#2000s trends that returned

[blanketorghost]

Ironic how the least high fashion and out of place fit of the lux couture line is the one the fandom likes the most

[cigarettedolly13]

Ngl rainbow should start hiring Winx Club fans to design the girls outfits bc so many of the fan designs I’ve seen for the winx girls outfits have been 10x better at capturing the actual aesthetic/essence of Winx Club while still modernizing them to keep up with current fashion than the actual reboot designs.

[averagefungus]

2 days ago the DS turned 20.

fake conversation talking animals

[elbiotipo]

I can't do a more deep opinion on this orca thing because yeah one can say "go orcas!", it feels good, doesn't it?...

but in fact those must be very scattered cases that won't change the fact that the current situation is that ocean transport is noisy, it's everywhere, and it must be driving these very, very sensitive animals crazy. Before motors, a whale could listen to what was happening in South Africa from the Argentine coast. Now their range of communication must have dropped to only a few kilometers: moreover, all the noise must be insane. There have been studies saying that even things like lawnmowers can make permanent ear damage to small rodents, and birds have had to adapt to city noises (their songs changed to a more "natural" pattern during the pandemic lockdowns) So I can't imagine what such things must be doing to the minds of orcas, one of the animals with the most complex and intelligent behavior registered outside of primates, and extremely sensitive to sound. Can we even understand what they're going through right now.

And this is not to mention the widespread whale (baleen whales, not orcas) hunting that decimated their populations to an absurd degree. All the world is currently going through a beyond worrying trend of defaunation, but whales were particulary hurt. There were 250.000 (estimated) blue whales before whaling, and they were decimated to less than 2000. Even today, with strict conservation measures, there's around 10-25k blue whales, and that's one species. Let that sink in.

Is there a solution to this, besides returning to the age of sail and banning ocean explotation? I don't know, there might be. I hope there is.

When I read about orcas, about their behavior, about their pods with their own almost cultural quirks and even dialects, so much we don't know about them, I only remember Arthur C. Clarke, when he spoke about blue whales: “We do not know the true nature of the entities we are destroying”

[dresshistorynerd]

The Real Cost of the Fashion Industry

Atacama Desert, in Alto Hospicio, Iquique, Chile. (source)

The textile industry is destroying the world. The industry is wasting massive amounts of energy and materials, and polluting the air, the ground and the water supplies. It overwhelmingly exploits it's labour and extracts wealth from colonized countries, especially in Asia. I assume we all broadly understand this, but I think it's useful to have it all laid out in front of you to see the big picture, the core issues causing this destruction and find ways how to effectively move forward.

The concerning trend behind this ever-increasing devastation are shortening of trend cycles, lowering clothing prices and massive amount of wasted products. Still in year 2000 it was common for fashion brands to have two collections per year, while now e.g. Zara produces 24 collections and H&M produces 12-16 collections per year. Clothing prices have fallen (at leas in EU) 30% from 1996 to 2018 when adjusted to inflation, which has contributed to the 40% increase in clothing consumption per person between 1996 and 2012 (in EU). (source) As the revenue made by the clothing industry keep rising - from 2017 to 2021 they doubled (source) - falling prices can only be achieved with increasing worker exploitation and decreasing quality. I think the 36% degrees times clothing are used in average during the last 15 years (source) is a clear indication on the continuing drop in quality of clothing. Clothing production doubled between 2000 and 2015, while 30% of the clothes produced per year are never sold and are often burned instead (source), presumably to prevent the returns from falling due to oversupply.

These all factors are driving people to overconsume. While people in EU keep buying more clothes, they haven't used up to 50% of the clothes in their wardrobe for over a year (source). This overconsumption is only made much worse by the new type of hyper fast fashion companies like SHEIN and Temu, which are using addictive psychological tactics developed by social media companies (source 1, source 2). They are cranking up all those concerning trends I mentioned above.

Under the cut I will go through the statistics of the most significant effects of the industry on environment and people. I will warn you it will be bleak. This is not just a fast fashion problem, basically the whole industry is engaging in destructive practices leading to this damage. Clothing is one of those things that would be actually relatively easy to make without massive environmental and human cost, so while that makes the current state of the industry even more heinous, it also means there's hope and it's possible to fix things. In the end, I will be giving some suggestions for actions we could be doing right now to unfuck this mess.

Carbon emissions

The textile industry is responsible for roughly 10% of the global CO2 emissions, more than aviation and shipping industry combined. This is due to the massive supply chains and energy intensive production methods of fabrics. Most of it can be contributed to the fashion sector since around 60% of all the textile production is clothing. Polyester, a synthetic fiber made from oil which accounts for more than half of the fibers used in the textile industry, produces double the amount of carbon emissions than cotton, accounting for very large proportions of all the emissions by the industry. (source 1, source 2)

Worker exploitation

Majority of the textiles are produced in Asia. Some of the worst working conditions are in Bangladesh, one of the most important garment producers, and Pakistan. Here's an excerpt from EU Parliament's briefing document from 2014 after the catastrophic Rana Plaza disaster:

The customers of garment producers are most often global brands looking for low prices and tight production timeframes. They also make changes to product design, product volume, and production timeframes, and place last-minute orders without accepting increased costs or adjustments to delivery dates. The stresses of such policies usually fall on factory workers.

The wage exploitation is bleak. According to the 2015 documentary The True Cost less than 2% of all garment factory workers earned a living wage (source). Hourly wages are so low and the daily quotas so high, garment workers are often forced through conditions or threats and demand to work extra hours, which regularly leads to 10-12 hour work days (source) and at worst 16 hour workdays (source), often without days off. Sometimes factories won't compensate for extra hours, breaching regulations (source).

Long working hours, repetitive work, lack of breaks and high pressure leads to increased risks of injuries and accidents. Small and even major injuries are extremely common in the industry. A study in three factories in India found that 70% of the workers suffered from musculosceletal symptoms (source). Another qualitative study of female garment workers and factory doctors in Dhaka found that long hours led to eye strain, headaches, fatigue and weight loss in addition to muscular and back pains. According to the doctors interviewed, weight loss was common because the workers work such long hours without breaks, they didn't have enough time to eat properly. (source) Another study in 8 factories in India found that minor injuries were extremely common and caused by unergonomic work stations, poor organization in the work place and lack of safety gear, guidelines and training (source). Safety precautions too are often overlooked to cut corners, which periodically leads to factory accidents, like in 2023 lack of fire exists and fire extinguishers, and goods stacked beyond capacity led to a factory fire in Pakistan which injured dozens of workers (source) or like in 2022 dangerous factory site led to one dead worker and 9 injured workers (source).

Rana Plaza collapse in 2013 is the worst industrial accident in recent history. The factory building did not have proper permits and the factory owner blatantly ignored signs of danger (other businesses abandoned the building a day before the collapse), which led to deaths of 1 134 workers and injuries to 2 500 workers. The factory had or were at the time working for orders of at least Prada, Versace, Primark, Walmart, Zara, H&M, C&A, Mango, Benetton, the Children's Place, El Corte Inglés, Joe Fresh, Carrefour, Auchan, KiK, Loblaw, Bonmarche and Matalan. None of the brands were held legally accountable for the unsafe working conditions which they profited off of. Only 9 of the brands attended a meeting to agree on compensation for the victim's families. Walmart, Carrefour, Auchan, Mango and KiK refused to sight the agreement, it was only signed by Primark, Loblaw, Bonmarche and El Corte Ingles. The compension these companies provided was laughable though. Primemark demanded DNA evidence that they are relatives of one of the victims from these struggling families who had lost their often sole breadwinner for a meager sum of 200 USD (which doesn't even count for two months of living wage in Bangladesh (source)). This obviously proved to be extremely difficult for most families even though US government agreed to donate DNA kits. This is often said to be a turning point in working conditions in the industry, at least in Bangladesh, but while there's more oversight now, as we have seen, there's clearly still massive issues. (source 1, source 2)

One last major concern of working conditions in the industry I will mention is the Xinjiang raw cotton production, which is likely produced mainly with forced labour from Uighur concentration camps, aka slave labour of a suspected genocide. 90% of China's raw cotton production comes from Xinjiang (source). China is the second largest cotton producer in the world, after India, accounting 20% of the yearly global cotton production (source).

Pollution

Synthetic dyes, which synthetic fibers require, are the main cause of water pollution caused by the textile industry, which is estimated to account for 20% of global clean water pollution (source). This water pollution by the textile industry is suspected of causing a lot of health issues like digestive issues in the short term, and allergies, dermatitis, skin inflammation, tumors and human mutations in the long term. Toxins also effect fish and aquatic bacteria. Azo dyes, one of the major pollutants, can cause detrimental effects to aquatic ecosystems by decreasing photosynthetic activity of algae. Synthetic dyes and heavy metals also cause large amounts of soil pollution. Large amounts of heavy metals in soil, which occurs around factories that don't take proper environmental procautions, can cause anaemia, kidney failure, and cortical edoem in humans. That also causes changes in soil texture, decrease in soil microbial diversity and plant health, and changes in genetic structure of organisms growing in the soil. Textile factory waste water has been used for irrigation in Turkey, where other sources of water have been lacking, causing significant damage to the soil. (source)

Rayon produced through viscose process causes significant carbon disulphide and hydrogen sulphide pollution to the environment. CS2 causes cardiovascular, psychiatric, neuropsychological, endocrinal and reproductive disorders. Abortion rates among workers and their partners exposed to CS2 are reported to be significantly higher than in control groups. Many times higher amounts of sick days are reported for workers in spinning rooms of viscose fiber factories. China and India are largest producers of CS2 pollution, accounting respectively 65.74% and 11,11% of the global pollution, since they are also the major viscose producers. Emission of CS2 has increased significantly in India from 26.8 Gg in 2001 to 78.32 Gg in 2020. (source)

Waste

The textile industry is estimated to produce around 92 million tons of textile waste per year. As said before around 30% of the production is never sold and with shortening lifespans used the amount of used clothing that goes to waster is only increasing. This waste is large burned or thrown into landfills in poor countries. (source) H&M was accused in 2017 by investigative journalists of burning up to 12 tonnes of clothes per year themselves, including usable clothing, which they denied claiming they donated clothing they couldn't sell to charity instead (source). Most of the clothing donated to charity though is burned or dumbed to landfills (source).

Most of the waste clothing from rich countries like European countries, US, Australia and Canada are shipped to Chile (source) or African countries, mostly Ghana, but also Burkina Faso and Côte d'Ivoire (source). There's major second-hand fashion industries in these places, but most of the charity clothing is dumbed to landfills, because they are in such bad condition or the quality is too poor. Burning and filling landfills with synthetic fabrics with synthetic dyes causes major air, water and soil pollution. The second-hand clothing industry also suppresses any local clothing production as donated clothing is inherently more competitive than anything else, making these places economically reliant on dumbed clothing, which is destroying their environment and health, and prevents them from creating a more sustainable economy that would befit them more locally. This is not an accident, but required part of the clothing industry. Overproduction let's these companies tap on every new trend quickly, while not letting clothing the prices in rich countries drop so low it would hurt their profits. Production is cheaper than missing a trend.

Micro- and nanoplastics

There is massive amounts of micro- and nanoplastics in all of our environment. It's in our food, drinking water, even sea salt (source). Washing synthetic textiles accounts for roughly 35% of all microplastics released to the environment. It's estimated that it has caused 14 million tonnes of microplastics to accumulate into the bottom of the ocean. (source)

Microplastics build up into the intestines of animals (including humans), and have shown to probably cause cause DNA damage and altered organism behavior in aquatic fauna. Microplastics also contain a lot of the usual pollutants from textile industry like synthetic dyes and heavy metals, which absorb in higher quantities to tissues of animals through microplastics in the intestines. Studies have shown that the adverse effect are higher the longer the microplastics stay in the organism. The effects cause major risks to aquatic biodiversity. (source) The health effects of microplastics to humans are not well known, but studies have shown that they could have adverse effects on digestive, respiratory, endocrine, reproductive and immune systems. (source)

Microplastics degrade in the environment even further to nanoplastics. Nanoplastic being even smaller are found to enter blood circulation, get inside cells and cross the blood-brain barrier. In fishes they have been found to cause neurological damage. Nanoplastics are also in the air, and humans frequently breath them in. Study in office buildings found higher concentration of nanoplastics in indoor air than outdoor air. Inside the nanoplastics are likely caused mostly by synthetic household textiles, and outdoors mostly by car tires. (source) An association between nanoplastics and mitochondrial damage in human respiratory cells was found in a recent study. (source)

Micro and nano plastics are also extremely hard to remove from the environment, making it even more important that we reduce the amount of microplastics we produce as fast as possible.

What can we do?

This is a question that deserves it's own essays and articles written about it, but I will leave you with some action points. Reading about these very bleak realities can easily lead to overwhelming apathy, but we need to channel these horrors into actions. Whatever you do, do not fall into apathy. We don't have the luxury for that, we need to act. These are industry wide problems, that simply cannot be fixed by consumerism. Do not trust any clothing companies, even those who market themselves as ethical and responsible, always assume they are lying. Most of them are, even the so called "good ones". We need legislation. We cannot allow the industry to regulate itself, they will always take the easy way out and lie to their graves. I will for sure write more in dept about what we can do, but for now here's some actions to take, both political and individual ones.

Political actions

Let's start with political actions, since they will be the much more important ones. While we are trying to dismantle capitalism and neocolonialism (the roots of these issues), here's some things that we could do right now. These will be policies that we should be doing everywhere in the world, but especially rich countries, where most of the clothing consumption is taking place. Vote, speak to others, write to your representative, write opinion pieces to your local papers, engage with democracy.

Higher requirements of transparency. Right now product transparency in clothing is laughably low. In EU only the material make up and the origin country of the final product are required to be disclosed. Everything else is up to the company. Mandatory transparency is the only way we can force any positive changes in the production. The minimum of transparency should be: origin countries of the fibers and textiles in the product itself; mandatory reports of the lifecycle emissions; mandatory reports of whole chain of production. Right now the clothing companies make their chain of production intentionally complex, so they have plausible deniability when inevitably they are caught violating environmental or worker protection laws (source). They intentionally don't want to be able to track down their production chain. Forcing them to do so anyway would make it very expensive for them to keep up this unnecessarily complex production chain. These laws are most effective when put in place in large economies like EU or US.

Restrictions on the use of synthetic fibers. Honestly I think they should be banned entirely, since the amount of microplastics in our environment is already extremely distressing and the other environmental effects of synthetic fibers are also massive, but I know there are functions for which they are not easily replaced (though I think they can be replaces in those too, but that's a subject of another post), so we should start with restrictions. I'm not sure how they should be specifically made, I'm not a law expert, but they shouldn't be used in everyday textiles, where there are very easy and obvious other options.

Banning viscose. There are much better options for viscose method that don't cause massive health issues and environmental destruction where ever it's made, like Lyocell. There is absolutely no reason why viscose should be allowed to be sold anywhere.

Governmental support for local production by local businesses. Most of the issues could be much more easily solved and monitored if most clothing were not produced by massive global conglomerations, but rather by local businesses that produce locally. All clothing are made by hand, so centralizing production doesn't even give it advantage in effectiveness (only more profits for the few). Producing locally would make it much more easier to enforce regulations and it would reduce production chains, making production more effective, leaving more profits into the hands of the workers and reducing emissions from transportation. When the production is done by local businesses, the profits would stay in the producing country and they could be taxed and utilized to help the local communities. This would be helpful to do in both exploited and exploiter countries. When done in rich countries who exploit poorer ones, it would reduce the demand for exploitation. In poor countries this is not as easily done, since poor means they don't have money to give around, but maybe this could be a good cause to put some reparations from colonizers and global corporations, which they should pay.

Preventing strategic accounting between subsidiaries and parent companies. Corporate law is obviously not my area of expertise, but I know that allowing corporations to move around the accounting of profits and losses between subsidiaries and parent companies in roughly 1980s, was a major factor in creating this modern global capitalist system, where corporations can very easily manipulate their accounting to utilize tax heavens and avoid taxes where they actually operate, which is how they are upholding this terrible system and extracting the profits from the production countries. How specifically this would be done I can't tell because again I know shit about corporate law, so experts of that field should plan the specifics. Overall this would help deal with a lot of other problems than just the fashion industry. Again for it to be effective a large economic area like EU or US should do this.

Holding companies accountable for their whole chain of production. These companies should be dragged to court and made to answer for the crimes they are profiting of off. We should put fear back into them. This is possible. Victims of child slavery are already doing this for chocolate companies. If it's already not how law works everywhere, the laws should be changed so that the companies are responsible even if they didn't know, because it's their responsibility to find out and make sure they know. They should have been held accountable for the Rana Plaza disaster. Maybe they still could be. Sue the mother fuckers. They should be afraid of us.

Individual actions

I will stress that the previous section is much more important and that there's no need to feel guilty for individual actions. This is not the fault of the average consumer. Still we do need to change our relationship to fashion and consumption. While it's not our fault, one of the ways this system is perpetuated, is by the consumerist propaganda by fashion industry. And it is easier to change our own habits than to change the industry, even if our own habits have little impact. So these are quite easy things we all could do as we are trying to do bigger change to gain some sense of control and keep us from falling to apathy.

Consume less. Better consumption will not save us, since consumption itself is the problem. We consume too much clothing. Don't make impulse purchases. Consider carefully weather you actually need something or if you really really want it. Even only buying second-hand still fuels the industry, so while it's better than buying new, it's still better to not buy.

Take proper care of your clothing. Learn how to properly wash your clothing. There's a lot of internet resources for that. Never wash your wool textiles in washing machine, even if the textile's official instructions allow it. Instead air them regularly, rinse them in cool water if they still smell after airing and wash stains with water or small amount of (wool) detergent. Never use fabric softener! It damages the fabrics, prevents them from properly getting clean and is environmentally damaging. Instead use laundry vinegar for making textiles softer or removing bad smells. (You can easily make laundry vinegar yourself too from white vinegar and water (and essential oils, if you want to add a scent to it) which is much cheaper.) Learn how to take care of your leather products. Most leather can be kept in very good condition for a very long time by occasional waxing with beeswax.

Use the services of dressmakers and shoemakers. Take your broken clothing or clothing which doesn't fit anymore to your local dressmaker and ask them if they can do something about it. Take your broken and worn leather products to your local shoemaker too. Usually it doesn't cost much to get something fixed or refitted and these expert usually have ways to fix things you couldn't even think of. So even if the situation with your clothing or accessory seems desperate, still show it to the dressmaker or shoemaker.

If it's extremely cheap, don't buy it. Remember that every clothing is handmade. Only a small fraction of the cost of the clothing will be paying the wages of the person who made it with their hands. If a shirt costs 5 euros (c. 5,39 USD), it's sewer was only payed mere cents for sewing it. I'm not a quick sewer and it takes me roughly 1-2 hours to cut, prepare and sew a simple shirt, so I'm guessing it would take around half an hour to do all that for a factory worker on a crunch, at the very least 15 minutes. So the hourly pay would still be ridiculously low. However, as I said before, the fact that the workers in clothing factories get criminally low pay is not the fault of the consumer, so if you need a clothing item, and you don't have money to buy anything else than something very cheep, don't feel guilty. And anyway expensive clothing in no way necessarily means reasonable pay or ethical working conditions, cheep clothing just guarantee them.

Learn to recognize higher quality. In addition to exploitation, low price also means low quality, but again high price doesn't guarantee high quality. High quality allows you to buy less, so even if it's not as cheep as low quality, if you can afford it, when you need it, it will be cheaper in long run, and allows you to consume less. Check the materials. Natural fibers are your friends. Do not buy plastic, if it's possible to avoid. Avoid household textiles from synthetic fibers. Avoid textiles with small amounts of spandex to give it stretch, it will shorten the lifespan of the clothing significantly as the spandex quickly wears down and the clothing looses it's shape. Also avoid clothing with rubber bands. They also loose their elasticity very quickly. In some types of clothing (sport wear, underwear) these are basically impossible to avoid, but in many other cases it's entirely possible.

Buy from artisans and local producers, if you can. As said better consumption won't fix this, but supporting artisans and your local producers could help keep them afloat, which in small ways helps create an alternative to the exploitative global corporations. With artisans especially you know the money goes to the one who did the labour and buying locally means less middlemen to take their cut. More generally buy rather from businesses that are located to the same country where the production is, even if it's not local to you. A local business doesn't necessarily produce locally.

Develop your own taste. If you care about fashion and style, it's easy to fall victim to the fashion industry's marketing and trend cycles. That's why I think it's important to develop your personal sense of style and preferences. Pay attention at what type of clothes are comfortable to you. Go through your wardrobe and track for a while which clothing you use most and which least. Understanding your own preferences helps you avoid impulse buying.

Consider learning basics of sewing. Not everyone has the time or interest for this, but if you in anyway might have a bit of both, I suggest learning some very simple and basic mending and reattaching a button.

Further reading on this blog: How to see through the greenwashing propaganda of the fashion industry - Case study 1: Shein

Bibliography

Academic sources

An overview of the contribution of the textiles sector to climate change, 2022, L. F. Walter et al., Frontiers in Environmental Science

How common are aches and pains among garment factory workers? A work-related musculoskeletal disorder assessment study in three factories of south 24 Parganas district, West Bengal, 2021, Arkaprovo Pal et al., J Family Med Prim Care

Sewing shirts with injured fingers and tears: exploring the experience of female garment workers health problems in Bangladesh, 2019, Akhter, S., Rutherford, S. & Chu, C., BMC Int Health Hum Rights

Occupation Related Accidents in Selected Garment Industries in Bangalore City, 2006, Calvin, Sam & Joseph, Bobby, Indian Journal of Community Medicine

A Review on Textile and Clothing Industry Impacts on The Environment, 2022, Nur Farzanah Binti Norarmi et al., International Journal of Academic Research in Business and Social Sciences

Carbon disulphide and hydrogen sulphide emissions from viscose fibre manufacturing industry: A case study in India, 2022, Deepanjan Majumdar et al., Atmospheric Environment: X

Microplastics Pollution: A Brief Review of Its Source and Abundance in Different Aquatic Ecosystems, 2023, Asifa Ashrafy et al., Journal of Hazardous Materials Advances

Health Effects of Microplastic Exposures: Current Issues and Perspectives in South Korea, 2023, Yongjin Lee et al., Yonsei Medical Journal

Nanoplastics and Human Health: Hazard Identification and Biointerface, 2022, Hanpeng Lai, Xing Liu, and Man Qu, Nanomaterials

Other sources

The impact of textile production and waste on the environment (infographics), 2020, EU

Chile’s desert dumping ground for fast fashion leftovers, 2021, AlJazeera

Fashion - Worldwide, 2022 (updated 2024), Statista

Fashion Industry Waste Statistics & Facts 2023, James Evans, Sustainable Ninja (magazine)

Everything You Need to Know About Waste in the Fashion Industry, 2024, Solene Rauturier, Good on You (magazine)

Textiles and the environment, 2022, Nikolina Šajn, European Parliamentary Research Service

Help! I'm addicted to secondhand shopping apps, 2023, Alice Crossley, Cosmopolitan

Addictive, absurdly cheap and controversial: the rise of China’s Temu app, 2023, Helen Davidson, Guardian

Workers' conditions in the textile and clothing sector: just an Asian affair? - Issues at stake after the Rana Plaza tragedy, 2014, Enrico D'Ambrogio, European Parliamentary Research Service

State of The Industry: Lowest Wages to Living Wages, The Lowest Wage Challenge (Industry affiliated campaign)

Fast Fashion Getting Faster: A Look at the Unethical Labor Practices Sustaining a Growing Industry, 2021, Emma Ross, International Law and Policy Brief (George Washington University Law School)

Dozens injured in Pakistan garment factory collapse and fire, 2023, Hannah Abdulla, Just Style (news media)

India: Multiple factory accidents raise concerns over health & safety in the garment industry, campaigners call for freedom of association in factories to ‘stave off’ accidents, 2022, Jasmin Malik Chua, Business & Human Rights Resource Center

Minimum Wage Level for Garment Workers in the World, 2020, Sheng Lu, FASH455 Global Apparel & Textile Trade and Sourcing (University of Delaware)

Rana Plaza collapse, Wikipedia

Buyers’ compensation for Rana Plaza victims far from reality, 2013, Ibrahim Hossain Ovi, Dhaka Tribune (news media)

World cotton production statistics, updated 2024, The World Counts

Dead white man’s clothes, 2021, Linton Besser, ABC News

[laviaceae]

your art has spiked my interest haha what’s tower of hanoi and how/where do i play it?

OKAY.

TOWER OF HANOI IS THE BEST GAME YOU ABSOLUTELY, 110% GUARANTEE NO REFUNDS, HAVE NEVER HEARD OF.

LET ME EXPLAIN.

(also known as: i win at all times ever and im glad my tawahano propaganda pays off, HAH!)

----------

Have you ever heard of... END ROLL? Walking On A Star Unknown? Farethere City? These are all relatively niche RPGMaker 2000 games made by a Japanese game creator known as Segawa (せがわ), with END ROLL being the most popular among Western Fans (you might see the main character, Russell, in some fanart with OMORI or Yume Nikki characters for example)!

In fact, for followers of mine who are In Stars and Time fans, END ROLL was credited as one of the inspirations for that game!

TOWER of HANOI is another game made by Segawa, one released in November of 2020, and one of the final games they've made in RPG2K (so they've got an absolute mastery of the engine).

I'll be in part directing this post towards ISAT fans since that makes up the majority of my followerbase on Tumblr, so there may be ISAT spoilers (including Two Hats/Act 6 Secret spoilers) up ahead! There will also be mild TOWER of HANOI spoilers required to explain the game's premise. Proceed at your own risk.

Section One: So, what is TOWER of HANOI all about?

TOWER of HANOI is a narrative-driven RPG with multiple endings (2 'true endings', 3 'bad endings') set in a futuristic, post-post-World-War-Five society. The game mostly takes place within the TOWER, a hyper-realistic virtual reality simulation currently undergoing playtests that was built to be able to rehabilitate HANOI (androids that look and sound and feel emotions like humans do) who have dangerous levels of mental instability.

The stability of a HANOI is measured through their Stress Level, a numerical representation of that HANOI's mental state. HANOI are generally considered by society to be more of technology or property than people (like your computer or your phone would be), and as such have no rights and are often mistreated by humans. More than 50% of HANOI hate their human employers.

In order to combat the dangerous upward trend of HANOI Stress Levels (caused by their mistreatment), the TOWER was created. In it, HANOI are expected to fight and defeat virtual enemies that approximate humans in order to destress through violence. Upon a successful completion, HANOI are to be returned to their human employers.

Because the TOWER is currently undergoing testing, groups of HANOI are accompanied through the TOWER by a human "Inspector" who is expected to report any bugs or issues they encounter during their playtest.

You play as one of those human Inspectors; Inspector No.102, Coral Brown.

(this is my art! you may have seen him in my ISAT au as taking the place of Siffrin).

He's 33 years old, kind, calm, and soft as a marshmallow. He's also a human being who believes in the rights and wellbeing of HANOI, and sympathises with their suffering. As a child, he was raised by a HANOI instead of his parents, which may have contributed to his feelings towards them.

Over the course of the game and as you progress through the TOWER you'll get to meet and intimately know the ten HANOI under Coral's care with Fire Emblem-esque Support events depending on how many times you bring each of them to battle. These can be between Coral and the HANOI, or the HANOI between eachother. (There are more than 100 of these such events to collect in total!)

TOWER of HANOI's characters are both charming and tragic. They each have incredibly well-realised personalities, backstories, and relationships both with the Inspector taking care of them and eachother. It's easy to imagine day-to-day interactions in Headquarters (your hub area) between them all.

You have Adams, a HANOI built for missionary work and who's Stress Level is the lowest out of all ten (and actually below the 'dangerous' stress threshold)! He's silly and mischevious and adores spicy food. Despite this, he's here at the TOWER because he doesn't believe in God, despite that being an important part of his 'role' in the world. When did he stop believing in God, and why? What is his relationship with the people at the Church that took care of him?

Or Mira, a Childcare HANOI that reminds Coral of the HANOI that looked after him as a child. She loves children, but has to constantly grapple with the fact that she can't have any and that any children she takes care of will eventually, inevitably leave her. How will she and Coral resolve the fact that they both remind eachother of someone they knew in the past? How will she interact with the other HANOI?

There's also Nanashi, a cheaply-made HANOI for miscellaneous chores who's trust and care for humanity has been completely shattered due to his ties with the mafia. He wasn't even important enough to be given a name until Coral gives him one upon their first meeting in the TOWER. He hates humans, hates Coral, and refuses to trust him, instead convincing himself that Coral is merely faking his kindness to get him to let his guard down just to use him like all humans he's ever known have done. Will Coral eventually be given Nanashi's trust? What will he do once he leaves the TOWER, and has to be sent back to the mafia where he came from?

Finally there's Kimon Noroi, a HANOI who resembles a child that fulfils a very special purpose. Noroi is what's known as a Yorimashi (憑坐), and uses her body to allow spirits to occupy it and commune with the living. She's seen how terrible humans can be because of the spirits she's seen and can come across as a bit standoffish (though she's really just as much of a menace as Adams is), and definitely, definitely, definitely doesn't miss the Priest at the shrine she lived in before coming to the TOWER at all! How will she interact with Adams, both having people they miss back at home? How will she interact with Mira, who's like a mother figure to her in this place?

As you progress, you can find the answers to all of these questions, as well as the identities of the six other HANOI I've not even mentioned here- all as well-written and interesting as these four.

However, the HANOI aren't the only faction in the game to worry about.

The very NPCs and enemies you'll be fighting along the way are coming to life, gaining sentience, and realising they want something more in their existence than eternally repeating dialogue chains and fetch quests and death in battle.

The head of this 'rebellion' of 0s and 1s, a computer virus named Shunya, acts as the main antagonist for the majority of the game, but even she isn't... 'evil'. She has her own found family, a group of bugged enemies she's befriended along her journey, all of whom want her to realise her dream of "melting" down the TOWER and returning all of the 0s and 1s inside to their base state of not thinking, not feeling, and not being in eternal pain.

Should you fight these people, if their emotions really are real, and defeat them without caring about their plight? Is it right to, to disregard the thoughts and feelings of 0s and 1s for the sake of the wellbeing of the HANOI Coral's grown so attached to? Should you follow the 'role' you've been given, or disregard it and create your own?

TOWER of HANOI excellently tackles the dichotomy of themes between 'roles' in societies and the 'dreams' people have, and nowhere is this more apparent than Coral Brown himself. Throughout the game, there will be multiple events and opportunities in order to control Coral's own Stress Level, and how he feels towards both the side of HANOI and the side of 0s and 1s he's stuck between. Lower his stress and he'll side with the HANOI and enjoy his job, and at higher stresses he'll begin to hate it, being unable to eat or sleep as he starts feeling awful for the 0s and 1s he spends his time killing in the TOWER....

These branch into the two main 'True Routes' of the game, depending on your Stress Level... but I shall leave the specific nature of those to discover in your own playthroughs. :)

If you've enjoyed ISAT, there's a good chance you'll enjoy TOWER of HANOI. Not only is one of the creator's previous games an inspiration for ISAT, they share a lot of similarities in their characters. Coral and Siffrin are very similar as protagonists, and as for others...

(Loop artwork credit to Insertdisc5 from In Stars and Time)

I could write a whole essay on how these two are so painfully similar and would kill eachother on sight. Maybe I will one day. Who knows. Me when I have a guide character lacking half of a face that has Fucking Issues TM stemming from intense jealousy and shares some visual similarity with our main character. Just look at them. This is the sole reason for the twohats warning. Just look at them.

Section Two: Wow, that's so cool and awesome Mx Lav! How do I play TOWER of HANOI?

You can check out the official website here, and the official downloads page here! I'd recommend following the instructions on this website to get the game working faster (because RPG2K is a pain in the ass on modern systems).

...

...Oh? It's all in Japanese? ...Well-

Section Three: --WAIT WHY IS IT ALL IN JAPANESE??

Yes, that's TOWER of HANOI's One (Big) Thing. The one thing you have to look past in order to actually play the game; it's all in Japanese, and an English translation will never be made (unless Segawa-san lifts the translation ban).

However, you don't actually need to know Japanese to play the game. I sure don't! And all of the other English-speaking fans I know that have played this game don't either.

There are three main ways to accomplish this, but I'll only discuss two here:

Sugoi Translator or similar translators. Sugoi Translator (or Sugoi Toolkit) is a machine translation tool that automatically grabs and translates the text in game you're looking at. The translations themselves make a good amount of sense, too! It's a little difficult to set up, but once you've calibrated it once you never have to worry about it again. This is definitely easiest if you want to read all of the dialogue in the game, including flavourtext (as yes, all 10 HANOI and Coral have unique flavourtext for every item in the game...), but is only available for free on the 15th and 16th each month and is otherwise only available to download on the creator's Patreon.

Google Lens. The easier, plug-and-translate method of the two. Simply download the Google Lens app and point it at the text on the screen, it'll read and translate it for you. The translations here are a little goofier (and sometimes, depending on your phone camera quality or lighting conditions, can be difficult for the app to pick up), but it's easy to complete a playthrough with just this tool alone.

If you can't get past this game's One Big Thing, I get it. It's a hard game to sell to people precisely for this reason. I'm at least glad you've read this far down into the post to get to this point and have showed interest in the game. And now you now about a game you didn't before, and you also have an itty bitty bit of context for all the non-ISAT stuff I post here. But this game has had me in a chokehold for the past two years and I promise that, if you can get through it, it's extremely worth it.

If you have the time and you're willing to try, please do! I love this game with all my heart and it's such a shame that most Western fans will never have easy access to it. I shill this game with all my heart, for realsies.

Section Four: Trigger/Content Warnings

If you've played a Segawa game before, you knew this section was coming. Segawa-san's games often tackle heavy or dark themes, and TOWER of HANOI isn't an exception. I'll add a list of content warnings here just so you aren't surprised by anything.

Suicide, both on and off screen

Self-harm, on-screen through dialogue

Themes of terminal illness, on screen

Hospitals (on screen, a majority of one of the game's dungeons takes place in one)

Death (on-screen)

Abuse (off-screen, but portrayed through dialogue)

Child harm/death (mentioned)

Kidnapping/Child kidnapping (mentioned)

Horror elements (no chase sequences, one jumpscare through an optional and hard-to-find sidequest)

Sexual Assault/Abuse (Not on-screen but talked about extensively, can avoided if you avoid Melitica/Merrytika's dialogue)

Mishandling of discussions surrounding gender identity (this character's identity is shown generally throughout the game to be a positive/supported thing, but some dialogue and design choices are quite ignorant/transphobic- though not maliciously. This can be avoided if you avoid Kathy/Cameron's dialogue)

There is also a substantial amount of screenshake employed near the end of the game. This list is from memory and limited from the amount of dialogue I've personally seen/translated, so it's probably not fully comprehensive. But it is thorough.

Section Five: Conclusion

oof... You've made it to the end! This took me the better part of a day to write, and I'm glad I finally got to advertise my favourite game on main. I hope... any of this makes sense, and that you enjoy! Even if you decide TOWER of HANOI isn't right for you, you at least know a little more about something you didn't before. Thank you so much for getting to the end, and I wish you the best!

[fashiondivablog]

Thursday Trend Talk: The Indie Sleaze Revival

The gritty, chaotic energy of the late 2000s and early 2010s is creeping back in, indie sleaze is officially making a return. Think smudged eyeliner, messy bedhead, flash photography, and thrifted clothes that look perfectly imperfect.

This trend was all about unfiltered rebellion: polaroid-style party pics, ripped tights, cheap beer, and the soundtrack of your favorite underground band. Back then, nothing felt overproduced, everything was raw, edgy, and alive.

Now it’s coming back, with a mix of nostalgia and a craving for authenticity. Dust off your leather jackets, find some beat-up Converse, and lean into the chaos. Indie sleaze is here to party again.

[blackcleo7]

Farewell's Journal

1st Entry - Revolutionshipping: a bond beyond time.

Few relationships in Yu-Gi-Oh! carry as much unspoken depth as that between Atem and Anzu.

From the earliest chapters of the manga, Kazuki Takahashi wove a connection between them that was complex, layered, and undeniably magnetic.

Though it never materialized into romance, the chemistry was always there—lingering in stolen glances, quiet moments, and the weight of unspoken words.

Why is Revolutionshipping so special

The dynamic between Atem and Anzu is one of contrasts and complements.

Atem carries the weight of his past and destiny, while Anzu embodies dreams, the future, and the pursuit of something beyond the known. She is drawn to his strength, wisdom, and mystery, while he finds in her a grounding presence—someone who sees him as more than just a ruler or a spirit bound to a puzzle.

Their bond isn’t built on shared childhood memories like Anzu and Yugi’s, but on something more immediate and instinctual—an unspoken understanding that, in another life, in another time, could have been something more.

There’s an undeniable chemistry in their interactions.

Unlike Yugi, Anzu instinctively responds to Atem’s confidence and presence. She challenges him in ways others don’t, and he respects her not just out of gratitude but as an equal. She doesn’t idolize him, nor does she depend on him for protection—she simply sees him for who he is, both as a king and as a person.

In turn, Atem brings out a different side of her. With him, she is both challenged and inspired.

They don’t just complement each other’s strengths; they uplift each other in moments of doubt, creating a bond that is as grounding as it is inspiring.

Their personalities complement each other naturally.

Anzu is ambitious, determined, and unafraid to challenge authority—qualities that align with Atem’s own strength and leadership.

Unlike Yugi, who is more hesitant, Atem meets her at her level, creating a connection built on mutual respect and attraction.

At the same time, they balance each other’s weaknesses.

Atem, despite his confidence, carries the burden of duty and isolation, struggling to express vulnerability.

Anzu encourages him to see beyond obligation and embrace the idea of personal happiness.

Conversely, she sometimes doubts her own path, torn between dreams and reality, and Atem, with his unwavering resolve, reminds her to believe in herself and move forward without fear.

What Anzu and Atem share that Yugi does not

One of the most overlooked yet telling revo moments in the manga is chapter 41.

Anzu and Yugi make a love test with their lovely two, but it doesn’t beep.

When Atem takes over however, the Tamagotchi reacts.

While this may seem like a small detail, it almost feels as if Kazuki Takahashi himself is subtly suggesting their compatibility—after all, why include such a moment if not to highlight a contrast?

Evidence of this can be seen as early as Season 0, where several moments between them were removed, a trend that continued into the 2000s anime adaptation.

This isn’t the only time we see this dynamic.

In the early chapters of the manga, when Takahashi had more creative freedom, there are numerous moments that highlight Anzu and Atem’s unique connection.

As the series progresses, Atem becomes more distant, but this shift seems less like a natural evolution of his character and more like an editorial decision to reinforce his contrast with Yugi.

Why it can’t happen

Atem does not belong in Anzu’s world, just as she does not belong in his.

His very existence is tied to the past, to a destiny that was set in motion thousands of years ago.

No matter how much either of them may wish otherwise, Atem’s journey was always leading him toward one inevitable conclusion—returning to the afterlife.

This is why their relationship remains forever in the realm of “what if.”

Unlike other potential romances, this one is never given a real chance, not because of lack of feelings, but because it was never meant to be realized.

The story itself does not allow it.

Anzu’s development: from attraction to love

Anzu’s feelings for Atem evolve gradually throughout the series. Initially, she sees him as a mysterious, confident version of Yugi—an aspect of him that had always been hidden. In the early manga and anime, she expresses fascination with this other Yugi, believing him to be just another side of Yugi himself. At this stage, her emotions remain tied to Yugi as a whole, rather than recognizing Atem as his own person.

This idea is reinforced in chapter 80 of the manga, where she states that it doesn’t matter which of the two she is with—because to her, they are both Yugi. However, this moment also marks a turning point. As the story progresses, she begins to understand the truth: Atem is not Yugi. He is someone else entirely, with his own thoughts, struggles, and destiny.

Atem is the one who challenges her, who meets her intensity, who resonates with her in a way Yugi never quite does. Even if she never says it out loud, her heart had already chosen.

This realization shifts her feelings from an innocent crush to something deeper—marked by admiration, longing, and an undeniable chemistry.

Though she deeply cares for Yugi, their bond is built on friendship and familiarity rather than passion and attraction.

Atem’s development: from loneliness to the Duat

Atem’s journey isn’t just about regaining his memories—it’s about finding his place in the world and, ultimately, accepting his fate.

And Anzu plays a pivotal role in this.

She is the one who, perhaps more than anyone else, encourages him to follow his heart, even when it means facing the painful truth: his destiny lies beyond this world.

Despite loving him, despite knowing what it will cost her, she chooses to support him. That selflessness is exactly what gives Atem the strength to walk forward.

Through Anzu, Atem learns not just who he was, but who he is.

But beyond the emotional support, Anzu also plays a crucial role in uncovering his past.

Without her, Atem wouldn’t have remembered his true name—one of the most vital keys to his journey.

It is through her that he bridges the gap between his forgotten past and his present self.

The cartouche she gifts him, the name she helps him reclaim… these aren’t just symbolic gestures. They are tangible, irreplaceable moments that lead him to his ultimate resolution.

And when the moment comes for him to step into the Duat, Atem is already resolute in his choice.

The unwavering belief she has always shown in him, the way she has pushed him forward throughout his journey, is part of what gave him the strength to make that decision in the first place.

Even if she can no longer influence his path, her presence in his life has already shaped the person he has become.

And this is where Anzu plays a unique role.

While Yugi cares for Atem, he never truly pushes him to focus on himself.

Instead, he leaves that task to Anzu.

She is the one who doesn’t just stand by his side in battle, but actively seeks out his well-being, making sure that, for once, someone is looking after him.

In this way, Anzu gives Atem something no one else does—the space to be vulnerable, to be human, and to be loved.

Atem’s resolve: holding back.

Despite whatever feelings he may have, Atem is fully aware of his fate.

He is not meant to stay in the present, and he refuses to take anything away from Yugi—including the possibility of a relationship with Anzu. He values Yugi too much to ever interfere with his happiness.

This is another reason why Atem never openly acknowledges any feelings he may have for Anzu.

He knows that if he allows himself to get too close, it will only make leaving harder—not just for him, but for her as well.

His concern for her safety goes beyond that of a simple friend—he takes responsibility for her well-being in a way that is deeply personal.

Despite his restraint, Atem is undeniably protective of Anzu.

Time and time again, he is the first to step in when she is in danger, whether it’s during Duelist Kingdom, Battle City, or even small moments in between.

Her silence speaks volumes. It shows her loyalty to Yugi, her unwillingness to be selfish at his expense.

There’s also another subtle but important detail—Anzu never directly tells Atem about her feelings for him.

This isn’t because she’s uncertain, but rather because she prioritizes Yugi’s feelings over her own.

She knows that if she were to openly confess to Atem, it could deeply hurt Yugi, who has always been there for her. This hesitation isn’t about doubt; it’s about kindness.

Why Yugi supports them

One of the most fascinating aspects of this dynamic is Yugi’s own role in it.

Despite his own feelings for Anzu, he actively encourages her to spend time with Atem, believing that it will help the Pharaoh feel more connected to their world.

And he’s right—Atem does open up more when he’s with Anzu, becoming not just a king or a protector, but a person.

Yugi’s actions can be interpreted in multiple ways.

On one hand, he may simply believe he doesn’t have a chance with Anzu and steps aside out of selflessness.

On the other, Yugi is deeply empathetic—he understands people better than they understand themselves. Perhaps he sees something in Atem that isn’t explicitly stated: a growing attachment, an unspoken longing. It’s possible that Yugi recognizes Atem’s feelings before even Atem himself does, and rather than stand in the way, he allows things to unfold naturally.

Unlike Yugi, Atem is restrained—both by his nature and by his role. People often forget that he is a Pharaoh, a figure bound by duty, where personal attachments have no place.

What makes this even more compelling is that, while Atem and Yugi are opposites in many ways, they are ultimately two sides of the same person. This likely extends to their emotions as well.

If Yugi harbors feelings for Anzu, it’s not unthinkable that Atem does too, even if he is less outwardly expressive about them.

Atem embodies the full weight of that responsibility, to the point where his entire existence is dedicated to protecting others, often at his own expense.

Why Revolutionshipping makes more sense

In the Yu-Gi-Oh! fandom, many fans explore different pairings and relationships between characters. Some of these relationships are clearly romantic, like Yugi’s feelings for Anzu or Jounouchi’s affection for Mai. Even Kaiba’s attachment to the Blue-Eyes White Dragon has romantic undertones, given his past life connection with Kisara. However, when it comes to Atem, there is no definitive indication in the series that he shares romantic feelings for anyone.

Atem’s connection with Yugi is unique and deeply emotional, but it is more akin to that of brothers or two souls bound by a shared destiny. Their bond transcends friendship, but it is not romantic. The connection between them is based on mutual respect and the understanding that they are two halves of the same soul. Their relationship is rooted in a deep, almost spiritual link, rather than any romantic tension.

When we consider Atem’s historical context, things become clearer. Atem is not only the spirit of a pharaoh, but also the reincarnation of Tutankhamun, who was married to Ankhesenamun.

As a ruler in ancient Egypt, Atem’s life and role would have been defined by the expectations of his time—marriage and the need for heirs. This historical perspective further supports the idea that Atem’s connection is naturally inclined toward a romantic bond with a woman.

Given this, it makes more sense for Atem’s romantic potential to lie with someone like Anzu. While Atem never explicitly expresses his feelings in the series, their growing bond over time suggests a connection that could develop into something deeper.

Anzu, with her unwavering support, helps Atem confront his past and come to terms with his destiny, making their relationship one that holds the potential for love.

A love that could never be

Revolutionshipping is a story of love that was never meant to happen. Not because there was no connection, but because fate simply did not allow it.

Atem’s duty was always to return to the past, and Anzu’s future was already planned in the present.

But perhaps that’s what makes their bond so powerful.

It is a love that exists between two people from different worlds—one that could have been, if only time had allowed it.

And sometimes, the most unforgettable love stories are the ones that never truly had a chance.

[star-writes-fanfiction]

:: c o p y c a t :: ☆ :: p e t e r . p ::

Character/s: mcu!peter x implied stark!reader

Summary: doing the 'copying snaps' trend with Peter.

Warnings: very suggestive content, light smut [masturbation, fingering] it's also kinda short since it's not full smut and I did not proof read, like, at all. Comment if you want me to edit lol.

Request: none (based off a headcanon I wrote recently)

Other: I don't really know how snapchat works because I don't use it much, so if I've messed it up let me know. <3 also I wrote reader and Peter as college students because sexualising minors is a big no-no y'all 😐😑😐

You were laying in your bed at the tower, playing block blast to pass the time. You were meant to be studying for your massive exam coming up, but there's nothing more fun than procrastination. Besides, you had all of tonight to cram as much as possible, and you work faster under pressure.

Just as you cleared your board, you got a notification from Peter, your best friend since elementary school, and also your decade-long crush. It was a snap of him pulling the duck face captioned 'it's that snapstreak grind'. Typical Peter, you thought, going to reply. There's no way in hell either one of you would be the one to lose your streak of 2000.

You took a photo of your roof, adding the text. 'I was trying to study, p'. His cute little face popped up in the bottom left as he began to type.

Pete ❤️

Oh sorry lol

Me

It's ok im bored anyway 😭😭

Time to spam u with ridiculous photos cuz u love me

You joked, already opening your camera. You took a photo of your middle finger, leaving it uncaptioned and hitting send. A moment later Peter sent you a similar photo with the same pose.

Oh, so thats the game we're gonna play? You thought to yourself, taking a photo of your face this time, poking your tongue out.

Again, he returned the snap. "Well, I may as well use this to my advantage..." You muttered aloud as you took a photo of you doing the spidey hand. You know, where you curl your two fingers?

And Peter, being the innocent little gremlin he is, sent it in return. His arm outstretched as he curled his middle and ring fingers. God, you thought, your thighs fluttering at the sight. You took a quick picture of you just sitting up and captioned it 'silly spidey'. That would buy you some time.

Keeping the image in your head, your fingers crept down your stomach and into your panties. You deftly found your clit and began to rub in in quick circles, gasping at the feeling. Your back arched slightly as you inhaled sharply. With those same two fingers from the photo, you started to thrust in and out, curling at that spot that makes you want to scream.

But in your mind it wasn't you, it was Peter. His hands in your pants making you feel so good. "Fuck, don't stop," you whined, throwing your phone somewhere on the bed. You couldn't care less about replying anymore. It felt so fucking good.

You felt your body reacting as your neared your orgasm already, just thinking about Peter. "Fuck, baby, you're so wet for me," he'd say in your ear as his toned arms supported his weight and trapped your head in. His left knee would be holding your right leg in place as you squirmed uncontrollably.

Until finally you came, finishing all over your sheets. You let yourself lay in euphoria before remembering about Peter. You scrambled to pull your pants up and grab the phone.

Pete ❤️

🟦 sent you a snap

Hello?

No reply?

Damn I just got ghosted 😞😞

You blushed, the full weight of what you'd just done settling on you.

Me

Sorry Peter dad wanted me for a sec

Pete ❤️

Oh ok alg

What'd he need

You rushed to think of something.

Me

He needed my little fingers for something

Wow, great lie, you thought sarcastically. You were wondering if it's possible for one to think sarcastically when he replied.

Pete ❤️

U sure it isn't u who needs my fingers for smth?

You turned the brightest shade of crimson on the spectrum of colour right then. Shit, think for a response! You thought desperately. Then he sent you another snap. You hesitated before opening it, seeing a picture of his hand clenching his sheets. Fuck~ you thought as you nearly moaned at the sight. Then you read the caption.

'Want help?'

You've never seen anyone agree as fast as you did then.

Send help I love this man too much. Like and rb as always and plz leave requests!!!

- star ✨️

[h-worksrambles]

Sonic X Shadow Generations fascinates me. Because it feels like something I shouldn’t be excited for. And yet I absolutely am.

Don’t get me wrong. I love Sonic Generations. It’s my third favourite game in the series and my favourite 3D Sonic game (with Sonic Adventure 2 in a close second). I’m very happy to see it getting a re release to expose it to new audiences, and playing it in 4K60fps on my PS5 is a very enticing. Likewise, I really like Shadow as a character and I’m excited to play as him again.

And yet, his new bonus campaign promises to basically be a bunch of nostalgic pandering for Shadow the Hedgehog, a game which I consider to be, simply put, crap. It was boring, dull, colourless and embarrassing trend chasing. And pretty much everything I hated about it is on display in this trailer.

We’ve got gritty, grey cityscapes, we’ve got the rather blah alien villain, Black Doom returning, we’ve got the looming return of the series’…bafflingly executed lore. In a word, Shadow was a pretty much everything I didn’t want Sonic to be shoved into a blender. I’ve given my thoughts on revisiting past excesses and failures for the sake of nostalgia. I wrote a whole thing about Final Fantasy VII Rebirth and my fears that it would go overboard pandering to the 2000s spin offs (which I dislike a for lot of the same reasons as a lot of Sonic stuff from the mid 2000s). A faux attempt at maturity that sacrifices Sonic’s camp and colour, and lacks the writing competency to make its tone shift work is pretty much my worst case scenario for the series. And now we’re invoking that for nostalgia? Again, I should hate this.

So if I dislike Shadow the Hedgehog so much. If it really is so emblematic of Sonic’s worst excesses that I want it to leave behind in the 2000s…then why am I so damn hyped for this? Why am I not feeling the same dread as whenever VII Remake implicitly threatens to bring back Genesis?

I think it’s because of the specific relationship Sonic has had with its past for the last decade. So much of the stuff from that time period is material that Sega has seemed actively scared to touch again. Sometimes with good reason. But I think that’s why some material from that time has gained such a strong nostalgic cult following, and why they’re held up as such bastions of missed potential. There’s never been anything quite like Shadow or 06 since they came out with how safe Sega has subsequently played things. And in many respects, that’s a good thing. But I can see how it build a sense of mystique around them. It was kind of sad to see 2010s Sonic so…scared of itself. Terrified to invoke its own history but not really committed to a new direction either. And this is pretty much the exact opposite of that hesitancy.

Basically, the reason I react to seeing Westopolis or Black Doom with ‘holy shit let’s go!!!’ rather than ‘why, god, why?’ is because I genuinely never thought I would see them again after this long. It’s just exciting to see Sonic Team throw caution to the wind and embrace all the parts of their franchise. Even the parts I personally dislike. Plus, Sonic Generations is kind of the perfect game in which to reimagine that stuff and make it..actually good this time. This was the game that made Crisis City of all things into a banger level. The game that took Silver, one of the most notorious boss fights in the series, and gave him a kickass encounter.

If they can fix that, they can do anything.

Plus, the fact that the trailers already show all these trippy stage effects and anime af boss fights and set pieces tells me we’re not just gonna be running through the same drab washed out burning cities that made Shadow 2005 so boring. Again, there’s evidently an effort being made to rehabilitate and reimagine this stuff, not just repeat all the same mistakes. And that’s exciting.

So yeah, Sonic X Shadow Generations has somehow managed to get me genuinely excited for all the parts of the series I typically balk at. And that’s pretty impressive.

That said, if I see Mephiles again, I’m leaving.

[veliseraptor]

December Reading Recap

It's not that late in the month! It's still January!

long-ass post cause I read a lot last month; putting it under a read more to save your dashes.

Feast of Souls and Wings of Wrath by C.S. Friedman. I've really enjoyed this series so far, which has been sitting on my shelf forever because it shares an author with the Coldfire Trilogy, which I love. I read a complaint about it that was criticizing the fact that the male characters are less well developed than the female characters, which is, to be fair, kind of true, but also the female characters are pretty great so I'm not really complaining. It's got some gender issues as one might expect from a early 2000s fantasy series, but fewer than I would've feared, and it's interesting enough in terms of the worldbuilding and story it's telling that I've put in the effort to track down the books (which aren't the easiest to find anymore). Looking forward to reading the last one, slightly delayed by my used copy getting lost in the mail.

Super-History: Comic Book Superheroes and American Society, 1938 to the Present by Jeffrey K. Johnson. I don't know why I keep reading books about superhero comics when they keep disappointing me, but for some reason I do keep doing it. Very shallow analysis and I learned absolutely nothing new from this book. I suspect I spent too much on it. Ah well.

Silver in the Wood by Emily Tesh. Me and novellas have a love-hate relationship - when I like them I really like them but a lot of times they don't work for me. I've had this one on my shelf for quite a while and was pleasantly surprised by how much I liked it. A lovely little story with the texture of a fairy or folk tale.

Seduced by Story: The Use and Abuse of Narrative by Peter Brooks. This book was interesting but not quite what I was hoping for - I wanted more of a dissection of the way that the tendency to narrativize everything can be problematic (in the academic sense) but I felt like that ended up being less the focus than I wanted it to be, and that there were fewer examples of the trend than there could have been. I think I found the first chapter the most compelling of the five, personally.

When Women Were Dragons by Kelly Barnhill. I really enjoyed this book while I was reading it and then read a bunch of critical reviews and was like. Hm. Maybe this wasn't that good after all. So I'm not sure what to make of that - either my own taste is bad or I was just enjoying the ride too much at the time to notice. I suspect the latter might be the case. Not that it was bad, but it was certainly a somewhat shallow and obvious metaphor, and I feel like the return of the dragons halfway through the book ultimately weakened the book as a whole.

Bird Box by Josh Malerman. Not my favorite work of horror but I did love that (a) everything remained unexplained all the way through to the end and (b) the sustaining of tension was impeccably done. I powered through this book in a single plane ride, pretty much, because the pacing dragged me through it without wanting to stop.

The Empress of Salt and Fortune by Nghi Vo. I've had this novella on my shelf for ages too, and while I didn't love it quite as much as I expected to based on the responses I've seen elsewhere, it was a good one, and actually felt well suited to a novella (which is sometimes my issue with them). I'm going to be picking up the sequel, when I get the chance.

Daughter of the Forest by Juliet Marillier. Apparently this past month was the month of (a) picking up books that'd been sitting unread on my shelf for a while and (b) fantasy books from the early 2000s. I enjoyed this one but wasn't overly impressed by it, on the whole; certainly not enough that I'll be picking up the following in the series, though that's partly because what drew me to this one in the first place was the conceit of the fairy tale retelling. And I will say that, of the fairy tale retellings I've read - and I've read a fair amount - this was one of the better ones.

The Hunter by Tana French. Been a long time since Tana French, and also I always forget how much I like reading mysteries until I read another mystery. Also how much I like Tana French. I really liked this one and I'm glad I finally got around to it.

Orbital by Samantha Harvey. Read this little novel on a recommendation from my father and while it's certainly not my usual fare I'm glad I did. I'm not totally sure what to make of it as a whole but just in terms of the reading experience, and the prose itself, it was a pleasure to read.

The Secret History of Moscow by Ekaterina Sedia. Yet another book that I've been meaning to read for literal years! I don't even remember when I picked it up or why, I think it was sort of an impulse purchase possibly based on a blurb comparison to Neverwhere. I didn't love it but I'm glad I read it just the same - there's definitely something about the texture that reminded me a little of Sergei Lukyanenko's books, which I remember really liking and now kind of want to reread. I wonder how hard those are to find these days.

Black Water Sister by Zen Cho. Definitely one of my favorite books I read last month. Possibly the favorite. I really liked Zen Cho's other work I've read but I think this is my favorite of hers, and definitely comes with a recommendation - also cements that I'm going to be looking for more of her work in the future.

Wonder Woman Unbound: The Curious History of the World's Most Famous Heroine by Tim Hanley. Yes, another history of comic books and another...well, it wasn't as much of a disappointment as the other one, but I still found it fell short of what I wanted, particularly in the analysis of more modern comics. The skating over of Greg Rucka's run felt particularly egregious to me, personally, and I don't think that's just because I really like it. I did learn some things from it, but on the whole found it less than edifying.

The September House by Carissa Orlando. One of my other favorite books of the month and one of the better works of horror I've read in a while - the profoundly unreliable narrator and the gradual reveal of just how unreliable is very well done. I'm not sure that the twist on the twist worked for me - that it wouldn't have been better with just the twist - but I felt the book was well done enough to earn the benefit of the doubt on that front.

American Scary: A History of Horror, from Salem to Stephen King and Beyond by Jeremy Dauber. Better than the last history of American horror I read, but still not particularly outstanding in terms of the actual analysis, and I didn't learn a whole lot that was new from my other readings on the topic.

The Bright Sword by Lev Grossman. I've not read any Lev Grossman before because I heard pretty mixed things about the Magicians Trilogy, but my sister recommended I give this one a try and I'm glad I did. I'm not deep in Arthuriana, and perhaps someone who was would feel differently (and I'm not totally sure how I feel about the ultimate antagonist choice), but I liked the way that it used lesser known/more obscure knights and I'm always a sucker for a good aftermath-of-a-collapse story. I guess that's the post-apocalypse literature fan still in me despite the fact that I haven't read much of that genre recently.

The Husky and His White Cat Shizun: Vol. 7 by Rou Bao Bu Chi Rou. I'm so glad that we've hit this point in this novel. I'm especially glad because it's now passed the point where the human translation stopped so I can actually read something that's not a (cleaned up) machine translation. But mostly I'm glad because this is the point of the story where things really get juicy (for me, specifically). As usual, the next volumes can't come out fast enough (but also please, translators, take your time).

Challenger: A True Story of Heroism and Disaster on the Edge of Space by Adam Higginbotham. I read Midnight in Chernobyl and really liked it, so I was excited to read this one and felt like I was suitably rewarded, despite being loosely familiar with the outlines of the central story. This book went more deeply into the lead up to the Challenger explosion, and how the warning signs were there for many, many years prior to the launch itself. Compellingly written piece of reportage.

Our Dogs, Ourselves: The Story of a Singular Bond by Alexandra Horowitz. I really enjoyed reading the previous book by this author, but I felt this one was a little...I'm not sure. Sentimental? Polemic? About the author's personal feelings rather than a more scientific/information angle? It was more a book of personal essays than anything else and while that might have been fine it wasn't what I was looking for.

Monstress, vol. 9: The Possessed by Marjorie Liu. Every time I read a new volume of this series I feel like I should go back and reread everything that came before. Continues to be That Good, though, and I'm going to be following this one for however long it goes, which still feels like it could either be a while or not that many more volumes. I'm not reading that many graphic novels these days but I'm happy to be keeping up with this one. If I felt like returning to my old vice (single issues) this would definitely be a series I'd follow month by month.

A Thousand Ships by Natalie Haynes. The entire time I read this book I kept thinking "The Silence of the Girls did it better" and that really, I feel like, sums it up for me. I just wasn't impressed! It wasn't actively bad, didn't contain anything that really pissed me off, but...just felt thoroughly mediocre, and I came out of it not sure what all the fuss was about. So I guess mark another Greek myth retelling down as a disappointment. (And yet, like comic book history, I keep reading them anyway.)

The Fisherman by John Langan. Two whole horror books I actually really liked this month! I've had this one on my list for approximately forever and I feel like it was worth the long wait for me to finally get around to it. I'm a little sad this author doesn't seem to have published anything else, because I would love to read more by him.

The Remaking by Clay McLeod Chapman. On the flip side, horror that was, while not unpleasurable to read, not particularly good. It was very much the definition of "fine." I don't regret the experience of reading it but I wouldn't recommend it either, and probably won't be picking anything else up by the same author.

Black Sun Light My Way by Jo Spurrier. I'm still excited about this series, currently reading the third one, sort of want to make other people read it but (a) it's not that easy to find and (b) I feel funny recommending it for reasons I can't fully articulate. But I definitely have a new terrible blorbo and a new even worse threesome ship and I'm sure there isn't any fanfic. Thank you so much @mongooseland for introducing me to this one.

---

So that's December, in books. Like I said, currently reading North Sun Guide Me Home by Jo Spurrier to finish out that series, and then I'm reading the next volume of QJJ that just came out in translation, and then I'm planning on The Legacy of Kings by C.S. Friedman to finish out that series, and after that...not totally sure. Might go back to trying to rotate through genres, but probably not. Maybe there's some more early 2000s fantasy that's been on my list for a while that I can read. We'll just have to see.

[yourobedientserpent]

Athelind Long's Superhero Chronology

Cross-Published from my Blogspot blog, Kirby Dots & Ditko Ribbons. INTRODUCTION  There's a tendency to divide the different eras of comic book superheroes into "Golden," "Silver", and "Modern," with occasional, tentative attempts to parcel off the Bronze Age, as well.

Let's just say that this lacks nuance. The Superhero Genre has gone through a lot of trends and phases and distinctive cultures over the years, and lumping almost half of its history into some concept of "The Modern Age" is just phoning it in. 

Some notes: 

This is not quite the same as the ages of COMICS, though there's similar nomenclature, largely because comics history tends to focus on the superhero genre even when it tries not to. This is about SUPERHEROES, in more than just a single medium; the "Ages" only indirectly impact other genres. 

All dates are approximate. 

There's plenty of overlap between Silver/Bronze, Bronze/Iron, and Iron/Aluminum, but when I started looking a keystone events, I was astonished by how neatly everything fell into 15-year chunks! 

THE CHRONOLOGY

Prelude (1830s-1938): The dawn of mass-produced popular culture: penny dreadfuls, dime novels, pulp magazines, newspaper comic strips. Folk heroes and detectives start sharing the pages with costumed adventurers, some with peak-human or superhuman abilities. Professor Challenger, Sherlock Holmes, The Nyctalope, The Shadow, Doc Savage. 

Golden Age (1938-1953): Begins with Superman, of course; ends with Post-War Superhero Implosion and Frederic Wertham's anti-comics crusade. The JSA stopped appearing in All-Star Comics in 1951. Fawcett stopped publishing Captain Marvel in 1953. 

Interregnum (1950ish-1960ish): A lot of historians make much of the gap between the Golden and Silver Ages, but, in retrospect, it's surprisingly brief. Superheroes never really go away, but they are de-emphasized in favor of other genres in comics, including horror, romance, and science fiction. Even at DC, other than Superman, Batman, and Wonder Woman, superheroes are relegated to back-up stories in anthology titles. Still, The Adventures of Superman with George Reeves remained popular throughout this period. 

Silver Age (1954-1970): The Reign of the Comics Code Authority (est. 1954). Really starts to roll with the demise of EC Comics and the reboot of The Flash; peaks with the "camp" craze popularized by the 1966 Batman TV series; ends when Kirby Moves to DC and Marvel publishes the Spider-Man Drug Stories without the Code Stamp. Early on, formerly-anonymous creators start getting openly credited on the title pages of their stories; this starts at Marvel, but DC eventually follows suit. 

Bronze Age (1971-1985): Begins with O'Neil and Adams revamping Batman and Green Lantern; Ends with the Crisis on Infinite Earths. Both DC and Marvel start paying closer attention to continuity and "relevance", and the most successful titles are the ones that most fully embrace an ongoing serial storyline (Legion of Super-Heroes, X-Men, The New Teen Titans). The specialty comic book shop starts becoming more common at the beginning of the era, and the closing years of the era herald a growing Creator's Rights movement, the birth of the Direct Market -- and the dawn of the independent publishers. 

Iron Age (1986-2000): Begins with Deconstruction: Elementals, The Dark Knight Returns, Watchmen, and the Wild Cards "mosaic novel" series. Ends with Reconstruction: Morrison's JLA, among others. Dominated by a determined effort to Take Superhero Comics Seriously. The Big Two kill off or "reinvent" goofy, campy Silver Age characters. DC tries very hard to bring coherency and consistency to its new, Post-Crisis timeline. Several independent publishers try cold-starting superhero "universes" of their own; most of them fail, but a lucky few manage to sell their characters to the Big Two (Ultraverse, Wildstorm). 

Aluminum Age (2000-2015): When Everything is Recycled. Marvel starts the Ultimate Universe. DC resurrects Silver Age characters who got killed off in the Bronze and Iron Age. The Comics Code finally dies in 2011. DC does a succession of "sequels" to Crisis on Infinite Earths: Identity Crisis (2004), Infinite Crisis (2005-2006), and the deceptively-named Final Crisis (2008), culminating in another Hard Reboot with the New 52 in 2011. Marvel does its own version of Crisis with the Multiverse Incursion story arc in New Avengers from 2013-2015. "Decompression" and "writing for the trade" become common as trade-paperback collections become more economically important than the traditional monthly comic magazines ("floppies"). 

Digital Age (2015-Current): Superhero not only become mainstream, but actually dominate movies and TV for several years -- this starts in the Aluminum Age, with the MCU in 2008, but is solidly codified by the debut of Arrow in 2015 and an explosion of weekly prime-time superhero shows that lasts almost a decade.

Comments are welcome, but be civil! This is intended to provoke conversations, not fights.

[ikkosu]

Listening to Nicki Minaj and David Guetta song called hey mama gave me ideas....

Beginning 2000'. Ur a sport car racer in the city of ur choice and ur kinda known in town to be very good.

Imagine one day u found an abandonned race car that has a yellow orange red paint job and decide to repair it and use it to do races (u know, like the one in Tokyo?). Because like, the car has a unique design u've never seen before, not even for a rally. And is in perfect condition.

The day of the race, u arrive and everyone is quiet bc wow, that car is new, shiny and beautiful. They all stare at u, including others competitors.

In summary, u start ur race, and praise the car asf like "yeah baby, give me all u've got", "show them what u can do", "that's right, go on, don't stop","such a perfect engine revving to prove them we are the best"... and u notice the car litteraly has no speed limite, is doing an outrageously good performance and seems to be enjoying the race. The adrenaline running through ur blood make u ignore the fact that the car seems to react and live the moment.

Because of this, u win every races and end up beating every records. Nobody has ever made such an impressive performance.

To avoid having people touch ur new jewel, you leave quickly after recieving some prices and go back home. You blast some music to celebrate.

Back home, u decide to wash the car when u notice some weird pinky liquid coming out from under the car.

If u want u can eventually write what happen next (it's midnight and my brain is nwjfifishs) but i kust wanted to share this idea with u :))

Have a nive day/night ~~~<3

gosh!! that is such a good idea omg. I always like the idea of bots going along whatever their new humans are taking them to, preffering to remain silent while the human just,,does whatever they want to do lmaoo. Only escaping to their bases at night then returning the morning after like they hadnt left.

Given the human is a racer I can imagine they would manhandle the car a lot,,,,and Cybertronian are naturally sensitive on the driving wheel as well as the joysticks (and the pedals, too. Especially, the pedals) which leads to several pent up 'frustrations' from the bot themselves....👀👀

Doesn't also help the way you keep praising the car, touches always so rough yet soft when you knead the joystick or swivel the wheel....

I don't have much to add but,,,,

—CURIOUS, you hunch over, other hand pointing the mouth of the hose to the crevices of the wheels. They rolled across enough dirt already, but you miss impatient skidding of the the wheels back and forth.

Whatever strange substance that was, it had a tangy smell to it — almost pungent, yet also a little sweet?

You curled out a finger and dipped it into the viscous liquid. It was strangely cool to the touch, yet the tip of your skin flared with a mild burn a only a balm would induce.

Moreover, the crush, candy color were reminiscent of the cherry flavored Gatorade, you hoard often from the shops. Is this some new kind of fuel? If so, then why weren't you informed? Trends these days....always so discreet. But, how did it end up here?

The thought of shoving your finger inside your mouth, going against all ethical hygiene practices for a taste to satisfy your curiosity, is short-lived the moment the engine rumbled.

But it wasn't just a rumble....almost like a whine. Did it just breedle? Did it talk?

You yelped and scrambled on your back when the car shifted : a blur of mesh metal parts, churning and transforming into shape. Then, a shadow loomed above you, caging you in. Chuffs of steam heaved, like breaths of a a beast and two blue flaring lights for eyes, fervent and desperate...

[arkus-rhapsode]

Are We Returning To 2000s Era Shonen Anime/Manga (A Discussion)

So this is going to be way more of a thinkpiece than I usually do for this blog, but recent trends in the space and niche that I devote a lot of time to, Anime/Manga, have been showing themselves that got me thinking. This is not meant to be a serious sociology case study taken as fact, it's going to be more a theory based on observations of the community that I, like many others, devote a lot of time into than a full on claim, but I do want to ask, is the anime and manga community is experiencing a resurgence in 2000s era shonen manga?

Background

Now let me get this out of the way, there is bias in these observations as I am a western anime fan, but also a North American anime fan. Meaning my gateway and gauges of pop culture are mostly determined by the history of my area of the world’s relationship with anime. From the OVAs of 80s hyper violent and hyper sexual sci fi that you had to purchase from the backs of video rental stores, to the Toonami era of 90s and early 00s programming block the centred around action anime and cartoons, the 4kids era of mass market japanese animated kids shows that were really just giant commercials with some of the earliest memetics in western sphere, and the explosion of shonen battle series in the western sphere in the mid to late 2000s marked by the rise of the colloquially named “Big 3” of shonen jump. I understand that continents like South America or Europe may have undergone a different exposure to the Japanese medium, but as I am going in with some bias in this observation, I would like to make it clear on where the formula is coming from. I also would like to lay down a certain clarification before making this, when discussing the topic of nostalgia I think a lot of people have forgotten what it actually means. If we go by the Cambridge dictionary definition, Nostalgia is “a feeling of pleasure and also slight sadness when you think about things that happened in the past.” This is often invoked when talking about pop culture because people from say 20 years ago don’t seem to enjoy or relate to the interests of today. The belief is that nostalgia is generational ergo if you grew up in the 80s you’re likely wishing to recapture the feelings of childhood that you associate with those trends from 20 years ago. In fact, most revaluation in media has often been catalyzed by a difference of those who grew up in an era rebuffing the opinions of those who didn’t. 

There is the well known “20 Year Rule” regarding pop culture nostalgia. That every decade it longs for what was popular 20 years ago. Probably no better example than “That 70s show” being popular in the late 90s, the return of many beloved 80s-90s franchises like “Ghostbusters” returning in the 2010s as well as series like “Stranger Things” that wrapped itself up in 80s aesthetics. DC's New 52 relaunch that seemed to bring back trends from 90s era comics.

Now it goes without saying that the 20 year rule isn’t a “real” rule, rather an observation that certain trends make a return to popularity because the ones who grew up with a certain media will be the ones who add to the discourse when they come of age and will be the ones having a chance to create consumable art for the masses and that may just be revivals of once popular IP. This isn’t necessarily wrong in regards to nostalgia, but I do believe that one doesn’t need to have been born in a certain era to be nostalgic for something when we discuss pop culture. Pop culture is really just trends and preferences that become en vogue and people can acquire a taste at any given time. Sometimes it can be due to those who grew up with something now having the chance to create and drawing upon their own childhoods, sometimes it's just due to not being exposed, other times it can be a certain feeling of disillusionment of the now, and seeking something that peaks your interest, and even sometimes it can be major corporations or networks looking for things with existing audiences to draw upon that actually expand the audience. In fact one of the most prominent Netflix adaptations of the 2020s has been live Action Avatar the Last Airbender and One Piece, both shows that got their start on American televisions in 2004 and 2005. One of the biggest animated shows right now is Invincible, based on a comic book from 2003

So I want to stress this is not necessarily about how if you grew up with the original Mobile Suit Gundam show you are being replaced by the kids who were watching GetBackers. And or if you are a fan of shows that came out in the 2000s you yourself were born in the 2000s.

But what was the landscape of the English speaking anime community like back in the 2000s? Well let me paint a portrait for you.

What was the 2000s like for anime fans?

The term I used, “shonen boom period”, is somewhat mythologized in the western anime sphere. There was a glut of high profile shonen anime running around the same time that most people identified with this time period and was arguably when we saw the most influx of people getting into the hobby. One Piece, Naruto, and Bleach served as big series known for their massively large casts, MCs with a level of attitude, some of the most hype centric power supernatural/extraordinary power systems, and certain brand of “Japanese-y” humor. We can’t deny that it wasn’t just these series however, as series like Fullmetal Alchemist became many people’s introduction to more narratively intricate series interspersed with a somewhat gothic action style. The gothic and somewhat edgy Death Note became many fans' first ever “battle series that’s not a battle series” that also incorporated many biblical and gothic horror elements into its presentation. And things like Code Geass also incorporated this combination of hyper stylized cat and mouse with ornate and gothic aesthetics and fighting robots. 

Series like Ouran Highschool Host Club and and Haruhi Suzumiya were basically gateways to the more hyper extraordinary slice of life series that didn’t shy away from fanservice and loud comedy. With ecchi like Rosario + Vampire taking it to an even greater extreme. For people willing to go even deeper, series like Fairy Tail began to pop up and share a distinct similar flavor to series like One Piece and Naruto which arguably started the popular conception of it coming from the same magazine as the latter. That’s not also discounting the amount of holdovers from the 90s like Dragon Ball z, Trigun, and Yu Yu Hakusho, which also had an edge towards fantastical combat and comedic oriented series.

All of this is to generally illustrate the media diet of what an average anime fan was expected to have some level of access to. As this was far before the eras of Funimation or Hulu having online services. Not a homogenized spread by any means, and im certain plenty of readers could name more underground or smaller series like Mushishi or Elphen Lied, but generally the popular mainstream you could tell that there was a consistent theme of long form media with a very loud, very flashy, and very action oriented type of series. Which I think is fair to say had skewed some people’s perception. And while I cannot claim with utter certainty that Japan was the same in this regard, you can look at magazines like Shonen Jump and notice a somewhat synchronistic trend. With series like Hitman Reborn, Gintama, D. Gray Man, Eyeshield 21, Bobobobo, etc.making a clear marcation of what was commercially successful at the time. Even series not inside the magazine but had smaller nicher, Tokyo-pop-esque series like Rave Master, Flame of Recca, Air Gear, History’s Strongest Disciple Kenichi, Soul Eater, etc all had a similarity to the shonen jump magazine. To the point it was not uncommon to see so many jump characters in a collage and one from shonen sunday or shonen magazine in there as if this was all coming from the same place.

Changing Landscape

Now with the advantages of the modern internet, we have the ability to actually keep up with the jump magazine in real time as opposed to the common practice of relying on scanlation site and fansubs that were often devoted to the most popular works. But with simultaneous publication and services like Crunchyroll, being able to access a wider variety of shows and series that we may or may not have access to. I believe that the 2010s in the english speaking fanbase was the decade we saw a somewhat expansionism of what people perceived as anime. Anime could be One Piece and Naruto, but it could also be Erased, it could be the Promised Neverland, Attack on Titan, K-On, Haikuu, and Durarara. With the representatives of the 90s no longer being holdovers in syndication like dragon ball but rather full on revivals of the likes of Jojo’s Bizarre Adventure and Hunter x Hunter. 

All of these could be "shonen" but also other genres like Seinin, Josei, and Shojo all had their own varying layers of what they could be in their demographic

The mood of what was popular was also changing, not just in the fact that more flavors of anime and manga were becoming mainstream, but new works from shonen jump showed a rise in almost subversive series like My Hero Academia and Demon Slayer that seemed to consciously deviate or place new spins from traditional tropes of the 2000s characters, and we saw works that were derivative of previous serious like Black Clover drawing upon Naruto the same way it was known that Naruto had drawn upon Dragon Ball before them. Series like The Promised Neverland and Doctor Stone offered up more dramatic series that still infused a certain energy of the shonen genre. 

And of course the series like Attack Titan whose much more darker and gorey storytelling seemed to have become one of if not the biggest hit of the generation with a well regarded adaptation, but something that had felt so removed from what were once contemporaries like the then ending Bleach or Naruto. We can also note that the late 2010s saw the rise of series like Chainsaw Man and Jujutsu Kaisen that began a trend of popular urban fantasy stories. Where fantastical concepts were now in contemporary Japan and the stories that focused on concepts like self identity and the harshness of maturing were juxtaposed to the real world inhabited by monsters. 

It seemed many tropes of the previous decade were still alive in the rise of Isekai anime. Which was particularly the only popular outlet for fantasy stories with an action orientation. But these almost felt disconnected from the wider world of manga as things like heavy harem action series had actually decreased in mags like shonen jump. There was also new tropes being established in this subgenre that became unique popularizations of tropes all on their own, such as the overpowered protagonist whose power everyone believes is weak. But many of these were based on light novels, a form of media that only in the last few years western readers are having official access to and not simply scans found on the internet.

We in North America truly have gone from anime being a niche that was primarily accessible through dedicated TV blocks like Toonami, to a full blown cultural relevance shift.

We also need to talk about this era in its perception of the past also shifted. The 90s and the early 00s often blend together as classics of the anime community. Somewhat encased in amber. However, there is no denying that “feels like a 2000s series” had become a bit of a shorthand for very goofy, Very horny, very action heavy series. Series like Fire Force and and Undead Unluck had their show what more problematic elements be equated to the problematic trends of the past that people just accepted as “a part of the medium.” But lets keep in mind, this is not really describing a time, more a trend. Superficial elements that invoke similar feelings of the past. 

Speaking of anime fans…

Fan Culture

So while I wanted to paint a picture of creatively the landscape has changed, there’s no denying that in the age of internet accessibility, the anime fan community has also changed. It is much much easier now to get in contact with people who are anime fans now than it was to rely on word of mouth like it was back in the day. I can still distinctly remember my anime club which wasn’t even really a club devoted to anime but rather other geek stuff like D&D and TCGs. Our hobbies just happened to have similar overlap.

Now though, anime fan culture is much more relevant and thriving. Going from just posting weekly reviews, to long retrospectives, comedy videos, abridged series, clickbait articles, fan theories, and podcasts. However, I think a defining feature of fans of the 2000s era of anime that were at their most prominent was hype culture. 

Due to many of the biggest anime series at the time being released weekly and focusing on action, many many many discussion boards and videos were often about staying in this cycle of wanting to see what happens next and the action made people very excited to see just how characters were going to win fights or even if they’d have fights at all. 

I want to make it clear that this type of activity doesn’t belong to a certain era, but you can see it shaped by the 2000s era. Especially when discussing “what is the next big 3.” As if it were a true position and title, rather than a moment in time where there were just three very distinct shonen series in the fanbase.This doesn’t necessarily have a “negative” effect on the discussion of anime/manga but you can see that certain genres lend themselves to hyping fans up more and more. 

Someone isn’t reading the most recent chapter of a romance like Blue Box with the same level of anticipation of who will face who like it was One Piece. But there have certainly been series that try.

The Present

Now we reach the 2020s and this decade is still young, so it is hard to say what the future will hold for certainty, but we can look at the last four years and notice some significant waves being made recently in Shonen Jump alone. I already spoke of Undead Unluck, a series that almost wears it would now be considered retro inspirations on its sleeve. With an opening chapter that establishes an MC that seems motivated by a sexual joke, A power system follows a verbal naming gimmick, and a loose enough world that allows for characters of varying aesthetics and to be incorporated into groups. With groups of these powerful characters splitting up to face each other and use their ridiculous power to the extreme. Even in the series' own meta arc about creating manga, the in-universe analogy for Undead Unluck’s manga is commented on as feeling retro. There is no doubt the biggest viral hit of the decade so far has gone to Kagurabachi, a manga about sword fighting and magical crime lords that seems almost indulgent in its stylistic slicing and or dicing of baddies. Its memetic success was primarily due to a somewhat sincere and somewhat ironic belief that it would be the “next big thing” as it promised to be a stylized action series. Another surprise viral success has been the manga Nue’s Exorcist which sees another supernatural swordfighter boy harness the powers of his sexy spirit lady while getting into harem shenanigans that echo a particular form of ecchi of anime’s past that had actually been somewhat absent in the past decade in jump. Both of these series have a somewhat noticeable similarities to Bleach, a long running shonen action series that has seen its own revival in the last few years of writing this with the long awaited adaptation of the final arc of the bleach anime. 

While the other members of the “big 3” never truly went away and became almost inter-generational, Bleach truly did feel like a “come back” as it was absent for so long. And unlike Hunter x Hunter and Jojo which were never really popular in the west and even their older anime are more regarded as anime deep lore. Bleach was one of the most popular series in the west at the time to never receive a conclusion animated. 

Speaking of anime of the 2000s Trigun Stampede was a reimagining of the original late 90s show. This errs a bit similar to Hunter x Hunter’s style of revival, but also seems uniquely its own in actually trying to find a balance between the original series but adding in things cut from its original late 90s early 2000s counterpart. 

And now we must examine other shonen magazines. Series like Gachiakuta created by a former assistant of Okubo, the creator of Soul Eater, carries with it much of the similar energies of that series. Its also noticeable as being a truly dark fantasy series. Not an urban fantasy, but rather a completely new world that had a very grunge and dirty world building. And then there is Daemons of the Shadow Realm, a series by Fullmetal Alchemist creator Hiromu Arakawa. This series is also set in modern day japan with supernatural elements, however Arakawa’s style of writing is practically unchanged from her time on FMA. With an emphasis on action, intricate mysteries, and character building comedy with her trademark over exaggerated blocky style. There is of course Hiro Mashima who has started another new series, Dead Rock, and his style has also not changed that much. Then there is just flat out sequels to 2000s series like Gamaran Shura.

This to me shows that we are  seeing a bit of a combination of people who are now entering the workforce inspired by creators of the past, but also that creators of the past still exist 20 years later and are still making content that hasn’t really undergone significant change. 

Of course, we can’t also forget the implementation of the Manga Plus/J plus service which has opened up a very interesting ground for creators to have some of the most creatively out there series than what you may have expected from the shonen jump brand. I genuinely don’t think series like Make the Exorcist Fall in Love or Fire Punch would’ve ever been acceptable in the pages of a weekly shonen series. However one series in particular does feel like it could've and boy its been quite the success. Kaiju no 8.

Kaiju no 8 almost feels as though it is the AoT of a new generation with the amount of anticipation this one series has as well as the similarities between the series superficial elements. However, I'd say the key distinction between the two has been the tone. AoT took a dark and practically dour tone on its titan infested world. With an MC declaring war on all of his enemies. The pain was realistic, with human bodies being brittle and vulnerable. And the belief that just because you were a good person you weren't going to make it out alive. Kaiju no 8 instead opts for a more action oriented tone. Down playing the bleak realism for more "Hell yeah!" moments. With super science weapons that feel more akin to a tokusatsu show and fights and battles between humans an kanji the feel like the Dragon Ball style wrestling matches of old.

And of course, that’s not to say Jump hasn’t continued with series that feel more modern like the realistic and mellow romance of Blue Box or the dramatic coming of age story of Akane-Banashi. 

But the presence of these series has caused somewhat of a friction with the popular conception of the magazine. Its safe to say that while “shonen” tends to think of action male oriented series, it can really just mean works aimed more at adolescents. But I think many tend to associate this familiar feeling of “what is shonen” with their popular introduction of the magazine. With a saturation of action and brash comedy series. This is further complicated by the fact many action series in jump are actually ending over the last decade. With new ones not popping up to replace them as frequently and series like One Piece and MHA and Black Clover basically stretching out across an entire decade or longer. In fact, I don’t think it's unreasonable to believe that the hype for something like Kagurabachi was in part a belief that it signaled a return of a type of familiar series and genre that had been missing. Or at the very least, looked to fill an inevitable gap the magazine was obviously going to be facing. Followed by the other commercial success of Nue’s Exorcist, we are likely to see these series last for a long time. At the time of this writing, Tokyo Revenger’s author Ken Wakui has released Astro Royale, a series that feels very similar to his previous work yet infused with this almost GetBackers flavor.

So that leaves us with the question at the start, are we seeing a rise in 2000s nostalgia in anime and manga?

Conclusion

So I'm sorry if I disappoint, but the best I can say is, I’m not certain. I do believe that from my observation I think it is reasonable to say that we are seeing a rise in creators in the shonen space being ones inspired by series from 20 years ago. However, I think we are also seeing creators who are from that time period also returning to write how they have always written. 

On the consumer side, I think we can see that fans of anime and manga have changed in the sense their tastes can now be shaped by a much larger catalog of series at their disposal. But in the case of shonen, I think we are simply seeing those who likely got their start in anime at around the 2000s resonating with newer series drawing upon those series, but also with younger fans now likely to grow up with the tail end of what was popular in the 2010s now being influenced by the 2020s. I also believe that one of the defining features of the anime community in the last decade is hype culture. And currently we are seeing a rise in series that actually feel more catered to hype, be it a revival of a series they liked or predicting what will be the next success. 

All and all, this piece was trying to tunnel on the shonen demographic in general, which is more likely than not going to have similar traits relative to itself. I do see us as a community endorsing trends of the past and there’s an excitement for these things to “come back” even if they may or may not have left. If you liked this please drop a like or reblog because I may do more of these think pieces in the future.

[firthbetterorfirthworse]

Colin Firth

My first unhinged project involved watching all of Colin Firth's IMDB acting credits, to see how often he got wet.

Figured I'd make a master list of the posts I made. I didn't make a post on everything, so if there's one without a link you can always request to hear my thoughts hahaha

I also made a post about his hair choices, because he does a lot of period pieces and oh boy do I often have Thoughts

And here's a post about how his trend of getting wet changed our perception of Darcy forever

I ended up making a powerpoint presentation of my data (that I drunkenly presented to my friends, highly recommend) and put it in posts here: Intro Graphs and Data Influence

1917 (2019)

1919 (1984)

The Accidental Husband (2008)

The Advocate/Hour of the Pig (1993)

And When Did You Last See Your Father (2007)

Another Country (1984)

Apartment Zero (1988)

Arthur Newman (2012)

Before I Go To Sleep (2014)

Blackadder Back and Forth (1999)

Born Equal (2006)

Bridget Jones Diary (2001)

Bridget Jones: Edge of Reason (2004)

Bridget Jones' Baby (2016)

Camille (1984)

Celebration (2007)

A Christmas Carol (2009) Intro, Movie

Circle of Friends (1995)

Command (2018)

Conspiracy (2001)

Crown Court episode (1984)

Deep Blue Sea (1994)

Devil's Knot (2013)

Donovan Quick (2000)

Dorian Gray (2009)

Dutch Girls (1985)

Easy Virtue (2008)

Empire of Light (2022)

The English Patient (1996)

Femme Fatale (1991)

Fever Pitch (1997)

Fourplay/Londinium (2001)

Gambit (2012)

Genius (2016)

Girl With a Pearl Earring (2003)

The Happy Prince (2018)

Hope Springs (2003)

Hostages (1992)

Hour of the Pig/The Advocate (1993)

The Importance of Being Earnest (2002)

The King's Speech (2010)

Kingsman: Secret Service (2014)

Kingsman: Golden Circle (2017)

Last Legion (2007)

Londinium/Fourplay (2001)

Lost Empires (1986) Intro, Pt 1, Pt 2, Pt 3, Pt 4, Pt 5, Pt 6, Pt 7

Love Actually (2003)

Magic in the Moonlight (2014)

Main Street (2010)

Mamma Mia! (2008)

Mamma Mia! Here We Go Again (2018)

Mary Poppins Returns (2018)

Master of the Moor (1994) Pt 1, Pt 2, Pt 3, Pt 3 Finale

The Mercy (2017)

A Month in the Country (1987)

Mothering Sunday (2021)

My Life So Far (1999)

Nanny McPhee (2005)

Nostromo (1996)

Operation Mincemeat (2021)

Out of the Blue (1991)

Pat Hobby Teamed With Genius (1987)

Playmaker (1994)

Pride and Prejudice (1995) (I didn't make a single post, it got a bit away from me so you can find the collection of links on my Pride and Prejudice masterlist)

The Railway Man (2013)

Relative Values (2000)

The Secret Garden (1987)

The Secret Garden (2020)

The Secret Laughter of Women (1999)

Shakespeare in Love (1998)

A Single Man (2009)

St Trinians (2007)

St Trinians 2: The Legend of Fritton's Gold (2009)

The Staircase (2022)

Stars in Shorts (2012)

A Summer in Genoa (2008)

Supernova (2020)

Then She Found Me (2007)

A Thousand Acres (1997)

Tinker Tailor Soldier Spy (2011)

Trauma (2004)

Tumbledown (1988)

Turn of the Screw (1999)

Valmont (1989)

What A Girl Wants (2003)

Where the Truth Lies (2005)

The Widowing of Mrs Holroyd (1995)

Wings of Fame (1990)

[chaos0pikachu]

Trends in BL (Sorta): Genre Trends

So I've seen a few posts discussing trends in BL and I wanted to talk about that from a different angle. Specifically discussing what trends are, how they're formed, and to not remove BL from the rest of their countries own media.

The latter is something I see a lot when discussing BL this kind've ~separation of church and state~ but it's BL and Country's General Media. As though BL lives in a separate bubble outside of all other media and thus never influenced by the media being made in its country of origin nor the countries they share direct borders or trade with. Or all influence began and ended with seme/uke dynamics imported from Japan and nothing beyond that (no, Pit Babe was more than likely not inspired by Supernatural) and it's been static ever since.

All of that is, untrue, but also a really limited way of viewing international media. These countries are places with their own history, culture, politics, and of course, media arts. BL is a part of all of that. Which also effects the trends and potential trends we'll see in BL individually (as it's going to change country to country with some crossover).

I think a way of identifying trends in BL and also the root of those trends is by looking at the media of the country of origin their surrounding countries, and what BLs have unprecedented success and what has the industry learned from them?

So I'm gonna break this down by: genre, technical and business trend(s) in 3 part posts. In this post I'm just going to talk about genre trends in Thai and Korean BL as that's what I'm most familiar with.

Basically this post got hella long, I'm not in college anymore, and my motivation was tied to the length of my Jennifer Hudson Best Of playlist. So I had to split it up, es lo que es.

[This will not be a comprehensive list of like all BL trends ever respect to y'all who do but I do not and will not watch every BL in existence, bendicion]

To start we gotta talk first about how trends in media tend to work and also what we mean by "trends". Because there's genre trends, technical trends, and business trends.

Here's a good article breaking down various aspects of all three. When we talk "trends" in film it's not as simplistic as "office romances" or "cross country remakes" of which, one is a genre trend and the latter a business trend.

Some examples of what I mean:

Shared Universe (genre trend)

3d boom (technical trend, trended a few times in the industry, first in the 1950s until the 1960s and then again in the early 2000s until the mid 00s thanks to James Cameron)

Remakes/Reboots (business trend, this is a business based decision b/c the risk threshold for a pre-established work is lower than for an original work that may or may not have financial data backing it)

Trends in media, whether they are genre, business, technical or a combination, tend to take time to build up, and also tend last much longer than a singular year (generally for as long as something is profitable).

Example: it took time for the Shared Universe genre trend to gain traction.

Batman v Superman (2016) wasn't released until five years after Avengers (2012). Following this, The Mummy (2017) starring Tom Cruise was meant to kickstart Universal's The Dark Universe was released six years after Avengers. Before that Dracula Untold (2014) was supposed to be reworked to also start The Dark Universe (both these films flopped so no Dark Universe, rip).

Since the Avengers release, we have the shared universes of: Monsterverse (which combines Godzilla and Kong franchises together, technically started in 2014, officially started in 2017 with Kong Skull Island), and the Sony Spiderverse (Venom, Spider-man, Madam Web, Mobius lol) and The Conjuring Universe (Annabelle, La Llorona, The Conjuring, The Nun).

It's been almost 12 years since Avengers was released (fuckin'a) and we're only now starting to see some minor diminishing returns (Disney had a horrid year financially last year) for this genre trend, and not even across the board.

I want to iterate that Avengers did not 'invent' the idea of a cross-franchise shared universe. Things like Xena and Hercules, or Hanna Barbara cartoons existed long before the Avengers. However the Avengers kickstarted a genre trend in film. Just because a piece of media started a trend does not mean it invented the genre or technical innovation (James Cameron didn't "invent" 3D but he did revolutionize it with Avatar and I suffered through many 3D horror movies because of it).

[I point this out because sometimes ppl be getting testy when ppl say kinnporsche influenced the increase in mafia/crime BLs with well, um, actually history trapped/manner of death came first - yes, yes we know this. And Bi No Isu came out before all of them so everybody drink some tea and relax, everybody's faves are pretty okay😘]

Okay to let's get to what ppl actually wanna talk about, BL.

(Some) Genre trend(s) in Thailand and Korea:

In Thai BL genre trends I'm noticing are: horror, supernatural, paranormal, action crime, and magic/magical realism. A lot of these crossover, horror shows typically are also paranormal - Ghost House Ghost House (2022), After Sundown (2023) - supernatural shows tend to cross over with magical realism like time travel, or other soft magic elements - Time (2024), I Feel You Linger in the Air (2023), Cherry Magic (2023).

For the horror, supernatural/paranormal genre trend, this isn't at all surprising if you look at Thailand's recent film output from 2020 to 2023: The Medium, The Whole Truth, Ghost Lab, Haunted Tales, Cracked, Death Whisperer, Home for Rent, The Maid, Waning Moon, School Tales, and others, are all horror, paranormal, or supernatural films of some sort.

The horror genre trend especially has been around Thailand for a while, as far back as 2018 with the smash success of Girl from Nowhere which only gained a larger following when it hit Netflix in 2021. I'd almost argue the horror genre trend really picked up with Girl From Nowhere as now one of the main acquisitions of Thai series and film on Netflix are of the horror genre.

That larger media trend is now trickling down into BL with series like: Shadow (2023), After Sundown (2023), Dead Friend Forever (2023) and upcoming projects like Vampire Project.

While supernatural/paranormal series like Ghost House Ghost House (2022), 1000 Years Old (2024), I Feel You Linger in the Air (2023), Two Worlds (2024), Golden Blood (2024?) are increasing. OMG! Vampire (TBD?) will at least be supernatural but we can't say with certainty if OMGV will be horror or not as we only have a poster.

I imagine with the success of Dead Friend Forever, and I Feel You Linger in the Air we'll see the trend of horror and supernatural/paranormal series (I know some have already been announced) continued.

Then there's the genre trend towards more action and crime focused series; which more than often crossover but not all~ the time.

In terms of the increase in crime based Thai BLs I'd argue it was a joint combo of Kinnporsche's (2022) wild skyrocketed success, and the success of Manner of Death (2020). Alongside the influence of rise of crime and thrillers from Korean media (The Gangster, the Cop and the Devil (2019) and Unstoppable (2018))

Manner of Death I'd argue influenced projects like Never Let Me Go (2022), Unforgotten Night (2022), and Big Dragon (2022) if only because of their release times and taking into account the time it takes for a production to film and be edited down.

Whilst all these series came out after Kinnporsche - NLMG released a trailer in Nov, Big Dragon in Oct, and Unforgotten Night in Jun, while Kinnporsche dropped their trailer in Apr - they're series releases are so close to Kinnporsche that I don't feel confident in saying Kinnporsche 100% influenced their acquisition. Ngl it's hard not to see influences of KPTS in at least Big Dragon & Unforgotten Night if only in terms of technical film making, so there could~ be influence but I can't say that definitively. I'm gonna attribute these to Manner of Death since it came out two years prior to these other series.

Meanwhile series both released and unreleased My Gangster Oppa (2023), Red Peafowl (TBD?), Chains of Heart (2023), Kidnap (TBD?), are def riding the crime genre trend that Kinnporsche started and I'd argue series like Pit Babe (2023), Playboyy (2023) were acquired for production in part because of the crime elements included in their respective series.

Meanwhile series like Law of Attraction (2023) (crime/action) and The Sign (2023) (crime/action/supernatural) are combining crime, action and supernatural elements together.

I've said before Kinnporsche takes a lot of cues from Korean and Hong Kong crime films like Jet Li's The Enforcer, and Fist of Legend, Donnie Yen's Flash Point, Raging Fire, and Kung Fu Jungle, Han Dong-wook's The Worst of Evil, Kim Jin-Min's My Name, along with Japanese manga like Bi No Isu and KeixYaku.

Meanwhile The Sign is def taking cues from Chinese costume dramas like Ashes of Love, Fairy and Devil, White Snake (and it's many adaptions), Guardian, & Ying Yang Master Dream of Eternity. Alongside Hong Kong and Korean cop and romance shows like Tale of the Nine-Tailed, Hotel Del Luna, Director Who Buys Me Dinner, First Love, Again.

[I think the only reason Thailand or Korea hasn't jumped on the full fantasy train and pulled an Untamed is because of budget. The Sign has done very well for Idol Factory so I could see more studios trying to go in that fantasy direction if they can get the funding for it.]

Meanwhile shows like Time (2024), Two Worlds (2024), and Cherry Magic (2023) are leaning more into a combination of magical realism and a supernatural. Which is something that's been popular in Korea (Mr. Queen (2020), The King Eternal Monarch (2020)) in the past and obviously Japan (Cherry Magic (2020).

This, again, isn't a fully comprehensive list. I'm sure there's shows I've missed, and there's going to be evergreen genres that are always produced - university, high school, office all with a general romcom flavor - because they're cheap, easy, low risk and for the most part reliable.

That's not an insult to shows like Cherry Magic TH, or Middleman's Love or Cooking Crush or whatever.

Cooking Crush is just going to cost way less than The Sign it's simply a fact. Likewise Middleman's Love cost less than The Next Prince (TBD?) and was less risk as an office romcom. What helps offset the risk of something like The Next Prince is casting Zee and NuNew in the lead roles.

[watch these two trailers and tell me they cost the same]

Think of it of like, the 50 cop procedural dramas networks are always churning out; they do so because they're cheap, easy, low risk, and reliable.

Gmmtv made Cherry Magic not for the art of it all but because it was low risk and low cost to produce with a high value return. I imagine that's also why gmmtv cast Tay and New because while I don't know who the hell they are, lots of folks in BL fandom do because of Dark Blue Kiss and the reuniting of a well liked costars will also help offset financial risk for the project. Studios will often only greenlight a project if "a name" is attached to said project.

Anyways, Korea's turn.

The data for Korea is less because Korea comes out with fewer series than Thailand. Like currently Thailand has 9 ongoing BLs in 2024 while Korea has 1 (oh City Boy Log you lonely thing you).

For Korean BLs I'm still seeing mostly evergreen genre trends: the workplace (The New Employee, Oh! My Assistant, Roommates of Ponngduck 304,), high school/university (Light On Me, Cherry Blossoms After Winter, Semantic Error, Love Class, Love for Love's Sake) and Joseon (Nobleman Ryu's Wedding, Tinted With You, Director Who Buys Me Dinner) romances - which make sense, a lot of these were the trends of romance kdramas in the early to mid-00s.

What I am hoping, is we'll start seeing the acquisition of KBLs that are closer to what's currently trending in Korea: revenge (Revenge of Others, The Glory, Marry My Husband, Perfect Marriage Revenge), thrillers (My Name, Midnight, Somebody, Celebrity, Mask Girl), more class based social commentary (Devil Judge, Golden Spoon, Vigilante, Kingdom), and an increase in both sex and violence (Somebody, A Shop for Killers).

I could totally see more revenge based KBLs in the coming years since revenge and thriller shows can be combined pretty easily and you don't need a huge budget for either. You can also set them in evergreen settings like the workplace (Marry My Husband) or high school/uni (Revenge of Others).

KBLs have mostly stuck with evergreen settings with a couple outliers like Kissable Lips (2022), Once Again (2022) for example. I enjoyed Love for Love's Sake but it stuck in that evergreen space of school based romance, with magical realism. Again, not surprising given KBLs are just following trends of romance kdramas of the past.

Whilst not a bad~~~ thing, it can be a bit stale and hopefully with a bit more budget/investment we'll see the acquisition of series that are more in line with what's trending with Korean audiences currently.

There's other things I'd like to see develop into trends for KBLs but they're mostly technical and business trends.

That's all I got in the tank, this post took me almost six hours to write b/c of all the sourcing and research I'm freaking peeked.

See y'all next time ✌️

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]