Alloaro culture is wanting a similar word to qpr for a committed partner you have sex with sometimes that is not romantic: qpr isn’t right because it has the word platonic in it.
hi! in a very gentle way, i am vibrating to let you know this is incorrect :)
from the POV of someone who's been around the aro community since ~2013-2014 on tumblr, the only time i've seen folks start to say that qprs couldn't include sexual components has been when
they've learned an incorrect definition of QPRs, or
in one particularly notable case, the individual proposing it turned out to be quite sex negative and upset at the mere thought that people could think that qprs could include sexual activity. this individual suggested an alternative term for individuals desiring sex in QPRs in a rather explicitly alloarophobic measure. when gently called out from what had seemed to be a genuine attempt at coining a new term, the above came to light. smaller cases of this pop up every once in a while, but this one got some notoriety.
queerplatonic was always meant to mean "queering the idea of a platonic relationship", "queering the idea of what a relationship means", and by explicit definition, has always been broadly and radically inclusive. any relationship, so long as the partners involved agree it is a queerplatonic one, is queerplatonic. no exceptions. this can mean it involves romance, sex, traditionally platonic elements, and anything and everything those involved desire out of it.
tldr; the word platonic is in queerplatonic to say it is counter to the idea of a restricted "platonic" relationship.
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Speaking of Sky, I love recommending this game to people.
Hi, yes, would you like an open world RPG that's just so pretty you wanna cry where nothing bad ever happens okay, never, and the whole point of the game is to make friends and unlock backstories of different characters and wear pretty outfits and there is no name or gender restriction you can just be your best self :D
Also you may or may not be stuck in purgatory or a post-apocalyptic world. But don't worry about that it's fineeeeeee. Just look at this pretty sunset in the Valley, isn't it pretty?
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i understand that many current shmup-playing touhou fans began the games with imperishable night. however, i still believe it's a horrible recommendation for a first game. completely inaccessible lore-wise, does hardly a thing to introduce any of its playable characters, and built on gimmicks which never appear again. i can never recommend it as a start—you need at least PCB and preferably EOSD to enjoy most of what it has to offer, and there's other easy entries with just as many popular characters with far more straightforward writing.
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news agencies right now are really like
I CAN'T BELIEVE PAULINE GAY WAS FORCED TO RESIGN
for plagiarism
and ummm dangerous antisemitism
BY CONSERVATIVE SCUM!!!!!!!!!!!!!!!!
huh
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When I approach Yelan (or anyone else I've written), I don't just look directly at her character, but I also look at her surroundings. Both the ones that she knows by some semblance of necessity, but also those that she chooses. Like here, I talked about the Chasm, and what being 'okay' with existing down there needs to mean for a character, because it's not normal. Someone's surroundings, room, or home say a lot bout who they are and what their mindset, or specifically, their perspective is of the world. And sometimes, I think it says more about people than even the characters realize.
This brings me to the topic of the city of Fontaine. Now, I personally think it's rather obvious that a lot of the nation takes from historical France, and so when looking at it, I think it really adds to remember its monarchy, the view that the 'common folk' had of it, and its inevitable demise to non-existence today in terms of importance as a result. So my first question is, who constructed or decided on its layout? Was it Furina, Neuvillette, Egeria? Whoever it was, there's a lot that can be said about their view of the world and their placement in it when you look at locations of buildings. Look at where Palais Mermonia, its governing body, is located within the city; it sits at a rather astounding elevation in comparison to, well, everything and everyone else in the city. This frequently represents the concept of 'distance' between groups in one way or another, and seeing the consistency in other nations, this is something that is rather intriguing to me, especially keeping Fontaine's characters in mind (and considering this is the nation of 'justice'). Mondstadt has everything almost entirely uniform, with arguably the church on the highest level (but it isn't greatly elevated in comparison to all else), but it's joined with the plaza and statue which are a common gathering site for all people in the city. Liyue had the gods and adepti visibly living among the humans back in the days of the Guili Assembly for reasons of 'integration' (my apologies to numerous from our dear Guizhong!) The fact that numerous adepti now live far outside of the harbor is a different matter entirely, and the one who seems to function within a semblance of separation of sorts is Ningguang with the Jade Chamber (but I'm not one to speak on behalf of her character as I don't bear the knowledge). Inazuma also has the Tenshukaku at a higher elevation in comparison to the rest of Inazuma City. Sumeru is interesting, but ultimately Nahida was kept at the very peak of the city, far out of reach of humanity— but that's exactly the common denominator that has my interest, the distance between the 'governing body' and humanity for one reason or another.
But Fontaine really takes separation to a different level in my opinion (and again, think of this when you think of the person having designed the whole city), not only because of the above which I'll elaborate more on in a moment, but also its separation from the outside world. Now, this is interesting to think about if you keep in mind that it was perhaps done in eventual protection of the city's inhabitants in terms of the prophecy (which means that this would have been constructed anywhere during or after Egeria's reign), but then why is only Palais Mermonia far above the water's reach? If the walls surrounding the city were ever breached during said prophecy, all its inhabitants are pretty much immediately caught in the flood and would drown, which tells me nothing positive of the city's 'architect' or whoever signed off on the designs. But if not done for the prophecy, then why? Stand in the middle of the Court of Fontaine and really look around you, the only sights you really have of the outside world are the sky, and it's obstructed by a fair bit of the waterways and gardens that hang overhead, which you can only properly enjoy when you take the ages long elevator to the upper level where the palace is located (which, credit due, seems freely accessible to everyone in present-time). But if you don't venture up, how much of the outside world do you get to see? It feels very secluded, very much under lock and key. On some level (and this is one of the many reasons why I think that the Meropide is so excessively important in Fontaine and it's likely why we spent so much time there; it's all to show the ever, ever important contrast and nuance between this 'autonomous nation within Fontaine' and, well, 'Fontaine'), it almost feels like a prison, regardless of how pretty it may look or come across (and despite not 'lacking rights'). And considering how people in the Meropide speak of not always wanting to return back to the 'overworld' following their sentence, I think that there's definitely quite a bit of truth in that. But again, stand there and look around for yourself.
Now to return to the original topic, but keeping the last one in mind as well, look at one other thing that I'm unsure how many have really kept an eye on: the massive effect Palais Mermonia's level has on the rest of the area (inside and outside of its walls). Have you ever walked through the city of Fontaine at any given time of day or night, north to south, east to west, clockwise or counter-clockwise circling through it; have you ever seen how it overshadows an immense part of the streets below it either entirely on its own (which to me signifies a very domineering presence), or together with those outer walls that surround the city? I know how I've spoken thoroughly with people before about how much I enjoy Fontaine and how dark it is in its storytelling, but despite how gorgeous this region with its water- and landscapes are; its city bears quite a heavy weight to me. I don't know who designed it, or ordered it to be constructed in this way, but nothing about the city itself truly, rationally, shows a healthy perspective versus its citizens.
Me: /continues on to ramble in tags because I'm me and I'm a nuisance with always more to say than I know how to coherently put into these posts.
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