Anita Sarkeesian, feminist who interpreted media under a feminist lens. She did a series about video games and she was the subject of targeted harassment. That was the start of gamergate
Minor correction, the start of gamergate was based around a different reporter, Zoe Quinn, but they were both absolutely violently threatened over their involvement in video game criticism and development. A hate campaign was started by Quinn's ex-boyfriend when he wrote a post falsely accusing them of dating video game journalists in order to receive positive reviews on their own game, Depression Quest, which led other bad actors to accuse all women in the industry (Zoe identified as female at the time) of perceived sexual immorality. Anita Sarkeesian's brilliant Youtube series Tropes vs Women in Video Games (which everyone should watch, right now) sparked a particular nerve for criticizing popular games of killing and/or victimizing any important female character (there is a CHILLING bit that borders on ludicrous where she describes the plots of a seemingly endless parades of games as "In [title], [male player character's] wife dies, and you then have to rescue [his] daughter."). That series did actually make a huge change in the industry, especially when touted by progressive legacy developers like Tim Schafer (Monkey Island, Psychonauts), who went on to expand hiring in his company to front women and minority voices, but the shift didn't really show for a long time and echoes of the sexism that plagues the industry at its core are still rampant.
Thanks for the correction! I was like 8-10 years old when this all went down (2014-2016) so I only know vaguely about it. I’m still learning about this.
The gamergators were also the start of the modern alt-right and younger male wing of the MAGA movement, btw. They were coopted into MAGA by Steve Bannon, then-aide to Donald. Sarkeesian and Quinn did not ruin video games, but the men and boys who harassed them certainly ruined politics for the next ten years. (And video game review sections/discourse, arguably, given how aggressive the gater-chuds are and how they never shut the fuck up about their hatred of anything they believe is “woke.”)
Some things about this post since getting quite a few notes:
1. If you see this post, highly recommend taking it as an opportunity to set a timer for 15 minutes and switch over to ACTIVITY YOU ENJOY. if after those 15 minutes, you want to go back to scrolling, that's okay!
2. Huge shout out to this popping up in my notifs often, bc I do go back to activity.
3. I think there are times where scrolling is fine. Right now, for example, I'm being connected to a machine for two hours to donate plasma and platelets. Yes this is a brag but it is also a time where scrolling is one of the few things I can do. (Though I will probably also read or watch something on phone lol)
The recent "Five-Year Love Plan" arc revolves around acting, featuring the hijacking of a studio at Berlint TV Tower by a group of armed fans determined to reshoot the drama’s finale.
The seeds of this theme were planted about ten chapters earlier, during the "Poachers Hunting Arc".
During that arc Yor discovered that her superior, McMahon, has a wife and asked him how he manages to reconcile his life as an assassin with his marriage.
McMahon admitted that he has never revealed his double life to his wife, and never will. Rationally, he knows that if she found out what his job truly entails she would feel horrified. And yet, deep down, he still holds onto the hope that she might understand…and perhaps that very hope is what has allowed their relationship to endure despite everything.
Still, he makes one thing clear: he will never, ever drop the mask. He will wear it until the very end.
And he warns Yor to think carefully about her own marriage: if she’s not sure she can manage it, she'd better walk away before anyone gets hurt.
McMahon’s words hit Yor hard.
In the past she had already entertained the thought that Loid might understand her if she revealed her secret. Now, that same idea resurfaces from a completely different angle. And not just from anyone, but from someone who has already lived a version of her situation to its endpoint, and it comes at a time when her feelings for Loid are starting to take a more concrete shape. What began as a marriage of convenience is quickly giving way to the hope of something long term...something she still believes to be one sided.
The "Poachers Hunting Arc" also introduces Hemlock, another Garden assassin. Hemlock is cold, almost hermit-like in his isolation, convinced that true strength comes from the absence of emotional ties (a stance that, while exaggerated for the sake of his character, mirrors Twilight’s own mindset).
He harbors deep resentment toward Yor, to the point of forcing her in a mortal duel. Before meeting Loid, she too was cold and solitary, but now, paraphrasing his own narrow perception, domestic life has dulled her thorns. And in his rigid view that shift is nothing but a sign of dishonor, weakness and uselessness.
After that mission, Hemlock is assigned by Garden to work at City Hall alongside Yor and McMahon, mainly in an attempt to improve his nonexistent social skills. It’s there that McMahon reiterates his point: "Not everyone is cut out to act in certain roles", words that echo everything he has already told Yor, hitting her once again where she feels most uncertain.
Back home, a conversation with Anya (whose emotional intelligence is far sharper than it appears) leads Yor to admit, first and foremost to herself, that she loves Loid. This realization strengthens her resolve to protect her family even if she feels she’s not "suited" for the role.
After a couple of arcs focused on other aspects of the story, the spotlight returns to Yor and Loid, this time in a very literal way.
This arc fully embraces the theatrical motif. With the premise reinforced through a brief flashback, Yor ends up being targeted by the hijackers to play a role in the reshoot. And since she has a tendency to take everything VERY literally, she readily accepts the assignment determined to improve her acting skills.
The effectiveness of this setup doesn't come from the drama itself. Expectations are quickly subverted: the kiss led nowhere, no jealousy, no manufactured romance, no grand realizations tied to the narrative of the play.
The real tension comes from placing Loid and Yor in a situation where neither of them can rely on their specialized skills. They are trapped in an enclosed environment with no blindspots, Yuri is with them, cameras are on, they're backed into a corner. Loid cannot switch back to Twilight without risking Yuri to blow up his cover, Yor cannot resort to assassination without exposing herself.
They’re both forced to roll with the situation, exposed and vulnerable, and that’s what gives the whole ordeal its lingering weight and depth.
━━━━━━━━━━
While the idea of "playing a role" within the family has been present since the very beginning, Yor’s emotional development has intensified her fear of making mistakes. Every practical reason that once justified her place in the Forger family has now been replaced by a genuine desire to belong.
She lost the cold detachment that once defined her outside of work. She feels real affection for each member of her new family, and the respect she always held for Loid has grown into something deeper.
The critical point, however, is that while Yor still feels like an outsider within the family, she has no idea that Loid is wearing an even thicker mask than she is.
For him, acting isn’t an effort. It’s the core of his identity as a spy and something he's being doing masterfully since his teenage years. He’s used to long term missions, to emotionally demanding roles (his previous mission required him to act as someone’s fiancé). But the Forger family, for various reasons, is acting like a slow earthquake, cracking that mask piece by piece. And at the end of this arc that crack finally becomes visible.
This shifts the entire perspective. If Loid Forger is just a role, then the person Yor has fallen in love with doesn’t actually exist, it’s all just an act. On paper that’s true. And if Loid were to fully acknowledge Yor’s feelings that’s likely how he would frame it.
But the reality is different.
The crack isn’t revealing Twilight (the identity he fears most, the one that drives him to constantly scrutinize everyone around him, including Yor)…
…the fracture runs so deep that it’s revealing [Redacted].
And, finally, the epilogue ties it all together in a way that resonates deeply for both of them.
[Images sources: Chapters: 35, 117, 118, 119, 120, 128, 130, 132. Some panels have been slightly edited for visual clarity without altering the original text]
Obviously Anya is adopted. We all know this. She knows this. She loves her family but knows it is incredibly fragile.
But unlike most adoption stories (say Natsume Yuujinchou) Anya is not adopted into a loving functional family who's main goal is to support and love her until she heals from all the hurt she has been through.
Because Everyone in their family is adopted.
Yor enters thinking she is entering an existing family dynamic of a man and his daughter. She is the step mother, eagerly wanted but a definite outsider. She does not know about how they lost Loid's first wife. They both Never mention her but Anya clearly has Huge feelings about her Mommy that she cannot touch. Because Loid refuses to acknowledge her. Which means she's not allowed to.
She's a wife brought in to solve a problem. The fact she adores Anya and loves Loid (eventually) doesn't make her any less of an outsider from her perspective. To Yor she's the adopted family member.
Meanwhile Loid, the one who brought them all together almost instantly finds himself on the outside of the family. He works too much and doesn't make it home for dinner frequently. He struggles to connect with his 'daughter' and wife. Can't understand either of them despite constant efforts. Something incredibly distressing for him.
Yor instantly connects with this child when he struggled to hold her hand in public. In his eyes Yor and Anya are a family and he is the outsider only there for the mission. The man who is destined to Not be there. He too often fills the role of the outside child brought into a happy family. One he constantly feels he is fumbling or failing. (If I'm not good, if i'm not perfect- my family will leave me. So I have to be. I have to figure out how to be better)
They are a family of adopted members all holding so tightly to each other. Each one of them chooses the others over and over again. Struggles against their own limitations and fears to be a part of a family they're all terrified to really call their own.
But it is that choice that makes them a family. Not blood or marriage or any certificate. That they all keep trying to be a family to the others. I'll be a good girl and study hard Papa. I'll be a good wife, I'll play my role well so don't abandon me. I'll be a good father and husband, I will try to be a good husband and father if you both will just stay with me. Please. I will figure out how.
edit: stop liking this and reblog. the romanticism of adoption and calling it found family and reducing to a simple trope is disgusting. if you care about the topic, reblog to get the word out.
With the latest First Soldier update in FF7 Ever Crisis (for fucks sake this should have been a whole game proper instead of a chibi story mode in a Gacha game), I see a lot of people bemoaning the tragedy of Sephiroth re: Nibelheim and Jenova's influence on him, now that we know she's been poisoning his mind for practically...20 years? I'm fuzzy on the exact math but whatever.
And they should, First Soldier was an incredible way to see Sephiroth, and the fact that it didn't treat him like a shonen protagonist (which I was worried about) but instead like a figure out of Greek tragedy (very Oedipus Rex, for example), it was amazing to see all the ways things COULD have been different.
What if Glenn and the others took Sephiroth with them? What if they never returned to Shinra after the mission? What if that kid (name escapes me) had come with them? How could Sephoroths life have been different, been SAVED, if he still had his support? What if Angeal had been in Nibelheim?
That's the most interesting question for me; the last one. Because yes, Angeal's presence in Nibelheim probably could have altered the events of Crisis Core. By that point, Sephiroth and Zack had progressed from mutual acquaintances and work superior/subordinate to something resembling friendship, trust. But the key here is that Zack WASN'T Angeal or Genesis. Sephiroth, I think at least, still saw Zack the Puppy, rather than as a peer. At least the way he saw Angeal as a peer. Zack was there, Sephiroth HAD support. It just wasn't the right person.
I also think it's important to consider WHY Angeal wasn't in SOLDIER (or alive) by the time Nibelheim happened. Angeal had been the emotional and physical support for Sephiroth and Genesis, presumably the sole support for both of them. You have "I'm a cyborg/alien/monster" Sephiroth on one hand and "I am going to rapidly dissolve into a puddle of goo unless I find The Goddess" Genesis on the other. Presumably, he had been Genesis' emotional support since childhood - we don't know much about G's upbringing but context clues in CC imply it wasn't overly affectionate. Now, let's be clear : NO ONE in Crisis Core is having a good time. But Angeal especially was having a Bad Few Days pretty much from the moment the game started.
His theater major childhood friend is disintegrating at an atomic level. His boyfriend. Other best friend is suffering from Alien Poison (thus far unknown?) and guilt from inflicting the wound that caused it. His protege is too kind hearted to see that they are all victims. The first aforementioned friend defects, turns traitor, kills their entire home town, except for Angeal's mother. His mother then kills herself, presumably in front of him? Angeal is also degrading and spiraling as he learns more about the SOLDIER program off screen. He's becoming a monster, he was always a monster?
My point is that Angeal had always been a support, a foundation for his loved ones. It's the only way he knew how to be, growing up with his father (loved those flashbacks in EC). But he needed support too. Any parentified child will tell you that you need support too, and when you don't have it, the crash is incredibly volatile. When he needed someone to catch him, the only one who would/could was Zack, but Zack was still too young, too ignorant of the full picture to really understand what was happening. And what was he supposed to do? Dump all of this on his protege? Do the labor of educating Zack on everything about Shinra, fascism, SOLDIER, and Project Gillian?
There was no time to undo 20 years of indoctrination and programming, and if Zack needed support from these revelations, then Angeal was not in the position to give it. So he made a different choice, and killed himself. I think the fight with Zack and Angeal Penance in Modeoheim was absolutely suicide. And it really speaks to the fact that none of them: Sephiroth, Genesis, Angeal, and even Zack, had any hope of a happy ending. The system that put them in their positions, that literally created them, was too great, and none of them had support from outside that system (Shinra) to help them cope/deprogram/escape.
Maybe that's why Cloud is finally the one who breaks the cycle. Of the four main cast of CC, Zack is the only one with external support, in Aerith. Worth noting though, Aerith is also young here (I think 16 or 17 when they meet? And Zack was 19 or 20 maybe? Again, fuzzy on years). My point was that Aerith wasn't allowed to be Zack's support. He learned from Angeal - he has to save everyone else, be THEIR support. And that's his tragedy. He saw how that philosophy ended in Angeal, and followed the same teachings, not letting anyone support him in turn. For example, after the Angeal Penance fight, we hear/see Aerith trying to offer support, but even though he doesn't push her away, he doesn't engage. The most we see is just him sitting quietly in the church, disassociating probably.
But Zack's "protege", Cloud escapes this. Literally escaping Shinra, by being presumed dead from mako poisoning in the desert, but also escaping the cycle of generational trauma. His support system is vast, and most importantly I think, they come from several different walks of life.
He has Tifa, who suffered the same trauma in Nibelheim. Barrett had a similar experience in Corel, although his was more directly caused by Shinra instead of a supernatural crash-out (see above: Oedipus Rex). Yuffie has the perspective of a wutaian who seeks recovery, power. She's a kid so things are a little more focused on "me me me" but you get it. Aerith has seen this play out with Zack, wants to stop it. Vincent and Nanaki are there, too I suppose lol
All that to say: these people are not also beholden to the system that turns the cycle of violence. I think that's really what doomed Sephiroth, Genesis, Angeal, and Zack: they were too dependent on the source of their trauma - Shinra. Cloud, at this point the third generation in what we'll call the Buster Sword's lineage, is the first one to have a circle of people who love him who are NOT ingrained in the source of his own pain. And that's what helps him heal, I would think.
I don't really have a punchy finale to this, I was just sort of rambling my thoughts on Ever Crisis, which evolved into thinking about generational trauma vis a vis Crisis Core and FF7. Thank you for coming to my TED talk ig, tip your waitresses
YES! YOU SEE MY VISION!!! And I knew I always loved the imagery of the broken Shinra issued sword but I could never pin down WHY. until Prev pointed it out here.
In Crisis Core there are 2 different (maybe three if I'm forgetting one) CG cutscenes where Zacks Shinra issued sword snaps in half during use. This never happens with Masamune, the buster sword, or Genesis' rapier. And why twice?
Because it's made and owned by Shinra, which just pushes and pushes until the tool breaks. And then what does Shinra do? What does Zack do?
They replace the sword and move on.
Zack, Angeal, Sephiroth, Genesis, fuck even Kunsel and all of SOLDIER, are all just standard issue swords. They'll be pushed and pushed until they snap, then thrown out and replaced. Because they're all expendable under Shinras Fascist Capitalistic system
Fuck me, thank you PREV, you finally helped me understand why I loved that detail in Crisis Core
Designer Chairs and the Secrets of a Divided World
UNRESOLVED PAST
In this part of the volume cover analysis, I'll focus on characters whose lives were directly shaped by the war, the generation that witnessed it firsthand and still carries the weight of its consequences.
The characters discussed in this section are:
Martha (Vol. 15)
Henderson (Vol. 14)
Schlag (Vol. 17)
Sylvia (Vol. 12)
Melinda (Vol. 16)
[Redacted] (Vol. 10)
Series navigation shortcuts
Part 1 – Visual comparisons
Part 2.0 – Introduction
Part 2.1 – Present actors
Part 2.2 – Past actors (this post)
Part 2.3 – Future actors
Part 3 – Designer chairs
HENRY HENDERSON & MARTHA MARRIOTT
Yep, together. But let’s start by examining them singularly.
Martha wears her formal attire as an attendant of the Blackbell Heavy Industries and sits on an elegant Peacock Chair (1947). Its clean lines and lack of ornamentation evoke a composed yet traditional warm style.
Her strapped shoes, placed neatly together with the tips touching lightly the floor, subtly allude to her past as a dancer and the gentle grace behind the disciplined soldier she later became.
For Henderson, the choice falls on a Robie Chair (1908), serious, imposing, and unmistakably classic. Its solid structure evokes a sense of discipline and rigor, perfectly aligned with his old-school demeanor and his unwavering devotion to elegance.
At his side, the ever-present cup of tea that marks the rhythm of his days.
──── ୨୧ ────
Neither of these characters hides anything beneath their chair. Instead, each has a small side table placed beside them. Nothing that immediately draws attention, just a teacup and a letter. Yet...
Hanry has the teapot.
Martha has sugar and milk.
Their covers are meant to sit next to each other.
The letters and tea cups are a quiet allusion to their shared past. Their "secret" isn’t dangerous, tragic or shrouded in mystery. It’s something intimate and steeped in nostalgia. A love story they never got to live and the silent, complicit bond that still ties them together forty years later.
In the same way, the inner covers echo those youthful meetings at a small tea table, mirroring the moments they once shared, as if those memories were suspended in time.
Don't mind me, I'm gonna cry in a corner for a few minutes.
DONNA SCHLAG / OLD LADY TONITRUS
On a lighter note, the much-feared teacher and member of Eden's disciplinary committee, infamous for being the most ruthless dispenser of Tonitrus in the entire institute, lounges with an almost ennuyé air on a Flag Halyard Chair (1950).
The fur seat pairs perfectly with her bold tiger print outfit and her seemingly ferocious demeanor, while the wide, comfortable yet imposing throne-like structure frames her as she proudly (and warningly) displays her overflowing box of Tonitrus Bolts.
Every fiber of her being seems inextricably tied to thunder and lightning, starting from her very name (Donna Schlag → Donnerschlag → "thunderclap" in German).
The nickname "Old Lady Tonitrus" isn’t a second identity, it’s a label given to her by the students, who are very careful never to use it to her face.
Ironically, the chair’s designer (Hans J. Wegner) is the same one behind the chair Martha sits on. Even though the two weren’t particularly close during their school days, seeing Martha on the front lines of the battlefield became the spark that pushed Donna to cultivate her own strength. That path led her to develop a fascination with the East and an overwhelming admiration for ninjas, which she set out to emulate with remarkable dedication. Over time, she refined her shuriken-throwing techniques to perfection, skills that still translate today into her uncanny precision when launching Tonitrus.
Back then, she even went by the name Narukami Goraimaru, the "true identity" she cautiously hides beneath her chair, symbolized by a shuriken and a scroll.
SYLVIA SHERWOOD / HANDLER
The director of WISE’s Ostania division sits confidently on a Diamond Chair (1952). It’s an elegant, sculptural piece. Solid and functional despite being literally formed from a lattice of metal, a fitting choice for WISE’s iron lady: determined, rational, unflappable, and at times apparently insensitive.
The clever twist of this composition is that the contrast only appears to revolve around her identity as a spy. Sylvia normally relies on disguises when appearing in public, whereas the refined outfit she wears here is actually the one she usually adopts in her role as Handler. She holds a confidential file marked with the agency’s symbol, while dossiers and documents lie scattered across the floor in plain sight.
But if you look closely, something else rests behind one of the chair’s thin legs.
Framed, there’s a photograph, small and slightly blurred, yet carrying immense emotional weight when connected to the brief, fragmented glimpses scattered throughout her narrative arc.
A family that no longer exists.
MELINDA DESMOND / LUNALUNA☽SELENA
The former first lady sits on a Red and Blue Chair (1917). She is the only character turned away from the reader, in a thoughtful and melancholic posture. Her torso leans forward, one hand supporting her chin despite the chair having a wide backrest almost like a lounge chair.
The chair itself is peculiar, a piece conceived as abstract, minimalist art. Rigid, made of intersecting planes that never quite merge into a single cohesive volume and objectively uncomfortable. It reflects the character’s condition: constantly on edge, her mind fragile and fragmented, caught in a storm of conflicting and heightened emotions.
There is also a nearly imperceptible but crucial detail: despite the chair’s name literally being Red and Blue, Melinda’s version is purple. This creates a visual knot to Damian’s chair, subtly suggesting that beyond appearances and her fragile mental state, her bond with her son remains deeply significant (and perhaps still salvageable). This idea is further reinforced by the internal cover, which depicts her serenely with her sons.
Beneath the chair lie three objects placed on different levels. A ball bearing the initial of the Lady Patriots Society, pointing to her public persona and linking back to the volleyball match that marked the beginning of her friendship with Yor. A crystal sphere, referencing her fascination with the occult and her somewhat awkward persona as a fortune-teller. And behind them, even more hidden, a full moon, certainly tied to her identity as a seer as well, but perhaps, without venturing too far into speculation, also hinting at something deeper and more mysterious considering how the story already framed this symbol.
[REDACTED] / THE BOY WHO WILL BECOME TWILIGHT
While Twilight fully belongs to the "Present" cathegory, his younger self has been given a separate cover due to his gutwrenching backstory. Little [Redacted] is the proof of how the conflict impacts on the youngest and shapes their future, and thus his belonging to this post.
Young Twilight sits among the rubble left behind by war. In his hands a toy rifle. Beside him a helmet and a radio.
No designer chair. No hidden objects. No carefully arranged symbolism. War already took everything from him, including his identity.
His name remains concealed and that absence makes a crucial point: the adult Twilight is always wearing a mask even when he's not in a disguise. He’s a master of disguise precisely because his real self is constantly pushed back into a cage and kept out of sight.
And yet, paradoxically, playing the role of Loid Forger is slowly cracking that shell, creating space for [Redacted] to possibly step back into the light.
But that’s a story for another time.
N.B. These posts will be updated as new manga covers are released.
Links:
Part 1 – Visual comparisons
Part 2.0 – Introduction
Part 2.1 – Present actors
Part 2.2 – Past actors (this post)
Part 2.3 – Future actors
Part 3 – Designer chairs
[ID: a cuneiform tablet displayed on glass, with a museum label that reads 'Complaint about delivery of the wrong grade of copper' - 'About 1750 BC (Old Babylonian Period), from Ur'. There is a larger tablet on the left, cut off by the border of the picture. End ID.]
some interesting things about our guy Ea-Nasir and his hate mail
1: the most famous one is the first one we found and it was by a person named Nanni. I just think we should remember the person who wrote it
2: we wound up finding like, a whole closet full of complaints about Ea-Nasir
3: I read translations of several of them as well as suplemental information on Ea-Nasir by the professionals that studied him, and it's been a while, but i will now tell you a summary of his life story to the best of my ability as i remember it
He started off early in his career becoming one of the main copper dealers working directly for the palace, where he built up a good reputation for himself.
Then he moved into being more of a middleman, buying the copper from the outlying city states and then selling it to his old contacts at the palace. And also on the open market. Soon he was dealing in both the wholesale ingots (which is what most of the complaints are about) and finished copper products direct to both smaller merchants and the general public - things like decorated copper pots etc.
At some point he wound up in one of the city states buying copper and stayed there.
It was the island city state of Dilmun, in the Persian Gulf, downstream from his hometown of Ur.
There is absolutely no evidence to say i am right about this next point, but i know how people work, and given what follows, i strongly suspect he got in with the wrong crowd and developed either a gambling problem or a drug problem (or it could have just been women and beach parties, but i do suspect drugs or gambling more)
Anyway, what we do know is that he sort of stopped coming back to his old city, and started running a sort of scam. I really think it was basically like the bernie madoff thing, he would say "if you give me the money, i can buy you the best copper at a good price" and someone would give him the money, and then he would spend that money, and then he would get really really hard to track down, and then when the person finally did track him down he'd be like "fine!"
So he'd get someone else to give him money for top shelf copper, then he'd spend like half that money on bottom grade copper and send the shitty copper to the person who was hounding him to complete his contract. That person would write an angry letter, often threatening legal action, and Ea-Nasir would basically be like "listen, you gave me money for 100 ingots of copper, i sent you 100 ingots of copper; if you don't want them now, that's on you"
He did this a lot. Two of the guys in charge of buying copper for the palace itself (his old job) had to buy good copper with money out of their own pocket after he took the palace money they gave him and sent shitty copper to the palace. And remember, he KNEW what the palace standards were.
At some point in all this he got himself a business partner, and one of the tablets is from this business partner, and it basically says "i'm sending you a good customer with good money who is exactly what this business needs. Please, please do not be the asshole you usually are."
Another complaint tablet i liked is like the third one this author is sending him and among other things it says "do you not know how tired of you i am?"
Anyway, as you can imagine, he burned all his bridges, ruined his reputation, and drove himself out of business. At which point he had to move back home. My guess is he left some angry loan sharks in Dilmun holding a large IOU when he bailed.
Then he tried to start a lot of other businesses. I think he opened a restaurant briefly? He even did some speculative real estate.
Somewhere in here, he had to sell some of his house to his neighbors. All the houses were touching, like, they all had shared walls like an apartment complex, so he basically plastered over the doors to, idk, half his house, and they knocked a door in one of the shared walls to access it, and just like that half his property became part of his neighbors' home. He must have been very broke.
In the end, he wound up running a second hand clothing store out of what was left of his home.
So that's the tale of Ea-Nasir, people really have been living the same stories since always, haven't we.
Anyway I think we should try to remember Nanni's name, the person who wrote the most famous of the complaint tablets
Part 1 – Visual comparisons
Part 2.0 – Introduction
Part 2.1 – Present actors
Part 2.2 – Past actors
Part 2.3 – Future actors
Part 3 – Designer Chairs (this post)
