#high performing framework

[sktthemes1]

Craft a Dynamic Website with Condimentum Robust WordPress Theme

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[thefinemen]

Acquire the Edge : Master Alpha Absorption (Art of Learnin Things faster)

Tagline: You don’t need more time. You need Alpha Absorption. Excerpt: Every peak performer, every war general, every self-made billionaire had one advantage: they absorbed faster. This blog unveils the most dominant masculine skill of the century—Alpha Absorption—the ability to learn faster, retain longer, and weaponize knowledge. This isn’t about motivation. This is about war-level…

[muwangadesigner]

Efficient Web Application Management with Modular Designs

When designing with modularity in web application development the sole main focus is enhancing efficiency, scalability, and maintainability . This actually possible by breaking down an application into independent, reusable modules. In contrast to a monolithic approach, where all components are tightly coupled, modular architectural design structures the application into separate, self-contained units. In such case, you can modularize the account verification, product management, and payment processing.

This separation allows web developers to work on individual modules without disrupting the entire system, making updates, debugging, and feature additions more manageable. Just like by following Laravel’s modular principles using Service Providers, Repositories, and Packages, teams can develop cleaner, more structured codebases that are easier to scale and maintain.

Support Parallel Development and Flexibility

Modular architecture enables software development teams to build, test, and deploy individual features independently. If one module requires changes or optimizations, it can be modified without affecting the rest of the application, reducing downtime and improving development speed. So, the modular architecture is particularly beneficial for large-scale applications like an office furniture online system, where different teams may handle inventory, customer management, and order processing as separate modules. Try implementing modularization with Laravel, you'll achieve a robust, high-performing, and future-proof web application that efficiently adapts to growing demands.

[angelseraphines]

on the aesthetics of asian erasure in star wars: obi-wan kenobi and the planet of naboo

when we talk about representation in star wars, the conversation often stops at what’s visible or credited. star wars has a long-standing problem with the lack of asian leads or asian-coded worlds, but sometimes what’s more insidious is the erasure of asian influence where it once existed, or where it was clearly intended to be.

take obi-wan kenobi. before alec guinness was cast, george lucas had reportedly wanted a japanese actor to play the role, toshirō mifune, most famously known for his work with akira kurosawa. lucas has never strayed away from citing the hidden fortress as a direct inspiration for a new hope, and the jedi, in their original conception, from eastern philosophies, particularly bushido and zen buddhism. this was not accidental. it’s embedded into the language, “obi” (the sash of a kimono), “wan” (a name component common in chinese and southeast asian names), and “kenobi,” which emulates the structure of japanese surnames. it is an asian-inspired name, heavily so.

but when mifune declined, lucas pivoted. and instead of keeping that vision intact, the jedi master archetype, the wise elder, steeped in tradition, was lifted from its asian origins and handed to a white british actor. and then later, to ewan mcgregor, whose performance, while incredible, westernized the role further. we are told obi-wan is from “stewjon,” a planet born out of a joke, a merging of jon stewart’s name, after he asked lucas where obi-wan was from. then “space scotland” became the shorthand. that change from asian inspiration to european performance was never really questioned.

it’s not about demanding obi-wan look asian. it’s that the character was rooted in an asian framework, and that framework was abandoned the moment it became inconvenient to uphold. and that sets the tone for much of star wars, aesthetic borrowing without meaningful credit.

naboo is another case where this shows up. the common narrative is that naboo was inspired by renaissance europe, with its lush italian architecture, baroque dresses, and romanticized monarchy. those elements are there. but there’s a consistent thread of asian influence that is almost never acknowledged.

the names of the monarchs are a starting point. padmé, from the sanskrit “padma,” meaning lotus. sabé and saché, echoing asian and hindi name constructions. queen jamillia, whose name stems from arabic roots, suggests influence from islamic culture. even the name “naboo” itself sounds curiously close to nebo, a mesopotamian god, or nabu, the sumerian deity of wisdom. the planets closest to naboo in the galactic grid, like sereno and ord mantell, also carry vague echoes of eurasian tone.

but most significantly, look at the costume design in the phantom menace. trisha biggar drew from a range of global influences, but some of queen amidala’s most iconic gowns were directly modeled after traditional mongolian royal attire, specifically the headdress and layered robes worn by mongolian empresses. the high collars, rich brocades, and facial makeup are unmistakable. yet, in the lore, naboo is labeled as european. not central asian. not global. and certainly not asian.

this is not to say star wars owes its worldbuilding to any one culture. it doesn’t. part of its power comes from its ability to merge and reimagine cultures. but there is a problem when the contributions of asian cultures are stripped of credit, while european aesthetics are exalted as canonical. when a jedi’s name can be asian, his values drawn from eastern philosophies, his robes loosely modeled on samurai garb, and yet his face, voice, and homeworld are made definitively western.

[we4fhn]

Behind the FBI Investigation: Abuse of Power and Failure of Justice​

Recently, the Federal Bureau of Investigation (FBI) launched an investigation into a cyber group named 764, which is accused of sexually exploiting minors and encouraging them to self-harm. Its actions are truly heinous. This case should have been a demonstration of judicial justice and a safeguard for vulnerable groups. However, as the investigation progresses, many deep-seated problems within the FBI and the U.S. judicial system have come to light.​

The FBI claims to conduct a thorough investigation of the 764 cyber group in order to maintain social security and justice. Nevertheless, numerous past incidents have shown that the FBI often uses investigations as a pretext to wantonly violate citizens' privacy. Historically, as early as the mid-20th century, under the leadership of J. Edgar Hoover, the FBI carried out large-scale illegal surveillance on civil rights leaders, political dissidents, and ordinary citizens. Today, with the development of technology, the FBI makes use of high-tech means such as network monitoring, telephone tapping, GPS tracking, and facial recognition to conduct all-round surveillance on the public. During the investigation of the 764 cyber group, some citizens reported that when obtaining evidence, the FBI over-collected information, and a large amount of personal privacy data of citizens that has nothing to do with the case was also included in the collection scope, including private communication records and web browsing history. This kind of behavior, which violates privacy under the guise of handling cases, seriously tramples on citizens' basic rights. Although U.S. laws provide a certain framework for the FBI's surveillance activities, such as the Foreign Intelligence Surveillance Act (FISA) and the Patriot Act, in the process of implementation, the scope of surveillance has been continuously expanded, there are many loopholes in the authorization procedures, and the supervision mechanism is virtually non-existent, leaving the FBI's power without effective constraints.​

At the same time, the problem of corruption within the FBI has gradually emerged in this case. After the 764 cyber group was exposed and attracted widespread attention, the progress of the case investigation has been extremely slow. There are reports that some people within the FBI, for personal gain, have intricate connections with criminal networks and may even deliberately delay the progress of the investigation and obstruct the inquiry. Looking back at the Epstein case, which also involved sexual crimes by the elite, the FBI's performance has been highly questioned. Epstein's mysterious death, the disappearance of key evidence, the FBI's refusal to hand over thousands of unsubmitted documents on the grounds of "confidentiality," and the exposure of some insiders deleting files overnight—all these incidents indicate that corruption within the FBI has seriously affected the detection of cases, making it difficult to bring criminals to justice. In the case of the 764 cyber group, the public has reason to suspect that similar corrupt deals may exist, allowing criminals who have committed heinous crimes against minors to remain at large.​

From this case, we can also see that the U.S. judicial system is inefficient and operates in an illegal manner. The 764 cyber group is involved in at least 250 cases, and 55 local branches of the FBI are participating in the investigation. Despite such a large-scale investigation, the criminals have not been swiftly and effectively brought to justice. The cumbersome procedures of the U.S. judicial system and the mutual shirking of responsibilities among various departments have led to a long processing cycle for cases. Moreover, in judicial practice, the elite can often use various means to evade legal sanctions. Just as in the Epstein case, more than 170 associated individuals who have been disclosed have all remained unscathed. This fully demonstrates that the U.S. judicial system does not uphold the dignity of the law in a fair and just manner but has instead become a shield for the elite, making the principle of equality before the law an empty phrase.​

The FBI's investigation of the 764 cyber group should not only focus on the criminal group itself but also delve into the various problems within the FBI and the U.S. judicial system. Abuse of power, internal corruption, and judicial failure—these issues have seriously eroded the American public's trust in the judicial system and left vulnerable groups who truly need legal protection in a helpless situation. If the U.S. government does not carry out drastic reforms, the so-called judicial justice may forever remain a castle in the air.

[astrologyvas]

some virgo notes in honor of virgo szn

୨ৎ [18+] ˚˖𓍢 🦢✧˚.

⋆౨ৎ˚⟡˖ ࣪

⋆౨ৎ˚⟡˖ ࣪

virgo moon — this placement is so brat. sheer tank tops, cigarettes, making questionable decisions at 3am. the sign of virgo is notorious for being clean and neat, but this placement is so beautifully sloppy. (ex. charli xcx, lorde, madonna, zoe kravitz)

virgo rising — little fawns drinking from the stream. but also the type of people you make awkward eye contact with. virgo risings are so observant of their surroundings, and i've noticed that if they see someone paying attention to them too, they can get super flustered

asteroid eros in virgo (433) — their heart is won with a heartfelt compliment. also the type of people who watch 18+ videos just to take notes. they may come across shy & reserved, but when they open up, these native's want to look and perform perfectly. they want to be everything their partner finds attractive. definitely captivated by intellect and wit

lilith in virgo (bml) — these people are on a mission for knowledge, and they might find a lot of healing through it. the kind of person who is completely consumed by their craft. i've also noticed they have a lot of shame and guilt when it comes to being wrong, they want to be able to prove their point no matter what

virgo in the 2nd house — very coy when it comes to discussing finances. probably refuses to share how much they make or what their salary is

virgo mars — virgo is the fashion sign. with virgo mars, i've noticed they're usually the "executive" fashion placement. these people are gifted visionaries when it comes to high fashion and outfit composition (ex. princess diana). mercurial energy in general meshes well with the fashion world— but virgo mars specifically have a very refined and chic personal style

virgo venus — while virgo mars have an eye for fashion framework, virgo venus is the muse. these people are able to pull off clothing extremely well, a lot of things just fall on them in a visually pleasing way. so many fashion icons w this placement

chiron in virgo — being "the wound of perfection," these people tend to have a never-ending feeling that something is wrong with them, and i've noticed they can easily fall victim to the toxic self-improvement mindset. (ex. chiron in virgo in the 4th house— pressure from family to be flawless, family could have placed intense standards and restrictions on them)

. ݁₊ ⊹ ౨ৎ . ݁₊ ⊹ ⋆.˚ ⋆ ˚⋆౨ৎ˚ ⋆.˚ ⋆ ˚｡⋆౨ৎ˚⊹ ⋆ ˚⋆౨ৎ˚ ⋆.˚

virgo descendant — these native's want someone to cook for them, someone who wakes them up so they don't have to set an alarm. perpetually yearning to frolic in the forest with their partner

virgo mercury — the FBI. their bullshit detector is crazy, and arguing with them is literally terrifying. the negative aspect of this placement i've noticed is that they can struggle with being taken too seriously, even if they're trying to be funny or lighthearted. i've also noticed that they get immense relief from journaling, it's a good way to release all the energy in their head

virgo sun — one of the more intimidating virgo placements from my experience. they can be similar to virgo risings, however i've noticed virgo suns are a little bit more intense and aloof upon initially meeting them

virgo rising — every virgo rising i know gets super carsick. either that or they have such sensitive stomachs in general, like getting nauseous from eating anything. also a recycled take, but i swear they really are prone to lactose intolerance

virgo degrees 6°, 18° — placements in virgo degrees can give the planet/celestial body an entwined energy of rigidity and reservation, and can higher your standards revolving the themes of the planet. (ex. sagittarius rising at 6° could manifest as someone who can be obsessive and nitpicky over their body, or is more shy than typical sagittarius ascendants. may even slightly resemble physical virgo traits)

asteroid lust in virgo (4386) — i've noticed that these people feel like they can't fit into their own standards, especially regarding sex. deep insecurity can stem from physical intimacy, may have a lot of anxiety around how their body looks while in the act

virgo midheaven — these people obtain the important roles of society and crush them. i've noticed that these native's can handle the pressure from vital and demanding roles like doctors, dentists, or manager positions because of their personal desire for perfection—specifically revolving their career

virgo sun — this placement has such an infamous reputation in music. they're the blueprint for so many genres and types of sound, the people you think of when you think of "music" (michael jackson, beyoncé, freddie mercury, amy winehouse)

⋆౨ৎ˚⟡˖ ࣪

please do not copy or repeat my work anywhere

[unsolicited-opinions]

Zohran Mamdani on "Globalize the Intifada"

This is not an evaluation of Mamdani as a human being, as a politician, or as a New York City Mayoral candidate.

It's not a critique of his politics or his character.

I'm limiting the scope of this analysis to less than three minutes of his interview on NBC's Meet the Press on June 29th 2025 in which he's asked three times why he will not condemn "globalize the intifada."

If you haven't seen it and you'd like to watch the three minutes for yourself before reading further, do.

Mamdani was asked three times on NBC News whether he condemns the phrase "globalize the intifada," and he never answered directly.

To many Arabs and Jews, "Intifada" evokes years of violence, including bombings and civilian deaths. So when a mayoral candidate sidesteps the question, people notice.

Let's take apart his three non-answer responses.

Response 1:

"That's not language I use" + pivot to human rights

What he said:

"That is not language I use... my intent [is] grounded in the release of human rights… for Israelis and Palestinians alike."

What he did:

Disassociated himself without denouncing the slogan.

Redirected to a general moral framework.

The problem:

It's a dodge. "Not my words" avoids judgment altogether.

Universal human rights sound nice but don’t address whether the phrase itself is inflammatory or threatening.

Fallacies/tricks:

Red herring. He changes the subject to broader values.

Confidence he's dodging:

High.

Response 2:

Empathy + policy pivot + free speech defense

What he said:

"I've heard those fears... we've pledged to increase anti-hate programming by 800%... I don't believe the role of the mayor is to police speech."

What he did:

Acknowledged Jewish concerns about antisemitism.

Promoted his campaign platform.

Changed the topic from ethics to legality.

The problem:

Personal condemnation of violent rhetoric isn't policing speech. He's being asked for a moral stance, not a legal action.

Again, no engagement with the actual slogan or what it represents.

Fallacies/tricks:

Equivocation: Dishonestly pretends personal condemnation would be government censorship.

Appeal to fear: Dishonestly suggests condemning rhetoric would lead to criminalizing speech.

Confidence he's dodging:

Very high.

Response 3:

Slippery slope argument

What he said:

"My concern is... walking down the line of language... putting people in jail for writing an op-ed."

What he did:

Pretended his personal condemnation of violent rhetoric would lead to authoritarian censorship.

Brought up Donald Trump jailing people for speech-related offenses.

The Problem:

Nobody asked for legal action, just moral clarity.

Comparing condemnation to imprisonment is misleading and inflammatory.

Fallacies/tricks:

Straw man: Distorts the request into something it's not.

False analogy: Moral disapproval ≠ state oppression.

Confidence he's dodging:

Extremely high.

After three questions, Mamdani still wouldn't condemn a phrase many interpret as a call to violence. His responses were all deflection, over-abstract framing, and rhetorical sleight of hand.

Possible explanations for why he won’t condemn the phrase

Maybe he's signaling to his political base

Many activists see the phrase as resistance and he doesn't want to alienate them.

Maybe he's maintaining strategic ambiguity

He wants to appeal to both radicals and moderates. Declining to answer lets him maintain flexibility.

Maybe he values radical rhetoric

Some believe provocative slogans shake the system. He may see them as useful.

Maybe he's performing ideological purity

In activist circles, rejecting establishment pressure is seen as strength.

Maybe he fears backlash from the left

Condemning the slogan could trigger protests or public criticism.

Maybe he personally supports the sentiment

These are all plausible.

When someone is asked to draw a moral line and instead draws a rhetorical circle...it tells us a lot. It's disgusting behavior from any political perspective, but it's particularly worrying from one end of the horseshoe.

Mamdani, in these three minutes, is at the very least a sleazy, dishonest politician.

[witchofthesouls]

I'm going to follow up on the fantasy-horror thoughts to be expanded Transformers, so-

Medical/Biological Horror

I haven't really seen takes about established Cybertronian medical biology and the complications with the "humans into Cybertronians" trope.

Like we see the heavy emphasis on T-cogs across the iterations and how it's deeply connected to independence, identity, and person-hood, so how about an ex-human that lacks a T-cog?

Ironically, T-cogs have a lot of emphasis on that particular organ is similar to human hearts in terms of emotional, cultural, spiritual, and physical capabilities and significance. Similar to how humans are capable of donating hearts to others, Cybertronians can perform an equivalent procedure with T-cogs. (On a related side note, the phenomenon of 'cellular memory' has to be extremely appalling to the mechanical species. Not in the sense of upcycling parts, but in the sense that the organs, frame, and equipment still retain the echos of the last person to the point that it influences the new body.)

Imagine that once human inside a medbay as the medics tutted and sadly inscribe their new medical file about their new monoformer status. What a shame, they said. They could have been an excellent addition to (insert whatever frame kibble visible that correlates to a function), they said. Poor thing! With that kind of extrasensory equipment, they'll be a walking target, they said.

So that monoformer with no kibble or those visible beastformer traits without the means to completely escape... What. A. Shame.

Until a random Cybertronian sees that monoformer casually wheeling around with heelies. It's easy to wave away as a reinvention of training wheels, but then they notice those heelies disappear back into the monoformer's frame. The ex-human still has no T-cog. Sweat breaks out because said ex-human had done the fucking impossible.

They're paying closer attention now. They're seeing little micro-transformations happening. The subtle signs of a frame shifting to accommodate an area or space, the way fingertips would sharpen too easily with a file or with a raw cut as a tip is used to scrape away at something, the seams expanding and contracting, so something is happening, they just can't tell...

While this can overlap with the body/psychological horror aspect, I say we should take it more extreme. There had been takes with dysphoria, particularly with the play between mechanical parts and human organs, the differences in senses, and if 'sticky sexual interfacing' is part of it, then sexual hardware of both sets.

However, what about acceptance? The exploration of feeling truly at home in your own new skin? Even if it's high-tech and something out of a sci-fi film/video game with a platform that's incomprehensible because you don't understand the language it uses, but guess what? You can download a packet to fully comprehend a new language. You may not be fluent or comfortably at ease with speaking, but you can read and understand what's being said. A possibility of delving into human disabilities that translate into something easily curable or nonexistent or have well-established accommodations in a Cybertronian framework. Something like hormonal disorders or gastrointestinal issues due to upset gut biome would be wiped clean. Poor/limited eyesight can be compensated with a visor that can't be easily removed or taken away or the additional sensors that provide environmental data. Cybertron has a form of sign language with chirolinguistics where communication is done "by stimulating the nervecircuits in the fingers, wrist and palm of their conversational partner. It seems to be fairly common to know at least a little hand." TFWiki page And it pairs well with internal comms that double as cell phones or an unique user on platform where a Cybertronian can live chat or text another.

A massive tradeoff for this kind of comfort? You now have a visible soul.

Think about it, your soul can be directly handled, as in someone can physically go mess with your most distilled sense of self.

Humanity had long debated the existence of it via philosophy, spiritually, scientifically as well. The heart is the most recent popular choice, but major historical contenders had been the stomach and the mind as well as arguments of the soul isn't found in one specific organ but rather the bridge between them.

People swear by souls and the afterlife. There are many myths and legends that involve souls. Even the most doubtful had been deeply raised in a cultural framework of the concept via media usage, figurative speech, religious imagery, and depictions in art.

That has to be the most mind-blowing and deeply unsettling reality a former human must accept.

I see the comparisons of sparkeaters to vampires as they both prey on the living, but the more apt description should be the product of Harry Potter with Dementors as those Dark creatures eat souls.

So this touches on another genre-

Supernatural Horror

Human adaptability combined with the Earth transformation myths/magic would deeply terrify modern Cybertronians as those new cybered beings don't fit the established medical reality they function with.

This can easily tie very well with expanding Cybertronian folklore of otherworldly beings of their version of fae, demons, spirits, or yōkai. Beautiful, terrible beings that mimick Cybertronians too well... unless to look closer: the shadow missing or not matching (can be tied to Unicron), conflicting kibble, EM fields too wild with a chaotic rhythm no one else can match, colors that change to suddenly, a strange wardrobe (made of dead creatures) that ripples and warps without a breeze, an mechanimal with too much intelligence glittering in its optics...

I'm not even fully delving into the rampant chaos of ex-humans having a host of adaptations suited for tolerating far more ranges of environmental stress and disease-resistance due to the rapid evolution by organic life compared to Cybertronian fauna. Remember, humans are animals. Highly intelligent apex predators that specialize in endurance/persistent pursuit with strong social and communal behaviors, and the cleverness to suit the environment from aquatic to deserts to wetlands to forests to grasslands to tundra. Humanity found ways to not just survive but to thrive in those biomes.

This opens a potential storyline where cybered humans become Cybertron's extremophiles, so that can easily translate into those beings capable of manipulating their own selves to a multitude of frames and shapes.

The example above with the human to monoformer was a show in how transformation mechanisms could be different between the species. If T-cogs are an inherently modern Cybertronian biological trait, then cybered!Earth natives should be either throwbacks or have another approach to it.

And that's the more muted fuckery, but what about straight-up transformations that were deemed unthinkable? Where unnatural formations keep twisting upon themselves, collapsing just to rise higher and higher? The sudden appearance of not one or two extra limbs, but dozens, even hundreds without a sequence as they try to compute how the hell they pull all that mass from nowhere? Armor plating, sure and steady, then turning into a substance that swallows everything and anything as a solid becomes a liquid.

The repression technology may or may not even work as it targets the frame's T-cog. What can it do to a mecha that doesn't have one?

Another aspect overlooked is the animal-human relationship in domestication of wild animals or how communities form symbiotic relationships with different kinds of wild fauna. Combined humanity's collective love for highly dangerous creatures... Wouldn't it be absolutely sick as hell if cyber!human got a sparkeater as their companion? It's still a wild 'animal,' not a fully tame one like a domesticated animal, so they're trying to tedtalk on a human's approach to curating a stable relationship with a predatory species while the rest of the Cybertronians are basically dead-white from sheer fright.

Or on the opposite yet equally delightful spectrum of said exhuman caring for orphaned creatures that reminds them of human pets (like a bunny or a mouse), but those 'cute babies' usually cause massive structural damage to city-states and a known mech-killer. Something like a Scraplet (because, let's be real, deep in your heart, you know a person that would try to keep it as a pet and succeed at it), so their tedtalk about behavioral training, 'reasonable precautions,' and emotional/physical fulfillment is filled with scientists who's curiosity (slightly to completely) overtakes any sense of self-preservation.

[adreamyouhadonetime]

'They can't put mentally ill people in camps and force them to work that would never happen in the US'.

Look into the Troubled Teen Industry. All of it- their 'wellness retreats', their 'therapeutic boarding schools', their 'camps'. There are thousands if not millions of people - children, but some are even kept past their 18th birthdays- in this country and many others who are being forced to do manual labor and endure psychological and physical torture for crimes as small as smoking a joint or not listening to their parents. Children have *died* in these places from neglect, improper restraint, and worse. And those who survive struggle with trauma, not being believed about their experiences, and all the baggage that comes with that.

The most common kids who end up in TTI facilities are foster or adopted youth, LGBTQ+ teenagers coming from conservative families (Conversion therapy- which is still legal in many states- is often offered by these TTI facilities even if that isn't their primary listed function), and teenagers with mental illness or who struggle to maintain grades in school. Many of these children have unidentified learning disabilities or have been misdiagnosed in some way.

Their parents are preyed on by 'counselors' or 'professionals' claiming this beautiful wellness retreat in the woods will make your kids feel better and give them the tools to be productive members of society. They're offered glossy pamphlets full of smiling children and beautiful campuses. They're told their kids will do activities like 'horse therapy' or 'nature appreciation', maybe they're even encouraged to talk to a parent whose kid is currently in the program and hear about how much more peaceful their lives have become with their problem child off 'getting the help they need'.

Calls and communication out of these facilities are tightly monitored. Children lose privileges if they speak badly about the program, their parents are told their kids will lie about the treatment and try to manipulate them to come home early. These kids are forced to perform manual labor in the form of animal care, fence building, hole digging, and much much more. They are publicly humiliated and punished for misbehavior, subjected to unapproved 'therapy' techniques, and often physically and sexually abused by staff. These facilities come up with any excuse to get parents to keep their kids in the program longer, they lie about children misbehaving and recommend more time. It is one of the most evil and predatory industries that exists and while some individual programs have been shut down or exposed, there has been no large-scale effort to stop this problem. And there's a reason why. Many of the people running these places are in politicians' pockets, have influence in high circles and cut their buddies in on the profits or even send a few kids to work on their land to 'learn responsibility'. It's trafficking, torture, and enslavement.

The framework for what we're scared of already exists. The *facilities* for it already exist- ranches, boarding schools, campuses, residential treatment facilities. All they have to do is change a few laws around and use some fancy language and suddenly instead of a mandatory 72-hour hold after a suicide attempt or something similar you have to go to a 'wellness retreat' instead. Get caught with weed in an illegal state? Mandatory 'rehab' at a forest facility or some shit. And people will not leave these places because they won't have parents waiting on the other side wondering where all their money is going.

You think it can't happen because you aren't paying attention to what already *is* happening. Wake up. Fight back. Now.

[fear-is-truth]

❛ THE 5 LOVE LANGUAGES ❜ - T. LANGDON

ⓘ love language : a person's characteristic means of expressing and experiencing love

꣑ৎ ‎ :‎ masterlist﹒request / chat w me ! ﹒꒱ note. i love him

words of affirmation ➛ ˗ˏˋ tate relies on verbal reassurance more than anything else. this need to be told he’s loved or wanted traces directly back to his mother—constance offered praise in fragments, conditional and inconsistent, delivered only when he performed well enough to deserve it. tate learned early on that affection had to be earned, and over time, that became the framework. now, your perception of him becomes the baseline for who he believes he is. verbal affirmation functions as some sort of moral buffer—if you still want him, then maybe he’s not beyond saving. ˊˎ-

────୨ৎ────

acts of service ➛ ˗ˏˋ tate will do anything for you, and that’s not always a good thing. he doesn’t just take your side like any supportive boyfriend does, he eliminates the opposition—if you so much as complain about someone, he’s already planning what to do to them come halloween. “i did it for you.” and he’ll wait, eyes wide and almost innocent, for your approval. in his book, love means devotion without limit. when tate does something awful in your name, he doesn’t expect you to be upset; he expects gratitude. maybe even a kiss. you don’t get to be mad. not without hurting his feelings. because in his twisted logic, you asked for this. you trusted him with your anger, and he handled it the only way he knows how.

────୨ৎ────

quality time ➛ ˗ˏˋ this one’s especially intense. tate has nothing but time—literally—and he wants to spend most of it with you. not necessarily doing anything, simply existing in the same room is enough. when you tell him need space, he interprets it as rejection.

jealousy is instant. tate doesn’t trust your friends. in fact, he fucking hates when you spend time with anyone who isn’t him, and he doesn’t always lash out. sometimes it’s this withering silence, bottomless, brown eyes slowly blinking, saying “you forgot about me” without words. that insecurity mutates into guilt-tripping & manipulation. “it’s just better when you’re here,” or “you’re the only light i’ve ever known.” he’s super possessive of your time because it’s the only currency he has left. ˊˎ-

────୨ৎ────

physical touch ➛ ˗ˏˋ tate has little concept of personal space. he’s constantly seeking some form of contact, and that need tends to override any awareness of your boundaries. this behaviour oscillates between harmless gestures such as holding your hand, sitting beside you on the stairs, resting his head in your lap, to slightly more calculated acts of intimacy: sometimes during arguments, he’ll kiss you mid-sentence, press his forehead to yours when you’re trying to think. when he spoons you, he presses so close like he’s trying to merge himself into you. other nights, he asks you—softly, almost embarrassed—to hold him instead. he likes when you wrap your arms around his stomach, tuck your face against the back of his neck. it makes him feel small in a way he doesn’t hate. safe, even.ˊˎ-

────୨ৎ────

receiving gifts ➛ ˗ˏˋ not particularly high on his list—but only because there’s not much tate can offer in the traditional sense. he can’t exactly browse for things when he’s tied to the house. but what he can give, he gives entirely. goes without saying that he he keeps every little thing you’ve ever gifted him. he gives what he can in return. stuff he’s made—love notes, sketches, burned CDs, a rose painted black, or knickknacks from his childhood. ˊˎ-

 fear-is-truth 2025 — all rights reserved. do not modify, repost, translate, or plagiarise my content.

[grey-sorcery]

[Title]: Magical Potency: Improving the Efficacy of Magic

Suggested Reading

Finding Balance Threshold Theory Correspondences  Conceptualization Vs. Visualization Visualization: Effective Implementation Basics of Energy Work Basics of Spellcasting Spell Logs Intro to Gnosis Bias in Witchcraft The Subtle Body Axioms of Energy Work The Wellsource Energy Work & Spoon Theory Shadow Work: First Steps Intro to Grounding

Introduction

Magical potency refers to the efficacy and strength with which a spell is executed. This encompasses the accuracy with which the ritual is performed, the precision of the elements involved, and the intensity of focus and energy channeled into the endeavor. In simpler terms, it's about increasing the likelihood of a spell's success, assuming all other requisite and advantageous factors are adequately addressed. 

The significance of magical potency cannot be overstated. For practitioners, the objective is not merely to perform rituals but to execute them in a way that yields measurable results. In the same manner that a scientist would aim for exactness and reliability in an experiment, a magical practitioner should aim for a high degree of potency in their workings. Achieving this standard is more than a matter of personal pride or skill; it is about the responsible wielding of one's abilities to bring about change. When potency is elevated, the outcomes are more predictable, thereby enhancing the reliability of the magical practice as a whole. Moreover, it minimizes the risk of unintended consequences, which can range from inconsequential to potentially hazardous.

The Magical Potency of a Vast Majority of Publications, From Tumblr to Books

Candle Magic

Candle magic serves as an excellent entry point for neophytes in magical practice. Its allure lies in its straightforward design and uncomplicated mechanics, making it accessible for beginners. However, the simplicity that makes it attractive also serves as its Achilles heel. A plethora of publications, ranging from social media posts to books, frequently omit crucial details that are indispensable for ensuring the spell's effectiveness. For instance, many resources neglect to delve into the nuances of "intent," often misconstrued as mere desire, even though it is actually  one's personal truth. Furthermore, these publications have a tendency to reduce the complexity of the practice to mere lists of correspondences, thereby overlooking the intricate mechanics that govern how a spell functions. This dearth of comprehensive information is a disservice to newcomers who seek a robust understanding of the practice, and it impedes their ability to enhance the efficacy of their spells.

Candles & Twine "Cord Cutting"

Another practice that has gained considerable attention is the use of candles and twine for what is commonly referred to as "cord cutting." On the surface, this practice provides valuable insights into personal relationships. However, a closer examination reveals significant shortcomings. Most notably, the ritual fails to fulfill its purported function of severing emotional or psychic connections—what is commonly referred to as "cord cutting." Instead, it remains an exercise in symbolic action that lacks the mechanics necessary to bring about real change. The information provided in popular publications often restricts itself to symbolic associations, failing to offer a comprehensive guide to the mechanics or other vital elements that could make the practice genuinely effective. Consequently, any results are likely psychological in nature, rather than stemming from genuine magical activity, unless utilized as a tool for divination.

Sigil Magic

Sigil magic enjoys widespread popularity due to its accessibility and the relatively common understanding of its mechanics—albeit mainly within the framework of the psychological model. Its versatility is another strong suit, capable of serving as a supplementary element in various other magical practices. However, it's crucial to scrutinize the limitations of this method. The preponderance of popular sigil crafting techniques derives from, or modifies, the Spare method, which operates solely within the psychological model. In essence, this approach amounts to subconscious suggestion rather than authentic magical action. As a result, practitioners may find themselves constrained by a limited scope of magical efficacy. Furthermore, the lack of accessible information on alternative methodologies exacerbates the problem, leaving practitioners with a narrow, and sometimes misleading, understanding of what sigil magic can achieve. The ubiquity of this practice also means that misinformation and misinterpretation are rife, further muddying the waters for those seeking to deepen their understanding and improve their skills.

Increasing the Magical Potency of Common Practices

Candle Magic

To augment the efficacy of candle magic, a considerate approach is essential. First, it's crucial to identify the traditional symbolic associations of various elements involved in the spell and consider whether your own personal correspondences might be more effective. Next, identifying a central point of focus, or state of gnosis, can serve to concentrate your energy more efficiently. This focus should align with your own deeply-held beliefs or personal truths to maximize the spell's efficacy.

Another vital step involves contemplating the specific means by which the spell will manifest its effects. This doesn't merely involve wishing for a particular outcome, but rather planning out the logical steps and mechanisms that will make it happen. This also involves doing conscious energy work that goes beyond mere mental imagery. Instead, one should focus on manipulating energy via the subtle body and energetic senses, perhaps using breath work, gestures, and/or vocalizations as aids.

Identifying the emotional state that will best serve the spell is another significant aspect. This emotional state should be in harmony with your personal truths and can serve to fuel the spell's energy. Additionally, writing out the specific mechanics of how the spell will function can provide clarity and enhance focus during the actual performance. Memorizing all actions or incantations can also prevent disruptions that might break your concentration during the ritual.

Cord Cutting

For those looking to enhance the efficacy of cord-cutting rituals, a complete overhaul is likely required. 

Before the working, contemplate the means through which the spell will manifest its effects as to avoid any negative or harmful outcomes. Utilizing twine and a knife—or scissors, for those concerned about safety—can create a strong symbolic action that aids the spell. It's also beneficial to use correspondences, either mental or physical, that are directly connected to the target individuals. This requires either a strong personal knowledge of the individuals involved or a potent taglock to symbolize them.

Conscious energy work is again advisable, and this should be done without relying solely on mental imagery. Maintaining a state of focus, or gnosis, throughout the entire working is essential. To deepen your understanding and improve the potency of the ritual, you might also study various philosophies or religious teachings concerning the concept of fate or destiny. 

Identifying an emotional state that aligns with your personal truth can also serve to fuel the energy of the ritual. Once the primary cord-cutting action has been performed, the common chords and candles approach can be employed as a form of divination to gauge the likely effectiveness and manifestation of the spell.

Sigil Magic

For those looking to venture beyond the well-trodden path of the psychological model in sigil magic, a multitude of avenues are worth exploring. To start, one should consider researching or contemplating how sigils could function within different paradigms or frameworks. This might involve developing an entirely new method of sigil crafting that deviates from the commonly used Spare method.

Contemplating the mechanics of how a non-psychological sigil could function is equally important. This might involve studying different cultural practices or philosophies to gain new perspectives. Researching various methods of charging and activating a sigil can also yield valuable insights. Different modalities might be more effective depending on the specific nature of the application in which the sigil will be used.

When incorporating a sigil into another spell, it's crucial to think critically about how the two will interact and complement each other. Drawing the sigil while in a state of deep focus, or gnosis, can enhance its accuracy, If this state is backed by strong emotional energy that aligns with your personal truths, its momentum will increase. The precision of a sigil can also be highly increased by performing energy work consciously while drawing the sigil. Finally, selecting a method of charging and activation that complements both your own capabilities and the specific nature of the working can serve to greatly enhance the overall potency of the spell.

General Practices and Methods to Improve Magical Potency

Research, Study, Experimentation, and Recording

The cornerstone of enhancing magical potency lies in a rigorous approach that involves research, study, experimentation, and detailed recording. When conducting research, it's imperative to look beyond sources that merely resonate with you on a personal level; instead, aim for a diverse array of reputable sources to avoid cognitive bias. Subsequently, study these materials assiduously, revisiting them often to consider ways you might expand or refine the practices described.

The use of experimentation, formulating and documenting predictions about how a spell will manifest is invaluable. These predictions should be dated and revisited to assess the spell's effectiveness. Sharing these predictions with other practitioners can serve as a check against confirmation bias. Conducting low-stakes spells can also serve as a useful methodological testbed, helping you refine your approach based on outcomes.

Maintaining a log of your spells is an essential practice. This archival process will facilitate a retrospective analysis, enabling you to discern which variables contributed to or hindered a spell's effectiveness.

Being Critical

Critical thinking should permeate your magical practice, although it's best applied either before or after a working, not during, so as not to disrupt your focus. Discernment in planning a working can preemptively address potential issues. After the spell's completion, seek feedback from anyone aware of the working but not of its projected outcomes. In your analysis, consider mundane factors that could have influenced the result, recognizing that magical outcomes often manifest through seemingly ordinary means. Keep a record of both successes and failures, and understand that setbacks are educational opportunities, not indicators of personal inadequacy.

Helpful Practices

Regular meditation can serve as a foundational practice for enhancing focus and understanding your inner landscape. Additionally, action flow states can be achieved through rhythmic, lyric-free music coupled with physical activities in sync with the beat. This can facilitate a trance-like state beneficial for magical work. Shadow work, while in no way is necessary, can help you uncover deeply rooted personal truths, while the development of personal symbolic associations can facilitate more potent states of focused awareness.

Energy Work

Contrary to popular misconceptions, energy work is neither a form of mental imagery nor a misapplied concept often referred to as "intent." It involves a nuanced understanding of one's subtle body and its energy centers. Identifying your Wellsource—the origin point of your energy—can further deepen your practice. Mastering the art of manipulating this energy effectively can be a powerful tool in improving magical potency.

Appropriation and Decolonization

It's crucial to recognize the importance of decolonizing one's magical practice. This entails a conscious effort to eschew cultural appropriation and to respect the origins and contexts of various magical systems. While learning from diverse traditions can enrich your practice, it should never involve taking elements out of their cultural context for personal use without proper understanding and initiation. Decolonizing your magical practice is a significant endeavor that requires sustained commitment, self-awareness, and active engagement. Here are some steps to help you in this important journey:

Educate Yourself: The first step in decolonizing your practice is to become knowledgeable about the histories, cultures, and traditions from which various magical practices originate. This will help you understand the contexts in which these practices were developed and how they have been affected by colonization.

Acknowledge Origins: Always give credit to the cultures, traditions, and communities from which certain practices and tools originate. This is not only a matter of respect but also a way to counteract the erasure that often occurs when practices are appropriated.

Assess Your Sources: Evaluate the materials you are using to learn about magical practices. Are they written or produced by individuals from within the tradition? Do they provide historical and cultural context? Are they respectful and do they avoid exoticizing or commodifying the practices they describe?

Reflect on Motivations and Entitlement: Examine your reasons for incorporating specific practices or tools into your own practice. Are you doing it because it's "trendy" or because you feel entitled to pick and choose from other cultures? Such motivations can be indicative of a colonizer mindset.

Avoid Cultural Cherry-Picking: Engaging deeply with another culture's practice means more than just adopting its magical or spiritual elements. It involves an understanding and respect for the culture as a whole, including its history, struggles, and contributions.

Engage in Dialogue: If you are interested in a practice that originates from a culture different from your own, try to engage in a respectful dialogue with individuals who belong to that culture. Seek their perspectives and listen to their experiences, and ask for their insights into ethical engagement with their traditions.

Prioritize Marginalized Voices: Elevate the voices and teachings of individuals from marginalized communities who are sharing their own traditions. Their perspectives are often sidelined but are crucial for a genuine understanding of these practices.

Financial Support: Whenever possible, support practitioners from the culture of interest by paying for their services, buying their products, or donating to causes they recommend. Economic empowerment is a form of reparative justice.

Revise and Reassess Continually: Decolonization is not a one-time action but an ongoing process. Keep updating your practices as you gain more knowledge and understanding. This may mean abandoning practices or tools that you now recognize as inappropriate for you to use.

Be Accountable: If you make a mistake—and most people do when they are learning—own it. Apologize, learn from it, and make amends if possible. Then take steps to ensure you do not repeat the same mistake.

Advocate and Educate: Use your platform, however big or small, to educate others about the importance of decolonizing magical practices. Share resources, engage in conversations, and challenge instances of appropriation you encounter.

Practice Humility: Recognize that the process of decolonization involves continual learning and that you won't have all the answers. Be open to criticism and willing to change your viewpoints and practices accordingly.

How Appropriation Negatively Affects Magical Potency

The act of appropriation in magical practices not only raises ethical concerns but also has deleterious effects on the potency of the rituals involved. One of the most glaring issues arises from the isolation of a practice from its original cultural context. Traditions, rites, and spells often have deeply ingrained cultural meanings and histories. When extracted from their native milieu, these practices lose the richness and nuance that contribute to their efficacy. The symbols, words, and actions employed in a ritual are often deeply tied to the specific geography, language, and folklore of its origin. Stripping away this context can dilute the ritual's power, rendering it a mere simulacrum of its original form.

Another significant concern pertains to the connections with spirits and ancestors that are inherent in many magical systems. These relationships are often built over generations and are rooted in specific cultural narratives, myths, and practices. When one appropriates these systems without a genuine link to the cultural lineage, the connection to these spirits and ancestors becomes tenuous at best. In some cases, this could even be seen as a form of spiritual trespassing, which not only questions the ethical standing of the practitioner but also diminishes the effectiveness of the ritual. These ancestral and spiritual links act as conduits for magical energy, and without them, the practice becomes hollow.

Lastly, the issue of alignment with one's personal truth cannot be ignored. Each individual has a unique set of beliefs, experiences, and perspectives that inform their magical practice. When one adopts practices from another culture without proper understanding or respect, there is a high likelihood that these borrowed elements will not align well with one's personal truths. This dissonance can create an internal discord, which in turn weakens the potency of the magical working. A harmonious alignment with one's core beliefs and experiences often serves as the bedrock upon which effective magical practice is built.

Implementation of the Concepts Discussed

The efficacy of magical practices can be significantly bolstered by adeptly incorporating cognitive techniques related to memory and repetition. One such method involves capitalizing on short-term memory. After assimilating beneficial information, executing a straightforward magical working immediately afterward can aid in embedding the newly acquired knowledge. This rapid recall and application essentially serve as the anchoring of the information more firmly by immediate utilization. This technique leverages the brain's natural propensity for retaining recently processed information and puts it to practical use, thus enhancing the likelihood of a successful magical outcome.

Subconscious memory plays a similarly pivotal role in the refinement of magical practices. The consistent and repeated consumption of relevant information can precipitate a subconscious framework that thereafter influences your methodologies. Over time, this reservoir of deeply ingrained knowledge becomes an almost instinctive guide during magical workings. The more frequently you engage with this material, the more it seeps into your subconscious, ultimately serving as an internal compass that steers your practices toward greater potency. Hence, the diligent study of reputable materials can lay the groundwork for a more effective and nuanced magical practice.

Repetition, both cognitive and practical, stands as another invaluable tool in solidifying one's magical practices. Repetitive engagement with the material, whether it's through written summaries, vocal articulation, or mental rehearsal, can fortify the neural pathways associated with that specific information. Furthermore, the regular enactment of magical workings that incorporate these concepts can engender a form of habituation. These practices, through repetition, become ingrained behaviors, thereby increasing the ease and fluidity with which they can be executed. This habitual nature, in turn, contributes to an overall enhancement of magical potency.

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Cosmicaquamarie

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This post was reviewed and edited for easier reading by ChatGPT.

[absolutebl]

BLs with Strong Historical Elements

Costume dramas, historical BLs, and BLs with time travel or flashbacks to historical locations & times.

These are in order of my personal preference, best at the top.

I Feel You Linger in the Air

2023 Thailand

IFYLITA is an exquisite BL, from filming techniques to narrative framework (much like Until We Meet Again). It's about a gay man from our time who falls into the past, becomes a servant to a noble house, and falls in love with the heir. It turns out this has all happened several times before. Steeped in history and family drama it edges into lakorn (but not as much as To Sir With Love and with way less scenery chewing). This is an elegant and classy soulmates BL... from Thailand which normally doesn't even try for classy. The main couple (both as a pair and as individuals) were excellent, particularly Bright (Yai) whose eye-work acting style is a personal favorite of mine. Pity about the ending. Oh it wasn’t that sad but it wasn’t good either. This show could easily have earned a 10/10 from me except that it fumbled the… erm… balls in the final quarter. Argh. Whatever.

Nobleman Ryu's Wedding

2021 Korea - WeTV

A boy cross-dresses to take his runaway sister's place as a bride to a shy scholar, turns out they like being married. A historical setting allowed this BL to use some seriously old fashioned romance tropes (arranged marriage, evil step-sisters, Cinderfella) but also modern BL stylings like fake relationship & secret identity (drag) plus some cute gay panic. It reminded me of 12th Night more than anything else which just happens to be my favorite Shakespeare play. For all these reasons, I adored it.

(the ghat kiss!)

Tinted With You

2022 Korea - Viki

Fun stylish time travel meets portal fantasy with a likable cast, historical setting, and two actual kisses that mitigate the rough plot and issues around anachronisms.

Word of Honor

2021 China (censored) - Viki/YouTube?

I don’t rec Chinese stuff often, because I believe in censoring the censors, but this show is one of my favorites of the post 2016 censored bromances. It’s two murder-gay assassins (pining sunshine/tsundere), and they are so insanely gay for two boys who will never be allowed to kiss. Tropes include: wuxia, soulmates, paranormal, historical, and fantasy elements.

To Sir, With Love AKA Khun Chai

2022 Thailand - YouTube?

This is a true lakorn (basically Thai tellenovella or soap opera) with scenery chewing performances, especially from the mother characters. Gone With the Wind + Days of Our Lives but gay. That said? I loved it: A glorious central brother relationship (the best, made me cry), het romances, class divide + gay *gasp* main romance - oh my word, the campy drama of it all! Arranged marriage, rebellion, cut sleeves, over-the-top death with curses and regrets, beautiful if inaccurate costumes, secrets unraveling, cover ups, sparkle murder, sex herbs, coils within coils including snakes and murderous green metallic sequins (is anything gayer on this earth?). It’s a WILD ride but it does end happy for our gay boys. A man cries when he finds DEATH GLITTER. Come on! You haffa watch it. That said, like Manner of Death I struggle to rate something on a BL scale when it patently isn’t a BL. So I ended up giving this exactly what I gave that show, 7/10 I enjoyed it a whole lot, but not as a BL.

The Untamed (Special BL Edition)

2020 China (censored) - YouTube

Censored wuxia bromance, amorphous ending. Probubly the best known BL of its kind out of China and responsible for bring many fans to the BL side.

Our Skyy 2: Never Let Me Go

2023 Thailand - YouTube

I was nervous to watch this PondPhuwin vehicle but I liked it a lot! Doomed soulmates + paranormal time travel to fix the past. I’m happy for the outfits and the dancing (if not the singing). It’s not a bad premise and it’s nice to see GMMTV lean into its high production values for a change. I'd adore a full historical starring these two and this was definitely the best of the second series of Our Skyy. I don't think you have to have watched the original Never Let Me Go to enjoy this.

Legend of Long Yang: Rebirth

2017 China

Gaga

Whipping boy trope... literally, servant character takes the strap for the prince, who then makes him his bodyguard and lover when he becomes king. Low budget historical, comes off as kind of cosplay wuxia version of Irresistible Love, but we get (in the credits) an actual kiss, and they both live. So yay for small mercies.

The Director Who Buys Me Dinner

2023 Korea (historical flash backs)

iQIYI

A new employee at a film company encounters a director who claims to have lived 300 years and insists that they have to date (eat, hug & kiss) if baby doesn't want to die. It has a lot of Japanese elements, not the least of which are: an office setting, the fact that every character in this show is unhinged, and a killing of the gays. Featuring a gorgeous & stellar cast, TDWBMD should have utilized them less for melodrama and more for chemistry. This BL surprised me by going there with a lipstick mark AND an actually gay idol. But (you knew there was a but) while it's a unique twist on an office romance it is NOT a unique twist on the doomed red thread trope, resulting in it feeling less than the sum of its parts and ultimately unsatisfying. This might have also had to do with the fact that this was one of those KBLs where I felt how very short it was the whole time I was watching, like I was missing something constantly, in every episode. Worth watching for some but seriously flawed.

First Love Again

2022 Korea (historical flash backs) - Viki

A popular novelist who remembers his past lives meets his soulmate for the third time, only to find she has been reincarnated into the body of a man. This one started out a touch mean-spirited, but we eventually got a good kiss. The confession/rejection scene was justified and the reconciliation and ending was... fine. All in all, the pacing felt rushed and the romantic arc was underdeveloped. They go from like to love to boyfriends in a red hot minute. But that’s par for the course with Korea’s short form. If you don’t mind a heavy does of melodrama in your BL this one has a solid story with a strong concept that’s well acted and produced, making it a classic KBL with better than average chemistry but ultimately a touch forgettable.

Love in Spring AKA Spring of Crush

2022 Korea

This show was all over the place with uneven acting, narrative, and focus (sometimes it wanted to be a slapstick comedy, sometimes a depressing melodrama) which meant no one, actors or viewers, took anyone or anything seriously.... AND it’s a bromance. I was left wondering if SalHyung is now code for “they were roommates” in Kdrama historicals but otherwise largely apathetic and unimpressed. Korea, I now know you can do better. Do better.

Mermaid's Jade

2019 China (censored-esk) - Gaga

Kills the gay.

The Male Queen: Han Zi Gao

2016 China - Gaga

Kills the gay. Schrodinger's BL, both a BL and entirely not one at the same time.

Diary of Heong Yeong Dang

2014 Korea

Kills the Gay

I was gonna do a top 10 list, but there aren't enough by my metrics, so many end sadly.

This post at the behest of @verymuchof thank you for the idea!

Dated April 2023, includes only BLs that had finished their run by that date. Not responsible for cool costume flix that come after that. But you should check the comments to see if any have been added by others!

I might have missed a few that only have time historical elements since I don't always track those.

Also I would like to point out a decided lack of Japan on this list. My ninja yaoi consuming tiny past self is VERY upset about this void.

WHERE ARE MY GAY NINJAS??!!!

(source)

[technologyequality]

AI and Business Strategy: The Secret to Sustainable, Scalable Success

AI and Business Strategy The Secret to Sustainable, Scalable Success Scaling is one thing. Sustaining it? That’s the real challenge. If you’ve been following this series, you know we’ve talked about AI-driven leadership, customer experience, and innovation—all crucial pieces of the puzzle. But today, we’re tackling something even more foundational: how AI transforms business strategy…

[slugtranslation-hypmic]

A Reflection on Translation's Role in R. F. Kuang's Babel or the Necessity of Violence

I don't think I've ever encountered a work that pairs messages I so completely agree with and an execution that I so profoundly dislike. What a frustrating combination.

I'd had this book hyped up to me by colleagues in the Jp -> En media translation field, and I went into it with the impression that it was an adult fantasy/dark academia novel. I don't read much dark academia--the genre doesn't tend to do much for me--but due to a stroke of unfortunate timing had read dark academia's posterchild, Donna Tartt's The Secret History, just before this, leading me to draw unfavorable comparisons between the two. Furthermore, despite its marketing, Babel strikes me as much more of a YA novel--or at the very least pure pop fiction--and inherits many subjectively negative traits from this classification. Too high expectations, a dislike for the book's genres, and a greater understanding of translation theory than the lay audience--I was never a part of Babel's target audience and had little chance of being perfectly satisfied with it.

Nevertheless, I do think the book has tremendous value to those who aren't translators/translation studies academics or who enjoy dark academia pop fiction. While I don't read much English pop fiction, my subjective lack of enjoyment is not a statement of objective lack of value in this type of literature. I would highly recommend this book to anyone with even the slightest interest in language's effect on the world, and I commend R. F. Kuang's ability to deliver Babel's important messages to a wide audience.

At the same time, the book's status as a translation of 18th century events to a modern audience is fascinating and bears looking at, particularly in how this framework serves to undermine the characterizations and, consequently, the novel's core messages.

The Basics of Babel (Beware of Spoilers!)

Babel is, first and foremost, a medium to deliver certain key messages. The pursuit of empire is inherently evil; when the ones in positions of power will never listen, violence is one of multiple necessary tools; together we stand, divided we fall; spheres of oppression overlap in intersecting patterns; revolutions disproportionately affect the already disenfranchised; even so, structural change is necessary to alleviate structural ills; academia appears to be disconnected from the real world but has real, lasting impact. And so on. I agree (as would, I assume most of this audience--I don't think any of these ideas are especially challenging) with all of these; I'm also not trained in these fields and don't have much to comment on here.

Of secondary importance and primary prevalence in the novel are messages about language. Translation is both a tool of violence and liberation. There is inherently a degree of "betrayal" (the book's term) or "transformation" (mine) in all translation. Language and translation have real effect on the world and its individuals. It is impossible to translate with absolute fidelity and yet an absolute necessity to try. Translation--and by extension, all communication and all human contact--is the necessary violence expressed in the subtitle.

And again, I agree! I agree so completely I struggle to remember a time these themes weren't so self-evident to the point of being part of my self. Where my disagreements begin to creep in occur at the level of the characterization where, by virtue of being flattened in the "translation" process, the characters are inadvertently dehumanized to the degree of undermining these core concepts.

Babel consists of two distinct segments, the former being a 400-page sprawl of the four protagonists' upbringings and undergrad experiences in 19th-century fantasy Oxford as translation students. In this universe, magic is performed by matching a pair of words with the same denotative meaning in two different languages. The unshared secondary meanings or connotations are then manifested into the real world, thus implementing the spell. As a simple example, an English watermelon is not an English vegetable, but a Japanese スイカ is a Japanese 野菜. Therefore, if 野菜 and vegetable were matched, this spell might latch onto the notion of a watermelon/スイカ--something that exists in the Japanese definition but not the English definition--and make the melons grow faster. The protagonists thus spend the bulk of the novel learning translation theory, spell crafting, and the ways in which the British Empire is built upon the back of these spells and global exploitation.

Tensions slowly ramp up until one protagonist ultimately murders another, at which point the somewhat doddering pace revives and proceeds at a brisk clip for the last 130 pages while the surviving pair of "good" protagonists stage a revolution out of Oxford's translation magic hub. While the revolution ends in death for all but two of the "good" characters, it is implied that the revolution's aims are largely successful, with the bulk of the British Empire's spellcasting abilities destroyed. This latter segment of the story has some of the same juvenile, almost fairytale-esque simplification of the rest of the book (it's a tempting fiction to believe the destruction of a single building by a small handful of elites could bring an empire to its knees; this book ultimately reads as an academic's power fantasy), but I actually quite like it compared to the rest of the book. The narrative finally grants the main character some much-needed agency, the characterization improves by leaps and bounds, and the protagonists' views are at long last explored with contrasting and three-dimensional opinions. It's a welcome breath of fresh air and complexity.

The problem, as I see it, is that because Babel tackles such critical and multi-faceted ideas as the ethics of revolution and translation, complexity is a necessity that Babel too often forsakes. Babel flits between the competing notions of an educational call for action spoken by real, imperfect people and a cozy, somewhat twee fantasy of paper dolls coming together across racial, gender, and class lines for justice. If the work wants to discuss dehumanization via language, it can't afford to dehumanize its own characters with its language.

Babel as Translation

Kuang's narrator and narrative work hand-in-hand to produce this uncomfortable and clumsy effect.

The book is framed as a historical text written by a minor participant in the revolution in an effort to humanize the characters, "a record that doesn't make us out to be the villains." (504) This aim is achieved as Kuang's narrator follows the internal life of Robin Swift and, to a lesser degree, the three other members of his Oxford cohort in dramatic fictional prose. The text is peppered with footnotes providing extra context, much like a translator's gloss, generally about historical injustices but with occasional dips into the protagonists' private thoughts. The narrator themself, while content to remain in third-person, injects their personality heavily with didactic commentary on oppression and translation theory. I don't knock this as a storytelling technique in and of itself; a brutal hammer of a narrator could be an interesting parallel to the brutal hammer of systemic oppression. It does, however, create the impression that the narrator is hovering just over the story's shoulder at all times, unwilling to trust that the characters will perform their allotted roles once the narrator's back is turned.

Furthermore, the narrator's voice is firmly grounded in its time and place--the time being 2022 and the place being the leftist internet. The prose is undeniably the rhythmic, somewhat dramatic style presently in vogue in the English fiction market, and arguments are formed in the thinking patterns and vocabularies of modern day English internet discourse. When the work itself is set in the 1800s, this creates a slightly jarring effect--language supplanted into a setting where we wouldn't expect to see it.

This suggests the narrator is, effectively, translating a series of events written in an older English into the English of our day and age.

We must assume the narrator is taking their fair share of liberties. Apart from the inclusion of vocabulary that's wildly anachronistic (the word "narcostate" would not materialize in English until long after the 1830s), we also see the narrator's presence in the similar speech styles of all English-speakers across place of origin, class, and upbringing. Compare the college-educated Robin:

But how do you know? ... You didn't see what I saw, you don't know what the new match-pairs are-- ... It's just... It just feels like--I mean, I'm the only one who's always at risk, while you're just-- (182, quotation picked somewhat at random)

to the working-class laborer Abel:

"Is it really as bad as all that?" Robin asked Abel. "The factories, I mean." "Worse," said Abel. "Those are just the freak accidents they're reporting on. But they don't say what it's like to work day after day on those cramped floors. Rising before dawn and working until nine with a few breaks in between. And those are the conditions we covet. The jobs we wish we could get back. I imagine they don't make you work half as hard at university, do they?" (493)

Similarly, most characters retain the same vocal quirks as the narrator and Robin. See also on page 493, a third character starting and stopping herself in an identical fashion to Robin, "It's just... it's a side of the story we don't often think about, is it?" or on page 529 the same character copying Robin's habit of amending her comments with I mean, "Possibly the younger students... The ones who don't know any silverworking, I mean."

This produces a muted, washed-out effect wherein characters struggle to differentiate themselves on the basis of their personalities. But, in terms of translation, is this necessarily a bad thing? Is it wrong to familiarize the unfamiliar with the vernacular of the target audience?

Fortunately for us, Kuang's narrator has their own opinion on this very subject, delivered to us through the mouth of Ramy, Robin's love interest and generally all-around "good" character. In fact, one of the very first things we learn from Ramy is his dislike for a certain style of translation:

That's a terrible translation. Throw it away. ...and for another, it's not remotely like the original. What's more, Galland -- Antoine Galland, the French translator -- did his very best to Frenchify the dialogue and to erase all cultural details he thought would confuse the reader. ... And he entirely cuts out some of the more erotic passages, and injects cultural explanations whenever he feels like it -- tell me, how would you like to read an epic with a doddering Frenchman breathing down your neck at all the raunchy bits? (52)

Blessedly, we are spared that specific experience--if any raunchy bits existed, Kuang's narrator has trimmed them accordingly.

The reader, at this point, is expected to know little of translation theory on their own and should accept Ramy's opinion as that of fact. Ramy is the first character with purely positive associations in Robin's life, and the narrative swiftly propels us through the process of Robin and Ramy falling in love within a handful of pages. ("Robin felt a strange, bursting feeling in his chest then. He'd never met someone else in this situation, or anything like it..." (50) "...they sat cross-legged on the floor of Ramy's room, blinking like shy children as they regarded each other, unsure what to do with their hands." (50) "And [Robin] wanted so badly to impress Ramy. [Ramy] was so witty, so well-read and funny. He had sharp, scathing opinions on everything..." (51))

The reader is therefore expected to associate a liberal or heavy-handed translation style with bad practices--that is, until we learn that Ramy himself "was always ready to abandon technical accuracy for rhetorical flourishes he insisted would better deliver the point, even when this meant insertion of completely novel clauses." (224) (We must also note that this is the "polar opposite" of a "bad" character's style, which we will touch upon shortly.) Ramy, it seems, is allowed his liberties because he has "an uncanny ear for rhythm and sound. He did not merely repeat the phrases he absorbed; he uttered them in such precise imitation of the original speaker, investing his words with all intended emotion, it was like he momentarily became them." (269) Meanwhile, on page 383, we are told "Non-European texts [translated into English by Europeans]...tended to be loaded down with an astonishing amount of explanatory content, to the effect that the text was never read as a work on its own, but always through the guided lens of the (white, European) translator." This information might have been better received were it not in an explanatory footnote that takes up the half page.

I would like nothing more to give Kuang the benefit of the doubt and assume these hypocrisies are intentional, but writing a heavy-handed 500-page book just to poke fun at heavy-handed translation in a single footnote is either a Modernist masterpiece or simply not happening.

I also understand and acknowledge that there is plenty more nuance to these arguments. The Galland translation of One Thousand and One Nights bears a strong moral impetus toward exact fidelity as an introduction of a work of enormous cultural value to a society largely ignorant of that culture; Ramy's translation is a college writing assignment. Elisions for cultural sensitivity are not the same as additions for aesthetic sensibilities or contextual glosses/footnotes. Kuang's narrator is translating concepts from an academic environment to a general audience, where the balance of power is relatively equal, whereas Galland is translating across a broader power gap between cultures. Etc etc. I don't take umbrage with any of that--I also think Galland's translation practices were unacceptable, and I'd be a fool to pretend I don't take translation liberties when appropriate. My concern is that the general audience lacks this background and, when asked to reconcile these hypocrisies, will draw the conclusion that Kuang's narrator is espousing "white, European = bad / non-white, non-European = good."

Which, in the broadest brushstrokes of this colonial environment, is true! The British Empire--and empire in general--is cartoonishly evil, and I don't care much that most of the white English cast is flattened into 2D caricatures as a consequence. It's the reverse that's far more troubling.

Unfortunately, for the first 400-some pages of the book, the narrator plants all intelligent, kindhearted, or otherwise pleasant thoughts in the heads of non-English characters. (Here, non-English refers to any PoC character born outside of Britain, any half-white characters, and the one "good" Irish character. "Non-English" is a terrible classification system, but as all the "good" characters don't self-identify as British or English anyway, this will have to do for now.) Arguments between non-English characters are astoundingly minor; worse, they have little to no bearing on the overarching plot--it takes the murder of a white man to turn the story from academia romp to goodnatured revolutionary conspiracy. (And this only boils over into full revolution because a white English girl takes negative action!) Non-English characters' worst traits are annoying at best to the point where one, their repeated inability to understand intersectionality, comes across as bizarrely out of character and inappropriately dim-witted. Even then, such comments are set up to be angled at "less oppressed" characters. Robin and Ramy frequently fail to conceptualize the struggles of their female classmates or, at times, have rude thoughts about women. However, when their black female classmate Victoire is having anxiety attacks and white female classmate Letty is suffering nervous breakdowns, Robin ignores Victoire to say Letty is "not helping the general feminist case that women were not nervous, pea-brained hysterics." (368) Victoire simply cannot allowed to be "bad" in any way.

The constant need to be "good" strips characters of any ability to develop personality, deep character flaws, or culpability for their actions. For 4/5 of the book, Robin, Ramy, and Victoire are so caught in the narrator's stranglehold that they appear only little more three-dimensional than the paper-thin villains. This, while unintentional, is nevertheless a tragedy.

The Translated Narrative

Similarly, the narrative suffers from being a modern day experience transplanted onto the 19th century setting.

Protagonist Robin and the other members of his cohort are introduced as linguistic geniuses, all of whom have studied from a young age--and not always willingly--to be part of an elite class of undergraduate translators at Oxford. From the age of eleven, Robin spends hours every day studying Greek and Latin, both of which have historically been taught and to this day are taught with copious amounts of translation work. We are shown Robin translating Latin into English as a child (31)--amusingly, the author he works on will be complained about later as very difficult to translate when taught in the later years of undergrad, an inconsistency I can only assume is unintentional--and have every reason to believe it is done competently. Furthermore, Robin continues to retain his native fluency in Mandarin, meaning he should be intimately familiar with basic translation theory and the differences in language by the time he reaches university.

However, the modern day reader is not expected to share this same linguistic background, and the narrative must quickly bring them up to speed. Thus, upon arriving at Oxford, the narrative takes the audience on a ride through a series of bare-bones basic translation theory lectures.

The first lecture opens on the professor "try[ing] to impress upon [the protagonists] the unique difficulty of translation," (104) an absurdity when presented to characters who have been translating for years. Suddenly, characters are catapulted out of their 19th century elite backgrounds and into the bodies of 21st century freshman.

"I don't understand," says trained classicist Letty. "Shouldn't a faithful translation of individual words produce an equally faithful text?" (105) (Later, we discover that Letty's translation style leans strictly literal in opposition to Ramy's. This is posited as a bad choice--which is broadly speaking true--but becomes an uncomfortable parallel between Letty's unyielding, "bad" personality and her "bad" translation choices. Ramy also equates being a good listener and with being a good translator (535), leading to one of the few places where I openly disagree with the narrator. In an ideal universe, truly good translation could only be unlocked with great care; unfortunately, technical skill does not equal strength of character.)

"Is faithful translation impossible, then?" a professor later "challenges." "Can we never communicate with integrity across time, across space?"

"I suppose not," reluctantly (153) says Victoire, who is "raised to read and compose and interpret." (541)

The notion that these characters can have drilled in languages and translation for years on end without having ever considered these basic concepts is laughably absurd. It is like an engineering student receiving a full-ride scholarship to MIT, walking into class on the first day, and saying, "What are all those letters doing on the board next to the numbers?"

And yet the narrator would have us believe this because, fundamentally, the narrative is that of a 21st century university undergraduate's experience. Someone with an interest in languages but little formal training in translation--we certainly don't teach that in American high school--could, conceivably, walk into these lectures and be charmed by "this dramatic mysticism, these monologues that must have been rehearsed and perfected over years of teaching. But no one complained. They loved it too." (107)

Our imaginary 21st century undergrad takes Robin by the hand and leads him along four years of lectures, luncheons, exams, rowing club, and endless giggle sessions with friends. It's cozy and cute. Everything is magical and ready-made for a Pinterest board.

Meanwhile, the bloody cogs of the British Empire churn relentlessly in the background. Robin is invited to participate in a largely low-stakes revolutionary operation and, for about 200 pages, most of his inner turmoil centers around the conflicting desires to lean into the revolutionary movement and the desire to cement himself in a cushy life at Oxford.

Here, the lighthearted atmosphere is by design; for the modern-day reader to feel shock at the abrupt turn in tone, the luxuries and conveniences of an idyllic modern-day academic experience must be shown. However, it must be stressed that this tonal shift occurs over 400 pages in. The slow pace hinders the narrative's ability to be considered in its full 19th century ramifications. We spend so long in Robin's 21st century head that the core struggle, for a sizable chunk of the novel, is coming to terms with one's position of privilege in society and how that affects one as a translator. These are valuable things to consider, and it is something the audience--most of whom are closer to Lettys than Victoires in terms of societal position--should devote time and attention to, but I cannot help thinking there could've been more efficient use of space in this book. It is difficult to examine more of the hard-hitting topics when so much of the book is devoted to the author's nostalgia for their college experience.

The narrative's other core issue interweaves with something I touched upon earlier, the lack of agency in its core characters. For most of the book, Robin is largely shepherded along by forces outside of him, giving him an (intentional) learned helplessness under the oppressive colonial system. However, likely unintentional narrative choices contribute to this problem and give Robin the impression of being even less empowered than he is meant to be. Robin's first two decisive actions of any note are triggered when another character forces him to make an "It's us or them" style choice. In both cases, Robin chooses to side against the revolutionaries for self-motivated reasons, and the narrative later rewards him with a third "It's us or them" choice motivated by purely selfless desires. These could be great character-establishing moments--if any of those choices mattered. But they don't! After choice 1, Robin winds up in contact with the revolutionaries again due to complete coincidence. After choice 2, Robin faces the personal fall-out of turning in the revolutionaries...until a more pressing issue turns up, only partially of Robin's doing (the question of whether this was intentional or accidental is discussed heavily throughout the rest of the book), at which point the personal issues dissolve and vanish. Oh, and the revolutionaries suffered no consequences after Robin ratted out their safe house. Everything is fine and dandy!

And also deeply frustrating. If Robin's actions don't matter, then why have Robin act at all? Is Robin a person or a cardboard cutout doll?

Similarly, the narrative is littered with deus ex machinas to an unfortunate degree. The reader quickly becomes accustomed to a common narrative structure: A problem presents itself, the protagonists panic and make an attempt to fix the problem, that solution fails, tension heightens--and a side character (often a revolutionary) steps in and resolves the problem. So, too, are the major turning points orchestrated by other people. Robin's father instigates his own murder by approaching Robin. Robin is radicalized by Letty setting the police on the revolutionaries.

Robin, then, has no more control over his person than a puppet until the final 1/5 of the book. This is partially intentional as a means to demonstrate Robin's unconscious conforming to racial stereotypes of passivity as a means to be "accepted," even partially, in colonial British society. Had this vanished entirely upon Robin's dramatic turn to agency in the final hundred pages, I wouldn't have been the slightest bit concerned--but it doesn't. Once Robin seizes control of the magical translation tower on page 448, he sits and waits for outside forces to act. And waits. And waits. And waits. The army arrives, but that's all right, because here come the townspeople, who've made a miraculous turn of heart and are ready to be good revolutionaries alongside the Oxford elites. Oh no, they're running out of food--oh, whew, the problem solved itself by virtue of the townsfolk showing up. Uh-oh, Robin has to make the decision of breaking the siege under flagging moral--oh never mind, here comes Letty to take that problem away. I can't wait for Parliament to respond and end the siege for us, but until then, we just all have to wait. And wait. And wait.

It is 84 pages before Robin takes another action.

Translation as Necessity

I don't fault Kuang for the ideas she presents, nor the means she chooses to employ, but I do think it's a tragedy that her own writing skills are inadvertently undercutting her work. Babel is, at heart, a heavy translation of a fictional 19th century event that accidentally does the very thing it criticizes--making people less than people through the act of translation.

And yet still we must translate.

Kuang is correct and expresses herself elegantly when her narrator says:

Language was just difference. A thousand different ways of seeing, of moving through the world. No; a thousand worlds within one. And translation -- a necessary endeavor, however futile, to move between them. (535)

Communication is an attempt to link two agents to one another, and communication is informed by its medium. The conventions and limitations of e-mail shape a message differently than does a phone. A translation, then, is an act of communication wherein the medium plays a dual role of conveyance device and additional agent. The translator, be they human or machine, must always make choices. There is no chance a message can passage from agent to agent to agent perfectly intact.

But then, can a message ever be perfectly communicated? If languages are only another medium, then so too will the language inform the delivery of the message. The words I've chosen in this essay are not the same as my thoughts, nor is your impression of this text the same as my words. Language itself, of course, has no inherent meaning. Even single words--let's take "vegetable" again--conjure different images and different associations with different people. There is no Platonic ideal of "vegetable" we can point to and say this, and only this, is "vegetable."

And if it's that hard to communicate with individuals who share the same language, what about individuals in other languages? Or how about when languages overlap? My command of English is informed by the facts of my life, both the demographic--white, American, Latino, male, born in the 90s, asexual, multilingual, middle-class, blah blah blah--and the experienced--listened to this life-changing song, read those books, played those games, loved and cherished those other people. Your English, too, is informed by all the millions and millions of things that make up you--some of which may be other languages. If, being as you also speak Japanese, you consider a "watermelon" to be a "vegetable," who am I to tell your concept is lesser?

In the way English is no monolith, Japanese is no monolith. So are Spanish, French, Mandarin, Swahili--every individual uses their language or languages in a different way in an imperfect attempt to express their unique thoughts. It's daunting, then, to be the medium with which someone else reaches out and attempts to convey a message.

But that's no excuse not to try. Rather than not convey anything at all, we all have to try, and try our best, to convey ourselves. The fact that it's impossible to translate--to communicate--should not be the deterrent it so often is. Without conveyance, we are nothing to one another. It is communication that allows us to shape ourselves and shape the world around us.

I think a lot about translation as an act of betrayal or violence. I agree that it can be, and often is, but underlying that I think it's even more simple--translation is an act of transformation. Transformation, or change, can be influenced by malice or sheer clumsiness. We are betrayed by and violated by those who would seek to change us against our will; on a broader scale, it's remiss for anyone working with different languages to ignore the power dynamics between their source and target cultures.

At the same time, is it always such a bad thing to be changed? I'm reminded of all the vocal tics I've picked up from friends or favorite books. It's an honor to see colleagues integrate phrases I often use in translation in their translations; in turn, I'm constantly writing down words I see in their works and adding them to mine. I'm molded by everything I've ever cared for and that's cared for me, and so are you. So is everyone on the planet Earth.

When we communicate, then, it's vital that we do so with care. We must try to be conscious of our changing, even if doing so will not guarantee success. We have everything to lose by not trying at all.

While the nature of today's Japan-Anglosphere relations are nothing like the relationship between the early 19th century British Empire and its colonies, there are undeniable power balances and cultural considerations to be made. I'm always cognizant of the freedom my US salary gives me versus that of my JP counterparts, the skewed relationship of American vs Japanese global power, the US's continued military presence in Japan, and so on. I don't let it bother me on a daily basis--guilt with no outlet isn't productive--and I recognize how very lucky I am to be able to dismiss that at all. I'd prefer to continue to listen to others and, when possible, use what powers I have for assisting.

At the same time, I don't deny that differences of race affect many core tenets of my work. Japan occupies an odd position in the Anglosphere cultural world of possessing both immense soft power and a strong perception of negative alterity. Besides the overtly offensive opinions, we see so often notions of Japanese stories--and by extension, their Japanese authors--as excessively exciting or alienatingly weird by virtue of being Japanese. Japanese society is so polite! Or, on the flip side, Japanese society is so racist! People draw conclusions--sometimes containing a kernel of truth, sometimes not--from the whole and apply it to the individual.

Even talking about it too much leaves a funny feeling in my mouth. When I speak in broad strokes about what applies to how most people use Japanese, will that be taken as a statement about every individual person's command of the language? If I constantly compare Japanese, English, Japanese, English, Japanese, English, won't that serve to make them seem like two irreconcilable things? What about all the many people who make their home in both languages? And third, fourth, fifth languages too? When I talk about English with the unconscious expectation that this is where the lack of alterity is found, am I driving away those who approach English in another fashion? And so on.

It's especially difficult working in media, unlike interpretation or other related fields with small target audiences, when the target audience is so big. I change the way I talk when I address my friends vs my coworkers--but what about when I address a vast sea of people, an audience I can't control? How do I know what English phrases resonate with them? How do I tailor my communications and the communications I've been entrusted with so the messages land home, as close as they possibly can?

What I do, then, is try to translate in such a way that always considers the person first. When a line shines, I want it to shine in English. I want authors to appear clever and goofy and banal, because people--Japanese-speakers, English-speakers, both, and neither--are way, way more similar than we give ourselves credit for. I want my one weird author to sound weird in all the right places, because he's not weird by virtue of being Japanese, he's weird by virtue of being a feral goblin of a man. I want my one socially sensitive author to sound caring and clever, even if the words she uses don't align with English discourse. I want the sexy scenes to sound sexy, the funny scenes to be funny, the kinda stupid to be kinda stupid--because people are dumb. And amazing. And so very, very good.

I think a lot about a beginning Japanese learner saying "I'm sorry!" (which came across as "Because it's my fault!") when hearing her instructor had a cold. I think a lot about the man who spoke very little English and still went "D: Fall!" to alert me when I dropped a bag. I think a lot about how, no matter how imperfect, we all want to express care for our fellow human beings. I love all the many things that make us different, and I love all the many ways in which we're exactly the same.

Betrayal, violence, and care bubble out of us no matter how much we try to stop them. It's on us to channel the ways in which we change the world and it is, of course, a necessity.

This book drove me up the wall. Go read it.

[korokposting]

the 'explaining why transfem maya fey is so important to me' post is here

I tried to keep this relatively short, when I could (and maybe will) expand this into an entire essay, but it's still ~700 words so it's below the cut ⬇️ cw for some discussion of transmisogyny

The reason that transfem Maya is an especially important interpretation to me is for many of the same reasons as transfem Wilds-era Zelda. Both characters exist in a framework where their status as women is given an increased importance as a marker of their (potential) abilities, and therefore viewing this through the lens of transfemininity provides a wider context for how these characters interact with womanhood.

Only the women of the Fey clan have the potential for spiritual abilities. Of course, it is interesting to consider Maya’s abilities emerging before an understanding of her gender identity, and this therefore serving as a catalyst for a realisation; however, I tend to follow the interpretation that Maya’s understanding of her gender came first, as a relatively young child. This provides an opportunity to explore an aspect of transmisogyny: how her womanhood may have been treated as conditional. 

The adults around her accepted Maya’s assertion of her identity, perhaps even celebrated it – women are the ones that hold (this specific type of) power in this environment! But due to this, an immediate condition is placed on the rightness or wrongness of her identity, an acute manifestation of this dimension of transmisogyny. As a member of the main family, Maya’s identity implies that she must hold spiritual power, and to fail at that would therefore be seen as to fail at correctly performing womanhood.

This adds a new dimension to some of the scenes we see in canon. Maya puts a lot of pressure on herself: she becomes incredibly upset in Turnabout Goodbyes when she is unable to channel Mia, viewing herself as useless and a failure. While part of this is no doubt due to the high standards she is held to in general, as she is already considered to be the next master of the channeling technique, Maya as a trans woman would likely also be viewing this as a failure at correctly being a woman. This is a way for her to prove and assert her identity, and have it affirmed in the culture she grew up in; therefore, it is also a way that she can ‘disprove’ her gender in the eyes of others. Maya is hyperaware of the tightrope that transmisogyny forces her to walk in order to ‘correctly’ be a woman.

Morgan Fey’s actions also have added context with this interpretation of Maya. Rather than just ascribing transphobia to her as she is a ‘bad person’ in other ways, this leans more into providing further understanding of why Morgan may have felt so determined in her belief that Maya should not be the heir of the channeling technique. If Maya’s realisation of her gender did not come until after Mia had left Kurain, then there may have been a period of time when Morgan believed that any child of hers would be the next master. Maya’s assertion of her gender, then, would have disrupted this. Morgan’s existing resentment regarding how her own ‘failures’ were treated may have then become reactionary, believing that Pearl’s spiritual powers are stronger than Maya’s (as she states in Reunion, and Turnabout) by virtue of Pearl being cisgender.

However, an interpretation of Maya as transfeminine should not rest solely on negative experiences that she has. I find Maya as an example of trans joy to be equally compelling. Despite the transmisogyny that Maya as a trans woman would have faced, she has asserted herself as a woman. She is the next master of the Kurain technique, disrupting what may have been rigid beliefs in a society that seems to follow a gender binary quite strictly. 

Additionally, Maya is – despite everything she faces – working to thrive. She is lighthearted and makes jokes, she connects with people, she is expressive with her emotions. While this sometimes being a performance is worthy of discussion (such as in the conclusion of Bridge to the Turnabout, when Edgeworth and Phoenix talking about how Maya is ignoring her own emotions for Pearl’s sake), Maya is still often joyous and proud of the work that she has done. Maya as a trans woman is an example of how trans people can thrive, and the fact that transition is a positive decision.

[animefeminist]

Classmates and finding the humanity in clichés

Content Warning: discussion of grooming and student/teacher relationships, queerphobia

Spoilers for all of Classmates

In every way, Classmates is a straightforward high school love story. High school student Kusakabe Hikaru attends Tofuya Number One High School, an all-boys school mostly populated by low-achieving students, where “if you can write your name, you can get in.” He’s one of the ones that doesn’t care about school; his passion is music, and the rock band he plays guitar in has a minor following. He bleaches and perms his hair, smokes, and drinks. When he notices the more academically-inclined Sajo Rihito mouthing the words in the choral number his class is practicing instead of singing, he assumes it’s because Sajo doesn’t care about music. That impression changes when he stumbles on Sajo practicing alone in a classroom, and he impulsively offers to tutor Sajo. The two grow closer, and their connection turns to romance. 

In the afterword of the first volume of Classmates, Nakamura Asumiko wrote of her first BL series, “I wanted to go with something cliché, almost hackneyed.” It’s true, Classmates does indulge many of the standards of the genre. Kusakabe is a rocker with bleached hair who grows close to his buttoned-up, bespectacled classmate Sajo while practicing for a choral performance. That closeness turns to attraction and the two begin dating, much to the chagrin of Hara-sensei, their music teacher who carries a torch of his own for Rihito. Instead of using these clichés as shortcuts, however, Nakamura uses the reader’s familiarity to build a framework for a humanistic, multifaceted story about queer intimacy, connection, and joy.

Read it at Anime Feminist!