#Association of image consulting

[aiciglobal]

Image consultants, Image consulting, AICI Global

The Association of Image Consultants International (AICI) is the leading and largest professional association of personal and corporate image consultants worldwide. A non-profit organization, AICI is dedicated to advancing the level of professionalism and enhancing the recognition of image consultants.

Our members counsel both individual and corporate clients on appearance, behavior, communication skills, etiquette, international protocol, and soft skills. As experts in image consulting, our members guide clients to achieve their specific goals with authenticity, credibility, and confidence. Supporting the development of the Image Consulting Profession, AICI brings together individuals and companies who seek image consulting services with the appropriate expert.

AICI enhances industry standards through a rigorous, three-tiered certification program and holds the world’s premier annual image consulting conference. AICI provides continuing education classes for image consultants. AICI acts as the voice of the image consulting profession and the media’s definitive source for experts on current issues and events that may affect the image profession.

To know more visit Our website: www.aici.org

[genelvavirtualstudio-blog]

Affaire Valsero vs l'International Camerounais et Attaquant de l'OM Faris Moumbagna : La Véritable Raison du Pourquoi

Dans le monde complexe du sport et de la musique, les rencontres inattendues peuvent parfois mener à des controverses inattendues. Récemment, une polémique entre l’attaquant de l’Olympique de Marseille, Faris Moumbagna, et l’artiste engagé camerounais Valsero, a secoué les médias sociaux et suscité des débats passionnés au sein de la communauté camerounaise. Tout a commencé lorsque Valsero a…

[transmutationisms]

can u elaborate on posture being a lie

As Beth Linker explains in her book “Slouch: Posture Panic in Modern America” (Princeton), a long history of anxiety about the proximity between human and bestial nature has played out in this area of social science. Linker, a historian of medicine at the University of Pennsylvania, argues that at the onset of the twentieth century the United States became gripped by what she characterizes as a poor-posture epidemic: a widespread social contagion of slumping that could, it was feared, have deleterious effects not just upon individual health but also upon the body politic. Sitting up straight would help remedy all kinds of failings, physical and moral [...] she sees the “past and present worries concerning posture as part of an enduring concern about so-called ‘diseases of civilization’ ”—grounded in a mythology of human ancestry that posits the hunter-gatherer as an ideal from which we have fallen.

[...]

In America at the turn of the twentieth century, anxieties about posture inevitably collided with anxieties not just about class but also about race. Stooping was associated with poverty and with manual, industrialized labor—the conditions of working-class immigrants from European countries who, in their physical debasement, were positioned well below the white Anglo-Saxon Protestant establishment. Linker argues that, in this environment, “posture served as a marker of social status similar to skin color.” At the same time, populations that had been colonized and enslaved were held up as posture paradigms for the élite to emulate: the American Posture League rewarded successful students with congratulatory pins that featured an image of an extremely upright Lenape man. The head-carrying customs associated with African women were also adopted as training exercises for white girls of privilege, although Linker notes that Bancroft and her peers recommended that young ladies learn to balance not baskets and basins, which signified functionality, but piles of flat, slippery books, markers of their own access to leisure and education. For Black Americans, posture was even more fraught: despite the admiration granted to the posture of African women bearing loads atop their heads, community leaders like Dr. Algernon Jackson, who helped establish the National Negro Health Movement, criticized those Black youth who “too often slump along, stoop-shouldered and walk with a careless, lazy sort of dragging gait.” If slouching among privileged white Americans could indicate an enviable carelessness, it was seen as proof of indolence when adopted by the disadvantaged.

This being America, posture panic was swiftly commercialized, with a range of products marketed to appeal to the eighty per cent of the population whose carriage had been deemed inadequate by posture surveys. The footwear industry drafted orthopedic surgeons to consult on the design of shoes that would lessen foot and back pain without the stigma of corrective footwear: one brand, Trupedic, advertised itself as “a real anatomical shoe without the freak-show look.” The indefatigable Jessie Bancroft trained her sights on children’s clothing, endorsing a company that created a “Right-Posture” jacket, whose trim cut across the upper shoulders gave its schoolboy wearer little choice but to throw his shoulders back like Jordan Baker. Bancroft’s American Posture League endorsed girdles and corsets for women; similar garments were also adopted by men, who, by the early nineteen-fifties, were purchasing abdominal “bracers” by the millions.

It was in this era that what eventually proved to be the most contentious form of posture policing reached its height, when students entering college were required to submit to mandatory posture examinations, including the taking of nude or semi-nude photographs. For decades, incoming students had been evaluated for conditions such as scoliosis by means of a medical exam, which came to incorporate photography to create a visual record. Linker writes that for many male students, particularly those who had military training, undressing for the camera was no biggie. For female students, it was often a more disquieting undertaking. Sylvia Plath, who endured it in 1950, drew upon the experience in “The Bell Jar,” whose protagonist, Esther Greenwood, discovers that undressing for her boyfriend is as uncomfortably exposing as “knowing . . . that a picture of you stark naked, both full view and side view, is going into the college gym files.” The practice of taking posture photographs was gradually abandoned by colleges, thanks in part to the rise of the women’s movement, which gave coeds a new language with which to express their discomfort. It might have been largely forgotten were it not for a 1995 article in the Times Magazine, which raised the alarming possibility that there still existed stashes of nude photographs of famous former students of the Ivy League and the Seven Sisters, such as George H. W. Bush, Bob Woodward, Meryl Streep, and Hillary Clinton. Many of the photographs in question were taken and held not by the institutions themselves but by the mid-century psychologist William Herbert Sheldon. Sheldon was best known for his later discredited theories of somatotypes, whereby he attributed personality characteristics to individuals based on whether their build was ectomorphic, endomorphic, or mesomorphic.

[...]

Today, the descendants of Jessie Bancroft are figures like Esther Gokhale, a Bay Area acupuncturist and the creator of the Gokhale Method, who teaches “primal posture” courses to tech executives and whose recommendations are consonant with other fitness trends, such as barefoot running and “paleo” eating, that romanticize an ancestral past as a remedy for the ills of the present. The compulsory mass surveillance that ended when universities ceased the practice of posture photography has been replaced by voluntary individual surveillance, with the likes of Rafi the giraffe and the Nekoze cat monitoring a user’s vulnerability to “tech neck,” a newly named complaint brought on by excessive use of the kind of devices profitably developed by those paleo-eating, barefoot-running, yoga-practicing executives. Meanwhile, Linker reports, paleoanthropologists quietly working in places other than TikTok have begun to revise the popular idea that our ancient ancestors did not get aches and pains in their backs. Analysis of fossilized spines has revealed degenerative changes suggesting that “the first upright hominids to roam the earth likely experienced back pain, or would have been predisposed to such a condition if they had lived long enough.” Slouching, far from being a disease of civilization, then, seems to be something we’ve been prone to for as long as we have stood on our own two feet.

[botanicalsword]

Venus ✧ how you pursue love and beauty ♡⁀➷

Where Venus is located, that house is the area where we easily find satisfaction and happiness, a field where the energy of love and beauty manifests.

☽✧. ❦ • ✧• .✧ ✞

♡ Venus in the 1st House

This brings a beautiful appearance and a gentle personality to the Houser - They are skilled at dressing themselves and have good taste and temperament. They generally make a good first impression. Even if their genetics are not strong, they have great fashion and makeup skills.

♡ Venus in the 2nd House

Houser with this placement have a pursuit of a good life, and their way of earning money is related to art or luxury goods. They are willing to spend money to improve their quality of life as long as they are not severely afflicted by Saturn. Usually, they can easily earn money, and their quality of life is quite high. However, if they are heavily afflicted by Saturn, they may easily become materialistic or even take loans to consume luxury items.

♡ Venus in the 3rd House

People with this placement are interested in art or emotional intelligence. Generally, their communication style is pleasant and gives people a refreshing feeling. They have a great sense of aesthetics and tend to be specialist in the field of beauty. It is very comfortable talking with them without much pressure.

♡ Venus in the 4th House

This position indicates a strong concern for the home environment. They have high requirements for comfortable living and enjoy spending money on decoration and arranging their living environment. In childhood, they often come from families with love or artistic heritage tendencies.

♡ Venus in the 5th House

People with this placement have a strong sense of love and know how to indulge in romance and pleasure. They seek to experience and appreciate the beautiful things in life, such as art and music. They often have a good relationship with children as well. The 5th house represents children and Venus, a planet associated with femininity.

♡ Venus in the 6th House

In this position, the work atmosphere is usually good, or the work is related to art and beauty. Additionally, this is the house of health. Venus placed here can easily lead to problems due to unhealthy or indulgent habits. Venus is not a planet of discipline but rather seeks beauty, so it is natural to indulge in things like drinking milk tea occasionally - attention should be paid regarding healthcare.

♡ Venus in the 7th House

This position is quite favorable. The native understands interpersonal relationships well and has high emotional intelligence. They are particularly good at making themselves comfortable through one-on-one relationships, whether it is finding a partner or a business collaborator who can make their life better. However, they should be cautious not to develop a mindset of pleasing or appeasing others too much, nor should they become overly dependent or immersed in relationships.

♡ Venus in the 8th House

This position is beneficial for financial investments. They are adept at utilizing collective resources and have a keen sense. They often have good luck in inheritance and are interested in mysterious matters. They tend to have a deeper understanding of things.

♡ Venus in the 9th House

This is a sign of having exotic love affairs. People with Venus in 9th House are easily attracted to people from different cultural backgrounds and are likely to encounter romance and adventure during foreign or long-distance travels. They also enjoy different cultures and artistic topics. They are experts in discussing popular brands from abroad.

♡ Venus in the 10th House

They are highly concerned about their public image. They channel the energy of love and beauty into their careers and spread love and beauty to the public. They tend to work in industries, such as wedding photography, beauty salons, cosmetic procedures, makeup artistry, and image consulting, all of which are fields dedicated to spreading beauty.

♡ Venus in the 11th House

This benefits forming collaborations with like-minded people. People with Venus in the 11th house are often popular in groups, and they are skilled at finding common ground and creating a harmonious atmosphere. They tend to have many friends and acquaintances.

♡ Venus in the 12th House

This is a hidden placement, it often indicates the hidden traits of Venus. On one hand, people with this placement tend to be reserved in matters of the heart, which may lead to unrequited love or similar experiences. This can be used for understanding, but not for definitive judgments. Additionally, people with this placement have a good sense of art and often possess a unique charm.

☽✧. ❦ • ✧• .✧ ✞

>> Masterlist | explicit contents

[literaryvein-reblogs]

Writing Reference: Colour Vitamins

11 key ‘colour vitamins’ related to a range of positive (+) and negative (–) attributes.

RED

+ up-beat, confident, assertive, exciting – aggressive, domineering, bossy, threatening

PINK

+ feminine, gentle, accessible, non-threatening – pathetic, unimportant, safe, under-confident

BLUE

+ peaceful, trustworthy, constant, orderly – ‘holier than thou’, tiresome, predictable, conservative

BROWN

+ earthy, homely, gregarious – safe, boring, unsophisticated

YELLOW

+ cheerful, hopeful, active, uninhibited – impulsive, tiresome, whirlwind, volatile

GREEN

+ self-reliant, tenacious, nurturing, dependable – boring, stubborn, riskaverse, predictable

ORANGE

+ vital, funny, enthusiastic, sociable, uninhibited – superficial, common, faddist, giddy

VIOLET

+ imaginative, sensitive, intuitive, unusual, unselfish – weird, impractical, immature, superior

GREY

+ respectable, neutral, balanced – non-committal, deceptive, uncertain, safe

BLACK

+ formal, sophisticated, mysterious, strong – mournful, aloof, negative, lifeless

WHITE

+ pure, clean, fresh, futuristic – clinical, ‘colourless’, cold, neutral

The symbolic or psychological associations of colours have a long history.

In the 12th century, a colour sequence for the liturgical year in the Roman Catholic Church was outlined by Pope Innocent III, and continues to be used today. Examples:

Red vestments are used at Pentecost or for the feasts of martyrs, the colour representing tongues of fire and the shedding of blood;

black vestments are the colour of mourning;

violet vestments represent the mitigation of black, in Advent and Lent; and

green is the ‘neutral’ colour, used ‘in ordinary time’, when there is no special period or feast-day being celebrated.

These and certain other colours (notably white, blue, gold, and rose) are also often used symbolically in many medieval religious paintings.

In modern times:

The psychological associations of colours, and thus the connotations of colour vocabulary, continue to be exploited in a wide range of contexts, such as in the description of paint shades, advertising language, and techniques of self-imaging.

The Color Me Beautiful system is a good example within the last category.

This consultancy was founded by Carole Jackson in the USA in 1974, and now has branches in many parts of the world. Its aim is to help women discover their natural beauty through colour, using the metaphor of the four seasons.

In much the same way as each season presents a distinct array of colours, a person’s colouring is said to be in harmony with one of these palettes, and advice is given about how to enhance these natural colours, and about how to choose additional colours (of make-up and clothing) (M. Spillane, 1991).

Source ⚜ More: On Colours ⚜ Colour Symbolisms ⚜ "Magical Uses" of Colours Writing Notes & References ⚜ On Symbolism

[poetessinthepit]

One thing I think that is so insidious about the Pro-Israel narrative is that they don't even want you donating to the Palestinian cause to provide things like food or medical care for children. There is a concerted hasbara campaign to associate any NGO that provides any aid to palestinians with terrorism.

For example, if you attempt to raise money for the Palestinian Children's Relief Fund, a charity rated 4 stars by Charity Navigator, you may be linked to a page on a website called NGO Monitor. At first glance, this appears to be a neutral charity rating website similar to Charity Navigator. It's not.

Try searching any charity with no connection to the Israel-Palestine conflict on NGO Monitor, and you'll get no result.

Do a little digging, and you'll find out that NGO Monitor was founded by Gerald Steinberg, a Likud party member and former Israeli Security Council consultant. It is essentially a right-wing Israeli front posing as a legitimate charity watchdog while spreading misinformation.

Or consider this racist parody song from Israel's version of SNL. It depicts a hjiab donning woman crying and begging for money in front of an image of shelled out buildings presumably in Gaza. It then cuts away to reveal it is all a set, and her crying is acting, alluding to the Pallywood conspiracy theory. This is followed by caricatures of Hamas members swimming in riches in a luxurious hotel room in Qatar chanting "dollar bills, dollar bills" as donations pile up. The implication is clear; if you give money to Palestine, you are giving money to Hamas. The fact that this video is in English tells you who the intended audience is. It was posted on instagram by Noa Tishby, a former Israeli spokesperson.

This all reflects the true cruelty of the Israeli regime. They don't just want to harm the Palestinians; they don't want you to help them.

[mariacallous]

In early September, the U.S. Department of Justice unveiled a series of sweeping investigations and indictments into Russian information projects aimed at disrupting the 2024 U.S. presidential election. One of these projects, which secretly funded right-wing influencers to promote former President Donald Trump’s campaign, is an escalation from prior Russian information operations, such as their email hacks during the 2016 election.

But another Russian team, described in a planning document published by the Department of Justice, approached disrupting the election a little bit less directly.

The Russian plan describes the “Good Ol’ USA Project” as a “guerrilla media” campaign intended to target “sentiments that should be exploited in the course of an information campaign in/for the United States.” Written by Ilya Gambashidze, a figure already facing sanctions for his disinformation work aimed at smearing Ukraine, the document suggests focusing influence efforts on the “community of American gamers, users of Reddit and image boards, such as 4Chan,” since they are the “backbone of the right-wing trends” online in the United States.

The inclusion of gamers in this campaign points at emerging dynamics in a global struggle over human rights online—one that policymakers need to pay closer attention to.

According to the Entertainment Software Association, a trade group, around 65 percent of Americans—or 212 million people—regularly play video games. Globally, video games generate more than $280 billion in revenue, far larger than traditional culture industries such as film or book publishing. While a trickle of stories about other attempts to push Russian propaganda in video games have attracted some scrutiny from journalists, the question remains: Apart from scale, what is it about gamers that Russia thinks will make them receptive to its messaging?

For starters, video game culture has already become an important venue for extremist right-wing groups to share and normalize their ideas. Far-right groups modify video games to be more explicitly racist and violent than their designers intended. Even gaming spaces designed for children, such as Roblox, which allows players to create their own game worlds and storylines, have attracted thousands of people (many of them young teenagers) to use the game’s freewheeling mechanics to play-act fascist violence.

The prevalence of hate groups has shaped video games into a place where culture and politics are debated, often contentiously, with predictable fault lines emerging along U.S. partisan boundaries. While the industry itself has made considerable progress in improving representation and reducing acts of horrific sexual violence, it has received pushback from far-right figures who are angry at the so-called “wokes” for supposedly “ruining games.”

For a decade, repeated efforts to “reclaim” gaming from an imagined enemy composed of women, Black people, and LGBT+ folks have bubbled up from the darkest corners of the internet, often in places such as Reddit (where this Russian campaign aimed its influence activity). These movements have spilled over into more mainstream political movements that can shape election outcomes. Consider how Gamergate, a 2014 campaign to terrorize women working in the industry into invisibility, metastasized into an online troll army working to get former U.S. President Donald Trump elected in 2016.

These far-right efforts are ongoing, even without Russian help. Last year, a group of gamers who were angry at inclusive representation in games launched a harassment campaign—colloquially called Gamergate 2.0—against a story consulting company.

Earlier this year, when Ubisoft began promoting the latest installment of its popular Assassin’s Creed franchise, this time set in feudal Japan, the trailer prominently featured Yasuke, an African man who served as a samurai in 16th-century Japan. Despite being based on a real historical figure, this movement (egged on by X owner and billionaire Elon Musk) raged at the decision, as if acknowledging Black people in the past was somehow bad. In their quest to sow division within the United States, Russian information operations analysts do not need to look very far to find political allies in gaming communities.

It helps that Russia enjoys greater social legitimacy in gaming than it does in, say, news journalism. You can see this legitimacy reflected in the language gamers that use as they play. Around the same time as Gamergate, a vulgar Russian phrase began popping up in the chats that players use to communicate with each other in non-Russian game streams, primarily in the multiplayer first-person shooter Counterstrike: Global Offensive. The game has around 4 million Russian players, and as it grew in popularity in the mid-2010s, the Russian obscenity cyka blyad became common invective during frustrating moments of play. Its widespread adoption among non-Russian-speaking gamers struck many as odd.

Cyka blyad rose in prominence alongside Russia’s descent into becoming an international pariah, which has limited the spaces where Russian gamers can play games online. In 2014, Russia passed a law requiring websites that store the personal information of Russian citizens to do so on servers inside the country. This was compounded in 2022, when companies ranging from Activision Blizzard to Nintendo protested the invasion of Ukraine by either suspending sales or shutting down Russia-specific services. Despite its residents representing around 10 percent of Counterstrike’s player base, there are no host servers for the game anywhere in Russia.

So, when Russian players log on to find players for a match, they use servers based in Europe or sometimes North America. These servers place them into direct contact with players on the other side of international conflicts—something that many players within the European Union found deeply frustrating after Russia’s illegal annexation of Crimea in 2014, as their games became places where people would argue about the annexation.

But another reason why Russian slang began infiltrating non-Russian gaming spaces is that after years of censorship and exclusion from both Russian and Western governments, games are one of the only spaces direct exchanges between ordinary Russian and Western people. Russians lack access to many Western social media platforms—such as Instagram (blocked by the Russian government in 2022, though earlier this year some Russian users regained access)—and were locked out of Western game stores, even as they kept access to many online games. As a result, matches in a game such as Counterstrike or Fortnite became one of the only places where these informal cultural exchanges could take place.

This narrowing of exchange spaces highlights how video games can become useful conduits for propaganda, and it demonstrates that video games are becoming an important, if underappreciated, site for ideological disputes over politics, speech, identity, and expression.

Other countries have begun to use video games for strategic communication. The U.S. government operates semiprofessional esports teams through the Defense Department, whose remit includes convincing young people to become interested in enlistment. China launched a military-produced first-person shooter game to boost recruitment and to humanize the image of the People’s Liberation Army abroad.

The Chinese developers of the hugely popular game Black Myth: Wukong instructed gaming influencers who were given early access to avoid discussing “feminist propaganda” while reviewing the game, apparently to adhere to government censorship rules. And Russian propaganda about the country’s war with Ukraine has begun appearing in games that allow user-generated content, such as Minecraft and the aforementioned Roblox, as the Kremlin seeks to persuade Westerners to end their support for Ukrainian freedom. In response, the U.S. State Department has begun developing its own games intended to train players to resist Russian disinformation.

This isn’t an abstract challenge. Scholars have drawn linkages between Russia’s propaganda efforts and President Vladimir Putin’s decision to launch the full-scale invasion of Ukraine in 2022 as both bots and human agents aggressively pushed narratives about the need to “pacify” an ostensibly violent Ukraine by invading. The invasion was further justified by the myth of Novorossiya, or a pan-Russian identity that views Ukrainians as misguided Russians who need to be forcibly reclaimed.

These efforts to spread propaganda through gaming are rarely successful. Few people wanted to, say, join Hezbollah after the Lebanese militant group launched its own game, Special Force, in 2003. The terrorist group al Qaeda has used video games for recruitment since 2006, but there is little evidence that any meaningful number of people have been recruited because of it. Scholars have fretted for years over the “militarization” of video games as the Pentagon gets more and more involved in the industry, yet U.S. military recruitment is in long-term decline, and public confidence in the nation’s military is at a two-decade low. If games-based propaganda works, we do not yet know where or how it does.

The revelations about Russian video game propaganda hint at some intriguing innovation in how strategic messages might be spread through nontraditional channels, but they also point to the areas where traditional channels for propaganda have closed down. Despite efforts by Republicans in Congress to falsely accuse agencies such as the Global Engagement Center of partisan bias when addressing foreign misinformation, the U.S. government takes the challenge seriously and, as this 2022 report on the propaganda channels , is working to thwart many of Russia’s best efforts to target Americans with propaganda, like when they sanctioned several Russian oligarchs who had been financing US-directed misinformation.

But even beyond government counterprogramming, there are plenty of obstacles to Russia’s efforts within the world of gaming. For example, Ukraine’s video games industry is respected in the United States and Europe. The developer 4A, which was based in Kyiv before the invasion, produces popular games such as the Metro franchise. That company, however, had to fly its employees abroad to keep them safe from the indiscriminate Russian barrages against the Ukrainian capital and other cities. This sent shockwaves through the industry, as it made some of the consequences of the invasion seem more viscerally real even to people who do not follow politics closely.

As a result of American and European sanctions, Russians have a more difficult experience legally purchasing software and services such as online gaming. (Some Russian game companies have since relocated abroad to more neutral countries, such as Cyprus, to continue operating globally). Wargaming, the Belarusian company that makes World of Tanks, also fled to Cyprus, which has become an informal hub of Russian game companies.

Looking forward, there are real questions about what video games are going to become in the information war between Russia and the West. Russian censors have proposed deploying neural networks to search for banned content in games, but it is unclear whether those systems might disrupt gaming for everyone else.

Long before the invasion of Ukraine, Moscow forced Activision to censor the infamous airport sequence in the rerelease of Call of Duty: Modern Warfare 2 (in which players assume the role of a Chechen terrorist and can slaughter hundreds of screaming civilians at Sheremetyevo International Airport), and it has not been shy about using government coercion to erase LGBT+ people from gaming (paralleling to its embrace of the U.S. far right). Policymakers should look at ensuring that global communication platforms—and that is what video games are—remain open to free speech and safeguard other basic human rights.

While the latest Russian effort to target games seems to have been thwarted by the U.S. Justice Department, there will undoubtedly be more programs looking to repeat and extend the success of Gamergate in empowering the far right, perhaps this time by enabling it to obstruct effective governance in the United States. The Good Ol’ USA Project also targeted its influence operations toward websites such as Reddit and 4Chan, both of which are as central to the sustainment of far-right movements as gaming. Emerging platforms—which range from popular Chinese games to channels such as the online chat service Discord, which is difficult to monitor at scale and routinely hosts leaks of sensitive military documents—present new opportunities where Russian influence could be targeted.

These strange spaces are the frontier where a global battle for speech is being fought.

[fatehbaz]

“Is it green energy if it’s impacting cultural traditional sites?”

Yakama Nation Tribal Councilman Jeremy Takala sounded weary. For five years, tribal leaders and staff have been fighting a renewable energy development that could permanently destroy tribal cultural property. “This area, it’s irreplaceable.”

The privately owned land, outside Goldendale, Washington, is called Pushpum, or “mother of roots,” a first foods seed bank. The Yakama people have treaty-protected gathering rights there. One wind turbine-studded ridge, Juniper Point, is the proposed site of a pumped hydro storage facility. But to build it, Boston-based Rye Development would have to carve up Pushpum — and the Yakama Nation lacks a realistic way to stop it.

Back in October 2008, unbeknownst to Takala, Scott Tillman, CEO of Golden Northwest Aluminum Corporation, met with the Northwest Power and Conservation Council, a collection of governor-appointed representatives from Washington, Oregon, Idaho and Montana [...]. Tillman, who owned a shuttered Lockheed Martin aluminum smelter near Goldendale, told the council about the contaminated site’s redevelopment potential, specifically for pumped hydro storage [...]. Shortly thereafter, Klickitat County’s public utility department tried to implement Tillman’s plan [...].

Meanwhile, Tillman cleaned up and sold another smelting site, just across the Columbia River in The Dalles, Oregon, a Superfund site where Lockheed Martin had poisoned the groundwater with cyanide. He sold it to Google’s parent company, Alphabet, which operates water-guzzling data centers in The Dalles and plans to build more. For nine years, the county and Rye plotted the fate of Pushpum — without ever notifying the Yakama Nation.

The tribal government only learned of the development in December 2017, when the Federal Energy Regulatory Commission (FERC) issued a public notice of acceptance for Rye’s preliminary permit application. Tribal officials had just 60 days to catch up on nine years of development planning and issue their initial concerns and objections as public comments. [...]

When the tribe objected, FERC said it could file more public comments to the docket instead of consulting. [...]

When asked what Rye could offer the Yakama people as compensation for the irreversible destruction of their cultural property, Steimle suggested “employment associated with the project.” [...] Presented with the reality that Yakama people might not want Rye’s jobs, Steimle hesitated. “Yeah, I mean I, I can’t argue that — maybe it won’t be meaningful to them.” [...]

Klickitat County’s eagerness creates another barrier to the Yakama Nation. In Washington, a developer can take one of two permitting paths: through the state’s Energy Facility Site Evaluation Council, or through county channels. Both lead to FERC. In this case, working with the county benefits Rye: Klickitat, a majority Republican county, has a contentious relationship with the Yakama Nation [...]. “Klickitat County refuses to work with us,” said Takala. [...]

Fighting Rye's proposal has required the efforts of tribal attorneys, archaeologists and government staffers from a number of departments. [...]

And Rye’s project is just one of dozens proposed within the Yakama Nation’s 10 million-acre treaty territory. Maps from the tribe and the Washington Department of Fish and Wildlife show that of the 51 wind and solar projects currently proposed statewide — not including geothermal or pumped hydro storage projects, which are also renewable energy developments — at least 34 are on or partially on the Yakama Nation’s ceded lands.

---

Headline, images, graphics, captions, and text by: B. Toastie Oaster (High Country News). “Green colonialism is flooding the Pacific Northwest.” As published at The Wenatchee World. 25 March 2023.

[sosuigeneris]

Socialite series: Manufacturing your Personality

So you want to get into high society. I can give you a guideline as to how you can do that. 

I was born in high society, in India. I know how these systems work. Even across cultures, they’re quite similar. I know some German, Asian, American high society people. Certain things are very similar across continents. 

You can permanently secure your position by two ways: marriage, or by becoming somebody. 

In Indian high society, there’s two kinds of people: those who have lineage, and those who are rich. 

Those who have lineage are those (mostly bankrupt) Maharajas, artists, singers, musicians, poets for generations - it’s an art form or royalty handed down to their children. They have ✨culture, a legacy✨ that can only be obtained by birth. They want to mingle with the business rich so that they get access to the opportunities they need for their livelihoods. 

The business rich can be new or old money. It doesn’t matter. Their businesses are family businesses. They have money, but may lack class. Don’t be mistaken that only new money can be “tacky” - I know plenty of influential, old money families who are equally classless and tacky. 

They want to mingle with the lineage crowd because they need that ✨culture✨ to be seen as someone. They want to be associated with them, to improve their reputations. By connecting to the artistic and musical world, it shows that they have class and persona. 

Both groups, as you see, need each other. You may ask - can’t there be families where there’s both?

Yes there can. But that is not common. 

Let’s say you take the route of dating someone who is of high society, and are hoping to convert that into marriage. I’ll be very honest with you - you have to seriously stand out for Asian and Middle Eastern high society families to accept you if you lack both lineage and money. 

You need to have a strong educational background - you need to go to a great college or masters, or whatever - otherwise this is really not going to happen. This is requirement number 1. If you don’t have this, don’t even bother reading the rest. 

And in Asian and ME families, remember one thing. Marriages are between families, NOT individuals. You have to impress the family, the family’s friends, their maids and barbers and god knows who else. 

And here are Cherry’s insider tips, just for you, to fit right in. If you fit in comfortably, it makes your life and everyone else’s life easier. 

Extrovert tendencies 

don’t be intimidated by people, don’t be shy or awkward 

It’s better to mix in being a combination of “social + slightly bored” like “it’s nice to meet you, but I wouldn’t die to be here.” 

Be open without jumping around like a Disney kid. Being “overexcited” or jumpy, smiling and laughing at just about everything comes across as weird in some cultures, IF that’s not how you genuinely are. That might work in the US, but not everywhere else. 

If I had to very simply define an extrovert - approach new people with ease, learn the art of small talk and be a good listener. 

Confident 

have a sense of self: career, hobbies, likes or dislikes, experiences

Be a multi faceted person. Do things that YOU like. If you like reading Japanese literature and collecting quartz, great! That’s your thing! 

Good communication skills

articulate, small talk abilities, good listener, curious, engaging

be able to tell little stories about yourself without giving everything away 

Well dressed 

do an image consultation for your colours, understand your body shape type and find a style that works for you

Create a capsule wardrobe that is timeless 

Remember - modesty is ALWAYS the best idea for any event. 

Posture - stand up straight, be able to walk in heels, sit without slouching

if you don’t know how to walk in heels, learn to. Practice it. 

Sit up straight, do some yoga or something for good posture 

Maintenance- good skin, hair, fit body, skin, nails, teeth; good hygiene; smell good 

hygiene comes first. Shower regularly, wash your hair as often as needed. 

Put on perfume. 

Find a make up style that works for you. Again, this takes practice. It took me years to figure out what kind of eyeliner works on my eyes and that bronzer doesn’t suit me at all. Crazy make up, unnatural hair colours, visible tattoos or piercings will not sit well in these societies. 

Etiquette 

dining etiquette- learn how to eat properly. This is not just for white culture but for other cultures as well. Understand broadly how popular cultures etiquettes work - Japanese eating etiquettes, European fork and knife etiquette, Korean drinking etiquette, Indian and Middle Eastern etiquette, etc. 

giving appropriate gifts to the host - bottle of wine or flowers 

Learn thank you etiquette- shoot a text message to the host thanking them for the event 

Intelligence

Show that you have some sort of a personality. 

Stay updated with current affairs

know your line of work and the relevant people (top companies, CEOs, etc), trends happening in your industry 

Be open to learning new things  

Put together

have a routine, show some form of discipline. 

This can be done by committing to something long term, such as healthy habits - exercise, reading, waking up early. 

Keep a watch on what you say 

people, especially women, who come across as bratty are seen as a big no no and can come across as exhausting and blood sucking. Zip it. 

Don’t talk about your failures, vulnerabilities, mistakes or mishaps. That’s confidential. 

Don’t complain or be snotty or a potty mouth. 

Do not put other people down in front of people who are not your absolute close friends. 

Poise (this is for your mental health and wellbeing)

Don’t be over eager. Being overly friendly can be seen as submissiveness. 

You’re overly friendly with someone because you want to be accepted by them. Acceptance only happens when you’re familiar with one another. When you become too familiar, it becomes a breeding ground for disrespect. Boundaries get crossed easily. 

Body language

practice practice and practice. 

Video yourself and have a fake conversation with someone. Or maybe FaceTime a friend and record yourself and see how you react to things. 

I used to watch those “try not to laugh/ get angry/ cry” videos to maintain a strong facial expression at all times. Not everyone deserves to see you vulnerable. 

Social media 

Take. Shit. Down. 

Go private if you don’t make money of social media. You’re perceived as more mysterious if you’re a private account. 

Remember, even if you’re private, it doesn’t mean that your pictures aren’t being shared. Someone’s taken a screenshot at some point for SURE or shown your account to someone else. Don’t give anyone anything to talk about. 

Don’t upload every second of every day. 

Don’t upload anything questionable- your break ups, your new boyfriend, girls nights, clubbing, your latest shopping spree etc etc. Keep things halal. Think of it this way - if your boss were to see those photos, how would you feel?

Overexposing yourself on social media comes across as desperate for attention. Limit that.

Cherry 🍒

[fans4wga]

[September 1] Don’t Fall For Hollywood Bosses’ New PR Spin

'Today marks the 122nd day of the Writers Guild of America (WGA) strike and 48th day of the Screen Actors Guild and American Federation of Television and Radio Artists (SAG-AFTRA) strike. The dual work stoppages have brought Hollywood to a standstill, with production halted on films and television programs, and premieres and other promotional events either scaled back or canceled. Both guilds are striking over demands that are more than reasonable, particularly given studio executives’ record pay. These demands include fair compensation for streaming media (particularly better residuals, which currently pale in comparison to what they are for network and cable broadcasts), robust studio support for health and retirement funds, and safeguards around the use of artificial intelligence. (For more on why WGA and SAG-AFTRA are on strike, read the excellent reporting of Jacobin’s Alex Press). 

In a move that has shocked…pretty much no one, Hollywood bosses don’t want to share their earnings with the very storytellers responsible for generating them. At the same time, they’re happy to make workers pay the cost for their own miscalculations about streaming.

The major Tinseltown studios – organized under the Alliance of Motion Picture and Television Producers (AMPTP) trade association – remain stubbornly opposed to striking a fair deal with either guild. Under the leadership of AMPTP president Carol Lombardini, studios have employed brutal tactics to bust the strike, including threatening to drag things out until writers lose their homes and using management-friendly trade publications to pressure the guilds into accepting lowball offers. These tactics have backfired spectacularly: not only have they failed to end either strike, but they’ve also turned the public overwhelmingly against the AMPTP. A new Gallup poll finds that Americans back the WGA over the AMPTP by 72% to 19%, and SAG-AFTRA over AMPTP by 64% to 24%.

Aware of their reputational damage (but willfully ignorant of the anti-worker attitude that caused it), the AMPTP announced a “reset” to its approach this week – not by negotiating in good faith or meeting the guilds’ demands, but by hiring a pricey crisis-management PR firm to revamp its image! According to Deadline, the AMPTP has hired The Levinson Group – a D.C.-based PR shop best known for representing the U.S. Women’s  National Soccer Team in its campaign for pay equity – to “reframe the big picture for studio and streamer CEOs who have been characterized as greedy, imperious and out of touch.”

If you’re feeling like you’ve seen this movie before, you’re not wrong. During the last WGA strike 15 years ago, studio bosses hired former Clinton comms strategists Mark Fabiani and Chris Lehane to revive the AMPTP’s flagging public image. The revolving-door duo were paid a jaw-dropping $100,000 per month by the AMPTP to strike-bust, deploying campaign-style spin attacks designed to break the WGA’s resolve. 

As I wrote for The American Prospect in May:

“Fabiani and Lehane created a website with a live tally of the millions of dollars in income that guild members and on-set crew had purportedly lost by striking. They urged studio CEOs to publicly refer to WGA representatives as “organizers” rather than “negotiators” because the former “sound[ed] more Commie.” Lehane even told the press at one point that striking writers were “making more than doctors and pilots,” cynically arguing that the strike was harming “real working-class people” like below-the-line workers who had lost income from struck late-night talk shows […] Fabiani and Lehane were [also] the brains behind a “strongly worded and downright menacing” AMPTP press release breaking off negotiations with the WGA in December 2007. This move allowed the studios, which cited a protracted strike as an “unforeseeable event,” to invoke force majeure contract clauses and cancel multiple writer-producer deals worth tens of millions of dollars, severely demoralizing the WGA’s rank-and-file members.”

The parallels between 2008 and today are striking. Like Fabiani and Lehane (who have worked for scandal-plagued clients like Gray Davis, Bill O’Reilly, Lance Armstrong, and Goldman Sachs) the Levinson Group has no qualms about representing greedy and unsavory characters. Over the years, Levinson has done PR for predatory student lender Better Future Forward, reviled monopolist Live Nation/Ticketmaster, a talc mining company linked to the Johnson & Johnson baby powder cancer scandal, and Theranos fraudster Elizabeth Holmes. 

And just like the ex-Clinton spin doctors, the Levinson Group boasts close revolving-door ties to powerful politicians and the news media. The firm currently represents President Biden’s personal attorney Bob Bauer and previously represented John Podesta’s family lobbying firm. Levinson partners have previously worked for an array of influential politicians, including former President Bill Clinton, Senators Jon Tester and Amy Klobuchar, Representatives Maxine Waters and Ted Lieu, and former and current Los Angeles Mayors Eric Garcetti and Karen Bass. The firm’s founder and CEO Molly Levinson spent eight years working for CNN and CBS, while two of the Levinson Group’s top managing directors are alumni of CNBC and The Wall Street Journal. With a web of strong connections to power players in the entertainment industry’s twin capitals of LA and New York, along with the nation’s capital, Levinson could help the AMPTP tilt the regulatory and media scales back in the bosses’ favor. 

Though this may sound demoralizing, striking writers and actors shouldn’t lose hope. For one, consider a surprisingly uplifting parallel between 2008 and 2023. Fifteen years ago, after Fabiani and Lehane took the AMPTP’s contract, the SEIU and other unions that had previously worked with the duo severed ties with them for trying to bust the writers’ strike. Fast forward to this week: the U.S. Women’s National Soccer Team Players Association (Levinson’s star client!) publicly rebuked the firm for doing the AMPTP’s dirty work and voiced support for the dual WGA and SAG-AFTRA strikes. If history is any indication, it’s only a matter of time until other pro-union Levinson clients – like the majority SEIU-owned Amalgamated Bank – follow suit and sever ties with the firm. 

There is also one crucial way in which 2023 is thankfully not like 2008: The Levinson Group is bad at their jobs. 

Consider an August 27th New York Times article about AMPTP President Carol Lombardini*, which was almost certainly pitched or otherwise molded by Levinson flacks. The article goes to ridiculous lengths to rehabilitate Lombardini’s image:

The article passively describes Lombardini’s tenure as “marked by labor peace until now” (a peace that she has now broken) and shifts blame for her unpopular decisions to anonymous AMPTP members (how convenient!).

Article co-authors Brooks Barnes and John Koblin quote a 2014 email from then-WarnerMedia CEO Kevin Tsujihara praising Lombardini’s negotiation skills and recommending she receive a $365,000 bonus. Curiously absent from the article is any mention of Tsujihara’s high-profile 2019 resignation from WarnerMedia for pressuring actresses into non-consensual sex.

Barnes and Koblin attempt to paint a “she’s just like us” picture of Lombardini (who reportedly earns a $3 million annual salary), mentioning her upbringing in a “working-class town outside Boston” and love for Red Sox and Dodgers games.

Barnes and Koblin paint a rosy picture of the AMPTP’s “sweetened proposal” (their words) to the WGA, describing the studios’ August counteroffer as “including higher wages, a pledge to share some viewership data and additional protections around the use of artificial intelligence.” Barnes & Koblin never quote the WGA’s well-founded reasons for turning down this lowball offer, saying only that the WGA is “holding firm to demands related to staffing minimums and transparency into streaming-service viewership.”

Bizarrely, the core issue of underpaid streaming residuals (the main reason writers are demanding greater streaming transparency) is never mentioned in the article.

Barnes and Koblin frequently imply that criticism of Lombardini is unfair, describing her as an “easy target” for the “grievances of striking workers” and singling out a tweet purportedly “mocking [Lombardini] as a fuddy-duddy who hangs out at chain restaurants”.

Barnes and Koblin quote a pre-strike September 2022 Deadline interview with Teamsters organizer Lindsay Dougherty to claim that Lombardini has the “grudging respect” of union leaders who see her as a “fair individual.” They did not quote more recent statements from Dougherty, who last month tweeted that the “greedy” AMPTP had “declared war on Hollywood Labor” by refusing to negotiate in good faith with WGA and SAG-AFTRA.

In one unintentionally eyebrow-raising line, Barnes and Koblin state that Lombardini was “inspired to become a lawyer by reading articles about F. Lee Bailey.” Neither Bailey’s sordid clients (like OJ Simpson) nor his multiple disbarments are mentioned in the article.

And it’s not just me who finds the Levinson Group’s efforts laughable. Discussions of the NYT story on Reddit and Twitter are dominated by comments tying the story’s blatant reputation laundering for Lombardini to the AMPTP’s concurrent hiring of Levinson. A recent New Yorker puff piece on Warner CEO David Zaslav has been met with similar ridicule – with many commenters also pointing to Levinson’s potential influence. So too have recent stories from management-friendly trades like Deadline – all of which have failed to make a dent in strong public support for WGA and SAG-AFTRA. This is a good sign: not only is the public more inclined to side with striking workers than it was in 2008 – it’s also seemingly more attuned to the role of corporate PR flacks in shaping the media narrative. If studio bosses think they can remake the same movie and end another strike with flashy spin-doctors, they’re sorely mistaken. 

So here’s my advice to the AMPTP (and it won’t cost you six figures per month to hear it): the way to fix your reputation problem is to end the strike by giving writers and actors what they want. No strike-busting comms team can rescue you from the hole you’ve dug yourself into. 

As the LA Times’ Mary McNamara recently put it, “You’ve lost the war. The best thing to do now is negotiate the terms of surrender.”'

[love-takes-work]

Here we are in the future (merch) and it's WRONG

Hot Topic has been kinda killin' it with neat new designs on SU merch, which to me is pretty special considering how long the show has been off the air and how much I like to get new merch. :X However, the last time I was browsing their site, I decided against getting one of the designs because it's this:

Huh? "Ladies love a hero"? Where the heck did THAT come from?

It's certainly never said in the show, and it's not a sentiment that's presented by any characters, nor is it intended as a message by its creators. Not to mention that the Gems pictured technically aren't even "ladies." Who got the weird idea that "ladies love a hero" would be an appropriate thing to associate with Steven Universe?

I ended up buying a coffee mug with a bunch of SU artifacts and was dismayed to find the "ladies love a hero" phrase had somehow made it onto the otherwise canon-referential mug.

(The side I saw when I decided to get it was this:)

When it came in I showed it to my friend and asked him to find the thing on it that was "wrong." IMMEDIATELY he was like "Ladies love a hero? WHAT?"

Just kinda makes me think that instead of being designed by anyone with a passing familiarity with the show, it was thrown together by someone who thought it would look good. Who decided this?

But speaking of which, then today I saw this one:

Okay. So, seeing merch with random shit from the show splashed all over it is common with knockoffs and lazy ripoff artists, but seeing something like this in a mainstream store is puzzling. It's a somewhat confusing graphic with no message, but it's like . . .

Okay, Steven, Spinel, and Connie from the movie, versus. . . .

Amethyst with her Season 2 design, versus. . . .

Random image of Stevonnie from a single scene in a late Season 5 episode, versus. . . .

Random Greg, random Pink Diamond, versus. . . .

Garnet in what appears to be an attempt at her post-"Jailbreak"/pre-"Change Your Mind" outfit, but it's miscolored, and. . . .

Completely missing Pearl, one of the major main characters. Who puts Pink Diamond, Greg, Connie, Spinel, and Stevonnie on a shirt but forgets Pearl?

It's just kind of a mess, conceptually. A bunch of pretty pictures, several of which are stock art and a couple of which I've basically never seen on anything (so why these, why now?).

It's not uncommon for images featuring the four main characters to have character designs that couldn't have coexisted, but that doesn't bother me as much as something that just feels like it was an out-of-touch designer's google search result for Steven Universe characters.

Man, I need to be a merch consultant for this show or something. I am not much of an artist and am not a designer, but like . . . if they'd just asked ONE fan. . . .

[aiciglobal]

Image consultants, Image consulting, AICI Global

The Association of Image Consultants International (AICI) is the leading and largest professional association of personal and corporate image consultants worldwide. A non-profit organization, AICI is dedicated to advancing the level of professionalism and enhancing the recognition of image consultants.

Our members counsel both individual and corporate clients on appearance, behavior, communication skills, etiquette, international protocol, and soft skills. As experts in image consulting, our members guide clients to achieve their specific goals with authenticity, credibility, and confidence. Supporting the development of the Image Consulting Profession, AICI brings together individuals and companies who seek image consulting services with the appropriate expert.

AICI enhances industry standards through a rigorous, three-tiered certification program and holds the world’s premier annual image consulting conference. AICI provides continuing education classes for image consultants. AICI acts as the voice of the image consulting profession and the media’s definitive source for experts on current issues and events that may affect the image profession.To know more visit Our website: www.aici.org

[miraculouslbcnreactions]

Thank you for answering my Origins Dragon!Marinette and Turtle!Adrien question! Please don’t worry about disagreeing with the idea; I asked for YOUR opinion and analysis on why it would OR wouldn’t work, and that’s what I got. 😌 It also made me consider meta and in-show stuff that I hadn’t before, which is cool. You mentioned wanting all of the Kwamis to be part of some sort of set of two or more, and I’d love to hear what those sets are in your head going down the full Chinese Miracle Box list and why you’d pair them together with consideration towards both the Kwami themselves and their Powers.

(Post this ask is referring to)

Oh good, I'm glad that you found it useful and not discouraging!

Talking about how to pair the Kwamis is a little tricky because of an issue that I've discussed before. That issue being that the "Chinese" miracle box seems to be about as Chinese as fortune cookies. That makes me uncomfortable because - as far as I'm aware - the Chinese zodiac is a major part of Chinese beliefs and traditions. As such, I personally feel like the box should reflect those beliefs and traditions, but I also don't know those beliefs and traditions, so I can't tell you how I'd effectively group the zodiac Kwamis in order to honor their cultural origins. I can't even be sure if my criticism is valid or just me being overly cautious!

In an ideal world where I had money to invest in this sort of thing, I'd hire a cultural consultant to work with me to design a Chinese miracle box that feels Chinese (or to tell me that I'm overthinking this and to just do whatever I want). Assuming that I'm not overreacting, this would probably mean redesigning a lot of the powers and looks so that they honor Chinese lore and not Western lore.

For example, one thing that I know for sure is that black cats are not unlucky in China. They're actually symbols of good luck (all cats are), so a Chinese box would not have the implied good luck/bad luck thing that we get with Ladybug and Chat Noir. My limited research has also raised some doubts about ladybugs being a go-to symbol of good luck or creation in China, but I'm a lot less confident about that one being a bad choice as the association may exist. I couldn't find anything definitive one way or the other. This leads me to think that, if the association exists, then it's probably a bit obscure, meaning that a Chinese box would probably go with a different animal if we were trying to be culturally accurate to what a Chinese-inspired box would really look like.

I can say with reasonable certainty that Creation is associated with the masculine yang and Destruction is associated with the feminine yin, so Tikki should possibly feel masculine to feminine Plagg. At the very least, their spots in the miracle box should probably be reversed with Plagg in the black and Tikki in the white since yin is black and yang is white?

[Image Description: center of the original miracle box showing that ladybug earrings are placed in the black part of the yin yang symbol while the black cat ring is in the white]

I also known that white rabbits being associated with time, watches, and umbrellas comes from Alice in Wonderland and not China. Are you starting to see why I'm doubting the cultural accuracy of the miracle box?

The alternate way to approach this is to remove the possible issue of Chinese culture being treated as "mystical" or nothing more than ornamentation by making the Chinese miracle box into the miracle box of no specified culture. Since that's kind of what the box already is in terms of deeper meanings and cultural ties, I think we can go that route for this discussion since we have taken a moment to acknowledge the potential issues with the box's existing design and why that's leading me to take this route as - to me - this seems to be the only way to stick to canon's lore while avoiding potential further insults to Chinese culture.

If we went to my ideal extremes with this approach, we'd actually massively cut down the number of miraculous in the box because I think that there are way too many miraculous! Who needs nineteen "unique" powers to arm and fight one villain? This is extra true since there's no real theme to the miraculous beyond the initial setup of Creation/Destruction + five random powers followed by the addition twelve more random powers with no clear ties to any culture or theme other than the look of the Kwamis that grant the powers.

But that's getting real extreme, so for this ask, we won't go there. Instead, I'll talk about some general ideas for grouping the powers that we already have and some ideas for how you could fix the randomness of our current powers to make them feel like they make sense.

To start, I love the fact that our two main heroes are supposed to be a pair power wise. That's a lovely way to approach your lore and is why I think that they should have grouped the other miraculous, too. Why are Creation and Destruction the only set? Why aren't the others in any sort of group? Why do these miraculous have the powers they do? What ties them to this box and not another box?

There are a few ways to approach pairing the other miraculous. You can come at it from a theme perspective such as the fact that both the snake and the rabbit are all about time. You can also look for opposites such as the turtle being all about defense and the dragon being more about offense. You can even go more broad and say that a given group of miraculous is all aspects of one type of power such as the peacock, the goat, and the ladybug all feeling like aspects of creation. There's really no clear way to go about this because the current powers are so freaking random!

When I approach this stuff, I don't just come up with powers. I come up with the lore and let that help guide the powers or I shape the lore around the powers I want to use until both things make sense. For example, it makes sense that Creation would have some magical being guiding it. It also makes sense that Creation would either create Destruction for balance or that they both popped into existence together so that there was always a balance. Once you have that, you say, "Okay, what other Forces would these two want in order to help guide the universe? What can't they do or what do they do consistently enough that they might want to hand it off?"

Going from there, you start to come up with ideas like maybe they wanted Time to have a physical embodiment so that they could get some guidance on the long term effects of the things that they were making, so that's Fluff coming online. But Time is a lot and they liked their balance, so maybe Sass was brought online too in order to balance Fluff with Fluff being focused on what was and what could be while Sass is focused on what is, thereby giving Fluff someone to ground her. Or maybe you even add in a third Kwami to be some sort of historian who remembers the past while Fluff is the future and Sass is the now.

Another thought path is that most things are not pure Creation or pure Destruction. You must destroy to create. When you make bread, yeast consumes sugar to create air bubbles. Creation and Destruction working together. So maybe Tikki and Plagg wanted to make "children" who could do what they couldn't do solo and that's how we got the peacock?

No matter how you go about this, I really don't think that there's a great way to explain/group all nineteen miraculous, especially if you add in the eagle and Fei's wacky prodigious with it's animal abilities. It's just too random! But I do think that there's a lot of potential in strong subsets of the ones we get in canon, especially if you're allowed to edit the powers or the Forces a bit to make them fit their supposed Force or granted power better. I've talked before about how I'd mess with Lucky Charm to remove the odd Luck association and focus on Creation and that's what I'd do with most of the miraculous because, right now, most of them don't make much sense.

For example, Ziggy - the goat - is supposed to be the Kwami of Passion and that somehow gives the power to create anything you want? I know creatives are passionate, but that still doesn't fit in my mind. It would make more sense for this to be an inspiration power like the pig or for the Force to change to Creation and Ziggy is just a lesser ladybug for some reason? And Stompp - the Ox - is Determination, but I'd actually label his shield power as an aspect of Protection, making him in some sort of pairing with the turtle. Self defense verses defense of others?

In short, the canon lore is a disaster that needs major work to feel solid which leads to lots of paths for fixing the mess. In my opinion, the best way to go about fixing it is to take the element that worked best - the Creation/Destruction pairing - and expand that out to make strong, logical lore for the other Kwamis and their associated powers. Lore that probably won't be rooted in any one culture because no culture seems to be a solid match for the lore that canon is using, which is only concerning because of the current obvious associations with China and that's not even touching on the whole Tibetan monks + Chinese culture issue. Go check out the post I linked at the start for my thoughts on that which basically sum up to, "I am not even remotely qualified to talk about this one, but it seems like a terrible idea."

(Once again, reminder that I'm not Chinese or otherwise deeply informed on Chinese culture. I'm just a person who tries her best to respect other cultures and the miracle box sets off a lot of warning bells for me. Those warning bells could always be a false positive, so you shouldn't take my thoughts as some sort of final say on this topic. Please feel free to look into this on your own and form your own opinions.

If you are Chinese or otherwise educated in these topics, then please feel free to reblog this or send an ask giving me some additional context as I really do love learning about this stuff, but it's near impossible to research! I spent a good hour talking to a local librarian trying to find books or articles in our library that talked about the Chinese zodiac from an academic perspective and we found nothing. I've got a few interlibrary loan requests out to academic libraries in our library network though and I'll follow up on this if those books end up having information that adds to the discussion.)

[probablyasocialecologist]

Palestinian liberation is a feminist issue. While this truism should need no elaboration, it has, as with so much that relates to Palestine, necessitated discussions, clarifications, analysis and documentation, again and again. Palestine rights activists have long been familiar with the all too common phenomenon known as PEP: Progressive Except for Palestine. Less known, but no less common in feminist circles is FEP, the Feminist Except for Palestine phenomenon. Books such as Evelyn Shakir’s 1997 Bint Arab recount incidents of FEP going back to the ’60s, with many Arab feminists being shunned by their American friends over their support for Palestinian liberation. FEP had one of its early expressions on a global stage at the 1985 United Nations World Conference on Women in Nairobi, Kenya, when Betty Friedan, an icon of second‑wave western feminism, with its slogan ‘the personal is political’, tried to censor the late Egyptian feminist Nawal el‑Saadawi as she was about to walk up to the stage to deliver her address. ‘Please do not bring up Palestine in your speech,’ Friedan told el‑Saadawi. ‘This is a women’s conference, not a political conference.’ Sadly, little has changed in global north feminism’s rejection of the very humanity of the Palestinian people, as evidenced in their continued exclusion from national and global discussions of women’s issues. White feminism has continued to align itself with orientalist imperialist militarism; Ms Magazine cheered the Bush Administration’s US war on Afghanistan in 2001, calling it a ‘coalition of hope’, and suggesting that invasion and occupation could, indeed would, liberate Afghan women. The white feminists in the Feminist Majority Foundation, which bought Ms Magazine in December 2001, never consulted with Afghan feminist organisations such as the Revolutionary Association of the Women of Afghanistan, who denounced both religious fundamentalism and western intervention in Afghanistan, and who opposed the US attacks on their country. More recently, hegemonic feminism’s desire to exempt Israel from criticism led to the fragmentation of the Women’s March, the coalition of women’s and feminist groups that came together to denounce the election of Donald Trump to the presidency of the US. The co‑chair of the 2017 Women’s March was Brooklyn‑born Palestinian American Linda Sarsour, a grassroots organiser who had long championed Palestinian rights. When journalist Emily Shire asked in the New York Times ‘Does Feminism Have Room for Zionists?’, Sarsour responded with a resounding ‘No’. Many felt threatened by her outspokenness and visibility. Another Palestinian feminist, Mariam Barghouti, also asserted in a 2017 article that ‘No, You Can’t Be a Feminist and a Zionist’, and explained that: ‘When I hear anyone championing Zionism while also identifying as a feminist, my mind turns to images of night raids, to the torture of children and to the bulldozing of homes.’ In the wake of Israel’s latest war on Gaza, white feminists are denouncing the unsubstantiated accusations of sexual violence against Israeli women, without addressing the Israeli state’s amply documented gendered violence against Palestinian women, children, and men. ‘Feminism cannot be selective. Its framework comes from true and absolute liberation not just of women, but of all peoples,’ Barghouti continues, building on bell hooks’ analysis of feminism as a complete liberatory movement. ‘A feminist who is not also anti‑colonial, anti‑racist and in opposition to the various forms of injustice is selectively and oppressively serving the interests of a single segment of the global community.’ Simply, ‘feminism’ that aligns with regimes that engage in racial and ethnic oppression is gendered supremacy; no ideology that hinges on supremacy and discrimination is reconcilable with feminism.

[covid-safer-hotties]

Patients With Long-COVID Show Abnormal Lung Perfusion Despite Normal CT Scans - Published Sept 12, 2024

VIENNA — Some patients who had mild COVID-19 infection during the first wave of the pandemic and continued to experience postinfection symptoms for at least 12 months after infection present abnormal perfusion despite showing normal CT scans. Researchers at the European Respiratory Society (ERS) 2024 International Congress called for more research to be done in this space to understand the underlying mechanism of the abnormalities observed and to find possible treatment options for this cohort of patients.

Laura Price, MD, PhD, a consultant respiratory physician at Royal Brompton Hospital and an honorary clinical senior lecturer at Imperial College London, London, told Medscape Medical News that this cohort of patients shows symptoms that seem to correlate with a pulmonary microangiopathy phenotype.

"Our clinics in the UK and around the world are full of people with long-COVID, persisting breathlessness, and fatigue. But it has been hard for people to put the finger on why patients experience these symptoms still," Timothy Hinks, associate professor and Wellcome Trust Career Development fellow at the Nuffield Department of Medicine, NIHR Oxford Biomedical Research Centre senior research fellow, and honorary consultant at Oxford Special Airway Service at Oxford University Hospitals, England, who was not involved in the study, told Medscape Medical News.

The Study Researchers at Imperial College London recruited 41 patients who experienced persistent post-COVID-19 infection symptoms, such as breathlessness and fatigue, but normal CT scans after a mild COVID-19 infection that did not require hospitalization. Those with pulmonary emboli or interstitial lung disease were excluded. The cohort was predominantly female (87.8%) and nonsmokers (85%), with a mean age of 44.7 years. They were assessed over 1 year after the initial infection.

Exercise intolerance was the predominant symptom, affecting 95.1% of the group. A significant proportion (46.3%) presented with myopericarditis, while a smaller subset (n = 5) exhibited dysautonomia. Echocardiography did not reveal pulmonary hypertension. Laboratory findings showed elevated angiotensin-converting enzyme and antiphospholipid antibodies. "These patients are young, female, nonsmokers, and previously healthy. This is not what you would expect to see," Price said. Baseline pulmonary function tests showed preserved spirometry with forced expiratory volume in 1 second and forced vital capacity above 100% predicted. However, diffusion capacity was impaired, with a mean diffusing capacity of the lungs for carbon monoxide (DLCO) of 74.7%. The carbon monoxide transfer coefficient (KCO) and alveolar volume were also mildly reduced. Oxygen saturation was within normal limits.

These abnormalities were through advanced imaging techniques like dual-energy CT scans and ventilation-perfusion scans. These tests revealed a non-segmental and "patchy" perfusion abnormality in the upper lungs, suggesting that the problem was vascular, Price explained.

Cardiopulmonary exercise testing revealed further abnormalities in 41% of patients. Peak oxygen uptake was slightly reduced, and a significant proportion of patients showed elevated alveolar-arterial gradient and dead space ventilation during peak exercise, suggesting a ventilation-perfusion mismatch.

Over time, there was a statistically significant improvement in DLCO, from 70.4% to 74.4%, suggesting some degree of recovery in lung function. However, DLCO values did not return to normal. The KCO also improved from 71.9% to 74.4%, though this change did not reach statistical significance. Most patients (n = 26) were treated with apixaban, potentially contributing to the observed improvement in gas transfer parameters, Price said.

The researchers identified a distinct phenotype of patients with persistent post-COVID-19 infection symptoms characterized by abnormal lung perfusion and reduced gas diffusion capacity, even when CT scans appear normal. Price explains that this pulmonary microangiopathy may explain the persistent symptoms. However, questions remain about the underlying mechanisms, potential treatments, and long-term outcomes for this patient population.

Causes and Treatments Remain a Mystery Previous studies have suggested that COVID-19 causes endothelial dysfunction, which could affect the small blood vessels in the lungs. Other viral infections, such as HIV, have also been shown to cause endothelial dysfunction. However, researchers don't fully understand how this process plays out in patients with COVID-19.

"It is possible these patients have had inflammation insults that have damaged the pulmonary vascular endothelium, which predisposes them to either clotting at a microscopic level or ongoing inflammation," said Hinks.

Some patients (10 out of 41) in the cohort studied by the Imperial College London's researchers presented with Raynaud syndrome, which might suggest a physiological link, Hinks explains. "Raynaud's is a condition of vascular control or dysregulation, and potentially, there could be a common factor contributing to both breathlessness and Raynaud's."

He said there is an encouraging signal that these patients improve over time, but their recovery might be more complex and lengthy than for other patients. "This cohort will gradually get better. But it raises questions and gives a point that there is a true physiological deficit in some people with long-COVID."

Price encouraged physicians to look beyond conventional diagnostic tools when visiting a patient whose CT scan looks normal yet experiences fatigue and breathlessness. Not knowing what causes the abnormalities observed in this group of patients makes treatment extremely challenging. "We need more research to understand the treatment implications and long-term impact of these pulmonary vascular abnormalities in patients with long-COVID," Price concluded.

[yamayuandadu]

Consulting the convoluted history of supernatural foxes, or why is Tsukasa like that

I know I said you should only expect one long Touhou-themed research article per month, and that the next one will be focused on Ten Desires, but due to unforeseen circumstances a bonus one jumped into the queue. For this reason, you will unexpectedly have the opportunity to learn more about the historical and religious context of the belief in kuda-gitsune, or “tube foxes”, as well as their various forerunners. Tsukasa is clearly topical thanks to Unfinished Dream of All Living Ghost, and I basically skipped covering Unconnected Marketeers in 2021 save for pointing out some banal tidbits, so I hope this is a welcome surprise. The post contains spoilers for the new game, obviously.

Obviously, in order to properly cover the kuda-gitsune, it is necessary to start with a short history of foxes in Japanese culture through history, especially in esoteric Buddhism. Early history: the Chinese background Early Japanese sources pertaining to foxes show strong Chinese influence. There was an extensive preexisting system of fox beliefs to draw from in continental literature, dating back at least to the Han dynasty (note that while the well known story of Daji is set much earlier, its modern form only really goes back to the Song dynasty). This is way too complex of a topic to discuss here in full, sadly, so I will limit myself to the particularly interesting tidbits.

A multi-tailed fox in the classic Chinese encyclopedia Gujin Tushu Jicheng (wikimedia commons)

It will suffice to say that historically the fox was perceived in China as a liminal being, and could be associated with pursuits regarded as ethically dubious, ranging from theft and banditry to instigating rebellions and promoting divisive religious views (so, for example during the reigns of firmly pro-Taoist emperors, Buddhist monks could be associated with foxes). Literary texts focused on supernatural foxes emphasized their shapeshifting abilities. In contrast with some of the other well attested supernatural beings in Chinese tradition, they could take a range of human forms, appearing as men and women of virtually any age. Often they favored mimicking people who lived on the margins of society, like bandits, courtesans or migrant laborers. It was also emphasized that they displayed a considerable degree of disregard for authority. The fact these animals lived essentially alongside humans without being domesticated definitely played a role in the formation of this image.

A contemporary statue of Bixia, a deity in the past associated with fox beliefs (wikimedia commons)

At the same time, foxes enjoyed a degree of popularity as objects of semi-official cult, still practiced here and there in China in modern times, for example in Boluo in Shaanxi. The religious role of foxes was reflected in, among other things, the development of terms like hushen (狐神) “fox deity”, or huxian (狐仙), “fox immortal”. The belief in such “celestial foxes” (tianhu, 天狐) was relatively common, and there is even a legend according to which there was a formalized way for the animals to transcend to higher states of existence, with the goddess Bixia making them undergo the supernatural fox version of the well known imperial examinations. If they failed they were condemned to live as “wild foxes” (yehu, 野狐) with no hope of transcendence. There are also accounts of foxes pursuing the status of a xian through illicit means, through a combination of praying to the Big Dipper and draining people’s energy, as documented by He Xiu in the 1700s. Note foxes were already portrayed as worshiping the Big Dipper during the reign of the Tang dynasty, but back then it was only believed this let them transform into humans.

The ambiguity of foxes is evident in the Japanese perception of these animals too. Supernatural foxes are probably among the best known youkai, and especially considering this is a post about Touhou I do not think the basics need to be discussed in much detail. They were believed to shapeshift and to steal vital energy, much like in China. Their positive role as messengers of Inari, a kami associated with agriculture, is generally well known too. The earliest sources documenting encounters with supernatural foxes are obviously, as expected, the earliest chronicles like the Nihon Shoki, where they mostly appear as omens. By the Heian period these animals are well established in the written record. For instance, Nakatomi Harae Kunge includes “evil magic due to heavenly and earthly foxes” among phenomena which require ritual purification. In addition to the tales imported from China being in circulation, some setsuwa written in Japan involved shape shifting foxes. However, supernatural foxes only gained greater prominence in the Japanese middle ages due to the growth of relevance of two deities they were associated with, Inari and Dakiniten. The latter is more relevant to the topic of this article.

Foxes, Dakiniten and tengu

Part of a hanging scroll depicting Dakiniten riding on a fox (wikimedia commons, via MET; cropped for the ease of viewing)

The connection between foxes and Dakiniten reflected their associations with the dakinis, a class of demons in Buddhism. Originally the dakinis were associated with jackals instead, but Chinese Buddhist authors presumed that the animal mentioned in this context is basically identicial with more familiar foxes, and that belief reached Japan as well. It was strong enough for Dakinite, the dakini par excellence, to be regularly depicted riding on the back of a fox. Dakiniten was originally a regular dakini, according to Bernard Faure specifically one who appears in Heian period Enmaten mandalas (Enmaten is related to but not quite the same as the better known king Enma, for the development of two distinct reflections of Yama in Buddhism see here). However, she eventually developed into a full blown deva in her own right, and her prominence was so great that it basically resulted in the decline of references to the generic dakinis in Buddhist literature in Japan. She was particularly popular in the Shingon school of Buddhism, and at the peak of her relevance played a role in royal ascension rituals, developing a connection with Amaterasu in the process (Amaterasu acquired many peculiar connections through the Japanese middle ages, it was par the course). A Tendai treatise equates her with Matarajin instead, though. An interesting phenomenon related to Dakiniten is the occasional fusion of beliefs pertaining to foxes and tengu, which might have originated in the similarity of the terms tengu and the Japanese term for the already mentioned “heavenly foxes”, tenko. Its best attested examples include the inclusion of tengu in mandalas focused on Dakiniten as her acolytes. However, a different deity ultimately exemplifies this even better. Iizuna Gongen and "iizuna magic"

Iizuna Gongen riding on the back of a fox (Museum of Fine Arts Boston; link to the source is temporarily dead, the image is reproduced here for educational purposes only)

The indisputable center of the network of connections between foxes and tengu is Iizuna Gongen (飯綱権現), depicted as a tengu riding on a fox. As you can probably guess, he was a (vague) basis for Megumu, as evidenced by the similarity of the names. While many other aspects of his character aren’t really touched upon in the game, I’d hazard a guess he’s also the reason why ZUN decided to include a kuda-gitsune in the same game as Megumu - the evidence lines up exceptionally well, as you’ll see.

Originally Iizuna Gongen was simply the deity of Mount Iizuna (飯綱山), located in the modern Nagano prefecture. Near the end of the Japanese middle ages he spread to other areas, likely thanks to traveling shugenja (also known as yamabushi), mountain ascetics belonging to a religious tradition known as Shugendō. Two aspects of his character are particularly pronounced, his role as a martial deity and his association with foxes.

I was unable to determine when Iizuna Gongen’s connection to foxes originally developed, but it was strong enough to lead to the use of the alternate name Chira Tenko (智羅天狐; “Chira the heavenly fox”) to refer to him. Foxes also appear in a legend describing his origin. It states that he was one of the eighteen children of an Indian king, and arrived in Japan alongside nine of his siblings on the back of a white fox during the reign of emperor Kinmei (the remaining eight went to China and became monks on Mount Tiantai). His connection to foxes is also reaffirmed in an Edo period treatise, Reflections on Inari Shrine (稲荷神社考, Inari jinja kō), which declares that names such as Iizuna Gongen and Matarajin (sic!) are used in the worship of wild foxes to hide the true nature of the invoked entities. The author further states that the true form of “these matarajin (plural) and wild foxes” is that of a three-faced and six-armed deity, which curiously has more to do with early Matarajin tradition than with Iizuna Gongen as far as I can tell. The two were not really closely associated otherwise, but it’s worth noting that apparently shugenja perceived them both as similar tengu-like deities. 

The key feature of conventional iconography of Iizuna Gongen, the fox mount, has nothing to do with Matarajin strictly speaking, and likely reflects the influence of Dakiniten. However, the animal in this context developed its own unique identity thanks to the presence of foxes in a type of ritual focused on Iizuna Gongen, which could itself be referred to as iizuna. The shugenja community centered on the worship of Iizuna Gongen was not very formalized, which led to poor understanding of their practice among outsiders, with the term iizuna basically acquiring the vague meaning along the lines of “magic”. and rather poor reputation. These rites are where the kuda-gitsune comes into play. Kuda-gitsune in iizuna magic and beyond

The kuda-gitsune, as depicted in Shōzan Chomon Kishū by Miyoshi Shōzan (Waseda University History Museum; reproduced here for educational purposes only)

At first glance, kuda-gitsune is just one of many local variants of the standard supernatural fox, similarly to the likes of ninko, osaki-gitsune or nogitsune. The etymology of its name is straightforward. I’m sure you can guess what the second half means, while kuda (管) in this context refers to a bamboo tube. You’d think the name would basically guarantee it was universally accepted that’s how one could carry such a critter undetected, but apparently there was an alternate explanation, namely that it was invisible. I have not seen any further discussion of this in literature, but I assume this might be connected to shikigami beliefs, as these quite often are described as invisible. Do not quote me on that, though. Even more bizarrely, there is no consensus that the animal meant was always a fox. According to Bernard Faure it is distinctly possible the term referred to a weasel. Kuda-gitsune could be described as a type of shikigami, but note that this term had a much broader meaning in real life than in Touhou, and referred to basically any supernatural being which acted as an extension of the powers attributed to “ritual specialists” (祈祷師) such as onmyōji, shugenja or Buddhist monks. In Buddhist context, the analogous term could be gohō dōji (護法童子; “Dharma-protecting lads”), though there are also cases where gohō and shikigami are contrasted with each other. The shikigami category didn’t just consist of animated papercraft and animal spirits typically designated as such in popculture. Even the twelve heavenly generals defending the “medicine Buddha” Yakushi could be labeled as shikigami. Obviously, kuda-gitsune is closer to the familiar meaning of this term than to Buddhist deities, though. People relying on kuda-gitsune were referred to as kitsune-tsukai (狐使い), which can be loosely translated as “fox tamer”, and it is said they were often shugenja. Given the popularity of the associated deity among them this shouldn’t really be a surprise. Various supernatural abilities were ascribed to the kuda-gitsune. The ability to possess people attributed to other supernatural foxes was the domain of kuda-gitsune too. Apparently people afflicted by it were compelled to eat nothing but raw miso. Purportedly they were bringers of wealth - but said wealth did not necessarily come from legitimate sources. That, in turn, could lead to distrust or outright ostracism of people allegedly relying on foxes to acquire wealth. They also provided aid in divination, and could supposedly reveal past, present and future alike this way. However, they could look into the soul of anyone using them this way and learn their secrets. Bernard Faure notes that occasionally it was said that they even could even be utilized to kill enemies who attempted casting spells on their owner.  Shigeru Mizuki's kuda-gitsune

Kuda-gitsune, as depicted by Shigeru Mizuki (reproduced here for educational purposes only)

While there isn’t much information about kuda-gitsune in scholarship, especially scholarship available online in English, they received extensive coverage in various books about youkai written by Shigeru Mizuki, famous for arguably canonizing the modern concept of youkai. Note that while I am a fan of Mizuki's works, his encyclopedias are best understood as something closer to Borges’ Book of Imaginary Beings, complete with some dubious sourcing and possible fabrications. However, ultimately modern media about youkai, including Touhou, owes much to him, and arguably he continued the tradition of night parade scrolls which often invented new creatures wholesale, so it strikes me as entirely fair game to summarize what he has to say too. Shigeru Mizuki cited the Edo period writer Matsura Seizan as an authority on kuda-gitsune. He states ccording to the latter, certain ascetics (yamabushi) were provided with these critters upon finishing their training on Mount Kinpu and Mount Ōmine. In his account cited by Mizuki there are a lot of details I haven’t seen elsewhere. The storage tubes after which kuda-gitsune are named apparently had to be inscribed with a certain sanskrit phrase (left unspecified, tragically) so that the animals didn’t have to be fed. However, releasing them and giving it food was necessary to gain their help in divination. There was a downside to this - kuda-gitsune were apparently hard to place back in containment once released without the help of a seasoned specialist. Also, they refused to provide anything of value unless fed well, and they had quite the appetite. Mizuki cites the particularly disastrous case of an ascetic who kept multiple kuda-gitsune in a single tube, and eventually couldn’t pay for enough food for his collection since the animals kept multiplying inside. According to Mizuki  it was believed that a kuda-gitsune could be gifted by its owner to another person, but the creature would come back if it was not satisfied with the food provided by the latter. If the original “fox tamer” dies before passing their kuda-gitsune to someone else, it will instead go to the Ōji Inari shrine located in what is now the the Kita ward of Tokyo.

Conclusion: Tsukasa and her forerunners

In theory I could’ve kept pointing out “see, it’s just like Tsukasa!” in virtually every single paragraph of this article. To answer the question from the title, evidently she is like that because that's how foxes have been in folklore both Japan and China for centuries. It is not really hard to see that ZUN is genuinely great at research when he wants to be, and Tsukasa's character is remarkably accurate to her real life forerunners, both as an adaptation of kuda-gitsune specifically and as a representation of the broader tradition which lead to the portrayal of foxes as supernatural creatures of questionable moral character. She engages in morally dubious “get rich quick schemes”, she definitely provides advice (of variable quality), and her self-declared ability from her omake bio pretty clearly reflects skills actually ascribed to the kuda-gitsune in folklore. In the newest game the ability to provide information is clearly in the spotlight - Tsukasa seems to be reasonably knowledgeable (she brings up Kojiki in a line aimed at Hisami, among other things), and other characters generally agree she’d be more useful doing something else than fighting. I do not think there’s any real reason to doubt this is what is meant. I think it can even be safely assumed that Zanmu’s decision to pressure Tsukasa to partake in her assassination bluff is rooted in genuine tradition. I’m obviously not going to say that Tsukasa reaches the platonic ideal of Okina, the quintessential character aimed at fans who like research, who largely seems to exist to get people to dig deeper for sources explaining the dozens of religious allusions in her dialogue, spell cards and design, but I do think it’s worth appreciating that the series reached a stage where even the minor animal youkai can be enjoyed as multilayered representation of centuries worth of genuine folklore and mythology. Bibliography -Bernard Faure, Gods of Medieval Japan vol. 1-3 -Michael Daniel Foster, The Book of Yokai. Mysterious Creatures of Japanese Folklore  -Berthe Jansen and Nobumi Iyanaga, Dākini (Brill’s Encyclopedia of Buddhism) -Xiaofei Kang, The Cult of the Fox: Power, Gender, and Popular Religion in Late Imperial and Modern China -Shigeru Mizuki’s assorted writings on kuda-gitsune (collected online here)