In 1808 one of the few instances of martial law was declared in Australia, after the military overthrew the government in response to news that they would no longer be paid in alcohol.

The military junta ruled the colony for 6 months, with their main impact being the opening of 90 new liquor stores.

The rebellion's leader, John Macarthur, successfully bamboozled the English courts by arguing he couldn't be court martialed as a civilian, and returned to the colony uncharged.

He was later put on the Australian $2 bank note, and has an electoral district named after him.

Here he is apparently beaming some mind control waves at a sheep

everything i learn about australia is the most australian thing ive ever heard

Trinket Boxes // Illumimount

God gave me depression because if my ambitions went unchecked I would've bested him in hand to hand combat by age 16.

@kimpossibooty on Tumblr (Archive)

Look it's important to be aware of the modern-day effects of imperialism but like. If you can accept a story having magic or dragons or whatever you can very easily imagine coffee without imperialism. The coffee doesn't require it in any form. I agree that there should be more fantasy stories set in the global south but also you can just assume, as the writer did, that any exotic goods just come via trade route

The thing about these "So you can imagine a story with dragons and magic but the coffee/potatoes/tomatoes is what breaks your immersion" type responses that any post like this inevitably gets is that they're approaching this as if it's a discussion about "realism", whether the presence of these crops is unrealistic and if that lack of realism negatively impacts the quality of a work on an individual level, and not about the cultural implications of this being such an ubiquituous *thing* in the fantasy genre.

Like... sure, if I can suspend my disbelief for a story with dragons and wizards I can suspend my disbelief for a story that features food products that didn't exist on the version of europe the author is basing their setting on.

But we're not looking at this on the level of *a* story but on the level of the fantasy genre more broadly. When nearly every fantasy story features a setting that is aesthetically and culturally based on the trappings of medieval europe as filtered through the author's cultural lense, and these settings almost universally feature things like tomatoes and potatoes as staple foods, doesn't that say something about the cultural landscape that shaped the worldview of so many of these authors? It kinda reveals a tendency for global north people to just take the ways in which their society has benefitted from colonialism and imperialism for granted. These benefits of colonialism are so deeply culturally ingrained as a thing that just neutrally exists and belongs there that they're unable to imagine a world without them, so when they're imagining a world based on medieval europe they anachronistically project them back in time as things that just exist there completely unquestioned.

Like I personally couldn't care less if these things happened in just like. One fantasy story. Or a handful of isolated incidents. Like in that case I would agree that pointing it out would be a bit of a Cinemasins ding moment. But when it's not one story, but instead the vast majority of the fantasy genre being comprised of medieval europe-inspired settings where people are constantly eating potato stews and tomato soups and wheatever, I do care about how it reflects a very particular cultural-level blindspot in how global north people tend to see the world.

I think the argument about suspending your belief to let “fantasy europe” have potatoes comes from the fact that fictional fantasy Europe having potatoes doesn’t actually hurt people. It’s a sign of a culture built of of colonialism which is harmful, but having plants not native to a climate be there in fiction doesn’t actually hurt people.

Potatoes in fictional fantasy europes aren’t actually the problem. They are a symptom, but not the problem.

Colonial and imperial ideologies, the effects of people holding them being in power, and the ignorance and or indifference to them are the actual problem.

Saying we can’t have fantasy europes in that have potatoes is like giving painkillers to someone who’s been stabbed. It doesn’t solve the problem. It might make people less unhappy because they didn’t like fantasy Europe potatoes, but it doesn’t solve the actual problem.

We need to educate people about the evils and horrors of colonialism, how its effects are rampant in our world, and find ways to correct those issues. We can use fantasy Europe potatoes to point out how prevalent it is, as an opportunity to educate, not because few are bad, but because they point out that people don’t know where they come from.

Attacking fantasy europes for having potatoes helps no one, except for giving the attacker a feeling of self righteousness.

I feel that @imsobadatnicknames2 very clearly stated that the thing that matters with regards to potatoes is not the potatoes themselves but what they communicate about the implicit ideology behind the writing and how they reflect a cultural blindspot among writers in the genre so this response of yours feels very patronizing and tone deaf. You're basically saying "ugh I can't believe people would blame the potatoes instead of the implicit ideology they represent" in response to people talking about the implicit ideology they represent.

i love how suzanne just gives us a little treat by mentioning the katniss plant every book. like here u go. ik u miss our girl. she's fine. enjoy lowercase katniss

I’d imagine that if everyone was all in a room together Mabel’d be fine, but if it was just her and Ford she’d feel slightly awkward/uncomfortable, at least when he first appears..anyway, Mabel looking for Waddles

[muttering to myself as I rifle through ancient tomes and scrolls] girl on girl... girl on girl... [getting increasingly agitated] where is it. WHERE IS IT!!! DAMN AND BLAST!!! [throws a dagger across the room, slitting my lackey's throat and embedding in the center of a mural of a lily flower. the flower depresses into the wall, and an unseen mechanism begins to click. the wall opens up, revealing rows of shelves stacked high with dusty old tomes.] [I walk into the room, kicking my lackey's corpse out of the way] [I pick up a book and leaf through it] [it's yaoi]

"I want to be a dragon."

i don't know how you post-as-you-go long fic writers do it because i just went back 50,000 words and retconned all of chapter 2 in a 25+ chapter fic and i sure as fuck couldn't have done it if i were publishing it chapter by chapter.

Except that you can. I've gone back and fixed things in previous chapters. I'm gonna do it for one of my incomplete docs here shortly because I madeup a street name in a game and realized just now that there is an actual name for it.

If you're using AO3 it is meant to be a living archive. That means the fic doesn't have to stay perfectly the same since the day you post it. I make grammatical or small word changes to my fic all the time when I go back and read them for fun. Teeny stuff.

But big changes are okay too. Adding in some foreshadowing. Removing a paragraph that no longer makes sense. Make a note to your audience if you think you should or just don't address it whichever. Some people may act like these kinds of changes are bad. But it's your work. It should look how you want it.

And it's genuinely a thing that happens in real publishing too. There are cases where authors on second or third reprints will change some things.

“I’m just a girl” first of all you’re a grown ass woman second of all free yourself

the biggest scam tumblr pulls is all the people who come here convinced they want to be tumblr famous

the best experience you can have on tumblr is goofing around with your mutuals and one of the worst experiences is having a post with 20k+ notes.

ID: a photo of many small kittens cuddled together in the center of a brown and white pet bed, with each kitten wearing small party hats. end ID

Kait Rokowsky || Mary Shelley, Frankenstein || @hopepunk-humanity || Jenny Slate, Little Weirds || Intricate Explorer || Melissa Broder, Problem Area || Kerri Maniscalco, Kingdom of the Wicked || Louise Eldritch, The King of the Owls || Stephanie Foo, What My Bones Know || Damir Omerović || David Leviathan, How They Met and Other Stories || Ariana Reines, The Cow || Anaís C., Am I Good? || Okechukwu Nzelu, Here Again Now || Max Muselmann || Fernando Pessoa, I See Boats Moving || Mary Maclane, I Await the Devil's Coming || Jhumpa Lahiri, Whereabouts || Mary Oliver, Spring || Jordan Steranka Tathlyn Auvrynval: On Endurance, Defending, and Being Made A Weapon

does anyone know if you can get in trouble for feeling weird

maybe we should all watch the goldfinch and it chapter two again and read some richard siken and the secret history and all wear wool coats and long scarves while listening to the national's terrible love and then we can rediscover some long lost peace