#Me talking about any piece of media I like

[slugtranslation-hypmic]

I Think Hypmic's Portrayal of Gender Roles is Kinda Refreshing: An Essay A.K.A. I'm Procrastinating on a Weekend Deadline :)

Hypmic's talking points on gender are hamfisted, corny, and melodramatic. "Maybe...we shouldn't have a wage gap," is not the hottest of takes. However, like most things in Hypmic, the writers have a lot more to say about gender and gender roles in the framing of the story itself that's much more nuanced. And honestly? It's kinda refreshing.

It's also something that went way over my head when I first became a Hypmic fan. Sure, I read manga and played Japanese video games--usually translated into English first--but I didn't have enough exposure to hundreds or thousands of pieces of untranslated Japanese media. I'm going to guess that most Hypmic fans don't either, which is totally fine and normal. We all exist within our respective cultural communities wherein we're bombarded with messages constantly telling us how to act, think, and speak. We tend to absorb these messages on subconscious levels and reflect them in the art we create and stories we tell, either by reinforcing them or challenging them. Thus, our stories don't exist in a vacuum, and divorcing stories from their cultural backgrounds can suggest the artist is the original thinker of a larger concept or hide their specific point of criticism. That is, if I wrote a story about a man who chooses to not catch fish, drink beer, and drive a Dodge Ram pick-up truck, we should be aware that I'm not the person who conceptualized the stereotype of dudes who catch fish, drink beer, and drive pick-ups. I wouldn't deserve the credit for dreaming up that exact image, and at the same time, it would be incorrect to read that as me targeting those three things randomly. The choice to not drive a Dodge Ram pick-up is not a commentary on Fiat Chrysler Automobiles. It's a stand-in for the notion of masculinity.

Thing is, we're hit with messages about masculinity, femininity, and other gender-related concepts on a daily basis. No matter where you live or what language you speak, every person on Earth is inundated with messages saying, "This is what you are, and consequently, this is how you should act." Our relation to these messages is complicated, and this complexity is compounded by different cultural communities preaching different messages in their stories, marketing, and human interactions. For instance, the US's massive global cultural influence means that those outside the US can still easily recognize what I mean by catching fish, drinking beer, and driving enormous American pick-up trucks. But the location and cultural differences may add or subtract nuances. A person living in, say, Munich is unlikely to have Dodge pick-ups advertised to them the way a person in rural Texas would. Our fictional Munich person does not feel the same social pressures to buy a Dodge and represent their masculinity with a Dodge the way our imaginary Texan would. In turn, the Munich person likely sees a Dodge with an element of absurdity--who the hell needs such a big truck in a European city?--and foreign Americanness. The Texan wouldn't have that concern--why worry about navigating your enormous truck down narrow streets when you live in the countryside?--and sees Americanness as their local default, thus removing any element of foreignness.

That is to say, gendered messages aimed at people (especially women) who live in Japan don't affect me the same way as they impact those who do live in Japan. Like, it's not my dog in the fight, and there are plenty of people who are directly affected who write their own stories and commentaries on gender roles in Japan. Japanese women don't need a random guy in the US to stand up and say, "Damn, your gender roles are fucked!" 1) They already know. 2) They're already saying it. So I come at this from an angle of someone who already has deep, primary frustration with the gendered messaging in my culture and secondary frustrations when similar messages appear in other cultures. I don't have a bone to pick with Japanese media in particular. Plain and simple, reading and working on hundreds of pieces of Japanese media is what I do for a living. It's in my face constantly, and as a result, I am also perpetually bombarded by messages about gender roles in Japanese media.

It's not a hot take to say that Japanese media, like the media of every single other culture around the globe, has a lot to say about gender. There's a lot of slotting people into boxes and telling people what to do. It's chafing, as we see all across history in art produced in reaction to gender roles. In the past couple of decades, global shifts in gender roles have caused media to shift the messages they're pushing, but it's not controversial to say that Japan has lagged behind other countries like the US.

Many, many stories push arbitrary notions of how to be a girl or how to be a boy that don't necessarily come from the author themselves. The authors probably aren't even fully conscious that they're making these choices. If an author writes a story about a library and makes every female character a romance fan and every male character an action fan, it's likely a reflection of endless messaging that says action is for boys, romance is for girls. In turn, this story becomes yet another reinforcing message. If no fictional girls like action, and no fictional boys like romance, it becomes alienating for real girls and boys who don't follow these same rules. These rules are everywhere and have so much to say about gender that it's hard to know where to begin. Girls must like cute things. Boys can't like sweet food. Women must not express sexual desire. Men can't be shy. On and on and on.

Which is why, when there's a relative lack of this in Hypmic, it's kind of a breath of fresh air.

Wrong Ways to Be a Man

Actually, Hypmic does have a few moments where characters claim there are certain things men or women should do, but the writing always frames these messages as incorrect.

Take Samatoki, for instance. After Kuukou and Sasara leave MCD, Samatoki tells Ichirou, "Men shouldn't cry when they lose their friends. Men should only cry when they lose a family member."

(TDD chapter 10)

This line usually appears via Ichirou's perspective. In the stage play, it's told during a song Ichirou narrates, and as shown above in panel 3, the manga frames the line from the angle at which Ichirou sees it. In such moments, the audience is meant to read this as a cool line from a strong mentor figure to Ichirou. That's how Ichirou sees it, and he's a seventeen-year-old with too much on his shoulders who idolizes Samatoki. He is incapable of seeing how much pain Samatoki struggles with.

However, when the manga focuses on more intimate moments of Samatoki's life, we see that Samatoki does struggle quite a lot.

(BB/MTC+ chapter 6)

This isn't a cool, attractive figure meant to be idolized. While Samatoki's cigarette usage and aggressiveness are often framed as sexy or enticing, the juxtaposition with dirty laundry, overflowing ashtrays, and empty bottles make him a sympathetic and struggling figure. Therefore, we should understand that his notion that men don't cry is flawed. It's a means to distract himself from emotions he doesn't want to feel.

Later, as Samatoki begins to process his emotions and open up to his teammates, the unhealthy coping mechanisms recede. Samatoki is more confident, mature, and happier as a result of being more emotionally vulnerable.

We see a similar transformation with Kuukou. As a teen, Kuukou is reluctant to accept help or truly let anyone in. In a conversation with Hitoya, he says (and I am still completely unable to take this seriously), "A man's got to wipe his own ass."

(DH/BAT chapter 4)

However, over the course of his character arc, Kuukou learns that he cannot exist as a good leader or individual without the teamwork of his newfound "family." Only rejecting this classical and toxic notion of masculinity brings Kuukou joy.

In fact, most of the first-line characters have very similar arcs. At the start of the story, Ichirou is insistent on doing everything himself. He has to learn to be able to rely on other people (Kuukou, Samatoki, Ichirou and Jirou) to be happier and unlock his true strength. See below, his final attack and Ability use in the 2nd DRB, which is only possible when his brothers figuratively and literally support him through it.

(BB/MTC+ chapter 25)

Sasara struggles with emotional honesty and trust in favor of using humor to gloss over discomfort. It takes multiple heart-to-hearts with Roshou before he can let humor take a backseat and say how he really feels. Ramuda has difficulty trusting other people and being honest with his emotions when faced with stressful scenarios. Only through Fling Posse is he able to open up and ask for help instead of driving people away when the problems are too big for him to face alone. Jakurai struggles to connect with other people, work through and acknowledge his complicated feelings, and not place himself on a pedestal. Through Matenrou, Jakurai is able to ask for help, be more open, and ultimately be less hard on himself.

The second- and third-line characters follow similar arcs, and this repetition creates a core message for Hypmic: Trust and rely other people. Be open with your feelings. There's a wrong way to be a man, and that's to hurt yourself and other people.

Right Ways to Be a Man...Are Infinite!

But with that being said, there is a surprising lack of commentary on how else to be a man. Hypmic as a whole doesn't do much to constrain the male characters in terms of gender roles.

Sure, some characters do fit into more traditionally masculine roles--Ichirou, Samatoki, Riou, etc. The messaging makes it clear that it isn't wrong to play into masculinity provided it doesn't become toxic. (See above.)

Even then, however, these especially masculine characters are associated with less masculine traits that are either portrayed positively or not portrayed as a joke. Riou is an avid cook, but the joke is never that he wears an apron and knows his way around an outdoor kitchen (tee-hee, men don't cook!). It's that he cooks with horrifying ingredients. Samatoki is a fashionista, but the joke is framed as a counterpart to Ichirou's nerdiness.

(DoD chapter 1)

Here, it's funny that neither of them can shut up (the ペラペラ/blah blah SFX, the long bubbles filled with lots of text that's cut to indicate they kept going for longer), but the object of their attention--a model toy and a pair of jeans--are treated in the same neutral light. It's very common for stories to touch on, even defensively, the social taboo of men being into clothes. Hypmic doesn't even acknowledge that such a taboo could exist.

This is subtle but extraordinarily effective in giving characters the same consideration and weight. The more feminine characters are always treated just as sincerely (or, if there's a joke to be made, irreverently) as the more masculine characters. Take Ramuda, for instance. In Japanese media, a love of sweets is often characterized as feminine and will often be remarked upon, even in LGBT+ media, as atypical for men. Again, there's zero acknowledgement of such a thing in Hypmic. Whenever other characters talk about Ramuda's food intake, it's always framed as a concern about the lack of nutrition.

(FP/M chapter 11... I don't have the source lying around on my computer, so here's the old-ass scanlation lol)

It's also given the exact same weight as anyone else's junk food habits. Here, MCD goes out for burgers (a neutral to masculine-coded food due to the meat and high calorie count) while Ramuda opts to try a sugary Starbucks-esque drink. The parallelism in the comic's framing suggests that the two objects are functionally the same, and there is no comment that a sugary drink is feminine and therefore "inappropriate" for Ramuda. There's also no indication that MCD's preferences are in any way better. They simply happen to be the characters' personal preferences. The punchline is two groups splitting up, only to awkwardly run into each other again moments later.

(DoD volume 4 bonus comic)

Similarly, Ramuda's interest in clothes or fashion is never treated negatively--in fact, the discussions of clothes as a means to find identity and happiness make it a positive!

In ARB cards and promotional materials, Ramuda sometimes wears dresses. It's, again, portrayed in parallel to other characters wearing more masculine clothes and is never commented on as something "unusual." It's just who Ramuda is.

Hifumi is another interesting case. Like Ramuda, his playful personality often doesn't as stereotypically masculine. (To be clear, I read much of this as "gender neutral with a strong emphasis on youth" versus "feminine" in a way that I'm not sure has a good US equivalent...metrosexual/yuppie men's fashion, maybe? In the sense that it's a youth subculture that defies some masculine gender roles but is still focused mainly on men. I wish I was more well-versed in Japanese men's fashion and could give an exact term, but I'm what I'm thinking of is definitely an established thing--young, trendy dudes whose styles focus on poppiness vs. the rugged manly man or "idk, I'm just some guy" subcultures. It's a thing that pisses off old Japanese conservative men in the same fashion as people getting up in arms about "the gayz!!!1!" and their androgynous clothing lol.) Their personalities are often the butt of jokes, but only in the same way that Dice or Doppo are--that is, that they're exaggerated and over the top. There's no commentary on masculinity or lack thereof.

There are also moments when Hifumi, Gentarou, or other characters play feminine characters in roleplay moments, which is usually (but not always) not the sole joke. The audience is supposed to find it funny, but the humor is almost always centered on the absurdity of the scene as a whole. For instance, in a moment where Hifumi and Doppo are pretending to be two drunk karaoke-goers, the humor comes from the composite set-up of Hifumi's hair twirl, Doppo's untucked shirt and tie, Doppo and Hifumi's exaggeratedly flirtatious poses, the spotlights and sparkles, and the same font as used on classic karaoke machines.

(FP/M+ September 2022 oneshot)

Hifumi and Doppo do not perform traditional gender roles in their homelife, and while it's easy to see and often commented on in the English-speaking fanbase when it comes to Hifumi, I find it just as prevalent on Doppo. It's true that Hifumi is taking a feminine role by doing the majority of the household's cooking and cleaning, but if we were to assume Doppo has the masculine role in the household, he would have the breadwinner duty. However, he isn't the main source of income for their household, and he's just as unassertive in finding a (female) romantic partner as Hifumi is. Japanese men are bombarded with media messages stressing the importance of taking an active role in career and romance. That Doppo does not would, in many stories, make him the butt of a joke for not living up to masculine gender roles. But he isn't; instead, Hypmic portrays him as a sympathetic character. It's tough, Hypmic says, for people to get good jobs and maintain friendships/relationships as an adult.

Similarly, it's noteworthy that Hifumi's self-appointed term "Gigolo" is consistently portrayed as a good thing in Hypmic. The meaning of the English term aside, the Japanese word ジゴロ (jigoro) is almost always used as an insult for a man who is financially dependent on one or multiple women. In the strictest sense of the term, Hifumi is a jigoro in that his income derives from his female clients. However, there is never any shame associated with that, and as a whole, Hifumi's career as a host is shown to be a positive thing. I can't express enough how rare that is in any sort of semi-serious media. Certainly, Hypmic acknowledges that his job requires too much drinking (Doppo's verse in Hoodstar), but the overall portrayal is overwhelmingly positive. Hifumi and his coworkers are never treated as uneducated, boorish, or pathetic for "failing" to find other work that does not require flirting with and entertaining women. (This is partially due to the overlapping judgment with sex work.)

All the various harmless preferences and personality traits of the male characters are treated equally with no judgement over what's masculine or non-masculine. Within the broader context of Japanese media, this absence of judgment stands out and reinforces one of Hypmic's core themes: Differences make us better, not worse. In the end, Hypmic suggests, there's no one right way to be a man.

Right Ways to Be a Woman...Are Just as Infinite!

But what about women? This series is, after all, marketed mainly towards women, and while female audience members can no doubt extrapolate the lessons learned from the male characters, it's worth taking a look at the female characters too.

The female characters do receive much less screen time than the men and are not the focus in the series; I'd argue that's less an issue of overt sexism and more that they fall out of focus in the story the writers want to tell. (There's a broader discussion to be had about inherent sexism in the writers' focus which goes hand-in-hand with rap industries across the globe favoring men and rap being an example of exaggerated masculinity, but that's a topic for another day.)

Even so, the framing of the female characters is interesting in a couple key respects. The individual character arcs and motivations of the main female characters are, in my opinion, some of the weakest parts of Hypmic--many times, Otome and Ichijiku do things because the plot demands them to, making them look incompetent or needlessly cruel for characters we're supposed to sympathize with. Nemu's story seems to be handled with more care and takes an interesting twist, wherein she openly acknowledges that she's disenfranchised as a woman in modern Japan but rejects the notion that she needs to find strength on either Ichirou or Samatoki's (male) terms. By choosing to be strong in "her own way" (whatever that means...it's not well-defined), the authors are using Nemu to reject the notion that strength and power are inherently masculine.

What I find to be far more interesting is the character design for the Chuuouku women, both in what is said and what is not said.

To begin with, the characters and their portrayals run the gambit from highly sexualized to completely non-sexual. Some characters (especially Ichijku and Honobono) have conventionally attractive, curvy body types and are often drawn in ways that highlight their bodies.

(FP/M+ chapter 4)

(FP/M+ chapter 14)

In some cases, especially Honobono's, the enticing nature of the illustrations is framed as the character's choice; in the above, her words indicate that she wants to seduce the off-screen listeners. The images included above are largely representative of these characters' raps, regardless of illustrator.

But on the flip side, other characters with large breasts or hips are never drawn in a sexual fashion. By way of comparison, here are two shots of Nemu rapping.

(BB/MTC+ chapter 12)

Even in shots with dynamic poses, no attention is drawn to Nemu's figure in any sort of provocative sense. Nemu touches her chest, drawing the reader's eye there, but the artist does not emphasize the size of her chest--they're allowing a chest touch to be no more than an emphasis of the self. At the same time, Nemu's body isn't downplayed. We can see in panel 2 on page 2 that Nemu has a small waist and wider hips, but once again, she isn't being sexualized. The action lines draw the reader's eye to Samatoki and thus put the action first and foremost. This creates the idea that not only can characters portray themselves sexually, but they can just as easily choose not to.

We see similar with Otome, who does not wear any sort of revealing clothing and is never shown in a sexual fashion. However, Hypmic doesn't equate revealing clothing to sexual portrayals either! While I wouldn't call Tsumabira's outfit revealing, she does have more visible cleavage than most Chuuouku figures. However, her bare chest is never sexualized like Ichijiku's.

(BB/MTC+ chapter 4)

Compare the non-emphasis on the chest and the power stance to any of the many shots of Ichijuku where her breasts are front and center in the camera. Speaking of power stance, Tsumabira remains confident in her power stance without being sexy--that is, no stepping on the camera and showing her whole leg.

Which isn't to say that Tsumabira is a sexless character. She's drawn visibly turned on by the male characters in such a way that is cartoonish but not, in turn, overly sexual. Were this supposed to be titillating to the reader, I would have expected to see a larger close-up on her face and tongue. However, the artist (who is no stranger to focusing on tongues!) devotes the majority of the panel to Tsumabira's body language (which, again, doesn't absurdly exaggerate any of her proportions or focus on her chest) and covers part of the mouth with text bubbles. Tsumabira is drawn as engaging in sexual behavior without being sexualized for reader entertainment.

(FP/M+ chapter 4)

The juxtaposition of such different views with little to no judgement attached to any of them suggests that it's perfectly okay to want to be sexy or not, to wear revealing clothing or not, to be involved in sexual situations without being the object of sexual interest, or to simply exist with an attractive body type without sex ever coming into the equation. Just as some characters choose to tie bodies to sexiness, some don't whatsoever--and either is perfectly fine!

The former idea ("I can choose to be sexy") may not sound especially revolutionary to US audiences, where sexuality is thrust upon women willingly or otherwise, but I find it fascinating because it lets the main characters embrace this idea without associated slut shaming. So much of Japanese media insists that women should be sexy but are also wrong for wanting to indulge in their own sexuality. Therefore, having characters who run virtually every iteration of take on the topic (I want to engage in sexuality and be sexualized, I want to engage in sexuality without being sexualized, I don't want to engage in either) with multiple body types (ie, Tsumabira isn't automatically not sexualized because she has a smaller chest; Nemu isn't automatically sexualized because she has a bigger chest) and no judgement involved feels like another breath of fresh air to me.

As a whole, I find the diversity of the Chuuouku uniforms and character appearances quite interesting. They're undeniably all feminine and relatively militaristic, but different characters wear entirely different wardrobes. Skirts vs pants, blouses vs dresses, high heels vs boots... Since every character has her own take on the common theme, it once again feeds into the idea that each character is her own individual and perfectly valid for defining femininity in her own way.

Haircuts, too, range from longer and more feminine hairstyles to pixie cut-esque looks.

(BB/MTC+ chapter 16)

Again, nothing of the framing suggests this short-haired woman is in any way different from her longer-haired counterparts on the edges of this screenshot.

Finally, while most Chuuouku women are conventionally attractive, I find it extremely compelling that Haebaru is a stereotype of an unattractive Japanese woman. To be extremely clear, I do not think these stereotypes should have weight, but the combination of chubby and/or muscular build, freckles, rounded nose, and non-glossy hair is often used as a visual shorthand for unattractive or otherwise undesirable women.

Sure, it's not fantastic that Haebaru is a scheming, two-bit villain. However, so is virtually every other female character in the series, and in particular, Haebaru is (the conventionally attractive) Tsumabira's counterpart. Both are treated with the same respect or lack thereof, suggesting that one's appearance has nothing to do with your ability to be a no-good baddie. Ha ha ha.

It would be lovely if the female characters were fleshed out further and given intelligent choices and diversity outside of the realms of physical appearance. However, I do think the writers' choices are limited by virtue of all women automatically being antagonistic side characters (which, again, is another discussion altogether). What the writers can and have accomplished is further reinforcing a celebration of differences. Just as there's no one right way to be a man, there's an infinite number of ways to be a scheming snake of a woman HAHA.

Intersection with LGBT+ Topics

Unfortunately, this is a very binary look at gender and gender roles, which, while largely representative of the current state of Japanese media, can be disappointing.

Hypmic appears to want to steer shy of LGBT+ topics as a whole, which is a bit of a shame. In a story so focused on gender and acceptance of diversity, it seems the natural next step to explore the notion of those who experiences don't align with a strict gender binary. Such stories are growing in popularity in Japanese media but have yet to be anywhere near the mainstream acceptance in US media (which is still in a fledgling stage at best). I would imagine Hypmic's writers are unable or unwilling to take a definite stance on these topics in the work due to fears of financial or career backlash. If nothing else, the sexuality of the main characters needs to remain in a limbo in order to have plausible deniability for both self-shipping and shipping with other characters. (Some deniability may be more plausible than others.)

The few instances in which Hypmic does wander into this territory are usually clumsy. I am no fan of the handful of scenes where male/male attraction is supposed to be funny purely by virtue of being male/male.

The inclusion of Urumi, the one minor character explicitly LGBT+, is not stellar either. I am hesitant to apply any definite label to her, as the real-life people her stereotype portrays self-identify as everything from trans women to cis men--or refuse to use these English labels at all! Still, we know from her profession (proprietor of a bar heavily implied to be a gay bar by the neighborhood it's in), appearance (poofy permed hair, exaggerated make-up), and demeanor (feminine speech style, a bit flirtatious) that she's AMAB and choosing to present herself in a feminine fashion. By writing Jirou to ask, "Aren't you a man?" in an exasperated fashion, the writers have put her gender presentation in a boke role--suggesting she's over-the-top, exaggerated, comedic. It's not great. I completely understand why readers find it offensive (and it is) even while I don't think the writers intended it that way. Ultimately, it would have been great to see other explicitly LGBT+ characters portrayed without the joking angle.

With that said, I'm not entirely unhappy with her character. She is a stereotype, but the authors have chosen to take only the visual elements of the stereotype and leave the rest on the cutting room floor. In other works of fiction, characters like Urumi are often hypersexual to the point of being in-universe creepy, especially towards underage boys. Other times, characters like her may be eccentric or off-putting in other ways. However, that's not at all the case here. Urumi seems to play a helpful big sister/aunt role in Jirou's life, and he's clearly comfortable enough with her to spend the night at her bar.

(BB/MTC+ chapter 17. "Sorry, but can I shack up here again tonight?" "Of course you can.")

While she seems to engage in some sort of a bohemian lifestyle, as evidenced by the alcohol and smoking, it isn't anything outside of what many of the other characters do. Additionally, while she isn't drawn in a flattering fashion in scenes where she's playing up her persona (which is par for the course with any character in this series, regardless of gender), there are plenty of neutral shots of her being serious. Finally, the art is never outright rude--that is, she isn't drawn exaggeratedly masculine or flamboyantly...snakey? I don't know how to describe this to anyone who's lucky enough to have never seen this--clearly LGBT+ AMAB characters drawn with noodly limbs and huge, overblown lips winding around male characters.

Maybe because I see so much worse continuing to be produced in this day and age, I feel like Hypmic could have done a much, much worse job with this character. She overall plays a positive role and is treated with much the same care as other side characters. It's unfortunate, then, that the writers have chosen to make her gender presentation the subject of a joke.

In other frustrations, I heavily dislike the unnecessary gender divide in background characters. All punks and other background baddies are male, whereas all adoring fans are female. (But Rhyme Anima has done an interesting job of subverting this!) The vast majority of other background figures fall into strict gender roles, which is likewise disappointing. It appears that diversity may be an accepted trait for none but a lucky few that form the main Hypmic cast.

All in all, I don't think Hypmic's portrayal of gender roles is groundbreaking, nor do I think it's fair to suggest that all Japanese pop culture plays into strict gender roles. There are certainly many Japanese works, popular or otherwise, with much more interesting things to say about gender. However, when compared to the vast majority of the titles that cross my desk on a regular basis, I notice and appreciate the level of care put in to Hypmic's commentary on gender roles. The work consistently reinforces the notion that it's okay to be your own individual, no matter how that plays into your gender, and I find that freeing. That's a message we could all do to hear more often, regardless of culture and language.

TL;DR: Oh no, my rapidly approaching deadline. :)

[mewcharm]

when i was a kid i was really into “cringe media.”

fnaf, my little pony, steven universe, undertale. i didn’t know i was neurodivergent at the time, but i became absolutely obsessed with those pieces of media. from ages 11 - 15 it was all id talk about, hopping between each thing respectively.

i felt very very alone in my house, for several reasons - nobody really wanted to indulge me it seemed. they’d listen, but would never say anything outside of, “cool” or “can you talk about anything else?”

suffice to say I didn’t think my family picked up on any of my interests. that is, until the fnaf movie came out.

my mom called me, and ranted to me for an entire hour about how much the movie got right and wrong about the lore, and her theories about it. my mom. she was making the same talking points as my own friends, who were just as invested as me, and had been fans since they were kids.

i guess she for real listened to me, retained all of it, and was now talking to me about something I wouldn’t shut the fuck up about at 13. im 21 now.

she mentioned how excited she was when matpat popped up. how accurate the animatronics were. she was geeking out to me over the living tombstone song being in it.

“I remember you showed me that song years and years ago, it was crazy hearing it on the big screen!”

I cried for like 30 minutes after we hung up

[cadomoisspokenfor]

I haven’t watched the Knuckles show yet, but even before seeing it I’m tired of the discourse. Mostly I’m tired of the way this fandom talks about each other, and how we’ve seemingly given in completely to the narrative of universal toxicity prescribed to the fandom by people outside it.

If someone says they dislike a certain piece of Sonic media, or have even an inkling of criticism for it, they get thousands of responses decrying them with things like “the Sonic fandom hates fun” or “the Sonic fandom is so toxic, they can’t handle even the tiniest adaptational changes” or “Sonic fans literally don’t even like the character.”

If someone says they like a certain piece of Sonic media, or even just praise certain aspects of it, they get thousands of responses along the lines of “Sonic fans standards are so low they’ll praise ANYTHING” or “Sonic fans don’t even know what good media is” or “the Sonic fandom is a cult that doesn’t accept even the smallest criticisms of their god.”

First off, which is it? Is the Sonic fandom incapable of hearing criticism, or does it only ever criticize without enjoying new things?

Second, this idea of the Sonic fandom being inherently toxic no matter what is a large part of what’s breeding so much toxicity in the first place. Can’t you see it? Please tell me you can see it. If no one can discuss ANYTHING, no matter what opinion they have, without it being labelled as “typical Sonic fan craziness,” than any attempt at building healthy community in the first place is forfeit because it’s already been decided that talking about the character we all like is off limits. We’re all only here to be mad at each other. No one dares say they’re actually a part of the fandom. We all have to be “fandom adjacent” to not be perceived as toxic by default. And that’s stupid.

Why do we talk to each other with such condescension? Why have we just accepted this state of affairs? Why do we act like our opinions are objective and that everyones else must agree with us or else be labeled as “crazy Sonic fans” even if we’re clearly Sonic fans ourselves? And if we don’t act like that, why do we tolerate so many others acting this way and ruining what could be a fairly straightforward and happy fan community? (Not to point the finger but many popular youtubers who dabble in Sonic perpetuate the above quite a bit and I very much wish we’d all stop treating them as arbiters of reason. They’re just people, same as you and me. It’s ok to disagree with them. It should be at least.)

I’m serious. Toxicity in the fandom is a real problem that needs constant vigilance in order to maintain a healthy community space, but that idea has been weaponized and the fandom’s become exponentially worse for it.

I guess I’m just asking, more like pleading, that before you jump to labeling someone saying they like or dislike a piece of media as toxic, stop and ask yourself “Are they really being toxic? Or are they just having an opinion in a completely-unsensational-if-it-was-any-fandom-but-the-sonic-fandom kinda way?”

People need to be able to say “Yes, we’re Sonic fans” without it carrying a negative connotation. And that takes recognizing the humanity in each other first and foremost. If we keep capitulating to those who call the fandom inherently toxic, it will only get worse. Again, toxicity is bad but we lost the plot ages ago. Let’s try and find it and then maybe this fandom can actually be fun again.

[agooddaytoscream]

LONG POST: About the situation in Inner Mongolia, Tuva, Kalmykia and Buryatia:

See this red piece of land here?

It’s almost as big as the actual country of Mongolia right?

…Wanna know why?

IT’S STOLEN LAND.

I am a Mongolian person from Outer Mongolia, it pains me to see my fellow siblings being subjected to a cultural genocide right now in China.

ALMOST NOBODY is talking about this.

Go ahead and search “Inner Mongolia” on any social media platform, see anything loosely related to it being stolen, or the eradication of the Mongolian language and culture in schools by the CCP?

Not much or close to none, right?

Unlike Tibet and Uyghurs, the other two biggest ethnic minorities in China, which have a number of campaigns/gofundmes/articles about the situation, there’s only a few articles about Inner Mongolia.

Do you want to know why you don’t hear about Inner Mongolia? Censorship and oppression.

Remember Tibet? And how China oppresses Tibetan Buddhism as a result, resulting in His Holiness, the Dalai Lama to leave his people’s homeland and reside in India? The biggest religion practiced in Mongolia and Inner Mongolia is Tibetan Buddhism.

I currently cannot find ANY campaigns aiming for a free Inner Mongolia, much less any recognizing what’s going on.

The Mongolic people have been the victims of genocide multiple times.

I’ve heard numerous negative opinions from foreigners online and in real life about the Mongol Empire and how “Mongolians deserve to be oppressed, China is doing them a favor, Traditional Mongolian script is used in Inner Mongolia and has a higher GDP, Outer Mongolia only uses Cyrillic.”

( Mongolia was colonized by the Soviet Union, and subjected to communism, do you know what it feels like for your own family members, brainwashed by communist propaganda during childhood, even now swearing up and down that Russians are superior and everything they do is correct. And when asked whether the innocent Mongolian Buddhist monks deserved to die at the hands of Russians, they said it was deserved?! This is how insane propaganda can get, nobody is immune)

Do you realize how fucked up that is?? To hear so many say your people deserve this??

“Mongolian is our mother language! We are Mongolian until death!” shouted ethnic-Mongolian students in China’s Inner Mongolia, in opposition to a government policy, ending bilingual education. Critics of this policy see it as the latest move in a decades’ long campaign aimed at erasing the Mongolian culture.

- PLEASE READ THESE ARTICLES, they’re not the most recent, but they tell the truth.

Why critics are asking if Inner Mongolia is the next Tibet or Xinjiang This is from 2023.

Inner Mongolia in 'War-Like State' This article is from 2011, however the events that were reported are still happening.

Mongolians in China Face 'Cultural Genocide' as Language, Culture Swept Aside: Group

This article is from 2021. It’s recent enough.

This goes without saying, but xenophobia is also extremely prevalent in China against ethnic minorities.

I highly recommend reading this specific tumblr post. I am also apart of many fandoms surrounding chinese media. OP makes many valid points and I cannot support them enough.

From personal experiences, I have also read about my people and Central Asians being portrayed as brutal, savage, uncivilized barbarians in many Chinese-American novels. It’s heartbreaking.

I despise how the world turns a blind eye to my brothers and sisters suffering, just because the severity of what my people endured is less than other groups, doesn’t mean that we should only focus on helping one minority, support all groups under oppression and colonialism no matter the severity of their situations.

I just found this Youtube video detailing the situation in Inner Mongolia, it’s beautifully done. PLEASE PLEASE WATCH THE FULL VIDEO, Beginning to End.

Why China Doesn’t Want You To Know About This Place.

Not to mention, the countries of Tuva, Buryatia, and Kalmykia are stolen by Russia just like Inner Mongolia. Throughout its history, Russia has seized foreign lands, colonizing indigenous peoples and destroying their national identity.

Note: I am not talking about the Sakha (Yakutia) because I am personally not apart of their community and will not talk over Yakut voices regarding Yakutia such as: https://www.instagram.com/verona.petrova?igsh=MXkyMHY3NDVoZjZxMg==

https://www.instagram.com/reel/C2iRvYqvu1M/?igsh=MTFucHg5aDdjaDFocA==

View this post on Instagram

A post shared by VERONIKA PETROVA (@verona.petrova)

The Tuvans are a Turkic group with their own language however, they share many cultural aspects with Mongolians. Tuva is the most poverty stricken place in Russia with the lowest standards of living.

The Buryats are an ethnic minority of Siberia whose population of around half a million largely follow a blend of Buddhism and Shamanism.

They are closely related to the Mongols, and the two groups share similar histories, cultures, religious beliefs, and lifestyles.

The Buryat language is considered one of the world’s most endangered languages.

Soldiers from Tuva and Buryatia have the highest casualty rates per 100,000 for Russia in the Ukraine war.

“These are some of Russia’s poorest regions: places where many young men see the army as their only chance to earn a decent living. And it’s these places that are now paying a disproportionately high price as Russian war casualties continue to rise.”

Please see: Free Buryatia Foundation, Buryat Liberation Movement, Mass Deportation and Ethnic cleansing of Kalmykia, The Kalmyk Deportations of 1943. Ukraine war: Tuva and Buryatia pay the highest price, but latest BBC Russian casualty figures show poverty not ethnicity the key factor.

Free Palestine, Congo, Sudan, Kurdistan, Armenia, Haiti, Yemen, Tigray, Syria, Afghanistan, Myanmar, Arakan, Tamil, Eelam, Western Sahara, West Papua, Kashmir, Canary Islands, & everyone undergoing genocide / colonialism.

Spread awareness about the femicides in Kazakhstan:

The Rise of Non-Consensual Bride Kidnapping in Kazakhstan: Developing a Culturally-Informed and Gender-Sensitive Response

Kazakh Activists Urge Authorities To Toughen Punishment For Domestic Violence

Can An Ex-Minister's Arrest In His Wife's Brutal Killing Finally Bring Protections To Kazakh Women?

EurasiaChat: Gender-based violence rears its ugly head again

YOU DON'T NEED TO GO OUT AND PROTEST, SIMPLY REBLOGING, LIKING, SPREADING AWARENESS, AND REPLYING HELPS AS WELL!!!

[afrognamedfizzarolli]

Helluva Boss Season 2 trailer break down. Pt 3: Ghost Fuckers!

Ive been so fucking excited for this one since Brandon said it is his favorite episode he's worked on yet!!

Okay so this might honestly just be me being crazy, but I have to talk about it. Blitzø is giving Taako so hard here. For everyone who has no clue what I'm talking about (which I assume is a lot, I doubt there's much cross over between these fandoms) Taako is a character from The Adventure Zone: Balance, a DnD actual play podcast done by the McElroy family. He is a fan favorite, him and other aspects of the series have been referenced in a lot of other animated shows.

I'm making this connection for a few reasons, most notably is the outfit, which is very reminiscent to the general fanon depiction of Taako, as well as how Blitzø's voice gets really high and sounds almost like Brandon's impression of Taako. All of this might be me reading into something that isn't there, trying to connect two of my favorite pieces of media.

Back to the actual episode:

A few shots are scattered around the trailer of Blitzø and Millie fighting in two distinct scenes. The first is present day, It looks like Blitzø has been possessed and attacks Millie.

The second I believe is a flashback to when they met. Millie has long hair like we have seen her have in the past, most notably her and Moxxie's wedding photo. Their first encounter i believe is this fight, we will see this as well as some more with them properly meeting, like Blitzø being insanely impressed by how skilled Millie is, and offer her a job at I.M.P.

I am just now noticing this on my final edits with these posts, I believe the scene where Blitzø crashes the van happens either early in this episode, or in the last two somewhere. because it looks here to be the van but extreamly damaged

Here we see the owner of the hotel, still unnamed to my knowledge, having the same glowing eyes Blitzø has when he's possessed. I believe that means one of two things. Either here he is also possessed by the same or similar being. Or its him that is who possess Blitzø. I personlly suspect the latter. This episode is clearly going to have a strong Scooby Doo vibe, so the big bad really being the guy that brought them there in the first place makes the most sense.

Again I am sorry for the shit photo quality, and possible bad grammar and spelling. I currently have the posts for the rest of the episodes nearly done so expect those in the next few hours ♡ Id love to hear any other ideas or theories about the upcoming episodes, or anything I missed/got wrong!

Pt. 1: The Full Moon | Pt. 2 :Apology Tour | Pt. 3: Ghostfuckers | Pt. 4: Mastermind | Pt. 5: Sinsmas

[sableeira]

someone free me from this very cursed The Raven Cycle inspired bsd au. rich kid Dazai spends all his time researching the supernatural and ley lines in Japan’s country side. He had a (near) death experience as a kid but was saved through supernatural means and now he is unable to die. But the gift of his immortality is unbearable to Dazai. Thus he has dedicated his life to researching the supernatural to figure out what happened to him and how to reverse it. Since his incident he has also been able to see the supernatural. Unfortunately, when he is trying to come in direct contact with the supernatural it dispels, almost like he is nullifying it.

Chuuya is the youngest in a found family household of shrine workers and spiritual mediums. He is the only one in his family that’s not inclined to the supernatural but everyone around him feels the supernatural more severely when he is around. Even though he can’t see the supernatural like his family members do, he helps out and enhances the supernatural during seances and other family business.

When Dazai and Chuuya meet, their opposing inclinations to the supernatural cancel each other out. But the same way their inclinations to the supernatural are opposing each other so are their personalities. Will they get over their differences to work together?

And then there is this little tiny detail that could shake up this potential research partnership. Chuuya has been told since he was a little kid that he would kill his true love with their first kiss. During a seance he enhanced a few months earlier, Chuuya managed to catch a glimpse of an actual ghost for the first time. The ghost of a boy who is supposed to die in the next 12 months. Lippmann told him that non-clairvoyants are only able to see the ghosts of the future-dead if they are the one to kill them… or their soulmate. The boys name? Dazai. And now that Chuuya has met him he is pretty sure he is going to kill him. Right?!

[crimescrimson]

Ada Wong & Leon S. Kennedy: The History [ Resident Evil 4 (2023) ]

[spinjitsuburst]

GOOD MORNING GANG thinking about him again

[sciderman]

Yk not looking at usernames sure is wild. I thought the Bob and Wade you were talking about were those guys from distractible

don’t know what that is but 👍 ok

[frobby]

Ive never related to character more than all the fanarts of laios where his speech bubble is just a wikipedia article cuz that really is what it feels like to infodump

[daz4i]

i think that unless you're talking about stuff that's like purposely and maliciously created with the goal of endangering people (e.g. nazi propaganda or cult recruiting etc) you should probably retire the term "irredeemable media". like i don't think this cartoon meant for children or niche webcomic or barely known indie game are as dangerous as you think they are

[choctalksalot]

i think i want the kids a little more fucked up from ascending. i want god tiering to break you apart and put you back together with the same pieces in the wrong places, a nail in a coffin you were told was an altar. i want came back wrong but for the opposite of death

[hadesknockedupintheunderworld]

You know, I'm glad that some of us take the step to embrace things that we like even if they're "cringe" or "objectively bad"

But perhaps we could take the next step forward and embrace the idea of reading into books/shows/movies/etc even if they don't seem deep. Perhaps we could understand that the two kinds of media aren't either "shallow and meaningless so you're weird and brainrotted to read into it" or "incredibly and profoundly deep in every way so if you don't analyze every single angle of the thing then you're brainrotted". Some media is deeper than others, but all I propose is that no matter how deep it seems it's acceptable to dig into the thing and take the media seriously instead of just assuming that because of ____ thing (such as target audience or how cringe it is) the media not deep and will never be deep and everything good about it happened on accident.

[hannibalismos-jaaneman]

so i never said this to anyone and bottling this up is exhausting so i'm just gonna vomit it here. PLEASE SENSITIZE CHILDREN TO ART.

[hmsmilkbone]

honestly. I don't really have a lot of interest in jjk anymore, which is super frustrating as the story foundation is really interesting. I have my favorite characters, and I'm not really interested in reading beyond this point.

As a whole, I'm not a huge fan of dropping stories just because they don't go the way you want. In general I personally try not to do this, but stories where the author clearly hates the material or the audience so much they're willing to destroy the story to do so are not enjoyable. I really don't think gege even really likes writing jjk anymore.

There may be some change that I hear about months from now where something worked out one way or the other, but in general I feel like this story is not going to resolve in a way that feels like reading it was a worthwhile experience. And like, for good OR bad. Not every story has a happy ending, but this is really not particularly interesting and I don't feel the need to continue a story where the writer isn't even interested in what happens or how it advances anything outside of their personal pettiness. Feels very much like grr Martin. All the meaningless death and abuse without any real redeeming qualities.

I'm trying to remind myself that not every author wants to be a storyteller. Not every story is good. It's ok to read stories that aren't the best simply because you want to see where it goes, but gege isn't superior in some way, and i dont 'trust that he's cooking'. Even if the story turns around in an interesting or strategic way, I really am not particularly impressed. Ordinarily I would stay along for the ride, but I can't bring myself to care about something even the author doesn't care about. :/

[mar64ds]

me: i love good conflicts in fictional stories

me when there is a big conflict in a fictional story: I don't like this I want them to tell jokes