#and its thematic intersection with | Explore Tumblr posts and blogs

thydungeongal · 4 months ago

Note

What are some good RPGs that would say are good examples of being queer?

Sorry it took me a while to reply to this!

Anyway, my favorite capital Q Queer RPGs are Monsterhearts and Dungeon Bitches. Monsterhearts is the subtler of the two, being basically a game about playing a CW style teen drama with monsters that is basically a genre mashup of Vampire Diaries, Ginger Snaps, Buffy the Vampire Slayer, and Jennifer's Body. The queerness is very much textual but it's more so thematic and symbolic. The game's themes are queerness and adolescence and growing up, the vehicle it uses to explore those themes is monsters, because queer teens often get made to feel monstrous for having feelings and desires that fall outside of the norm.

Dungeon Bitches by @cavegirlpoems on the other hand is much more explicit about its queerness, in the sense that the queerness is also explicitly and unambiguously written into the fiction of the game. It is a game that is very much grounded in the dungeon-crawling genre of fantasy but that asks the question of "what kind of people would actually get into the dungeon-crawling life" and answers that with "people who are otherwise marginalized in so-called civilized society, especially queer women." It's very much a game that uses the dungeon crawling lifestyle to present a dialectic between the "safety" offered by the closet and normative society, and the precariousness and danger and the undeniable thrill of living as your true self. It's a game that is resonant to me not only as a fan of dungeon crawl type games but also as a trans woman making her first small steps towards transition. It's a fucked up game for fucked up dolls.

There are plenty of other queer games too, including Thirsty Sword Lesbians, Queerz, Girl by Moonlight, Dream Askew, and many many more. I think Thirsty Sword Lesbians is the most well-known and I do own it and at the end of the day it kind of leaves me cold. It feels like it's trying to play things a bit too safe and at the same time I feel its politics of identity are just messy.

Anyway, this is something I've been thinking of for a while, but since I've been thinking a lot about queer games not only in terms of "does it have the Gay" but also in terms of "does it thematically intersect with questions of queerness," I have to mention Eureka: Investigative Urban Fantasy by @anim-ttrpgs.

So okay having been involved in the community surrounding Eureka for a while there is something about that game that appeals to LGBTQ folks, especially trans women. Now, Eureka has of course been written primarily from the point of view of disability: the main writer is disabled and the game makes it explicit that many of the supernatural elements, including the monster investigator types, are symbolic of the experiences of the disabled. But because the experiences of marginalized groups tend to intersect a lot, many queer folks also end up seeing themselves there. Vampires in Eureka are written very much from a Christian folkloric point of view so that many Christians may see them as inherently anathema even while they may still maintain their faith; something that many queer Christians may resonate with. Similarly, one of the monster types, the Thing from Beyond, is all about being an alien shape shifter trying to navigate a society that is ultimately scary and alien to them. There's also Living Dolls up in that thang!!!

There is more to Eureka that makes it appeal to many queer readers, but the main thing is this: it is written from a point of view that is ultimately empathetic of the "freaks" and outcasts. And while it does approach these topics from the point of view of disability, it is also very open to queer readings.

And this is sort of a source of gentle ribbing within the Eureka community: that the lead writer ends up writing stuff that resonates deeply with his friends and fans of the game, a significant number of whom happen to be trans women, and that this has to be pointed out to him constantly. It's really sweet and funny. (Fun anecdote: when I first came out as a trans woman he approached me in my DMs asking "So you're a chick now?" followed by a 👍 emoji.)

And I think that's a fun contrast. Many games that ultimately do not touch upon queerness in any meaningful way in their themes or gameplay will still get lauded as queer because they will use identity as a coat of paint or a part of their marketing. And at the same time someone writing candidly about their experiences of living with disability via metaphor may end up accidentally writing something that actually resonates with the lived experiences of queer people.

#thydungeongal answers

357 notes · View notes

the-crooked-library · 3 months ago

Text

The Violence of Conformity: on Queerness, Shame, and Vampirism

As we all know, and as I feel I must express again - the metaphorical layers of Nosferatu (2024) consist of several complex, frequently intersecting social themes. Some of them, admittedly, exist a story or two below the surface-level discussions; but that makes them no less influential in regards to the primary plot, and they demand the viewer's exploration just the same.

This is especially true in regards to Eggers' approach to homoeroticism. Its presence within the film itself is unsurprising - implicit, or even explicit, expressions of queerness are a hallmark of gothic (and especially vampire) media. In the case of Nosferatu, this narrative vein provides an undercurrent to almost every aspect of the story; and, because I can't stop thinking about it, I'm making it everyone else's problem.

The Hutters are queer, biting is a metaphor, details under the cut.

To begin with, I must clarify that a queer reading of Nosferatu is not an external introduction. While that lens may be applied to any narrative, given a thorough enough discussion of gender roles, sexuality, and cultural context, it has always been a natural - if sometimes unspoken - component of gothic horror. Elements of it are observable in classics like Frankenstein (Shelley), The Picture of Dorian Gray (Wilde), and even detective fiction offshoots like The Hound of Baskervilles (Doyle), etc; and within the vampire subgenre, it is practically a requirement.

That, like many other things, may be ascribed to Lord Byron and his ever-enduring cultural legacy. In the year 1819, at the Villa Diodati in Switzerland, he challenged his illustrious group of friends to each write a ghost story; and while only two achieved any sort of prominence, that much was sufficient to alter the history of the horror genre. One of these was Mary Shelley's Frankenstein; the other was The Vampyre by Dr. Polidori.* As the title suggests, it was the first Western work of fiction that featured such a monster - and, in doing so, it set the blueprint for countless others to follow. Since then, the genre has been defined by the shape of the dark, hedonistic, and dangerous Lord Ruthven, who was unmistakably modelled after Byron himself.

As a character, Ruthven is confident, dominant, manipulative - and brooding, on occasion. His interpersonal approach is defined by a sort of hypnotizing, seductive, possessive, most certainly ill-advised allure. The overall impression is devilish; and that is indeed the point. Within the thematic framework of The Vampyre, Ruthven represents temptation of all kinds. He never hesitates to indulge himself; and so, once he is bored with cards and brothels, he has no qualms about fixating his appetites on Polidori's main character, Aubrey.

Their relationship is notably homoerotic. Despite - or, perhaps, even complemented by - Polidori's amateurish style, the text demonstrates a genuine, striking sensuality between them. In 1819, this easily fell in line with the rest of Lord Ruthven's characterization; and, following The Vampyre's a rapid rise to popularity, vampirism became a shorthand for any "sinful" - or, socially forbidden - sexual expression.

Given the numerous restrictions of the time, most of which persist today to a degree, this includes not merely abusive or incestuous, but also queer, interracial, and extramarital relations - as well as anything involving kink dynamics. From Ruthven, we get Carmilla (LeFanu), Dracula (Stoker + adaptations), and even relatively recent installments like Lestat (Rice).**

The premise of Nosferatu is no exception. One of the most famous cases of copyright infringement, and a triumphant testament to the historical/preservationist value of media piracy, Murnau's 1922 silent film survives - against explicit orders of the Stoker estate; and, being the literary bastard child of Dracula himself, Orlok maintains many of the same characteristics as his predecessor.

Among these is his implicit and classically vampiric queerness. Like the rest of the film, it is amplified in 2024 - and especially prominent in the first act, in which Thomas Hutter arrives to Orlok's castle.

It is evident from his earlier characterization that Thomas is a repressive type. More so than Aubrey or Jonathan Harker, he keeps his head down, obstinately ignoring the web of fears that shape his daily existence; and it is a monster's narrative duty to expose and realize every single one.

Granted, social circumstances do play a role in this situation. Aubrey has wealth and status; Jonathan Harker has friends and a stable, loving marriage; and Thomas Hutter has neither of those things. Without the benefit of money or community, he lives within a world that is almost as restrictive as Ellen's. His personality is defined by his similarly desperate desire for respect; and his behaviour throughout the film is informed by that underlying pattern. It manifests, most prominently, as a near-compulsive, yet formulaic, adherence to social expectations. He chases after a promotion, marries, gives his wife flowers she didn't want - and, in the same breath, dismisses her "childish fantasies", not out of any malicious intent, but simply because it is supposed to be his duty as a man and husband. It is a destructive cycle of indignity and overcompensation - and I believe it is essential to acknowledge that it's motivated, in great part, by his financial insecurity. As a self-described "pauper," Thomas is anxious to prove himself to his ruthless, unforgiving society - because if he does not, he runs a very real risk of losing even the few comforts he has managed to scrape together.

This threat of destitution is an act of violence. Implicitly, constantly, in consequence of daring to exist, Thomas is being held hostage - unless he conforms.

His sojourn at Orlok's castle is, therefore, peppered with evidence of his superstitions, his social class, and his weakness. Orlok - whom he eventually finds slumbering in the dungeon, the symbolic core of the building itself - is its culmination. What Thomas sees after opening the casket is a nude man, always and never dead, who is trying to take away his wife and imprison him, like a damsel, in a castle. He is horrified; and the implication is blatant. In context with everything else, the deeply sensual, lingering brutality of Orlok's attack is symbolic of the one last thing that Thomas is repressing - and has been for so long that facing it is unthinkable. Still, he can do nothing to resist Orlok - who pushes him to annul his heterosexual marriage, subdues him, bites him; and drinks from him, night after night.

Even during daylight, Thomas fails to destroy his tormentor. In the story sense, he cannot do it because Orlok is a vampire; on the symbolic level, we understand that he cannot kill his own nature.

It goes without saying that this experience is violent; it is both grotesque and shockingly, blatantly lewd. It is traumatic. It is euphoric. It is a form of sexual assault, as far as the biting - a naturally penetrative act - is concerned; and, crucially, it is also Thomas' own repressed desire forcing him to know it. His fear and self-disgust are made flesh in Orlok. Unwanted Desire versus Unwanted Advances; it is a classic gothic paradox - and, in the end, he is unable to accept it. He flees, back to Ellen and the familiar comfort of repression.

Curiously, Ellen herself - who is also distinctly queercoded - presents a depiction of an alternate path.

Like Thomas, she begins the film rigidly repressed and doing her utmost to conform to the established heterosexual social standards. The most prominent factors behind Ellen's oppression are ableism and misogyny - both rooted in things she cannot possibly hide. Her seizures are extremely noticeable to say the least, her neurodivergence affects every conversation she has with the people around her, and all of them perceive her as a woman first and a person never. As the film goes on, it becomes increasingly clear that this emulation of a happy marriage requires constant and agonizing effort to sustain; but while she is also blatantly queercoded, and this queerness definitely contributes to the way she is treated (e.g. by Harding, who views her as a threat to his own marriage), her struggle in maintaining her union with Thomas is not necessarily rooted in a lack of sexual attraction.

The issue is, rather, its "inappropriate" manifestation. Ellen is sexually dominant. Her desires are carnal (and, as the original script implies, mildly sadistic). In a society that expects women to be both innocent and submissive, limits their financial opportunities, and threatens the nonconforming with institutionalization or abandonment, she is caged.

Unlike Thomas, she is aware of that and resents it accordingly - which is not to say that she doesn't feel overwhelming guilt in regards to her sexual inclinations. She absolutely does; and it is interesting to note here that her own pain, in this case, manifests as attacks on her husband and Anna.

This is the part of the story that actively deals with Ellen's queerness. It is evident that she has lived her entire life with the idea that such feelings themselves are sinful; her desires are already unacceptable, even within the sanctity of a heterosexual marriage - thus, actively pursuing another woman would be monstrous. In this interaction, however subtle or unspoken (and, on Anna's part, likely unrecognized), Ellen perceives herself as an aggressor. This is the reason her friend is attacked directly after they share a private, tender moment together - true to the classic gothic vampire tradition, Orlok is, consistently, the direct manifestation of Ellen's shame. He drinks from Anna's breast (the characteristic bite notably favoured by Carmilla - the original lesbian vampire); he destroys the Hardings' perfect nuclear family; and Friedrich Harding blames Ellen and her "fairy ways." Symbolically, their suffering is her punishment - both for feeling a brief moment of queer affection (guilt, fear - direct, setting-driven), and for refusing to indulge it (self-acceptance, rebellion - metaphorical, represented by Orlok).

Still, despite her fear and guilt, Ellen knows that she has done nothing wrong by following her "nature." Her queerness is inherent to her - much like her disability, or her psychic gift; and it is no accident that, among the human characters, the latter is only truly identified by the remarkably eccentric, disgraced, flamboyant, cat-loving, unmarried, bohemian Von Franz. Even though he might be better-adjusted to their surrounding society than her, he still decidedly exists on its outskirts. There is a familiarity of recognition between them, as well as the particular dynamic of a fresh and uncertain fear vs a resigned bitterness that alludes to an interaction between two different queer generations. Even as he is unable to promise her a happy ending, he confirms that she was meant for greater things than the world around them would allow; and that, in my opinion, marks a turning point.

Prior to her conversation with Von Franz, the only validation Ellen has ever received was from Orlok - which posed a moral complication. He was and is a monster, and as such, she believed him to be, fundamentally, a "deceiver." Because of this, she could not bring herself to entirely accept what he was saying; but, conveniently, Von Franz provides an alternate opinion. He stresses that her gift is not only powerful, natural, and inevitable, but also inherently beautiful and sacred.

This is a drastic shift from the way Ellen is normally perceived by humanity. The story consistently demonstrates that the other characters dismiss, infantilize, or condemn her out of turn; however, in this new philosophical context, her night of passion with Orlok - or, the city's only hope for salvation - becomes a supremely important, adult, and holy act. In a spiritual sense, it is equivalent to a marriage; and the film frames it as such.

Like a father, Von Franz gives her away. Despite his well-established monstrosity, Orlok is tender with her to the point of reverence; and she pulls him close - as unnecessary or selfish as that may be. It is, after all, a metaphor. By embracing the Vampire, Ellen embraces the physical representation of everything she had once considered ugly in herself. In regards to her queerness (as well as her psychic power/neurodivergence/disability/personhood), it is a triumphant moment of self-acceptance.

Ellen's arc therefore ends in sublimation. Meanwhile, Thomas is left behind; over the course of the film, he has been unable to let go of the structures that have directed his thinking and behaviour throughout his life - and yet, at the same time, he has also seen them fail, over and over. Knock betrays him, Sievers is out of his depth; Thomas himself cannot be a hero, and Harding - his glittering ideal - crumbles, consumed by grief and madness. The finale, therefore, leaves him on a precipice.

It is a classic moment of deliberation - epitomized, perhaps, by The Matrix (Wachowski Sisters, 1999), in its iconic "red pill/blue pill" scene. As much as the interpretation of it has been twisted over the years, the fundamental, intentional meaning of it is inherently queer; it is about weighing the danger and value of awareness against the meaningless bliss of ignorance. These narrative points are most frequently framed as a beginning - but for Thomas, that is how the movie ends.

He could return to the prison of his daily existence, repress everything he truly feels once more, and suffocate himself in a stranger's life. Before him, Ellen and Orlok depart into a "sea of fog" - an unknown, terrifying, beautiful alternative. It is a promise of freedom and a guarantee of struggle. He sees an example of what he could become, in them and in Von Franz. Their society - and ours, to a degree - is unforgiving of deviation, yes, but the story has also forced him to recognize that acquiescence is not the only option; nor is it actually enough to protect him or his loved ones. Within an oppressive society, safety is always subject to an implicit transaction; and as the finale of Nosferatu makes painfully clear - Orlok may have been in covenant with the Devil, but Harding is the one who sold his soul. The question, now, is whether or not Thomas can bring himself to ignore that.

I know what I would personally wish for him - a full and vibrant life, somewhere on the edges of polite society, that allows him to delve into the eccentricities he never knew he had. He could get into the occult himself; maybe even meet a dashing vampire hunter who would sweep him off his feet and shock his lingering sensibilities every morning (and if the man's a cowboy, even better). However, the point is that we do not know what he will do or what will happen. A life is always in flux. Regardless of our circumstances, there are still a few things we get to choose for ourselves, and a precipice is also sometimes an opportunity for a leap of faith.

I hope, most affectionately, that Thomas Hutter jumps off a cliff.

*POLIDORI - Dr. John William Polidori, who may indeed be considered the creator of the modern vampire genre, graduated from Ampleforth College in 1815 with a thesis on sleepwalking. It's not exactly relevant; but, in the context of Nosferatu, rather apt. I would've really liked to see his thoughts on it, seeing as it's such a perfect intersection.

**LESTAT - being blond, Lestat does stand out from the primary archetype in the visual sense; but the current discussion is more in the realm of personality.

125 notes · View notes

jamiepaige · 5 months ago

Text

Constant Companions Closeup #9: OBJECT OF AFFECTION

(also on spotify!)

O, wayward soul, I beg of thee an ear; Companionship, a Constant of desire, is all too fleeting. Would thee quell this fire? My love, do you know what you want to hear?

Welcome back to the Constant Companions Closeups - a series of in-depth dives into the songs off of my latest album, Constant Companions! Yesterday was some gay shit (Liaison) and today is some more gay shit (Object of Affection)

---

I'm usually pretty good about letting go of the things I make and letting them live imperfectly, but there is exactly one released song of mine that I've ever been actively unhappy with the final product of, that I haven't been able to let go of my displeasure with.

Honor Majesty, off of Autumn Every Day.

It's not that it's a bad song, or that it didn't have good ideas! In fact, I genuinely think it shares more with the music I make now than a lot of my older work does. Rather, it was incredibly rushed and full of uninspired choices I made for the sake of completing the song rather than making it the best version of itself, and it ultimately ended up falling incredibly flat relative to what I wanted it to be!

I really like the intersection of synthpop/electropop and fantasy. One of my favorite musicians ever is Baths, whose album Romaplasm is chock full of this exact thematic and sonic intersection, and it's so deeply inspiring to me that it still gets put on whenever I want to dream things up. I've always wanted to make things like that! Bubbly and fantastical, brimming with a sense of magic so pervasive it makes even the mundane seem mystic.

...Also I'm just a fantasy dork okay. I like wizards and shit. Sue me

I've been wanting to make a grandiose and fantastical story song for years, and my single attempt to do so felt like it missed the mark entirely. I did touch on fantasy a couple times on Bittersweet, but ultimately, when I started working on this album, I knew exactly what I wanted to take a second crack at.

---

The intended story in question here is fairly vague, but to sum it up as literally as possible:

A rebellious, disobedient, gender-questioning prince has mildly inconvenienced "his" royal lineage one too many times. Their solution is to invoke magicks widely regarded as heretical - what's a fantasy monarchy without some hypocrisy - to seal their "son's" soul within an automaton body, rendering "him" a perfect, subservient doll.

This doll is promptly spirited away under cover of darkness by a mage, and is granted free will once again. She experiences the crushing weight of newfound self-awareness and nearly spirals out of control, before realizing the mage who saved her is the same - a doll. It turns out being a magical-mechanical construct has its perks if you are TRANSGENDER. then they overthrow the monarchy and fuck nasty or whatever idk this is where the story gives way to things like "metaphor"

this is a song about artifice and being transgender

Seriously, though, I know that being an electronic-music-producing transgender lesbian with a thing about dolls or robots or whatever is a major endless-store-shelves-of-identical-buzz-lightyear-action-figures moment on my part, but dammit, I own a copy of Logic Pro and a genuine leather wizard hat, I inject estrogen into my stomach fat every Wednesday, and I think ball joints are cute. I'm posting this on Tumblr, for gods sake, I am unconcerned as an active choice

---

With the exception of Liaison, the entirety of Constant Companions utilizes only three unique vocal synth characters - ANRI, Gumi, and Teto. This trifecta was born organically from simply being the vocal synths I enjoy using the most, and in this song, I wanted to use all three of them almost like one single singer, freely shifting intonation based on the context. I messed with this idea before on Ballroom, my voice meshing and melting into Gumi V3's voice, but it felt especially appropriate for this context; Plus, I feel like there aren't a lot of examples of vocal synths being used/recontextualized in this way, and that's a shame in my opinion!!

I really want to do more story-driven songwriting like this in the future as well. Now that I'm a bonafide VocaloP I've been floating the idea of doing a song series with this trio... I'm mostly just worried I'll want to get too ambitious with it.

Off the top of my head, Object of Affection references at least eight other songs of mine - Honor Majesty is an obvious one, but it also directly samples parts of Autumn Every Day, and lyrically references genuinely just a bunch of things. I'm probably forgetting some, even!

I know I'm the Leitmotif Lover, but it's a lot even by my standards. However, this song's entire existence already served to satisfy a fairly self-indulgent desire, and these days, I don't deal in half measures. I think the final product serves as a lovely little look back at where I've come from, though, and perhaps even a little glimpse into the future!

That all being said, Object of Affection in some sense is also a love letter to a beloved part of my creative process - the voice memo. A lot of the audio I've provided with these posts have been recordings off my phone for good reason! Not only are the chops at the beginning of the song entirely comprised of edited recordings I got on my phone, but the sample at the very end happens to be from a particularly legendary recording, never before heard by the public...

Until now. I present to you an excerpt from "the worst beat on planet earth", featuring none other than unit.0.

That's about it for today!! If you have any questions, I'll gladly answer them below, but otherwise, I'll be back here tomorrow to talk about this album's title track laid askew - My Darling, My Companion!

#music #jamie paige #Bandcamp #constant companions #behind da scenes #im not good at writing iambic pentameter

126 notes · View notes

starlostlix · 2 months ago

Text

BSD 121.5 SPOILERS BELOW!!

So I want to talk about the new chapter because what the actual fuck.

So first of all.... THIS

Atsushi doing this callback with that gaze is insane, and akutagawa's reaction shows he's losing the idgaf war. They're finally realising how much they mean to one another and it's so important, but MORE IMPORTANTLY...

AKUTAGAWA'S EYES ARE FULL OF LIGHT

HIS. EYES. ARE. ALIGHT.

It's not just a bit of light. ITS FULLY LIGHT!!!

This is so important for Akutagawa ong. I don't want to take up too much time with this though because there's a LOT to talk about.

First, the design of ameno-gozen's realm, the fourth dimension. I LOVE IT! It's so mysterious and looks kind of glitchy which is perfect for this vibe. Dazai explains that most people can't see anything here so Atsushi's limited visibility with this art style works well.

So basically this dimension is where the past present and future intersect 'orthogonally' (I had to search this up, it means 'at right angles') and all of time is 'folded upon itself'. Atsushi now, as the only one who can see anything in this dimension, is now able to technically access parts of the past and future at once (my theory is that Byakko has some relation to the fourth dimension, perhaps being created within or being something similar to Gozen). Also note that in the 3rd image 'Dazai' is able to hear Atsushi's thoughts (strengthening the idea id seen of this being Byakko speaking through a visual hallucination of Dazai, especially when this dazai insinuates that it is not him that knows these things but Atsushi himself). Interesting what 'dazai' says about the speed of sound in this dimension basically means it's a lot slower here. Also apparently the mission is to find the 'core' of the divine being here and (i assume) destroy it? No clue how that SSKK fight from the end of the anime is supposed to play out like that but I will see how this goes.

So interestingly everyone else who has been struck by the Amenogozen sword has become stuck in this dimension unaware of what/where they are, and don't have the awareness that Atsushi has (main character moment). Essentially the infinite past and future versions of themselves are 'folding' onto one another (I don't quite know what this specifically means, but I imagine it like Jayce, Ekko and Heimerdinger in the hexcore room in Arcane s2 ep3). But now, since Atsushi is conscious, Atsushi has access to the past and future in this space (leading to the possibility of a lore dump to end all lore dumps next chapter, hopefully about Fyodor's backstory/plan) and he has to choose which way to go to find the information he needs. 'Dazai' tells him to 'feel strongly' as 'that's what you do when you want to experience the past' - and I feel that is such an interesting way of thinking about it in this series. Atsushi himself has suffered from PTSD (as have many characters) and often strong feelings can link to the traumas they possess, but it's not just negative feelings. A lot of characters also have positive memories from strong feelings, including their strong feelings about protecting others as Yokohama's defenders of sorts, and forming bonds with others in that process created the ADA as we know it. I don't really know how else to talk about it but I think it's a really interesting thematic line. Asagiri has some really cool writing.

Honestly this chapter is so cool and I can't wait to see where the series goes with this! My personal theory for next chapter is Atsushi finding the way to the past and we get essentially a lore dump. I think it will be Fyodor's backstory wherein Atsushi's view is spliced with comatose Sigma going through the information he got from his ability and stumbling upon the same information/memories as Atsushi is (also perhaps to cement the parallels between the two like Dazai talked about!).

#bsd #bungou stray dogs #bungo stray dogs #bsd spoilers #bsd manga spoilers #bsd manga #bsd 121 spoilers #bsd 121 #bsd atsushi #bsd dazai #bsd akutagawa

41 notes · View notes

artbyblastweave · 4 months ago

Note

Assuming it means the same thing as words such as "steampunk", "cyberpunk", "atompunk", etc. What would a "capepunk" setting look like?

So I think that there's two kindsa settings that are being broadly gestured at when people append "punk" to something all willy-nilly. In the standard one, they're gesturing at a sci-fi universe with tech that's hooked into the aesthetics of a specific decade, or, alternatively, the actual tech-base of a decade super-charged and made capable of the impossible. Art Deco mecha, atomic rocketships, steam-powered prosthetics. Steampunk, Deiselpunk, Atompunk, Clockpunk. Cyberpunk itself is also starting to get hit with this a little bit as we become distant enough from 1980s technology for it to be similarly exaggerated and romanticized.

The other kind of setting is one that's entirely hooked into a line of technological development that doesn't have as much of real-life analogue and therefore has no visual referent to fall back on. These often end up paired with one of the decade-based punks in order for a look to cohere. Biopunk is an example of a common punk subspecies that gets hit with this. Twig and Leviathan are both alternate histories set in the 1910s and 20s, Bioshock is set in the 60s, John Dies at the End is set in the 2010s and the works of Giger could be set anywhen. All of these are clearly visually biopunk under the pornography logic of "I know it when I see it," all of them are wildly different in terms of their final output, all of them are similar in what they're saying or implying about hegemony and how weird technology intersects with power structures.

Under this logic, I think that "Cape Punk" would probably fall more cleanly into the second mold- like bioengineering, Superheroes aren't meaningfully a (social) technology that actually exists, there's no real-life moment to seize on and exaggerate. So we'd be talking about a setting that assumes the existence of, and the sociopolitical impact of, superheroes, with the visual language of those superheroes being a secondary concern, probably outsourced to whenever the story is actually set. Worm is a good example of this- it's the cape punk work to end all cape-punk works but for obvious reasons has no cohesive visual identity. The Venture Brothers, by contrast, is also capepunk but it's capepunk with an extremely specific visual identity informed by the tail end of the raygun gothic era ("atompunk") into Cassette Futurism (this is what they're starting to call the one for the 70s and 80s.) The Silver Age tapering into the Bronze, forever. Heroes, Misfits, and a couple others are awash in the visuals of the early 2000s, when costumes were largely both uncool and impractical from a costuming technology perspective, lack-of-aesthetic as aesthetic. By the nature of its project Astro City is hopscotching all over the timeline- they've got steampunks like Iron Horse, they've got cyberpunks like The Box, they got every kinda punk in there. All of this is very plug-and-play.

And, of course, circling back around to what I said last time- you gotta be careful not to let "Cape Punk" just become synonymous with "Superhero Fiction That Doesn't Suck." Batman Beyond is interesting to look at here, because aesthetically, is the setting cyberpunk? Yeah, with shades of biopunk along for the ride. Is it thematically cyberpunk, interested in how that technology impacts society and intersects with power structures? Actually yeah, quite a lot of the time it is, at least superficially. But is the show meaningfully coloring outside the lines of a conventional-but-competently done superhero narrative? Well, no. Almost never. Maybe a little bit towards the end, centering the fucked up stuff that happened to Tim. But for the most part it's good, but it's also what it is. And that's fine.

#thoughts #asks #ask #meta #punk punk #cape punk #effortpost

48 notes · View notes

stillness-in-green · 11 months ago

Text

Chapter 423 Thoughts: Further Reading

I'm going to try to clear out some inbox/message/AO3 comment backlog in the next week, but in the meantime, having gotten my own post up on the chapter, I also want to share some posts from others that are in a similar vein as my own thoughts, or that I otherwise find worthwhile.

From @codenamesazanka:

Nal has been doing a lot of post-writing and ask-answering since the leaks first dropped, and it’s all on-point, but there are a few posts I want to specifically link to:

Firstly, this post on how the U.A. kids in general and Deku specifically have, despite fans’ expectations, long been underprepared to truly acknowledge and address the structural problems of the system they’re upholding, as well as how Deku bears that out in the Edgy Deku arc.

Secondly, this post is on how the warning signs for this ending have been there all along offers a good concise rundown of some key places where, if Deku had ever cared about Shigaraki Tomura as a person (rather than just the Crying Child as a metaphorical construct), we should have seen him acting differently than he did.

Thirdly and fourthly, these two posts talk about the Japanese BNHA fandom’s response to the chapter. I think it’s interesting and worthwhile to consider the target audience/native culture’s response to a work when possible—there’s a lot you can learn about a story and its author’s intentions by knowing how the story’s audience is receiving it! It can tell you about the audience the story is written for, what the values infusing the story are understood to be, whether those values align with the values of the audience, whether the author is trying to be populist or challenging, and so forth.

The culture gap between Horikoshi and his Western/U.S.ian audience can result in a lot of crossed wires, and checking how the Japanese BNHA fandom is reacting to the story can clarify some of that confusion. It is, of course, up to the individual to decide how much to mitigate one’s own response to the story in light of that culture gap; I don’t think any creator is owed unquestioning carte blanche just because they’re from a culture with different popular values. I certainly wouldn’t want someone in Japan watching, for example, Top Gun: Maverick and concluding that it’s beyond criticism because the fetishization of military hardware is just American culture! Having at least some grasp on the author’s personal context is thus helpful in balancing open-mindedness and critical thinking when analyzing/critiquing a work.

(So, just to be clear, I understand the cultural context of Deku "saving Shigaraki's heart" being considered a worthwhile victory even in the absence of saving his *checks notes* life. I just disagree in the strongest possible terms.)

For good measure, have another post about the disparity between how destructive Deku’s focus on the Crying Child is to any chance Hero Society has to improve in the future.

From @itsnothingofinterest:

This reblog of an older post discussing the increasing power of quirks over the generations and how that problem would logically intersect with the precedents Deku sets here. Bleak stuff!

From @class1akids:

First, this post runs through some of the fans’ desperate attempts to second-guess Shigaraki dying here but explains the various ways each would be in some fashion unsatisfying, because there’s no solution that doesn’t ruin some key aspect of the story.

Second, this very short post raises a very good point—one I hadn’t considered!—about how Shouto may not have talked as much to Dabi as Ochaco did to Toga, but Shouto’s always valued actions over words, and his actions indicate loud and clear how much he wanted to save Dabi. And in ways that thematically tie into his arc about how he perceives and defines his quirk, no less! It’s not about Chapter 423, as such, but it’s a very instructional contrast between Deku and Shouto, the latter of whom was actually trying to both stop and save the Villain he was fighting, the former of whom…was not.

From @linkspooky:

Spooky’s got a pair of posts contrasting BNHA with Yu-Gi-Oh GX, both of which are very long and very worth reading. I don’t know if they were always intended to be companion posts—the first one was posted last month, and the second less than 48 hours after the leaks landed—but they function well in that capacity now.

The Supreme King Judai vs. Dark Deku: How To Do a Dark Deconstruction of your Shonen Hero! is an arc comparison post between the titular arcs and discusses in detail the way GX’s Judai and BNHA’s Deku are put through the paces of a dark hero arc, and why Judai’s works and Deku’s doesn’t. What it boils down is that GX is willing to let Judai make the bad decisions his prior characterization always foreshadowed that he would make, leading him to fail, horribly, in consequential, lasting ways that paint him as being very much in the wrong. BNHA, conversely, has the characterization foreshadowing but is unwilling to the point of open terror of letting Deku fail or be wrong in ways that will actually do lasting damage to him, his friends, or his relationships. This is the same core problem the overarching series faces, and thus, while not about Chapter 423 itself, this piece is an excellent preface for the next one.

Shigaraki Vs. Yubel: How To Save Your Villain deals with the total collapse of BNHA as a story due to the way it fails to recognize Deku killing Shigaraki as a failure of its main character’s personal arc. In comparison to GX’s resolution of Judai and Yubel’s relationship, It describes the story BNHA seemed to be promising us it would tell in its endgame, then discusses how that story is fundamentally broken by its actual depiction of Deku’s actions wrt Shigaraki and the other Villains Deku faces. I particularly enjoy the breakdown of why the language of “forgiveness” thrown around by Deku and Ochaco is so wrong-headed and off-base.

A handful of pithy witticisms and bleak humor:

At least we’ll always have Spinaraki.

Imagine the story we’d have gotten if Deku had walked out into the hallway and thrown it into the nearest trashcan.

This would have been a lot less work than the concert, admit it.

#bnha #other peoples' meta #bnha 423

83 notes · View notes

prismatiger · 10 months ago

Note

AGREE WITH YOUR PREVIOUS POST. I like mean Loop as a facade only, but we know they still care and love...

Now I have a question, what's your favorite Loop takes/headcanon

Oh my god I'm so sorry I took like two weeks to answer this one I prommy it's not bc I'm exclusively a hater or whatever. I just straight up forgot to answer Oopsie. I'm putting this under cut bc it got long enough that you all would shoot arrows at me for putting it on your dash

Anyways there's a lot of Loop Thangs I like frankly. A big one that I enjoy is when fic authors in postcanon make the transition of Loop into the party structure kind of rocky. Usually bc Loop's neuroses creating a level 12 psychic barrier between them and the party + the inherent awkwardness of meeting somebody who's apparently super close in a way (that you'll never fully understand) to one of your friends. Who let's be real I feel like half the party (coughIsabeauandMirabelle) would catch the aura of "oh they do not like us at all" from Loop. I want Loop to be happy and with their family but you just know this bitch is going to make it as difficult for themself on purpose. The Siffrin Special.

I also just generally like when they keep Loop as a star postcanon. I'm not at all a hater towards Human Loop (in fact I think it can be itself an interesting setup for a Loop fic) but I do like Loop as a star more thematically. Something about having to accept that things have changed and moving on from it regardless. Also bc Loop being dysphoric about their body scratches a very transgender projection itch in my brain Yessss little star you're stuck in a body that draws unwanted attention and which you have no control over how it looks and functions in a way that feels fundamentally wrong to you. (Pointing at canonically transgender character) Yooooo this guy is such a cool trans allegory omg

Hmm what else. This is more of a sloops thing but I always enjoy in fics when they lean into the fact it's selfcest frankly. I've become a selfcest enjoyer bc of this ship I'll never get over that act 5 dialogue abt the cautionary tale where Siffrin says he never understood the moral of the story bc the idea of having somebody just like him who understands him. Oh my gyoooooooooooooooood. I want them to melt into sludge I'm always thinking of that analogy from superflyghtheart on discord comparing Loop and Siffrin to endlings of an endangered species. 💥💥💥It's like. This is less sloopy now but I'm caught between the intersection in my head of "Loop would probably benefit from developing their own identity as a person separate from Siffrin bc they need Something they have control over" and "Loop is of the Siffrin Species and they are significantly too sentimental to let go of the shreds of what they used to have, especially after having lost all of it once already". Both of these things are yummy as fuck when ppl smarter than me explore them and they're kinda the main Story Paths for postcanon Loop anyways so I'm always winning. So like idk tldr I like it both when ppl have Loop diverge a lot as a person and when they have Loop try their best to stay as much of a Siffrin as possible!

I'm limiting myself to four paragraphs so you don't all want to hit me with hammers but I do have Loop Biology Headcanons. I've explained mythoughts on their guts before and don't feel like recounting them but whatever True #codacheetahwarriors remember my deranged rambling. ANYWAYS I kind of mentally run on the assumption of Loop's body as like. The Universe couldn't keep Loop in Siffrin's body, bc they needed Siffrin to be in it (and I guess a system situation introduces too many factors of its own? idk). The Universe operates with the goal of fulfilling wishes with the least intervention possible, so The Universe makes a body out of cheap inorganic material (star-scrap basically). Miniature star for a head fueling the body with Craft energy (I'm not going to get into my conspiracy that all Craft is the same here). Molds the star scrap into a vaguely Siffrin-shaped/sized vessel and plonks Loop's conscious into it and calls it a day. So Loop's body as a poor simulacrum of a human body is like. They're capable of breathing but they only really benefit from doing it on a psychological level. They can't eat or drink and don't have a mouth because it would require a significant level of added effort to make a digestive system, when they can just derive energy from their star. They don't have reproductive organs because they're not made from organic material anymore anyways. They don't need to sleep bc their body never gets tired but they still do it because it's not really a great idea to leave your brain on running for too long anyways.

I fucking lied I'm on paragraph five bc the block of text is annoying me. To continue that's all a preface to say I think it's super fun when Loop has body functions that are weird and unpredictable. Their little frizzles on their body are reactive to their emotions the same way their headstar is, and feel like static if you touch them. Their head has a vague boundary so their eyes have something to be rooted to but the function by which their optic nerves work is unclear to everybody including themself. They glow based on intensity of emotion and the temperature of their star changes via specific mood. Bc I think it would be fun if the battlefield in twohats when from ice cold to boiling hot frankly. Ok these are all just my headcanons (temperature one very loose though I'm not a hard subscriber to it) but they're not uniquely mine it's just examples of what I mean. One I don't have as a personal headcanon but I do enjoy is when Loop feels the same physical sensations as Siffrin bc it's funny and I like inflicting misery on the star.

I'm going to shut up now like actually . Loop for your troubles

#isat loop #isat spoilers #asks #Hi Tumblr user timephase. I'm so sorry #Aiming my crosshair at you bc you allowed me to talk about Loop #sorry if this is actually impossible to parse this is one of those days where typing legibly is hard to do. sometimes i can format things #niceys but you get rambletime from me 2day #i didn't even really get into loop takes!!! what da fuck!!!#maybe another time #once more i unleash an overly wordy textpost that doesnt make much sense onto you guys. and once more the sun sets

68 notes · View notes

whencyclopedia · 9 months ago

Photo

Dolia: The Containers That Made Rome an Empire of Wine

The ancient Roman love for wine is well-known, but how was all that wine stored? In “Dolia,” Caroline Cheung puts dolia, the largest ceramic storage vessel made in the ancient world and capable of holding a thousand liters of wine, at the center of the ancient Roman wine trade for the first time. Best suited for scholars and students, this book explores the lifespan of dolia and the people who made, used, and paid for these massive vessels through a range of archaeological and literary evidence.

Caroline Cheung, an assistant professor of Classics at Princeton University, seeks to fill a rather large gap in the scholarship of the ancient Roman wine trade by centering the storage vessels themselves, the dolia (sing. dolium). Historically, these supermassive ceramic vessels, capable of holding well over a thousand liters each, have been understudied and overlooked. Combining various archaeological and literary evidence, Cheung argues that dolia formed the backbone for the Roman wine trade and that their development was the key factor in satisfying the Roman thirst for wine from the 2nd century BCE to the 2nd century CE. She pays particular attention to the many people involved in every step of the dolia industry and how dolia can function as a lens into the intersections of wealth, social mobility, and labor. The book focuses on three case-study sites in west-central Italy: Cosa, Pompeii, and Rome with its port Ostia.

Cheung organizes her book thematically to draw out each step in the life of a dolium. After the introduction, Chapter Two traces the development of the dolia industry from the 2nd century BCE to the height of the Roman Empire. Chapters Three to Six detail the various uses of dolia on farms and villas, as part of a complex trade system in the Mediterranean, and cities. Chapters Seven and Eight then turn to how dolia were maintained, repaired, and eventually reused and abandoned. Cheung concludes in Chapter Nine with reflections on studying dolia and their legacy today.

Cheung does a masterful job of marshaling a truly staggering amount of archaeological and literary evidence to make this book possible. From the largest dolium-tanker shipwrecks to the smallest epigraphic stamps and tax records, Cheung excels at drawing out the particular importance of each piece of evidence. Some of the most interesting moments in the book are when she slows down to focus on a specific site or detail amidst the wealth of information she provides, such as in Chapter Four, when she draws out the story of the Sestius and Piranus families as examples of how wealthy families could take advantage of different stages in a dolia-based wine trade to accrue wealth and influence. A slate of images and figures also complements her prose well, including full-color plates of many images in the book.

At times, however, Cheung seems to struggle with her two competing priorities of exploring the life of a dolium from production to abandonment and examining the ramifications of dolia on the Roman wine trade and Roman imperialism more broadly. Her prose sometimes switches quite abruptly between the two, leaving the reader to try to pull together disparate threads of the narrative. In focusing mainly on west-central Italy, with only a brief foray into southern France and Spain, Cheung’s narrative can feel quite restricted, leaving out as it does the rest of the Mediterranean world, let alone the rest of the Roman Empire. Some discussion of what we do know about dolia outside of the book's case study areas would have been worthwhile to help provide a fuller picture of the role of dolia across the Mediterranean. As the first step in synthesizing much of this material, this book is a very needed addition in illuminating the crucial role dolia played in the Roman wine trade.

Cheung is one of the few scholars working on dolia currently, and perhaps the only one synthesizing the material on such a broad level, and her mastery of the material shows in this book. In centering dolia in the narrative of the Roman wine trade, Cheung takes a completely different tact to previous studies of this topic with great results. She argues persuasively why dolia deserve to be seen front and center in future scholarship. This book demonstrates the value of studying the logistics of the Roman wine trade just as much as the Romans’ love of wine itself.

#History #RomanEmpire #Ceramics #MediterraneanSea

36 notes · View notes

songoftrillium · 1 year ago

Text

Meet The (Updated) Art Team

Hello Kinfolks!

I've been really looking forward to this post for a while, and it's now time to unveil the art team I've assembled to put this project together! They're some heavy hitters that y'all ought to recognize, so without further ado let's meet them!

Bek Andrew Evans

Linktree

Mx. Bek Andrew Evans (he/they) is a freelance writer and illustrator from Jackson, Mississippi. He's been doing art since he was young and takes inspiration from comic books (particularly in the 90s), Jhonen Vasquez, grunge, and Carvagio. His favorite mediums are loose inks, watercolors, oil paints, and digital styles that replicate the looks of traditional mediums. He uses body horror and attention to expressions and lighting to convey stories through images, often queer in nature. He explores themes of mental illness, disability, abuse, poverty, and the many intersections of these statuses.

iezeradd (They/He)

Carrd

They are a mixed media artist and writer hailing from Quebec, Canada. They explore concepts of queerness, identity, generational trauma, and otherness through his illustrations of werewolves, often contrasting tenderness and violence in his works. They use transformations and inner conflict as a reflection of his own experiences as a queer individual.

iezeradd is joining the team to provide a myriad of art, ranging from props, to textures, and tribe artwork! We're very fortunate to have them on the team!

Dogblud She/Her (Dogblud is no longer a part of the art team)

Dogblud (she/her), is a Midwestern cryptid working as a freelance artist and writer. Her work is near-exclusively sapphic, centering primarily around werewolves, werebeasts, and their strong thematic ties - horrific or otherwise - to all forms of womanhood.

A long-time fan of Werewolf: the Apocalypse, she's joined our team to produce all of the tribe artwork for the book, in addition to a number of other contributory pieces!

Meka (Any Pronouns)

Tumblr

Meka is a Scottish comic artist with a flair for the dark and extremely bloody and a long-standing love of monsters and what they let us all explore-- for better and worse. Vehemently underground, they build stories about horror, grief, depersonalisation, and the isolation that comes with being just a little too weird and too angry to swallow whole. Art and catharsis go hand in hand, as far as she’s concerned.

In a throwback to the original game series, Meka has joined to produce a 22-page fully illustrated comic for the series entitled Cracking the Bone. A postgraduate in traditional comic artistry, we're extremely fortunate to have them on the team.

Mx. Morgan (They/Them)

Tumblr

Mx. Morgan G Robles (they/them) is a freelance artist and illustrator based in Seattle, Washington. Their work is best known for its use of macabre themes, animals, and nature. They use these themes to explore mental illness, gender identity, or simply to make neat skulls.

They're known for producing book covers for several major publishers, and they've been brought in to design our book covers as well. In addition, they've developed a number of inside pieces as well!

M.WolfhideWinter (He/Him)

Tumblr

He is a part-time freelance illustrator from Scotland. His work is heavily inspired by the rugged terrain (and rain) of Scotland with a focus on werewolves inhabiting the wild landscapes both past and present. He explores themes of mental illness, societal stigma, dark folklore, and sad werewolves in the rain.

WolfhideWinter has joined our team as our monster-maker, dedicating their time towards depicting our primary antagonists of the garou: The Black Spiral Dancers, and the Wyrm's brood! We can hardly think of a body horror artist more fitting for the role.

140 notes · View notes

jadelotusflower · 1 month ago

Text

Hard times in the world of men: Hadestown

Greek mythology and musical theatre have been two of my obsessions ever since I was very young, so Hadestown was always going to be a show perfectly tailored for me. After absorbing it through the OBC soundtrack and various clips for a few years I was finally able to see it live in the Sydney production several weeks ago, and unsurprisingly I loved it! This is a musical that absolutely needs to be experienced in person (although I eagerly await the recently filmed proshoot) as there is so much nuance and depth that after seeing it, the show has gone from one I've quite enjoyed and from which certain songs appear semi-regularly in my playlist, to one of my all time favourites.

Spoilers for a 3000 year old myth (and this interpretation of it).

Greek myths are so malleable to retellings because of the power of the stories they tell, resonant over thousands of years adapted through different lenses. The inspirations in Hadestown are undoubtedly referential of America - New Orleans, Appalachia, and of course musical theatre is arguably an American creation much like jazz and soul music. And yet the telling is also somehow timeless, on the borderland of reality and myth - "don't ask where, brother, don't ask when".

The show is referential of the myth, but also of musicals as an art form and a particular style of storytelling - this is a troupe of players re-enacting an old story (not unlike the framing device of Jesus Christ Superstar), and of course there's the textual power of Orpheus's song that could "bring the world back into tune" - the intersection between storytelling and human experience where art has the power to heal. From ancient Greek tragedy to bards and balladiers to opera, its modern musical theatre with its accesibility and ability to convey emotion through song that is the perfect way to retell this particular version of the story.

Anyone whose read any of my various media ramblings will know that I love a thematic mirror perhaps more than anything else, and Hadestown is brimming with mirrors, or rather, reflections and revolves. The whole show is circular, as myths are retold and recycled and renewed, always changing but never ending. The dialogue is repeated and echoed throughout the show, ("Orpheus was a poor boy"/Eurydice was a hungry girl"), and through repetition the meaning is altered and deepened ("It's you"/"it's me" both when Orpheus and Eurydice are reunited in Hadestown and again when they are ripped apart).

The set is circular too, and makes use of a floor revolve so our characters are constantly spinning, ending up back where they began. The underworld of Hadestown is the inverse of the Earth above - both an allegory for death but also dehumaniation and disconnection from nature and ancient myth - the increasing industrialisation of the below affects the nature of the world above.

There's also the recurring motifs that define musical theatre but used to great thematic effect - Orpheus sings Wait for Me on the journey down to Hadestown, and Eurydice sings it on the way back up, Hermes opens and closes the show with The Road to Hell as the set and characters move back into position ready to "sing it again."

The beginning is the end is the beginning.

We of course have our primary mirrors in Opherus and Eurydice as reflections of Hades and Persephone, connected by the "old song" Orpheus sings anew and the dance that is each couple's expression of falling in love/rediscovering their love. Persephone with her fur and basket, Eurydice with her workman’s coat and backpack; as Persephone sheds hers in the Underworld, Eurydice’s are literally ripped from her by the Fates. Persephone with her flowers brings joy and blessings to the world up top, Eurydice down below with her heartbreaking rendition of Flowers - somewhat evoking that other doomed heroine Ophelia singing of “lily-white and poppy red”.

The coersion of Eurydice by Hades at the end of the first act, an echo of the stealing away of a Persephone. Hades with his low baritone and Orpheus with his high falsetto, the denizens of Hadestown going from echoing Hades in We Build the Wall to Orpheus in If it’s True representing fundamentally opposing views of the world - Hades building a wall of stone while Orpheus builds a coalition of hearts, Hades's loneliness and greed corrupting and polluting the world, Orpheus's song bring it back into harmony.

Our (greek) chorus is reflected in the patrons of the railway station bar and the workers of Hadestown filling roles in both the above and below, and even the omnipresent Fates serve both their mythological purpose and as the metaphorical Cerberus guarding the walls of Hadestown.

And then there's Hermes, our storyteller who is at the same time part of the story and yet beyond it. While they have no direct counterpart there is us - the audience - we are part of this retelling, Hermes starting off with a call and response to the cast and then to us before the show can begin. Because a story always needs someone tell it, and someone to hear it.

Hermes who knows the story, who has told it many times before and will many times again, playing the same part, aware of the irony when he tells Eurydice that Orpheus will "make [her] feel alive" when we know he will be unable to save her from death. And yet there is the hope of a world in balance, where "if no one take too much, there will always be enough" - where the fallow and the fertile blend in harmony allowing respite and renewal, rather than one encroaching on the other causing disruption and destruction.

The best allegories are those that are somewhat malleable - climate change, industrialisation and capitalism, greed and artificial scarcity, fear lingering and othering - Hadestown is particularly relevant to the hard times we are experiencing now, where feckless overlords are crushing all of us below and while we are forced to "play the game they fix". If only they could be moved by the power of a song, but sadly it seems they are even more capricious and craven than the ancient gods. But still, we raise our cups "to the world we dream about, and the one we live in now."

While the Australian production of course closely follows the Broadway original in staging and direction, it happily includes some local touches - most of the actors retain their natural accents, Persephone's basket is full of Australian native flowers, etc. We also get a slight adjusment to Hermes's costuming, keeping the nod to a train conductor aesthetic but including more pronounced feathers on the forearms and in her feather necklace and earrings (I believe they are emu feathers - emus feature prominently in many First Nations Dreaming stories, being a spirit creature associated with the sky).

The cast is across the board excellent - Abigail Adriano as Eurydice conveys both her tough world-wearyness and heartbreaking vulnerability, the show giving Eurydice a measure of agency she lacks in the original myth, choosing to go to Hadestown in distress and neglect, because while Orpheus is touched by the gods, she is tormented by the Fates. Noah Mullins is a sweet and shy Orpheus, they give have such a youthful, fresh energy to the role that is heartbreaking to see crushed - I'll never forget the absolute despair on their face when Eurydice is gone and they look to Hermes as she sings "and that is how it ends". The choice for Orpheus to acknowledge Hermes in that moment and for him to understand the inevitability of this outcome was incredibly powerful.

Adrian Tamburini brings operatic depth to Hades, alongside Elenoa Rokobaro's emotive Persephone, the still menace of Hades contrasting Persephone's physicality. The chorus is also impressive, including Josepha Laga'aia (son of theatre great and Star Wars alum Jay Laga'aia) - this is a diverse cast not only in ethnicity but body type and gender parity (in fact, there are more women in the show than men).

But the soul of the show for me is Hermes - played by the iconic Christine Anu (thirty years on My Island Home remains a bop). It is particularly apt casting for this show given the importance of oral storytelling and songlines to Aboriginal and Torres Straight Islander people and the role of Elders as cultural custodians, which Anu acknowledges in the program; "[continuing] the legacy of her maternal grandfather Nadi Anu - a lauded Songman of the sea from Saibai."

Retaining (and even emphasising) the broadness of her Australian accent adds authenticity - this may be an American production of a Greek myth, but it is adaptable through cultural lenses. This is reflected in Hermes more than any other character, cast as both male and female in various version of the show, and as much as I adore the iconic performance of Andre De Shields on the OBC, personally I think a woman the role just works, and Anu in particular gives it a fresh and vibrant take. This is a Hermes who took Orpehus under her wing, and Anu radiates comforting Aunty energy, embodying hope in the retelling rather than tragedy.

I also enjoy the ambiguity of the show, so much is open to interpretation including the reason behind Orpheus’s fateful turn (explored so beautifully in Portrait of a Lady on Fire). The Fates give Orpheus’s doubt form, as he questions if he is being tricked, for the first time unable to find strength in his song - do those doubts overwhelm him at the very last moment? But we also see the steps ahead of Orpheus glow leading to the world above - in that final moment he is in the light while Eurydice is still in shadow. Was his turn rooted in carelessness, turning because he thought the trial was over (reflecting his earlier neglect of Eurydice in the storm while he was consumed with his song)?

This production was staged quite appropriately at the Theatre Royal in Sydney, with its two -tiered circular lobby tying into the theme, although the structure of the theatre means while we keep the revolve the centre no longer lowers into the floor which was slightly disappointing. Instead the back of the stage below Hades and Persephone's balcony has a door that opens and closes to take people to and from Hadestown. While perhaps not as evocative as sinking below, this staging does give the impression of a train platform, and there is a certain power at the end as the door slowly closes with Eurydice behind it and she disappears from view.

This could feel Sisyphean - an endless, inesacable cycle of tragedy where hope is ignited and then cruelly dashed, and yet instead it forms part of the natural cycle of death and rebirth - as in the original Persephone myth. Yes, Orpheus is doomed to always turn and lose Eurydice to the underworld, but then the song begins again and the lovers are reunited/meet once more, their summer of happiness to counter the despair of inevitable winter.

The power of tragedy is the hope that "it might turn out this time" - if only Orpheus hadn't turned around, if only Isolde had arrived in time to save Tristan, if only Romeo had received Friar Lawrence's message - we want to live in a world where these loving couples got their happy ending, where love triumphed, wounds were healed, feuds were ended and sins forgiven. But a world needs winter to thrive as well as spring and darkness to counter the light - would any of these stories have the same resonance if they ended happily?

Or maybe it will work out this time! There are changes in the story as it starts again - Eurydice finds the flower in her coat, Persephone returns to Earth on time rather than starting the tale still in Hadestown. Is is a sign that the cycle can be broken, or just inevitable alterations in the retelling, the story evolving alongside us as well tell it again? It’s for the viewer to interpret.

But either way and crucially, the show does not end with Orpheus looking back at Eurydice as she is pulled back down to Hadestown, but towards her as their love story begins again.

#jlf watches #hadestown #hadestown australia #musical theatre #meta #orpheus and eurydice

13 notes · View notes

morsking · 2 months ago

Note

so i see you have a very similar intersection of interests to me, therefore i must ask: thoughts on oberon fgo meeting titania ffxiv.

nothing good would come about that, especially if he's meeting titania as they exist in the shadowbringers msq. that would be the most thematically compatible version of them he could meet, anyway. lostbelt 6 takes place in a land that has already died but the moment it permanently vanishes from existence has been delayed, so it stagnates in a perpetual twilight where morning (a new beginning after the end) never comes. titania's existence in shadowbringers is quite the same. they're not quite a fairy anymore, but also not quite a sineater. but the world cannot move on so long as titania doesn't die because as long as they exist light aether will continue to suffocate the land, but killing them is also the best thing you can do for them (as evidenced by the fact they are able to reincarnate into a new faerie in the pixie allied society quest). in that sense, like britain, titania is destined to die.

oberon would find this situation cruel and despicable, because even though this faerie is called "titania" they are not the titania who is uniquely suited to love the eccentric faerie king oberon. pixie titania is not a substitute for the faerie queen, so once again oberon is denied the better half (a reason to exist outside of ending existence) he yearns for.

apart from that, the entire reason why oberon wants to destroy proper human history is because it doomed titania to exist only as a fictional character unable to take living form as a servant. proper human history deemed titania useless to its existence beyond disposable entertainment, and that he cannot forgive. for another being named "titania" to have to die and the world go on without without them would probably mean oberon would oppose the death of titania for the salvation of the first. however, i think that because he is conceptually "oberon", the faerie king who loves the very concept of "titania", and also "vortigern", the abyssal worm whose mission is to devour the world and kill it for good, he might resolve the contradiction of those roles much like he does in avalon le fae by killing titania himself and then eating the first, frustrating the rejoining and then moving on to swallowing the source too. that would involve a lot of subterfuge and manipulation, especially trying to outmaneuver and out-bullshit known shady manipulator emet-selch and the wary and mysterious exarch.

you could try to convince him not to do these things by saying if titania dies, then they're free to reincarnate. but the problem with that is titania ceases to exist anyway, leaving behind the memories and experiences and the identity that made the pixie known as titania, titania. an lad has some memories as titania, but they expressly are not titania. "if the world doesn't have titania in it then what's the point?" he'd reason. and anyway oberon cannot ignore that his role is to bring things to an end as his sacred and terrible mission imprinted into his very being. it would be like telling fire not to burn, or wind to blow, or rain to fall.

so yeah, tl;dr is it would be a real bad time for him. it'd be a great story for exactly the kind of oberon fan who is a sadist.

8 notes · View notes

thydungeongal · 4 months ago

Note

I am making a ttrpg about transgender magical girls with a kind of ugly somber Disco Elysium meets Madoka Magica tone to it, you've seemed to have talked some about the foibles of queer ttrpg lately and was wondering if you had any advice or suggestions

So, I actually have a lot of new thoughts on this topic stemming from that recent discussion about fiction/narrative/thematic elements in TTRPGs (where I feel that one person kept overusing the term "thematic elements" in a very reductive way. Goblins are not thematic elements, they're just guys in the fiction.).

The most common foible when it comes to queer RPGs is mixing up the idea of an RPG that lets characters be queer and maybe even uses queer identities as part of its fiction with games that are actually about queerness. The former category actually covers most RPGs: due to the nature of the infinite possibility space it is nearly impossible for a game to actually prevent characters from being queer. But just because characters can be queer doesn't make a game a queer game.

In this sense it's good to separate the game's fiction from its themes. What the game is about from what the game is about. As someone really succinctly put it in the notes of a recent post, on the surface Monsterhearts is about monster teenagers doing monster teenage drama, but on a thematic level it is about alienation, adolescence, and queerness. The monsters are stand-ins for those themes in the fiction and the game's mechanics also help carry those themes.

D&D and Pathfinder both have queer elements in their fiction and they utilize their identity as games where queer folks are welcome as part of their marketing. But neither of those games is about queerness on a thematic level. Monsterhearts and Dungeon Bitches are games about queerness.

Anyway, what does this mean for your game? Well, your game is going to be about transgender magical girls, so that already makes me think you've already thought about the intersection of magical girl fiction with themes that relate to queerness, but I think it's a good thing to keep in mind: it's not necessary, but if you want your game to be meaningfully queer then the transness needs to be engaged with on a thematic level and not just as a coat of paint on top of the game. (Actually, I think it is entirely possible to make a magical girl game that is about transness without actually having transness as an element in the fiction. Magical girl fiction often engages with themes of gender, identity, the expectations society imposes upon young women, and growing into womanhood. All themes which are a short leap away from discussions of transness.)

Anyway, that's really as deep as I can go into it right now, because I'm tired. But I hope that gives you some food for thought. :)

#thydungeongal answers

34 notes · View notes

rontra · 2 years ago

Note

Tell us about they/them lesbian Cinder with text to back it 👀

askfbhs okay but this post is like 2000 words long

statement one: doing a reading of a text, and then using that analysis to draw a particular conclusion for one's own enjoyment, is largely disconnected from the authorial intents that created said text. it's common for a piece of text to be able to be read in many ways, and for those readings to be able to used as supports for a multitude of conclusions. by no means should this post be framed as a comment on what "the canon text Means", because that is fundamentally not what we're trading in. we're not "proving" anything

statement two: cinder's character is complex, deftly written, and can be mined for a lot of meaning, much like all of rwby. there's a lot going on at all times in this show, and many parts remain to some degree an open question since the story hasn't finished yet. you can draw dozens of readings from almost everything in this work. by the same hand, some parts of this post were necessarily abbreviated for time lmao

statement three: cinder's relationship with gender SPECIFICALLY is genuinely textually interesting no matter where you go with it in the end, so if nothing else, at least enjoy Thinking About It... 😌

the core idea here is actually really simple hahaha. we'll take a scenic route though, to affix that idea into a more complete picture. a Pattern if you will

cinder is very strongly characterized by two linked ideas: the fear of being powerless, and the annihilation of the previous self that was powerless. the outward face of cinder's identity is very unstable because of the latter; a lot of conscious effort is expended trying to erase the cinder fall that once existed--the one that was at other people's complete mercy (and received nothing of the sort). cinder is always in "survival mode", trying to achieve some sense of personal safety and to avoid being perceived as weak and vulnerable. that terror and hunger nipping at cinder's heels is what leads into salem's claws--into a new grip of abuse, of course--because salem promises to solve it and give all the power cinder could want and more. yeah?

the most easy-to-track manifestation of those twin drives is, of course, where they intersect with a major piece of rwby's own thematic language: weapons! in rwby's language, weapons are closely tied to their wielder's identity--"They're an extension of ourselves! They're a part of us!", famously! (v1e2)

(...which also gives us very funny little unrelated nuggets like the eternally faceless and repressed "i was the machine, just following orders" winter having weapons whose names--if they even have any--we don't know. but that's a knowing smile for another day)

cinder was trained by rhodes to wield two swords, an idea that's later combined with archery into what we consider "cinder's weapon", Midnight. in the flashbacks of v3e7, Midnight is in its earliest and most ordinary form. this Midnight is made of normal weapon stuff like metal lmao and cinder uses it very effectively in taking down amber. HOWEVER, as soon as cinder lays hands on half of amber's power, this version of Midnight is thrown aside and destroyed: the pyre that destroys Midnight is used to demonstrate cinder's power and intimidate the Fang. after this—for the duration of the beacon arc—cinder instead uses glass to form a replica of Midnight. this "imitation Midnight" lasts until cinder is maimed by ruby atop beacon tower (and presumably medevac'ed by one of salem's other guys LMAO)

after 1) suffering this defeat, and 2) obtaining the rest of amber's power, cinder flat out stops using Midnight. beyond this point, cinder solely relies on magic to create an ever-changing roster of weapons as needed. with the completion of Autumn's power, so too is the killing of Midnight completed: as far as cinder is concerned, the "self" that was connected to Midnight no longer exists. the part of cinder's story and identity that was in Midnight has been buried and no one will ever know about it again. preferably everyone would just act like none of it ever existed and cinder has Always been powerful (and did NOT just get rent asunder by a teenager! please and thank you!)

the incremental deaths of Midnight really show the crutch that power is to make cinder feel safer and more confident, and the urge to destroy the past/the version of cinder who was not as powerful. once cinder has the maiden power, Midnight is unnecessary. it's also interesting to see that many of these magic-made weapons are visibly fractured, fragile, and expendable, which i'm sure in the Weapon Symbolism Show doesn't mean anything its fine 😭😂

anyway in this new era of relying completely on magic we start to observe another quirky aspect: rather than drawing on personal identity, cinder will frequently imitate other characters who were in some way "powerful" (or at least "impactful"). see: floating array and miló. cinder imitates people who left an impression of strength or skill; in endlessly chasing "power", cinder is nabbing pieces of what makes other people powerful and cobbling them together, to cover the "flaw" (heavy quotes) that is cinder's own identity.

without you, i am nothing.

still, what does cinder keep falling back on, like a habit you can't shake? the original! and when cinder defies salem's orders in v8, what do we finally see again, for just a brief moment? hey, i thought you were dead! for as much as cinder wants to pretend the past is dead and buried, it sure seems to be Haunting us: right there underneath the paint, as soon as cinder stops thinking about copying someone else, or is defiant of salem's control and has to rely on Just Cinder (god forbid!), there it is again.

"okay, that's fine," you might be saying, a few million words into this gigantic post, "but what does any of that have to do with cinder fall's gender". listen to me. this was all setting up very important context for the funniest thing about cinder fall.

like, anyone that's even half-awake while watching rwby will notice the huge differences between how cinder acts and looks in the beacon arc VS how cinder has acted and looked Since Then. beacon arc cinder is smooth and in control and mature and dangerous. and of course, she's feminine. i've seen people outright call this incarnation of cinder a femme fatale! and i guess i can see why; she has mystery, beauty, a little bit of seduction to sway people. she plays manipulative games. and of course, she's dangerous. cinder in the beacon arc is exceedingly threatening because of how good she is at being the underdog; when she has to use cunning instead of brute force and scheme her way uphill in both directions, she kills it! literally!

--hey that was a lot of she/her all of a sudden. hmm. let's talk about women (audience cheers) NO I MEAN. evil women (audience cheers louder)

cinder's life is strongly marked by two women in particular: the madame and salem. both of them exert an immense amount of power over cinder; when we talk about situations where cinder has been powerless, these two people are the ones that spring to mind. in cinder's world, which is very coldly divided into people who Have Power and people who Do Not Have Power, both madame and salem very much Have Power. they have maybe the Most Power It's Possible To Have, by cinder's math. this also makes them Very Important figures for our examination, because what they are will reflect back onto cinder's malleable self.

madame and salem are both feminine, both older, both powerful; examine these two and suddenly you start seeing the pieces being stolen. the mature shade of red the madame wears. salem's levelheaded control paired with her distance and mystique—(trying not to say "and her cleavage")... v8e6 even places explicit focus on the sound of the madame's high heels as a herald of incoming danger.

their bearing, their ways of navigating the world, the way they dress. their… oh my god… their gender presentation!!!

the thing about cinder fall is that the mimicry of power does not stop at weapons. this is a Pattern that extends BEYOND merely "doing the floating array trick". the entirety of beacon arc cinder, including gender presentation, is mimicry. because in cinder's mind at this point, the most powerful thing a person can be is a mysterious older femme.

to cinder, ideas traditionally associated with femininity, specifically the femininity of adult women, are explicit markers of power and threat; and these things can be picked up and worn and imitated. these things can be performed. but there's never a sense that cinder owns these things or is particularly attached to them (i mean, beyond cinder's conception of Power). furthermore, cinder doesn't fully understand how these two women operate, and (being far younger) lacks the experience to fully embody them.

(--the way cinder handles emerald in particular is very revealing of this disconnect, as the dynamic shown as early as v2 is a clear attempt to wrangle her the way salem does her own minions; but cinder fails to understand and execute the crucial part, which is tapping into what emerald actually wants. because cinder, living in their own "survival mode" priority list, can't understand or relate to what emerald wants from them. the attempts made to replicate salem's affectations only push emerald away and strain her loyalty.)

but goddamn if cinder doesn't think power is stored in the gender!

it's interesting, then, that after the beacon arc blows up and a huge L is handed to Femme Cinder, they gradually drift further and further away from this; the illusion has broken. in lockstep with their drift from salem—cinder's exile, then intentionally testing the ice to see how far salem will let them stray—the further they go, the more they assert themselves, the further they also stray away from those "markers of power" associated with salem and madame. in the era of the blink-and-youll-miss-it flash of cinder's own identity, of Midnight, we also witness the ever-increasing straying from the performance of femininity that the beacon arc cinder clung to. huh!

so, let's see, we have a very intentional and consistent streak of cinder attempting to annihilate their own identity and replace it with something else (something strong) (something no one can hurt); this theme is visible both in their armory and wardrobe. cinder is terrified of who they'll be without these masks, because that person has been victimized, betrayed, and abused by every person who had power over them. the solution cinder has in their mind is to Become So Powerful that no one can do that to them ever again, no matter what they have to do or sacrifice to get there. and a lot of that conflict is slathered in this layer of Gender Stuff! this is INTERESTING!!!! no matter what people take from this post i at least hope you can find this aspect interesting, especially if you hadn't really thought about cinder's mimicry before...

anyway the very Gendered tension in their character comes bearing down twice as hard when considering that madame verbally invokes ideas about "being ladylike" while she's abusing them, reinforcing this mental link between Being Ladylike = Having Power, Not Being Ladylike = Not Having Power (= being crushed under the (high) heel of those that Do). cinder's femininity is ungenuine at best and coerced at worst; in my opinion, that much has been gestured at pretty overtly

from here, you can draw whatever conclusions from it that you please; e.g. would cinder LIKE to claim femininity for themselves in a genuine way, or would they not? do they feel attached to it, or not? in the Midnight glimmers of cinder's own real human self—the one they try so desperately at every turn to kill and bury, by directly coöpting pieces of other people they think are powerful—what do you see there? that's a conclusion for you to draw, of course…

you've no doubt twigged by the pronoun heehoos happening in this post that i'm quite fond of they/them cinder lol. i like my non biney lesbian struggler (the lesbian part Specifically i don't have a whole post locked and loaded for, that's just because im a lesbian and i like it<3). i rotate the disconnect between cinder and their identity and their performance in my mind and go "huh! your gender is Lesbian. congrats sweet prince" well anyway i think salem shoulda been cool FOR ONCE and offered to give them top surgery when she was gluing them back together after beaconSJHBHBNSDHB

of course, there's a myriad of ways to take this and make it serve whatever gender and pronouns headcanons you like, so i'm not saying it definitely means exactly what i personally like. like i said at the start, i'm not interested in "proving" anything or whatever. i'm just observing that it's interesting, and then im applying it to beef up headcanons i personally like... so you do as you will, too 😌

but to me, no matter what final conclusion is drawn, gender is a performance and cinder fall is trapped on the stage! goodluck up there!

#is this the 2000 word cinder gender post. im gonna scream

99 notes · View notes