#neo-wizarding world

[hoozukis]

For extra reading:

[procyon-kiryu-heaven]

Shitty (in)corrects (N)TWEWY edited post 15'1/?

Or

Maybe I'll search through other shitty twewy posts and if I find tags that I like, I'll make more versions of them too

Tags by: @shitpostingkats

[raubtierfuetterung]

I hate being a girl

[raconteur-wanpi]

Oh wow, sometimes people smarter than me will point out simple and obvious things I didn't catch on at first, and it always gets me by surprise. At this point I'm convinced that the One Piece world will actually end up flooding before someone can stop it.

Somebody pointed out the significance of these groups being shown during this part of Vegapunk's speech specifically.

At first it seems like a random collection of both good guys and bad guys and their reactions to the big news, but then you look at how they're relevant to this part of the message specifically. We see the shipwrights of Water 7, Neo MADS and the wizards of Weatheria.

Outside of Fishman Island, which is already underwater, the only people above water likely to survive a massive flood are those who are either on top of the Red Line, or those with the means to survive it: those with floating structures and those on sky islands.

Iceberg mentioned wanting to build a floating city due to Water 7's known issues with floods, and it's already the land of ships. Germa is a floating kingdom with no actual land, and the sky islands can't be reached by the water. God damn it. Nothing is random. Not to mention the focus on technology/science and inventions in the speech, which applies to all 3 groups here. Damn it Oda. He cannot keep doing this.

The global flood has to happen, right?

[hoozukis]

See, this was exactly the logic I was going with when I decided to mash together all these universes into one huge crossover, and have Naruto and JJK represent the 魔法所 (Mahoutokoro, which is an exonym) side of the Wizarding World; because 氣/प्राण/vital energy, 脈輪/चक्र/འཁོར་ལོ་/wheels, magical capacity, elemental bending, life force/energy field/aura, livity, mana, aṣẹ, superpowers, etc. are variants of essentially the same concept (or slightly different but largely overlapping concepts), but a bit more fantasised!

Well, a lot more fantasised. But at its core, these are forms of energy that certain entities may generate or convert in larger amounts than others, may know and understand deeper about than others, and may have stronger proclivity to wield and manipulate than others.

As for specific, pinpointed usage of magic… well… 術 would be the umbrella term, since it can be attached to the end of any technique, art, or skill. Under this umbrella term are the bending stuff, and… spells, which is also an umbrella term that houses more specific English denominations, following the standard Fantasy terminology distinctions between charms, enchantments, hexes, jinxes, and curses. Alternatively, the D&D 8 schools of magic can also serve as a categorisation system.

Depending on where someone is in this world and to whom they’re talking, many of these terminologies and categorisations overlap with each other, because folks like to “invent” things and then give them names, when in reality, nature/the universe had made had made all of these available and up-for-grabs for anyone who is capable enough. But whether or not someone is “capable enough” tends to rely more on lucky genetics, over sheer hard work and manual labour; so, people started making social classes and castes out of their gifts, which is then meant to correlate to distinct power levels. All wise and rational, right? After all, hierarchies must be established and maintained. Except, get this: evolutionary psychology and behavioural ecology get in the way of clear-cut puritanical labels! This is where quantitative genetics and molecular genetics (as well as population genetics and evolutionary biology, to a lesser extent) come into play!

Ah… Impalpably metaphysical concepts for us that are only mildly metaphysical for them! Gotta love self-induced headaches 😂

People in Naruto use chakra to do amazing reality-bending feats. And chakra is life energy, so chakra=mana, and this shit is basically magic. Because what else would you call it?

All ninja are wizards, and jutsu are spells. Thank you for coming to my TED talk.

[tinytablepodcast]

Tiny Table Rules Breakdown: Broke Wizards

Smallest Salutations! Class is back in session and— oh crap, can you lend us five bucks? Because we're playing Broke Wizards! Welcome to a world of instant ramen dinners and pocket trash spell components. You’ll learn all about how to play your own broke wizard in this rules breakdown! Listen as Neo guides you through the rules of Broke Wizards, from negotiating with 'The Magic' to managing your paltry sums of Wealth. Thank you to Sabrina Hawthorne for submitting our first community spotlight game victor! We can't wait for you to hear what we've cooked up!

Listen here! Check out Sabrina's work:

[cyberpunkonline]

10 CYBERPUNK ARTISTS THAT'LL JACK INTO YOUR SKULL AND REWRITE YOUR TASTE IN MUSIC

Your auditory implants won’t know what hit ‘em.

Right then, reader �� pull up your faux-leather trousers and strap on your chrome-plated headphones. We’re blasting through the corrupted circuits of the 2025 underground, bringing you 10 contemporary artists who sound like they’re scoring a riot in Neo-Tokyo while being hacked in real time. Yes, there’s synths. Yes, there’s screaming. No, Grimes isn’t on this list.

MACHINE GIRL Genre: Gabberpunk, Cybercore, ADHD-core Ever wanted to be mugged in a server room by a rave demon? Machine Girl has you covered. It’s breakbeats plus punk plus absolute chaos. Every track is a manic assault from a frothing modem on fire. Start with “MG Ultra” — it's like doing parkour through a collapsing arcade. Machine Girl is a project from New York-based Matt Stephenson, who started it in 2013. What began as breakcore mutated fast into a multi-genre freakout. Live performances are frenzied, sweaty, and borderline ritualistic, often featuring live drums and mosh pit energy in tiny venues. Bandcamp: https://machinegirl.bandcamp.com Spotify: https://open.spotify.com/artist/0WwSkZ7LtFUFjGjMZBMt6T

TENGUSHEE Genre: Faewave, Electrofolk, Cyberdrift, Post-Ratcore This glitching shadow-beast of the net is what happens if a faerie takes too many digital drugs and starts a resistance movement in a cursed VR chatroom. Tengushee doesn’t just cross genres — they light them on fire, digitise the ashes, and make a concept album out of it. Expect story-driven drops, haunted samplers, and the occasional whisper from the void. Tengushee operates like a ghost in the wires, often dropping full-concept albums with narrative arcs tied to multimedia projects, zines, or even encoded tone signals. Based somewhere between London and Faewave, their work includes collaborations with glitch-artists and mythmakers, crafting a world as deep as it is weird. Bandcamp: https://tengushee.bandcamp.com Spotify: https://open.spotify.com/artist/5pPzJk8q2YbVRo3dEiE5rZ

PERTURBATOR Genre: Darksynth, CyberGoth Former black metal guitarist turns synth wizard and soundtracks the end of civilisation in style. Every track feels like the opening credits to a forbidden anime you found on a hacked VHS tape. His recent albums dip into goth rock, coldwave, and grim industrial — a sonic warehouse rave thrown inside a haunted monolith. James Kent is the man behind Perturbator, rising out of the French synthwave explosion in the early 2010s. What set him apart was the sheer cinematic density of his work, as well as his willingness to evolve. His later albums feel like full-blown existential crises scored with analog doom. Bandcamp: https://perturbator.bandcamp.com Spotify: https://open.spotify.com/artist/0O02jvPzKT1kQEYg5XEqRA

GUNSHIP Genre: Synthwave with Dad Issues Think “Stranger Things” but horny for Blade Runner. GUNSHIP slaps synth arpeggios across your face while whispering movie references into your ear. Songs like “Tech Noir” and “Dark All Day” are pure neon cocaine. Bonus points for the video with Tim Capello, the sax guy from The Lost Boys. Formed in the UK, GUNSHIP emerged from the ashes of alternative rock band Fightstar. What they lacked in punk energy, they made up for with lush synth arrangements and cinematic ambition. With vocal guests ranging from horror icons to YouTube animators, they’re a love letter to analog future-fantasies. Bandcamp: https://gunshipmusic.bandcamp.com Spotify: https://open.spotify.com/artist/3dD9W6Gh8Mo9Tu4S7ydz8q

SHREDDER 1984 Genre: Darksynth, CyberMetal French producer who mashes heavy metal energy into a screaming cyberpunk blender. His album "Dystopian Future" is all dark atmosphere and adrenaline. This is music for doing squats with a neural interface strapped to your head. Shredder 1984 is exactly what it says on the tin: shred. A project born from metal roots but raised on VHS aesthetics and neon grime, Shredder builds tracks that feel like boss fights in an underground data vault. Occasionally throws in face-melting guitar solos for good measure. Bandcamp: https://shredder1984.bandcamp.com Spotify: https://open.spotify.com/artist/2YlR5FzF4XWgeXGxR2b3Vh

REVOLTING PUPPETS Genre: Cyberpunk Punk These Swiss psychos deliver rebellious punk fused with grinding electronics. The kind of band that would stage-dive into a riot squad. Add in LED helmets and maximum cyber attitude and you’ve got a live act worth risking a black eye for. Born in Bern, Switzerland, the Puppets are part cyber-art project, part live-action political tantrum. The band leans hard into performance art, complete with backstories and a lore-rich website that feels like an ARG. Think Rage Against the Machine, but upgraded with malware. Website: http://revoltingpuppets.com

CLIPPING. Genre: Sci-fi Horror Rap Experimental hip hop trio fronted by Daveed Diggs that brings tales of malfunctioning AIs, haunted ships, and cosmic terror over glitch-heavy beats. Their albums feel like audio novellas for doomed protagonists. Start with "There Existed an Addiction to Blood" or "Visions of Bodies Being Burned." clipping. formed in Los Angeles, with William Hutson and Jonathan Snipes providing the surgical, abrasive production. Their use of silence, static, and horror tropes makes them unique in the rap world. And yes, Diggs was in Hamilton, but don’t let that fool you — these guys write soundtracks for existential dread. Bandcamp: https://clppng.bandcamp.com Spotify: https://open.spotify.com/artist/7cNNNhdJDrt3vgQjwSavNf

BEAST IN BLACK Genre: Cyber Metal, Synth Power If you're into big riffs, bigger vocals, and synths that sound like they were mined from an alien war machine, Beast in Black delivers. Their album "Dark Connection" is basically a concept record about AI girlfriends and cyber-samurai. Finnish-Greek metal band formed by former Battle Beast guitarist Anton Kabanen, Beast in Black are unapologetically bombastic. They mix anime aesthetics with power metal drama, and if you can get past the over-the-top vocals, you’ll find a band that gets how to marry synths with shredding. Website: https://beastinblack.com Spotify: https://open.spotify.com/artist/5wJ1z2KgFvb1GQ9ApnFlog

OKLOU Genre: Glitchpop, Cyberambient A softer, prettier ghost in the machine. Oklou blends vaporous vocals with ambient electronics and medieval fantasy energy. It’s like if a fairy princess got lost inside a Sega Dreamcast. Oklou is the moniker of French artist Marylou Mayniel. With classical music training and a background in club culture, she creates tracks that are emotionally dense but digitally fragile. Her work occupies the misty edges of cyberpunk, where romance and signal loss overlap. Bandcamp: https://oklou.bandcamp.com Spotify: https://open.spotify.com/artist/1FqqOl9itIUpXr4jZPIVoT

NAZAR Genre: Deconstructed Club, Warwave Amsterdam-based producer with beats sharp enough to cut through reinforced concrete. Inspired by war, trauma, and classic cyberpunk anime. His upcoming album "Demilitarize" might be the most realistic sonic vision of future conflict you’ll hear this year. Nazar was born in Angola and raised in Europe, and his music reflects that blend of postcolonial tension and Western club evolution. His productions on labels like Hyperdub use field recordings, mechanical rhythms, and unflinching political commentary. Harsh, heavy, and honest. Bandcamp: https://nazarmusic.bandcamp.com Spotify: https://open.spotify.com/artist/1pQWsZQehhS4wavwh7Fe8D

[justforbooks]

David Lynch

US director whose wildly unconventional films burrowed into the unsavoury depths of his nation’s psyche

David Lynch, who has died aged 78, was the most original film-maker to emerge in postwar America, as well as the greatest cinematic surrealist since Buñuel. His understanding of desire, fantasy and dread was unparalleled; the Paris Review called him “the Edward Hopper of American film”.

He made his debut with the experimental Eraserhead (1977), shot in sooty black-and-white and set in a churning industrial landscape where a man with a tombstone-shaped pompadour tends to his mewling, reptilian baby. From the first frames, Lynch mapped out a cinema of the subconscious that thrived on its own dream logic and nightmare imagery. It shaped everything he did, including his masterpiece Blue Velvet (1986), in which an innocent young man (Kyle MacLachlan) discovers a human ear and is drawn into the sleazy, violent world of a psychopath (Dennis Hopper) and a terrorised torch singer (Isabella Rossellini).

That film introduced into the archetype of cosy small-town America some potent notes of scepticism and revulsion that have never been dispelled.

This project to burrow into the unsavoury depths of his country’s psyche continued with the television whodunnit Twin Peaks, co-created with Mark Frost, which ran for two series in 1990 and 1991 then spawned a big-screen prequel, Twin Peaks: Fire Walk With Me (1992). The show returned 25 years later in a bold but often harrowing and impenetrable third series that, despite being made for TV, was voted the best film of 2017 by Cahiers du Cinéma and Sight & Sound magazines. To preserve the spell cast by his work, Lynch refused to be drawn on explanations. Asked what the third helping of Twin Peaks was about, he replied: “It’s about 18 hours.”

He exposed the horrors lurking beneath apparently placid exteriors, and found beauty in the quotidian, the industrial – “I’d rather go to a factory any day than walk in the woods” – or the repellent: “If you don’t know what it is, a sore can be very beautiful.” For all the darkness of Lynch’s vision, his films could also be extremely funny, peppered with verbal and visual non sequiturs, skew-whiff line readings, slapstick violence and comic embarrassment. The mix of folksy naivety and elusive strangeness in his work extended to his persona and even his wardrobe: 1950s-style slacks and blazer, and a shirt buttoned to the gullet.

He drank a milkshake in the same diner (Bob’s Big Boy) every day for seven years between the late-70s and mid-80s. Watching him on set, the novelist David Foster Wallace observed: “It’s hard to tell if he’s a genius or an idiot.” The musician Sting, who starred in his science-fiction adventure Dune (1984), called him “a madman in sheep’s clothing” while Mel Brooks, who produced Lynch’s second film, The Elephant Man (1980), described the affable director as “Jimmy Stewart from Mars”.

Though his films were wildly unconventional, Lynch was still nominated three times for the best director Oscar. (He won an honorary Oscar in 2019.) Wild at Heart (1990), a road movie marked by baroque violence and homages to The Wizard of Oz, won him the Palme d’Or at Cannes, and he was named best director by the same festival in 2001 for Mulholland Drive, a warped neo-noir thriller about an aspiring actor (Naomi Watts) whose dreams of stardom disintegrate horribly after she befriends the amnesiac survivor of a car accident (Laura Harring). Developed by Lynch from his own butchered TV pilot for a series rejected by the ABC network, Mulholland Drive was one of his most seductively strange pictures.

But linear narrative was not beyond him, as he proved with two deeply moving films based on real events: The Elephant Man, about the severely deformed Joseph Merrick (“John” in the screenplay) paraded as a circus freak in the Victorian era, and The Straight Story (1999), in which an elderly man travels 300 miles on a riding mower to see his ailing brother. Both earned Oscar nominations for their lead performers (John Hurt and Richard Farnsworth respectively), which served as a reminder that Lynch’s skill as a director of actors could sometimes be obscured by his extraordinary imaginative powers.

He was born in Missoula, Montana, to Edwina (nee Sundholm), known as Sunny, who occasionally taught English, and Donald Lynch, whose job as a research scientist for the US government’s Department of Agriculture dictated the family’s peripatetic lifestyle. When Lynch was two months old they uprooted to Sandpoint, Idaho, and by the time he was 14 they had moved a further four times.

He described himself as a “troubled” child who was quick to intuit that all was not well. “I learned that just beneath the surface there’s another world, and still different worlds as you dig deeper. I knew it as a kid, but I couldn’t find the proof. It was just a feeling. There is goodness in blue skies and flowers, but another force – a wild pain and decay – also accompanies everything.” The aftertaste of that memory can be found throughout Lynch’s work but particularly in the opening of Blue Velvet, where a montage showing schoolchildren, roses and white picket fences gives way to shots of insects thrashing in the undergrowth.

Having shown an aptitude for painting since adolescence, Lynch began studying art at the age of 18 at the Boston Museum School, then dropped out after a year to travel to Europe with his friend (and future production designer) Jack Fisk, only to return to the US a fortnight later. He got on better at the Pennsylvania Academy of Fine Arts, Philadelphia, where his canvases took a darker turn (one work, The Bride, showed a woman performing an abortion on herself). It was there that Lynch met Peggy Lentz, a fellow student, who in 1967 became the first of his four wives. Together they had a child, Jennifer, and there have been almost as many attempts to link the pressures of youthful parenthood to the plot of Eraserhead as there have been theories about what exactly that film means, with its flying sperm-like creatures, roast chickens that writhe when sliced, and a balloon-cheeked chanteuse who lives behind the radiator.

He had his first solo exhibition in 1967, the same year he made his debut film work, the one-minute loop Six Men Getting Sick. He received a grant from the American Film Institute to make his 34-minute 16mm featurette The Grandmother (1970), in which a neglected child grows an elderly companion from a seed. The film combined jerky stop-motion animation with live-action footage, and showcased the sound design work of the great Alan Splet. Along with Fisk and the composer Angelo Badalamenti, Splet would become one of Lynch’s most vital collaborators.

In 1972, Lynch began work on Eraserhead. The shoot lasted five years, with regular pauses whenever the production ran out of money; Lynch would then supplement the budget with cash from family and friends (Fisk and his wife, the actor Sissy Spacek, were among those who donated) and by working odd jobs, including a paper round. After his marriage broke down, he also slept in the stables where the film was being shot. When it was finally released, Eraserhead was received with bafflement in many quarters, and with a slow-dawning fanaticism by those who caught it in the midnight movie slots at cinemas in the US, where it played, in some cases, for several years consecutively.

The film attracted the admiration of the poet Charles Bukowski and the musician Tom Waits, and went on to influence film-makers including Terry Gilliam and Darren Aronofsky, the Coen brothers and Stanley Kubrick, who reportedly screened it to the cast and crew of The Shining to put them in the appropriate mood.

During the early stages of production on The Elephant Man, Lynch’s attempts to design the complicated makeup failed catastrophically. But the finished film, with makeup by Christopher Tucker, a clammy feel for Victorian England and some unmistakable Lynchian touches (such as the main character’s birth in a giant ball of smoke), was an outstanding success. It melded the director’s sensibility with compassionate, classical storytelling, even if it did play fast and loose with the facts (the real Merrick, for instance, took a healthy cut of profits from being exhibited).

Lynch’s next project, an adaptation of Frank Herbert’s sprawling space epic Dune, was the only one of his films to escape his control entirely, and to be released in a form not approved by him. He was unsuited to the rigours of blockbuster film-making, and his attempts to wrestle Herbert’s many-tentacled narrative into coherent shape were doomed. The film was an expensive flop – Lynch called it “a fiasco” – but it still contained astonishing sets, costumes and sound design. And it introduced Lynch to MacLachlan, who played the bland hero and would become the director’s on-screen alter ego, the Mastroianni to his Fellini, in Blue Velvet and Twin Peaks. In the latter, MacLachlan played the coffee-and-cherry-pie-loving FBI agent Dale Cooper, whose dreams guide his detective work as strongly as any physical clues.

The experience of making Dune left Lynch drained and depressed. “I was almost dead,” he said. “Dune took me off at the knees. Maybe a little higher.” He amused himself by contributing a four-panel comic strip, The Angriest Dog in the World, to the LA Reader newspaper; it ran for nine years, during which time his drawings of a dog chained in a yard remained unaltered and only the text in the speech bubbles changed.

His fortunes were revived, along with his right to final cut, with the sumptuous and terrifying Blue Velvet, a project he had been planning since before Dune. The novelist JG Ballard called it “the best film of the 1980s – surreal, voyeuristic, subversive”.

Wild at Heart could only look frivolous by comparison, despite game performances by Nicolas Cage and Laura Dern as the lovers on the run. But Lynch was back at the height of his powers with the first series of Twin Peaks, which began with the discovery of Laura Palmer (Sheryl Lee) washed up dead and wrapped in plastic. It altered television irrevocably, paving the way for shows such as The X-Files and Lost, True Detective and The Killing; David Chase also cited it as an influence on The Sopranos.

That enthusiastic reception made it all the more bruising for Lynch when Twin Peaks: Fire Walk With Me was widely panned. In its focus on the days leading up to Laura Palmer’s murder, the film sacrificed the quirkiness of the series in favour of an intense mood of violence and suffering, and it was several years before the picture was reappraised more positively.

Lynch’s next film, Lost Highway (1996), was a profoundly unsettling thriller that hinged on an audacious narrative fracture: one moment a jazz saxophonist suspected of murder is sitting in his prison cell; the next he has vanished and the guards find in his place a young mechanic who has no idea how he got there. The film was steeped in deadpan humour and violent imagery (there is a memorable death-by-coffee-table), as well as nausea-inducing high-speed driving footage that would be subverted comically in his next movie, The Straight Story, which never exceeded 4mph.

Acclaim for The Straight Story and Mulholland Drive restored Lynch to his late-80s standing – the latter went on to be voted the best film of the century so far in a poll of critics conducted by the BBC in 2017. His last film, Inland Empire (2006), was concerned, like Mulholland Drive, with an actor (Dern) suffering a breakdown. But at three-hours-plus and with an unusually ugly visual style (it was shot by Lynch on a handheld Sony digital camera), as well as a meandering narrative interrupted occasionally by a rabbit sitcom complete with laugh-track, it offered little of the compensatory seductiveness of the director’s other films.

That said, Lynch was not alone in feeling that Dern deserved an Oscar nomination, even if his decision to express this view by sitting on a Hollywood street corner with a cow and a poster of the actor’s face was more unorthodox than the usual method of taking out a full-page ad in the trade papers.

With the exception of the third series of Twin Peaks, Lynch devoted the rest of his days to painting, music and writing, while resisting suggestions that he had retired from film-making: “I did not say I quit cinema. Simply that nobody knows what the future holds.” Among the albums he released was the avant-garde blues collection Crazy Clown Time (2011). He also worked with the journalist Kristine McKenna on the memoir Room to Dream (2018), in which her biographical chapters about him alternate with ones in which he muses on what she has written and adds his own reflections, and gave an uncanny performance as the eye-patch-wearing, cigar-smoking film-maker John Ford in the final scene of Steven Spielberg’s autobiographical coming-of-age drama The Fabelmans (2022). Though initially reluctant to take the role, he was persuaded by Dern and by Spielberg’s assurance that there would be a large bag of Cheetos waiting in his dressing room. “Any chance I can, I get them,” Lynch said.

He was a passionate advocate of transcendental meditation, writing and speaking at length on the ways in which it had helped his work and enabled him to “catch fish” – his favourite metaphor for the creative process. (“If you get an idea that’s thrilling to you, put your attention on it and these other fish will swim into it.”) The clarity engendered by meditation was perhaps at odds with the gnomic quality of much of his work.

Last year, he revealed that a lifetime of smoking had left him with emphysema. “I can hardly walk across a room,” he said. “It’s like you’re walking around with a plastic bag around your head.”

He is survived by his fourth wife, Emily Stofle, whom he married in 2009, and their daughter, Lula; by a daughter, Jennifer, from his first marriage, which ended in divorce; by a son, Austin, from his second marriage, to Mary Fisk (sister of Jack), whom he married in 1977 and divorced in 1987; and by Riley, his son with Mary Sweeney, who edited and produced many of his films from the 1980s onwards, as well as co-writing The Straight Story, and whom he married in 2006 and divorced the following year.

🔔 David Keith Lynch, director, born 20 January 1946; died 16 January 2025

Daily inspiration. Discover more photos at Just for Books…?

[chaispicelatte]

Fairy Tale Allusions in Yugioh 5Ds

So I was rewatching 5Ds and Akiza's duel against the knight dude got me thinking about the fairy tale allusions in her design and arc, and thinking about it more got me to realize that 5Ds actually has a lot of loose fairy tale allusions throughout it. So here are just a couple of the ones I noticed:

Akiza in general: Akiza's first duel of the series was already really heavy with the knight vs. witch symbolism. It also got me thinking about the "Princess, Witch, and Prince" theme from Revolutionary Girl Utena. A very basic rundown of what Utena says on it is that people will try to sort women into a box of good (Princess) or bad (Witch) based on how much they conform to the concept of what a girl should be like, a good Princess has to trade independence for protection from a Prince, any girl that doesn’t agree is a Witch. Problem is that no woman is ever just one of those things at a time, and Akiza definitely isn't. She is at first feared for her power, labelled the evil Black Rose Witch, and attempts to find comfort and safety in her "Prince" (Sayer). Only when she meets Yusei and the gang and finds acceptance from them and her parents do we see that she's actually a very kind girl. And even then, she doesn't go trading one Prince for another, she's never as reliant on Yusei as she was with Sayer and maintains her independence. Also just her deck in general carries the theme with fairy tale-like imagery (roses, knights, witches, fairies, and a dragon).

Akiza + Yusei: These two are basically Beauty and the Beast. I am a major faithshipping fan, but even if you take out the romantic aspects, it still fits. Yusei being Beauty and Akiza being the Beast for obvious reasons. The scene with Yusei waking Akiza in the hospital also gives major Sleeping Beauty vibes as well (this scene also owns my soul).

The rose imagery also still fits with both of them.

Yusei: He's Cinderella: he's a poor boy, goes to a ball that he wasn't supposed to go to (Neo Domino), has to leave at midnight (gets arrested), but leaves behind a "glass slipper" (the mark of the Crimson Dragon) that makes it so that the prince (Godwin) can track him down and give him another shot at freedom (not for altruistic purposes of course, but it still fits).

Jack and Carly: Scoopshipping are The Little Mermaid. The mermaid (Carly) falls in love with the prince (Jack), but for certain reasons, they cannot be together. Said mermaid makes a deal, by trading her soul, she gains legs (Dark Signer abilities + duel runner) which allows her a second chance to go after the prince. But the prince rejects her proposal (because she's undead and evil now), and the mermaid concedes. But being unable to hold up her end of the deal, she turns into sea foam and dies (turns into dust and dies).

Leo and Luna: Luna's deck already has a loose fairy forest type theme (and in the manga, has a Fairy Tale archetype). I want to say they're Hansel and Gretel. Has the same beats of two siblings getting lost in the woods (Luna with her spirit world adventure, Leo dueling Devack with "Closed Forest" up). But most of it comes from their duel with Devack, in which Hansel (Leo) stalls the witch (Devack) for as long as possible until Gretel (Luna) can kill the witch by pushing him into the oven (win the duel). You could also say that Luna's arc of freeing Ancient Fairy Dragon has elements of Rapunzel (saving the princess from the witch that locked her up).

Those are at least the ones I noticed. I doubt all of them were intentional but it's interesting when you make the connections. Let me know if there's any I missed because I'm not done with my rewatch yet and don't have anything for Crow. Feel like Team Satisfaction and Neo Domino City have Wizard of Oz parallels, but haven't got enough info to say how yet.

[witchyintention]

The Modern Witch Rises: Witchcraft in the 20th and 21st Centuries

If the Middle Ages were the era of torches and pitchforks, the 20th and 21st centuries have been all about reclaiming witchcraft’s mystique and power. Gone are the days of hiding your cauldron in the pantry—modern witches are loud, proud, and very much in the public eye. But how did we get here? Let’s explore the cultural evolution that brought witchcraft from whispered superstitions to Instagram-worthy spell jars.

A New Dawn: The Occult Revival of the 19th and Early 20th Centuries

While this section technically dips into the late 19th century, it’s impossible to discuss modern witchcraft without mentioning the Occult Revival. Secret societies, like the Hermetic Order of the Golden Dawn, were at the forefront of this resurgence, blending ancient magical traditions with contemporary philosophies. Figures such as Aleister Crowley (The Great Beast 666 himself) brought esotericism back into the limelight, albeit with a flair for controversy.

This revival was deeply intertwined with the spiritualist movement, which gained popularity in the late 1800s. People were attending séances, communicating with spirits, and exploring mysticism like it was the Victorian version of binge-watching Netflix. This movement laid the groundwork for the modern re-emergence of witchcraft as a personal and spiritual practice.

Wicca and the Rise of Neo-Paganism

Enter the mid-20th century, when witchcraft was no longer just a shadowy whisper—it was formalized into a modern religion. British civil servant and occultist Gerald Gardner is often credited with founding Wicca in the 1950s. Gardner blended elements of ancient paganism, ceremonial magic, and folk practices into a cohesive framework that became the foundation for modern witchcraft. With its focus on the cycles of nature, reverence for the divine feminine, and the rule of "harm none," Wicca quickly gained traction as a countercultural movement.

Wicca’s popularity exploded in the 1960s and 1970s, coinciding with the rise of feminism, environmentalism, and a broader pushback against patriarchal and industrial systems. Witchcraft became a way for women and marginalized groups to reclaim power and autonomy. The goddess was rising, and she wasn’t about to take a backseat anymore.

Pop Culture: The Witch Becomes Iconic

In the 20th century, witches found a new home: the silver screen. Hollywood’s portrayal of witches ranged from the wicked (The Wizard of Oz’s cackling Wicked Witch of the West) to the whimsical (Bewitched and Sabrina the Teenage Witch) to the downright terrifying (The Craft and Hocus Pocus). These depictions both reflected and shaped public perceptions of witchcraft, often intertwining it with themes of empowerment, rebellion, and independence.

By the late 1990s and early 2000s, witches had become a pop culture staple. Shows like Buffy the Vampire Slayer and Charmed presented witches as powerful, relatable characters grappling with the complexities of their powers—much like the real-world practitioners redefining their craft.

The Witchcraft Renaissance: 21st Century Magic

Fast forward to today, and witchcraft has undergone a renaissance, thanks to a mix of cultural shifts, technology, and a growing desire for alternative spirituality. Modern witches are everywhere: on TikTok, YouTube, Instagram, and even Etsy. Hashtags like #WitchTok and #WitchAesthetic boast millions of views, with creators sharing everything from spell recipes to DIY crystal grids.

But what’s driving this resurgence? For one, we live in a world where traditional institutions—religion, government, corporations—are increasingly seen as untrustworthy. Many people are seeking spirituality outside the confines of organized religion, turning instead to practices that feel personal, empowering, and deeply connected to the natural world.

Witchcraft also resonates with the modern emphasis on self-care and mental health. Journaling becomes shadow work; aromatherapy transforms into potion-making; mindfulness becomes meditation under the full moon. The line between wellness trends and magical practices is delightfully blurry.

Intersectionality and Inclusivity in Modern Witchcraft

One of the most significant developments in 21st-century witchcraft is its embrace of diversity. Unlike its earlier iterations, which often focused on European pagan traditions, modern witchcraft draws from a wide array of cultural practices. Hoodoo, Santería, Brujería, and other Afro-Caribbean and Indigenous traditions have gained visibility, often through practitioners reclaiming their ancestral heritage.

This intersectionality has also extended to gender and sexuality. The archetype of the witch is no longer exclusively female—modern witchcraft celebrates witches of all genders, including nonbinary and transgender practitioners. Queer witches have found a welcoming space in the magical community, where self-expression and authenticity are celebrated.

The Digital Coven: How Technology Changed Witchcraft

Gone are the days of furtively borrowing a spellbook from the library. Today, the entire magical universe is just a click away. Online platforms have created virtual covens, where witches can connect, share knowledge, and support one another regardless of geographical barriers. Reddit forums, YouTube tutorials, and Discord servers have democratized access to witchcraft, making it more accessible than ever before.

Of course, this digital shift isn’t without its challenges. The commodification of witchcraft has led to a booming market for overpriced crystals, dubious spell kits, and “moon water” that’s really just a fancy way of selling bottled water. But at its core, the internet has allowed witchcraft to thrive in ways that would have been unimaginable a century ago.

How Modern Witchcraft Helps Us Navigate Life

At its heart, witchcraft in the 20th and 21st centuries is about empowerment. Whether you’re lighting a candle for protection, setting intentions with the new moon, or simply taking a moment to honor the elements, witchcraft offers a way to connect with yourself and the world around you.

It’s also profoundly adaptable. Unlike rigid religious systems, modern witchcraft encourages creativity, experimentation, and individuality. There’s no “one right way” to practice—only what feels right for you. And in a world that often feels chaotic and unpredictable, that kind of agency is a kind of magic in itself.

The Future of Witchcraft

So, what’s next for witchcraft? If history has taught us anything, it’s that magic is resilient. As we move further into the 21st century, witchcraft will likely continue to evolve, blending ancient traditions with new technologies and cultural movements. One thing’s for sure: witches are here to stay, and they’re not going back into the broom closet anytime soon.

[waywardprintmaker]

Hello 😁 I was the anon that sent the headcanon about Ava and Neo. Thank you for answering my ask! I really love these characters and dynamics you made. So, I thought I'd pitch in cause I read fics about them 😭 (I love them so much it hurts cause they are crazy).

If I could offer more Gaunt headcanons 🌝

- This one maybe you won't agree with... but I have a feeling that Ominis was conceived using forbidden magic. We don't know for sure how many children Avaric has but I feel like he needed one more boy to be the back up heir, and maybe his wife can't produce more children. So maybe they used some type of magic to help her conceive but of course, these kinds of magic asks for something in return. And in this case, it was Ominis' eyesight. (Of course, there's just the possibility of his blindness being a result of inbreeding but knowing the Gaunts, they do this kind of shit, too).

- Parseltongue is an emotional trigger for him. He hates speaking it. Not just because of its association with evil—but because of what it does to his voice. Parseltongue changes the texture of how he speaks. He sounds like his father. Like his brother. It makes him feel like something inside him is uncoiling, stretching, shedding skin. Sometimes he dreams in Parseltongue and wakes up weeping. So that moment in the Scriptorium is something he keeps ruminating over and over. That's why he has a dialogue about the place, "... never again."

Hi! Thank you so much for the ask, you've no idea how giddy [we all] get when we hear someone likes them! All the fics are absolutely amazing, I can't recommend the authors enough! I have heard variations of this headcanon before. Like how Ominis' blindness was caused on purpose to make the perfect wizard to control the basilisk. The Gaunts doing it to get a boy specifically, though? Pretty haunting. And in-character for Avaric. Makes Ominis feel like an unwanted, cursed afterthought since his very existence is a result of a transactional ritual. Also adds a whole new layer to how he sees himself and his place within the family. Maybe he even knows, or suspects, and that's why he carries so much self-loathing. He came into this world already paying for someone else's ambition. I do headcanon it mostly being caused by inbreeding, but the idea that there was an active choice made to trade something away for power and legacy? Peak Gaunts, I'd say. And 100% YES to your second headcanon! I love that! I remember talking about Ominis having nightmares during their first year in Hogwarts and that being the moment Sebastian first hears him speak snake - in his dreams, subconsciously, without control. I love how you vividly you described it and how whenever Ominis *does* do it, he thinks he sounds like his father. Uuugh, that's so good! So good! And it lingers on his tongue like viscous poison and he wants to scrub it off, but he can't, it's part of him. Aaaah, my boy, my darling boy!

[wendelsae]

Harry Potter Sequel Idea

okay so it's set like 22 years after Deathly Hallows and it completely ignores the epilogue and anything else that's come out since, Harry is an auror but he's all washed up and whatever.

the biggest thing that's been going on is that for 26 years now basically no magical children have been born to wizarding parents. children are born to them but they're, with one or two exceptions, all squibs. meanwhile wizards are still being born at the normal rate but they're all muggleborns. naturally there are different reactions & approaches to this.

on the one you have the Mudshow, a faction of mostly young wizards who want to end the Statute of Secrecy. they're especially disgusted by how the wizards keep loads of valuable medical technology from the muggles. they're performance terrorists. they'll apparate into say a UN council session, perform a choreographed transfiguration routine while shouting about wizards, and apparate out. an absolute headache for the Ministry to sort out, and they're classed & treated as dark wizards despite being nonviolent. apparation has been removed from the repertoire of preprogrammed spells in the Isle of Britain Sorcerous Source Network, but they can still make portkeys the old fashioned way (you have to eviscerate a pig and invoke an elf among other things) and not being linked to the Sorcerous Source these are untraceable. perhaps the majority of magical (=muggleborn) Hogwarts students are sympathetic to the Mudshow. there are also rumours that there is a secret level of the group known as the Mudblind...

on the other hand you have two very different factions labeled as Neo-Voldemortists.

one is the Death Eaters proper, or those using that name at any rate. these think that the total mudbloodization of wizardry is the doing of the Ministry in retaliation after Voldemort's defeat. they believe this even though the dearth of magical transmission is documented as having begun four years before Voldemort's death. in any case they launch brutal attacks on muggles; abduct, torture, interrogate, & kill Ministry employees; and much other unpleasantness.

then you have the more public & political National Salvation Legion of Saint-King Bladud. these are not extremists, and depict themselves as offering a middle path to save the Wizarding World. their basic demands are:

i) that squib children from Wizarding families are guaranteed admission to Hogwarts; this is something that has been in question from administration to administration and headmastership.

ii) that the Hogwarts curriculum be reformed with more of an emphasis on humanities, especially the History of Magic, & sciences, in particular Potions, Arithmancy, Astronomy, and the Theory of Magic, rather than on rote memorizing preprogrammed spells. Potions is particularly notable since even muggles can do it (the magic is in the ingredients) and it is the last common remnant of the practice of Old Magic before the Sorcerous Source was established in the 1600s. this all is controversial in particular since it would require sacking Professor Binns.

iii) most controversially, that no muggleborns be admitted to Hogwarts unless they have completely renounced their birth families. indeed, they think that magical children should be seized by the Ministry for adoption by wizarding families as soon as they are identified. this is a more extreme version of the apprenticeship practiced by wizards before purebloods first appeared and wizards became a separate people. as it is, this seems the only way the Wizards can preserve their culture & arts & status as a distinct & secret nation.

their Legion's leader, Romilda Vane, publicly denies any connection to Voldemortism, but privately she has deeply immersed herself in the esoteric secrets of Lord Voldemort Thought and the mysteries of Salazar Slytherin. rumour has it that she knows the reason that genetic transmission of magic stopped, but if so she has revealed it only to a few of her most intimate followers. though he reviles her, she believes that Harry Potter, the Heir of Slytherin, has a great role to play in events to come...

and then of course you have the Ministry of Magic which is basically conservative and just wants things to go on as they always have even though it's becoming increasingly clear that won't work; moreover Ministry is increasingly infiltrated by both Mudshow and Legion; and the lattter Harry is not at all happy about and is increasingly suspicious.

---

now into this environment, pretty much out of left field, emerges a powerful new dark wizard, without any obvious link to any of the existing parties, and with a strange, unheard of new agenda. the Ministry & Mudshow at first think he's a Neo-Voldemortist since he kills muggles, the Neo-Voldemortists think he's linked to Mudshow since his aims would result an unprecedented break in the Statute of Secrecy. but the truth is that he's his own man, a new Dark Lord for a new age, resembling Grindelwald and Voldemort only in his hideous ambition.

this wizard styles himself the Earl of Endland, and his goal, as his name suggests, is to end human urination- both the need & the ability to do so.

this he plans to do by finding and performing magical surgery to alter the anatomy of the Protanthropos. this is the ancient archetypical gigantic human being, eternally slumbering, whose Form is the basis for all of humans'. it is the anatomy of the Protanthropos that all healing magic works in reference too- otherwise the wizards would have be consciously arranging every individual cell or smaller. (likewise other forms of animal transfiguration depend on reference to similar entities such as the Protailouros, the Prothippos, the Protocynos; &c.)

the Protanthropos has been sealed away for milennia in a vast tree in an unknown location, guarded by whole armies of dragons and other monsters, not to speak of all manner of curses. but Endland believes he can find it and attain it.

you may ask why Endland will go to such extreme ends to achieve such a seemingly petty goal. half of the answer is that that is exactly his point. unlike Voldemort's wish to conquer death, his aim does not obviously disrupt the balance of nature. urine is a noxious excretion of the human body that it already discards; if you could alter your anatomy to bypass the need to produce and excrete it, why wouldn't you? Endland's opponents are placed in the absurd & embarrassing position of needing to plead that there is something important or pleasurable about urination that demands that it be violently defended, or plead the slippery slope; an absurd position that Endland take rhetorical advantage of; he ridicules anyone who opposes his plan as a piss fetishist.

but the other half of it is that he is just, for some unclear reason, really angry at urination. he orders his followers- known mockingly as the Piss Drinkers themselves- to massacre muggles with an actual piss kink, which is how his activities come to the Ministry's attention to begin with. partly, of course, it's a publicity stunt to get his gospel out there.

---

so for this case Harry's boss pairs him with a very clever wizard detective (perhaps he's not an auror per se but a consulting detective, hence why Harry hasn't met him before), but warns Harry that he's very volatile and handful. this is for two reasons. firstly, he didn't go to Hogwarts, but to The Other Place, the older school- viz. Queen Maeve's, so there's that rivalry. then there's the fact that he's pretty prejudiced. and Harry thinks that means he's like a pureblood supremacist. and the chief is like no, it's something else.

so this is a wizard with the grandiose name of Mathonwy ap Gwydion and his predjudice is similar; if Harry says "Merlin's beard" he'll be answered with a vicious outburst to the effect of "you keep his fucking name out of your filthy fucking mouth you fucking Saxon he spent a hundred fucking years trying to keep you fucking Saxon rats out of this fucked country and here you are making a fucking joke of his holy fucking beard I can't fucking wait until Arthur comes."

additionally, even though he is not a pureblood supremacist, Mathowny is not unsympathetic to the Neo-Voldemortists; though he understands why Harry is less than admiring of Lord Voldemort Thought.

so anyway he and Harry have to solve the case together, learn who the Earl of Endland really is, what his exact plans are, how to stop him, &c.

and there are many twists but one thing that should be mentioned is that it turns out that the Earl of Endland is actually a persona shared by several individuals, two of whom are none other than Harry's old Quidditch captain Oliver Wood and his evil brother Oliver Stone (they are of Hungarian ethnicity).

[moderndayamymarch]

i’m not sure where this idea that dumbledore is the reason tom riddle became wizard hitler came from but i don’t buy it. i know the cool kid thing to do is blame dumbledore for every bad thing that happens in those books, but dumbledore isn’t the reason riddle was like that™️.

by the time dumbledore first meets riddle- he’s already traumatized those two kids in the cave so badly that they’ll never recover, killed some girl’s rabbit and hanged it from the rafters, and is a klepto. the kid literally meets the all childhood behavior indicators of a serial killer.

dumbledore in the meeting with riddle only displays concern for riddle and the other childrens’ well-being. he offers to help riddle and tells riddle that stealing/intimidating other students isn’t permitted at hogwarts. and he’s valid for pointing that out!! riddle admits to intimidating/stealing from the other kids. that’s something dumbledore kinda can’t let slide.

ppl cite dumbledore making a snide comment to harry about riddle wanting to be special as evidence he was out to get tom. current dumbledore made that comment as the result of knowing who tom riddle became. past dumbledore only vows to keep a close eye on him. present dumbledore even says he had no idea he’d just met wizard hitler. and past dumbledore’s not wrong for keeping an eye on riddle. also that’s common practice in the education system. when a child is noted to have behavioral issues (esp when those behaviors concern other students), admin will have a school counselor keep an eye on them or assign them a para. dumbledore also obv didn’t turn anyone against tom. everyone else loved him! so dumbledore’s watchful eye obv didn’t impact riddle’s school career really at all. all of the teachers believed he was a good role model student and he was even named head boy.

also even if, a teacher not liking or trusting you does not mean you get to become a neo-nazi. harry put up with snape’s bs and it didn’t lead to him declaring himself a “lord” and splitting his soul into pieces.

it was also the 1940s/30s and muggles did not have the psychological abilities/knowledge that we do today. wizards 1000% didn’t. if he’d been sent to a psychiatrist then, they just would’ve said some freudian bs about his mother and not actually helped with his problem of lack of empathy/guilt

the reason that riddle’s like that™️ is actually pretty understandable and makes sense psychologically. we know now (and actually by the 50s) that children who are starved of physical contact/emotional connection/and stability in early childhood can struggle to develop empathy, feel guilt, form connections, and that can lead to deviant immoral behavior. riddle grew up in an orphanage in the 40s during wwii with no familial connection. having abilities would make him feel “special” and better than the other orphans bc his abilities are the only thing he has going for him. add that to the above issues, and you’ve got someone that would abuse their powers for their own gain, especially to feel “special”. like tbh riddle’s prob not that different psychologically to like charles manson or jim jones (which is peak irony that a therapist in the muggle world could actually easily be able to explain his psyche while the wizarding world struggles)

my final point is this: dumbledore, while extremely flawed, isn’t the reason tom riddle became voldemort. if anything, slughorn and the old headmaster drove him to that end through their enabling far more than dumbledore did by keeping an eye on him. we even saw in riddle’s diary that “keeping an eye on him” consisted of dumbledore basically asking tom “you good?” when seeing him in the corridor. a behavior that reminds harry of dumbledore’s own interactions with him. and yeah eventually dumbledore called riddle out and was like “i heard you’re a fascist now” but that was after riddle had killed his own father, set a giant snake loose in the school, started calling himself “lord voldemort”, and started the wizard hitler youth

[housano]

Housano's LIVE-A-HALF-ASSED Summaries Presents: I Ise-Can't Event Part 1. 🎶Somewhere Over the Rainbow🎶

CW: Live a Hero Spoilers

Well, well, well. *Ahem* Well. It's been a while hasn't it? Aside from 4 back to back days of concerts, this event is a welcome reprieve to the dumpster fire of real life and of personal interest so I decided to summarize. Considering also there is also a lot of Wizard of Oz references how could I not? So my good Judies, let's go.

We start off in a cathedral of sorts and a new background with our mysterious lion man (we know who he is but the plot wants to build suspense so just roll with it) watching the stars before beginning a ritual, hoping that he can find the rainbow connection. He starts a ritual before the transition fades to black.

Meanwhile in Aradicia, we are having a martial arts tournement of knight. Alphecca is more than happy to participate much to the dismay of his ministry. Anything to get out of his kingly duties, which I respect. The setup for this match is Heroes v Knights with an enthusiastic Ryekie Aside from Huckle and Ryekie, Danzo and reXer are there as part of Neo Talent Productions. Danzo is giving reXer a hard time for being a rookie. Hydoor (aka HIDOL) and Polaris Mask are here on behalf of the athletes. Tsundere as ever, Hydoor gets pissy if we call him Hi-kun and Polaris Mask doesn't help the situation by saying how much Hydoor was looking forward to seeing us.

We then catch up with Exio and Meride who just got back from the infirmary. Meride said the Ether disturbances have caused her to have pain, which Exio asks is our beloved MC experienced any significant side effects. We check that area and noticed some disturbances and also other operators are not doing too hot. You volunteer to take over the upcoming match.

The fight begins between the heroes and the Knights of Aradicia, with the heroes gaining an advantage (despite Ryekie ignoring Huckles warning of using his electric powers after Hydoor's water abilities [Not beating the Himbo allegations]).

Suddenly the ether activity starts going haywire and it causes Melide to pass out before a giant void opens up and sucks in MC before Hydoor grabs him/her/them unfortunately his chain breaks and Danzo catches them only for his rope to break and all 3 of us get sucked into the eternal darkness together while Huckle calls out in vain.

LIVE A HERO Final Chapter- I never thought we would die this way but I'd always hoped - EN-

Just kidding. After being in the darkness we find ourselves in a new world, still grappled to Danzo with Hydoor hanging on his leg. Hydoor is upset at how Danzo could not even notice , which Danzo that he has no nerve sensation in his prosthetic but was wondering it felt heavier. We also realize that we are hurdling towards the ground, and Danzo decides to be the impact absorber with Hydoor hugging his back and MC wrapped around his front (WHY HAS NO ONE DRAWN THIS YET)

After "safely" landing we take in our surroundings and wonder if we've been teleported to the Xenoblade Universe. Our group hypothesizes that either a) we are in a paralell universe b) we did the time warp again. We are suddenly attacked by kaibutsu, and thankfully we are still able to tranform despite technical difficulties with the LIVE A HERO app. However since we are in another world, view power is quite diminished we barely managed to beat them.

We are then met by the inhabitants who are shadow figures of mob units who are speaking a foreign language that we are unable to decipher. Fortunately, they case a spell of sorts and we not only understand them, but our MC is the hero of this story who will save them all from ruin. They offer to take us the King of this land we're off to see him in Part 2

I Ise-Can't Event Part 1. I don't think we're in Aradicia Anymore- END

For Part 2 Click Here

[spottheantisemitism]

Lizards and Goblins are not neccesarily antisemitic

Jewitches overview

Jewitches already provides examples of goblins and in Tolkien as being these villanious creatures with no Jewish coding and in Shakespeare Goblins are seen more like fairies and are shown positively so off to a good start for team “Goblins aren’t always antisemitic”

Goblins in Final Fantasy

Goblins are hit or miss in Final Fantasy at least according to this summary by a mutual

they have their own culture and focus on invention and hard work which aren’t negative (if arguably positive Jew coding) but they have a faction called the Illuminati (hello new world order conspiracy) which want to take over the world and worships a machine messiah named Alexander that when awakened tries to destroy the goblins that helped wake him to create a better world. Horrified the other goblins then helps the players fight this Alexander

“The Illuminati could be seen as Christians, with Quickthinx being Jesus. Shanoa could be seen as being akin to an angel, as could possibly Alexander Prime. You could be seen as having wrestled God/a God. Or I could be completely full of shit overthinking things.

I do think there's something to be said on how data gained from Alexander and later Omega, would be combined to send G'raha to the First from the Doomed Timeline, saving you and the future”

@arandomshotinthedark remarks in last paragraphs of the above link

while that’s a fascinating analysis, I find the focus on the development of Goblin Christianity out of Goblin Judaism a bit uncomfortable and supersessionist but fascinating plot point nonetheless

Goblins in Harry Potter

Harry Potter’s goblins are greedy bankers who care only for their in-group and their goods. No matter how charitably you slice it that Griphook is just reclaiming a sacred artifact and helps the heroes he still betrays them for the artifact and his hatred of wizards and muggles is treated as his problem and not trauma or paranoia. Rowling truly believes you should shrug off oppression as her essays on house elves show

The video game Hogwarts: Legacy that was written by a literal neo nazi goes further elaborates on this by having the plot center on quelling a goblin revolt. Regardless of your actions and the revelations that the goblins were merely pawns of an evil wizard, you cannot change the way people view goblins even in the more compassionate ending and it implies the only good goblins are two who don’t fight for their rights as those movements with inevitably be corrupted by bad actors. More subtly, goblins artifacts look like judaica, notably you can recover a ceremonial ram’s horn that’s oddly like a shofar. Why a race of beings that live underground and have never kept livestock use a ram’s horn and not the silver or gold they are famed for is never explained. The only explanation is the writer wanted to mock jews

I will disagree with a common criticism of the game being blood libel as there is no child kidnapping. The ‘child’ being kidnapped is the teenage player character and you very much foil the goblins attempt to kidnap you. The fact that the goblins are willing to kidnap a child to keep you from unraveling their plot is bad enough but it’s not blood libel

Goblincore

Goblincore is not antisemitic at all. It’s basically combining being a collector of shiny trinkets and not caring about appearance. Behind the fantasy name is a straight forward aesthetic that opens up “the hoodie and jeans, messy hair don’t care, I collect pop vinyls and old nintendos” aesthetic to people who aren’t cishet men.

I judge movements by their actions and not by what they claim to be hence gamergate is a hate movement, cottagecore is tradwifery for leftist women and goblincore is a -core for queer nerds who want to a less bigoted version of nerd culture or cottagecore without the misogyny. They’re linking goblins to jews they’re enbodying and empathizing with the goblins. If you movement is using the fantasy creature to promote empathy instead of xenophobia then more power to you

Lizards for David Icke

David Icke decided to use science fiction to stoke his antisemitism. Icke believes all major institutions are run by shapeshifting Lizards (aka reptilians) from the moon here to colonize humanity and enslave us. Icke also believed the all popes , all presidents and prime minister and every Zionist was actually a reptilian shapeshifter. Since the overlap between Zionist and jew is significant, Icke all but admitted he sees most jews as subhuman shapeshiftering lizards. Even the staunchest antizionists laugh this nonsense off (Alice Walker not included) and his theories are more popular with Nazis. Considering original Nazis stole from Blavatsky’s mysticism of the aryan descendants of the hypeborean race from antarctica that’s just tradition at this point

Lizards in Dracula

In Bram Stoker’s Dracula, Count Dracula is compared to lizard when he crawls up a wall that a human like the narrator Jonathan Harker cannot (until Jonathan manages to do just that rendering the point moot). This a non issue since it was written before the reptilian was a concept. It is however used to dehumanize the count as other not code him as specifically Jewish. It’s xenophobia, not antisemitism. So maybe the people in making lizard jokes and the people smugly accusing them of antisemitism should both cut that shit out

Lizards in she-ra

I was told Double Trouble was an antisemitic stereotype because they only care about money and being good at infiltration and lack morals (same could be said of Marc Spector and yet no one calls him an antisemitic stereotype). Oh and they’re a Lizard creature like the Reptilians in Icke’s screed.

this is so patently ludicrous to the point where I believe this was a psyop to push Jews out of the She-Ra fandom, because oh my G-D this could not be made in good faith.

TL;DR

Goblins often antisemitic but not necessarily, Lizards almost never antisemitic unless Reptilian is used

[mcytblrconfessions-but-badder]

https://www.tumblr.com/mcytblrconfessions-but-badder/776024118093103105/been-thinking-about-this-and-not-really-sure-where?source=share

Hi. Hello. I hate a JKR and HP because Joanne Rowling is rich radfem who uses money from HP to try and hurt trans people. There's proof of this. She has admitted she would do this and then did it. She still owns HP, and she will not be selling it. therefore it is her intellectual property to collect money from until she dies. Buying any official HP merch directly contributes to JKRS efforts to hurt trans people, especially those in the UK. and as a trans person I think my queer siblings matter more than some shitty ass wizard books written by a terf.

HP fans often try and bend backwards to defend buying the merch and shit, meanwhile JKR is literally on twitter denying the holocaust. I'm not saying you can't like HP and not be a bigot, just that's its really hard to, because of JKR herself, how involved she is with her series, and the fact that she baked every form of discrimination imaginable into those books. Most HP fans I do see are just like JKR. bigots and radfems. And the ones who aren't radfems try and bend over backwards to defend this woman instead of accepting that supporting her is wrong.

Meanwhile, cwilbur and cdream are easier to separate from the ccs. Mostly because Wilbur and Dream, horrible people they are, are not insanely rich and using their money to kill people, and also are not literally denying the holocaust and following neo nazis on twitter dot com. For the most part, the community has shunned them, ccs have shunned them, and while what they did was horrendous; they do not have the money or influence to hurt people on such a widescale like JKR does.

There is also isn't really merch of these characters to give their shitty creators money, and most people who still like them do not support the CCs. Everyone and their mother was (rightfully) advocating for pirating lovejoy, while HP fans throw a fit if you mention how buying offiical merch is Bad. Cwiblur and cdream are more separated from their creator too, considering how JKR still interacts with the world and characters she made (from what I can tell, anyways, i dont look at pottermore but i know shes posted on there within the last few years. Wilbur and dream never mention dsmp anymore.)

.