it took me until the pelupelu quests to really get what dawntrail is trying to go for with the moblins of earthenshire.
the first time through MSQ, the feat of pots stuff really didn't land for me. a lot of emphasis is placed on the relationship between the helphands and the potsworn in a way that ends up being pretty straightforwardly and kind of boringly about the importance of artisans, craftsmen, and other skilled laborers to civil society. after the collapse of the yok huy empire, earthenshire used to abduct potsworn under exploitative terms, gulool ja ja shows up and says "not only will hiring and caring for living workers keep people from wanting to kill you, it will also lead to the production of finer arts and crafts," the moblins agree, there is much rejoicing. in the present day, wuk lamat favors gulool ja ja's "let's all benefit from peaceful urbanization and governance" approach while bakool ja ja reverts to direct violence. it's not a bad bit of story, i guess, but it's also not much, and it's soon overshadowed by wuk lamat's abduction.
but the pelupelu society quests highlight it in a different light. it emphasizes not just the potsworn, but the fact that the moblins are facing the question of how to handle a bounty of natural resources.
the moblins of earthenshire were previously oppressed and exploited by the yok huy specifically for the natural riches of southern kozama'uka. what kinds of natural riches? well, gulool ja ja specifically calls out "the quality of the materials used" in earthenshire's goldwork, so we can guess probably gold.
another big answer is staring us right in the face, in the form of earthenshire's architecture: high-quality clay (and feldspar) for ceramics, and probably a characteristic glaze known to earthenshire's artisans. the blue-green color and "cracked" quality of the finish makes me think FFXIV's writers and designers had celadon in mind, even if the final hue is heavier on the blue and lighter on the green than the color celadon is usually associated with in english.
we are told some of earthenshire's traditional industries: underground mining, fishing, alluvial (stream-bed) mining. under the yok huy empire, moblin society was focused entirely on resource extraction. the tour guide says that without the yok huy, the moblins were bereft of both "providers and protectors," suggesting that under the yok huy the moblins were neither producing their own goods nor exercising many traditional powers of government. in many ways, they still don't!
what gulool ja ja proposed, and the moblins have enacted, is now almost an inversion of traditional metropolitan-hinterland relations. under the usual paradigm, the hinterland, resource-rich but unable to resist the interference of foreign powers, is exploited by the metropole, both in terms of its natural resources (which are extracted and shipped back to the metropole for use in the production of goods, as luxuries, etc.) and its people (who are oppressed and forced to labor in extractive industries for the benefit of the metropole). and of course as is usual in colonial relations you expect the metropole to impose itself culturally on the territories it controls. that kind of exploitative relationship between foreign powers and indigenous labor & resources is exactly what some people feared in the run-up to dawntrail (if you weren't paying attention at the time, some of the initial imagery out of shaaloani made some fans leery at the possibility that FFXIV was about to do an "old west" plotline about ceruleum extraction by eorzean powers in turali lands).
by contrast, the moblins of earthenshire control their own natural resources, and the relationship is that they take skilled labor from the metropole (tuliyollal), assimilate those artisans culturally and economically into their society, mediate their access to the natural bounty of kozama'uka, and sell their wares back to the metropole as products of earthenshire. it's all a bit hand-waved in the classic fashion of ffxiv (where are all the moblin miners?), but it's clear enough what's intended. even with the yok huy gone, the moblins have largely maintained their previous way of life, but in a way that centers and celebrates their culture and allows them both civic control and a sort of intellectual property control over the products that result ultimately from their extractive labor. it inverts the traditional "resource curse" narrative in which small, resource-rich countries are "naturally" inclined to be colonized and exploited.
it also pushes back a bit on ffxiv's usual paradigm around resource extraction and arts production. disciple of the hand quests, outside of their specific storylines, often broadly celebrate the ingenuity and labor of the individual artisan. disciple of the land quests, on the other hand, are often about the relationships between labor and the land (with an emphasis on natural stewardship and learning respectfully from local cultures about their local lands) or the importance of extractive labor to broader society.
on the subject of art, what earthenshire does is uniquely honor the role that extractive and reproductive labor play in the creative and artistic process. though the craftsmanship is certainly exceedingly fine, that's not what is truly unique about moblin society or earthenshire's wares. ffxiv is well aware that art cannot exist unless we compensate artists properly (and the existence of the cracked cistern works to complicate our picture of earthenshire along these lines). but what earthenshire truly celebrates is all the labor that goes into the creation of the art that often goes unremarked: the labor of the miner and the porter, of the cook and the launderer. that is the labor which makes each and every good made there not just a product of the individual artisan, but a product of earthenshire.
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