#and there are plenty of ways that choice impacted

[28whitepeonies]

Hi Bea, hope it's okay to ask this, why do some people don't like Louis drinking too much? I mean he isn't that much of an alcoholic, is it because of the recent Jojo interview? I'm just really curious why people are angry at Louis on his vices, hope you dont see me as a rude anon, I'm just very curious and you have great commentary so 🥺💐 pleaseee.

Hi friend

This is a big question that I am going to try to summarise my thoughts on.

I think the first thing is that in part this is much broader than just Louis but how a lot of people within fandom see the world, the role Louis (& Harry/Zayn/Liam - I see it less with Niall, though it may just be I don't see it) plays in their life and their desire to exert control over behaviour. That doesn't just apply to alcohol, you see it with smoking, weed, drug use, their relationships, family and friendships.

Louis has spoken about drinking in a range of situations and he has talked that about that as something he enjoys socially, and that sometimes he has a drink before/during a show because the ritual of it calms his nerves. I think Louis (and the others) have had plenty of experience with alcohol and drug use, and they've probably all used alcohol and drugs at times when that maybe hasn't been helpful for them. But all of that, every single decision they make, every single drink they have or line they snort or joint they smoke is not for fans to pass judgement on.

The other thing fans need to understand is how accessible drugs and alcohol are. In the UK as an average person, weed, coke and ket in particular are as accessible as vodka red bull. They're a pretty big part of pub/club/festival culture and tbh life. I think you would struggle harder to find someone in the UK who hasn't tried, or had a period where they used one of those with some regularity, than someone who hasn't. Now if seventeen year old me, working part time in Tesco in 2011 could access those like I could find an irn bru in Glasgow, then you have to amplify that by one thousand for nineteen year old Louis in this massive boyband and in the music industry. that is as true today as it was then. Alcohol and drug use is such a part of touring and music industry that you cannot de-link those, it is an incredibly stressful industry. On top of that, alcohol and drug use is more likely to turn into addiction where they are already dealing with trauma or mental health or any other vulnerabilities.

What I also want to be clear about is that I don't think we have enough to know if he has personally experienced addiction (though Louis has undoubtedly had experience of addiction with those around him both personally and professionally). I've not seen enough to suggest either way and I think it is daft to think we know enough to make that call, or that we should.

My biggest issue is, and will always be, that the approach fandom takes to alcohol and drug use, helps no-one. All it does is pass judgement which adds to existing stigma and shame, this idea that drinking or drug use is some horrible harmful choice leads to people feeling isolated, and that isolation deprives people of access to resources - how do fans think that this approach would support anyone? As usual though, my biggest concern is the other people who absorb this from fans and then internalise it and/or send it back out into the world.

So why do I think fans react this way? I think fans are projecting, I think fans would like to be able to control Louis' life and when they disagree with the way in which Louis is navigating his own life they use this 'concern' over his health or choices in a manner that is manipulative and shaming.

[fandomtrumpshate]

Defeating Tr*mp and the Republican party: how you can help

So as you've probably heard, there is a presidential election coming up in the US this November. You may even be experiencing some concern about the outcome of that election -- given both the high stakes and the active efforts by Republicans to suppress the vote -- and wondering what more you can do to stave off the possibility of a literal fascist takeover of the United States.

The good news is: you're not helpless. There are wonderful organizations out there -- staffed by knowledgeable, talented people with their feet already on the ground -- and they could use your help.

Here are a few of them:

VoteBeat offers deeply-researched local reporting about elections, which is both valuable and rare in the current news environment. A spinoff of ChalkBeat, it was founded and is run by journalists from ProPublica.

Spread the Vote is an organization that works on the ground to help every eligible voter secure the documentation and the access they need to make their voices heard. In particular, StV runs a program called Vote by Mail in Jail to help ensure that incarcerated persons also have access to these rights.

VoteRiders, like StV, works to ensure that every American has the opportunity to vote. In particular, they provide financial and practical support to trans people so that they can get hold of the documentation they need and can vote safely and confidently.

FairVote advocates for ranked-choice voting, a system in wide use outside the US which far more effectively captures the will of the electorate. (we don't have an individual feature page for them, but FV was one of FTH's supported orgs in 2020.)

(This is just a short starter list of amazing organizations, pulled from FTH's supported orgs list in past years; there are plenty of others. Please feel free to add them in reblogs!)

Ways you can help

Donate to one (or more!) of these organizations. These are all fairly small operations, even if their goals and their impact is large; they could use the help!

Volunteer your time. Many of these organizations rely on volunteers to make their day-to-day operations work. Sometimes it's necessary to do this volunteering in person, but often there is a remote option for volunteering if that's what works for you.

Run a fanworks auction to raise money. FTH recently rolled out a full and detailed playbook, sharing all of our organizational materials and step-by-step guides for how to use them and adapt them to your needs. This is a great moment to put that to work! Whether you want to raise money for one of the organizations listed above, or for some other nonprofit, or even for a progressive local candidate that could use the support (FTH doesn't do individual candidates, but you shouldn't let that stop you!) you can make a real difference while also helping to put more fanworks into the world.

[ohnoitstbskyen]

I know it would probably bring a lot of hate comments but I am begging you to roast the hazbin character designs because I'd love to have someone properly articulate why they don't work so I could send it to people who won't believe me when I tell them. 🫠 Understandable if you don't want to get into it though.

I don't think there's that much there to roast, honestly?

Those designs are clearly an extremely specific stylistic choice, and because that style is consistent throughout the show, it ultimately feels coherent with itself.

There are trade-offs being made. Because Hazbin's design style is SO stylized and so heavy on decoration and detailing, because it puts a lot of emphasis on costuming, it isn't as good at communicating specific character storytelling as a more grounded style could be (it's kind of the same tradeoff that stuff like Genshin Impact makes).

Like, why does Sir Pentious' hat have an eye and a mouth on it that makes its own expressions? Apparently not for very much reason at all, except that Pentious has a bit of an eyes-motif going on in his design and it was one more place to put an extra eye. And that's a valid criticism of his design, but also the entire show is designed like that, so frankly it would be weirder and more out of place if his design alone didn't have that kind of overelaborate decoration going on.

It does create a situation where I have a hard time "reading" the character designs sometimes. For example, Vox, Alastor and Pentious all wear a similar style of suit with upwards-turned shoulders, butterflies and pinstripes. Now, am I meant to read that as Vox imitating Alastor due to his crippling need to replace and outdo him, and Pentious imitating the style of powerful Overlords because he thinks that possessing their level of power will finally give him relief from his paranoia and self-loathing?

Or is it just a design fixation of the creator who keeps putting their characters in suits because that's just what they like? I can't really be sure, because sometimes design elements are used to intentionally tell stories about how characters relate to themselves, their world and one another, but plenty of other times designs look the way they do Because Of Vibes.

But again, that lack of clarity is clearly an intentional trade-off - and the benefit of that trade-off is a design style that is extremely varied, wild, expressive and memorable. Hazbin Hotel seems like a very easy show to draw fanart of, and a very fun show to draw fanart of. Those designs (especially the hyper-expressive faces) are begging to be the subjects of traumatic headcanons, unbearably cotton-candy soft fluff fantasies and weird, taboo, homoerotic power dynamics. Slaps roof of character design, this bad boy can express so much vicarious emotional intensity.

It's very exuberant, very excited about itself and very self-indulgent, it's a style that prioritizes visual impact and visual interest over readability (something which the animators of the show navigate with real skill, props to them) and individual aesthetics over worldbuilding.

And I don't blame anyone for being turned off by that (I certainly was the first time I started seeing those designs going around), but I would struggle to call the show's designs "bad" when they are clearly achieving exactly what they want to achieve.

I have some criticisms, especially re: how the show treats skinny bodies as an unquestioned, desirable default, and employs fatness as a means of alienating and abjecting the audience. That sucks very badly, and is a serious disappointment, and one of the few places where the show feels like it is being cowardly in its design philosophy. But I don't have it in me to do some kind of Hazbin Hotel Sucks And Here's Why takedown, its problems are not unique or extreme enough to warrant it, at least not as I currently understand them.

[physalian]

7 Misused Tropes (And How to Improve Them)

Tropes in isolation aren’t inherently bad, but a lot of them are prone to poor execution. Each one of these probably could have a whole post by themselves. A few of these used to be good but have since fallen by the wayside as their original meaning has been lost.

7. Dramatic Miscommunication

You know the ones. I think it’s worse when the story is otherwise good, the writers just could not come up with a better way to get X alone or send Y off on the necessary side quest than the lowest of low hanging fruit.

Two essential ingredients for fixing this trope: Precedent and consequences

Precedent–have the character doing the missassuming already be prone to jumping to conclusions, already suspicious or insecure, or misled by a third party so this looks inevitable, instead of pulled out of your ass.

Consequences–usually these are big blow up fights that fizzle out without any impact on the plot once they fulfill their purpose, but if it’s a nasty enough fight, characters shouldn’t just forgive and forget. While they might not completely ruin relationships, it should have characters taking a step back and either second guessing where they stand, or using this blowup to fix an underlying issue in said relationship.

6. Love Triangles

Good Love Triangle for the first 3 seasons: Elena/Stefan/Damon (TVD).

Bad Love Triangle for the entire series: Bella/Edward/Jacob (Twilight).

The difference between them (besides time to flesh out both candidates) is that both brothers brought valid pros and cons to Elena’s life, both got the chance to be with her, and Elena’s whole arc wasn’t solely focused on the agonizing choice of which brother she should pick. Regardless of which camp you’re in, Stefan brought stability, that classic cliché high school romance, mostly all good vibes. He never challenged her or talked down to her or got aggressive with her. Damon did the opposite, for better or for worse, and we know which direction the show went.

On the other hand, Jacob never for one second stood a chance with Bella and the narrative wasn’t kidding anyone. They never so much as went on one date (unless you count the motorcycle ride) and it seemed like Bella was only letting him hang on for pity’s sake. Theoretically he brought pros to the table that Edward couldn’t (like, idk, being alive), but the narrative never explored what could be done with him. He just ended up being the Nice Guy friend who then decided it’d be hot to lust after an infant.

5. Agency-less Chosen Ones

These tend to be wish fulfillment characters that bring nothing to the story and have no discernible skills, yet are constantly in the middle of the action, have all the love interests fawning over them, and are Important and Critical to saving the world… because the narrative said so. They don’t make a single choice the entire plot except to move forward or stagnate, chosen by the gods or a prophecy or fate and destiny.

The problem: These characters walk with the crutch of “I’m the chosen one thus I don’t need a reason to exist in the story” and that’s just not a satisfying narrative shortcut. So? Give them agency. Even if they’re chosen by some ancient prophecy, you still have to convince the reader why the Universe wasn’t just talking out of its ass.

Good example: Emmet from Lego Movie literally says he’s useless and has no skills and cannot think outside the Lego box. He’s supposed to be as generic as painfully possible and when he does have creative ideas, they’re supposed to be asinine and stupid. And yet. He might be physically dragged around by the other characters, but he has plenty of choices, plenty of opposition to what’s happening, plenty to say about the state of his world, and his ideas do matter and his intimate knowledge of the instructions and playing by the rules is how they win.

4. Bad Boy Love Interests

These guys were supposed to be counter-culture icons, standing up to The Man for the little guy because he knows the system is broken and rigged. He’s an affront to the stereotypical nuclear lifestyle, he resents a robotic and soulless office job and wants to create art or music or in some way benefit his world and isn’t going to play nice just to get his way. He exists in contrast to the nuclear female protagonist: Conservative, demure, rule-following caged bird who falls in love with him because he shows her that life isn’t meant to be lived in The Man’s cage. He respects the authority that deserves respect, the teachers who actually give a shit, the janitors, the librarians, but probably not the principal or the police or the local politicians, because he knows they don’t respect him and respect is a two-way street. He’s probably a mama’s boy or at the very least loves his parents (if they’re alive) and while he might engage in a little property damage like graffiti, it’s for a good cause.

This dude is NOT SUPPOSED TO BE: Abusive, controlling, aggressive, or condescending to his love interest. He’s not supposed to be an overprotective stalker or plagued by insecure jealousy over any other man in his love interest’s life. He’s not rude to his friends or arrogant about his own smarts and doesn’t think he knows best about every little thing in the world. He’s not sexist or racist just to make himself feel better and he doesn’t pressure his love interest into sex because she owes him or whatever.

Ahem.

Please bring back classic bad boys. That is all.

3. Major Character Death (for shock value)

I remember the implosion of the Walking Dead fandom after they killed Carl, one of the very few characters who was supposed to make it to the end, for… various sketchy reasons and I could never figure out what was true. Some theorized that his actor was aging out of the ‘child actor’ payscale and they didn’t want to pay him as an adult and while I have no proof, it wouldn’t surprise me at all.

Carl died after getting bit in just one of those hectic moments where he got unlucky, while doing something noble and stupid. In isolation, it fits the nature of the “anyone can die” show but man did it just come across in poor taste.

Obviously “for shock value” shouldn’t be the reason you do anything in your story but there is still a way to pull it off without it causing a riot: Make sure they get killed in a non-contrived way. If you plan on killing off one of your heroes suddenly, either make it bitterly ironic, or make it a situation that this character would absolutely get themselves into. The more it “fits” the less likely audiences will see the hand of the author coming in just to break the character’s fictional contract.

2. The Power Inside You All Along

This trope is usually disappointing because it tends to melt a character’s whole arc down into something pointless—this whole adventure was apparently useless if they didn’t actually need to grow or change or challenge their conceptions of the world. They could have got up off the couch as joe shmoe and beat the villain day one.

While that’s probably not what their creator intends, ‘it was inside you all along *wink*’ tends to feel that way, as it discourages internal conflict. Usually, their creator is likely trying to convey the message that one need not change, that it’s what’s inside them already that makes them special.

I present to you once again Kung Fu Panda’s “there is no secret ingredient” i.e. “the power inside you”. The difference is. Po still has plenty of internal conflict: his own self-confidence. He begins the movie eager but inexperienced and a bit oblivious, fanboying it up around his heroes. He and Shifu both insult his weight and his lacking kung fu skills, and his arc is learning self-confidence, learning how to use his weight and the body he has to fight in a way that the villain isn’t prepared for, to where Po can shit-talk him to his face during the final fight.

Most failures of this trope don’t bother exercising their protagonist. They’re pissy and resistant for the entire story and only win when the narrative agrees they were right all along. Therefore, no change, no conflict, no resolution.

1. Strong Female Characters

So many of these read like "slapped boops on a male character". They don’t work for many reasons (usually being very preachy with their agendas), but they especially don’t work when by trying to be pro-feminist, they’re still reinforcing masculine standards. A lot of people, when Captain Marvel came out, said “you didn’t have any issues with Tony Stark being an asshole but now you do when he’s a woman” which. No.

Tony was an asshole, but being an asshole was the whole point of his character, and he got humbled right quick by getting blown up and held hostage. “Proof that Tony Stark Has a Heart” and all that.

Carol was an asshole with nothing to substantiate it, and never got a reality check. She had amnesia so we didn’t get insight into who she was before to understand this transition into dickishness and was so OP, she wasn’t ever physically or emotionally challenged like Tony was.

But the other thing is this: Slapping boobs on a male character with a slew of toxic masculine traits also says that to be a successful woman, you must behave like a man. It swings so far from the femme fatale sexy leg lamp that it comes around and eats its own tail. These characters are just mean and insecure and build themselves up by tearing down the men around them.

So. Calhoun from Wreck it Ralph is this exact trope done extremely well. She’s aggressive, arrogant, loud, rude, and cynical. For about 10% of her arc. The movie immediately throws her into a situation where her strengths are basically useless—she’s stuck in Candy Land and has to rely on someone who is the antithesis of her game and character to make it out. The movie also shows you why she’s cynical via her tragic backstory.

Not only that, she’s more than just a heap of toxic masculinity in a pixie cut. She laughs, she cries, she admits when she’s wrong, she has a soft side, a gentle side, a caring side, and remains a badass through and through.

Or, once again rolling out Tigress from Kung Fu Panda: Proud, aggressive, the snubbed chosen one, cynical, mean, and overconfident in her abilities. Tigress nearly gets her entire team killed in her arrogance. She’s allowed to be wrong, very wrong. She also has her soft moments and, like Calhoun, has a very valid reason for being jaded, and is still shown to be capable of softness and nurturing during the evacuation.

Third example to hammer home that I don’t hate badass women: Andromache. Jaded, overconfident, short-tempered, aggressive, and a little mean-spirited. Tragic explanatory backstory? Check. She is also caring and loyal to her team, allowed to get emotional, allowed to be wrong and fail and lose, and kind of the surrogate mom of the team, who can also laugh and joke around and have light-hearted moments.

Whether the character is a man or a woman, being an arrogant asshole who takes zero accountability and refuses to admit when they’re wrong and never loses, audiences aren’t going to like them.

[danielcalmdown]

Here's a few thoughts i have about Disco Elysium and it's lack of philosophical approach towards Harry's experiences. (Not to mistake it with psychology. There is plenty of that in Disco and the characters and ideologies are pulled apart in many fun ways.)

Explanation below the cut, so it's not a long-ass post.

So, Harry is very much suffering. He says "I am in pain. I have no idea how to get better, I'm about to fucking give up." What he gets as response, from his own mind and other people, is things like: "Get your shit together. You have to go through this hell. It will be awful, depressing and boring. Forget her. Stay strong, don't give up, you will eventually feel better. This is how normal people live. Do it for the (...)." This is encouragement. What it does is it keeps him on his feet and helps him move forward. But it's the only type of response he ever gets. What it doesn't do is challenge how he experiences his life in the first place. There is not a single sentence, a thought, any kind of spark in the game that would begin some sort of reform within him. He's the same sad, old Harry utill the end. The rest is accessories.

Beyond that, the gameplay is screaming at you: SEIZE THE MOMENT! There is so much work put into describing things happening around Harry. And so much fondness towards that world. But it's just there, next to him and his pain. Beautiful and worth living for, but it's not used to reveal anything that would inspire him to change. Something about humanity, the meaning of his suffering, maybe a hint about that hole in the world. Yknow, philosophical stuff. Even the miracle of the story, the phasmid, answers Harry's most existential question with "I don’t know, nobody knows." It's not there to guide him away from the vicious circle he's stuck in. It's more like a pat on the back. "Look, something incredible happened today! Life can be great sometimes." Here are a few statements meant by the game to be impactful: "Something beautiful is going to happen", "The night is always darkest before the dawn", "One day, i will return to your side", "The road to healing is going to be a long one. You will make it, some day." They sound like coping mechanism. They are motivational, hopeful, but don't speak about reality. "I'm suffering RIGHT NOW. The world and my head are still fucking broken. Heelp!" Harry cries out. "Hope for a better future. Go for a run. Focus on your job, get a hobby, take your mind off the pain." Try to be happier while remaining the same. Switch alcohol and drugs for non destructive activities to help you endure through that persisting pain. Look out of the window each morning, wait for that special thing to happen. And when it happens? The core stays unmoved. You don't even know what it is about you, where lies the first mistake. You learned nothing new about yourself.

I think all of this fits with the creators' views, which are sparsely hinted at throughout the game. "God is indifferent. This is our curse", "The world is inherently meaningless", "True love is possible in the next world, for new people, it's too late for us." Maybe that's why the game didn't allow Harry to change, because it doesn't believe there is anything out there that could help him. He's a human, therefore he has no choice but to think and suffer exactly the way he does. So yeah, that's my thoughts on it. Feel free to comment, disagree and enlighten me if you think i'm wrong. I'm always open to change my mind.

[coldfanbou]

After Show Thanks

So initially, this was going to be a viviz fic that involved all the members but then it became more of a SinB fic. So I turned it into that, and this is the first part of a three-part series.

Length 2.7K

SinB x Mreader

”Come on! Let’s go!” Your eyes slowly open before you feel the impact of a soft pillow smacking you. You cover your head with your hands as the soft blows rain down upon you. “We’re going to be late!”

“Then stop smacking me!” You shout back, grabbing your pillow and tossing it toward that familiar voice. You hear your soft pillow smacking them and turn to face Eunha. You see your pillow come falling down after it’s caught her on the chin.

“Ack, you hit me!” Eunha pouts, and you can see the crocodile tears forming. You sigh softly and pull her in before she can start her routine. With your arms wrapped around her, you pull her onto the bed and pepper her with kisses. “Hey, stop it!’ She says, shaking her head back and forth as you continue your onslaught. “It’s our first day! We’re going to be late!” Eunha says as she tries to squirm her way out of your grip. You hug her tighter.

“Next time, wake me up normally, okay?” You say in more of a demanding voice than asking.

“Okay, okay!” Eunha shouts back. You slowly let her go, leaving her lying on the bed. Her chest heaves as she catches her breath. You get out of bed and start looking in the closet, deciding what to wear. Looking back at Eunha, she’s kicking her feet as she lies on the bed, waiting for you to choose something. “Can you hurry?” She says before slowly rising into a sitting position. You take your time choosing an outfit, knowing that Eunha wants to get there early. You would have enough time as long as nothing got in your way. You pick something simple, grab your bag, and head out with Eunha. She takes your hand as you walk, swinging back and forth as you head to her friend’s house. It was down the block, so it was no problem. “I hope she’s ready.”

“I’m sure she is barely getting up.” You reply.

Eunha smacks your arm and whines, “Don’t say that. We still have to figure out where our class is.” 

“I’m sure we’ll find it with plenty of time.” You start to lead Eunha, swinging your arm. The walk to Eunbi’s house doesn’t take much longer, and she’s stepping outside as you reach her home. “You’re actually ready by the time we’re here, SinB.” You say loudly. Eunbi looks in your direction and flips you off. It makes you chuckle. You notice her outfit: a tight-fitting crop top, jacket, a short skirt with fishnets and over-the-knee boots. “Oh, that’s right, you guys have a show today.” You say to Eunha.

“Yep, I wish SinB wouldn’t wear her concert outfit all day, though. It’ll ruin the surprise.” Eunha replies as she waves her friend over.

“I’m sure it’ll attract a lot of people to your show.”

“Yeah, but still.” Eunha looks a bit uncertain of SinB’s choice but pushes it out of her mind for the moment. The three of you continue walking until you reach the bus stop, grabbing a ride to the university and heading to the mathematics building. 

“I can’t believe we chose math as our first class of the day.” You complain, already regretting your decision to let Eunha plan your schedule. 

“I feel the same way,” SinB says, her shoulders falling. 

Eunha frowns upon hearing you both complain, “You’re the ones who were too lazy to help me figure out a good schedule.” She says in a huff. You lean in to kiss her on the cheek, forcing her to smile. “Don’t think that’ll make up for your complaining. I want you to come to our show.”

“I was already planning on it.” You quip back at her. “Oh, yeah, you mentioned you had a new person joining to replace your old drummer.” 

“Yep! She’s going by the name Umji.” Eunha chirps as she looks at the room numbers. “She happened to go to one of our last shows, and when she found out our drummer was leaving, she said she could do it.”

“Perfect timing, really,” SinB adds. “We got some new blood and creativity, so things are looking up for us. I think this is it.” She says, pointing out the class you all have. You step inside and take seats in the back of the class. SinB immediately lays her head on the desk. “I don’t want to be here anymore.” 

“We just got here!” Eunha says, slapping her back. “Come on, SinB, it’s the first day. You can’t be tired already.”

“Too late. I’m tired.” The response makes you chuckle, causing Eunha to slap your shoulder.  

“We have a show later; you can’t be tired!” EUnha whines while shaking SinB. You go along with Eunha, getting on SinB’s other side and shaking her. She tries to ignore both of you, but it’s difficult when the two of you begin to complain. More students start to pile into the room. Eunha perks up when she sees a particular woman walk into the room. “Oh! Umji! Over here!” The young woman turns in the direction she hears her name and sees Eunha waving her hand. A small smile crosses her face, and she walks over quickly. “I didn’t know you were taking this class, too.” You put your head down on your desk; Sinb does the same as Umji and Eunha start discussing their schedules. The class begins soon after, and Eunha tries to get you and SinB to focus. You notice Umji watching you all with a slight smile. You can feel her gaze remain on you for some time during class, and turn to look at her. When you do, she immediately faces the front, avoiding your eyes. 

You and SinB are both glad when the class ends, while Eunha and Umji continue to chat with each other. As your eyes reach them, you smile, happy to see Eunha make another friend. Eunha spots you looking at her and turns to face you. “Everyone, you’ll be happy to know that this was our only class for the day, so how about we head to the practice room? I set it up beforehand, so the instruments should be ready.” Umji and SinB nod in agreement, leaving you as the odd one out. With her eyes glued to you, Eunha says, “You can get us some food while we head over. Here.” Eunha pulls a marker from her bag and starts writing the room on your arm.

“Hey! Why are you writing on my arm of all places?” You say, pulling your arm away from her. Eunha’s grip tightens as she focuses on writing, her brows furrowing and her hand scribbles directions. 

“There.” She says with all the satisfaction she can muster. “Now there’s no way of you getting lost. Besides, we both know you would lose it if I wrote it down on paper.” Eunha turns around and points in the air, “Let’s go!” She cheers as she starts walking. “Get us the usual stuff,” Eunha shouts before chatting with SinB and Umji. The girls attract a lot of attention as they walk, mostly SinB, due to her outfit. You just sigh and head to the market, grabbing snacks and drinks. It doesn’t take long for you to grab everything and head over to the building; you wonder why they couldn’t have come along if everything was already set up. Heading toward the room, you overhear some yelling. It grows louder as you come up to the floor of the music room. 

In front of the music room is SinB and some man. The two are arguing over something, and you step in as it becomes more than just an argument. As he reaches for her, you announce your presence. “What’s going on here?” You ask loudly. You see SinB take a small breath of relief before she comes to your side. The man huffs and says they were just having a conversation before walking off in the other direction. Once he’s out of sight, you ask SinB if she’s alright.

She gives you a slight nod, “I’m alright. Let’s just head inside.” Eunha and Umji are in a recording booth, chatting. Through the glass panel, they spot you and SinB and open the door to the booth. 

Eunha sees the change in SinB’s attitude, “What’s wrong? Did something happen?” They hadn’t heard a thing from inside the booth. SinB shakes her head, not wanting to bring anything unnecessary to the group. Eunha isn’t convinced and drops the subject. The three of them continue to practice and record inside the booth, sometimes taking breaks to snack. They prepare themselves for the show once they’re satisfied with their sound. Eunha looks through her bag, pulling out her clothes, and stripping down in front of everyone. Umji’s eyes go wide, and she tries to cover Eunha’s body with her own before asking if she isn’t worried about you seeing her naked. This forces Eunha to explain your relationship and calms Umji down. From the other side of the glass, you laugh at the situation. 

“Aren’t you going to change Umji?” Umji points out that she doesn’t feel comfortable changing with you in the room. Eunha gives you a look that you immediately understand. You get up and wait outside the practice room. It takes forever, but you’re eventually allowed back inside. You see the group now in their performance outfits and smile. “We should take a picture!” Eunha says, bouncing slightly as she grabs her phone and brings it to you. “Take some good ones!” She heads back to the others, and you start snapping photos of them, taking a few pictures of each pose they strike. You hand back the phone when you're done. The girls look and choose their favorites as you gather everything and prepare to head out to the hall where they’re performing. Once the girls realize they begin helping you. Along the way, you hear Eunha and SinB whispering to each other, occasionally hearing them mention you. You turn to them when you hear your name, and they change the subject quickly. You don’t think about it too much and continue with them. Once at the music hall, you help them set up and take your place on the side. 

The hall fills with a healthy-sized crowd for them, and you enjoy the show they put on. You can tell they’re happy to be on stage singing for the crowd. The show goes without a hitch, and once the people leave, you pack everything up along with the members. Eunha taps your shoulder and tells you she left something in their dressing room. She asks you to get it, and you do. You look around the room for a few minutes, unable to find it, when SinB walks in. “Hey, can you help me look for something?” She stands there for a moment before stepping up to you and pushing you back onto a couch. “SinB now is not the time. Help me-” SinB presses her lips against yours as she straddles you. Her head tilts to the side before she breaks the kiss. “What are you doing?” You say, trying to get her off you. “What would Eunha say?”

“Relax, she gave me permission. This…This is my way of thanking you for earlier.” She says before leaning in for another kiss. She pulls down her tube top before grabbing your hands and placing them on her modest tits. She moans slightly, her voice escaping into the room. Once she breaks the kiss again, she stares at you. 

“What the hell do you mean?”

“Just shut up.” She replies. “Do you think I want to fuck you? I’d rather do it with someone else.” She says as she pulls your pants down enough to get your cock out. It’s semi-hard but still a good size. SinB struggles to wrap her hands around it but strokes it. You groan, and your cock becomes rock-hard. SinB reaches down and tears her fishnet along her inner thigh before turning around to sit on you with your cock between her thighs. “You better enjoy this.” She starts moving, lifting, and lowering herself while your cock is trapped between her thighs. You feel just how soft her skin is as SinB puts in the effort to rub her thighs together, adding more pleasure for you. You groan, beginning to enjoy the sensation. Your hands reach around SinB, reaching her breasts and squeezing them gently. Her soft moans become music to your ears. “Shit, I’m getting wet.” She mutters quietly. SinB adjusts herself, and you can feel the soft fabric of her panties move along your cock as she thrusts. You can feel her getting wet as she moves along your shaft. Kissing her neck, you tell her how much you’re enjoying it. “Yeah, well, you better. It’s- It’s the only time I’m doing this for you.” She replies, her moans occasionally stopping her. SinB squeezes her legs together and grits her teeth before letting out a loud cry. Your cock becomes covered in her nectar as she cums over your cock. Once her orgasm is over, SinB automatically leys back against you, catching her breath slowly. 

“You dick, you didn’t cum yet.” She grumbles before sitting up. “You’re really making me give it to you, huh?” SinB swings her legs around you, stopping once she’s straddled you again. She moves her panties to the side while using her other hand to rub your cock against her lips. SinB coos. She pauses, taking a deep breath before lowering herself onto your cock. You feel her pussy stretching as it takes more of you in. Her warm walls rub the head of your cock as it pushes deeper inside her. SinB whines, not used to your size but also not taking a moment to stop. She was determined to have you fully inside before she gave herself a break. SinB leans on your body, breathing heavily as she adjusts to your size. You enjoy the moment, feeling her walls squeeze your cock with every breath she takes. “Fuck, why are you so big?” She says, looking you in the eyes. Slowly she rises, taking a second to collect herself before dropping onto your cock. “Shit!” SinB shouts as you hit deep inside. She starts to move up and down slowly. You pull her in for a kiss; she gratefully accepts. The kiss distracts her, letting her body naturally take over as she speeds up. Your hands move to her waist, helping her ride you. SinB begins to moan louder and louder as she rides you. You can feel her tightening slowly. 

SinB holds you tightly as she kisses you. She yelps as you begin thrusting, feeling you go deeper into her cunt. “Wait, hold on,” SinB whines; she has her head to your side right by your ear.

“I thought you said this was going to be the only time. At least let me enjoy myself.” You say as you give her a soft spanking.

“Ah, okay, okay.” She whines, giving herself to you. SinB was surprisingly submissive. You found it pretty funny, the big difference between how she was acting. SinB’s moans grew higher as she neared her climax. Her constant bouncing edged her closer and closer. Your throbbing cock didn't help matters either SinB was getting turned on, feeling it move inside her. “Kiss me,” She said in a practically begging voice.

You give her the kiss she desires and push SinB over the edge as you drag her body onto your cock and bury yourself inside. Her muffled moan is still loud as she cums on your cock. Her eyes roll into the back of her head, and her body begins to go limp on top of yours. You quickly pull out of her before you cum and finish yourself off. Your cum spurts onto SinB’s stomach and skirt, painting her. 

Outside the room was Umji. SinB’s moans had gotten her attention, and she had peeked inside, shocked at what she saw. Umji couldn’t pull herself away; the sight and sounds turned her on. She found herself rubbing her slit through her clothes as she listened to you fucking SinB. Her mind began to put her in SinB’s place, imagining what it must’ve felt like before she snapped back to reality. Umji shook her head and decided to tell Eunha what she saw.

[jonathan-cranes-mistress-of-fear]

An Honest Opinion on Cillian Murphy and his role as Jonathan Crane

This is gonna be long, so buckle up hroo hraas

Cillian Muprhy was the actor who played Jonathan Crane in the Nolanverse Trilogy. For many fans, if it wasn't btas, it was Nolanverse that introduced them to Scarecrow. Unfortunately, it's a pretty poor introduction.

Don't get me wrong, he's a good actor, but is is NO Jonathan Crane. He actually wanted to be Batman but those in charge saw his pretty blue eyes, became obsessed and basically threw away any previous idea of who their Scarecrow should be so Cillian could act in the movie.

The director goes on to host multiple interviews in which he fawns over Cillian's eyes. This is literally the only thing he has to say about Scarecrow. This is also one of the reasons you see them focused o so much in certain clips, Cillian was actually instructed to take off his glasses as much as possible.

Now, whats the problem? Well, Cillian is first and foremost way too traditionally handsome to be playing such a character, a character that was literally bullied for his looks in ever comic released prior. (and I do realize that handsome men can be bullied for their looks, but the comics only ever describe Crane as gangly and nerdy. Unlikable. Queer Fellow. Etc. And I honestly don't expect that kind of nuance when he was hired for his PRETTY EYES ) I don't even think the movie comments on his looks. Anyhow.

His roles in the movies, for me, are largely forgettable. The only iconic comment is "Would you like to see my mask" That's literally all anyone remembers. Oh and maybe the flaming horse, but that's never talked about by fans. So, it wasn't impactful

I doubt Cillian has even touched a comic book tbh. If he did, he's at least TRY to be scary. His costume---which largely isn't his choice--was uninspired and uncreative. A suit and a burlap mask with some maggots for some reason??? Boring. (Note: even the gotham actor read the comics. It's not hard to do some research into who you'll be acting as)

Compare that to comics out at the time, Year One, Batman Adventures, Batman Annual 19, even Long Halloween predated this movie! They had PLENTY to reference.

And what's worse? the fandom. Oh god the fandom. While I'm grateful many current fans got their start with the Nolan trilogy, they all largely have moved on to bigger and better canons. They're not who I have beef with. It's the Cillian Murphy fangirls. Not Jonathan Crane. Cillian. The tag is largely infested with them, and they often tag any and every photo of the man as Jonathan Crane. This does nothing for me, except annoy. I've blocked dozens of blogs for this. It's petty, sure, but I can guarantee you that tagging your Cillian pictures as every character he's acted as ever, does not mean you'll get more interaction. You'll get the opposite actually.

Do note, fanart and illustrated portrayals of Cillian are the one exception. Artists have taken his very boring interpretation and turned it into something awesome. Y'all keep doing you. You rock.

Cillian is not a bad actor, but he's a bad Crane.

-mic drop-

[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. :)

[pearikp]

It's said that the only way to access Mhin's red choice is by choosing the Alchemist background, and that fact alone has me thinking about how the origin stories will actually impact the course of the game at full release. I wouldn't assume that you have to choose a certain origin to get a "good" or "bad" ending for a specific character, but (as stated by RSS directly) different origin stories will allow the main character to connect differently with each of the main five love interests.

Obviously, this isn't revolutionary, but I wanted to touch on which origins I think will be best suited for each route, based solely on scraps from the demo lol

For Kuras, I think the Alchemist and the Unnamed suit him the best. The former really comes from the fact that Ais' relationship chart suggests Kuras likes to ramble about alchemy, and because it has a lot to do with his role as a doctor, I would assume it opens up a lot of opportunities for him to connect with the Alchemist MC. I am more convinced of the latter based on the actual content of the demo. If you played the Unnamed origin, you may remember when the MC states that something about Kuras "nags" at them, "like a half-formed memory". This small line can obviously allude to Kuras not being human (and the Unnamed MC can pick up on it because of their sensitivity to the supernatural), or it could also imply that maybe this background gives the MC and Kuras a deeper sort of association with one another. I also encourage you to consider the dynamic of an excommunicated oracle in love with an excommunicated divine eldritch being.

It shocks no one that the Alchemist is probably the best route for Leander, and I maybe want to say the Hound could possibly be a good option in the future. The Alchemist can pinpoint exactly what about Leander's magic abilities makes him powerful, and obviously, this mutual connection will probably allow for plenty of unique interactions in his route. Sit on the fact that the MC had been mentored (manipulated) by an ex-Senobium mage, only to fall right back into the hands of another (pseudo-Senobium-affiliated) mage with sketchy intentions and big secrets... hmmm interestinggg... As for the Hound, I realize (admittedly upon limited playthroughs with this origin), that the dialogue never really changes for Leander's scenes. However, he is still an enigmatic socialite running a cult-gang, so surely the Hound will have some unique thoughts on Leander in his route and may eventually be able to see through this "nice guy" facade that Vere is so insistent he's parading around with? Just a thought.

As for my thoughts on Vere, I somehow have many and none at the same time. The one I'm pretty certain about is the Alchemist because they have unique dialogue acknowledging that Vere's collar is enchanted. I think the Hound may also work with his route, but I'm only basing that on the unique dialogue after the first encounter with Vere, wondering how he managed to pickpocket them without a sign, tell, or slip-up. The Hound has good social intuition, which is at least somewhat useful in dealing with Vere and his contradictory personality.

Ais comes naturally to the Unnamed, having an abundance of unique lines towards him more than the other characters. Not only does the Unnamed MC feel uneasy and hear unnatural sounds leading up to the Seaspring, but they also are the only one out of the three origins who has a distinct connection to "groupminds". The main character also notes that his tattoo (relating to Ocudeus) almost looks like it's moving. Similarly to Kuras, I like to think of the dynamic between a runaway ex-oracle crossing paths with a demonic being with cult-like worshipers... I predict the Hound will also suit Ais' route, based on how extensive their unique dialogue of Ais' natural leadership skills is. This origin is also the only one that actually details why his "gang leader" status contradicting the lack of an actual gang is so strange. The Hound comes from a more directly rugged life, and Ais takes an interest in the MC being feisty and defiant, so I'd guess that'll come into play somehow.

Back to square one on this whole overexplained talking point, Mhin obviously has some special connection to the Alchemist (or vice versa), if it wasn't obvious by the fact that Mhin's only red choice in the demo so far is only available with the Alchemist background. I think the Alchemist's unique connection to the Senobium through their mentor may come up, as Mhin's bio page says that they like the Senobium. The bio page also says they enjoy conducting alchemical experiments, which will connect the two even more. Once again, I think the Hound will also suit Mhin's route, based on little evidence and mostly just because Mhin and the Hound have similar vibes.

All of that said, I want to reiterate that I'm not under the impression that one origin will give you better or worse endings than the others, but rather unique choices and extra details based on their strengths. Regardless of how well one origin pairs with a LI, I will still probably be playing through each route with my own biased favorite (the Unnamed, if you were curious (I know you were not)). At the end of the day, it allows us to replay the game over and over to see what special changes and choices are available, so that will be very exciting.

[richarlotte]

Most important steps to your glow up?

Top Tier.

Braces.

I had my braces on for 18 months, and they were the best decision of my life. I can breathe better, my jaw and chin look better, my teeth are straight, and I have no more pain. Facial harmony is everything, and mine was restored by an expert orthodontist and continued use of my retainers. Jaw surgery wasn’t reasonable or necessary, but I can’t even begin to describe the impact that dental whitening, braces, weight loss, and proper dental care work had on my face.

 

Electrolytes and Hydration.

I was severely dehydrated and in need of electrolytes for years and years. I thought that drinking enough water wasn’t as important as people made it seem, but my life changed when I started to do it. Life feels much less stressful now that I’m properly hydrated, and I make sure to toss a little lemon and salt in my water and drink a Gatorade or Liquid IV to get electrolytes.

 

Darker and Longer Hair.

I look better with hair that’s long, dark, and thick. I have alopecia, so I did a number of things to disguise my hair loss growing up, but I wear wigs now that my hair is gone. I was told to wear my hair long, dark, and straight last year, and whenever I do, people tell me that I look otherworldly. Now that I know what to do with my hair and what looks best, I’m a million times more confident about myself.

 

Less Dairy.

I am not lactose intolerant, but I do not need to be eating dairy in excess. I enjoy dairy, so I won’t cut it out of my diet, but I don’t need to be eating it in the amount that I did. I was bloated, always breaking out, and tired all the time, but my low energy dissipated the second I cut my dairy intake. I’m not 100% dairy-free and most likely won’t ever be, but I’m careful with the amount I consume.

 

Korean Contact Lenses.

Americans think that all colored contact lenses are unnatural, and American-made colored contacts are. I use Olens contacts and only use the dark shades, and they’re amazing. I find that having huge, dark, striking eyes helps me get exactly what I want, and I love the way I look when I’m wearing contacts. I use contacts to craft my look and emphasize my eyes, and I never buy or use colors that aren’t brown or black. Wearing dark contacts has reduced my need for so much bright eye makeup; they make me look friendlier, and I look better in photos.

 

Better Quality Makeup.

Investing in higher-quality makeup and actually learning how to apply it was crucial. Buying Hourglass, Pat McGrath, Charlotte Tilbury, MAC, and Nars was sort of essential to my makeup journey, and I look much better now that I’ve invested the time and money into learning about makeup. Dupes just don’t hold up to the real things, and I look better now that I’m spending $45 on one product instead of spending $45 on five different products to try to replicate the look.

 

Urea, Glutamic Acid, and Dry Brushing.

I used to have serious strawberry arms and legs, dry skin, and dark spots from body acne, but all of that has cleared up. Hyaluronic acid and body serums have nothing on this combo, and dry brushing has completely cleared up my rough skin and helped with my stretch marks. If you want skin that’s plump, hydrated, glowing, and looks healthy, then you have to exfoliate your dry and wet skin and start using this trio to care for your body.

 

Better Skincare Products.

I invested a lot in using fancy designer brands, but the things that helped me the most were basic, unscented, and quality. I use Paula’s Choice exfoliant, plenty of SPF 100, retinol, and a variety of Korean and American products. My facial acne is gone, my dark marks are cleared, my skin barrier is healed, my skin looks healthier, and I’m glowing. Drunk Elephant, celebrity skincare brands, and trending products didn’t do it for me; figuring out what I needed and then implementing it into my routine helped.

 

Creating my own aesthetic.

I won’t stop talking about The Blend because it helped me become who I am today. I wanted to create a look that would help me, and so I had to spend months solidifying my image. It took me a year to get to where I am today, but life became easier once I was able to figure out what I should be doing, what I should be saving for or investing in, and what suited me. The Blend isn’t just about style, and I had to be scientific with it at times and really work with the resources I had and what was readily accessible to me.

I can do Mid Tier next.

[hauntedraggedyanne]

Writing childish characters

NOT STUPID. NOT NAIVE. CHILDISH. I swear there is a difference you have to believe me I am SICK of childish characters being the go-to stupid one. THEY DON’T HAVE TO BE.

also just to clarify this isn’t meant for writing actual children. It’s meant for teens and adults who act childish.

—Having multiple hobbies that stem from little kids activities (ex: finger painting) and using their knowledge in that to improve upon more advanced skills in that hobby

—They don’t need to be the shortest one in the group. I’m not talking a 1 inch difference, I’m talking like over a foot-and-a-half difference for absolutely no reason. Please don’t make them the shortest one. —Similarly, they don’t need a high pitched voice. If you do both of the ones above, I’m sorry, but you’re describing an actual toddler.

—They might be able to understand children on a deeper level, as they’re more willing to engage in their activities with their full heart and soul. It can lead to some sweet moments between either babysitters, guardians, parents, siblings—whatever you want.

—Does it affect their living space at all? Color choice, wardrobe, food choice?

—Trying not to giggle during random things that have been said in a completely serious context

—They could be acting this way on accounts to being unable to during their actual childhood. When in doubt, trauma.

—Additionally, this could only be something they really showcase in the privacy of their home with a few very close people. Kids cartoons, drawings, bright colored rooms/furniture, stuffed animals, etc. They could be uncomfortable showing this side of them off, but once they finally trust someone, it can be an impactful moment.

—There’s plenty of arcs they can go on. Maybe one of learning to be more mature, maybe one where they begin to understand why they behave this way, or maybe one that doesn’t involve their childishness at all. I don’t know if I made it obvious enough, but I just watched a show with a character who was like 3 ft with the most annoying voice God could give and all they did was be the stupid, childish one and I wrote this in a fit.

[kurishiri]

alfons v.s. ring . . . ring schwartz epilogue 💍

— this translation may not be 100% accurate or contain creative liberties due to characterization or narrative flow purposes. if you enjoy, please consider reblogging, but don’t repost these or claim these as your own!

— cw: suggestive undertones.

Kate: If it’s come to this... then let’s do it! I mean, pretending to do naughty things!

Ring: Y-yeah, I do know that’s our only choice here, but... there’s no way I could do it.

R: Um, those kinds of things... I’ve never actually done them before!

R: But... s-since you’re really cute... I’m sure you have plenty of experience and whatnot...!

Kate: W-what do you mean, ‘plenty,’ there’s no way I have that much experience! Anyway, forget about that, we need to do something about this...

K: Ring, you go shake and push on the bed to make it creak!

K: And I’ll listen in on the other room and make sounds to match!

Ring: ...That seems more doable.

Ring went atop the bed and started to jump on it.

The bed did start creaking, to be sure, but it also was making some jarring noises that made me think the bed was really about to break down.

Kate: Could you be a bit more gentle though, Ring? It’s too much...!

Ring: Oh, umm, then... how about this!?

He briskly stepped off the bed before he put both hands on the bed and started to push down.

By doing so, he could create a good creaking sound that didn’t go too far.

Woman’s voice: The bed from the room next door has started creaking.

Man’s voice: In that case, they’re probably just a pair of lovebirds. Guess we were worrying ourselves over nothing.

Woman’s voice: ...That said, don’t you think it’s strange that there’s not a peep from the other side?

(Oh, that’s right! I have to make noise too.)

Kate: Ah, ahh... ahhn...

Ring: H-hey, um. I can’t say I’ve heard others doing you-know-what before, so I may be wrong, but...

R: When women do, you know, the deed, do they really sound this monotone...?

Kate: I mean, we’re not actually doing it, so that makes it harder...

Woman’s voice: The panting from the room next door sounds a bit strange, wouldn’t you say?

Man’s voice: It sounds real flat...

(First Ring, and now the two in the next room over are doubting me too...! At times like these, then...!)

Kate: I-I’m really, really sorry! I’ve been told by a lot of partners that my panting sounds suuuper flat!

At this point, I decided to play into the role of ‘a woman whose pants sound flat’ as I raised my voice.

Ring: N-no matter how you are, I won’t mind at aaalll!

While continuing to push down on the bed, Ring returned a fitting line in response.

...Very monotonously, may I add, for the both of us.

Woman’s voice: ...Huh, I guess they really are just one odd couple.

Man’s voice: I mean, seeing as they’re using a room of a strange manor like this, that would be a given, probably.

Kate: Oh, thank goodness, it seems they’ve bought the act...! Let’s keep this up then!

Ring: Alright... but, sorry, I’m a bit hot, so I’ll take my jacket off.

Seeing as the bed is hard, having to push down hard enough to make sounds continuously must have taken a considerable amount of stamina.

With that, Ring casually took off his top layer and put it aside.

(...)

Maybe because of the way his clothes fit his body so well, his well-trained muscles were brought to the surface.

The sweat that came from shaking the bed moved traced the back of his neck, making him quite sexy.

Ring: ...Kate? Is there something wrong?

Kate: N-no, not at all! It’s nothing——

Taken aback at having become more conscious of Ring, my legs buckled suddenly,

and, preparing for the impact, I closed my eyes then and there.

Kate: ...!

(Hm? Wait, it doesn’t hurt...?)

Ring: Are you okay?

When I slowly opened my eyes, there Ring was, nearby, as he asked with a touch of worry in his voice.

(So Ring is the one who saved me and stopped the fall...)

Our bodies were touching, and I could feel his body was a bit warmer than mine, and he gave off a pleasant, earthy scent.

(Even though he’s holding me in his arms, he seems completely unperturbed... his appearance hardly betrays the fact he must be training regularly.)

(...Wait, what in the world are you looking at, Kate!?)

Kate: T-thank you for saving me. I’ll let go now.

Ring: ...Wait.

Kate: Huh...

When his earnest voice stopped me stiff, Ring’s hand gently slid to my cheek.

(W-what the...!?)

Ring: Your face is all red. Did you hit it somewhere?

(Oh... so he was worried for me.)

Kate: N-no, I didn’t. I’m fine.

Ring: But...

Kate: It’s just... we’re so close together that I’m a bit nervous... is all...

Ring showed no sign of pulling away himself, so I opted to give him an honest answer then. And when I did, Ring also turned red, as though it had moved over from me to him.

Ring: I-I see... then, umm, I’m glad if you’re okay.

R: Sorry for keeping you like that. ...And should we continue then? What we were doing before, I mean.

After that, we continued our act of panting and shaking the bed until we exited the room.

Ring looked exhausted as we exited the room, and there was Alfons, waiting out in the hallway.

Alfons: Thank you for your hard work. Now then, were you able to listen in for what we needed?

Kate: Yes, all of it and everything...

Alfons: My word, is that a hoarse voice I hear? And not only that...

A: I see Ring has stripped his outer layer off and is positively sweaty as well.

A: Would it be safe to assume... you two have gone aaall the way, by any chance?

Ring & Kate: “No!” “Absolutely not!”

Fin.

will vs darius jude vs nica alfons vs ring

← prev fin

END NOTES: this story was so silly and makes me smile whenever i read it, haha. ring seems to be the most popular of the vogel trio, seeing he has gotten a dark mafia design, and it’s not hard to see why. his charm is in his innocence, and it’s like a breath of fresh air in this game, and i hope i could capture it too.

i’m overall curious about all the vogel members and feel this story event is a strong debut for all three. thank you for reading, and hope you enjoyed! i’d love to hear your thoughts as well ♡

full masterlist 🪞💍

[cursed-40k-thoughts]

So where the hell does all this hate for the so called "Ultramarine Simp" boogeyman Matt Ward come from?

You can't bring up anything about the Smurfs without Ward being brought up and dragged for an alleged infatuation for the Codex Astartes, rivalling little shit Leandros.

I own no books or tabletop codexes so I am completely lost on why everybody seems to hate him.

Basically, back when codexes still had authorial names attached, Matt Ward was the front-facing writer for a collection of them, both 40k and Fantasy. Some of them were perfectly fine, some of them were not great. There was a trend of faction bias through them that resulted in a couple of very distinct overblown narratives that didn’t mesh with the established canon well. Every codex is inherently supposed to hype up its respective faction, but there was a general feeling that some of these codexes stepped over the line into being narratively masturbatory.

Now, this is far from the only time situations like this have occurred in Warhammer media, and Matt wasn’t the sole source of content for the codexes, but the hivemind of a particular subset of Warhammer neckbeards (the ones who think 4chan is peak internet) decided that he was personally attacking their IP. So they sent him death threats. And threatened people around him. And said really fucked up shit. Because they were a bunch of maladjusted keyboard crusaders. They also massively overexaggerated Matt’s impact upon the canon of the setting and the extent of the poor writing choices across the codexes.

Matt isn’t any kind of boogeyman. The codexes attached to him contain plenty of perfectly good content. They just also suck off the Ultramarines and Kaldor Draigo a bit too much, but not in such a way that it had any meaningful impact upon the setting other than “That writing’s a bit shit and doesn’t line up”. Not something new to any Warhammer setting, conceptually. It was absolutely no reason for the utterly disgusting and unhinged shit he had levelled at him afterwards.

I really don’t like the way Guy Haley has written Cawl, right? I’m not gonna threaten him and declare him solely responsible for the character’s presence in a fictional setting owned by someone else, because I’m not a fucking moron.

TLDR; “Matt’s” codexes contained some continuity errors and some hyperbolic factional portrayals. A bunch of pissbabies/neckbeards threatened to kill him over this and declared him the antichrist. Fuck those people, honestly.

[mudkirby]

Pebbles In order of appearance.

@druidshollow lore lore lore Dune lore lore

@flickering-nightfall whole reason I draw Pebbles the way I do since first exposure

@toxictoxicities b u f f

@dennis7231 still waiting on them dropwigs >:)

@weepinglilvessel ant snooooot

@mudkirby me :> 🔫

@shkika love your Suns

@northflowerowo Sorry I shoved him so far down lol

Honourable mentions/ shout outs: @trashiiplant Howwow Knight and Wainwowld :D

@kelnexia is lurking.

@daszombes Thank you for explaining lore, giving us peak story telling and characters to simp for in the form of the Iterator Logs. What? No Pebbles? Don't care. You're on here now.

Druid's Hollow, the first time I ever saw your YouTube channel was with the Distant Frontier video after just having gotten into Iterator Logs. One of the most pivotal pieces of media you've made in my life was God- Jake Daniels. That single video alone gave me the push I needed to make my first Rainworld oc Parting Clouds. The stories surrounding your characters (and Dune) are creative beyond my ability to write stories. Keep up your top tier memery.

Flickering Nightfall, I'ma put this in a nutshell. Duckdance. After that I found your blog via Google before I made a Tumblr and became enthralled by your content. From something as obscure to me as Infinity Train to Pebbles ragdolling, you were essentially my gateway into liking Iterators. I love the purple. I need moar.

Vic, b u f f I haven't known your blog long and was introduced to you through the My Goodbye animation. Since I was sort of entirely new to Rainworld at that point, I had no idea what was happening. I just saw a well drawn thing and went "oooooo". I'm all for Suns' antenna twitches and NSH box head. Also, body pillow 💀

Dennis, one of the first blogs I found when I first started Tumblr. I found you through the @iterator-ask-blog and found bullying Pebbles hilarious. I love the way you draw the yellow things on his head and I just appreciate that you do digital in general. I do not, will not and proceeds to die if I must. I've seen quick progress with your art style as well. Keep going.

Vessel, I barely know you. Who da heck are ye? I saw your art style once and knew I needed to follow. The way you draw Pebbles and Moon are so satisfying to stare at for minutes and I had way too much fun replicating that s n o o t. I don't know what you're up to with them aside from chaos. Murky Seas' story and design are fantastic. RIP

Shkika, I only found you through the @ask-looks-to-the-moon blog and love the way you draw the Iterators. It's very stylistic without straying too far. The three fingered hands to the goofy faces Moon expresses makes me smile. B a l l s. My Suns design was more so inspired by the way you make him as you were somehow the first Suns exposure. You're the only reason I can't see him without fluff. How did you make Pebbles cute kavvkatkcfadal

Northflowo, way back in 2022 in my first exposure to Hollow Knight, I found your channel through the Baby Mantis skin video with Nosk along with the lore in a nutshell video. Any other content I saw I forgor. In any case, your channel was there in my search for knowledge on that game. Fast-forward to the near conclusion of 2023 when I was first introduced to Rainworld. In my hunt for memes and more knowledge, I found the other lore in a nutshell video and realized you were the perfect channel for me as you had plenty of other content on that subject. Your art still manages to astound me, especially with the shot you did in the map Pliocene and the Warrior Cats redraws like with the waterfall. I'm trash at drawing backgrounds and might learn something from you.

And of great importance to me, @bornt-urnge/@zigmatism

@kitterjitters /@offended-dragon

Thank you for every moment of drawing from Pokemon to Kirby to Mire (oc) and anything else. You have made some of the largest impacts on my life, drawing, game choices and I've enjoyed every moment. I want to have more ridiculous sessions like that in the future and look forward to it.

Some of you have been around in my life for some time and others I've just found. All the same, every single art piece you've made has inspired me no matter how polished, memed or "trash". All of you have made an impact on me, no matter how miniscule. I look forward to the future with anticipation for all of your art. Have a terrific year, and with my deepest gratitude, thank you. Thank you for being here. Thank you for reading this.

[athina-blaine]

kb/ms is truly transcendental yaoi, spectacular, amazing, 10/10, no notes ... from the perspective of a mithrun enjoyer

as a kabru enjoyer, however...

I'll start off by saying that of course Kabru doesn't want or need a romantic relationship to be fulfilled, especially not with a white man, none of them do, it's all non-canon, Dungeon Meshi isn't about romance or shipping, yes yes yes, but none of us are here for that right now!! We're here to fruitlessly argue why my blorbos kissing makes more sense than your blorbos kissing!! You know it, I know it, none of us are free of cringe!! Clown on clown violence!!

That being said ... 🤡

I just don't see what Kabru gets out of kb/ms. With Mithrun, it makes sense; Kabru has a huge impact on him and ultimately helps him reaffirm his will to live. That's very exquisite drama and excellent character writing. But with Kabru, I just don't feel that Mithrun's character interacts with his personal flaws and would instigate his growth anywhere close to the same degree. I have to imagine most fics involving them focus more on Mithrun's baggage and how Kabru helps him heal from that ... because that's mostly all that happens between them in the main story, lol!

And like, that makes sense, because ultimately chapters 61-62 aren't about Kabru and Mithrun; they're about Kabru working through his conflicted feelings in helping Laios conquer the dungeon. I think it's ironic seeing people complain about kb/ms having Kabru be Mithrun's accessory when, if anything, Mithrun's main narrative purpose, outside of illustrating the danger of the Winged Lion, is to serve as Kabru's obstacle. I'd even argue Mithrun represents Kabru's personal bad ending; Mithrun wants him to kill Laios and surrender the dungeon to the canaries, preventing the short-lived races from ever understanding how dungeons function and returning to the status quo that had gotten Utaya destroyed. It's only when Laios practically forces Kabru, straight up puts his thumbs to the screws, to work past his reticence and be emotionally vulnerable that Kabru finally puts himself on the right path to achieve his goals (it's, uh, still a bit of a bumpy ride, but they get there in the end, lol!). If he'd been this way with Laios from the beginning, he might have understood Laios' intentions from the start and saved himself a lot of pain, but it's only because of Laios' influence that Kabru is able to grow as a character and get his happy ending.

(And even if one were a Mithrun enjoyer, ultimately the main source of Mithrun's life affirmation comes from the canaries. In that final scene, Kabru gets the ball rolling because he's outside of the canary hierarchy, but the scene ends with Mithrun being embraced by the canaries and as far as I'm aware the two don't interact with or reference each other post canon at all. Hell, it's Senshi who really drives the point home. Not that it matters when we're all wearing shipping goggles here, but it felt remiss not to mention it.)

At most, I can see how taking care of Mithrun would force Kabru to reexamine how poorly he takes care of his own body and that could make for some good drama. But even then, that change is ultimately instigated by Laios' influence on him, an extension of how Kabru wants to understand how Laios can see the value in monsters in an attempt to better understand his own trauma. If a person were to get into Dungeon Meshi specifically for Kabru and wanted to ship him with someone in a way that's most interesting for him, I'd be hard-pressed to argue there's a better choice than Laios (although who'd be cringe enough to do something like that haha right guys ... [sweating])

(Side note, though, I really don't vibe with the argument that kb/ms "reduces Kabru to a caretaker role" and that's why it's bad. There's plenty of instances where Kabru shoulders his friends' burdens (helps Kuro learn common tongue, listens to Daya's fiance about his relationship troubles, etc) and, more importantly, is seemingly happy to do so. I think Kabru genuinely enjoys looking after his friends and in the story seems to find plenty of personal satisfaction getting Mithrun to eat. I understand it has the potential to be more troubling considering Kabru is a brown man and Mithrun is a white man, but idk, it just feels on the same level as people trying to discount labru by saying Laios wouldn't take enough of an interest in people to want to start a romantic relationship, when his whole thing is that he does want to connect with people and just feels like he can't. It's not a bone I feel like picking, haha)

I honesty don't mind characters being "mischaracterized" in fandom or fic even to a large degree, I know it bugs a lot of people but I respect that ultimately fandom is little more than picking up the vague outline of a doll and playing with it and mashing their faces together. Besides, if I'm really worked up about it I can just write a fic and set the record straight myself, haha. This post is merely inspired by the supremely annoying subsection of twitter that acts like labru is the ship where it's just two dudes sitting in a room together. I'm just saying, Kabru ends the series whispering into the ear of another man as his day job and it's not Mithrun lmao

[ryin-silverfish]

LMK and the Problem of Li Jing

If my browsing in the Nezha tag is any indication, I'm not the only one who has...opinions about the interesting writing choice in S5.

Namely, it's awkward, completely out of left field, and forced.

I am also gonna try and calmly dissect my feelings on the matter, so that it doesn't become a "me sassing Li Jing for ten pages straight" post.

See, my biggest problem isn't "Li Jing is a good/sympathetic dad instead of his more mythos-accurate portrayal".

There are adaptations that make him a good father (Nezha 2019), or at the very least, a flawed but still sympathetic figure (Legends of Nezha cartoon).

And even though FSYY and JTTW's Nezha both have their Attempted Patricide Arc as part of their backstory, when JTTW's Nezha showed up in the novel proper, he was overall more obedient towards Li Jing, so it's not completely without basis (tho crucially, JTTW's Li Jing is also terrified of him picking up the "Patricide" hobby again).

The key, however, is Show Not Tell.

See, the adaptations above are all Nezha-centered works that have plenty of screentime to show where they diverge from the original mythos, and build their takes on the father-son relationship off that new foundation.

LMK, however, doesn't have that. We don't know if either version of the Patricide Arc is true for the show, or even given Nezha's particular backstory for this setting.

We don't know if we should just assume that Nezha's backstory in either JTTW or FSYY went down the same way, or given clues as to where it differs.

All we have are the on-screen interactions, and these consist mostly of Li Jing being his typical Lawful Stupid self.

Sure, there are weak attempts at making him more sympathetic: we are told, through Nezha, that he had been "working sooooo hard" to keep everything running after taking over as basically regent of the Celestial Realm, but again, we aren't shown that properly.

All I see is this guy who...I dunno, went out to get Starbucks or something when JE was kill, then showed up after everything was over to play the loyal minister and prosecute SWK and the gang for bullshit reasons.

(Which is coincidentally very accurate to his overall role in FSYY. Except FSYY's Li Jing was anything but the most sympathetic father figure.)

And because we are given no context for their relationship, their confrontation and reconcillation also feel rushed, falling completely flat when it comes to emotional impact.

Like, if we are to assume their backstory are mythos-accurate, then the whole thing makes no sense——neither "returning your flesh and blood" or attempted patricide can be shrugged off that easily.

If we are to assume it differ from the mythos...HOW and WHERE? Does the birth from a flesh ball happen? Is Nezha destined to be the Vanguard of the Zhou Army, or just a supernaturally powerful kid who can wreck the dragon king's crystal palace three days after his birth?

If he did kill Ao Bing and not just some random dragon, was it an accident, completely justified, or FSYY-accurate? Is his suicide forced or a willing sacrifice, done to save his parents? Did Li Jing destroy his temple? If the Attempted Patricide Arc happened, how was it resolved?

Change one of these, and it will have completely different implications on the Li Jing-Nezha relationship, yet we don't get a single answer to any of these questions.

As a result, the show's version of their relationship and conflict also feels very shallow and generic, your standard "The obedient son must finally stand up and find the courage to voice his opinion to his harsh but loving father——no real anger involved, of course!"

Which is a narrative divergent enough from the mythos as to require proper explanation, instead of being left up to the audiences' imagination, and also, in my opinion, far less interesting than it could have been.

For example: instead of learning to speak his mind (like he'd ever be afraid of doing that), the high point of their conflict is Nezha realizing that he has legitimate reasons to express his anger towards Li Jing for his short-sighted, unsound and overall Lawful Stupid decisions in the here and now, without it being a continuation of their old grievances or exploding into Patricide Arc 2: Electric Boogaloo.

And for someone whose limited characterization has been nothing but an unbroken chain of putting laws and loyalty above reason and common sense, it should take something a lot harsher and undeniable than "They aren't bad guys, dad!" to convince Li Jing.

Lastly, instead of the very cliched "I'm sorry, there's so much left unsaid, I'm proud of you" line, I'd prefer something that was less blatant and, though still awkward, more in line with the rewritten conflict above: sth like "You are right to be angry at me, and I won't mind if you never stop being so."