#Spooky speaks

[spookypainting]

[most-datable-datable-bracket]

I am currently working on the next tournament, what I like to call the Loser Edition.

What I'm doing essentially is taking all of the previous contestants and checking the highest round they've been in.

Anyone who has never gotten past the first round is a yes, anyone who's never gotten past the second round is a maybe, and anyone else is a no.

Anyway all this to say

CAN YOU BELIEVE FAN FAVORITE 707 FROM HIT GAME MYSTIC MESSENGER IS A MAYBE???

[linkspooky]

HOT TAKE #11

Gojo’s character flaw isn't that being the strongest makes him lonely. His flaws is he thinks that being the strongest makes him exist in a category above all other human beings, and therefore he doesn't have to bother trying to empathize with them. He describes everyone else as plants, they're not even animals, they're unthinking plants.

It's a flaw that shows in all of his behavior. He throws his weight around, bullies people to get what he wants, generally doesn't respect other people's autonomy. He loves his students but he also uses them as tools for his scheme to reform jujutsu society. This actually hurts his students, especially Megumi. His students don't even realize they're being used because they all are indoctrinated into thinking they owe him. Gojo is actually pretty manipulative guys, he just happens to have very progressive ideals at the same time.

Literally, everything he did to Megumi. Gojo had the option of putting Megumi into foster care, because hey guess what human trafficking is illegal the Zen'in had no real claim on him. Making an eight year old work to earn room and board by selling away his future is bad actually, it's bad.

Megumi's mental health and well-being is like a tertiary priority to Gojo at best. He literally says out loud to Sukuna he feels no qualms about beating Megumi up. He literally said that. The whole fight he cared more about having a fun fight with Sukuna then the issue of saving Megumi.

Anyway all of this is good because if Gojo were a traditional good mentor he would be boring.

[christinedaaeunofficial]

she repo on my genetics til i opera

[spooky-after-dark]

I want Smokescreen to stand like this while he flirts with me

[spookyavenuestreet]

need more bsd mutuals,,, ヽ(´o｀; any kunikida enjoyers PLEASE PLEASE PLEASE BE FRIENDS WITH ME– ヽ(;´Д｀)ノ (yosano, kyouka, and atsushi enjoyers too (　ﾟ 3ﾟ)) /nf

[amildlyspookydeer]

penny pokemon is ABSOLUTELY fanfiction girlie. you know shes on that rpf lifestyle. she reads fanfics about gym leaders she's never met. she's a raihan/leon/piers shipper and only reads the most nasty smut she can find of them except she also reads hyper fluffy ones and she's more embarrassed about those. she has the rika x reader tab on pokemon ao3 open and when she met rika after getting caught hacking the pokemon government for crypto, it made it weird. she closed the tab but after a few months and finishing community service she opens it again and tries to ignore the sense of impending doom and the fact that she knows this woman in real life. she has to reevaluate her choices when she gets asked to actually work with the league. no one but her after dark, privated twitter followers know of her depravity.

[spookyspiderboiii]

i would like to kiss a women & eat a cheddar bay biscuit

[spooky-activity]

Has anyone else encountered the bug where if you’ve recruited Jaheria when you trigger this cutscene at Moonrise, she disapproves so hard she comes up to you and leaves forever?

It is the same if, for whatever reason, Aylin or Isobel are alone in this scene. It’s just MUCH funnier to me that a bug made her homophobic

[thespookiestparker]

Hello all! Considering I’ve had this account since I was 18, I was thinking I should revamp this place just a bit, so here goes: 

Introducing the author: Nice to meet you! I’m Spooky, he/him, 25 I’ve made a masterlist if you’d like to take a look at the fics I’ve written over the years, as well as a list of ships I’d write for and characters I’d make x reader fics for! I do take requests, but please try to be respectful! Thank you!

Inbox Status: Open!

[the-spookiest-scariest-skeleton]

full disclosure, I still mentally associate you with the cockatoo you had as ur old php, no clue why

Fair enough man. I still love cockatiels but I also love plague doctors and the asexual flag, and I feel like it fits the brand a bit better

[spookypainting]

made something

[most-datable-datable-bracket]

Hi!

Sorry, I know it has been months but sometimes life gets in the way :(

During this time my computer broke and I lost all my files for this. I've got a new computer now but I might be slow to restart because I have to redo everything

But don't you worry, I'm not death and neither is this tumblr!

I'll see you in a few <3

xoxo

Mod Spooky

[linkspooky]

Okay, so I received an ask in response to an MHA critical post I received last night that I originally responded to, but then decided to delete the ask and the original post because I didn't want to get into an argument.

However, I feel like I should address one of their complaints about a post I made last night. That I was being too dismissive on the cultural reasons for some of the writing choices Horikoshi made because I am obviously not a part of the culture that Horikoshi grew up in and is commenting on in his piece of work.

I tried not to dismiss the cultural reasons entirely in the post though, I just said I don't think you can entirely blame Hori's writing choices on them. My cited example was there are other shonen jump mangas that don't go out of their way to gruesomely kill their villains (which is what I'm taking fault with.) I understand that the death penalty is a common response to murder in japan, but within the realm of fiction of shonen manga doesn't have a trend of killing all their villains.

But yeah, that might have been a shallow argument.

So there are different lenses of fiction you can criticize Horikoshi's writing on, because every piece of fiction is in fact influenced by the culture it's in, as well as obviously the author's personal life and unconscious biases but that's not all. There's also genre to consider, and influences / inspiration the author might have taken from other works.

For example, there is also genre in particular MHA is written as a response / commentary to both western comics and classic shonen jump manga. Horikoshi said in an interview:

“Probably have to be Goku and Spiderman. To me, when mentioning heroes, these two are the ones that I think of. In Goku’s case, it’s the reassurance that everything is going to be fine he brings when arriving.” 

There are multiple critical analysis lenses that you can analyze a story from. If you're talking about MHA from a feminist lens then you're likely to stick to topics relevant to that, like say japanese feminist movements. If you're talking from the sociopolitical angle then it's relevant to discuss collectivism, and especially how it inspired the Todoroki Family. However, my intent wasn't to dismiss sociopolitical reasons as why Horikoshi chose to write the story this way, but to say it's not the only reason that informs Hori's storytelling choices. MHA isn't just one thing it's multiple thing, me deliberately choosing to talk about MHA as a response to both eastern shonen manga and western comics is a valid critical lens to apply to the manga. You can talk about both obviously, but that was a pretty short post. Perhaps I didn't word my post the best but please try to be understanding that I can't make a post covering all of my bases on leaks night.

For a manga where Horikoshi cited his concept of heroism comes from Goku and Spiderman, they both don't kill their villains, Goku specifically let Vegeta live so if those are his inspirations the choice to kill every villain is weird to say the least.

I can make the argument that MHA fails as any kind of meaningful commentary on comics in general because it doesn't seem to understand the comics it is taking inspiration from. The X-Men are the underdogs in their story, not members of the privileged class they are the outcasts. Batman doesn't kill people because he believes that most of his mentally ill victims turned villains deserve a second chance and he can't dictate who deserves recovery and who doesn't.

If anyone reading this post is curious, here are posts by @siflshonen that discuss both the manga influences and comic infleunces easter and western infleunces on MHA, and also the cultural ones. They are also really long posts because those topics require a great length to discuss critically. This one is about MHA's manga DNA in regards to Bakugo's character, and specifically references Yu-Gi-Oh and Kaiba's character as well as Jonouchi as response for Bakugo's development arc from bully to best friend. This one discusses more about the nuances of collectivism. This one is in reference to the Todoroki family, it discusses both collectivism / japanese family roles / honnae and tatamae concepts that the Todofam is critiqueig, and also how Enji is inspired by eastern ideas of heroes while All Might is inspired by western ones. (Therefore it's not a wrong critical lens to compare MHA to other shonen manga and western comics because that is literally what the manga is taking inspiration from and commenting on).

Here's a powerpoint presentation by @sans-san that discussed Hegemonic Masculinity in Tokyo Ghoul in terms of work culture and how the CCG is inspired by that, which I think also applies to Enji's character as well.

This post by @bnhaobservation spoke about how the Todorokis decision for not disavowing or abandoning Toya after he was sentenced to life in prison would still be a progressive ending to the TODOFAM arc, and while I still wouldn't have been satisfied by that ending I'd at least be able to accept it. That is however, not what we got, we got Toya dying a slow agonizing death while hooked up to life support. So we could have still gotten a slightly softer ending where Toya's at least allowed to live that would have still been in line with the values of the culture that produced MHA.

This post by @bnhaobservation also talks about how the Todofam plotline can still be seen as progressive in some ways in regards to his criticism of Enji's parenting, because of certain outdated attitudes of parenting that still exist about Enji pushing Shoto to his absolute limits.

However, I don't want to debate the person who sent the ask, I just wanted to clarify I'm not trying to make a reductive statement that sociopolitical circumstances have nothing to do with Hori's writing choices, but that you can also analyze it from a lens of genre, commentary on comics and shonen manga, and also the predecessors he's taking inspiration from. All of these things have an inspiration on Hori's storytelling choices.

Since I'd rather not debate, now that I've gotten clarifying things out of the way I'm actually going to use this post as a book reccommendation.

Here's Shigaraki with Underground, one of my favorite books. It is a non-fiction work from famed fiction author Haruki Murakami about the Saren Gas attacks.

On a clear spring day in 1995 five members of a religious cult unleashed poison gas in the Tokyo Subway system. In an attempt to discover why, Haruki Murakami talks to the people who lived through the catasrophe and lays bare the Japanese Psyche.

For those who are unaware the Saren Gas attacks were a terrorist attack where members of the Aum Shirikyo cult released saren gas in the public subway system. It is the biggest japanese terrorist attack in modern japanese history and at the time and even the modern day it was a great shock to them as a whole.

The book consists of several interviews with the victims of the attack, and they are incredibly harrowing to read I remember crying while reading this book multiple times. However, at the end of the book after giving considerable time to let the victims share their stories Haruki Murakami also devotes space in the book to interviewing former members of the Aum Shirikyo cult.

Haruki clarifies his intent in his decision to include testimonial from the cult in the afterword of the novel. "As I worked on this book I attended several of the trials of the defendants of the Tokyo Gas attack. I wanted to see and hear those people with my own eyes ad ears, in order to come to some understanding of who they were. I also wanted to know what they were thinking now. What I found there was a dismal, gloomy, hopeless scene. The court was like a room with no exit. There must have been a way out in the beginning, but now it had become a nightmarish chamber from which there was no escape. [...] To all of them I posed the same question, that is, whether they regretted having joined Aum. Almost everyone answered: "No, I have no regrets. I don't think those years are wasted" Why is that? THe answer is simple - because in Aum they found a purity of purpose theycould not find in ordinary society. Even if in the end it became something monstrous, the radiant, warm memory of the peace they originally found remains inside them and nothing else can replace it. [...] However, as I went through the process of interviewing these Aum members and former members, one thing I felt quite strongly was that it was't spite of being part of the elite that they went in that direction, but because they were a part of the elite. [...] However, we need tor ealize that most of the people who join cults are not abnormal; they're not disadvantaged; they're not eccentrics. They are people who live average lives (and nmaybe from the outside, more than average lives), who live in my neighborhood and yours.

Haruki interviews members of Aum Shirikiyo because he wants to make the point that the people in these cult aren't from a dangerous fringe element of japanese society, but rather they are normal people, some of them even highly educated. The capacity to commit those crimes exists in normal people, and also the capacity to fall victim to a cult.

The Ikuhara anime Mawaru Penguindrum is heavily inspired by both the Saren Gas attacks and the questions that Haruki Murakami asked in the Underground. Fully covered here in this article: Exploring Mawaru Penguindrum 2011 from a historical, cultural and literary perspective here.

Underground was Murakami’s attempt to interview survivors of the Sarin Subway Attack. Apart from learning the perspectives of ordinary citizens involved in that shocking incident, he also managed to interview several members of Aum Shinrikyo and tried to get their point of view on the matter. (In the Japanese edition of the book, the interview with the cult members were published in a separate book, titled The Place that was Promised.) It was an important piece of journalistic work that criticized the public’s attitude of questioning what happened, instead of asking the proper question of why it had happened. In the anime, viewers knew that an event took place in 1995 that affected all the characters, but what exactly was the event about? Why did the people do that? What social factors attributed to the occurrence of such event? These are the questions that Mawaru Penguindrum asked, and one that we were left to ponder on.

Ikuhara and Murakami both exist in the same culture as Horikoshi, Haruki is an incredibly prolific japanese author and he was born in 1945 but both of them are able to ask more meaningful questions about the society they live in then Horikoshi accomplishes with the league of villains and the todoroki family. Haruki Murakami emphasizes the humanity of the aum shirikyo members and that they are not lunatic fringe members, and Mawaru Penguindrum is about the extreme social pressures that people especially children can be a victim of.

Literature is influenced by the culture it takes place in, but it's also a response to that influence and the piece of art that Horikoshi wrote just isn't as thoughtful of a response than what was written by both Ikuhara and Murakami.

More book recommendations if you're interested. The Setting Sun, by Osamu Dazai. Pachinko by Min Jin Lee. How do you Live? by Genzaburo Yoshino. In the Miso Soup by Ryo Murakami. People who Eat Darkness by Richard Lloyd Perry. Night on the Galactic Railroad by Kenji Miyazawa (I'd argue this is an example of good collectivism). The Memory Police by Yuko Ogawa. Out by Natsuo Kirino. There was a couple more I wanted to include but they had cannibalism in them so I thought it better not to reccommend them.

[ccursd]

Tbh having this many followers and have no one to interact with is pretty nice. This means I can post a comic take my time and no one will pressure me to hurry up because majority of you are probably AI bots ready to take over the world.

If you do can we stop by a McDonald's?

[spooky-after-dark]

I am stuck between two different smokescreens. Number one being the smokescreen that is a cocky, high school jock type guy that fucked back in his academy days, and has douchbag with a soft side vibes, and flustered himbo smokescreen, who never slept around and is a total loser, but puts on a facade of confidence and gets totally blushy and flustered whenever a cute person flirts with him.