But like. As for the Skyrim civil war, reasons not to join the stormcloaks would be that they're a white fascist's wet dream and the nords have oppressed and are oppressing other races as well. But then again, the imperials are roman empire fanboys' wet dream and have been literally subjugating other races to their rule since the beginning of the series. I don't really have a point TES is actually just a racism pie in which the crust is racism and the filling is also racism
Skyrim is fascinating to me because it goes out of the way to paint the paramilitary white supremacists as “the good guys”. I have a Whole Other Essay that goes more in depth about the very specific time when Skyrim was developed and how it kinda reflected the upheaval going on the US, and another half-baked one in my head about Bethesda’s usage of the Roman Empire motif in its games (The Empire in TES is.. well, it’s no Caesar’s Legion!)
But I’m also not sure what else we can expect from a series where the writers are.. well, not exactly diverse in physical description or interests. I’d love to ask any TES writer what their favorite books and history subjects are, and see how many of them don’t mention a bestselling fantasy series or some kind of global conflict.
🌙 hmm... an age old question but opinion on the whole Imperials Vs Stormcloaks fiasco Skyrim tried to feed us?
*cracks neck*
Goodbye follower count, I’m going in!
I’m going to preface this with a confession: In my first ever playthrough of Skyrim (2014), I did side with the Imperials. On my second, I sided with the Stormcloaks. Since then, I have done three more playthroughs on the Stormcloak side, and three more on the Imperial side. In four more still my Dragonborn was neutral, slaying Alduin without ever taking a side. In my playthroughs, especially the ones after 2016, I’ve developed my own opinions about the Imperials and Stormcloaks alike.
In order to better articulate my opinion, we must first briefly examine four factors: the American landscape in which Skyrim was conceived, Skyrim itself and its portrayal of the Imperials and Stormcloaks (and the Thalmor), and Umberto Eco, the usage of terms like “fascism” and especially “Nazism” in American popular culture, and how this all relates to the Imperial/Stormcloak fiasco.
So let’s get started.
Part 1: Thanks, Obama.
In 2008, Barack Obama was elected as the 44th President of the United States. It was a landslide victory against Republican runner John McCain, a conserative who frequently brought up his service in the Vietnam War (and his time as a prisoner of war) during his campaign, as well as his years of service in political office. In a move to make his (very white, very male) campaign seem more inclusive in the face of the frontrunners of the Democratic campaign (Hillary Clinton and Barack Obama), he appointed Sarah Palin as his VP. She was the only conservative woman who agreed to be his running mate, as all three conservative women in the Senate already said no, and the Republicans couldn’t find a black conservative.
(I’m not making this up.)
Anyway, come 2008, the conservatives lose their goddamn minds because Bush’s reign of actual terror was over, a Black man is now President and Whiteness is in peril. This was before the term “triggered” became a popular sneer in the conservative dictionary, but “snowflake” was used a lot. Come 2009, the Tea Party emerges. And now we get to the crux of my, uh, observation.
For the young, uninitiated, or non-Americans who are thinking “What the fuck is wrong with America”, the Tea Party Movement was/is a rash of hardline rightwingers who, still licking their wounds from a sound beating by the Democrats in the 2008 election, sought to rebrand themselves. With some bootstrap lifting and millions of dollars in funding from media tycoons such as the Koch brothers, the Tea Party made its official debut in 2010 after the signing of the Affordable Healthcare Act. Their message was simple: It’s time to take America back from the lazy, the entitled, and the “uppity”. What was really just a rehash of a song and dance that’s been turning its ugly white head since at least 1964 gained something of a stranglehold on America, in spite of its relatively small size of active members. It hit all the notes: a populist movement rooted in the perceived threats to their faith, their culture, and their social and economic capital.
They also believed shit like this:
For instance, Tea Partiers are more likely than other conservatives to agree with statements such as “If blacks would only try harder they could be just as well off as whites,” and are more likely to disagree with statements like “Generations of slavery and discrimination have created conditions that make it difficult for blacks to work their way out of the lower class.” (Williamson, 34)
Like I said. Since 1964.
What made the Tea Party different from the other conservative temper tantrums was one thing: Internet access. All of a sudden, these angry white men had an outlet for voicing their rages, and an open recruiting forum for other malcontents and disaffected youths. I’m not implying the Tea Party had anything to do with Gamergate, nor that Gamergate had anything to do with the rise of the alt-right or whatever these tennybopper neo-Nazis are calling themselves now, but I am saying those circles at least touch in a Venn diagram.
“But tes-trash-blog! What do the machinations of American politics have to do with Elves?” you may ask. Well dear reader, this leads me to..
Part 2: Hey, you! You’re finally awake!
Skyrim was an overnight hit. On release, The Elder Scrolls 5 generated 450 million dollars on its opening weekend alone. This game sold for around 20 million copies, not including Special Edition, VR, or Switch, and continues to see an average of around 10,000 players a week 9 years later (Steamcharts).
And 20 million people see one thing first: A strong, noble Nord in captivity, telling you that you’re on your way to be executed by the Imperials, who are in bed with a scary, sneering bunch of High Elves dressed in black. 20 million people already were told who was the clear bad guy in this game, and it wasn’t the strong, noble Nord in captivity. I’ll be going into this more into Part 3, but suffice to say, the Imperials were already coded as Bad Guy by association. The Imperials decided to execute you, the player. They shot a man in the back because he ran from his own execution. He stole a horse, which was a crime punishable by death in those days. The game doesn’t tell you that part, and is content to say that Lokir was killed because he was in the same cart as the Stormcloaks.
Speaking of Imperials, the Third Empire is written as obtuse, corrupt, uncaring, and cruel. The Septim Dynasty is wrought with scandal and intrigue, plagued by conflict, and powerless to do anything about the Oblivion Crisis that almost ended the world. They flat out abandoned Morrowind and Summerset to better protect their own, offered no help during the Void Nights that destabilized the Khajiit, and worst of all, signed a treaty outlawing Talos worship. That is the crux on which the Stormcloak/Imperial conflict lies. These damned outsiders telling these humble Nords what to do and what not to do. They’re corrupt, lazy, and know nothing of the hardships these people endure, and now the nanny state Empire is telling them they don’t have the freedom to worship what they want? How dare they!
Going further, in the seat of Imperial power in Skyrim is none other than Jarl Elisif, a young widow who relies heavily on the advice of her (overwhelmingly male) thanes, stewards, and generals. She’s weak, thinks mostly of her dead husband, and is written as someone who overreacts to scenarios; the “legion of troops” to Wolfskull Cave over a farmer reporting strange noises, banning the Burning of King Olaf in the wake of her husband’s murder via Shout come to mind. Compare and contrast that to the seat of Stormcloak power, Windhelm. Ulfric spends his time pouring over the map of troop movements and discussing strategy when he’s not delivering his big damn “Why I Fight” speech. Elisif is weak, Ulfric is strong. The Jarl of Solitude is even told to tone it down during the armistice negotiations in Season Unending. She’s chastised by her own general. The first thing you see in Solitude is a man being executed for opening a gate. The first thing you see in Windhelm is two Nords harassing a Dark Elf woman and accusing her of being an Imperial spy.
Both are portrayed as horrific, but only one has bystanders decrying the acts of the offender. Only one has a relative in the crowd proclaim, “That’s my brother [they’re executing]!” The best you get with Suvaris is her confronting you about whether or not you “hate her kind”. Even a mouth breathing racist would be disinclined to say “yes” when confronted with the question of whether or not they’re racist, but that’s how the writers of Skyrim think racism works.
I acknowledge that this was an attempt at bothsidesism, but the handling was.. clumsy.
Part 3: Ur-Fascism, Or How I Learned To Stop Worrying And Bash The Stormcloaks
And now we move on to Umberto Eco, fiction writer, essayist, and writer of the famous essay Ur-Fascism. In short, Eco summarizes 14 separate properties of a fascist movement; it’s important to stress that this should not be treated as a checklist if a piece of media is fascist, or if a person is actually a Nazi, or to say “X is Bad Because Checklist”. It’s frankly impossible to even organize these points into a coherent system, as fascism is an ideology that is, by its nature, incoherent.
With that in mind, let’s run down the points:
1. “The Cult of Tradition”, characterized by cultural syncretism, even at the risk of internal contradiction. When all truth has already been revealed by Tradition, no new learning can occur, only further interpretation and refinement.
2. “The Rejection of Modernism”, which views the rationalistic development of Western culture since the Enlightenment as a descent into depravity. Eco distinguishes this from a rejection of superficial technological advancement, as many fascist regimes cite their industrial potency as proof of the vitality of their system.
3. “The Cult of Action for Action’s Sake”, which dictates that action is of value in itself, and should be taken without intellectual reflection. This, says Eco, is connected with anti-intellectualism and irrationalism, and often manifests in attacks on modern culture and science.
4. “Disagreement Is Treason” – Fascism devalues intellectual discourse and critical reasoning as barriers to action, as well as out of fear that such analysis will expose the contradictions embodied in a syncretistic faith.
5. “Fear of Difference", which fascism seeks to exploit and exacerbate, often in the form of racism or an appeal against foreigners and immigrants.
6. “Appeal to a Frustrated Middle Class”, fearing economic pressure from the demands and aspirations of lower social groups.
7. “Obsession with a Plot” and the hyping-up of an enemy threat. This often combines an appeal to xenophobia with a fear of disloyalty and sabotage from marginalized groups living within the society (such as the German elite’s ‘fear’ of the 1930s Jewish populace’s businesses and well-doings, or any anti-Semitic conspiracy ever).
8. Fascist societies rhetorically cast their enemies as “at the same time too strong and too weak.” On the one hand, fascists play up the power of certain disfavored elites to encourage in their followers a sense of grievance and humiliation. On the other hand, fascist leaders point to the decadence of those elites as proof of their ultimate feebleness in the face of an overwhelming popular will.
9. “Pacifism is Trafficking with the Enemy” because “Life is Permanent Warfare” – there must always be an enemy to fight. Both fascist Germany under Hitler and Italy under Mussolini worked first to organize and clean up their respective countries and then build the war machines that they later intended to and did use, despite Germany being under restrictions of the Versailles treaty to NOT build a military force. This principle leads to a fundamental contradiction within fascism: the incompatibility of ultimate triumph with perpetual war.
10. “Contempt for the Weak”, which is uncomfortably married to a chauvinistic popular elitism, in which every member of society is superior to outsiders by virtue of belonging to the in-group. Eco sees in these attitudes the root of a deep tension in the fundamentally hierarchical structure of fascist polities, as they encourage leaders to despise their underlings, up to the ultimate Leader who holds the whole country in contempt for having allowed him to overtake it by force.
11. “Everybody is Educated to Become a Hero”, which leads to the embrace of a cult of death. As Eco observes, “[t]he Ur-Fascist hero is impatient to die. In his impatience, he more frequently sends other people to death.”
12. “Machismo”, which sublimates the difficult work of permanent war and heroism into the sexual sphere. Fascists thus hold “both disdain for women and intolerance and condemnation of nonstandard sexual habits, from chastity to homosexuality.”
13. “Selective Populism” – The People, conceived monolithically, have a Common Will, distinct from and superior to the viewpoint of any individual. As no mass of people can ever be truly unanimous, the Leader holds himself out as the interpreter of the popular will (though truly he dictates it). Fascists use this concept to delegitimize democratic institutions they accuse of “no longer represent[ing] the Voice of the People.”
14. “Newspeak” – Fascism employs and promotes an impoverished vocabulary in order to limit critical reasoning.
I did copy and paste the list from Wikipedia, but you can read the full essay here. It’s 9 pages long. You can do it, I have faith in you.
You may notice that you can’t really shorthand these concepts, or at least not in an aesthetically pleasing way. However, you can point to the most infamous of fascist regimes and take their aesthetic instead. You see it in Star Wars with the Empire (hmm) and the First Order, in Star Trek with the Mirrorverse and the Cardassian Dominion (hmm), and in the.. Oh, it’s on the tip of my tongue..
Oh, yeah. The Thalmor. They dress in dark colors, are a foreign power trying to exert their influence on the downtrodden Nord, enact purges, and scream about Elven superiority. The Thalmor express every surface level perception of a Nazi in American popular culture. TVTropes has already pretty well covered this ground in their Video Games section of A Nazi By Any Other Name, so I won’t go too much into here seeing as I’m already at the 2000 word mark. Suffice to say, it’s hard to think Bethesda wasn’t trying to make the player associate the 4th Era Altmer with the 1930’s German.
And in doing so, they accidentally created a group that is.. Well, you’ve read the essay or at least the 14 points. Try and tell me how many of them don’t apply to Nordic culture. What grabs me the most are points 9, 11, and 13: life is a perpetual struggle in which you must emerge victorious, a culture of Heroes impatient to die in a glorious fashion, and the Common Will that is enacted and reinforced by one strongman leader. You see these elements in play in Nord culture, in Stormcloak ideology especially. I, for one, hear what Galmar really means when he says “We will make Skyrim beautiful again”. I hear the echoes in George W Bush’s speeches and McCain’s campaign when Ulfric talks of duty and service, of “fighting because Skyrim needs heroes, and there’s no one else but us.”
It’s less of a dog whistle and more of a foghorn if you ask me. And to go back to part 2, this is a message that 20 million played. Not all of them are Stormcloak stans, but that compelling message was still present. Americans love being a strongman hero in their media; we eat that shit up. The setup was enough: you’re a lone hero about to be executed by milquetoast Imperials and Nazi-coded Thalmor. The story was enough: a strong man rebels against a system gone awry, one that seeks to destroy his way of life.
It was enough to compel a “fashwave” artist to take on the monkier Stormcloak(Hann). It was enough that Skyrim was lauded as a “real” game instead of say, Depression Quest, and to justify ruining a game developer’s life over it.
It was enough that when Skyrim came out in 2011, the game did not do so well in Germany because of these elements, because the game was written for you to be sympathetic towards these very white, very blond and Ayran-coded Nords. I can’t speak for the popularity of the game now in Germany, but when I lived there, there were a few raised eyebrows among my age group about the message of the game.
I think about that a lot, especially when the tesblr discourse heats up about the Stormcloaks. I see how visibly upset people get when someone throws shade at Ulfric. The talk of “it’s just a video game” and “lul get triggered” starts to look less like passive dismissal and shoddy trolling and more a kind of funhouse mirror to how they really think.
I can’t lie, it reminds me so much of 2009, of these angry people screaming racial slurs on the Internet because there’s a Black president or posting sexist screeds because Michelle Obama wanted kids to have access to healthy meals. It reminds me of the kid in my sophomore class who said he was going to “take out” Obama on his inauguration day. He was 15 years old then. He’s a father now.
Hell, it reminds me of right now, of Republican Senators demanding civility and tone policing as they kowtow to an actual fascist. The Stormcloak in the Reach camp “had to do something” about the Empire telling him and his what to do, and the neighbor I used to dogsit for had to do something too. I don’t watch his dogs anymore. When I told him I wouldn’t, he tried to make himself the victim and say I was getting political about dog sitting. It’s just two dogs. It’s just a video game. All political messages are just imaginary, snowflake.
But it’s really not, is it now?
TL;DR and Sources
TL;DR: The imperials are portrayed as weak and effectual, as the bootlicker to the Thalmor, and the writers were so busy trying to make one side look bad and weak they inadvertently made actual fascists.
Even though this is pretty long, this really only scratches the surface of the.. Well, everything. In all honesty this is just a very condensed version of my opinion. Big shockeroo, there.
Do keep in mind that this isn’t a condemnation of Skyrim. Lord knows I love that game, or I wouldn’t have this blog. This also isn’t a damning of people who play the game and side with the Stormcloaks, or think Ulfric is hot, or don’t like the Thalmor or what have you. You do you, fam. You do you. This is my observation and opinion on one aspect of the game, just with some tasty sources to better paint a picture of where I personally formed my opinion.
This also isn’t to say that I’m trying to draw a 1:1 comparison between The Elder Scrolls and reality, or that Ulfric is obviously a McCain/Trump/Hitler expy, but Skyrim is, like all things, a product of the minds that created it. Skyrim didn’t happen in an apolitical vacuum, and apolitical stories about war simply do not exist. Anyone who tells you otherwise is simply reinforcing the status quo, and it is our responsibility as people who consume this media to question it, and that status quo they so dearly wish to hang on to.
Also, Elisif hot.
Sources:
Eco, Umberto. “Ur-Fascism”. The New York Review of Books. 1995. <https://www.pegc.us/archive/Articles/eco_ur-fascism.pdf>
Williamson, Venssa, Skocpol, Theda and Coggin, John. “The Tea Party and the Remaking of Republican Conservatism”. Perspectives on Politics, Volume 9. March 2011. <https://scholar.harvard.edu/files/williamson/files/tea_party_pop_0.pdf>
The Elder Scrolls V: Skyrim. Steamcharts.com <https://steamcharts.com/app/72850>
Schreier, Jason. “Bethesda Ships 7M Skyrim, Earns About $450M”. Wired. November 16, 2011. <https://www.wired.com/2011/11/skyrim-sales/>
Hann, Michael. “‘Fashwave” - synth music co-opted by the far right”. The Guardian. December 2014. <https://www.theguardian.com/music/musicblog/2016/dec/14/fashwave-synth-music-co-opted-by-the-far-right>
If you side with the Blades and kill Paarthurnax, and if you haven’t yet taken a side in the Civil War, forcing the two sides to a peace treaty no longer becomes an option.
This is because Arngeir and the Greybeards are too furious with you to allow you in High Hrothgar again, where Season Unending takes place. The only way to progress with the main quest to slay Alduin is to take a side, and kill soldiers until the opposing force breaks and swears fealty (Imperials), or is destroyed entirely (Stormcloaks).
There’s a certain poetry to that, I think. Killing Paarthurnax implies the Dragonborn no longer sees peace as an option, instead believing that people (or dragons) do not change, and old blood feuds are more important than spiritual fulfillment. Power and no-questions-asked loyalty beats nuance and compromise.
Almost like a certain other Dragonborn, or a certain Jarl.
So, uh, a while back you mentioned making a post about how Prisoner McNord might affect the player experience/perceptions of the "default" and I would be super interested in reading that
So!
I have a few thoughts already on what is considered “default” in Skyrim to be expanded upon in a future shitstorm rant (it’s on the list, between Almalexia Is Interesting Actually and Even More Crying About Snow Elves Part 17: My Tears Have Become Sentient And Are Also Crying).
And as always, keep in mind that Skyrim is coming up on 9 years old, elements of it have not aged well, and this is in no way, shape, or form meant to be a “If you like Skyrim then you’re Bad” rant. In case you haven’t noticed, I kind of love that game. It has flaws; all games do, and frankly it’s a miracle this game is as solid as it is. The writers are that, writers. They had deadlines to make, hardware limitations to consider, and above all else, worked for a company that wanted to make money.
To keep this relatively short I’ll focus on how your perception of Skyrim is influenced by the first few minutes of the game via Ralof, the Nordiest Nord to Nord since Ysgranord, and how the writers really, really really wanted you to hold on to that perception.
Overanalysis and spoilers (Metal Gear Solid, Borderlands, and Bioshock respectively yes this will all make sense in context) under the cut.
Part 1: How To Make A Perspective In Three Easy Steps
As the saying goes, first impressions are lasting impressions. This is evident in.. well, every bit of media you can find. The first chapters of a book, the first episode of a show, the first 15 minutes of a video game, all as a general rule:
1.) Introduces the setting, a part of the main plot, and with these two, sets the tone of the medium (high fantasy movie, light hearted TV show, mystery series, horror game, etc.). Exceptions exist, especially in horrors, mysteries, and certain visual novels, but even these exceptions rely on setting a tone so they can subvert your expectations later on.
2.) Give you an idea of what is going on. This is normally accomplished with exposition of some sort; Star Wars had its famous screen crawl expositing the dark times in the Galaxy, Borderlands literally begins with “So, you want to hear a story..”, Metal Gear Solid briefs Solid Snake (you, the player character) on a vital mission to save two hostages and end a terrorist threat, so on and so forth. And again, there are exceptions: Bioshock purposefully disorients you with a plane crash in the middle of the ocean so you’re inclined to trust the first person who talks to you.
This all serves to suspend disbelief, immerse you, and earn your trust. This is a new world, you have no idea what’s going on, so you’re gonna take cues from someone who does. Combine points 1 and 2, and that..
3.) Gives you an idea of what is “good” and what is “bad”. Damn near every story has a central conflict, you gotta pick a side, and there’s gonna be a bias as to which one is superior or morally just. Using Bioshock again, this mysterious man named Atlas guides you through the first level, and tells you how to fight and survive in the hostile environment of Rapture; meanwhile, Andrew Ryan taunts and belittles you, and also has a giant golden bust of himself. The shorthand is: Atlas is humble, helpful, and good, while Andrew Ryan is a megalomaniac who wants you dead. Leaning on Borderlands again, the first voice you hear is literally a guardian angel telling you not to be afraid, and that you are destined to do great things. Once more with Metal Gear: Your organization and your commanders are good, you are good because you’re saving innocent people, and FOXHOUND is bad because they’re terrorists who have the means to launch a nuclear warhead.
Keeping all this in mind, let’s do a quick runthrough of the first, let’s call it 15 minutes of Skyrim. No commentary on my end, just a play by play of the beginning of the game.
Part 2: First Impressions In Action
You wake up on a cart. Your vision is hazy, and you are clearly disoriented. You see a man bound and gagged, another man in rags, and several men dressed like soldiers. Everyone on the cart is tied up, and the people driving the cart are wearing a neat, vastly different uniform.
Then comes the famous line: “You! You’re finally awake! You were caught trying to cross the border, got caught in that Imperial ambush same as us, and that thief over there!” The thief bitterly remarks how these damn Stormcloaks had to cook up trouble in a nice and lazy Empire. The Nord who first spoke with you nobly says that we’re all brothers and sisters in these binds.
The presumed Imperial tells you all to shut up. Undeterred, the thief and the Stormcloak provide more exposition: The gagged man is the leader of the resistance, is supposedly the true High King, and since he’s on the cart, it’s clear that everyone on board is bound for the executioner’s block. The thief is terrified; the Nord accepts his fate, but takes a moment to opine on better days when he flirted with girls and “when the Imperial walls made him feel safe.” There is also a remark about General Tulius and the Thalmor agents; the Nord, in a rare bit of anger, damns the Elves and insinuates they had a hand in this capture.
It’s execution time. General Tulius gives a speech about how Ulfric started a civil war and killed the former High King; Ulfric, being gagged, cannot say a word in defense. A Stormcloak is executed to mixed reactions (“You Imperial bastards!” “Justice!”, etc.). The thief runs away; he is shot by Imperial archers, demonstrating the futility of escape. It’s your turn. The Nord in Imperial armor states you’re not on the list; the Imperial captain doesn’t care and orders you to the block anyway.
You see the headsman’s axe rise up when, as if the gods intervene, a dragon appears and interrupts your execution. In the chaos, you run with the Stormcloaks. The game does not give you the option to run away alone, or with the Imperials; until you meet Hadvar again in the fire and death, you take orders from Ulfric.
Part 3: The Crux
A lot happens in the first few minutes of Skyrim. You’re disoriented from being unconscious, and that’s compounded by your two near death experiences (point 2), the first person you meet is a calm, almost reassuring mouthpiece of exposition while the other side, at best, doesn’t care if you die (points 2 and 3), one major aspect of the plot is revealed (point 1, and the tone is that this is a classic Rebellion story).
And people love rebellion stories. Americans especially; we spend billions on the day when a bunch of white guys said “fuck you” to a bunch of other white guys. With the additional layer of when Skyrim was developed, by who, and in what landscape it was written.. Yeah. There may be two ways to go for the Civil War questline, but for most players (myself included!) their first gut instinct is going to be “side with the guys who didn’t just try to kill me.”
It’s the same song and dance. In Bioshock, your instinct is to trust the Irish guy who wants to help you get out of Rapture alive, but he needs your help first. In Borderlands, your instinct is to trust the woman who is literally called a guardian angel, and she shows her compassion by asking you to help the people of Fyrestone and the poor robot who got hurt in a gunfight. In Metal Gear, your instinct is to shut down the threat because terrorists are evil and these ones are not just terrorists, they’re deserters. Hell, even in other Elder Scrolls games the plot is laid out by helping hands: you’re a prisoner being contacted by your murdered friend, and given the goal to stop Jagar Tharn (Arena), you’re a Blades agent tasked with putting a vengeful spirit to rest that leads you to a weapon that can secure the Empire’s power (Daggerfall), Azura literally tells you not to be afraid, and that you destined to stop an old threat (Morrowind), and a soon-to-be-assassinated Emperor voiced by Actual Grandpa Patrick Stewart recognizes you in a prophetic dream (Oblivion).
Where Skyrim departs from these games, and even the other Elder Scrolls titles, is how much it enforces the first thing you see as solidly good and evil, and how little it tries to subvert that perception. Remember point 2, when the game makes it clear that this person is trustworthy? Therein lies the bread and butter of psychological horror, mysteries, and heart wrenching plot twists: that trust gets tested, and often broken.
The rebel leader Atlas? He’s somehow more evil than Andrew Ryan, and has subtly controlled you the entire time with a command phrase (“Would you kindly..?”). You are unable to stop yourself when you bludgeon Andrew Ryan to death at Ryan’s command. “A man chooses,” he tells you. “A slave obeys.” His final words are him telling you that you are a puppet, only able to obey.
The end of Borderlands reveals that “Angel” was watching you the entire time.. from a Hyperion satellite. You were tricked into opening a Vault holding back a dangerous monster, and you don’t even know why. Borderlands 2 goes further into just what (or rather who) Angel is: a teenage girl and a powerful Siren, used by her own demented, evil, father, Handsome Jack, to manipulate the Vault Hunters and gain more power for himself. Her final mission given to you is simple: she wants you to set her free and end her father’s mad march to power by killing her.
Metal Gear Solid ultimately plays it straight in that you stop the terrorists and disable the nuclear threat, but you don’t emerge from the rubble as an action hero; you’re forced to kill your own brother, the terrorist cell is revealed to be composed almost entirely of people exploited by your organization, and you secretly carry a virus designed to kill the people you were trying to save. War, as it turns out, is not as clear-cut as “we good, they bad”. The people you’ve killed without thinking are your genetic brothers. Sniper Wolf, the assassin who shot your commander’s niece, survived a genocide and has never known a life outside of war. Psycho Mantis’ telepathic gifts were exploited by both the KGB and FBI until he lost his mind. Ocelot is Ocelot.
Oh, but those are other games. What about The Elder Scrolls? Well..
In Daggerfall, your search for hidden correspondence leads you to finding the Mantella, a sort of soul gem that can power the superweapon everyone wants: The Numidium. There are six entities total who want the Mantella, some for their personal gain, one to make a home for his people, and one so he may finally die; the Underking’s soul is in that gem, you see, and he’s been trapped in this misery since the days of Tiber Septim.
In Morrowind, Dagoth Ur recognizes you not as a schlub with a dummy thick journal, but as his oldest and dearest friend. The Empire who guided you for so long? They’ve manipulated you into taking down the Tribunal, destroying the one weapon that could stand against their might, and depending on your interpretation of “then the Nerevarine sailed to Akavir”, have possibly killed you.
And what of everyone’s favorite game in the series to mock? Surprise! Oblivion isn’t even about you, hero! It’s about the actual chosen one, Martin Septim! Sure you can join the Thieves’ Guild and cavort about as Grey Fox, or uncover the traitor of the Dark Brotherhood, or run off and become the Mad God.. but none of those events actually acknowledge you. To be the Grey Fox is to literally be forgotten, by the time the Dark Brotherhood questline is complete there is effectively no more Dark Brotherhood, and to become Sheogorath is to lose yourself entirely. The Hero of Kvatch is one who is ultimately forgotten. Your actions were important, have no doubt, but such is the fate of the unsung hero: they’re not sung about.
Even Arena plays a little bit with your expectations in that the Staff of Chaos alone isn’t enough to stop Jagar Tharn; you need friendship (just kidding it’s a magic gem in the Imperial Palace). Skyrim.. kinda glosses over that. They land a few punches, but for them to stay with you, you have to keep an open mind.
Part 4: Why does that matter?
Because if your expectations are never subverted, your trust never tried in any meaningful way, then your perception of a very specific, spoon-fed worldview is never challenged. The trust you build with a group that is, in essence, a fascist paramilitary cult is never shaken in any way that’s meaningful. You get some lines intended to evoke sadness when you sack Whiterun, but by then it’s too late. Not that it matters; at the end of the Stormcloak questline, there’s not much question about who was in the right. You never lose friends or allies; the Jarls in the holds change, but is there much difference between Idgrod Ravencrone and Sorli the Builder? You might feel a little guilty when you see the Dunmer forced to live in the slums, but then the haughty High Elf says that she didn’t laze around and instead made a name for herself, or the Dark Elf farmer who complains about his snowflake kinsmen harping on about “injustices”. The Argonians seem decent until you meet the skooma addict/thief, and the Khajiit.. let’s just say that even if we disregard the two Khajiit assassins sent to kill you, there exist a lot of extremely harmful stereotypes that none of your friends dispel. They commit no horrific war crimes in your presence, the worst you hear is a Nord (normally a bandit) yell “Skyrim is for the Nords!”, or the clumsy Welcome to Winterhold script where a Dunmer woman is harassed by two Nords; one’s a veteran, by the way. Got run through the chest by an Imperial craven, or so the story goes.
Your only chance to rattle the Nord-driven story is to go against your gut feeling and side with the Imperials (the plotline is pretty weak, not gonna lie), or complete the optional quest No One Escapes Cindha Mine where you see what a Stormcloak sympathizer does to the Forsworn. Even if you complete that quest, the Forsworn still attack you. “They’re savages,” say the Nords, and the game isn’t too inclined to say otherwise.
When it comes to portraying the Nords in any light that’s not negative, Skyrim doesn’t deliver like it did in other games. You saw what life is like in Morrowind under Tribunal rule; it’s not great. The Houses are almost universally awful and they have slaves. You see the destruction in Cyrodiil and hear the rumors on how much the Empire is flailing with the Oblivion Crisis. Hell, even Arena tells you that life in Tamriel kind of sucks, but it’ll suck a little less when Tharn is dead.
That doesn’t happen in Skyrim. You are encouraged to join the sympathetic Stormcloaks, you find out your destiny as Dragonborn, and you set all these things right. Of course you do. You’re a hero, baby. Others have gone on about how storybook the Dragonborn questline is so I won’t go too much in, but that’s it exactly: Storybook. You’re Neutral Good. You’re going to kill the bad dragon that wants to do its job and eat the world.
And that refusal to really examine the nuances and horrors of war, to consider what it means to be a hero that is never morally challenged or forced into a Total Perspective Vortex, to never challenge an extremely biased perspective or even explore its “logical” conclusion?
It leads to extremely dangerous ways of thinking if unchecked.
In all seriousness, I’m noticing a pattern among Important Nords and how they play a pretty intense game of Deflect the Blame.
The Night of Tears? 100% The Elves’ Fault. They attacked unprovoked, see? They deserved extinction. It’s a shame there aren’t any survivors who can say otherwise! All we have is Ysgramor’s word, and everyone knows he’s a reliable source of information.
The trading of Eyevea for an incomprehensible book? Oh, that was the Mad God’s trickery. Nevermind that Shalidor’s attempts to get his dumbass island back drove a young and promising mage to insanity and got my Vestige killed at least six times, it was all Sheogorath’s doing, you see.
The Inner Circle of the Companions becoming werewolves? The witches of Glenmoril tricked them! How could have Terrfyg known that Hircine-worshipping sorcerers would make him into the Actual Avatar of the Hunt and sever his ties to Sovngarde? How could he ever have guessed that actions have consequences?
The Civil War? Maybe if those damn Imperials looked away from their open and illegal worship of Talos, Skyrim wouldn’t be in this mess. Worship in secret? What are you, a coward?
So the reblog was deleted but I already put in a couple of paragraphs, so...
The problem with the Sigrid and Dorthe interaction is that this plays directly into the “Fun Dad, Nag Mom” trope, the existence of which is inherently problematic. Furthermore, one peek at the comments and you’ll see a deluge of how much Sigrid is a bitch and needs to shut the fuck up because her daughter wants to work the forge instead of learning basic self-sufficiency. Cooking is not gendered, but whoever wrote this dialogue asserts that it is. Sigrid is not an autonomous being who decided to be a 1950s housewife: a man wrote her that way, and wrote Dorthe to be “not like other girls”, which is about as feminist as Girl Wash Your Face or Lean In or any piece of woke!media that says feminine is “bad”. Juxtaposed with UESP’s previous post, which is Alvor being a fun and supportive dad, the message is clear: “Women, amirite?”
It would be one thing if if was just Sigrid, and just this interaction, but it seems that every named woman in the Elder Scrolls, Skyrim particularly, can’t escape the vitriol of the fans. Sigrid is too much of a housewife and is therefore a bitch. Delphine is a mean bitch because she wants you to kill a war criminal that’s nice to you. Elisif is a stupid bimbo because her husband was murdered and she can’t handle the court all by herself. Meridia is a cunt because she killed off some Bunny Bread ass Breton who disrespects every woman except the ones he wants to fuck. Almalexia is at best considered divisive even though she’s objectively the least evil of the Tribunal.
But sure, the problem is a fake little girl wants to work a fake forge.
As I mentioned in my previous NCGttFT, hecta is an interesting word. The official translation we have for hecta in relation to the Falmer language is simply “do not [verb]”, as seen in Calcelmo’s stone:
Nu hecta sou arcten, rias nu nemalauta ge. Nu hecta sou epegandra, rias ne nemalauta ge.
Translated: “We do not desire thanks, for we do not believe in it. We do not ask for gratitude, for we do not believe in it.”
Side note: I do like how Falmeri takes the German route of forming words. Just look at how seamlessly they smash epe (”to speak”) and gandra (grace) together! It’s gorgeous!
I say this is interesting as the Ayleidoon word for hecta, which much of Falmeris shares a language with, is closer to “exile” than “do no want for”.
So naturally, I’m going to analyze this far more than Betheda ever intended.
Let’s begin with the common thread that ties all Mer-tongue together: Tolkien, the OG Elvish conlang man. Hecta appears to be lifted directly from Tolkien’s Telerin language, which means “to abandon, reject, or forsake”. The Ayleids appear to hold the Tolkien translation closer to heart with their use of the word; to be hecta in ancient Cyrodill surely meant you’ve done something to even make the flesh-crafters side eye you, and that is no small feat.
Unless, of course, hecta carried a very similar tone in Falmeri, and the stone translation is simply the best Tamrielic has to offer. The English tongue still doesn’t have a suitable translation for toska, after all, and so with that in mind the Dwemer slab takes on a more interesting glean.
It’s one thing to say “we do not desire your thanks”. It’s a whole other to say “we will not accept your thanks”, or even “we abandon entirely your gratitude”.
Simply put, words of gratitude or grace were outright refused. Not politely declined, but something that wasn’t even an option because gratitude was so incompatible and wrong to the Dwemer. They not only denied whatever thanks the Falmer had, but did so with disgust. Hecta is on par with “leave, and never come back”, and so the Falmer were told to never say thanks, and to perish any thought that it would ever be enough.
Simply because the Deep Elves did not believe in such sentiment.
And this, at least to me, speaks volumes, not only for Dwemer culture, but for the culture of the ancient Falmer.
