#Sorry in rambling >_< and also probably wrong

[worldsgreatestheroreal]

on the topic of Izuku’s mischaracterization, I don’t really think he’s ever been feminine. Just cause he can show his tears and show that he’s upset doesn’t mean that he’s some dude who wears skirts and stuff.

I think people confuse his personality with like a femboy (no hate to those who are) because of how skittish he can be. When in reality it’s because of how he was constantly bullied and his low self esteem. Or maybe they got that idea because of that one filler episode where a dude took a picture with Izuku and the way he was posing 😭

and I do call Izuku a bean, but only cause I find him adorable, and I like his personality. (he could tell me everything is going to be okay while in a burning building and I’d probably believe him).

also I don’t think there’s anything wrong with calling a guy cute. Like you could call Bakugo cute when he pouts, but he probably wouldn’t all of a sudden go “oh my fucking god don’t call me cute you’re undermining my masculinity.” but constantly saying that “Izuku would definitely wear a skirt to blah blah blah” is definitely mischaracterization.

and to that ask, while I don’t think they meant any harm, and Izuku would maybe wear a skirt so the girls can wear pants, but only after some persuasion and if every other boy did it, he’d probably only do it to help and not wear skirts as a fashion choice.

anyways sorry for rambling

//ooc: no i agree, like i too think deku is an amazing character, hence the rp blog, and i do think he would help the girls protest if asked. it’s really just the weird fetishization and feminization that some fans put onto him it’s so ew.

[microvibing]

I like ward *gives him an existential crisis*

Character From marble sky comic by @ somerandomdudelmao, you should def read it right fucking now cuz its awesome

[gentle-hero-blog]

Actually wait ok i'm not done. i'm actually so serious abt this. I think that a large part of the reason i got attached to metroid when i was younger is because it was the first media i discovered where the main female character was allowed to look like this:

and like. people thought she was cool. BOYS thought she was cool and I had never seen boys think a female character was cool before, much less want to be like one. she had all these interesting traits that I had only ever seen in male characters (person of few words, calm and ruthless bounty hunter persona, highly respected for skill, her appearance isn't mentioned Ever, etc etc). and that was formative for me and my relationship to gender i think

[eri-pl]

A long post about why chromaticism is awesome

(in the context of Ainulindale) and what Melkor did and what he didn't and what Rúmil got wrong

Because 17 of you voted for it, one for "don't care" and one for "we don't need anti-Melkor propaganda" which isn't true: we do need more anti-Melkor propaganda :D (Told you I'm going to ignore some of the votes! I like him ok? I just don't like what he did.) (It's not even particularly focused on that… )

So, long post below cut:

Inharmonious?

 it came into the heart of Melkor to interweave matters of his own imagining that were not in accord with the theme of Ilúvatar [to make himself more important]

Let me ask you a question: Did Melkor sing music that wa snot compatible with the theme of Ilúvatar? Yes, you say, 'tis in the quote.

Nay, I say. It came into his mind to do so. So he did try. But he did not do it, because it is not possible. He simply assumed that what he sang was fundamentally incompatibile. Also, it was too loud and badly timed and confused many of the Ainur. Yes, it was ugly and didn't work well. But it was not, on fundamental, harmonic level, incompatibile, as:

And thou, Melkor, shalt see that no theme may be played that hath not its uttermost source in me, nor can any alter the music in my despite

So: no. contrary to common way of talking about it in the fandom, Melkor didn't play anything fundamentally … how to phrase it? The themes were fundamentally good, just in wrong place and too loud.

["A lot of evil is a misprioritized good" is a thing that probably has a lot written about it already.]

The nature of discord

So, time for some music theory (Yay!)

"Discord" is Tolkien's word for "music I don't like, eg the Beatles and jazz", but generally, discordant notes mean notes that aren't part of the current harmony, or even part of the scale, and make spicy intervals with the notes that are already being played.

Except.

A better word for such notes is "dissonance" or "tension". Because they aren't inherently wrong or ugly. They are something that feels like it needs to be dealt with, they create more energy in the music.

Sure, a stiff classical music teacher (the kind who tries to be Mozartier than Mozart and cleans the trumpet only on the outside, you get the vibe) would tell you that you can't have a second, or a tritone (the famous "devil chord" allegedly) and so on.

That's not true.

You can have those, just not for long, and not too loud and they need to go somewhere and so on and so forth. But used properly, the tensions make music richer and alive.

(But of course when someone decides to be a jerk about it and plays them for too long and too loud… Every sensation made too long and too intense becomes pain, and empowering something that should be temporary always ends up badly.)

Fire isn't inherently wrong, but when it gets out of control and burns everything, it's bad. Cold isn't inherently wrong, but freezing to death is nasty. Change isn't wrong, but can be.

Well, "change isn't wrong" becomes true when there are imperfect beings: beings that can change without becoming less. Like, you know, mountains, and trees, and Men.

What was Melkor's calling?

I think it was to add tensions. But to add them in a normal amount. And this required him to do two things: a) to sing keeping the harmonic tension regardless of everyone else singing differently, and b) to not overdo it and frigging accept the fact that everyone else is singing together.

Well, he managed to do half of it. :F Yay. :F I'm gonna make him a sticker saying "you tried". :F

And yes, this is difficult. That's why the most powerful of the Ainur got the job! And he still messed it up. Because he preferred his pride than the actual job.

But yes, I believe his job was to sing "in discord", just politely. And then at the end on the Music get quiet and yield, because that's what you do with the tensions. And then go happily hang out with your fellow Ainur who would appreciate what he did. Because it's very much not "he was made evil", just "he was made different and other, and became evil by trying to make everything like him when he was supposed to be the contrast".

[Pause, because I made myself sad about how much he messed up such beautiful ideas]

Men (and Elves)

Rúmil says they were created only as a response to Melkor's discord. So, without evil there would be no free will, and no people. Right?

Wrong. Rúmil, go home and rethink your life.

If Melkor did what I described above, the themes would still be able to progress normally, just without drama. And we would have Men and Elves and whatnot, because I don't but a "people are inherently a result of evil" setting, my BS detector flares red on that. (Should I say "sorry"?)

I'm not going into "does free will need evil to exist, or just the possibility of evil or some secret third option" because I don't want to go into real-world philosophy with this post.

Chromaticism AKA: what do you mean "rarepair", it's not a rarepair!

OK, so back to the music theory. Remember when I said that dissonant notes are, among others, notes outside the scale? Those are called "chromatic tones" and are used to add more emotion to the music. Usually the sad types (and scary, yes, this too) of emotion.

So, Nienna. The Vala who, among other things said about her, gets probably the best, awesomest description line in the whole book. My fav. The gothy psychopompy evil-in-early-versions weird lady whose windows gaze West of the West, to Darkness. The edgiest but never crossing the edge (unlike you, Melkor!), the one who prefers to weep for so long than to rise in pride.

I love her so much.

Her reaction to Melkor's dissonance was to weep. And how do you weep in music? Chromaticism. Which is a type of dissonance, technically.

Oh, if only Melkor didn't get it into his head to try to court stalk and pester Varda… :(

Also, the text doesn't say that Nienna was one of the main singers in the Third Theme (like Manwë was in Second), but the vibes very much suggest it. And honestly, with a theme that's not finished it is honest to not discuss who was the star of it?… anyway she is closely tied with the Third Theme, I'm sure everyone will agree on that.

So yea, the Third Theme, I'm so veryveryvery about it *deep breath* I'll try to keep it on-topic

The one was deep and wide and beautiful, but slow and blended with an immeasurable sorrow, from which its beauty chiefly came.

I cannt imagine "immesurable sorrow" in music without chromatic tones. I don't care what Rúmil would say, I don't care what Tolkien would say, the Third Theme is (if we imagine it as not physically music: it is the metaphysical equivalent of) chromatic. It just is.

It's sad and subtle, and the description sounds very much like a minor scale, but don't get me into scales and chord types, because then I'll digress into places we pretend aren't part of the discussion.

But yea, "minor ending with a Picardy third" would be a good approximation of the general feel, I guess.

Oh, and do you know how do you make a chromatic thing work— how do you make any "dissonant" (in classical terms) chord work? (No, Melkor (and Stravinsky), not by repetition!!!)

You put it into open voicing.

So, what is open voicing? I'm glad you asked. Imagine you're playing on a piano. Open voicing is when the notes are far apart and you would need longer fingers to play them at the same time. It's generally the notes being far from each other in terms of pitch. This does reduce the dissonances, because for example C4 and D4 clash much more than C4 and D5. So you put the notes in separate octaves as much as possible and it works, and it makes a chord that would be clashing into a beautiful epic-sounding and generally awesome.

Now, ask yourself: Where have we seen (heard?) about something like that? Because we have.

and in one chord, deeper than the Abyss, higher than the Firmament, piercing as the light of the eye of Ilúvatar, the Music ceased

OK, you can argue that the "deeper and higher" mean it is wide, but it doesn't imply that it's a chromatic chord. the implication goes only one way. True.

But "piercing"? Can a purely diatonic chord feel piercing? IDK

…is diatonic/chromatic even still a question at this point?

So, chromatic is a good thing, right? So, Melkor—

Noo… Not like that. Chromaticism is like— like fire. Or electricity. It can make good thigs better, and beautiful things more beautiful, but it's tricky, and needs to be used properly.It's like admin mode on your computer. Like "see advanced settings" button.

Also, Melkor did …provoke (for lack of a better wors) chromaticism in the Music, but his song on its own is the very opposite of chromatic. Which is sad and ties very well to one of my earlier posts.

He's not nuanced. He's just

had now achieved a unity of its own; but it was loud, and vain, and endlessly repeated; and it had little harmony, but rather a clamorous unison as of many trumpets braying upon a few notes

which is as non-chromatic as you can probably get :(

I made myself sad again, end of post.

Edit: Yeah, no, I went to take a morning (noon) shower and ofc realized there's a lot of it left. Like: why is Melkor-being-not-chromatic a sad thing if the chromaticism is tricky?

So, to be explored in a next post some day:

the ("dynamic" says too little, "self-defeating" claims too much... complicated?) nature of dissonant non-classic chords

the nature of Men, their out-of-FateMusic-ness and how does that relate to chromatic and non-chord tones and music in general

idk, probably more

[keideez]

winged weapon

Happy late 4th anniversary ultrakill!

[transmascutena]

Good evening (or morning, depending on your timezone).

Absolutely no hate, but I want to ask how you reconcile your enjoyment of the show with the reality of what Ikuhara has (most likely) done?/gen

I understand Death of the Author, but what drew me to Utena in the first place was its theme of critiquing the patriarchy and calling out abuse, which feels somewhat hypocritical now. I resonate with this show, and many of Ikuhara's other shows, on a personal level, which is why I am especially disappointed with the accusations since I now have to wonder how that reflects onto me as a person...?

Obviously I don't know you personally, but you seem to spend a lot of time and care on your analyses (which are great btw) so have you also struggled with this?

Again, there is like zero judgement when I say this and I'm absolutely not trying to come off as hostile (in case that is how this reads). And, there is no pressure on you to answer this and I'll completely understand if you want to ignore the ask.

Thanks.

hi, i've been thinking about this as well since yesterday, and it is kind of tough to figure out how to feel about. i think it's important to remember that ikuhara did not make revolutionary girl utena alone, for one. he had a whole team of writers and animators and producers and so on, that it would not exist without. obviously ikuhara played a big part in the show's creation, but far from the only one (if it was, i have no doubt it would be very very different), and . idk what my point really is here but i don't think his actions reflect on the show as a whole. it still is what it is, it still says the same important things about our society's systems of abuse that we've always talked about, even if the director didn't understand it or didn't want to understand it or however you want to put it. and by extension i don't think it reflects on to all the people who have enjoyed the show, who have seen their experiences in it, who have learned from it more about how this kind of abuse works and so on. and i think we need to be aware of what has (allegedly, but again, i believe it) happened, but i don't necessarily think we need to write off the show just because he had a hand in making it. because it is just as important as we've always known it to be, you know? though i think there are (as there has always been and there always is in anything) elements of the show to be critical of, and maybe some new things as well in light of this. i'll have to think about it more.

[froschli96]

you know, i always find it really funny when dudebros complain about syndicate and odyssey being too "jokey" or not "taking its characters seriously" or whatever…

like, did y'all collectively sleep through "it's-a me, mario!", "i meant besides vaginas", ezio inventing the latte, bartolomeo's... just... *gestures vaguely* entire character, etc?

like, it's fine to have preferences of course, i myself prefer a more serious and grounded tone, but these are usually the same people who tout the ezio trilogy as "peak assassin's creed", call ac1 a glorified tech demo and hate on connor for being "too serious and boring", like? make it make sense!

[your-local-granny]

I really do wish that I was just a different person sometimes idk I just wish I could be what other people want me to be :(

a girl told me she liked me yesterday and I love her so so dearly but Not Like That and I just wish I could have loved her Like That it would be better for both of us but tragically pretending I’m someone that I’m not ended my last relationship so..

[hauntswitch]

Im so sorry but the L word is absolutely fucking hilarious - none of these women have an ounce of morality between them and yet they're all somehow still loveable characters. Despite the atrocities. And the bad 2000s haircuts. And the deeply questionable fashion choices.

[milfbrainrot]

i feel like i type so much more than is reasonable when i do talk to people but i also don't get to socialize a ton so i just have soooo many words in me and if i'm like, tired or short on time, it is so much harder to restrain to the already-pushing-it point i can sometimes manage ;-;

[cosmicskittlez]

Yknow I feel like Void gets villainized a lot more than he deserves. Like yeah he was kind of a dick in the first week and genuinely dangerous in the second one, but BF was also the one egging him on and then tried to do that shit again without a crowd around. Yes void is egotistical but he's sure not a bad guy. Dudes just a little mentally unwell and seems like he was doing just fine until BF started one-upping him both privately and publicly.

Which now that I think about it, wasn't BF legit trespassing on stage during one of his concerts? And then after beating him multiples times went to find him again purely for a rematch? That is so close to just insane fan behavior tbh. Most I can really fault Void for is letting BF continue to do what he was doing and not kick him out when the Accretions thought that he should. He probably knew that it wouldn't go well for him but also didn't want to stop and never know if he actually couldn't have beat him at full strength. I think at the end of the day Void is just someone who's a little egotistical and stubborn, but his breakdown was majorly influenced more by the fact that someone just kept pushing their own luck and tried to beat Void at his own game, even when it was clearly sending him into a mental breakdown.

[repsolhonda]

FINALLY SAW CONCLAVE ON THEATRE OKAYYY

[stan-joe]

vein PV has me worried on multiple in-universe levels but it also has me worried on the basis of link click, even in its wild intense moments, being a very down-to-earth series that, despite involving superpowers and time travel, is so grounded in real life. Vein PV felt like something out of like Dandadan or Devilman Crybaby, which, dope. But I am concerned for the sanctity of Link Click normal vibes

[quatregats]

“I’m going to O’Brianize Hornblower in this one specific fic,” I say, as though I was not O’Brianizing Hornblower in every single Hornblower fic I write ever