Paint the sky with stars

yangstea:

lastlabyrinth:

One of the things I find interesting about LoGH is how intensely regressive its future is. It’s a human rights wasteland. Yes, we got our space travel and colonization, but it’s almost wholly controlled by insane fascists obsessed with a pre-1900 European aristocratic aesthetic. In the Empire, women are represented as concubines or as bearers of children, and people of color are chillingly absent.
It’s such a mess, and it’s a mess centuries in the making. The oppressors are entrenched, in this conflict. The people who want to move things forward again are all drunk or angry or driven by unhealthy obsessions. They have blood on their hands. The bad guys? Calm, collected, successful authority figures who send other people out to die for them, then make speeches about their Patriotic Sacrifice. Gah, they’re not even real and they make me mad because they seem real, way more real than some cackling super-villain in a black cape would. And when the good guys stumble, as people do, it’s that much more infuriating, because you really get invested in them and want them to win. But history isn’t a win-or-lose affair. It’s an endless series of skirmishes between progression, stasis and regression in a hundred areas— economics, human rights, resources, and on and on. LoGH is so good because it’s aware of this— it’s aware of the inherent pessimism of its own premise— and yet it still somehow manages to have characters that, for all their flaws, are loveable, brave, and heroic, and who succeed in small ways that leave you hoping the pendulum can swing back, even if only for a time.

No one could ever have described the series better than you just have. I salute you T^T( art wise I love this sososososo damn much, I love your art, all of it)

yangstea:

lastlabyrinth:

One of the things I find interesting about LoGH is how intensely regressive its future is. It’s a human rights wasteland. Yes, we got our space travel and colonization, but it’s almost wholly controlled by insane fascists obsessed with a pre-1900 European aristocratic aesthetic. In the Empire, women are represented as concubines or as bearers of children, and people of color are chillingly absent.

It’s such a mess, and it’s a mess centuries in the making. The oppressors are entrenched, in this conflict. The people who want to move things forward again are all drunk or angry or driven by unhealthy obsessions. They have blood on their hands. The bad guys? Calm, collected, successful authority figures who send other people out to die for them, then make speeches about their Patriotic Sacrifice. Gah, they’re not even real and they make me mad because they seem real, way more real than some cackling super-villain in a black cape would. And when the good guys stumble, as people do, it’s that much more infuriating, because you really get invested in them and want them to win. But history isn’t a win-or-lose affair. It’s an endless series of skirmishes between progression, stasis and regression in a hundred areas— economics, human rights, resources, and on and on. LoGH is so good because it’s aware of this— it’s aware of the inherent pessimism of its own premise— and yet it still somehow manages to have characters that, for all their flaws, are loveable, brave, and heroic, and who succeed in small ways that leave you hoping the pendulum can swing back, even if only for a time.

No one could ever have described the series better than you just have. I salute you T^T
( art wise I love this sososososo damn much, I love your art, all of it)

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    This is a good post and you should feel good.
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    No one could ever have described...series better than you just have.
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