe if he ate a food and a huge hypocrite; why and what exactly this innate thought of judging himself as a hypocrite is another mystery in the plot.
In this story, at least in the initial arcs, no one associates all five as being the same person, at most they associate only one/two of them with Vox. With the climaxes (yes, it's in the plural) throughout the story, the characters will find evidence and suspect and associate more and more of the other alters (as I call Vox's fragmented personalities) with the same person, which increases the narrative tension. Being the assistant personality the last to be accurately associated by the other characters, although she was the one that had the most tension and care in NOT being associated throughout the story because she is the human essence of Vox, reflects more the fragility of his soul state and is not ready to deal with the harsh social consequences that the actions of the other alters and Vox before DID caused, needing solid support and not wanting to lose all the friendly social relationships, although fragile, that he built as a separate being from Vox and the other alters. It is easier to hate than to love. The assistant personality does not want to risk losing the little support he has built. These relationships are extremely valuable to him. He doesn't want to have this taken away from him anymore. The relationships he built are based on the inhabitants of Hazbin Hotel.
All alters have Vox's trademark: the TV as
a head. All... except the assistant personality. This alter is the ONLY one that has a human head and is the smallest, being even a few centimeters smaller than Lucifer. The size of his hair goes up to just above his shoulders, but he ties them in a professional hairstyle. His clothes are similar to those of an assistant, and they have a palette of blue, black, and white colors. The color of his hair, influenced by his powers as a Media Demon, is black with dark blue streaks and tips.
His human appearance reflects a period when Vox was human. In my story Vox is a trans man, which means he was born female and went through a transition at some point in his adolescence or adulthood. The appearance of the assistant personality reflects an episode during his 13/14 years. In this episode, he did a special show for his father's assistant at a fancy restaurant. It was her last night in his life as she would unfortunately be sent away without a chance to return, and he was aware of this. He also knew that his father was responsible for her being sent away, although his innocence at the time made him not immediately detect that she would be KILLED by a hired hitman hired by the father and mother. The assistant was a loved one by the teenage Vox. She was a loving mother he never had, and because of the emotional attachment to her, he decided to do a musical show, showing for the first and last time to anyone his talent for piano and violin. He, at the time still not going through the transition, dressed more masculinely, used the best appearance he could, and used a pseudonym to enter the restaurant and make the presentation without being detected by the family. He did not explicitly specify for whom the music was intended, but the assistant, secretly his true biological mother, knew it was for her. That was the last time he would see her, and he made every second of that night count.
Vox's human female name was Elizabeth. I chose this name because it is a beautiful name, it was the name of the former queen of the United Kingdom, and it was the name of one of Jack the Ripper's victims, Elizabeth Stride.
Vox, during his adult life as a man and even post-death, buried his past as a woman. It was not a source of pride, especially for the family abuses suffered and the transphobia of the time. If the Vees, the people closest to him currently, do not have a deep understanding of Vox's human life as a man, imagine their knowledge of the initial part of his life before the transition!
That's why being called "Elizabeth" during the direct and indirect appearances of the monster personality already causes genuine and unmasked panic in him. It is an indication of knowledge of his deepest layers.
The story has a suspenseful atmosphere, with some horror scenes. We follow the alters individually, and as the story progresses, we realize along with the protagonist some strange, wrong things. The alters do not communicate directly with each other and, therefore, the character does not immediately perceive the signs of having multiple personalities. It was as if there were four people in one body and none of them noticed, according to the perspective of the assistant personality, the alter that we slowly follow discovering the huge web of the situation he's in. There's something very wrong with Vox, more specifically his soul. But there's an invisible barrier that prevents the character from investigating further, like an elephant in the middle of the room. Each alter has its own course, all acting as if they were distinct people and not associating with each other. This is bad socially speaking in the long run, because sooner or later the clash of beliefs and values built among the alters will come into conflict and the individual consequences of their actions will negatively impact each other. The monster personality served to add more salt to the wound. It is by far the most harmful, appearing little but causing a huge mess in return. Don't think of it as a kind of Hulk, because Hulk is a destructive monster that his counterpart, Bruce, can try to control and turn into a hero, and everyone is aware of Hulk's nature, which is easy to understand and try to contain; whereas the monster personality is an enigma at the same time as it is a nightmare, there is no discussion with it, it causes psychological terror in Vox's alters, its apparently internal actions affect the external world of the alters, it is unpredictable, it is the literal meaning of hell. The monster personality has already caused physical harm to the alters, although they did not exactly remember, mainly the assistant personality, the most oblivious of all for a reason. I want to relate the monster personality to Roo.

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Chapter 15: For What You’ve Tamed
“We’ve come a long way, Vikri. Let’s finish your story,” Rayner said as he sat down in the same chair, crossing his legs in the same way.; small consistencies that made the task of talking about my past seem a little more routine. “I understand you lost someone important to you that day.”
I shifted slightly where I sat. “Yeah,” I answered coarsely. I grabbed at the poncho hanging over my shoulders. I remembered what it felt like in my dreams. Radiant warmth always seemed to emanate from it. Not necessarily the poncho itself, but Tenga’s memory. I realized that as long as I had those, then he was still here in a way. I’d much rather have him here than his memory though.
Rayner nodded. “I know what that’s like,” he said in a near whisper.
I shook my head. “It’s not just that I lost him. I…I failed,” I rasped. “I could’ve saved him. Maybe if I’d gone back I could’ve gotten the equipment before the fire did. I was too afraid.”
Rayner nodded slowly. “And now you feel responsible.”
I remained silent as I clutched my tail on the couch beside me. Rayner already knew the answer. He pursed his lips. “Yeah…I know exactly how that feels.”
I looked up at him. For the first time, his eyes weren’t on me, but on the adjacent wall as he seemed to ponder something. “You think about all the things you could have done differently. Things that are so obvious in hindsight,” he sighed and adjusted his glasses. “If only it were that clear in the moment.” He looked up at me, clasping his hands together. “So walk me through what happened.”
I could still vividly remember the moment Tenga got shot. Everything happened in the blink of an eye. So quickly in fact, that it even took Tenga a moment to realize there was a hole in his torso. Minutes of continuous tension shattered with a hail of gunfire lasting less than a second. The echoes continued to howl through the mountains long after the bodies met the snow. My friend was fatally wounded, the snow around him dyed bright red with his blood. And I had to leave him.
The entire time I was in the belly of the federation destroyer with danger lurking around every corner, all I wanted to do was to get this done as quickly as possible and get back to him. I was enraged that they’d done this to him and to billions just like him.
“Tenga was all I thought about the entire time,” I croaked. “And I…I was willing to kill everyone onboard to get back to him, even if there was no way I ever could. I… did things I could never have imagined myself doing even just days ago. I tore a chunk out of my leg just to be able to get to the Krakotl pinning me down with a crowbar.” I inhaled deeply, staring down at my reflection in the water, recalling my bloodshot eyes in the reflection of the ship's monitor. The grimly colorful bloodstains in my fur from several different species.
Rayner nodded. “It was a desperate situation. Many don’t see themselves doing things like that until they’re put in a situation where it's necessary. A situation where it's do or die. No one can fault you for that, especially not with all that depended on you.”
“I guess I just…It’s just worrying knowing that there’s a part of me capable of that.”
The doctor tapped his pen on his notepad as he seemed to think for a moment. “Do you worry that you may have violent outbursts?”
I scoffed. “Well, the events of a few days ago provided good grounds for worry.”
Rayner nodded. “Aggression is common for PTSD victims. It can be difficult to manage intense emotions when your mind is already dealing with so much.
I shook my head. “That’s not the person I want to be.”
Rayner nodded. “I know Vikri. That’s why it's so crucial for you to talk about this stuff. The less all of this weighs on you, the better you’ll be able to control those emotions when they arise.”
He finished writing on his notepad before taking off his glasses and leaning forward slightly. “So what happened to Tenga?”
The question made my heart sink. My mind went quiet. The second hand of time sounded like the footsteps of a giant marching toward…something. My body seemed to go cold and numb. “He died…” I croaked, staring down at the table. That was the first time I’d admitted that to myself verbally in such a direct way. “And I tried so hard,” I choked, tears now streaming down my face. “I did everything in my power to save him. I even put Querek’s life in danger.”
I felt the heat. I could feel cold water dripping from my paws as the burning ship melted the frost accumulating in my fur. I remembered the terrifying hopelessness that gripped me as I gripped Querek and pushed him into the snow. He tried to sacrifice himself for Tenga. What if I had let him? Would it have even worked? Could Tenga accept that?
I recalled the story to Rayner, battling to keep my composure. “I…I watched him die,” I choked. “And I was furious. Reese had to pull me off of him. I wanted to do…something, anything, but…he told them not to bring him back. I think he…” I winced at the thought of him considering this. “I think he’d rather have died sacrificing himself over…going rabid.”
Silence perforated the room for what felt like several long minutes. Rayner sat with his legs crossed, his hand propped up against his mouth. He seemed to become lost in thought for a moment before speaking. “I know how that guilt feels,” he admitted quietly.
I looked at him, somewhat surprised. “You do?”
Rayner nodded, rubbing his hands together. “My son,” he said plainly, taking a long pause before he continued. “He and Jesse were very close as kids. Practically brothers.” He tapped on his clipboard with his pen. “I was…not so available in those days. I was a very different man than I am now. I was still in school. I was always busy, always stressed. I hadn't even considered becoming a therapist. I was deadset on becoming a neurosurgeon.” He scoffed at himself, his head gently shaking back and forth as his gaze grew distant. His delivery lacked that matter-of-fact candor I was so used to by now. He was much quieter; less animated. His eye contact was sporadic and he never stopped fidgeting with his pen. Everything about him seemed suddenly mired in an emotion that was difficult to read. That was when I saw everything we'd done over the past few days for what it really was. Rayner wasn't invincible. He never claimed to be. He was hurt; I could hear it in his voice. He wasn't a person reaching down into the mud and yanking me out by the nape of the neck. He was man covered in mud himself. He wasn't an untouchable hero. Merely a guide.
He continued as that realization struck me. “I loved him as much as a father could. But I was so busy that…well I wasn't there as much as I'd like to have been. That put a big strain on our relationship.” He removed his glasses and wiped the lenses a few times before he continued. “One night we got into an argument. He’d just gotten his license. He had an old beat-up car I'd bought him for his birthday,” he chuffed. “A teen’s first car is always…eccentric. Thought it was a great deal at the time.” He sighed and nodded slightly before continuing. “He left the house enraged, speeding down the road. After a few miles, he lost control, swerved off the road, and hit a tree head-on. The airbag never deployed. The car crumpled like a soda can.”
I stared at him, speechless as he concluded in a near-whisper. “He was declared dead at the scene.”
The room felt hollow for a few long seconds. I searched for a reply but couldn't fathom the right words to say. Fortunately, Rayner didn't stay silent for long. “Like you, I blamed myself for a long…long time.” He sighed. “And it nearly destroyed me.”
I stared at the floor, fidgeting with my tail. “How did you…overcome that?”
“Well it didn't happen overnight,” he replied, flashing a brief smile. “It takes time but, at some point, you have to carry on living. You have to continue loving.” His eyes creased slightly as he looked down at his own hands. “You have to keep loving,” he repeated in a low whisper.
Loud silence claimed the room again as his words sank in. He was right. It was either accept what happened or live like this forever. Looking at it that pragmatically, the choice seemed easy. Emotions are never so logical though. It wasn’t as if he relieved himself of that burden either, it was obvious he still carried it. It just…didn’t weigh as much now. Not because it got lighter, but because he got stronger. I eased into speaking again. “I…I'm sorry. About your son.”
Rayner nodded. “I'm sorry about your friend.”
We both stewed in silence for a minute before Rayner spoke up. “We’ll send you home today.”
“You…really think I’m ready?”
Rayner nodded slowly. “I think so. The medication seems to be working, you haven’t had any breakdowns since you’ve been here. You’ve gotten much better at discussing these things. I think you’re equipped to face this now.”
“...I’m afraid,” I croaked.
“Of what?” Rayner asked, leaning forward
“Of…seeing Lucky again. I'm doubting whether I even should. I was never prepared to be her master. I’m just a danger to her.”
“Vikri,” Rayner exhaled and leaned forward. “You made a mistake. We all do. But you have a responsibility to her. You should at least see her and face that mistake, or you’ll never have closure. What you decide after that is your choice, but I don’t think it’ll be as bad as you think.”
“I hope so,” I sighed.
Rayner clicked his pen and set his notepad aside. “We’ve made you some medication to take home, same stuff you've been taking. The plan is to keep lowering the dosage until you’re sleeping without it. We’ve made you some sheets with all the daily doses on them and when to take each one. It’s enough to last you two weeks, then once they’re out, you’ll come back here for another session, then if you need it, we’ll get you more and keep weaning you off them.”
He leaned forward, emphasizing his next words. “And I cannot recommend enough that you go to Jesse’s support group in between our meetings. Those will help you tremendously, I’m sure of it.”
I nodded. “I have his number. I’ll…I’ll give it a shot.”
“You won't regret it,” Rayner assured me. “Jesse was in the same chair as you not too long ago for similar reasons. He has knowledge from first-hand experience. I can vouch for him, he’s a great guy.” He inhaled. “Well, is there anything else Vikri? We won’t be seeing each other again for a while, so if there’s anything else, now’s the time to talk about it.”
I thought for a second. We’d covered almost everything. I’d never discussed those days in so much detail. It felt like being submerged in icy water. It was miserable at first, but over time it became easier, even comfortable. I’d relived so much pain over the last three days, but here at the end of the whole story, It felt less like a nightmare, and more like reality. “No, I don’t think so,” I finally replied.
“Then I’ll clear you to go home. Andrea is here, she’ll give you a ride, I’m sure. Here.” He reached over and handed me a small business card. “That has all my contact information on it. I’m usually here in my office until late at night, so feel free to call if you need anything. If the sedative gives you any issues at all, any side effects, make sure to call and let me know. We followed the recipe to a tee, but it’s wise to be cautious.”
A familiar silence flooded the room as Rayner and I seemed to, for the first time, have nothing left to say. Finally, the doctor spoke. “See you in two weeks, Vikri.”
///////////////////////////////
Golden strands of light danced between the digits of my paw as I moved it in front of the brilliant summer sun. An intense beacon of warmth floating in a sky as blue as Earth’s oceans. The rumble of Andy’s car occupied the air as we cruised down the highway. Vivri was sound asleep in the backseat. The gentle white noise and vibration seemed to knock her out cold. I watched the sunrays dance as I waved my paw in front of me, before turning it around. Several spots on my paw still had obvious scars. I even still had burn scars from the electrical systems aboard the crumbling Cardinal.
I curled my paw closed into a fist and rested my head against it, watching the lush, green mountains pass by in the distance. After three days I was set loose into the world once again, hopefully better armed than I was before. Even after all the weight I doffed from my shoulders in Rayner’s office, a crushing mass still rested on my chest. Lucky.
The weight only became heavier as the car slowed, and rounded a corner into the parking lot of a large animal hospital. Andy gently brought the car to a stop in a parking space in front of the entrance. Occasionally people would walk in and out with their pets, many of which were dogs on leashes.
Vivri stirred awake after we stopped. “Oh…We’re here,” she muttered nervously. “There’s…a lot more animals here than I was expecting.”
Andy chuckled. “It’s an animal hospital girl, there’s gonna be all kinds of critters here.”
I turned around to face her. “You don’t have to go in there. You and Andy can wait here.”
Andy scoffed. “You might wanna tell Rayner they screwed up those meds, ‘cause you’re delusional if you think I’m letting you go in there by yourself.”
“Well I don’t want her to be alone out here,” I argued.
“I’ll go in, just…stay close, please?” Vivri interjected.
I looked back at her, ears tilted. She was dead serious. I sighed and shook my head. “This is gonna be a disaster,” I groaned.
Andy opened her door. “I’ll wait with her in the lobby, you go talk to the vets. It’ll be fine.”
I looked back at Vivri one last time as Andy stepped out. “Alright, just stay away from the cats.” I opened my door and began stepping out into the summer air.
“C-cats?”
“Small felines. They're demons with mind control,” I replied just before closing the door.
Vivri scrambled out of the car and followed right on my heels. “Well don’t just leave me!” she squeaked.
I laughed. “I’m kidding. Well, mostly.”
Walking into the building, I realized that Lucky had been in a very similar place as me over the past three days. The lobby felt eerily similar to the one at the medical center. Everything went silent as Vivri and I walked in. Immediately I could feel dozens of eyes on us. Vivri hid close behind me as Andy gestured for me to follow her to the desk.
I doubted any of the humans there meant any harm, but dozens of binocular eyes snapping onto her in an instant had Vivri more unsettled than she already was. It didn’t help that several dogs were either on leashes or in carriers in the lobby, which were no doubt just as curious. I grabbed Viv’s paw. “They don't see many Venlil,” I whispered. “Just ignore them.”
I approached the desk with Vivri still hiding behind me. “E-excuse me?” I stuttered. The woman at the desk looked up, clearly caught off guard by two venlil standing before her. “O-oh! Excuse me, you must be Lucky’s owner, right?”
“Yeah. Vikri.” I could feel Vivri shivering behind me.
“I’ll let Doctor Gavin know you’re here.”
“Thanks,” I muttered before turning to Vivri. “Are you sure about this?” I whispered.
“Of course! It’s just for a few minutes, right?” Her body language gave an entirely different answer. She seemed like she might faint at any moment.
I looked up at Andy. “Keep her close, would you?”
Andy wrapped her arms over Viv’s shoulders. “Of course. I’ll keep little Vivi safe from all the big, bad puppy dogs and mean kitties,” she said in baby speak, twisting her side to side. She giggled. “We’ll be fine.” Her tone suddenly shifted as she locked eyes with me. “Will you?”
I stood there in silence for a moment. This entire time my heart felt unbearably heavy. Standing there, I felt nauseous. So much so that I made it a point to know exactly where the bathroom was when I walked in. The weight on my chest made breathing a laborious task. I heaved in a deep breath. “I don’t know,” I admitted. “I don’t know what’s going to happen in there but…I have to do this. For both of us.”
Andy exhaled and nodded, seemingly just as nervous for me. Right on cue, the door at the back of the room opened with a heavy click. “Vikri?” a male voice called out. An older gentleman in burgundy scrubs surveyed the room. It didn’t take long for him to find me. He nodded toward me as he adjusted his glasses. “Right this way, please.”
“We’ll be right here,” Andy whispered, her hands still resting around Viv’s shoulders, who agreed with a tail flick.
I nodded and walked toward the man, leaving the cozy waiting room behind, and entering a long, sterile hallway. The doctor’s shoes clicked against the tile as he walked just in front of me. The weight bearing down on my chest only got heavier with each step. After a few agonizing seconds, the man finally spoke up as he stopped outside a door. “I’m Doctor Gavin,” he said breathily, extending a hand. “I performed Lucky’s surgery.”
I took his hand with my paw, which he could no doubt tell was trembling by this point. “Vikri,” I choked. “S-so…How is she?”
“She’s good,” Gavin answered in a higher pitch. “She’s recovering remarkably fast. Really lived up to her name.” He opened the door and stepped through into a kennel area as he continued. “The bullet hit one of her ribs and shattered. A couple of fragments pierced her lung, one of them was just inches from her heart. There’re still a few very small ones lodged in her tissue, but we’d be doing more harm than good by trying to remove them. They shouldn’t cause any issues and come out on their own after some time, but we’ll keep track of them with x-rays.”
As he spoke we passed by kennels, some empty, some with dogs that barked or jumped up on the cage as we passed. I scoured each one for Lucky, my dread building with each one we passed. Suddenly, the doctor stopped in front of me. He inhaled deeply. “I should mention…Given the…circumstances of how she got these injuries, me and some staff will stay with you just in case she becomes aggressive. That’s not to say that I think she will,” he added hastily, “she’s been great with everyone here but…you know, just to be safe.”
“I get it,” I breathed. It made sense. If Lucky attacked me, it would be far more deadly than it would be for a human. And I was confident even a human wouldn’t last long against a half-wolf her size. Fittingly, a group of four humans were gathered at the end of the hallway, catchers in hand.
Time seemed to slow as I approached the pen. The staff members all looked over at me with the same anxious expression. I felt like a prisoner walking toward my judgment, and that perhaps it was me that belonged behind these cages. I swallowed and took a long, slow breath as Gavin opened the gate. He walked in ahead of me. “Hey there big girl,” he said in a chipper tone. I heard the familiar thumping of Lucky’s tail against the floor. Gavin chuckled to himself as the remaining four staff calmly and quietly filed into the pen. Once they were all inside, the final human leaned around the corner, looked me in the eyes for a long second, and nodded once.
A new reality awaited around that corner. My sentence was about to be read. It felt so cripplingly helpless; wanting so desperately to finally be reunited with my best friend, yet trembling at the thought of rounding a corner to run face-first into the consequences of my actions. I steeled myself one last time. I nodded back at the catcher and took slow, deliberate steps toward him. I finally rounded the corner, and for the first time since the incident, I saw Lucky.
She lay on a large, fabric bed, with food and water bowls close by. Her right front leg was bound in a cast, tied up close to her body. A large patch of fur had been shaved away around her chest and halfway up her neck. She seemed thinner than I remembered. It reminded me of the scared, hungry pup I’d met so long ago.
Her eyes tracked onto mine instantly, and I felt an ache that defied all imagination. The same gaze that would send almost any other Venlil scrambling down the hallway instead gripped some inner part of me in a cold, numb stasis. I couldn’t move. Part of me wanted to run to her and spill out how sorry I was. Another wanted to curl up on the floor right there and sob, returning to that familiar numbness that seemed akin to the ancient enemy of life itself. The cold. That bitterness that pierced through fur, through flesh, through bones, and any ideal held by the naive child that sat next to Tenga’s corpse that day. It ran through until there was nothing left.
Then, I felt a warmth as if someone had draped a blanket over me. I gripped my poncho around my shoulders, grabbing it tightly. I made a quiet promise to myself there and then. Not a promise to my sister, or my parents, or Andrea. Me. I wouldn’t lie down in the cold. Never again. One more hill.
“Hey Lucky,” I said, my voice coarse and breaking every syllable.
The silence was abruptly broken as Lucky, though seemingly frail, shot to her feet. Everyone in the room shifted, prepared for the worst. I didn’t dare move, but I could feel my heart pounding in my legs, my body preparing to bolt. The staff watched her carefully, their grip slightly tightened around their polls. Lucky made no sounds, only stared at me, her nostrils flaring as she gathered my scent. Her right front leg was useless, immobilized against her body. She shifted her footing to steady herself. Then I saw something that replaced fear with tears. She was shaking like a leaf, never taking her eyes off me. She could care less about the others. She was scared. Of me.
I felt myself fall off a ledge in a sensation I’d become all too familiar with over the last few weeks. Tears streamed down my face, my breath hitching as I brought my paws up to my face. I fell to my knees, the presence of the staff had become irrelevant. “I’m…I’m sorry,” I exhaled between gasps. “I’m so sorry.”
So there it was. My new reality. It wasn’t what I’d hoped for, but it was what I expected. I didn’t know what I’d do then, and I didn’t know now. Could I go on without Lucky? She was the one fortress in the turbulent seas of my broken mind. She was the one I could always count on. The one that I knew would always be there, no matter what. Now I was convinced she was terrified of me.
I sat there a shattered mess for a long moment, tumbling off that cliff and reaching out for anything to catch myself, but found nothing but jagged stones. I felt a hand on my shoulder, Doctor Gavin attempting to comfort me, I assumed. Until I felt something touch my knee. I looked up, thrown out of the spiral abruptly. Lucky was now just in front of me, licking my leg. I froze, confused. She gently laid down, careful of her bandaged leg as she rested her head on my leg, looking up at me. That was the same leg she’d broken months ago. Finally, I got it. “I hurt you, and you still loved me.”
A wave of relief rushed through me and I looked down at her, eyes glossy with tears. I bent down and rested my head against hers. I laughed, though it sounded more like a sob. For the first time in days, I felt whole again.
Lucky still loved me.
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There is CKD in my family. For some reason the doctors won't test me and just keep ignoring me on this..
Do you know how common excess magnesium is from supplementation and if kidney problems are more likely?
Other than this, nothing seems to be wrong with the function based on basic "kidney function" tests..
I was taking magnesium but not high, so why would it be high? I tend to be deficient in most things which I am seeking answers on too.
I was taking about 400mg daily at first then for a long time was only taking 200 or 100 every day or second day then had a gap of months before my blood test. That's only 118% then 59% then 39% of the RDA.
And regardless, how would I take or maintain a vitamin D absorption combo if I obviously need or should stop the supplementary magnesium? So I guess it really really isn't meant to happen with supplements..?
The levels are not sky high but are high so I'll be keeping an eye on it. But it seems even a multivitamin could cause this if I take one.

Hi all!
So a little context: the main story of our campaign is that druids, who were believed to be completely extinct, have started showing up and there is a powerful arch druid orchestrating an attack on humanity in this region, looking to take back the land that humans have built on for centuries. So far, the party has been led to believe that this arch druid is a small male human-like figure, pale skin and white hair, very distinct. Last session, the party finally met this person, as him and 3 other druids were attempting to resurrect and powerful dragon. The party successfully stopped the ritual and killed the assistant druids, but decided to keep the pale one alive for questioning, as he did not offer resistance, he did not even participate in the fight.
Now, this pale man is not the arch druid. He is a prophesized messiah that would bring back the king of druids from far ago and thus begin the rise of a new druid era. This man has incredible power (if anyone would like to suggest his origin, I'm all ears, I couldn't come up with anything so right now no one knows who his parents were, he just remembers always living in a secluded forest with animals), but he is 100% peaceful. On the other hand, the so-called king of druids is evil, holding a grudge on humans for centuries. Many centuries ago he fought an archmage, in a battle that came to a draw somewhat. The archdruid managed to defeat the archmage but with his dying breath he managed to transform the archdruid into a dragon egg. It has since hatched and grown into a very young dragon. He has a telepathic connection to the pale one, who he has been manipulating to gather artifacts to perform a ritual where he will sacrifice the pale one to absorb his power in order to be able to return to his true form (pale one does not know)
Anyway, due to this telepathic connection, the arch druid now knows the party has taken the pale one hostage and my idea is to have the arch druid send waves of animals increasingly stronger to get the pale one back. The arch druid is residing, as a dragon, in a cave somewhere in the mountains next to the town where the party is.
What I would like help with is these waves of enemies: how much time between waves (I want the party to feel at least uneasy at all times, urging them to take action), what animals/creatures could be interesting to use, how much stronger than the previous they should be, etc. This is the final arc of the campaign (for a number of reasons but mainly I am tired of being the forever DM and want to give one of the players the chance to do it, since they showed interest), I'm imagining it culminating in an encounter with the archdruid dragon. They are level 5, so of course this dragon would be scaled down in terms of power, but I still want it to be interesting and epic, so any tips on running a BBEG encounter are also welcome!
Sorry for dragging out, thank your anything!

Hi community,
I saw this on TV in the early 2000s , so it could be a movie or a TV show episode. This is what I remember.
They are running away (from feds, I guess). He tells her she's pregnant, but he's actually an alien despite looking human. He cuts his arm to show his white blood and that's his proof he's not human. She needs to take a bunch of egg-shaped pills to continue her pregnancy and the last pill is much bigger.
I thought it was Starman (1984) but it's not. Probably made between the 80s and the 00s, but that's just my guess.
Thanks!

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“Well…..frak.”
Those were the only words Corporal James Diogenes could think of to describe his current situation. Behind him, he watched as his comrades turning tail and running away.
“Cowards. Cowards one and all.”
He spit into the dirt towards his former allies then turned towards the other part of his problem.
Xenos. A large army of Xenos, one that was far more disciplined and had far more bodies than command had assumed. He couldn’t remember what they were called or even remember the name of the planet he was on. He couldn’t care for either topic. He wasn’t surprised that the Intel he and his colleagues had been fed was wrong, it often was, but never to this degree. The enemy outnumbered the imperial army forces at least 7 to 1 if not far more. Their tactics were similar to those employed by the imperial army but their population meant they could do more tactical maneuvers, on more fronts, at the same time.
Why the imperial navy didn’t annihilate those armies from orbit, James would never understand. Given his current situation he most likely wouldn’t get a chance to ask. He checked the magazine on his auto-gun, the rifle being rather old by the standards of the current imperial army but its age held up as it punched through most body armor he came across.
“…..Frak.”
He cursed again as he inspected the magazine. Three, maybe four rounds left before he was out? He looked over his shoulder and sighed. The cowards took the ammo with them along with any other supplies they could carry, leaving an empty trench and a few rows of rusty flay-wire.
And James but he chose to stay behind.
A low chuckle escaped him as that thought came to mind. He shook his head as he took his spot in the trench. He wouldn’t win this fight, he was sure of it, but by Terra and in the Emperor’s name he would make them bleed. He would make them hurt.
The few rounds he had in his magazine were gone in no times at all. Four enemies laying in the dust and being trampled by their friends was proof of that. He smiled grimly as he watched his enemies march towards him. They had all bowed their heads slightly, seemingly expecting more shots. That got him laughing. A few bullets and a whole army was shaking before him. He wondered if this is what the primarchs, the emperors daughters, felt like whenever they were on crusade.
He tossed his empty rifle to the side. His smile grew as he held his knife, gripping it tightly as he watched the advancing line of xeno scum. The leather of his glove strained as his hidden knuckles grew white from how tightly he gripped his knife. He considered for a moment what he’d do when the enemy came into the trench. He knew he would fight and die, but he wondered how many of them he’d kill before they took him down.
He reached back behind him, grabbing the Krak grenade he had attached to his belt. He held it tightly and used the middle finger of his knife hand to pull the pin. He held close, holding the striker lever down to ensure it wouldn’t go off until he let go of it. Then he waited.
The world closed in. Darkness tinted the edge of his vision as he watched his enemy march ever closer. Nothing existed save for him and the enemy. He knew what this was. Adrenaline, anticipation, and fear all coming together to activate his fight-or-flight response. He whole body felt charged and he had to stop himself from jumping out of the trench and running…..where? He wasn’t sure. He couldn’t guarantee his body wouldn’t turn tail and follow the rest of the imperial army back to the transports.
He adjusted his cap, scratched his bearded cheek and continued to watch. Watch and wait. That was all he could do now. His breathing grew heavy and erratic, his teeth barred, and a low growl escaped him.
The marching stopped.
He stared and waited.
A ploy? A chance to surrender maybe? Were they simply calling in artillery on his position?
That last thought stopped him. Artillery. Would they call artillery or an orbital strike or some other long distance attack on his position?
No. No, no, no, no they wouldn’t escape him that easy.
He scowled and climbed out of the trench, charging the Xenos line with a roar. The knife was raised over his head, holding it in an upside down fashion, as he sprinted towards his enemy. He refused to die to some cowardly artillery strike, he absolutely refused to be turned into a red smear on some backwater planet that no one would ever remember or care about.
The enemy….ran. They ran! He laughed as he chased after them. It didn’t make sense and he didn’t care. He couldn’t care, he was beyond caring.
“Get back here you throne damned bastards! GET THE FRAK BACK HERE!”
He slowed down long enough to toss the Krak grenade, laughing loudly when he saw it go off and take a handful of Xenos down.
The blood….was blood always so beautiful?
He continued running after the enemy before he stopped again. He stopped running cause something had stopped him. He didn’t understand, his legs were still under him, he was still alive, he could still fight!
“Kraking, bastard, filthy xenos, kill you all-“
“Shut up.”
He stopped talking, the voice snapping him out of…..whatever that was. He regained control and realized why he stopped running. Something had picked him up. He stared down at the ground only to realize how high he was above it.
“Hnngh, let go of me.”
He turned towards whatever was holding him only for his eyes to grow wide.
There stood….a woman. A very big woman with metallic dreadlocks poking out of her skull, her armor exposing skin and flesh in the fashion of a gladiator of old. He stared at him with a raised eyebrow and a silent growl as a twitch of pain or anger made her right eye close for a half second.
“Excuse me….heh….corporal.”
She said his rank as if it was an insult, even going as far as spitting on the ground after she said it. She held up by the back of his flak vest like he was little more than a lost puppy. She treated him like he wasn’t worth even talking to and that he was some stupid grunt who was simply in the way.
Space marines raced past both of them, ignoring them in favor of chasing after the retreating Xenos. They….were gonna steal his glory.
“Let me go damn you, the fights over there!”
The woman laughed loudly. Her head held back as her laughter echoed over the battlefield. A part of him thought her laughter was the most horrific and beautiful sound he ever heard, but it was overshadowed by his growing rage.
“You wouldn’t do-hnngghh-do anything to those alien freaks by yourself. Go home boy. Run with the rest of your fri-“
He swiped at her and smiled widely when he saw a small, paper thin cut open up on her cheek. A small trickle of blood dribbled down her skin as her smile disappeared. Her free hand came up and wiped at the cut. She studied the small swipe of blood on her finger. The cut was nothing, it wouldn’t even scar and she had lost far more blood then this in the blood pits. But something about this man taking a swipe at her, daring to cut her, daring to even consider killing or harming her…..
She smiled widely and put the man on her shoulder.
“You. I like you. You’re mine now little man.”
He tried to jump off but she held firm and turned away from the battle. Her sons would handle the fight. He roared on her shoulder and struggled against her grip, his rage growing as he did everything he could to get into the fight and kill. He wanted to, no needed to spill blood. He needed to kill, he needed to make them bleed.
But this goddess in bronze wouldn’t let him. She walked away and set him down in a space marine Rhino. He didn’t know her, he didn’t know why she took him, and he didn’t care. Instead he sighed and hung his head as he lit a iho stick.
“Don’t worry Corporal, there will be more glory to be had.”
He stared at her. His eyes were bloodshot, his body covered in dust and he felt exhausted.
“Hnngh…frakking….throne damn you….”
She smiled widely at that and pulled the trigger on her chainaxe. She then turned towards the driver.
“On second thought, hmm let’s go. I wanna see what you got little corporal.”
He smiled at that and stood up, popping his neck. He exhaustion was forgotten for the time being as the thought of killing those damned Xenos got his blood pumping and made him want to move.
“By the way.”
The giantess spoke as the rear hatch opened, revealing the same battlefield he had just left.
“My name is Atalanta.”
Please note: I’m not a writer and this whole story came to me while I was in a shower and from my lack of artistic skill. Sorry if it’s trash.

Long post, sorry. TLDR I thought I was 100% white until my mom discovered she has a Métis ancestor. I want to learn more about everything, but I know nothing (I've been completely culturally assimilated). I'd like some advice on what to do.
Up until about three months ago, the idea of being Métis never even crossed my mind. My dad is Danish and my mother is mixed European. I live in central Alberta.
My mom started looking into her genealogy after her ancestry tests came back with 20% French (she's always been told she's Scottish/Polish/Irish/ect). That's how she discovered she is a direct descendant of a Métis ancestor.
My grandmother on my mom's side was adopted, and nobody spoke about the possibility of being Métis. My mom told me she only heard furtive rumours that were quickly shut down. She connected with a relative who has a Métis identity card who helped her out with more info.
The thing is, I'm at a loss at what to do now. I am white. I continually work to learn and unravel my ingrained racism/sexism/homophobia (basically, all of the systemic oppression that's unknowingly passed down, generation to generation.). But that doesn't change the fact that I have white privilege. Until privilege is dismantled, I will have it because of the colour of my skin. Can I be white and Métis?
Attempted cultural genocide is the reason I was completely blindsided by this, obviously. My mom went to a Métis group to discuss her experience and how she can move forward. Someone there told her since she is at least three generations from the ancestor, and that she looks white, she shouldn't identify as Métis—only that she has Métis heritage. But I read a blog post from a Métis woman who explained that the Métis Nation rejects blood quantum as the colonialist and assimilating term that it is. (Because, seriously, wtf.)
I confided in a friend about this and he introduced me to the disconnected term. He had used it back when he was still rediscovering his culture. I feel most comfortable with it at the moment, because it reflects how I currently feel: completely cut-off and isolated from a whole part of myself I didn't even know existed.
I want to learn more about the Métis Nation, culture, community, and language. I want to identify as Métis, just as I identify as a woman, as bilingual, as white, as disabled, as queer, as Danish. I want to learn Michif. I want to connect and participate with local communities. I want to figure out how to balance my white identity with my Métis identity. I have absolutely no idea how to do so.
I would sincerely appreciate any resources or advice you'd like to give, as well as clarification if I got anything wrong, made a mistake, or was ignorant. I thrive on learning.
Thank you very much for taking the time to read.