In addition to what others have said, liability is also a factor. If you don’t work out, it’s because you somehow lied about being able to do the job and not that their training was inadequate or that they failed to prepare/equip you. Additionally, less training is required theoretically, which means less cost on the investment of a new employee. Less risk overall for presumably better results.

Lack of experience also means they have deniability not to hire someone. I’ve had interviews go south immediately when the interviewer realized I was LGBTQ+ (stealth fail), but their stated reason was that I didn’t have enough experience with MacOS. I’ve done volunteer work in my field for the UN using MacOS, but alas, I was “too inexperienced”. The higher the requirements, the safer those sorts of dismissals are for them to make.

Isn’t this the plot of A CHRISTMAS CAROL?

It’s not weird at all. In fact, I’d argue it is very healthy.

Stories are our way of transferring human experience from one to another. Our brains intentionally blur fiction and reality to facilitate this transfer regularly. While not a positive example, you can see it in action when fictional representations of, say, trans people are only informed by the media consumed due to the lack of other experiences to draw on. Once an experience/story is no longer relevant or helpful, we forget it. When you read a forgettable story, that’s exactly what happened.

To categorize them in the way of the Ancient Greeks, Tragedies are cautionary tales, and Dramas are explorative/navigational—meaning they primarily help us navigate the comprehensive options of situations.

Looking at the stories themselves, we can see their structure parallels that of proper arguments.

One-act stories are a thesis—they answer a single question Three-act stories are a thesis, countered by an antithesis, and then the synthesis/conclusion. Five-act stories are more based on Marxist thought—a thesis that examines the contrast, contradiction, and possibly the negation of the negative before forming its synthesis.

Long story short, what is a story beat but elaborate dressing for points A, B, and C, leading us to the next logical point and its reasoning? It’s an illusion and allegory of crashing emotions, symbols, and situations for our subconscious to process the same way it does all our experiences. Memory itself is a story we are retelling ourselves.

And that’s underlying all stories that at least have some structure holding them up. Of course, it’s going to affect you. And it should.

I’ve taken a morbid interest in watching the drama of the Kaldorei/Night Elves story unfold and the drama erupting from it. For some in the Imperial core, it’s the first thought they’ve ever given thought to the complications and effects of colonization and genocide on a people. Is it anywhere near enough? Oh, hell no. But the capitalists’ need to sell [edgy] stories at least is breaking the veneer of silence civility of not talking about hard issues. And they’ll keep having to push that line to make money. And as they do, more voices that generally get glossed over will slip through in the trend-chasing. And now and again, we might get a comrade’s allegorical voice (see some of the classics like A CHRISTMAS STORY). Contradictions exist in storytelling, too, and it plays out the same way as it does in other areas. It will affect you like everyone else because you are digesting it like everyone else. We communists, arguably more so because we can see most of it as the junk food it is—and trying to enjoy the odd bit of nutrients that slip through capitalism/liberalism’s processing. But these imagined yet shared common experiences are also what will provide us with the common ground needed to reach others here and there.

My personal goal is to launch a webcomic/graphic novel project I’ve been contemplating for a while. A fun adventure story that isn’t infested with liberal ideology subtext for comrades to enjoy, but also is subtle enough that one can also show it to liberal friends and introduce them to some basic theory in the process.

I will second Brecht’s ON THEATRE. There’s some good gems in there.

Of a strictly ML nature, not many immediately come to mind. We have the Socialist Realism movement, but it is often examined through a western lens, which loses much of its nuance unless the audience is well-versed in art history. A few speeches by important figures touch on art and it’s purpose, but rarely in a way that would help us construct better, more engaging stories. But all this was also the problem identified. We don’t have a strong tradition to compete with capitalist media and their methods of confining stories to mere, and often shallow, entertainment. And what examples I have stumbled across, such as Han Qixiang, I’m not fluent enough in the language or culture to delve into their work as much as I’d want for contextual analysis to really comment or advocate from. And Western works, usually more hidden in history (pockets of French and German expression), such as Walter Benjamin’s DER ERZAHLER, I should probably re-visit before fully recommending since the last time I read through it I was only a baby commie.

There have been a couple of times my worldview has collapsed, and I took better/more accurate positions afterward.

1. That I was male, with a considerable amount of low-key sexism and not-so-low-key queerphobia thrown in. That was a hell of a shakeup, and probably responsible for the spark that started the rest.
2. I was raised an evangelical bible thumper and oooohhh boy, does that carry some hefty baggage—ranging from Isreal being -THE- holy land, Evolution is a lie, and those godless, evil queer commies have it coming. So much cringe. Karma is not without a sense of humor.
3. Was a right-wing Libertarian, very interested in military theory, military history, and was offered full scholarships to military colleges type. Was, unfortunately, definitely on the proto-fascist track politically. Although it did result in reading my first book on any kind of communist thinking in the form of SOVIET MILITARY STRATEGY by Vasiliĭ Sokolovskiĭ.
4. The Hollywood, mainstream Western storytelling methods are the best/key/correct/fundamentals of the craft. This happened around the time I started becoming a communist. With all the liberal assumptions modern storytelling makes/requires, I had to re-evaluate and relearn my career craft completely. This is the only one I openly talk about because it can be presented as a safe topic in all circles, isn’t as cringe to admit to, and ML Narrative Theory is unfortunately not touched on that much—especially here in the West. And I believe it’s one of our great weaknesses because we have little to challenge the subtle and constant torrent Hollywood and mainstream entertainment douses us with. This is a shame because storytelling is humanity’s evolved mechanism for sharing our experiences navigating life—we should have this tool in our toolbox. Maybe I should post some lecture/essay posts on narrative theory, how it relates and connects to ML theories, and how it breaks away from Hollywood’s simplistic formulas…

The ruling class try to not only rule altogether but to convince the masses of their legitimacy.

It might come from Engels, but I remember reading this line is straight out of the beginning of Lenin’s STATE AND REVOLUTION recently.

They are not incomparable/incompatible, but each religion will be vastly different in how it engages with socialism. I am what is called a scientific/naturalistic pantheist—which I once had someone sum up as atheism with pagan decor. There is nothing metaphysical in such a worldview, but certainly, there is a different way of looking at the world. You want Heaven? You have to build it. Justice? Again, you have to build it. And rituals are great at communicating with the subconscious—one of the best examples is the “hold your breath for x seconds and then take y gulps of water to get rid of hiccups.” The specifics and values shift based on who you ask, but the folk-idea behind it is widespread and the actions and symbols of the ritual can communicate to ourselves that we want to stop hiccuping. There is the practical safety aspect of taking the time to bow so you can observe the martial art mat, and the ‘spiritual’ aspect of quickly getting your mind in the right state to learn.

I think much of the incompatibility perceived comes from when religion mirrors our present class conditions. “God/s” as kings, rulers, as a grand bourgeoisie essentially. And that’s where the problem can come in because that aspect of more traditional religions is rarely challenged. “God/s” as a grand comrade is a far more interesting concept and one that has more back and forth—there is room to disagree/alter/adapt/learn from/etc with that authority instead of that authority always overwriting the believer’s own instincts (such as on moral issues). I forget where it’s from, but “beware the believer who has never disagreed with their God over anything for their God is an unchallenged mirror.”

The best Martial Art is whichever one you would enjoy doing the most on a regular basis.

At the end of the day, it’s mostly going to be about exercise and not being a badass or even self-defense. The best thing you can do when faced with danger is to get out of that situation. Most martial arts will not help you a great deal except keep you calm and rational. If someone has a gun, there is no way to remove the chance it will go off, even with a disarm (and that is unsafe for everyone around you). If someone has a knife, there’s almost certainly going to be blood no matter how good you are—although you might not feel it until the adrenaline and blood loss kick in. And that’s without getting into, even if you win the hypothetical fight, knowing what constitutes legal self-defense before, during, and after the fight to ensure you were within those bounds. These aren’t an “always” thing, but most of the time what you get out of MAs is more on the mundane side. Get into a martial arts because it’s something you enjoy, you want the exercise, becoming more comfortable in your body and how it moves, and you want to improve your discipline. And learning how to break fall—that will help you more than anything else because falling can happen anywhere, not just in a fight.

Personally, I do HEMA (Historical martial arts; primarily sword fighting) and traditional archery, because those are what I enjoy and their relevant to a lot of the illustrations and creative endeavors I do. I’ve dabbled in others MAs and there are fun techniques, but I keep coming back to those practiced in the past (mainly European but will reach into as many regions as I can get my hands on) when it comes to my time and money…even if that means having to workshop how they may have worked in their historical context (because for some of them, we just don’t know). Just have realistic expectations with what you choose.