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avephelis · 1 year

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RISE TWITTER QNA! no major news or announcements, but here's a list of new information and confirmations:

S3 could be brought back as a retro show in the future, but it probably wouldn't happen anytime soon (focus is on mutant mayhem at the moment)

it was never decided whether capril would be friends or girlfriends (due to rise's focus on platonic relationships)

council of heads! they're in power, but a lot of influential yokai (like big mama) aren't easily controlled, and "game the system"

despite not having his dual katana, supposedly f!leo DOES still have mystic powers

ron corcillo would love to see a spin-off focused on the caseys (if rise were ever continued), and likes the potential of a raph + casey vigilante duo

the turtles got their names after splinter's love for renaissance art

big mama's henchman WAS planned to be the missing sister, and rather than venus de milo, she would've been named after a female artist (possibly frida kahlo)

for halloween: raph dressed up as a kitten, mikey as a lion, leo as a rockstar, and donnie as j. robert oppenheimer

the mystic weapons stolen from draxum acted as a conduit to help the boys unlock their innate mystic powers with a "little boost"

they didn't realise mayhem's potential as a character/force until too late, but it could've been fun to do some stories of him being an operative (a la perry the platypus)

there weren't any planned stories for side villains (aside from the foot's cupcake shop), most focus was on the turtles

not much on casey jr's backstory, just that cass and the turtles were fighting the krang and leo raised him as a warrior. casey jr only has brief memories of cass from when he was very young, and was mostly raised by leo

there were definitely six baby turtles (two sisters)! and the turtles were gonna split up to rescue the one with big mama and the one in "the dimension", but they never planned much of it out

there's most likely a time gap between the rescuing leo and the ending scene of the movie, as "after a fight like that, [everyone] would definitely crash and need some recovery time"

there would've been more big mama in future episodes, and stinkbomb was planned to return

since the turtles became known to the public at the end of the movie, they'd have to fight to retain their reputation. this and their reception to criticism/backlash would've become a major arc.

on brother rankings: mikey is definitely raph's favourite, and they all look up to raph

the stronger someone's ninpo is, the greater the drain on their energy is (as seen with f!mikey and karai)

there wouldn't be much threat on villains going after casey jr's future intel, because most of it would've been rendered obsolete

nickelodeon would never give up the rights to rise, but they could license it to a partner company (such as IDW for a comic!)

as previously mentioned, the 2nd sister would've been trapped in "another dimension" and venus/frida would have to be won over by "helping her see that she had been brainwashed [by big mama] as a child" (and redeemed)

given more time, the show would've fleshed out: the hamato story, the hidden city's origins (krang spaceship that crashed into the crying titan being the source of the ooze, its fuel being what gave the yokai mystic powers), and would've used the rat king (who ron corcillo would've liked to be a powerful yokai with rat-like abilities and some form of mind control, who could've threatened the council of heads for power in the hidden city)

as far as we know, the turtles (aside from leo's spanish) only speak english (and even their english is sometimes a bit off)

rise probably wouldn't have ever "gone dark", but after the turtles were publicly known and full-time heroes, it might've had more of an extended plotline

the turtle's casual clothes somewhat reflect their music tastes (r&b for raph, glam rock for leo, techno (and 80s) for donnie and boy band for mikey)

future heights: mikey grew a bit and then shrunk under mystic strain, leo was at least 6ft, donnie a little taller than leo, and raph at least 6'6

mikey's powers could get pretty intense, which could've resulted in some multiverse episodes (ron corcillo would be most inclined to do a 12 crossover, but any could work). while leo portals short distances, mikey's cross space and time (with great effort)

given more time, how the turtles met april would've been fleshed out

in terms of how they take after splinter: donnie and leo have a lot of his cockiness, raph his courage and sense of duty, and mikey senses him missing his family (which is part of the reason of why he tries to hold everyone together)

given more time they would've done more with the transfer of leadership from raph to leo (and originally the plan was to draw that out over S3, rather than the abrupt S2 ending). they would've been co-leaders for a while, and at times mikey or donnie would lead (they aren't really a group with just one leader archetype)

there were plans for april to have more time with the specific turtles other than donnie (like how the gumbus was focused on her mikey and leo)

the cast's mystic abilities would've increased over time, and splinter has a lot of power that hasn't been revealed (as he spent a lot of time in the hidden city in his past)

venus/frida would've been very disciplined and so serious that's she's funny, and the dimension sister would've been "a little kooky"

there weren't really any plans on how the turtles would look in cloaked human forms, just that they'd resemble lou jitsu and may be inspired by their VAs

mikey is the only brother who can fully pull all his limbs and head into his shell (being a box turtle)

any usagi appearances would be a rights matter, and depend on collaboration

on timelines: april is 16 at the start of the series and 18 in the movie, but exactly how much time passes isn't confirmed

ron corcillo would've liked to do more donnie + raph episodes, like one where despite how donnie considers himself smarter, raph ends up beating him in common sense and emotional intelligence

f!leo didn't go with casey jr to the past due to being mortally wounded in his bleeding side

given more time there would've been more flashback episodes with the turtles at various ages

though he'd never admit it, hueso has a close relationship with leo

in early S3 there would've been an episode of setting up the new lair

mystic warrior f!mikey is pretty old (maybe in his 70s), and is strong enough to use basically any mystic power, but at great cost to him physically

no major plans with bishop, but once the turtles became more well-known he could be a bit of a thorn in their sides (like j. jonah jameson to spiderman)

there might've been some redemption from big mama, but also some relapses into her "villainous ways"

given a full season, karai would've been alive for longer, and would've trained the boys for a number of episodes

confirmation that some of early s1 aired in the wrong order (which the writers weren't happy about)

in rise, there's always an unpredictability as to how sentient a mutant will turn out to be

raph probably wouldn't be super uptight about swearing, provided the boys weren't offending anyone

there weren't any plans for romantic relationships (and DEFINITELY never an april-turtles love interest), but if they had ever tried something eventually it would've been with the same species

there were no specific plans for alopex, rita, or rennet, but anything's a possibility

in terms of the 1000 years ago krang/mystic timeline, the spaceship crashed first (possibly spawning the yokai), and other krang followed it, drawing in the invasion

that seems to be about it but if there's any more i'll do a reblog with additions

#theres a couple other answers if you wanna go through the thread but they're a bit hand-wavy or double ups on info #rottmnt #rise of the tmnt #BLEEAGH im gonna go live my life now and eat breakfast

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writers-hq · 2 years

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WHY IS WRITING IS SO FUCKING HARD?

Ten types of fuckery that stop you from writing the thing:

1. Imposter syndrome

You think you're not good enough or everyone else is better than you and you're just winging it AKA ye olde imposter syndrome bullshit. Yeah nah you're fine. No really, you're exactly where you need to be right now, and you'll keep getting better and better so long as you don't stop. Chances are, if you're filled with doubt about your abilities it means you've actually improved to the point where you can really start to understand what makes good writing. It means you know where you wanna end up and goshdarn it you're gonna get there.

Read this: 4 tips to kick imposter syndrome in the face and also genitals

And also this: How to silence the inner critic

2. Fear of rejection and/or failure

Yeah, us too. It fuckin sucks. BUT. Not all rejections are equal. And rejection is a necessary part of the process. Sometimes it takes a rejection to realise that a story isn't ready. Sometimes a rejection is entirely subjective and has ZERO reflection on the quality of your work. But shying away from the very idea of possibly maybe hypothetically getting rejected is only going to hold you back from even trying. And knowing why you got rejected and how to learn from it is one of the most valuable writing skills.

Read this: The different types of rejection (and how to deal with 'em)

Then read this: How to cope with rejection

And also this: Writing lessons from Groundhog Day

3. Not enough planning / too much planning

Leaping into a new story with nothing but a glimmer of an idea is exciting as heck (and can sometimes be a great way to begin) but at some point you're gonna need some sort of outline or plan to keep you on track. HOWEVER. Planning your story to within an inch of its life can also sometimes be a hindrance - leaving you stuck in the hypothetical stage of the process where your story doesn't quite exist yet (and therefore avoiding the prospect of it sucking). The sweet spot is in the middle. Having just enough of a plan to know where tf you're going, but enough freedom and flexibility to let the story lead the way...

Read this: Planning vs pantsing

Then read this: Five plotting techniques

And also this: The perils of overplanning

4. Your WIP just isn't working

Sometimes things just fall flat. Sometimes you work on the same story for yeeeeears and then it just kinda... dies. Sometimes you have the best plans (see above) and the best intentions and things still don't work out. Sometimes it's just time to move on. And sometimes it's not! Sometimes a story can be revived, fixed or changed. Sometimes you just need time. Sometimes YOU'RE the one that's changed and this isn't the story you need to be writing right now. Many variables. Muchly personal. Read the things below for more advice cos this is a big question:

Read this: What to do when your WIP isn't working

And also this: Give it space - how to grow a story in your head

Or how about this? Editing 101

5. You keep deprioritising it

Ah the irony of writing being the thing you love/want to do most of all AND YET the thing you procrastinate over and avoid and shove to the very bottom of your to-do list all the freakin' time. Maybe it's the comodification of art destroying our freedom to create without pressure. Maybe it's late capitalism sucking up all our available time and energy. Maybe it's a lack of self-belief subconsciously telling us our 'little hobby' doesn't really matter. Maybe it's maybelline. Whatever it is, you have the power to reclaim and revalue your writing. To say, "I'm a fucking writer, goddamnit!" and mean it. To ringfence your creative time so nothing and nobody gets to interrupt it. To do that thing you love.

Read this: Prioritise your writing

Read this: How to write in 30 second bursts

6. Shiny Thing Syndrome

You know that feeling when you're just getting stuck into a writing project and then — SQUIRREL! — you get distracted by another, better, more shiny writing project? Or maybe you're deep in the editing phase and your current WIP just isn't feeling very shiny at all and pretty much ANYTHING seems more exciting? Or you simply can't decide which of the many squirrelly writing ideas to actually start? You, fine writerperson, may be suffering from Shiny Thing Syndrome (STS). But fear not! There are a few ways to combat it, depending on the cause, and most of them involve embracing the squirrel-brain and injecting a bit of fun into your writing, like so:

Read this: Shiny thing syndrome - a writer's malady

Aaaand read this: Get excited about your writing again

And also this: Write like a kid

7. Perfectionism/self-sabotage

Look. Writing is scary as shit. What if someone READS it? What if they don't like it? What if they see into your soul and gain a deeper understanding of you through your words? Writing your truth, being vulnerable, smearing your heart juice all over the page? No thank you. But also, that's where the good shit is, so actually yes please. Just make sure you smear responsibly. And rest assured, even the most 'successful' and experienced writers ALSO feel like this sometimes, so you're in good company. It's just part of the art, bruh.

Read this: Why writing is scary (and why that's a good thing)

Read this: Beginning a story - what stops us starting?

And also this: Get out of your own way

8. The dreaded blank page

Oh godddd the blank page. It should be an exciting palimseset of possibility but is somehow also the most terrifying thing known to humankind. You wanna write something but where to start? HOW to start? You type that first line and immediately delete it. You watch the cursor blinking at you—taunting you—until you just give up and shut your laptop again. It's probably tied up with a bunch of things we've already covered so far: perfectionism, imposter syndrome, fear of failure, maybe a lack of planning or faith in your story or whatever. But it doesn't have to be this way. A blank page IS exciting and full of possibility. We just have to get over ourselves and learn to embrace the unknown...

Read this: Don't fear the blank page

And also this: The moaning method

9. Not enough time/energy/motivation/gnuuuughh

Dude, same x 1000. But you don't have to get up at 5am, do hot yoga, drink a kale smoothie and write a thousand words before sunrise to be a Proper Writer. You don't even have to write every day. But what you can do is hack your writing brain and figure out when, where, how, and why you write most effectively. Then tweak your schedule, your habits, and your attitude to ensure you're making the most of your time. Productivity is a big ol' lie but finding the secret to getting in your own personal writing zone is actual MAGIC.

Read this: Maximise your writing time

And also this: Get in the writing zone

And also unto this: The Writers' HQ Guide to Productivity

10. You're just fucken stuck

Got the writing morbs? In need of some literary sudafed? Stuck as a pig in a poke? Writing is a whole puzzle of a process—and to be honest that's what makes it so fun and exciting and addictive, because your writing brain is hardwired to both create AND solve the wordy puzzles within your story. Sometimes the answer is time. Sometimes it's a second opinion or a fresh eye. Sometimes a totally different approach or just a hefty kick up the bum. But whatever the problem, there IS a solution. You just gotta keep going and trust that you'll find it...

Read this: Troubleshoot your writing - why are you stuck?

And also this: Break through the writing blockage

And also also this: Write yourself into a pit (and then dig your way out again)

~~~~~~~~~~~~~~~

Alright, that's it for today. Now go write, you flithy animals.

(And if we missed anything, stick a question in our ask box or check out the rest of our shit here)

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feminist-space · 10 months

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"Seminario cited the recent report, “Employer-Reported Workplace Injuries and Illnesses,” that shows that the number of respiratory illnesses in the private health care and social assistance sector increased from 145,300 in 2021 to 199,700 cases in 2022, an increase of 37.5 percent.

...

As an industrial hygienist, Seminario was extremely critical that there were no experts in respiratory protection on the committee nor did it include engineers who developed ventilation guidelines. She believes that the HICPAC committee members are likely so opposed to respirators “because once you are into recommending respiratory protection, with that comes a full respiratory protection program from OSHA,” with penalties for violations.

An epidemiologist and consultant, Michael Olesen, echoed this, believing the changes reflect “pressure to remove liability from hospitals.” He added, “I take a very clear position that we should be having respiratory protection mandates in all healthcare settings right now.”

...

Many patients who spoke at the HICPAC meetings said they had gotten Covid-19 when they went to the hospital and that the new policies were keeping them from getting care.

Given that, Dr. Art Caplan, professor of medical ethics at New York University’s Grossman School of Medicine, previously told me that dropping masking requirements in hospitals is “utterly, completely, irresponsible.” Similarly, staff refusing to mask, even when a patient requests it, is a moral failure. “The first principle is, you must do what is in the best interest of your patient,” he said.

...

Several people were asked why they believe HICPAC is determined to water down protections. Consistently, respondents say, “to reduce liability.” Earlier in the pandemic, hospitals regularly tested patients and staff for Covid-19, and you could often tell where and how you became infected. Since staff are no longer masking and continue working when ill, and patients are not being tested on admission, you can no longer prove who infected you. Hospitals are the only ones who win in this scenario, absolving themselves of responsibility and liability."

#healthcare system complicity #this is immoral and unethical #cdc #hicpac #wear a mask #keep masks in healthcare #covid #rsv #flu #masks #respirators #n95 masks

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femmefatalevibe · 1 year

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Femme Fatale Guide: How To Validate Yourself & Stop People Pleasing

A comprehensive guide to learn love & trust yourself and break out of your people-pleasing identity. Hope this helps xx

HOW TO MASTER THE ART OF SELF-VALIDATION:

Remember the longest relationship you have in life is the one with yourself. While we all need an external support system to be well-rounded & healthy individuals, no one else will be with you throughout your entire life except for you. So, acting as your own best friend is the secret to living your happiest and most fulfilling life. You ultimately need to do what's best for you. Otherwise, you're damaging the only relationship you will have to confront in every aspect and stage of your life.

Acknowledge your humanity and fundamental right to have needs, goals, and personal desires. Validate your personhood and individuality. Remember you're only human and are bound to have your own physical/emotional limitations and preferences. If you would be willing to cater to others' schedules, boundaries, and limitations, give yourself this equal level of respect and expect others to do the same.

Know everyone is self-centered to a certain degree. No one cares about your happiness as much or is watching you as closely as you are. They all have themselves and their lives to worry about. People are paying attention to their own self-interests (or want you to accomplish things to boost their own credibility or self-esteem). Being your greatest personal cheerleader is the only way to fully give yourself the praise and spotlight you deserve for your accomplishments.

Self-confidence is magnetic. It is the secret to showing up as your best self in all areas of life. Being secure in yourself makes you a better friend, family member, lover, partner, spouse, professional, conversationalist, etc. Validating yourself will make you feel good, but also radiates into every relationship or interaction in your life.

Discover what you love about yourself. Reflect on the personality traits, skillsets, and behaviors you know to be admirable about yourself. Are you constantly making others laugh? Do you get endless praise for your cooking, drawing, singing, or problem-solving skills? Would people come to you first to manage a crisis like a champion? Are you a master disciplinarian when it comes to going to the gym or reading? Do people regularly compliment your outfits or nails? Think of all of the aspects of your being that make you unique and help you to feel content with your existing, authentic self.

Take control of your life to cultivate your ideal self. While you should consistently praise your naturally admirable qualities, remember that you always can change aspects of your life that will help you feel like your best self. Know that you're in control of your decisions and have the mental freedom to think & act in any way you desire to reach any goals or implement lifestyle changes to feel like the person you feel destined to be.

Block out the noise and negative self-talk. We're (almost always!) our worst critics. Consider every new experience or interaction as a learning opportunity. Mistakes and failures are life lessons that facilitate self-reflection and opportunities for growth. Remember not to beat yourself up for past mistakes: You did the best you could with the information you had at the time. If you weren't embarrassed by your past self, you never gave yourself the chance to evolve and grow. Every success, failure, and new life stage offers its own lessons and teachable moments. Remember that we're all our own unique life paths. Comparing your life to someone else's is like comparing apples and oranges. Both entities may be fruitful but have vastly different flavor profiles, growing seasons, and rates at which they ripen. As Dita Von Tesse shrewdly said: "You can be the ripest, juiciest peach in the world, and there will always be someone who hates peaches."

HOW TO STOP PEOPLE PLEASING:

Acknowledge that people-pleasing is a form of self-neglect. By prioritizing another person's desires or approval above your own, you're ultimately neglecting your physical, emotional, energetic, or spiritual needs. Consider acting in your best in your own best interest as an act of self-care that safeguards your well-being.

Set boundaries. State your limitations, calmly, clearly, and directly. Understand that boundaries are your response to other people's actions, not a means to control other people's behavior. An expectation would be to ask someone not to call you during the workday. A boundary is stating that you will not pick up the phone during the workday and will only make/return calls in the evening after leaving the office.

Communicate your needs & expectations clearly. While you can't control what others will do, being upfront with your needs and expectations can eliminate unnecessary stress, logistical issues, misplaced hurt feelings, or disappointment in any type of relationship. Direct communication between parties will allow you both to respect each other's boundaries and to prioritize interactions that are mutually more positive, helpful, and emotionally nourishing.

Express your "no" freely (and without over-explaining). Remember that "No" is a complete sentence. You do not owe someone your time or emotional energy simply because they asked or expect you to do something/attend an event out of perceived obligation/guilt or simply to make someone else happy. Making sure you're okay is your first priority. Feel free to say "no" to any requests that would emotionally drain you, make you overextend yourself, or compromise any of your personal values/goals/priorities. You don't need to justify your needs. Just kindly decline, and let it be.

Remain consistent with your boundaries & priorities. People will treat you how you let them treat you. Once you set a boundary or share your priorities will someone, stick to these words through your actions to show you're serious about how you expect to be treated. Teach people how to interact with you in a way that doesn't feel self-sacrificing. No one will respect your boundaries and priorities if you don't and are easily swayed to forgo these self-imposed standards on a day-to-day or case-by-case basis.

Consider the long-term consequences of people-pleasing. While it may appease immediate conflict or anxiety, people-pleasing offers a one-way ticket to resentment and misplaced anger. By ignoring our own needs for the sake of others, we place unspoken expectations on these individuals' obligations to reciprocate our emotional labor – whether it be with their future actions or matching our generosity with unprompted favors or emotional support. We start keeping score as we continuously give ourselves over to others of perceived obligation. When someone doesn't return the favor, we get upset, despite never expressing this expectation of someone else or that we're even self-sacrificing in any way. This can lead to us feeling depleted or guilt-tripping others, and from their perspective, seemingly out of nowhere. It is best to remember we always have a choice whether to give to others and it should be of a genuine desire, love, or support for the other person – not as a way to gain external validation or manipulate a situation to create a false sense of obligation that we keep ourselves or the receiving party beholden to. Think of your energy, time, and personal resources given to others as a gift, not a bargaining chip.

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pawberri · 3 days

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People will say "fiction=/=reality," and others will respond with articles about the effect Jaws had on people, and then they'll debate forever if this is a real effect or scaleable, etc. I'm not interested in proving that Jaws made people hate sharks, but if I'm a critic who wants to analyze Jaws from a Shark Rights Lense, let's say... I would say the film's ideology about sharks might be flawed. I can make this critique and find it valuable without ever having to prove that the movie makes people hate sharks or even that the creator intended to create anti-shark propaganda. Regardless of medias influence on culture, it inevitably reflects culture. Jaws would not exist as it does without whatever previous Shark Baggage culture carried. As a result, analyzing and dissecting Jaws gives me an opportunity to reflect on what culture thinks of sharks. This process is valuable regardless of if it proves that Jaws has a tangible impact on culture. Jaws is culture.

I'm both tired of moral critique being countered with "media can't make anyone do anything" or bolstered by "any portrayal of x in media risks people doing the thing." What I care about is how art reflects norms, both broadly and in subcultures. I care about what people communicate and value and take for granted. I think art has meaning and ideology. I don't want to ask "what will it make you do?" but "what happened to lead us here?"

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zvouyage · 27 days

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behind the scenes!

pairing.ᐟ ; model!jungwon x stylist!fmr . . . fluff - mutual pinning && flirting . . . précis.ᐟ ; jungwon tries shooting his shot at you before his runway.

w.c.ᐟ ; 1823 ( 𝒷ack 𝓉o 𝒷log ? )

warnings.ᐟ ; lowercase intended , not proofread , kissing , kissing on shirt collar && a very flirty jungwon . . . 🎬

the backstage of a fashion show was always a whirl of chaos. hairdryers blasted, makeup artists dabbed final touches of powder on faces, and stylists like you moved with determined grace, adjusting clothing and checking every little detail with a critical eye. you liked the chaos, though. the flurry of activity kept your mind focused, helped you tune out everything except for your job, which was currently—jungwon. the model you’d been assigned to for today’s and many other shows that you’ve done before with him. tall, broad shoulders and with a lean build and striking features, jungwon had the sort of presence that commanded attention without even trying. he was the type of model whose quiet confidence drew eyes the moment he stepped into a room and walked effortlessly on any runway he was assigned to. not that you’d ever say that to his face, of course. it was unprofessional to think of your models in that way, even if you sometimes caught yourself sneaking glances at him while working and paying more attention to him and his outfits before any show.

you hadn’t realized you were staring until his cat-like eyes met yours in the mirror, a sly smile pulling at the corner of his lips, making his dimples appear which was what got him so many compliments and opportunities to walk the runway. “you’re doing that thing again,” jungwon eased, his voice low as he adjusted the tie of his suit from the new collection n the reflection. “what thing?” you tried to hide your embarrassment, focusing instead on fixing the last button of his blazer. “that thing where you look at me like you’re trying to figure out something important.” he turned slightly, watching you through his long lashes. “what’s on your mind?” he cocked his head, so adoringly that you wanted to just put him in your pockets and keep him there safe and sound from the harms of the world. you rolled your eyes playfully, trying to cover up the warmth spreading across your cheeks as you stepped back, your eyes travelling down his body to check if you liked it or not, to make any new adjustments. “I’m just making sure everything is perfect. This suit is from the new collection, after all. It’s kind of a big deal.” you murmured, you didn’t like how the sleeves of his blazer was looking so you started to roll them and then unrolled cause it didn’t look like how you imagined it in your head. “It’s just a suit,” he said with a shrug, though his eyes glinted with amusement. “nothing to get all worked up over.”. you shook your head. “It’s more than just a suit, jungwon. It’s art. and my job is to make sure the art looks flawless otherwise i’m getting my head chopped off by the designer.” you complained, earning a chuckle from him. “well, if anyone can do it, it’s you,” he said, leaning just a little closer as if sharing a secret. His voice dropped to a soft murmur, sending a flutter through your chest. “you always make me look my best.” your heart skipped a beat at the sudden compliment said so nonchalantly by him, and you tried to laugh it off, but there was something in his tone that made it impossible to ignore the tension between you two.

“you flatter me,” you replied, stepping back to get a full view of his outfit again. you moved and circled around him slowly, inspecting every seam and crease in the rich, dark fabric. the suit was perfect, tailored to fit his form like a second skin, exuding elegance and confidence, and not mention how his legs looked longer since his slacks were high waisted and accentuated his legs. but something was missing. you chewed on your lower lip, staring at him for a moment before sighing. “i don’t know what it is, but there’s just… something.” jungwon raised an eyebrow, looking down at himself with a frown and then back at you. “Something? like what?..” he asked. “like..the look isn’t fully complete yet,” you muttered, eyes narrowing as you thought. you crossed your arms, wondering what detail you might’ve missed. a pocket square? a tie adjustment? nope, it was all there…

“hmm..” jungwon mused, stepping toward you with an air of quiet confidence. he leaned down slightly, bringing his face close to yours. “maybe it needs something a bit more personal.” your heart began to race as he paused, his gaze locked onto yours. there was an intensity in his eyes, something unreadable yet deeply felt. you swallowed nervously. “Personal?” a small smile tugged at his lips as he brought a hand up, taking the black pen that was tucked snugly ehind your ear. “yup. if you see here..the designer has a bunch of lipstick stains detailing around the collar..a suit like this, like mine wouldn’t be complete like this. it needs a final touch. the lipstick stains.” he explained carefully, his fingers gripped on the pen that was pointing at all the small details that you’ve missed whilst preparing before the show but could you blame yourself when you’re getting told to hurry up cause we don’t have all day? nope. your breath caught in your throat, silently cursing at yourself for forgetting such small thing that could love impacted the whole look and original design of the suit, the air between you crackling with an unspoken tension. “and how can we fix now?” you asked softly, trying to maintain your composure but finding it increasingly difficult with the way he was looking at you, there was a glint of mischief and hope in his eyes. he leaned even closer, his voice dropping to a hushed whisper. “you can kiss me..” your lips parted in surprise, but before you could respond, he continued, his words smooth and teasing. “not my lips, don’t get the wrong idea but this suit isn’t complete until it’s been kissed by someone special.” the playful glint in his eyes remained, and for a moment, you weren’t sure if he was joking or being serious. but the warmth in his gaze told you everything you needed to know. “jungwon…” you breathed his name, your pulse quickening as the reality of his words sank in. he gave a nonchalant shrug, as if he hadn’t just made your heart race with a simple suggestion that seemed innocent to him but to you…hell, this was something you have wished on doing but not in this profession! just as a normal human who was also his non-stylist girlfriend!. “eh…you can do the kissing on the lips part later but c’mon on, we don’t have all day and the show is about to start” he teased further. you couldn’t help but let out a breathy laugh, shaking your head at his casual boldness and letting your head hang low, not wanting to face him with your flushed cheeks. but there was no denying the way your body reacted to him—the flutter of butterflies in your stomach, the way your hands trembled slightly as you brushed them against your sides. you had been suppressing these feelings for far too long, and now they were bubbling to the surface in the most unexpected way, damn he’s a good flirt and a very natural one at that.

“alright fine…” you sighed defeatedly, your hand going to pick the same shade of the lipstick on the original design from one of the many vanity’s in front of you, jungwon stood still, smiling and staring at you from the reflection of the mirror as you applied the lipstick on the lips who he had wished and longed of kissing for so long. jungwon lowered himself down for you to be able to reach at his white collared shirt without a struggle since he was wearing heeled boots and made him more taller than his normal height, the blood began rushing to his cheeks as you leaned in to place a kiss on the collar, leaving the perfect lipstick stain behind and a very smiley jungwon who had gotten a whiff of the shampoo and your perfume that you were using. jungwon’s smile deepened, his voice filled with a confidence that made your knees weak. “you’ll be able to kiss me without this shirt in the way in the future.” you blinked at him, trying to process what he was saying, but his next words stopped your thoughts entirely. “how about this,” jungwon continued, his tone still casual yet laced with something much deeper. “after the show, you and I go out. I’ll take you somewhere nice. and if you’re still not all blushy mushy then you’ll be able to kiss me..on the lips this time, how does that sound?” you stared at him in shock, your mouth opening and closing as you tried to form a coherent response. did he just ask you out?..yes, but not in a traditional sense. it was more of a promise, wrapped in his easy charm and confidence. But underneath it, there was sincerity—a longing that mirrored your own. “jungwon, are you fucking serious?” you finally managed to ask, your voice barely above a whisper. jungwon gave a small nod, his gaze softening as he looked at you. “mhm, but i guess you’re too much of a chicken to do this so..” he smiled mischievously at you, leaning his head down to plant the most passionate kiss that you’ve ever been given. your heart pounded in your chest at the sudden contact of his lips, your eyes were blown wide open and you couldn’t even process and respond back to the kiss before he pulled away, his cheeks were more rosy coloured than before and his reddish lips looked plumper, a small string of saliva connecting both of your lips but he swatted it away with his hand. but there was something in the way he looked at you, something that told you this was the right step to take. and maybe, just maybe, you can finally come out of your coward state and actually go out with him, see what’s it all about being his girlfriend. “Well,” you said, trying to keep your voice steady as a small smile tugged at your lips, “I suppose we’ll have to see how the show goes then.” jungwon grinned, clearly pleased with your response. “I’m looking forward to the after show, being with you and of course…kissing you more.” with that, he straightened up, giving you one last lingering glance before heading toward the stage, leaving you standing there with your heart racing and a mix of anticipation and excitement swirling in your chest. as he disappeared behind the curtain, you couldn’t help but touch your lips, already imagining how the night might end. and maybe, just maybe, his suit wasn’t the only thing that needed that final kiss to feel complete.

@zvouyage. 24/plagiarism won't be tolerated on my page.

#enhypen x reader #enhypen fluff #enhypen imagines #enhypen jungwon #jungwon imagines #jungwon fluff #• zeynep’s delulu kingdom ྀིྀིྀིྀིྀི #• zeynep’s delulu kingdom’s menu ྀིྀིྀིྀིྀི #• zeynep’s delulu kingdom’s artworks ྀིྀིྀིྀིྀི #• enhypen ྀིྀིྀིྀིྀི!

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patricia-taxxon · 1 year

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In art, positive feelings are dumb and negative feelings are smart. This is an association I've noticed in especially online discussions of media, it is an error that has gone uncorrected for entirely too long.

This association is bolstered whenever someone says that you shouldn't criticize the mario movie too harshly because it's "fun" and light frivolous things are self justifying. This association is bolstered whenever people continuously categorize media that makes you feel bad as a strictly adult afair, that anything sad or disquieting or revolting is somehow trying to outsmart you and you're actually very cool & hip for rejecting it in favor of dumb pleasures.

This association leaves two categories of art completely outside of discussion and dying for air. Firstly, art that is joyous and life affirming in a mature and reflective way. It'd seem almost sacrilegious to describe Kiki's Delivery Service as "Wholesome," even though it is such prime comfort cinema there's just so much more to it than that. It's a tangibly adult perspective on the themes it presents. But the "happy=dumb" association is set so deep that nearly all critical discussion about miyazaki's movies is about how pretty and sweet they are. They exist in this category of being overexposed yet somehow still unappreciated.

But then there's the inverse, art that makes you feel like shit in a simple and single minded way. Irreversible is the worst time you can have with a movie, probably, and it (affectionately) has nothing going on under the hood. It's a pain box. This category of art tends to confound folks far more than the previous, it elicits a "what's the point??" usually, or if any concession is made towards allowing uncomfortable art to exist it's with the caveat that it has to "justify" it's discomfort. Simple displeasures don't have the same assumed good faith as simple pleasures. The surface level ways in which a film like Irreversible makes you feel like you've been beat up after it's finished? Not worth mentioning.

There's graver consequences to these two boulder-sized blindspots in artistic conception. Like, because negative emotions are smart, people think that making entertainment out of real life tragedies can be de-facto respectful so long as they make the emotions in their entertainment negative enough. It doesn't matter that Netflix's Dahmer plays defense for the killer and uses the image of black people as a boringly virtuous collection of punching bags to milk tragedy from, if it just makes you feel bad enough, gives the surface level impression of graveness, then it's fine that you're making entertainment out of real life people's personal real life tragedy that still exists in recent memory for many people.

I want to elevate joy, bring it into critical attention, stop taking it for granted. I also want to de-elevate misery, take it off it's false pedestal, let us realize that it's all art. FEELINGS are self justifying, not just good ones.

#cilantromixture #mini essay

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hashtagloveloses · 11 months

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im still kind of in disbelief that that the internet like...turned on lore olympus. i get the whole "once something is popular people make it their personality to hate something", and the "incredibly online people make age gap discourse about immortal gods bc they need to touch grass," and you're certainly not obligated to like it, it's not everyone's cup of tea, but like. it is a genuinely good comic. its issues are no worse than like, most serialized web comics that have to struggle with the medium, and its art style is engaging and interesting, and has improved a lot over time. i know there was a very t*rf-led movement on here a LONG time ago starting discourse about greek myths to get crypto t*rf shit about femininity across and i know thats where some critiques come from. and it's weird that many criticisms of "modern retellings" get blamed on lore olympus bc it doesnt actually follow them - like, demeter isnt some crazy bitch, she's a character with complexity and depth.

yes the original intent of the story is changed, a story that women in ancient times could relate to about the fears of marriage, but LO actually does what modern retellings of old stories do best - modify a story to serve a similar purpose, but reflecting the modern audience's contemporary issues. in this case, embracing the complexities of love and marriage as a survivor of sexual assault, something many modern women struggle with. persephone's relationship with demeter ALSO reflects a very real struggle many modern young women have, of finding identity and sexual agency as an adult when your entire life has been controlled by a helicopter mother, even with the best intentions, and with her own trauma.

i also find the criticisms of the body types and sexuality often misogynistic and weird - people want things with a distinct, interesting style, they want women with sexual agency to be promoted and not sanitized, and yet LO gets over-criticized. how persephone dresses, how the other gods dress, changes a lot depending on level of confidence, mood, etc, and is a part of the storytelling in an interesting way. you don't have to like it, and i know there's jokes about the LO art style of drawing women, but i have a body like some of those bodies. i know other people who do, or at least similarly. it's not like a lot of comics or manga or anime where everyone is a stick, and they get to be sexy! it's nice!

and when people complain that its the only webcomic people read well then thats a YOU problem. i read a LOT of webcomics. i talk about them to people, i recommend them. romantic and otherwise. do you? do you spend as much time complaining about lore olympus as you do talking up other cool webcomics that deserve attention?

#original post #lore olympus #this is a rant ive been meaning to post for a while

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reiinai · 11 months

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Happy Showcase Day Y’all!

This time @artists-guild-of-exandria presents the Art History Style Swap #AHSS

Paying homage to some of our personal art inspirations through our love of Critical Role 💜

In graphite and pencil is my take on an MC Escher classic, reframed as

‘Hand with Reflecting Beacon’ found in the journal of a particular mage.

_________________

In years to come, a book now lives in the inner archives of the Cobalt Soul. Like many around it, it is a journal, and as such gives a history surrounding some of the most defining years of Exandria.

This particular tome also seems to be a sketchbook.

Most of the drawings are precise in execution yet appear to have little relation to the writings, occasionally annotated with sentiment rather than context.

One such note, scrawled in an antiquated form of Kryn Undercommon accompanies what is theorised to be a self-portrait.

‘I often wonder if I truly thanked you for sharing your skill of art with me, my friend. It is a cruel jest indeed that time has seen to it that I will never know.’

#critical role #artists guild of exandria #art history style swap #ahss #critical role fan art #critical role art #essek #essek thelyss #mc escher #traditional drawing #traditional art #homage

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slugtranslation-hypmic · 5 months

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

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

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

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

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

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

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

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

Wrong Ways to Be a Man

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

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

(TDD chapter 10)

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

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

(BB/MTC+ chapter 6)

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

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

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

(DH/BAT chapter 4)

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

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

(BB/MTC+ chapter 25)

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

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

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

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

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

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

(DoD chapter 1)

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

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

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

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

(DoD volume 4 bonus comic)

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

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

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

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

(FP/M+ September 2022 oneshot)

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

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

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

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

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

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

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

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

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

(FP/M+ chapter 4)

(FP/M+ chapter 14)

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

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

(BB/MTC+ chapter 12)

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

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

(BB/MTC+ chapter 4)

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

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

(FP/M+ chapter 4)

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

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

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

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

(BB/MTC+ chapter 16)

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

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

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

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

Intersection with LGBT+ Topics

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

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

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

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

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

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

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

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

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

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

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

#not a translation #analysis asks

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