#Breakdown of societal norms

[blueheartbooks]

"The War of the Worlds: An Epic Extraterrestrial Odyssey"

H. G. Wells' timeless classic, "The War of the Worlds," unfolds as an enthralling tapestry of science fiction and societal reflection. Published in 1898, Wells catapults readers into a gripping narrative where Earth becomes the battleground for an interplanetary conflict of catastrophic proportions.

The tale begins in suburban England, where an unnamed protagonist recounts the sudden and ominous arrival of massive Martian cylinders, heralding the onset of a ruthless invasion. Wells masterfully weaves a tale of fear and survival as humanity grapples with the unimaginable – technologically advanced, malevolent aliens with their dreaded heat-ray weapons.

What sets "The War of the Worlds" apart is Wells' ability to transcend the confines of genre and delve into the social and psychological impact of an otherworldly invasion. The narrative serves as a poignant commentary on the fragility of human civilization, challenging our collective hubris and highlighting the vulnerability of our technological prowess in the face of superior extraterrestrial forces.

Wells' descriptive prowess vividly paints scenes of devastation and chaos, capturing the raw emotions of a populace in the throes of an existential crisis. The author's exploration of the survival instinct and the breakdown of societal norms during times of crisis remains eerily relevant, resonating with readers across generations.

As the narrative unfolds, the protagonist navigates a landscape transformed by alien dominance, encountering both the best and worst of human nature. Themes of resilience, adaptability, and the consequences of unchecked imperialism emerge, prompting readers to reflect on the broader implications of human actions and their impact on the world.

"The War of the Worlds" stands as a seminal work that has not only influenced countless science fiction stories but has also become a cultural touchstone. Its enduring legacy is evident in the numerous adaptations across various media, attesting to the timelessness of Wells' exploration of fear, survival, and the indomitable spirit of humanity.

In conclusion, "The War of the Worlds" is a literary masterpiece that continues to captivate audiences with its riveting narrative, thought-provoking themes, and timeless relevance. H. G. Wells' exploration of the extraterrestrial unknown remains a literary triumph, inviting readers to ponder the delicate balance between humanity and the vast, mysterious cosmos.

"The War of the Worlds," H. G. Wells is available in Amazon in paperback 11.99$ and hardcover 19.99$ editions.

Number of pages: 185

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[blueheartbookclub]

"The War of the Worlds: An Epic Extraterrestrial Odyssey"

H. G. Wells' timeless classic, "The War of the Worlds," unfolds as an enthralling tapestry of science fiction and societal reflection. Published in 1898, Wells catapults readers into a gripping narrative where Earth becomes the battleground for an interplanetary conflict of catastrophic proportions.

The tale begins in suburban England, where an unnamed protagonist recounts the sudden and ominous arrival of massive Martian cylinders, heralding the onset of a ruthless invasion. Wells masterfully weaves a tale of fear and survival as humanity grapples with the unimaginable – technologically advanced, malevolent aliens with their dreaded heat-ray weapons.

What sets "The War of the Worlds" apart is Wells' ability to transcend the confines of genre and delve into the social and psychological impact of an otherworldly invasion. The narrative serves as a poignant commentary on the fragility of human civilization, challenging our collective hubris and highlighting the vulnerability of our technological prowess in the face of superior extraterrestrial forces.

Wells' descriptive prowess vividly paints scenes of devastation and chaos, capturing the raw emotions of a populace in the throes of an existential crisis. The author's exploration of the survival instinct and the breakdown of societal norms during times of crisis remains eerily relevant, resonating with readers across generations.

As the narrative unfolds, the protagonist navigates a landscape transformed by alien dominance, encountering both the best and worst of human nature. Themes of resilience, adaptability, and the consequences of unchecked imperialism emerge, prompting readers to reflect on the broader implications of human actions and their impact on the world.

"The War of the Worlds" stands as a seminal work that has not only influenced countless science fiction stories but has also become a cultural touchstone. Its enduring legacy is evident in the numerous adaptations across various media, attesting to the timelessness of Wells' exploration of fear, survival, and the indomitable spirit of humanity.

In conclusion, "The War of the Worlds" is a literary masterpiece that continues to captivate audiences with its riveting narrative, thought-provoking themes, and timeless relevance. H. G. Wells' exploration of the extraterrestrial unknown remains a literary triumph, inviting readers to ponder the delicate balance between humanity and the vast, mysterious cosmos.

"The War of the Worlds," H. G. Wells is available in Amazon in paperback 11.99$ and hardcover 19.99$ editions.

Number of pages: 185

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[sighonaraa]

one facet of sam's personality i find sooooo interesting is how he handles his anger/frustration.....i LOVE that the show gives him the opportunity to outwardly display his emotions without framing him as unreasonable or frightening for it!! like!! he's an early 20-something kid and he's faced w so so sooo much racist rhetoric on TOP of the pressures inherent to football and he's such a sweetheart but he sometimes cracks under that pressure and that's ok!!! he's allowed to snap at ted when ted's made a mistake; he's allowed to talk back to isaac when he has other shit going on; he's allowed to scream and break down in his dad's arms!!!!!! and he's still considered a kind sweet loving legendaric icon bc he IS and him expressing his emotions is not seen as weak and it's never used against him!!!! GOD!!!!! i adore sam obisanya and as much as the show did fumble his character i do think they got this so so so right

[writingquestionsanswered]

Hi,

'm writing a novel set in the 1900s, including scenes from WW1. Any tips on maintaining accuracy for that period and writing in the style of novels from that era?

Authentic Portrayal of a Historical Era

If your story is set in another time and place, you'll need to do some research to make sure you get the details accurate. Luckily, there's information available online, in books, and on YouTube of just about every historical era in every place.

I want to take a moment to stress the importance of place, because life in early 1900s New York City would have been a little different from life in early 1900s Sacramento, for example. Likewise, life in an early 1900s Scottish village would be quite different from life in an early 1900s Indian village. So, make sure your general research pertains to the country of your story's setting, and that your specific research is geared toward a specific village, town, city, or region--or at the very least (if your specific location is imaginary) the closest real world proximity. Likewise, it's also very important to take socioeconomic status into account, because once again, life for an early 1900s socialite and her family in Manhattan would be quite different from the early 1900s life of a farmer in rural Manitoba.

When you're doing your research, you'll want to pay close attention to the following details:

-- societal rules and norms -- rules and norms around love and marriage -- role of culture and religion -- clothing, architecture, decor -- food and drink -- music -- customs, traditions, festivals -- typical occupations -- treatment/roles of women -- treatment/roles of children -- typical home life -- government and justice system -- transportation, tools, and weaponry -- notable "pop culture" and current events -- slang, idioms, and popular sayings -- important mythology, folklore, and urban legends

YouTube is a great resource for documentaries and documentary style videos to get a good breakdown of particular topics. Like, for example, let's say one of your characters is a wealthy New York socialite. There are videos on YouTube that will show you how a wealthy American or British woman (for example) would dress in the early 1900s. Likewise, you can watch a video about World War I or anything specific to WWI that you want to learn about.

WQA’s Guide to Internet Research Researching a Historical Topic Setting Your Story in an Unfamiliar Place Writing About Difficult to Research Topics

Happy researching and writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[olrastrology]

Dionysus: The Multifaceted God of Wine, Ecstasy, and Transformation

Dionysus, also known as Bacchus in Roman tradition, is one of the most complex and multifaceted deities of ancient Greek mythology. As the god of wine, revelry, and ecstasy, Dionysus occupies a unique place in the pantheon, embodying themes of transformation, liberation, and the duality of human experience. This essay explores the various aspects of Dionysus, his mythology, and his cultural significance.

Origins and Birth

Dionysus’s origins are both divine and somewhat mysterious. According to myth, he is the son of Zeus, the king of the gods, and Semele, a mortal woman. The story of his birth is one of transformation and intrigue. Hera, the jealous wife of Zeus, tricked Semele into demanding that Zeus reveal himself in his full divine splendor. The sight was too much for Semele, who perished in the blaze. Zeus saved the unborn Dionysus by sewing him into his thigh, from which the god was later born, making Dionysus a god with a unique connection to both the mortal and divine realms.

God of Wine and Festivity

Dionysus is most famously known as the god of wine, viticulture, and festivity. He represents not only the pleasure and intoxication associated with wine but also its transformative power. Wine, in the Dionysian context, is not merely a beverage but a conduit for experiencing the divine and transcending ordinary reality. It symbolizes both ecstasy and chaos, revealing the dual nature of Dionysus's influence.

Festivals dedicated to Dionysus, such as the Dionysia and the Bacchanalia, were central to Greek culture. These festivals involved theatrical performances, particularly tragedies and comedies, which were believed to be inspired by the god. The Dionysian festivals were not only a celebration of the harvest but also an opportunity to explore the boundaries of human experience and to engage in communal revelry.

The Cult and Mysteries of Dionysus

The worship of Dionysus was marked by ecstatic rituals and mystery cults. The Dionysian Mysteries, which were held in various forms across Greece, were initiatory rites that promised personal transformation and enlightenment. These mysteries often involved rites of purification, symbolic death and rebirth, and ecstatic dance, reflecting the god’s role in breaking down social norms and exploring the depths of human consciousness.

Participants in these rituals often wore masks and costumes, embodying the god’s ability to transcend ordinary identities and societal constraints. Dionysian worship emphasized the ecstatic experience of divine presence, achieved through music, dance, and the consumption of wine. This state of ecstasy was seen as a way of connecting with the divine and accessing hidden truths.

Symbolism and Attributes

Dionysus’s symbols include the grapevine, ivy, and the thyrsus, a staff entwined with ivy and topped with a pine cone. The grapevine and ivy represent his association with fertility and growth, while the thyrsus is a symbol of his power and authority. In artistic depictions, Dionysus is often shown in a state of revelry, accompanied by a retinue of satyrs and maenads, who embody the wild and untamed aspects of his nature.

Dionysus’s dual nature is central to his symbolism. On one hand, he represents joy, liberation, and creativity, often associated with the freeing effects of wine and the exhilaration of artistic expression. On the other hand, he also embodies chaos, madness, and the breakdown of order, reflecting the destructive potential of his divine influence.

Mythological Narratives

Dionysus’s myths often explore themes of transformation, conflict, and the struggle for acceptance. One notable myth is the story of his journey to establish his cult in the city of Thebes. King Pentheus, who refuses to acknowledge Dionysus’s divinity, is ultimately torn apart by his own mother, Agave, who has been driven into a frenzied state by the god. This myth illustrates the consequences of resisting or denying the transformative power of Dionysus and highlights the god’s capacity for both creation and destruction.

Another important myth is the story of Dionysus and the pirate ship. According to legend, Dionysus was once captured by a group of pirates who did not recognize him. As punishment, he transformed the ship into a sea of wine and turned the pirates into dolphins, demonstrating his power and the divine retribution against those who do not honor him.

Cultural and Philosophical Impact

Dionysus's influence extends beyond mythology and religion into art, philosophy, and literature. The concept of the Dionysian, as articulated by the philosopher Friedrich Nietzsche in his work "The Birth of Tragedy," represents a fundamental aspect of human existence, characterized by a celebration of chaos, creativity, and the primal forces of nature. Nietzsche contrasts the Dionysian with the Apollonian, which embodies reason, order, and rationality, suggesting that a balance between these forces is essential for a full and meaningful life.

In literature and art, Dionysus has been a symbol of the power of transformation and the limits of human understanding. His presence in tragic dramas, such as those of Euripides, often serves to challenge societal norms and explore the nature of divine influence on human affairs.

Conclusion

Dionysus is a deity who embodies the complexities of human experience, from the ecstatic highs of celebration to the dark depths of chaos. As the god of wine, revelry, and transformation, he represents both the joy and the danger inherent in breaking free from societal constraints and exploring the full range of human emotions and experiences. Through his myths, rituals, and cultural impact, Dionysus continues to be a powerful symbol of the divine’s capacity to both create and destroy, to liberate and to confound. His legacy endures as a reminder of the profound and often paradoxical nature of existence itself.

[splashstar01]

Amazing Merthur meta (just for funsies) from a purely non-biased POV.... an AI.

I asked CHATGBT (do remember that Merthur is CANON and has been now for a 12 years or since 2012!):

"why would prince Arthur propose to Merlin but yet still pursue Gwen and then marry her but treat merlin like his husband and in the end confess his love to merlin and try to pull him into a kiss before dying"

CHATGBT:

This complex dynamic can be explained through various elements in the storyline that highlight Arthur's internal conflict, societal pressures, and true feelings. Here's a breakdown of potential reasons for Arthur's behavior:

1. Societal Expectations and Pressure:

As a prince, Arthur is expected to marry someone who is deemed socially acceptable, and Gwen fits this role better than Merlin. Marrying Gwen helps maintain his royal image and fulfill his duties.

2. Personal Conflict:

Arthur might be deeply in love with Merlin but struggles with the expectations placed upon him. His engagement and marriage to Gwen could be seen as attempts to adhere to societal norms while his heart remains with Merlin.

3. Emotional Attachment and Genuine Love:

Despite his marriage to Gwen, Arthur's bond with Merlin is profound and undeniable. He treats Merlin like his husband because, emotionally and spiritually, Merlin is his true partner.

4. Fear and Denial:

Arthur could be in denial about his feelings for Merlin, choosing to marry Gwen in an attempt to suppress his true desires. However, his actions and treatment of Merlin reveal his true emotions over time.

5. Sacrificial Love:

Arthur may believe that marrying Gwen is the best way to protect Merlin from the scrutiny and potential danger of being in a relationship with a prince. His actions towards Merlin show his deep care and love, even if he cannot publicly acknowledge it.

6. Final Realization and Acceptance:

In the end, Arthur's impending death forces him to confront his true feelings. His confession and attempt to kiss Merlin signify his acceptance of his love for Merlin, demonstrating that, at the end of his life, he values honesty and authenticity over societal expectations.

This intricate relationship can add depth to the narrative, showcasing the complexities of love, duty, and personal identity within the constraints of societal expectations.

~I totes agree, thank u, CHATGBT! 🥰

[sonics-atelier]

To draw a parallel between Feyre's actions in the Spring Court and concepts such as colonization and mass genocide, it's important to analyze the nuances and consequences of her actions. Here’s a detailed breakdown :

( because you idiots can't comprehend it can you ? )

Reasons for the Parallel:

1. Disruption of Established Communities :

- Colonization : Historically, colonizers disrupt existing societies, imposing new rules and systems, often disregarding the welfare of the local population.

- Feyre’s Actions : By undermining Tamlin's rule and sowing chaos in the Spring Court, Feyre disrupts the lives of its inhabitants, forcing them to live in fear and uncertainty.

2. Exploitation of Power Dynamics :

- Colonization : Colonizers typically exploit their superior power to dominate and control indigenous populations for their own benefit.

- Feyre’s Actions : Feyre, leveraging her position and abilities, manipulates the internal politics of the Spring Court primarily to serve her personal vendetta against Tamlin, rather than considering the impact on the common citizens.

3. Cultural and Social Displacement :

- Colonization : Indigenous cultures and social structures are often eroded or obliterated under colonial rule.

- Feyre’s Actions : By destabilizing the Spring Court, Feyre causes significant social upheaval. The citizens’ trust in their leadership and societal norms are shattered, akin to the cultural displacement seen in colonized societies.

4. Infliction of Psychological and Physical Harm :

- Genocide : Beyond physical violence, genocide includes the infliction of psychological terror and destruction of ways of life.

- Feyre’s Actions : Although not a literal genocide, Feyre’s actions inflict psychological harm on the Spring Court’s residents, instilling fear, paranoia, and instability, which mirrors the psychological impacts of genocidal actions.

5. Manipulation and Betrayal :

- Colonization : Colonial powers often employ manipulation and betrayal to achieve their goals, breaking treaties and exploiting trust.

- Feyre’s Actions : Feyre deceives and manipulates Tamlin and his court, betraying any semblance of alliance or trust for her personal goals.

6 . Brought to my attention by @wingsdippedingold , Justification Given :

Political Leadership and Setting a Better Example:

1. Responsibility to Protect Civilians :

- As a political leader and High Lady, Feyre holds the responsibility to protect all civilians, including those in rival courts. Her actions should prioritize the welfare of innocents over personal grievances.

2. Ethical Use of Power :

- Leaders must use their power ethically, avoiding actions that harm innocent people. Feyre’s actions reflect a misuse of power for revenge, rather than for justice or the greater good.

3. Diplomacy over Sabotage :

- Effective leadership often requires diplomacy and conflict resolution rather than sabotage and subterfuge. Feyre could have sought diplomatic means to address her issues with Tamlin without causing widespread harm.

4. Setting Precedents :

- As a leader, Feyre’s actions set a precedent for future interactions between courts. By resorting to manipulation and causing civilian suffering, she undermines principles of justice and fair governance, encouraging a cycle of retaliation and conflict.

5. Moral Integrity :

- Leaders are expected to uphold high moral standards. Feyre’s actions, driven by personal vendetta, showcase a lack of moral integrity, damaging her credibility as a just leader.

Conclusion:

While Feyre's actions may not be a direct parallel to colonization and mass genocide in their most extreme forms, the underlying principles of causing widespread harm to innocent civilians for personal gain and disrupting societal structures draw notable similarities. As a political leader, Feyre’s actions should reflect a commitment to protecting all people under her influence, employing ethical and diplomatic solutions, and maintaining moral integrity to set a positive example for governance and conflict resolution.

[mariacallous]

Even as a growing number of foreign governments commit to protecting the rights of lesbian, gay, bisexual, transgender, queer, and intersex (LGBTQI+) people, others are actively marshaling their resources against them. From the Hungarian government’s legal and political attacks on LGBTQI+ people to Iraqi legislation that punishes those who “promote homosexuality” and increases criminal penalties and fines for same-sex relations, the negative trends are significant and concerning.

In many places, politicians blame LGBTQI+ people for a wide array of societal ills to boost their popularity at home and their geopolitical interests abroad, distracting from the real economic, social, and political challenges their countries face. In Georgia, for example, the ruling party may have used anti-LGBTQI+ rhetoric to manipulate the political landscape ahead of elections. Meanwhile, in Lebanon, a country long considered relatively welcoming for LGBTQI+ people in the Middle East, one activist described a political leader’s rhetoric as “the manufacturing of a moral panic in order to justify a crackdown, and to deviate public attention away from their unpopular policies.”

Although human rights are seen by some as a lower-priority foreign-policy issue for the United States than so-called hard security threats, the failure to protect them abroad can have significant negative consequences for U.S. interests. Now more than ever, the United States needs to push back against foreign-government repression of LGBTQI+ rights while also doing this work at home. As U.S. Secretary of State Antony Blinken put it recently, this matters “not just because we have a moral imperative to do so,” but because doing so “helps strengthen democracy, bolster national security, and promote global health and economic development.”

Across a range of issues, it’s clear that anti-LGBTQI+ policies and rhetoric can cause significant damage to many of the United States’ top foreign-policy priorities.

To start, efforts to repress LGBTQI+ rights are often a canary in the coal mine for more severe persecution to come. A 2022 report found, for example: “From Nazi Germany to genocide in Darfur to the breakup of former Yugoslavia, the imposition of ‘moral’ codes that directly assault sexual and gender identities and freedoms came before widespread state-led physical violence and atrocity crimes.”

The targeting of LGBTQI+ people can also be a precursor to, or occur alongside, abuses against other vulnerable populations. The Taliban-promoted sexual assault of and life-threatening attacks on LGBTQI+ people, for example, have occurred concurrently with brutal restrictions on women’s and girls’ participation in education, work, and other aspects of public life. Likewise, vicious torture of gay men in the Russian Republic of Chechnya has taken place against a wider backdrop of long-term human rights abuses by Chechen authorities.

Erosion of LGBTQI+ human rights can also signal and exacerbate the breakdown of democratic norms and institutions, including restrictions on independent media and judicial review, serving as a bellwether for the state of civil society more generally. Russia’s recent detention and prosecution of LGBTQI+ people have paralleled its crackdown on independent journalists, human rights defenders, and civil society.

Countries in which the human rights of LGBTQI+ people are less respected also frequently have greater levels of corruption, partly because discriminatory legal regimes create barriers to reporting wrongdoing by corrupt officials, making LGBTQI+ people an easy target for extortion. Corruption, in turn, compounds other pressing problems: It degrades the business environment, drives migration, and impedes responses to public health crises and climate change. States with endemic corruption are also more vulnerable to terrorist networks, transnational organized crime, gang-related criminal actors, and human traffickers. This is, in part, because threats to transparent and accountable governance are among the root causes of radicalization, and restrictions on LGBTQI+ and other civil society organizations reduce the capacity of those groups to mitigate the conditions conducive to violent extremism, terrorism and other criminal activity.

Not only are anti-LGBTQI+ policies a drag on economic growth, but they are also detrimental to public health. Punitive laws fan the flames of stigma and discrimination, in turn making vulnerable communities reluctant to seek life-saving and public health-protecting services. Across 10 countries in Sub-Saharan Africa, for example, HIV prevalence in countries that criminalize homosexuality is five times higher among men who have sex with men than in countries without those laws.

Taken together, the failure to protect LGBTQI+ people’s human rights can create disastrous effects for U.S. interests. State-sponsored discrimination and violence undercut the United States’ tremendous investments in international anti-corruption efforts, counter-terrorism programs, economic development, and public health. And, as the COVID-19 pandemic made clear, a disease threat anywhere can quickly become a disease threat everywhere. The same can be said for terrorism, corruption, and economic instability. When governments target LGBTQI+ people, they also increase the chances that the symptoms and consequences of this repression will spread in their communities and across borders.

Given the stakes, it is crucial that the United States uses the tools and powers it has to promote accountability for human rights abuses and mitigate their harms to U.S. citizens and businesses.

In this respect, the recent heightened repression by the Ugandan government is illustrative. In May 2023, Uganda signed into law the Anti-Homosexuality Act (AHA), which mandated the death penalty for certain “serial” offenses and a 20-year prison sentence for the mere “promotion” of homosexuality. Although the legislation was decried by human rights advocates, it was lauded by some of Uganda’s geopolitical partners as evidence of shared interests. Shortly after the legislation was passed, the late Iranian President Ebrahim Raisi visited Uganda and made the unfortunately common—and demonstrably inaccurate—claim that homosexuality is a Western import. He also identified opposition to Western support for LGBTQI+ people as “another area of cooperation for Iran and Uganda.” In similar fashion, an editorial on the pro-Kremlin Tsargrad website summarized the law as “a geopolitical victory [for Russia], which they see as the direct result of years of their hard, methodical work [on a] global anti-LGBTQ hate campaign.”

The AHA was the final, egregious straw amid an ongoing decline in respect for human rights, including of LGBTQI+ people, and democratic backsliding in Uganda, and the United States’ response was swift and comprehensive. Underscoring the link between the violation of the human rights of LGBTQI+ people and broader harms to American interests, U.S. President Joe Biden described the law as part of an “alarming trend of human rights abuses and corruption.” The United States issued a business advisory; updated the U.S. Travel Advisory and Country Information Page for Uganda; expanded existing visa restrictions to include those repressing vulnerable populations, such as human rights advocates, LGBTQI+ people, and environmental defenders; supported the World Bank’s decision to pause Uganda’s access to new funds; and imposed sanctions on the Commissioner General of the Uganda Prisons Service for widespread violations of human rights, including credible reports of physical abuse of political opposition and LGBTQI+ people. President Biden also determined that Uganda did not meet the eligibility requirements of the African Growth and Opportunity Act (AGOA), “on the basis of gross violations of internationally recognized human rights.”

Although the law remains in place, these actions and international attention have had effect: Uganda’s government has not conducted widespread roundups of or ordered death sentences against LGBTQI+ people. But violence, abuse, and evictions have increased in the country, and arrests of LGBTQI+ people have persisted and likely risen under an earlier, colonial-era law that criminalizes same-sex conduct.

As the situation in Uganda demonstrates, the United States has options to respond to foreign governments that fail to uphold their human rights obligations. These measures can be unilateral, as is the case for issuing travel advisories or removing trade preferences, or multilateral, which could involve working with the United Nations, the World Bank, or other multilateral institutions. They can also be affirmative, as opposed to punitive—for instance, expanding humanitarian and development assistance for human rights defenders and mobilizing private sector capital to support businesses that operate consistent with international non-discrimination standards.

As with all diplomatic efforts to address wrongdoing, the choice among these options will vary depending on circumstances, such as whether a government is launching a new campaign against LGBTQI+ people or has an older but little-enforced criminal law on its books. Inevitably, the importance of raising human rights concerns will be weighed against other U.S. priorities, and human rights will not always prevail. However, increasingly, LGBTQI+ issues are being integrated into bilateral relationships, even when doing so is not easy and when quiet diplomacy is the only option. In all circumstances, consultation with LGBTQI+ civil society must be prioritized in weighing the benefits and risks of action to ensure that efforts do not contribute to backlash or negative repercussions for LGBTQI+ people on the frontlines of global human rights movements.

In a recent State Department convening on LGBTQI+ rights in U.S. foreign policy, Secretary Blinken made our commitment clear, telling civil society leaders: “Our promise is this: We will be with you every step of the way. We’ll persevere with you. We’ll listen to you. We’ll learn from you. We’ll help resource and support your fight. And we’ll bring our strength together with yours so that finally together we can build a world where all people are genuinely free—free to be who they are, free to love who they love.”

Although this work may have been in the spotlight during Pride month, it requires our focus year-round. Indeed, our national security depends on it.

[annoyangle]

Is weirdmaggeddon coming after your book comes out?

WEIRDMAGEDDON NEVER ENDS! IT ONLY CHANGED FORM INTO ONE THAT YOUR WORLD CAN PROCESS! LOOK AROUND YOU! LOOK AT THE WEATHER! LOOK AT THE AIR! LOOK AT THE FOOLS ON DISPLAY! LOOK AT THE BREAKDOWN OF SOCIETAL NORMS AND SACRED TRADITIONS! WEIRDMAGEDDON IS NOW AND FOREVER NOW THAT I'M HERE!!

[eightmandibles]

Mawaru Penguindrum Phrases Breakdown

I've written a big long post breaking down some of the repeated phrases of the show Mawaru Penguindrum because rewatching it a year ago gave me brainrot. Hope those who r interested enjoy.

Alright this has been occupying my brain for so long it should've started paying rent so I've decided to finally write it all up. Some of these are my own thoughts, but a lot of these are pieces of interpretations that are floating out there on the web. I just didn’t find any one place that compiles them all and puts them together.

Mawaru Penguindrum is the first Ikuhara show I ever watched and something about it really changed my brain forever even though I didn’t really understand what I was watching the first time through (because I was in middle school). I love its surreality and the density of its visual metaphors that all feed into each other has me like an insane person complete with a red string conspiracy board (that will be a section later). It’s show that challenges the viewers to piece together concepts and leaves questions for them to answer on their own, some intended and some probably not as much. I admire the ambition and the commitment to exist in a space that's between trite judgements of black and white, good and evil, and to trust the viewer to really engage with the work.

In this blog post I’m going to break down some of the major catchphrases of the show because they exemplify how the visual/thematic density rewards viewers who spend the time to really engage with the material. It also personally fascinates me as someone who enjoys these puzzle box-type themes and narratives that have the answers staring you right in the face from the beginning, but you just didn’t have the tools to understand what you were being cryptically told.

MAWARU PENGUINDRUM

We gotta start from the beginning and break down the title first of course.

MAWARU: spinning, turning, rotating - which brings themes like revolution and cycles to mind

It’s probably also nod to Revolutionary Girl Utena (though both shows share a lot of themes in examining and trying to challenge or examine societal norms, structures, and cycles).

PENGUINDRUM:

First layer of understanding: the physical diary that the Kanba and Shoma must find (actually it’d be more accurate the say the first layer is just being like “this is a nonsense word” but I digress)

Let’s do another layer of breakdowns -

PENGUIN: Flightless birds that belong neither to the land or the sea - chosen to represent the idea of the “unchosen.” Those in Antarctica need to rely on their community to survive in their harsh environment, huddling and rotating (mawaru…) to keep everyone warm.

There’s a common rumor out there that Ikuhara said penguins were also chosen because it sounds like “pingguo” which is apple in Chinese. Honestly I believe it because he seems to be the kind of person to say stuff like that, but also I’ve never found a source on this.

DRUM: An instrument that keeps a steady beat…like a heartbeat…badum tss. The apple in the show always being red reinforces this association.

Second layer of understanding: When the diary is lost, what the “penguindrum” is exactly becomes more nebulous and we start operating in a metaphor-as-reality world. In terms of visual representation in the show, the “penguindrum” is the “apple” the siblings have been sharing among themselves.

The Penguindrum being represented by an apple means there’s a lot of associations tied into its image. In the show, apples are a visual metaphor for being "chosen". Classically, apples are also the fruit of original sin (like fate…not to jump ahead but remember this for later) - which ties into the concept of “punishment” that Himari's fate is framed as.

Because of the breakdown from earlier (and also all the chest puncturing imagery in the show lol), we can also understand the Penguindrum to be associated with the heart - often in turn associated with love, which is a very loaded concept to dig through, especially as presented in the show (romantic, platonic, and/or familial connections; sacrifice, community, etc.)

Taking these all together, a third layer of interpretation is that Mawaru Penguindrum refers to the cycle (Mawaru) of sharing bonds/fate/connection/love (Penguindrum) between the show’s characters.

SURVIVAL STRATEGY

This phrase is what signals the Princess of the Crystal's presence and initiates the transformation sequence that takes the brothers into a surreal world.

The common reading of this is again the reference of penguins needing to huddle together to survive the cold of Antarctica. They rotate who bears the cold wind of the outside circle in order for the whole flock to survive. Basically, we need the help and support of each other to survive the cold winds of an uncaring society.

While thinking on this phrase, I was struck by how every character’s drive in the show can be explained as “survival strategies” they learned as children. Perhaps it’s a bit of a stretch to apply it in the way this phrase is used in psychology, but I do think it at least refers to the ideology characters take on as children due to their traumatic childhood events or from flawed role models.

Ringo’s “survival strategy” is the most explicitly stated in the show: in episode 6, she believes her parents are on the verge of divorce because she is not Momoka - therefore to keep her family together she resolves to become Momoka. 

The origin of Kanba and Himari’s core approaches to life appear in the flashbacks of episodes 5 and 9 respectively. The Takakura parents each protect the two adopted children from injury by glass, a nod to their original unchosen fate. In doing so, they’re set up as the direct masculine and feminine role models that the two children learn from and model themselves on. I’m not sure it’s accurate to say that the lessons they internalize are strictly “wrong,” because I don’t think Penguindrum is interested in discussing characters like that, but they definitely are flawed.

Shoma deals with guilt from his family’s “sin” and grapples with the idea of taking responsibility for his parents’ actions.

Tabuki and Yuri still believe themselves to be “unloved children” and that’s why they keep pursuing Momoka or seeking revenge for her. They struggle to believe there’s a place in the world for them without their savior there.

Masako is a pretty clear one as well - she internalizes her grandfather’s habits and beliefs in order to try and fit in, even if it never earned her any respect in his eyes.

The childhood of the characters in the show informed how they viewed the society they grew up in, and what they needed to do or become in order to survive.

YOU WHO WILL NEVER AMOUNT TO ANYTHING, FIND THE PENGUINDRUM

Honestly I’m obsessed with the phrases that first sound like absolute nonsense, but cool absolute nonsense. This is the phrase that made me want to write this blog post in the first place.

The phrase is the call-to-action by the mysterious Princess of the Crystal. On first viewing, we can interpret so little of this sentence it’s really just a tool to sound cool and give us a snapshot of the Princess of the Crystal’s personality - haughty, cryptic, and generally unhelpful. It gives Kanba and Shoma a goal, even though neither us nor them understand what the hell it is.

YOU WHO WILL NEVER AMOUNT TO ANYTHING

As the show goes on, the themes and concepts around being a chosen or unchosen child arise. Those who are unchosen and unloved go to the Child Broiler to be turned into glass. This is semi-metaphorical and semi-literal (diegetic might be an appropriate word in a weird way) - metaphorically it can be interpreted as becoming a forgettable, blandly molded member of society, though being processed is acknowledged more like death in the show. In some ways that’s still accurate.

Each of the siblings started without an apple, literally-metaphorically starving of love and unchosen - originally they were fated to never amount to anything.

FIND THE PENGUINDRUM

Obviously this initially refers to the diary in the show, but as we broke down earlier PENGUINDRUM eventually takes on a more loaded meaning akin to love, bond, and connection.

So over the course of watching the show, the phrase transforms from a one-sided order and condemnation to a call to action. Put all together with a little more elaboration: You who were unchosen and unloved from the beginning, in order to survive in this harsh world you must find love and connection with people to share your life with, through good and bad.

I COME FROM THE DESTINATION OF YOUR FATE

Time to bust out the conspiracy red string board, literally-metaphorically.

The Red Line is the literal, metaphorical, and thematic spine of the show. There are two big starting categories for viewing The Red Line in the show, which then mix together to create new meanings as the show references it through imagery and dialogue.

First up, the Red Line refers to an actual train line that the entire show takes place upon, the Tokyo Metro Marunouchi line. The entire show is structured around the train line which starts with the Ogikubo Station and ends at Ikebukuro, with important locations being linked with the actual train stops. It was one of the train lines attacked in real life as part of the Tokyo subway sarin attack in 1995 which the Pingu group’s terrorist attack in the show is a very transparent reference to. This single point in time in 1995 is the origin of almost everything in Mawaru Penguindrum, and in fact almost half the cast is born on the exact day the Pingu group attacks, just to emphasize how closely their fates are tied to the attack.

Second, the Red Line can be seen as a representation of fate, as in the red string of fate. Fate and destiny are concepts brought up over and over again, with Shoma and Ringo having their own monologues about it in the first two episodes (and Kanba having his much later). The visualization of the red string of fate can also be seen in the ending animations.

Somewhere in between is the Red Line as the metaphor of a train to visualize fate. Fate is something that can’t be changed - just like how trains run on fixed tracks with fixed destinations. Of course this is challenged in the show - Momoka even uses the metaphor of changing train tracks to explain her ability.

Now, fate has its own set of associations, such as: destiny, love, connection, bond (hmm familiar), as well as superstitions like fated meetings, fated demises, divine determination.

These can start branching off into concepts like blessings, sins, retribution, and karma (cue the Fate monologues again). And now we start getting back into the idea of cycles: downward spirals of getting what one deserves for their actions, passing on one’s sins to those after you - or virtuous cycles of doing good deeds and passing love and care forward.

Often in discussions of fate, familiar questions arise. Does the beginning determine the end? Is the end fated from the beginning? And so the Red Line becomes the Red Circle, another visual device seen throughout the show. It’s all over the motion graphics of the show and appears around the train stations as well as around ‘95’, referencing the originating incident of it all - the beginning of the Takakura family that determined their end.

What I love about this use of the Red Line is that however you progress your understanding of the its importance to the show, it all helps you further understand any concept Mawaru Penguindrum is discussing. This coherence and repetition of visual metaphors is what allows the show to feel more texturally and thematically cohesive even when it starts getting loose in a plot sense.

(Going back to the initial phrase, I COME FROM THE DESTINATION OF YOUR FATE is said by the Princess of the Crystal in her introduction monologue. It likely lampshades the predetermined ending that the Takakura brothers are so desperately trying to avoid. But also, there is a much funnier, much more literal interpretation I enjoy - Ikebukuro, the last stop on the train line, is where the aquarium the siblings visit is. It’s also where the brothers bought the novelty penguin hat for Himari. So the Princess of the Crystal literally came from the destination (last stop) of your fate (the red line)!)

LET’S SHARE THE FRUIT OF FATE

This turns out to be the secret key phrase needed to activate the diary in order to change the tracks of fate, which Ringo uses at the end of the show in order to prevent another train attack from succeeding.

It’s probably not too hard to piece together what the fruit of fate is after all of this. In a sense, this phrase is just a repeat of Mawaru Penguindrum, just as an actual sentence with a bit more coherence.

I’ll bear your burdens and you’ll bear mine, and in doing so, let us forever be connected.

Wow, finally expunged these thoughts from my brain. Maybe somewhere in me there's still something left for a discussion on how the show uses repeated imagery and visual metaphor to communicate information and associations to the viewer that are vital to actually understanding what's going on because it's a narrative that half exists a non-literal thematic space but for now:

Thanks for reading!

[deer-sabaism]

facts about cannibalism — i have weird hyperfixations, i know.

what's cannibalism? cannibalism is the act of one individual of a species consuming all or part of another individual of the same species as food. cannibalism exists in the animal kingdom and rarely among humans for various reasons, ranging from survival to ritualistic practices.

the first type is defined as eating members of another group (conquered enemies, for example) and the second one, the eating of members of your own group, usually associated with ritual burial ceremonies.

cannibalism has been documented throughout human history, with one of the earliest recorded instances being the Gough’s Cave in England, where human bones from approximately 15,000 years ago showed signs of cannibalistic practices.

in certain cultures, cannibalism was performed as a ritualistic act, believed to transfer the strength or spirit of the consumed to the eater.

the Fore people of Papua New Guinea practiced transumption, a form of cannibalism, until the late 20th century, which led to the spread of the fatal prion disease kuru.

throughout history, there have been numerous accounts of cannibalism for survival. sailors lost at sea, explorers in uncharted territories, and victims of sieges and famines have resorted to consuming human flesh.

the case of the Uruguayan Air Force Flight 571, which crashed in the Andes in 1972, is a well-documented instance where survivors ate the deceased to stay alive.

many cultures have myths and folklore featuring cannibalistic giants or monsters, such as the Wendigo in Algonquian folklore, which is said to embody both the act of cannibalism and the insatiable greed that leads to it.

cannibalism has been a recurring theme in literature and film, often used to explore themes of survival, horror, or the breakdown of societal norms. movies like "The Silence of the Lambs" and books like "Hannibal" by Thomas Harris have brought cannibalism into popular culture.

cannibalism is illegal in most countries, though the act itself is not explicitly mentioned in the law; rather, it is often prosecuted under laws against murder, desecration of corpses, or assault.

in medical science, the transplantation of human organs and tissues can be seen as a form of cannibalism, though it is, of course, conducted for life-saving purposes and with consent.

research into prion diseases like kuru has provided valuable insights into neurodegenerative diseases and the risks associated with consuming human neural tissue.

with advances in lab-grown meats and other synthetic food technologies, some speculate about the ethical implications of creating human flesh for consumption without the need for death or harm.

cannibalism can cause severe psychological effects, including trauma, PTSD, guilt, shame, dissociation, social isolation, and stigmatization. it can deeply impact identity and self-perception, particularly when conflicting with cultural or religious beliefs. survival cannibalism may lead to survival guilt, while instances involving psychopathy can reflect broader antisocial behaviors. long-term mental health issues like depression and anxiety are also common. thw psychological impact varies based on individual resilience and circumstances.

climate change could potentially increase instances of cannibalism in the animal kingdom as resources become scarcer and species are forced into closer quarters or new territories.

there have been rare instances of self-cannibalism, known as autophagy, where individuals consume parts of their own bodies, often as a result of mental illness or extreme starvation.

cannibalism is studied in various academic fields, including anthropology, psychology, and biology, to understand its historical, cultural, and biological aspects.

educational discussions about cannibalism can challenge students to think critically about ethical issues, human behavior, and the diversity of cultural practices around the world.

cannibalism, a topic as old as humanity, spans across cultures and continents, revealing both dark and fascinating aspects of human history. Whether driven by necessity, ritual, or psychological compulsion, the act of consuming human flesh highlights social and ethical issues.

thanks for reading :)

[videostarblogs]

5. yamanba gyaru

yamanba gyaru is a bold and extreme substyle of the gyaru fashion movement that originated in Japan in the late 1990s and early 2000s. it is characterized by its striking and unconventional appearance, which challenges traditional beauty norms. here's the details breakdown of yamanba gyaru fashion!!!!!!!!!!!!!!

origins and development

yamanba gyaru evolved from the earlier gyaru substyles, particularly ganguro, which emphaszied tanned, bleached hair, and heavy makeup. the term yamanba refers to a mythical mountain witch in Japanese folklore, highlighting the wild and exaggerated nature of the style. this substyle emerged as a rebellion against traditional Japanese beauty standards and societal expectations, embracing a more radical and expressive and societal expectations, embracing a more radical and expressive form of self identity. it gained popularity among Japanese youth who sought to stand out and make a bold statement.

key motifs

deep tan and white makeup: one of the most distinctive features of yamanba gyaru is the deep, artificial tan combined with white makeup accents/ white eyeshadow, white eyeliner, and white lipstick or concealer are used to create a dramatic contrast against the tanned makeup.

bleached or colored hair: hair is typically bleaches to a platinum blonde or dyed in bright, unconventional colors like neon pink, blue, or purple. hairstyles are often voluminous and styled in waves or curls.

bold and colorful makeup: besides the white accents, yamanba gyaru makeup includes heavy use of colorful eyeshadows, dramatic false eyelashes, and thick eyeliner.

layered and flashy clothing: the clothing in yamanba gyaru fashion is eclectic and vibrant. it often includes layered outfits with bold patterns, neon colors, and flashy accessories like large hair clips, beads, and chunky jewelry.

platform shoes: oversized platform shoes and boots are a staple in yamanba gyaru fashion, adding to the exaggerated and towerlinh appearance

music

the yamanba gyaru aesthetic is often associated with energetic and rebellious music genres such as j-pop, eurobeat, and para para music. these genres complement the lively and bold nature of the fashion

here are some artists to listen too

Kiryu

BiS (Brand-new Idols of Succession)

GANG PARADE

PassCode

SCANDAL

Yoyoka

The GazettE

Dadaroma

DOLL$BOXR

X JAPAN

movies

yamanba gyaru fashion hasn't been prominently featured in mainstream movies, but it aligns with the subverse and countercultural themes found in certian Japanese films and media that explore youth rebellion and identity. documentaries and features on Japanese street fashion often showcase yamanba gyaru as part of the broader gyaru subculture

here are movies I suggest

Kamikaze Girls (2004)

Love Exposure (2008)

Tokyo Gore Police (2008)

Female Prisoner 701: Scorpion (1972)

Tokyo Tribe (2014)

Suicide Circle (2002)

Death Powder (1986)

Tokyo Vampire Hotel (2017)

book and other media

manga and anime: some manga and anime feature characters inspired by gyaru substyles, including yamanba. titles like gals! by mihona fuiji provide a glimpse into the gyaru lifestyles and fashion.

magazines: magazines such as egg have historically featured yamanba gyaru, providing fashion tips, makeup tutorials, and showcasing street snaps of those embarrassing the style.

social media and online communities: platforms like Instagram and TikTok, and various fashion blogs have become essential for yamanba gyaru enthusiasts to share their looks, connect with like minded individuals, and keep the subculture alive. online communities and forums dedicated to gyaru fashion also play a significant role in fostering the yamanba gyaru community.

moodboards

outfit inspo

overall, yamanba gyaru is a radical and expressive fashion subculture that embraces bold colors, exaggerated makeup, and a rebellious spirit. it challenges conventional beauty standards and celebrates individuality and creativity.

make sure to like, reblog if you want and follow my blog for more fashion breakdowns like this!!! my requests are open aswell:)))

videostar signing off...............

[vashtijoy]

probably a silly question, but i was under the impression that mental shutdowns can either kill or put someone in a coma, while psychotic breaks make the victim abandon all societal norms and whatever inhibitions they had. sort of like. it will make them act like their worst self and desires and intrusive thoughts but it won't kill them. is this wrong? :0 i guess even in my interpretation a psychotic break can make someone act in such a way that will cause them serious body harm or death. but can a psychotic break kill on its own?

You have it right, anon! Definitions again:

psychotic breakdown—more literally something like "mental rampage", this is the result of Akechi using Call of Chaos on someone's shadow. The game implies (with statements like "once the chains on [their] heart are broken") that the things people do during a breakdown are things they can't admit they want to do; the things they repress down into their shadow. These result in "accidents and scandals", and (probably?) won't kill you directly.

mental shutdown—the result of Akechi killing someone's shadow, this is haijinka, more literally "cripple-ization" or "making someone a human wreck" (thanks so much, y'all)—note that 廃人 haijin is derogatory and "should be used with caution".

Here's Japanese Wikipedia (via Google Translate bc I'm both lazy and busy this morning) on haijin:

When people are generally called "haijin", most of them refer to cases in which sociality is significantly impaired compared to healthy people . Because of the particularly strong discriminatory elements, it is used when the mind is destroyed or activity is hindered due to congenital (or acquired) mental disorders, or when normal social activities are difficult.

Note that, while these are two very different things, with very different effects, the localisation typically muddies the water by saying shutdown when it means breakdown, or vice versa. Or by turning "shutdowns and breakdowns" into one or the other. Or by describing something else entirely as a mental shutdown—the cases in that post are breakdowns, but they're a specific subset of breakdown. So when you hear these mentioned in English, think about what they're describing, and which definition it meets. The characters are often validly confused about what's going on, but the terminology is also usually muddled, one way or another.

how fatal are they tho

Using @cincosechzehn's original spreadsheet as an indicator, we see five mental shutdowns in canon, as part of the plot: Wakaba, Kayo, Kobayakawa, Okumura and the SIU Director. Out of these five, the only five we see onscreen, four of them die and one recovers.

Those are bad odds. Those are really bad odds. That's an 80% kill rate. Like, the SIU guy and Okumura may not be in good health, but by their nature mental shutdowns are going to tend to target older people in power. Wakaba and Kobayakawa may just in the wrong place at the wrong time—but that's still 40%; going brain dead in the real world is not safe.

On the upside, the only person we hear about having a mental shutdown and not dying immediately does begin to recover in the medium term. But Sae (a reliable source, unlike the TV news) tells us people "lose consciousness, never to recover"—which likely makes those odds a bit worse.

Based on this, I would be really hesitant about saying "mental shutdowns aren't fatal". 80% fatal is essentially "only not murder because I missed". Additionally, it looks like Shido and the SIU Director may sometimes send the Cleaner in to "clean up", when a shutdown victim doesn't die first time—for instance, he may have been responsible for that truck that hit Kobayakawa. Not sure about this one yet.

what about the psychotic breakdowns?

Again, a psychotic breakdown seems to make you rampage and do something you secretly want to do, but are usually restrained from by little things like morality and not hurting others. They often seem so targetted (Akechi gives X a psychotic breakdown to make them do useful thing Y) that I think there must be an interrogation element—like he talks to the shadow to see what it wants to do, and maybe has to take time to find one that will serve his purpose. For instance, if he wants a flashy subway accident, he can't CoC a random train driver who it turns out just wants to slam on the brakes and jerk off.

So the breakdowns are described as "accidents and scandals", because sometimes they're devastating, but sometimes someone just loses their mind and does something weird. Or they start swinging a knife around on a train.

And here we need to get into intent. Akechi doesn't have a death note, after all. He can't just write down "this guy smashes his train through several stations at top speed, eventually derails it with catastrophic effect, and nobody dies." He sends the driver in knowing the likelihood is that the result will be a lot of dead people.

Because that's what happens. Akechi starts the ball rolling, probably with a rough idea that it will serve the purpose he was assigned, and then he has to let it roll and see where it lands.

This is why almost the first thing that happens in the game is that we get told about a "rampage accident" that is fatal:

(I figured this list really deserved its own post.)

Here's the top item on that list again:

バス暴走死傷事故 basu bousou shishou jiko reckless bus driving accident that caused injuries and deaths

This is a really interesting choice for the top item in the list. It's a case of 暴走運転 bousou unten "reckless driving", sure. But Japanese players are going to get very used to that word bousou, very quickly, in the context of the 精神暴走事件 seishin bousou jiken—the psychotic breakdown cases.

This is an explicit link between the word bousou—Akechi's word that describes his unique signature skill and his effect on others and ultimately his combat style—and a fatal accident. And it's right up at the front of the game, when about all we know about "psychotic breakdowns" is that some girls were talking about them as a spooky occult thing, on the train into Shibuya. Like, they could have chosen almost any of the things on this list to make fatal. But it was this one, and IMO that's important. The subway train derailing may not have been fatal, but the first thing the game wants us to know about psychotic breakdowns is that a. that people are terrified by them, b. that they can be extremely dramatic, and c. that people die from them.

To address your question again, specifically: no, people (probably; see below) don't die just from having a psychotic breakdown. But nobody "just" has a psychotic breakdown. The point is to make them do something—and the thing they do may well be devastating, and cause devastating injuries, up to and including deaths. Or it may just be personally devastating.

but then there are the chats and news stories

There are a lot of in-game rumours about psychotic breakdowns, and a lot of what appears to be misinformation, mainly because the difference between psychotic breakdowns and mental shutdowns is not clear.

One rumour is that breakdowns lead to mental shutdowns: "those people end up going brain dead", "they become haijin during interrogation". Another is that "you suddenly pass out ... [and] die in a lot of pain". Well, rumours are rumours.

But we also hear that "the news is saying the [train] driver couldn't even speak when they tried asking him questions". Of course, we know the news is controlled... but then we have to ask ourself what else they aren't reporting on.

doesn't akechi give himself psychotic breakdowns

The quick answer here is no. You could maybe argue that he does when the only example we had was the engine room, but in the third semester we get his Showtime, when he uses it repeatedly to put himself into a berserker rage. It looks like it gives him a bit of a headache afterwards, or makes him dizzy.

Call of Chaos just doesn't seem to work the same on Akechi (or, for that matter, on the two ordinary shadows he casts it on) as it does on people's shadows, when it goes "up the chain" and controls them in the real world. The immediate thing I'd point out is that Akechi doesn't drool blood (that I've noticed, at least) and his eyes don't roll back in his head (you can see his irises, albeit tiny and extremely crazy). Akechi can still speak, though he doesn't make much sense. He's not entirely out of control (despite being in, seemingly, a blind killing rage, he never attacks Joker in the Showtime—and there's a plot bunny for anyone who wants to pick it up and run with it.)

He is not experiencing exactly what his victims do—though he's experiencing something very similar: a lifting of his "chains", his inhibitions. It really seems like a true psychotic breakdown may be something that lingers with you, that lasts a long time, that probably leaves you in ruins. I'm not sure we ever hear of anyone who had one and was fine afterwards, though I can't swear to this.

[sngii1726]

What if a person has Ketu in the 1st house and Sun-Rahu in the 7th house?

Having Ketu in the 1st house and Sun-Rahu conjunction in the 7th house can create a complex interplay of energies in a person's birth chart, potentially influencing various aspects of their life, including personality, relationships, and life path. Here's a breakdown of how these placements might manifest:

Ketu in the 1st House: Ketu in the 1st house can bring a sense of detachment or unconventional approach to life. It may indicate that the individual has a strong spiritual inclination or a tendency to seek deeper truths beyond the material world.This placement can also suggest a sense of individuality and uniqueness. The person may have a non-conformist attitude and may feel a bit disconnected from worldly concerns or societal norms.

Sun-Rahu Conjunction in the 7th House: The Sun-Rahu conjunction in the 7th house can intensify the desire for recognition, power, and authority in relationships. This placement may bring a strong attraction to partnerships that offer status or social validation. There may be a tendency towards ego conflicts or power struggles within relationships. The individual may need to learn to balance their need for independence and self-expression with the needs and desires of their partners. This conjunction can also indicate a strong drive for success in partnerships or collaborations. The individual may be drawn to dynamic, ambitious partners who stimulate their growth and evolution.

Overall, with Ketu in the first house and the Sun-Rahu conjunction in the seventh house, there may be tension between the individual's need for spiritual fulfillment and their desire for validation and recognition through relationships. Learning to deal with this stress with humility, self-awareness, and a willingness to embrace change can lead to profound personal transformation and satisfaction. If you have any information also. So you can take the help of THEKUNDLI.COM. You can also Contact 8595675042 for more information

[sounknownvoid]

why dean was absolutely frothing to kill chuck/God in s14-15 imo

By s14 we're slowly starting to see the big series villain-reveal is God (spoilers! - but it is a 15xseason series that ended almost 3+ years ago so ya know....catchup) aka chuck.

And you see dean descend into this despair n depression and then absolutely frothing-at-the-mouth-desperate to kill him - at.any.cost - including making Jack into a soul-bomb ... the kid that he did *this* for finally.... birthdays n teaching him to drive in the impala...

And there's been a ton of text on the ptsd dean is sufferring at that stage and it's finally cracked him up (totally plausible) and there's a ton of analysis on how the brother bond with sam talked him down and out of using jack n that the ends doesn't justify the means and "not at any cost" theme from sam and the fact that dean was willing to listen even in that moment (contrasted to chuck n amara) - & i read an awesome analysis n scene-by-scene n line by line breakdown on spn-blr the other day (I Rb-d it the other day) of how dean was stopped cold n brought out of his madness by sam asking him if he'd be willing to sacrifice him ie sam as well in his mad quest to kill God n how dean desperately pleads his case n that chuck MUST die....n I agree with all of it...

BUT what I haven't seen yet is any theories on WHY dean was so angry about it n absolutely crazy about killing god/chuck.... coz here's what's odd to me, about it being dean:

DEAN is the GOOD SOLDIER - he respects authority and father figures in general n even models himself in the patriarchical god's image (be it John or chuck I let you decide) - his whole "free will" thing is a sham / or only within narrowly defined confines acceptable to the patriarchs, because he's always been the one who's followed the rules set for him: by dad,by the hunting life chosen for him by dad, by societal norms,of "being a man", he's always toed the line set for him by dad n although he thinks angels are dickbags, he unquestionably thinks they're the "good guys" - or the "better" option against the alternative: demons n hell (s4 or anytime really even in midst of angel-wars)....he tends to be fairly black n white n even his "rebellion" is only when sam convinces him to walk off the board by saying no to Michael (s5) ...he may scoff at angels n God but he still thinks they're the "appropriate authority" n so while he's upset with how things are run, he's not after a regime change.... he's not the one into "free will" to the point that he'd be willing to kill the ONE TRUE PATRIARCHICAL AUTHORITY ie God...

That was always SAM's gig (n Lucifer)....SAM was the "it's not who you are, it's what you do n you can choose what you do"-guy, SAM was always the one questioning everything n never toeing the line and noticing the corruption in the system n pointing out alternatives n options to everything that they were "destined" for n told to be.... SAM was the one advocating for thinking for yourself...or hell, thinking at all, period... but yes, SAM was also the one with the faith in a higher power n the praying type n had been since his younger days - always the one wanting to believe that there was a higher authority that could save him, absolve him of his sins .... but also not really believing that he deserved to be saved if there really was such a higher power of good... he chose to have faith n hope despite it all...in God.

N then, after all that, they discover it was chuck after all... think about what it means to them in their pov, for a sec:

chuck wrote their lives the way it was with losing their families n letting demons at baby Sam n sam being sold to demon deal by their mother before he was born n dads rage n neglect n conflicted leading to both of them growing up so twisted n isolated n ...

Chuck wrote the big showdown n vessels for heaven n hell n the big throw down pitting brother against each other

Chuck wrote the dying n losing each other n pieces of themselves over n over n over n over n over...

Chuck wrote dean going to hell n sam being tortured in the cage for centuries...

Chuck wrote the big painful heartbreaking,soul-breaking breakups n the lack of trust sown between them by others n by themselves

Chuck wrote the tender moments n the "bro-ments" n "fan-fiction songs" n the caring for each other's wounds n the silent communication between them n the moments of ease n care n laughter n love...

...because, Chuck wrote them as soulmates - wrote the confusing n complicated feelings they had for each other n what it did to them growing up n even after - having to deal with it n figure it out n carry the burden of this connection that meant that they could never fully connect with anyone else despite their attempts n so grew isolated - that never went away even as it twisted n grew thorns n tore them to shreds n they could never let each other go even as it destroyed each other n themselves - because that connection wouldn't let them.... Chuck wrote that.

For his own sick pleasure n entertainment.... which means he heard ALL of sams desperate pleas n prayers throughout his life growing up...n enjoyed it even as he carried on turning the screws on sam (&by extn, dean in deans pov)....which means that all the faith n hope sam chose to put in him ie God- was completely misplaced n in fact in the literal wrong hands - talk about a violation worse than rape?... sam had his faith violated by the very God he chose to believe in after all he'd been through

N the thing is that just like when dean recoiled when John told him that he'd have to kill sam if he couldn't save him n got so mad at John for doing that to him....after he'd given him everything he had...

Similarly, Dean realised a lot of the above n what has him frothing is 2x main things in my mind:

The absolute fury at God for breaking his beloved brother's heart (n soul n mind n body) , doing this to him DELIBERATELY- ie he'd be outraged n furious on sams behalf n all that he's had to go through just for chucks shits n giggles... this would be the righteous big brother-dean fury of epic proportions...

This one I reckon is more on his/their personal behalf n by that I mean their "complicated feelings" for each other - knowing it was there n both felt it n they were brothers would have fked em up pretty badly....n dean especially, often said or did things explicitly to distance himself or sam when younger to deal with this in the "right way" - which absolutely made them both miserable n he hurt sam in the process...he knows sam similarly feels his own guilt n is the source of his self loathing n "uncleanness" just like it is source of dean's amongst others ....BUT by that late season-stage they had both grown to accept it n work with it and had arrived at an understanding of it and each other and by then, they'd felt like it was the "one thing they had of their very own" - not from hunting life,or something from dad or the devil or the destiny laid out for them etc, etc.... it was theirs - they'd found something precious n beautiful n unique n "special" in each other and WITH each other that they'd never found anywhere else n finally had stopped fighting it n had grown into it.....and EVEN THAT wasn't theirs n theirs alone- chuck wrote that....n to dean who'd have struggled with it so much - it'd feel like the one good, non-murdery place in himself n what he'd built with sam was also taken away/polluted n tainted by goddamn chuck....so it's deans violation too...

So yeah it's freewill that dean wants n is fighting to kill chuck for - but it's because it threatens their love n it's a choice that they both made together n he will not have that taken away

n this also is why he thought sam of all people would understand n see that n want to take his ie dean's side that chuck had to go no matter the cost

Anyways sorry it got long... but yeah...this is what my spn-brainrotted brain thinks on why dean was jonesing for chucks blood - coz it hurt sam n coz it invalidated/threatened the integrity of their choice to be who they were to each other....

[animehouse-moe]

Mahou Shoujo Magical Destroyer: Opening

You can watch the opening here.

Yeah, this is just a post about the opening (the episode will come later), because this is arguably the closest we can get to a perfect representation of the essence of Inagawa's work. It's.... stunning. It's art.

So, I think to begin I'll sort of preface what the theme of the opening (and of the work overall) actually is. It's a bit of a mouthful, but it's about the stifling of individual expression due to societal and cultural expectations that weigh on each person. In essence, breaking out of the shell that has been forcibly placed on someone, in this case, Magical Girls.

Let's get it started then, shall we? Sort of surprising is the fact that the 4 girls in the start of the opening are driving along the beach in a car with the top down, not a real care in the world. But, in concert with the existence of water throughout the episode, this is only the surface of the characters. What is shown on the outside, what can remain above the surface. It dulls the feeling of freedom, makes you realize the restrictions placed on them so that they can be afforded that freedom.

Of note in this seen, we see that Anarchy has a fruit in her hand. But, before she eats it she pushes a hole into it, allowing some of the juice to escape. To me, this is obvious symbolism for their interests. They don't want what everyone else wants. Nobody wants a damaged fruit in the same way that nobody wants a magical girl that isn't "pure" or "right". It's her acting out against the norms of society and fighting her way towards what she wants.

Next, we have an interesting scene with Otaku Hero. We find a fish in a glass of water, confined by its surroundings, trapped within. Nowhere to go, no way to move forward, Otaku Hero puts the fish in his mouth. Is it faith? Submission? Something else entirely? Whatever it is between man and fish, it is a relationship of dependence. For the fish to exist within its trapped surroundings, it requires Otaku Hero. It's "freedom" is dependent on being saved by another. And at the end of the day, it just ends up deposited in someone else's glass. For all its struggles, it remains confined. Even in the face of a Hero, the fish cannot escape its glass.

And this is exactly what the opening tells us about the girls. Sure, in the "regular" forms they're afforded some type of freedom, but if they want to express their "other" sides which don't conform, they're left trapped. They only become Magical Girls when underwater. Only when drowning beneath the tide of expectations and requirements, sinking deeper into the abyss of societal and cultural norms forced upon them are they themselves.

And this is where Otaku Hero comes into play. He is the first to betray expectations. He delivers the fish to its new form of confinement, and punches the man holding the glass. Wandering, he finds the girls underwater, decorated by ribbons or threads that connect them to Otaku Hero. Now this is a double-edged sword. It shows how Otaku Hero is their "savior", but also what drags them to the bottom of the ocean of expectations and requirements that they sink in.

Regardless of his connection and nature to the girls, just like with the fish, he reaches out for them, but this time he "frees" them. To what degree are they really free if it's at the hands of a savior though? Of someone that perpetuates the preconceptions and norms that suffocate the girls?

Regardless, their true form is unleashed in something that is needed to be experienced to be understood. Violence, vulgarity, depravity, flirtation, teasing, killing, breaking apart, atomized. It is the representation of all the repression that faces the girls. It's a breakdown of reality and society that allows the individual true freedom of expression.

So, I'm no expert with the meaning of flowers, but each Magical Girl here holds their own type of flower (as does Otaku Hero later down the road), which most certainly relates to their stories somehow. I'm just not sure how because I don't know all of the flowers that adorn the various characters.

And lastly, we finished off with a recreation of The Last Supper, with Otaku Hero at the center. In line with the rest of Inagawa's work, he mocks religion here. He jokes about The Last Supper, about Otaku Hero being the lord and savior of his story, and the Magical Girls being his apostles in what can only be inferred is akin to a religious war between humanity and Otakus. It's a hilarious mockery, of both religion and Otaku Hero. Of the concept of a savior, of the expectations placed upon those that don't conform to expectations. The magical girls are once more "normal", and forced to side at this table, glares cast downward, for the sake of Otaku Hero.

And don't even get me started on stuff like the music. The whole thing is a rage against establishment and society, as it talks about rioting, rampaging, and all manner of other things.

Just an outstanding opening that exemplifies the core of Inagawa's opus, of his form of expression in media. It's a love letter to not just art, but specific his art.