#(just don't make me talk about scholars and critics and stuff)

[trashcanfills]

Some Ratio x Reader x Anaxa idea

Listening to Dr Ratio and Prof Anaxa's voicelines is interesting since it shows they interact with ppl differently, even though both are knowledge-seekers and experienced with academics.

Dr Ratio is serious, and doesn’t suffer fools gladly. If you're wasting his time, he's not going to bother with you. If you persist on annoying him with matters and concerns he doesn't want to deal with, Ratio will unleash his sharp tongue on you, attacking any weak points in your arguments and presentation. He is not a man to entertain any of your questionably dumb shenanigans.

Anaxa, in contrast, is perhaps more open to hearing you out. Don't assume that it's because he's nicer than Ratio lol. Anaxa has a sharp tongue of his own. It's just that he holds it and entertains conversations with idiots because he isn't as picky as Ratio on how he chooses to spend his time. I would even say he's a bit of a troll, finding amusement in hearing what others have to say first, letting them think that he is listening or supporting their arguments. That is, until they are done speaking, and Anaxa proceeds to open his mouth and starts criticising.

This gives me some idea for a Ratio x reader x Anaxa fic, where reader is a scholar or student who has interacted with both of them, either due to research projects or studying similar fields. (This can take place after Amphoreus gets freed from whatever cyclical bs is going on and is able to interact with the rest of the interstellar system or u can set this in a modern au)

It would be kinda funny if reader is distant from Ratio, but friendly towards Anaxa. Ratio, having a no-nonsense attitude and very high standards of academic conduct, makes any interactions with him feel daunting. Dealing with his criticisms can be exhausting, esp since he is so sure of his own stance on various matters and he might not necessarily listen to your opinions if he finds them lacking. Competent scholar yes, but constant debates can get tiring. It's less emotionally stressful to maintain a strictly professional relationship with Ratio.

For some reason, you still end up having to talk to him occasionally, even though you are not seeking him out at all. He keeps saying that he needs your opinion on some stuff, but most of the time it's not related to your field whatsoever?? Surely, there's plenty of other competent scholars in the Intelligencia Guild with more expertise he can consult from instead. You do admire Dr Ratio, but you would prefer to do so from a distance where his blunt manners don't directly agitate you...

Anaxa (or Anaxagoras, as he so prefers to be called), is a recent arrival to the guild, hailing from an isolated system. It's a lot more easier to talk to him, compared to ahem some other ppl, because at least Anaxa is more willing to hear you out? Granted, he acts strikingly similar to Ratio when responding to dumb shit, but Anaxa is not as stubborn. He seems eager to hear about what you do, which makes sense as he is curious to learn abt topics beyond what his homeworld had to offer. You are also interested in hearing abt how different schools of thought develop in his homeworld, mentally comparing them to the Intelligencia Guild and Genius Society.

Discussing all kinds of topics with him is quite fun. It’s a treat to see the glint of curiosity in Anaxa's eye whenever you share your own thoughts and experiences based on your travels to other worlds. Even better when he internalises them and asks questions of his own, to quench his own thirst of knowledge that lies beyond what he is familiar with. A thirst that you fully understand and reciprocate. (if only you knew how thirsty he is for you in a different way cough cough)

Hmm how odd it is that your interactions with Anaxa is a lot different from that with Dr Ratio, given how similar they both are.

Speaking of the two, it is inevitable that these two scholars will bump into each other sooner or later. With close proximity to you, one will definitely hear of the other at some point.

Ok I will be honest in saying that I'm not too sure how their interactions would be like if they ever meet. I like to think that their first meeting would be like...ok-ish? As in they both won't hate each other cus neither of them are idiots and they have similar ideals. But they don’t necessarily like each other, being the critical assholes they are.

The moment it registers to one of them that the other likes you, however? Oh boyyyy

Ratio, once he notices how much time you spend with Anaxa and how much you enjoy chatting with him, finds himself seething with jealousy in the background. Not that he realises it at first. He thinks that this ugly emotion churning in his heart is frustration at being unable to consult your opinions on the various research topics he's looking into. At least, not with Anaxa monopolising most of your attention.

Anaxa, who is definitely a bit more socially aware, picks up on the hostility from the doctor. It’s not long before he connects the dots between Ratio's persistence in seeking you out, and his obvious dislike of Anaxa. The professor is not even threatened by a potential rival, when he knows how much you vastly prefer him over the caustic doctor. If anything, he's visibly amused and smug about it, which of course ticks off Ratio even more.

Even you can sense the simmering tension whenever the three of you are standing in the same space. You can tell that Ratio and Anaxa don't quite like each other, but you can't exactly grasp the reason why. Asking Anaxa doesn't help. He merely mentions how he dislikes the way Ratio is bothering you despite your clear discomfort around him. Which. You suppose that makes sense yet why do you get the feeling it's a lot more than that? And Aeons forbid you ask Dr Ratio about this.

From an outsiders pov, it is very clear to everyone else what's going on. Not that anyone is willing to involve themselves, with those two hovering around. No one with a decent IQ and sense of self-preservation, wants to subject themselves to the scathing remarks of dr Ratio or callous responses from Prof Anaxa, or bother with the drama of it all.

Note: Man i would add a lot more thoughts esp with different possible dynamics with this two plus reader, like one where reader favours Ratio over Anaxa instead or reader who's aware enough to know what's going on. But this post is getting long enough lol so I'll just leave it as this for now.

Also, i'm not sure if I have characterise Ratio and Anaxa well enough, cus they are still very different people even with strong similarities. Would be happy to hear other ideas or interpretations of how an Anaxa and Ratio romantic rivalry (or potential threesome???) would turn out. Feel free to add on your own ideas, if u got any!

[baixue-temple]

I know I've only poked around the fandom for like.. A MINUTE but I have a thought as I go through meta and fanfic stuff, I keep bumping into interpretations bouncing between "Shen Yuan is a nasty little gremlin of a man just like the original Shen Qingqiu" to "he's a very nice person deep down unlike the original goods" but for me I'm kinda feeling like...

They're not the same person on a literal level. But they are also kinda the same guy, in a way in which they are running much more parallel than I think is given credit, in ways that makes SY much more fleshed out than The Nice One and SQQ flattened down to The Mean One.

Mostly I'm thinking of someone's video essay that touched briefly on Nature Vs Nurture themes in the show, and while they were talking about in reference to Binghe's arc, it made me sit back and think instead about how SQQ and SY could arguably fall under the same debate despite being more definitively separate entities than PIDW Binghe and SVSSS Binghe are.

Just off the top of my head:

They're both are very academic in their interests/skillsets, but SQQ's issues have twisted his perception so that his interests are instead standards of measurement against his worthiness as a peak lord (or just a person in general) vs SY's interests seem to come more calmly, given that he could binge read novels and more-or-less seamlessly fit into the scholar peak. Both display tendencies to defend their skills/interests from perceived or even imagined criticism...

...But both are ironically also pretty damn critical of others around them! The key difference that Shen Yuan is typically more internal about it once he transmigrates because now he doesn't have a keyboard between him and his targets unless SQH is around vs Shen Qingqiu is has truly just lost his ability to give a fuck, using his words as much as a shield as a weapon against perceived threats aka everyone and everything.

The level of self-deception that these two engage in re: their self-worth and how much they mean to others needs to be studied in a petri dish.

Both have a Specific Person that is critically important to their place in the world that come with complicated feelings of love, anger, self-worth, trust issues, etc. This really clicked for me when SY is taken to the fake bamboo house after being caught by Binghe. Whether or not Binghe's intentions are good, all SY is feeling is anger and tells him to leave him alone. He trusted this person! And what did he get? Captivity. So he lashes out verbally to keep him at arm's length because that trust has been damaged. Wait why does this sound familiar--

Furthermore, they are both pretty good examples of personalities where protectiveness of that Person can bleed into being domineering. SY doesn't realize he's done this to Binghe until nearly the end of the novel, where SQQ learns it early to survive and never unlearns it especially in regards to YQY. Both of them have big ol trust issues, have learned that they have little control over the world around them, enough so that they feel the need to control even their closest allies around them -- because they feel that if they don't, they cannot be safe.

Both tend to get misinterpreted -- and then react to it almost as polar opposites. Shen Qingqiu's more minor misdeeds or even attempted good deeds get taken negatively because of his personality, and he realizes this but gives up. Where Shen Yuan's actions often get received more positively than he originally intends or even wants, especially at the start of the story when he's primarily only thinking about his own hide, and there's lots of times where this goes completely over his head.

All in all, I think I'm finding more that I appreciate things that take this into consideration. That SY and SQQ are very much mirrors of each other's flaws and strengths. It's also just a sort of sad irony that SY starts the story hating SQQ so much but gradually becomes more forgiving of him as he learns more about the man and himself -- especially when you take into the factor that Shen Qingqiu... also hated Shen Qingqiu.

[ninja-muse]

The Scholar and the Last Faerie Door by H.G. Parry is like coming home after a long day and having someone to share a comforting, knowing sigh with. It's hot tea on a blustery weekend, a beam of light splitting rain clouds, and an acknowledgement that the world has always been complicated and imperfect and worth fighting for. It is, in other words, another pretty much perfect novel from Parry and as written for me as I thought it would be.

I don't know where to begin, really. My instinct right now is to wave my hands dramatically and say: this! this! so good! everything! just! aaah! Which is, I realize, not all that helpful. So let's start with the fact that this is a memoir. Clover, the narrator, has lived the story already and is telling us what happened, with compassion for her younger self, and criticism, and regrets, and a commitment to the truth. It feels very much like other books I've read looking back at the time between the wars, that mix of nostalgia for youth and excitement and novelty, and awareness that it can't last, that it was spurred on by a world that had fractured, that there was darkness at the edges of everything. (This has to be intentional; the book begins in 1920.)

This is also a magic school novel. It's a story of a girl fighting her way into a magical university, determined to find a way to break the faerie curse on her veteran brother. It's about finding a friend group and falling into research and learning about a hidden world. It's about the joy, and the pain, of striking out on your own as an adult. And it's about what happens when all of your hopes and dreams go awry, as well as the dangers of messing with the fae. It's not quite dark academia, but it's certainly on that continuum.

Where Parry really excels though, here and always, is her characters. Clover feels real. Her friends and family feel real. They're people shaped by their circumstances, full of complexity and contradictions, not beings whipped up by an author or puppets on a stage to further an end. They do things and make mistakes that take the story in unexpected directions and, generally, lend the book a richness that a lot of novels lack. That's one of the reasons I'm calling this a memoir. It felt like I was reading something that actually happened, told by someone who experienced history.

So: we've got the 1920s, a magical school, faerie lore. That could easily lead to something trite and repetitive, but Parry lends it all so much nuance, so much shading, that even when it felt familiar, it also felt fresh. (For instance, a lot of the faerie stuff reminds me of Jonathan Strange & Mr Norrell, but tackled from a different angle.) I loved the way the themes and narrative wove together, the way Parry believably builds up the historical world, the way she has of foreshadowing and then surprising the reader anyway. The way she merged the tropes and "genres" together felt seamless and, dare I say, magical.

You might notice that I haven't really said much about what the book's about or what happens in it. I don't think I can, without ruining the experience. I can't very well say this goes in unexpected directions if I also tell you what to expect, after all, and a lot of what Parry is actually talking about will be more powerful if you have to put the pieces together in time with the characters. I went in blind, knowing only what was in the reasonably unhelpful blurb, and my experience was all the better for it.

In short, this was a wonderful read and one that pulled me in and kept me close. If you're a fan of anything I've mentioned in this review—Oxford novels, magic schools, dark faeries, character-driven stories, the 1920s, etc—I highly recommend checking this out, especially if you've been on the fence about it. Take this review as a sign.

[glowingghosty]

so i finally watched the Barbie movie, and it was... good. like, i really enjoyed myself, it's very funny, it's acted well, it LOOKS amazing.

but... am i the only one who feels like the script should've had, like... another good month or two to cook?

and i don't mind the lack of explanation. like, it never explained why Barbieland is this, like, weird demiplane connected to Earth and the Barbies are real and not only can they go to the real world and function basically as people, but real people can also travel to Barbieland. it was one of those things where i could easily go, yeah, sure, whatever. like, maybe they could've fleshed that out a bit, but it didn't distract me enough to say that would be necessary

but I'm talking about the actual plot, and the message of the film. it felt... clunky. I've seen people criticize it for being "intro feminism" but i don't even think it's that. i want to watch it again and have a more detailed and in depth analysis, but i remember a few things that bothered me. the idea that the deconditioned barbies used their wiles to make the kens jealous and turn on each other in order to defeat them felt... bad. the way the film said "manipulative women win" felt SO icky, especially how that was just kind of accepted and worked just fine and wasn't called out. and the way that Ryan's Ken was like "i thought it was all about horses anyway" yet the concept of men finding community with each other over common interests was never seen as a positive topic to explore, and it just all came down to oppressing the Barbies.

the whole movie implied that this is what the world would be like if the roles were reversed, right? if women were the one in charge and men were put down and subservient. yet all the kens were dumb, and ignorant, and only cared about the attention from their Barbies. and at the end, president Barbie said "maybe things shouldn't go back to the way things were" and the film recognizes that the kens were bad off... but then made the joke that they were "not ready" for equal representation? "maybe someday" a ken can be in the supreme court, but for now, they have to learn, and they're gonna have to work their way up. if we flip that metaphor and apply it to real life, flip the roles... that feels disgusting. you can't have a reverse metaphor and put down men at the same time. the reason why women haven't had equal rights is exactly this narrative, that they weren't "ready," that they were ignorant or dumb, that they wouldn't use their rights or power "correctly," and that's exactly what the film said about the kens. and it was a joke! funney!!!

it felt like they had this basic idea for the movie and did the worldbuilding centered on the fact that they're dolls and ken is just There while they're a million barbies with a bunch of different careers. and then when they tried to come up with a story, they had to shoehorn in the feminist stuff... and it just did not land for me. if they wanted this to have been a feminist piece for the ages, they should've started there.

I'm actually surprised at the lack of analysis and criticism I've seen of the actual story of the movie. I'm sure it's out there, but i haven't done across it. i know this was written just after covid, and it was written during the worst time to be a writer if we consider the timing of the strike. but... i still wish it had been edited. i think it would've fared much better had they've consulted with feminist and gender study scholars. i think it would've led to a much better lesson and a much tighter script.

[97-liners]

i liked this bit from my response to the last anon who tried to tell me off by saying "half the time its stuff that you have literally no say on anyway." "Stick to talking about shit that relates to you and maybe, just maybe, people wouldn't hate on you so much." so i'm going to separate it out here:

the main thing i have to say here though. i don’t have to be black to think that anti-blackness is bad and speak out on it, and i don't have to be fat to speak out about how fatphobia is bad. in fact, it's actively harmful to try to say that only people who are directly affected by a given power structure are allowed to speak on it at all. my saying "equating thinness with health and beauty is not good" is not anything radical, and it's kind of fucked up to think that a thin person should never say that.

this goes beyond whatever this anon is talking about — the problem with the mindless emphasis on “listen to x voices” is that, while it’s important to put oppressed viewpoints and lived experiences in the forefront of discussions, it’s not a free pass out of critical thought. ppl forget “listen to x voices” started out in academic study. it's not about the ppl you choose to defend or the viewpoints you hold publicly. and it’s not about x voices saying “xyz isn’t harmful” taking precedence over established theory to the contrary. i think this is something ANY poc understands acutely and painfully because it’s always the conservative and white supremacist sellouts that get put to the forefront.

it also gives people an out. if you believe that only x people should talk or care about x issues, then that lets you just sit back and say “well, i’m not x so i’m not involved”… and more irritatingly, it gives you the perceived right to say “well I’M a minority so my opinion is right !!!!”. being a person of color doesn’t make me an expert on racism and i don’t pretend to be an expert. there are white anti-imperialist scholars who have a better understanding of racist global power structures than i do and i’m not arrogant enough to just write that off because they’re white.

[disgracedmilfman]

I kind of can't stand Kendrick Lamar, despite him being incredibly talented, because he has this Messiah persona and talks about having Big Important Messages while like. Being a regressive hotep with Black Israelite shout-outs.

I pay more close attention to the social messages in his music specifically because he makes such a big ideal of how important and noble and godsent he is. Stuff that I would laugh off from other rappers really rankles me.

Like the part in Mr Morales where his wife character is talking to him about patriarchy and rape culture and he goes uhhh well you girls don't like each other. And it's like. No one was asking him to be a feminist scholar, no one was pressing Kdot for his Feminist Takes, but since he decided to bring up sexism himself, maybe he could crack open a few books. Jesus Christ.

And it drives me crazy no one can criticize him for this stuff 1) bc he's untouchable right now 2) bc ppl can accuse you of purity testing but he can decide to just not talk about this stuff at any time

This isn't even touching on the esk*mo/"where I come from, we're all indigenous" stuff. No one was asking him to talk about indigenous issues. Who was asking him to talk about that. No one.

And the beef with Drake where he kept saying stuff like "oh I'm playing niceys for now but don't test me". So there are conditions where you would play nice with the guy you already think is a pedophile?

[morlock-holmes]

I kind of agree with this, and I kind of don't.

Pushing back as far as the mid-60s, I'd argue that to the extent shows like, say, Herculoids or Space Ghost are worse than, I don't know, M.A.S.K., that's almost entirely down to budget. If Space Ghost had been made with the resources available in the 1980s, it probably would have been as good, or better, than those shows.

Particularly, direct sales of the Captain Video sort did attract serious criticism; Wikipedia claims that in 1973 the National Association of Broadcasters adopted voluntary rules limiting the length of commercials during childrens' programming and prohibiting children's TV hosts from directly promoting products themselves.

I'm not sure if this is correct; in fact, despite the massive impact TV had on all of us growing up, I don't think anybody has written a good history of how regulations and voluntary rules effected the tenor of kids programming in the US or the world; everything I've read gives me the distinct impression that it's written by scholars who don't quite understand the complex nuances of law.

But nevertheless, I think we can agree that Scooby Doo didn't stop in the middle of the episode to sell you toys like Captain Video used to.

The half hour commercials of the 1980s are, essentially, long advertisements, and this distorts the way they are written in ways which are, to me, fundamentally emotionally dishonest. The movies for My Little Pony and Transformers involve plot beats where toys that are no longer selling well are literally destroyed in order to make way for new characters based on products that the parent company wants to sell.

Something similar happened in the modern My Little Pony cartoon. It starts with two Alicorns, one who raises the sun and one who raises the moon, who appear to be sort of nature goddess figures, and then in, like, season 3 all of a sudden there's just a third one, because Hasbro wants to sell a third alicorn toy. It doesn't matter if Luna and Celestia represent a dramaturgical dyad, this ain't art, it's business.

I think that this kind of... manipulation is fundamentally dishonest and in my opinion kind of reprehensible to push on kids who are too young to understand that it is dishonest.

The thing going the other way is that, particularly as you get into the 1970s, you have more and more stuff for kids which is manipulative in a different direction, what is often called pro-social programming. Which is to say, programming which is aimed at improving kids by showing them things which will make them into better people.

And this is distinct from educating kids. Shows like Sesame Street, or Mr. Rogers' Neighborhood, are not what I'm talking about here. Those shows, and many more like them, are responses to and against kids entertainment that only exists to mindlessly satisfy the Id through exploding space aliens, but which also attempt to honestly address the great breadth and depth of modern life. They're attempts, in a certain way, to communicate with children.

I'm thinking more of stuff like a show I recently discovered, called Yogi's Gang, where a whole cast of Hanna Barbera misfits fly around on an ark fighting villains who want to promote bad habits in kids, with plots like,

Yogi and the gang land on the property of Yogi's old friend, Mr. Cheerful, when Magilla runs out of bananas. A villain named Dr. Bigot plans to experiment on them with his Bigot ray and turn Mr. Cheerful and Yogi into bigots, discriminating against everyone else.

and

The gang stops at "Smog City," a city covered in smog by Mr. Smokestack Smog's smog factory where he has convinced everybody that smog is good for them. He encounters Magilla Gorilla, Peter Potamus, and Snagglepuss (who are looking for bananas for the ark) and tries to convince them into his way of thinking.

This kind of thing was rampant during the 1970s, and of course continued through the 80s and into the 90s where we had to deal with Captain Planet and Cartoon All-Stars to the Rescue, or later on the e/i logo in the corner of the screen announcing that, yes, the next half hour of television was still going to be a cartoon, but it wouldn't be an entertaining one.

A lot of this stuff strikes me as just as much an exercise in behavior manipulation as the advertainment that they supposedly acted in opposition to.

I have an RPG called "Cartoon Action Hour" which is a roleplaying game about 80s cartoons and Flint Dille, a writer on a bunch of them, wrote the forward, and I want to quote some of it (bolding is mine):

Here’s a historical note. In order to understand ‘80s syndicated cartoons (and most on the list [of inspirations for Cartoon Action Hour] were that), you have to understand the network environment that preceded it, because the thrill of working on the syndicated shows was liberation from network rules. A variant of the game [Cartoon Action Hour] would be ‘Network Action Hour’. This would be to reflect the incredibly politically correct anti-violence, pro-social world of the networks in the ‘80s (most of the shows mentioned were syndicated, so they played by slightly looser rules). You assign ‘violence points.’ Somebody slamming a door is one violence point. Somebody raising their voice is one violence point, etc. You only get 40 violence points. That is that nobody can ever intend to harm anybody. A truly violent and heinous thing like shouting, “I’m going to get you” gets 5 violence points. That’s the max. You can’t go beyond 5 violence points for any action. You can’t save up your points for, say, a disembowelling. The ‘pro social’ option is that no one character can do very much. All problems are solved by a group. If you are to solve a mystery, each character has to solve exactly the same amount of the mystery. (See Mr. T.). If you escape from a flooding castle, everybody must have a critical role to play in the escape. All action has to amount to somebody running away in fear but usually without actually being threatened by another human. Though it should seem like they were threatened. Actual threats have to come from neutral sources. I’ll give you an example from Mr. T that took us most of a night to come up with and was almost pure role-playing. At one point, we had to have a character escape from a room. There were rattlesnakes on the floor of the room (I think it was the forbidden monastery). The character could not harm a rattlesnake, but he could throw a rope onto a fly fan, which would spin him out of the room and toss him harmlessly through the window. (I think that’s how it ended up working). The point is that no hand drawn snakes can be harmed in the process. Of course, the villain will be terrified by the snakes and not pursue our heroes any further. The fun of the ‘Network Action Hour’ variant is that it is a great set up for the Cartoon Action Hour game where we had looser rules. Steve Gerber sold me on G.I. Joe by saying, ‘our characters can hit with real fists.’ And forget ‘Yo-Joe’. The real battle cry we marched to: “We can hit with real fists!”

I mean, I'm sure a lot of parents would have been horrified to hear that but, well, sometimes imaginary punching is fun.

That's the kind of thing that the half-hour toy ads were competing with, and, ironically, it meant that in some real sense they felt less manipulative, less focused on sanding the edges off of everything. Yes, they were attempting to manipulate your behavior but the mercenary nature of them meant that as long as the toys were being moved writers had a lot more leeway to follow their muse and address things in the human psyche that the more rigorously policed pro-social programming of the day simply refused to address and actively papered over.

Kids don't like being talked down to, and in a weird way a lot of the brand management programming that really started to take off in the 80s talked down to them less then the stuff it was competing with.

You can complain about the crassness of 80s advert-toons, but what came before wasn't good just because it didn't have a toy company paying the bills.

In fact, that was part of the problem.

(splitting this into its own post)

Pre-80s, your biggest player in TV animation was Hanna Barbera. Post-Cartoon Network kids won't remember, but before they had a network to fill, HB made low-cost dreck exclusively. Race-to-the-bottom, cheap-as-possible, formula driven dreck.

Some of it was dreck with potential and staying power, because you had guys like Alex Toth trying their best to make good stuff despite being given the budget of a Viewmaster disk.

Kidvid in the 80s was the first time, en-masse, someone cared about the quality of kids' entertainment on TV. Not kids' edutainment, PBS existed for awhile, but actual get down and have fun kidvid. Prior to that you had the distressing puppet shows from Sid and Marty Kroft and everything else was 'what will the kids care?' low-end channel filler.

(Channel filler that was, by the way, still selling toys and candy. Just not themed after what the kids were watching)

Then in the 80s, suddenly a lot of people care about the quality of the show. They care because the show is a very expensive ad campaign, but suddenly the avenue to maximized profits drove through a show that was actually engaging and entertaining to kids.

At the same time, your animation industry was flush with new money and a desire to not see that snatched away by another 1960s parent panic that killed the Sugar Bear cartoon. So the studios did everything they could to not make the shows the advertisements they were assumed to be. The goal of elevating the project to avoid feeling like an ad-writer also slipped in. You get stuff like Real Ghostbusters, Spiral Zone, Bravestarr, some very impressively animated and written shows...

And before that, remember, was Jabberjaw, Huckleberry Hound, and fucking Clutch Cargo.

Yes, that is a pair of human lips projected onto a blank face because they couldn't afford animation.

And everything that wasn't a toy-toon had to have a bigger budget to compete. You don't get Thundarr the Barbarian until HB has He-Man breathing down its neck. There is no Le Mondes Engloitis if they don't have the merch wave washing over France. The Disney Afternoon was only what it was because it was trying to contrast itself from the figure aisle.

There is no BTAS or Gargoyles without the action figures.

New Google makes searching for the quote basically impossible, but one of the leads on G.I.Joe has a quote along the lines of: the fantasy of G.I.Joe was not a war fantasy. The fantasy of G.I.Joe was the idea that when you get in trouble, you have a large group of friends who will be there to help you through it.

And one last dirty little secret. Before they could make cartoons based on toys the toy market was still driven by licensed stuff, it was just stuff based on live action properties:

The 80s are seen as this time in which kids were deeply exploited, and all the money made in the kidvid and toy industries is seen as the evidence of that. The idea that the boom happened, even in part, because kids were actually getting media and toys they wanted never occurs to them.

And what did youtube make into the face of kid's entertainment?

If the YT kidverse had to deal with the regulations and rules of 1980s advertising cartoons none of that would have happened.

No one wants what these guys are selling.

[shadow-pixelle]

Today I made a terrible mistake. This mistake was starting my Literature essay.

It's due in three weeks. It's 3000 words. Ok, not bad, I can do 1k a week and have it done for the deadline.

I had a word breakdown, telling me exactly how many words I needed per text to hit the minimum so that I could be comfortable getting it done. My word breakdown was putting it at about 1250 words per text, giving me 2500 total after the texts, and then needing only about a hundred for the introduction and conclusion to hit the minimum (10% leeway, so 2700).

Then my introduction was a bit over 200 words.

Ok, no problem, I think to myself. Means I either have less to do, or I'll be more comfortably in the limits in case I need to take things out. This is a good thing. So I move on to my first text, of which I'm talking about two characters; Carmilla, with my focus being on Laura and Carmilla. I'm expecting to spend most of it on Carmilla but start with Laura anyway.

I end the Laura segment at 1263 words.

And then wrote another 400 on Carmilla.

So my essay is now at around 1800 out of the required 3000, I've still got three characters of my second text to do (which is Dracula, for which I'm doing Lucy Mina and the three vampires in the castle), and then my conclusion, all in about 1000 words.

And then it gets worse, because I don't know whether I'm supposed to count quotes or not. Or footnotes. Because I think the teacher said footnotes count, but I don't remember, and since it's the holidays I'm not going to get an answer from the teachers any time soon. But if I do count both quotes and footnotes I'm at 1968 words, which means I've got the Dracula bits, the footnotes from those bits, and my conclusion in 1300 words (because my absolute maximum allowed wordcount is 10% above the 3000, so 3300) before I need to start actually cutting things out.

Not bad for about five hours of work, though.

[margridarnauds]

Sleepover ask time! I give you permission to rant about shit on main

That's an ungodly amount of power to give me, let's go.

This is going to be unpopular with some people, and I totally get why, but...every once in a while on this site, there's a lot of furor raised over "You CAN'T call the Aeneid/The Divine Comedy/Arthuriana fanfic, you don't UNDERSTAND, they're MEDITATIONS on fate/divine will/mortality, they're DEEP." Many outraged posts made, blood spilled, lives lost on Tumblr as the most unlikeable people that you know on both sides write bad faith thinkpieces that wildly miss the point. And...I get it. I do. I emphasize that I get it. These texts are, overwhelmingly, being manufactured in a time before copyright protections, as we know them, existed. (Though Cervantes, in the 17th century, provided an early example of an author...very firmly asserting his own exclusive ownership of the characters.) These works, rather than being fanfiction in and of themselves, are part of a cultural tradition of transformative borrowing and exchange that fanfiction is ALSO a part of.

...but that being said. Lads. Lighten up.

People who actually work with stuff day in, day out don't care as much as randos on Tumblr, or self proclaimed English Majors™ who couldn't hack grad school and have decided that, in retribution, they're going to subject us to complaining about YA, fanfic, pick your poison here (mandatory "Education =/= intelligence or critical thinking skills, especially given the RIDICULOUS cost of a degree in the States, but if you're going to promote yourself as an English Major™, and play into that hierarchical system, I reserve the right to call you on it and pull rank.) I've sat at tables filled with medievalists who will gleefully call Arthuriana fanfic (we also had a lovely discussion on MPreg, Omegaverse, and protecting curious senior scholars from the former two when they go on their regular sojourns across the internet.) I've read articles from respected medievalists that will adopt a transformative approach towards reading texts, arguing that they are, essentially, fanfiction. (Matthieu Boyd's paper on Mesca Ulaid, for the interested.) I've talked to tenured Ivy League professors who will compare respected medieval literary traditions to fanfic. (Three, actually.) As a soon to be published Arthurian scholar myself, *I* don't care, and I'd like to think that, at this point, I've earned my laurels enough to have an opinion.

Like, I just think we have to consider what our goal is here -- is it to educate people on the way that pre-modern literary cultures worked, or is it to make ourselves feel superior? Is it because we want to clarify that our own situation re: copyright is the exception rather than the norm historically, or is it because we feel somehow threatened by the comparison between something that we hold to be significant to something that we hold insignificant, especially since the latter is something that is something that can be written by anyone as opposed to a specific literary elite that overwhelmingly consisted of men? When we're here, in our capacity as ambassadors for our fields, are we doing more harm than good by trying to puff ourselves up? Are we actually ENCOURAGING people to engage with this stuff, or are we making them think that we're all Like That?

When I was younger, 17-18, I was terrified of interacting with people who did this sort of thing specifically because there was one person on here, back in the day, who was SUCH a prickly asshole that I was scared. And if I hadn't, I wouldn't have entered grad school for this, I never would've gotten my MA, I wouldn't have gotten into my PhD program. God knows how many other people might have had similar experiences. That matters more to me than whether Arthuriana technically counts as fic.

...also this is the funny meme website. The reason why a lot of people aren't giving the most nuanced takes on medieval literary networks is specifically because, besides being laypeople...this is the funny meme website. None of us are making any of this into a conference paper, it isn't going on our CVs, so I'm not going to focus on getting all the nuances down right because. This is the funny meme website. I go here. To make funny memes. And to escape my program. And if you have enough time and energy to get angry, wonderful, fight the good fight, but, ala the Cervantes example above, you might find yourself tilting at windmills that you've mainly created.

[foolish-fitz]

rain wild chronicles thoughts (mostly negative ones)

warning for me being a hater - if you liked this series, I'm happy for you!!! feel free to click away from this criticism with the knowledge that it's okay to like and dislike different things.

that being said, this was by far my least favorite Hobb series. there are some things I really liked, but I feel overwhelmingly "meh" about this series. it feels like there's a lot of missed potential and it's a significant dip in quality from what I know Hobb can do.

I think this review is best formatted with a list of things I liked, and things I didn't.

things I liked:

I really enjoyed and related to aspects of Thymara's arc. her struggles with the model minority idea was super interesting, and her issues with sexuality hit home for me in a weird (but good) way.

the Rain Wilds :) they are so cool! tree cities yes please!!!

Malta in book 3. this deserves another post and I've already ranted about it on Discord, but I'm continually amazed by Hobb's skill in developing characters. we pick up with Malta after a significant time gap, and she is clearly different, but it's so clearly still her and she's been informed by everything that's happened to her and it's just amazing.

also the scene where she gives birth to Phron and kills the Chalcedean. good for her. it was extremely disturbing to me but also extremely badass

also her relationship with Reyn is very sweet

the Hest/Sedric flashbacks to the start of their relationship

learning more about the ancient Elderlings and their city was cool

things I disliked:

Malta in book 4. "but Eve you just talked about how much you love her" yes but she got fucking boring in book 4 ok. she did nothing.

this actually hits on a bigger issue with RWC to me, which is that none of the characters really had a character arc worthy of four books. most of them had a pretty simple thing (in terms of story) to overcome - ie Sedric and Alise realizing Hest was a horrible abuser and finding self-worth without him, Thymara embracing her sexuality and choosing a partner, etc - but once they did that, or if the story wasn't allowing them to make progress at that point, their arcs just kind of... stopped. which could have been workable, except Hobb was committed to giving characters POVs even if nothing interesting was happening with them.

this is my main frustration with Alise - it feels like her arc pretty much ends when she has sex with Leftrin. yeah there's the stuff about being a scholar and accepted into the Elderling community, but it's boring and not impactful to me and doesn't feel satisfying. but even when she's a very static character, she still has POVs, and they're repetitive and boring.

WHY HAS PARAGON BEEN ENTRUSTED WITH ANOTHER CHILD. WHAT THE FUCK. this better get addressed in F&tF or I riot. (no spoilers please)

WHY DID WE NOT GET ALTHEA AND BRASHEN'S KID'S NAME. i have been waiting for so long!! (again, no spoilers)

Selden's arc ends with him being dragon pilled again!! whyyyy. it could be interesting if it was showing the futility of trying to build a life without the dragons, and how he's destined to be a slave to them and that's tragic, but nope! he's just a happy minstrel again! yay /sarcasm

the dragon and Elderling plot in general kind of went nowhere... it was cool to see the Elderling development but the books ended without most of the dragons changing in any significant ways, and the new Elderling society really wasn't explored to the extent I was expecting.

THE WAR AGAINST CHALCED IS LIKE FOUR FUCKING PAGES LONG. it's one battle and the resolution isn't even on screen!!!!!! the narration of the dragons flying to Chalced is longer than the ENTIRE WAR WITH CHALCED. girl.

I could go on but I don't want to.

TLDR: I was really disappointed in RWC. I thought the characters were pretty shallow and boring and didn't deserve four books of POVs, the plot was... fine but not exciting, and the resolution was rushed and not impactful.

[qqueenofhades]

I’m really curious, when you read books by historians do you read them straight through or do you pick out the chapters that are the most relevant to the topic you are interested in? I’m mainly asking because I picked up a very interesting book from the library but it’s been difficult to read it straight through. In college my professors actually told me that it was best to pick out the chapters or sections that were relevant to my research and not get bogged down trying to read the entire book. I guess it just feels unnatural now trying to read a book straight through.

Aha, this is absolutely fine. I'll tell you a dirty little secret, which is that no academic in existence can possibly actually read everything that they cite, in full or sometimes even in part. The good academics are also supposed to write their stuff in a way that makes it possible for you to read the abstract, the introduction, the chapter headings, and the conclusion, and know essentially what they're talking about, the conclusions they're drawing, and what they're contrasting it against. The middle chapters are there to demonstrate their scholarly work in detail, and meticulously explain how they analyzed the material to reach the conclusion that they did, but not necessarily crucial to understand their overall argument or what the piece is about.

Showing cites to other work is a crucial part of demonstrating that you're engaging with your field, you're aware of what other people are writing on the topic, and of course, where you're drawing the critical threads and other commentaries that you've used, which is why reading a popular-history book with no footnotes or endnotes always gives me hives. This, however, is not a concern for the average layperson, and you shouldn't feel obliged to read ALL of the book, because even literal actual professional historians/academics don't do that. We read free summaries and Academia.edu copies, we take shameless advantage of what we can read over the paywall cut, we do Google Scholar/Books searches just to make sure we're getting a good sense of what's out there, but there's no way we can actually read every single page. Besides, as you point out, some of it is more relevant to your particular interest than others, so yes, focus on what you want to learn and not the rest, especially if it's bogging you down.

[peaceofthespirit]

Dr. Chrissy Stroop (an ex-evangelical atheist writer I follow on twitter) often makes such great points about how we can't just say "oh those people aren't real christians!!!" when fundies do something regressive in the name of Jesus. Those people have arguments that still use the bible and Christian tradition, whether we like it or not.

Melissa Florer-Bixler, a Mennonite pastor and writer, also recently brought up that "Christian" is pretty much a broad sociological category unified only through members' self-identification.

I've been thinking about all this a lot. One thing I went through as I began deconstructing was my relationship to the Bible and Christian tradition. In some ways, tradition didn't matter for me as much, since I grew up non-denominational in a church that wanted to get rid of "idolatrous" traditions and get back to the spirit of the "early church." But when it came to scripture, there was apparently no valid questioning of it in their eyes (which is hilarious considering that the biblical canon didn't exist in the early church?) Anyways, after I began to read the Bible more critically (and keeping in mind historical or cultural context/differences), I began to realize that I sometimes just didn't like what it was saying. I typically have never felt that way when I read teachings ascribed to Jesus (at least in terms of the basic meanings), but other parts of the new testament? Sometimes I just disagree (same goes for the old testament too but I'm talking about the explicitly Christian texts here). And many critical, biblical scholars assert that a lot of the new testament disagrees with itself in many places anyway (letters and texts written by different people who probably didn't agree on every detail?? hello??). So for me, I continue to identify as Christian because I see myself as a follower/disciple of Jesus, or at least someone in constant dialogue with his teachings (not to say one can't ever go further or find new insights). But while the evangelicals I grew up with claim that they are Christians because they affirm specific things about the person, death, and "resurrection" of Jesus, their Christianity is more than just that. No matter how much they love to claim that you don't need "works" for salvation (that's a whole other can of worms), they still follow so many rules and take the whole Bible extremely seriously/literally (at least their specific interpretations) and refuse to "disagree" with the canon texts.

So I then I see people say stuff like "how can I stay Christian? Especially when Christians are so terrible?" Well first of all, what matters first and foremost is your actions and well-being. If you don't want to engage with Christian texts or traditions anymore, or don't want to call yourself a Christian, that's totally valid. In fact, I think that Jesus himself would totally understand. Just go be a good person and take care of yourself.

However, I personally have no issue identifying as a Christian, largely because what I believe is so different from what the fundies believe. Maybe I would struggle if I was still holding the text in a similar regard to them and sticking to fairly "orthodox" church teachings/canons/etc. Because while one can be progressive and still take the Bible somewhat literally, you get the same issues of how tightly you are holding on to certain interpretations, presuppositions, historical pictures, and etc. You see how someone who has a strong allegiance to a specific church/understanding in a way that parallels your own convictions can turn out to be so un-progressive.

So what I say to that is, let go of certainty, and hold on to what you love about Christianity (which is typically the essence of Jesus's messages). Don't be afraid to be someone who others wouldn't really consider "Christian" because you are willing to eschew the hierarchies that have made their way into the church and traditional theologies.

[papakhan]

Since you know a lot about the Khans and are not afraid to be critical of the games more... problematic elements (I have not looked through your blog yet in detail but I bet there are some things about the way a group like them is portrayed) what do you think of the possible Khan-Follower alliance ending? Are there problems, do you think it likely or something else? What I have seen from your blog shows interesting insight and I'd love to hear your opinion on this. (Apologies if something like this was asked before)

I've mulled over this ask for a little while and personally I really like the Khan-Follower alliance ending! It's my favourite end for the Khans and basically the only Good end for the Followers because I don't count them getting reabsorbed in the NCR as a "good end"

I think part of it is that it suggests major changes for both factions. Like, the staunch pacifists teaming up with the rowdy former-raiders? Very fun concept AND they have history together already

Like would the Khans and Followers be fully integrated with one another? Leather jackets over labcoats type deals? Are all these weedy nerds expected to pass the initiation? Or would Khan war parties be supplemented by map makers and botanists? It's interesting to me as well that the Khans were inspired by the Follower's old world knowledge of "governance, economics and transportation" and not anything to do with war, did the Followers withhold that knowledge from the Khans knowing what happened to the Legion or did the Khans turn it down themselves? All very interesting questions to consider.

Personally I think that the Khan-Follower alliance leads to more of a spectrum of people, with hardcore warriors on one end and top surgeons on the other, but around the middle are people like Jack and Ezekiel where the lines are more blurred. Followers going through the beatdown and taking up weapons, Khans giving up theirs to become scholars. Things are a little tense on the far ends and it feels like it could pull either way depending on the leadership of the empire as a whole. Stuff like that.

Though I will say one issue I have concerning the past Khan-Follower alliance is the Followers treated the Khans like shit. Now I've gotten shit for saying this before but I don't really care, my criticism is more to do with how the writers treat all the drug addicts in the game, which is just reflected in how the Followers treat drug addicts. I'll continue under a cut tho since i've already talked alot

Basically um resorting to dealing in drugs is a very common result of a group of people being landed in poverty and the Followers were absolutely in the wrong for dropping the Khans when the Khans resorted to it. Additionally it's highly likely that the Khans were locked out of selling medication in the NCR (under the guise of "you need X unachievable for anyone outside the republic permit to sell Y") and the Followers only take "donated" medication implying that they wouldn't be able to buy medication from the Khans. The Khans were in a place with no food no water and no tradable goods, what else were they supposed to do? Dropping a desperate group on the brink of collapse because "we tried to teach them to make medicine but they only wanted to make drugs" is not a thing a real lefty medical group say or do, it's something a group like the Salvation Army would do.

Obviously the Khans relying on and making money off of other people getting addicted to chems is an issue, but there's an obvious root cause to it like. The Follower's initial response should have been "help the Khans find a stable way of generating income by introducing a pharmaceutical branch on their behalf / help them become self-sustaining in other ways so they stop causing harm to wastelanders by proxy" and not "abandon them knowing they have no food or water and hope they die off soon so they stop selling chems to wastelanders" which was always the impression I got off Julie Farkas when you asked her about the Khans and she was like "Great Khans? Oh, you mean those raiders? 🙄" like girl. those are people and you. you especially. should care about them

Another thing I'd like to see the Followers drop is the whole. missionary thing. idk i wouldn't say i'm really qualified to talk about it but something just doesn't sit right with me, maybe it reminds me a little too much of christian missionaries. I know the Followers are just offering things like reading and writing and medicine but like idk. idk. just as long as they're not trying to ""civilize"" people

which brings me to my last point which is. I know it's called an Empire in the ending and Papa says that they're gonna Conquer but. can you guys not fucking colonise Wyoming please? I'm not gonna pretend that I know shit about building nations and i've talked enough as it is but. [me smacking papa away from being cringe] BE NORMAL ABOUT IT PLEASE. I'm sure the Followers wouldn't help them if they weren't but.

so yeah as long as they drop that type of behaviour I can see it working quite well! and anyway it's like I said, it's more to do with the personal biases of the writers rather than like anything i think the followers would Realistically do if they were actually a group. that being said In my personal Wyoming lore I do have it as a running joke that Julie Farkas just kinda hates Papa Khan and Papa is just. completely oblivious.

The Khans are going in the right direction tho, so long as whoever takes over after Papa Khan continues to go in that direction. Which is like. the entire plot of my Fallout: Wyoming idea lmao

[bokettochild]

There isn't a single doubt in my mind that many bibles have lies and many mistranslations, and I belive most, if not all, versions aren't the real Word of God. I'd love to hear what your dad's found so far on the Bible stuff, though! I feel slightly guilty that I don't fully belive in many copies of the Bible.

Don't feel guilty!

I'm honestly not great at understanding everything he tells me, since he rambles a lot and my brain is always Very Full when he does talk to me about it, but!

I consulted my parents to see if my dad might give me a quick rundown or something of his research, and my mom would like me to tell you that you are very smart for questioning and double checking. God calls us to be discerning in what we are taught, and many Bibles do not teach the pure and unaltered Truth of God

As for my dad, I asked him if he’d be willing to give me a quick rundown of his research, and this is what he sent me (sorry about the length, like I said, he tends to get a bit carried away and ramble <3)

To be extremely concise, scholars all agree that the original God-inspired manuscripts containing Scripture no longer exist.  All that exists are copies, and every existing manuscript copy of Scripture has errors in it.  The human (read: limited and flawed) method of textual criticism attempts to re-create what the original God-inspired manuscripts “may” have said, based upon human-established criteria.  Adherents of textual criticism agree that no existing version of the Bible is perfect and without error.

2 Timothy 3:16-17 (KJV) says, “All scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness: that the man of God may be perfect, throughly furnished unto all good works.”  Man cannot be perfect and throughly furnished unto all good works unless man has access to a perfect book of Scripture. It is written in John 17:17 (KJV) that God’s only begotten Son Jesus Christ, who is Himself God incarnate, is recorded as praying, “Sanctify them through thy truth: thy word is truth.”  Thus, every person is faced with this question:  When Jesus Christ (God incarnate) declared that God’s word IS truth, was He speaking situationally (i.e., only applicable for that moment in time) or eternally?  If God’s truth is not timeless truth, then at what point in time did it cease to be truth?  Is God, as Creator of everything (including time), limited by His creation in any way?  The answer, quite simply, is “no”. 

 Thus, God’s truth is just as much truth today as it was when Jesus Christ declared it to be.  Jesus Christ declared God's word IS truth, not "was" truth, or "will be" truth, or "is currently, but won't be truth later". This means that in spite of human reasoning and error, God has ensured that the sinful humans who are in need of His truth indeed have access to it.

  Thus, there must be at least one Bible that contains this perfect truth. Textual criticism is opposed to there being one authoritative Bible, because if there is, then textual criticism is not necessary.  If textual criticism is not necessary, then finite sinful humans must relinquish the self-designated position of determining what an infinite sinless God inspired to be written. 

 Worse, if there is one version that is acknowledged as God's truth, all of the other versions have to be acknowledged as not being so, and that textual criticism was wrong all along.  Better to declare none perfect than admit that textual criticism is an exercise in human vanity.  There are over 100 English versions of the Bible, and they all have different words in them, yet Jesus Christ declared that God’s word is truth.  Hence, at least one of the existing versions must be the truth that Jesus Christ declared God’s word to be.

The King James Version makes no claim to have used textual criticism when it was being written, which is one of the reasons that textual criticism is opposed to the KJV: the KJV didn’t use their proscribed method.  All modern versions have used textual criticism in their production, and they all vary in what they say.

Long story short:  flawed humans use flawed methods in their attempt to mimic the flawless word of a flawless God, who is more than capable of preserving His word so that every sinful person has access to His saving truth.  The KJV is the only version today that wasn’t created using the flawed method of textual criticism.  1 Corinthians 15:1-4 (KJV) tells us exactly what that saving truth is: 1 Moreover, brethren, I declare unto you the gospel which I preached unto you, which also ye have received, and wherein ye stand; 2 By which also ye are saved, if ye keep in memory what I preached unto you, unless ye have believed in vain. 3 For I delivered unto you first of all that which I also received, how that Christ died for our sins according to the scriptures; 4 And that he was buried, and that he rose again the third day according to the scriptures. God’s word is truth, thus, it is not just a conglomeration of human-authored metaphors, myths, or allegories.

[yamayuandadu]

Wikipedia troubles, or “Father Enlil, (...) don't let your precious metal be alloyed there with the dirt of the underworld“

clarification regarding my post about troubles with a certain site i’ve been contributing to a lot for the past few months. To preface this with a mythical metaphor: in Inanna’s Descent, when Ninshubur pleads with the other gods to save Inanna, she uses the formula “don't let anyone kill your daughter in the underworld. Don't let your precious metal be alloyed there with the dirt of the underworld. Don't let your precious lapis lazuli be split there with the mason's stone. Don't let your boxwood be chopped up there with the carpenter's wood.” Currently this is what is happening to the Inanna article, I am afraid.

So, long story short, as most of you probably have noticed I am contributing relatively often to wikipedia as of late, starting with the creation of a Matara-jin article a few months ago. Among other things I wrote, rewrote or at least significantly improved the following:

articles about Mesopotamian medicine goddesses:

Ninkarrak from the western frontier, Nintinugga, who was associated with funerary offerings, Ninisina, who took over Inanna's gimmick in Isin, Bau, who became a healing goddess by chance, Gula, who eclipsed her peers - as expected from someone named “the great” articles about Inanna's courtiers and associated goddesses:

Ninshubur, her sidekick (my best work overall imo, the one article I wrote which I think fully deserves the “good” badge but I am not vain enough to apply myself), Ninegal, a goddess turned into her title, Nanaya, just the horny part distilled (bought a book just for this one!), Irnina, inexplicably cthtonic personified victory

articles about Mesopotamian gods too insignificant for anyone else to care about them:

Tishpak, a god so foreign nobody knows where he came from, Sebitti, seven warlike brothers, Enmesharra, Enlil's evil uncle, Urash, not the earth goddess – there are two... Urashes, Ningishzida, Dumuzi but with a snake gimmick, Zababa, a war god who's NOT Nergal, Ninimma, Enlil's court scribe, Gatumdag, popular as ersatz mom among kings of Lagash, Manzat, the rainbow

articles about Mesopotamian goddesses whose main trait was being someone's wife: Marduk's wife Sarpanit, Adad's wife Shala, Shamash's wife Aya

articles about Hurrian gods: Alalu, primordial vanquished king of gods, Kumarbi, his son, divine Saturday morning cartoon villain, Ninatta and Kulitta, a pair of divine musicians who always appeared together, Allani, oddly joyful queen of the dead, Šauška, who was so firmly genderfluid there's two of them in the most famous image of the Hurrian pantheon, Lelluri, a mountain goddess, Kubaba, who isn't Cybele, Goddess of the Night, who has no proper name despite being a case study in important religious rituals, Belet Nagar, who was like Ashur before Ashur got popular, Nupatik, who was important but we don't know why

articles about Eblaite gods: Ishara, “independent lady of love associated with scorpion and cannabis” popular everywhere where she went, Aštabi, a war god who really wanted to be like the weather god, Hadabal, who used to be famous but vanished out of blue, Kura, whose mask had to be renewed each year, Adamma, who left her husband to hang out with Kubaba

articles about Elamite gods: Pinikir, sort of like a bootleg Ishtar and an international sensation, Jabru, who exists only in Mesopotamian texts about Elam, Humban, mandate of heaven personified, Ruhurater, oddly obscure creator of mankind, Inshushinak, the underworld judge and his Akkadian helpers Lagamar and Ishmekarab, and Simut, the “strange star”

articles which were borderline unusable before due to low quality of sources:

Astarte, who was much more than vintage Bible scholars might lead you to believe (but not a fertility goddess), Dagan, who wasn't a fishman, Qetesh whose existence proves that Egyptians were fond of making ocs for their favorite foreign franchises

assorted articles about general topics pertaining to Mesopotamia:

Sukkal,  Hurrian religion (ongoing project), List of Elamite gods; also a much needed overhaul of List of Mesopotamian deities (ongoing project)

and, last but not least, a solid chunk of the Inanna article.

Two guiding principles of these ventures were the following:

people who cannot access academic resources or don't know how to use them and as a result rely on wikipedia aren't any less deserving of receiving up to date, credible information

Wikipedia's mode of operation isn't flawed in itself and the only problem is lack of will to edit it

I think I did a pretty good job at these two things, honestly. I made sure to rely on rigorous, credible, and, if possible, easy to understand sources, and removed the horrors which sometimes were hidden in bibliographies: a book written by a hate preacher who believed Bush didn't start enough wars; 1930s race science; what I can only describe as a hybrid of Woman's Encyclopedia and a bdsm manual; a fringe book asserting that Minoan palaces were graveyards and that Egyptians only learned mummification from superior Minoans; etc. Of course, it’s a thankless job, but as long as I could make the site more credible undisturbed, that’s fine by me. I even got some help in a few cases, most notably that of the god list, indicating that the work was on some level appreciated. The only problem I've encountered prior to today came from editing the Ereshkigal article – I've removed the claim the Burney relief depicts “Lilith”; this edit was however undone. I left a message on the editor's page, complete with links to articles about the Burney relief AND about the possible Mesopotamian forerunners of Lilith (who are undeniably not depicted on the Burney relief). They're responded rather dismissively to it, and asserted that even if unproven, a connection existed, so I pretty quickly gave up, as they relied on sources which were outdated or fringe. I focused on fixing two long, important articles instead: the god list, and the Inanna article. Some parts of it were alright, but there was much work needed: fringe theories trying to assign greater antiquity to relatively late myths, and frankly insane hyperdiffusionism, had a prominent place in the article, while well attested association between Inanna and similar deities from cultures closely associated with Mesopotamia wasn't, much of the info was outdated, scandalous hot takes about Dumuzi's treatment were all over the place, the section on Inanna's descent favored Jungian confabulations over credible research, etc. My progress on fixing that had been slow and steady. However, today the aforementioned person intervened when, in between editing the Inanna article and the god list, I reverted a dumb, brief , unsourced edit – made by a third party - which asserted that Inanna's descent is “similar to Persephone” which it isn't – if anything is similar to Persephone in Mesopotamian mythology it's Nergal and Ereshkigal. They pretty clearly didn't take it well: not only the unfounded speculation went back up, but they also added a “source” affirming it, from a controversial -medical- author, not an Assyriologist. They also added Persephone to the list of Inanna equivalents in the infobox, removing any credibility whatsoever from it. The author of the claim this is all about relied on sources so antiquated that they interpreted Inanna's sexual character as her being a child-snatching boogeyman. Inanna's primary connection to boogeymen is that she was invoked, alongside Nanaya whose sexual connection is even more blatant, to -ward off- child-snatching boogeyman Lamashtu (whose character was not sexual, because sumerians and akkadians weren't victorian aristrocrats and weren't paranoically afraid of sex - and why would a demon representing death in infancy be sexual in nature, anyway?). Simply put, the book in mention is worthless as a source. Of course, I reverted that; when it went back up (despite a justification being included in my reversal) I edited the Inanna article to remove this outlandish claim (you have a limited number of possible reversions per day for some arcane reason), also adding other information about Inanna I had prepared: a few tidbits on Assyrian royal inscriptions which involved the warlike and erotic aspects at once, suggesting that transgressors should lose both potency and bravery in battle, some info on love poetry about her and Dumuzi, that sort of stuff. The weird person reverted my edit – removing valuable info – and reinstated the claim. For a moment I lost my cool and reverted this edit, which sadly put me in the reversion overuse danger zone, but which was a necessary sacrifice to save the credibility of article I put weeks of work into. See the edit history here. As you can guess HaniwaEnthusiast is me. I left messages critical of this decision on the talk page of the article and on the talk page of the outlandish editor. Sadly, they responded rather rudely, and basically declared Wikipedia isn't meant to be credible, and that favoring academic sources over random crap is an “ivory tower” approach and should be discouraged; they also insulted me but that's much less relevant and much less hurtful than their desire to spread lies. If you ask me it's more of an ivory tower attitude to say people who cannot access or don't know how to use academic sources do not deserve equally credible info and need to be at the mercy of weird wikipedia editors. What's the main problem here, though? That person is a mod. Not a random user. They have 16 years of Wikipedia experience. They spread fringe, pop-spiritual claims about Lilith and the like, so I assume they have an ulterior religious agenda of some sort, which they seem to actively encourage judging from these ventures. I'm not sure if the Inanna article is a lost cause yet but I do think the weird addition of Persephone they made is a step into some hellish direction, and I am entirely certain I cannot win this conflict. Simply put, I think that if this is the sort of staff the site has, this is a lost cause. I am not sure if I will go back to editing.

[teamfreewill56-blog]

Oh, I wanted to say something about the origin of mono no aware! It originated from Heian era literature, and was later picked up and used by Edo period Japanese cultural scholar Motoori Norinaga in his literary criticism of The Tale of Genji, and later to other germinal Japanese works. Despite this though, I think it still fits with Kyojuro because he got it from Ruka, who wasn’t a fighter. And it is associated with Japanese culture tradition, including the sakura tree!

That's cool! Thanks for sharing! I have looked into it more since the last anon ask I got about it, as well as discussing it with a friend who knows more about it than I do. After talking with them and looking into it I feel like Ruka and Kyojuro fit it a little less, because Kyojuro actively fights and is a protector and Ruka encouraged him towards that which makes it less Mono no Aware. (If I'm still understanding this wrong please let me know in the comments). I do feel like there's some ties to Kyojuro and the sakura tree, it was pointed out in the other ask regarding the background of his Gaiden cover. And sakura blossoms are also blooming in the end of his Gaiden where it's out of season but I don't know much about it's symbolism or the different symbolisms in the different Japanese media. I just know it's shown a lot.

Also, if the Mono no Aware concept interests any of you check out "The Heike Story" anime, it has a lot of Mono no Aware-esque stuff in it and is just a really fantastic story with amazing art.