#but P&P really makes us PART of the titular experience and I think so many people don't realise it

[taradactyls]

Something I love about how Pride and Prejudice is told through an omnipresent narrator, aside from the witty remarks and insight into other characters it allows even though it's usually focused on Elizabeth, is how it plays on the audience's own prejudices and assumptions.

The narrator tells us very early on, chapter 4, that Darcy is "haughty, reserved, and fastidious, and his manners, though well-bred, were not inviting." We've already seen that when we meet him the previous chapter, and will see more of it in those following. But it's the readers, along with Elizabeth, who take that observation as not only a list of flaws (despite only the first actually being negative) but presumes even more damaging flaws must be attached to it. Darcy can be off-putting, especially so in the setting we meet him in: he dismissed Elizabeth within earshot of her, didn't engage with people attempting to converse with him, etc. It's easy to assume the worst of him in a world so driven by social niceties, and because we follow Elizabeth, who is so lively and playful amidst the rules which govern society. Elizabeth thinks he's bad tempered? It would make sense - he hasn't shown consideration for others much socially, why would he care when he's angry? He acted from resentment and jealousy and went against his father's will? That's not such a jump after the conclusion of a bad temper, his own acknowledgement of implacable resentment, and evidence of pride. The awareness of one offensive trait so naturally leads to prejudice against it, that we easily assume still worse qualities must exist. We are as mistaken as Elizabeth.

Even the idea that 'No, Darcy was never haughty or rude, he was just shy and misunderstood, the narrator is wrong' is just magnifying that prejudice. Yes, we do find out later that Darcy is not at ease among strangers, and was always intrinsically good; his morals and core values meant he was never as bad as Elizabeth believed. But that doesn't mean he was without flaws, and it's so fascinating that some analysis of his character seek to completely remove the negative traits which he eventually overcame after acknowledging them in himself. The logic seems to be that they feel if he had them in the start that he isn't actually such a good person. It's just another example of being so prejudiced against certain flaws that it's impossible for some people to reconcile that there doesn't have to be more serious failings attached, and someone can still be a good person despite being arrogant and not always nice. It's, ironically, being prejudiced in the exact same way that Elizabeth was at the start of the novel. It's amazing that Jane Austen was able to tap into that aspect of human nature so deftly, and invoke in both in her main character, and readers to this day.

Now, of course, the story is so well known it's rare for anyone to read it blind, so it's less likely anyone will be unaware of Darcy's good qualities despite first seeing his worst. Even if they do, Pride and Prejudice has become so genre defining that new readers who are the slightest bit genre savvy will be more aware than contemporary audiences were. But even if we know the story it's still so understandable why Elizabeth feels the way she does. We see what she sees and feel her conclusions make sense. Just as, even though the narrator tells us Darcy is starting to catch feelings for Elizabeth, we fully comprehend her not noticing and believing there's a mutual dislike. And though that is concrete evidence of Elizabeth not reading Darcy and his motives correctly, we are still so sympathetic of the basis of her prejudice that her continued belief in Darcy's lack of virtues makes sense from her point of view. We can see, as she later will, that she takes it too far, and should have noticed evidence to the contrary, but her prejudice against him based on his early behaviour and her pride at reading people correctly is so understandable.

Basically, in a story about the characters' pride and prejudices, I love, love, LOVE how the narrator's voice brings out those same traits in readers the exact same way we see it presenting in Elizabeth. We're all on that journey with her, and we can likewise learn the same lessons about ourselves as she does. Pride and Prejudice feels timeless, because even though society and thus the nuance changes, the book is about human nature, and that remains essentially the same.

[child-of-hurin]

my love @kareenvorbarra tagged me to share 5 books read since September that I have loved.

Clarimonde (La Morte Amoureuse), Téophile Gautier -- I don't have a single criticism to make about this book :) A wonderful read, I especially loved the execution of the part where the protagonist doesn't know which life is real and which is a dream. I listened to the old Brazilian Portuguese translation available on the Conto um Conto podcast feed and thought it was excellent, e uma amiga leu a belíssima edição da editora Wish e também elogiou bastante -- fica a dica pros lusófonos daqui :)

Le Cycle de la Belle Dame sans Mercy, David Hult & Joan McRae -- It's an anthology of poems and/or contemporary literary endeavors related to La Belle Dame sans Mercy (Alain Chartier), and it's very interesting, and a lot of fun to read, even if sometimes one can't help the exasperation at how much our titular character has to go through for the crime of... being the object of an extremely insistent suitor's obsession :P It's really interesting to see the ways in which many different readers reacted to it though, and a nice contrast to the Roman de la rose that I had just finished. And the poetry itself is lovely -- I wish there was audio or video available of someone reading it out loud, but if there is, I can't seem to find it :'(

Antes do Baile Verde, Lygia Fagundes Telles -- A collection of short stories, I think most of them are available individually in English but the collection itself doesn't seem to have ever been translated into this language. I recently got obsessed with The Hunt (one of the stories), and after listening to every single recording of it I could find, I decided to read it for myself, and ended up reading the whole book, and it's really excellent, I love the way she builds and holds (and almost never resolves) the tension... One of my favorite short story writers ^^

Vita Nostra, Marina and Sergey Dyachenko -- I LOOOOOVED this book, so much that I do not know how to talk about it. I loved it and I haven't stopped thinking about it since I finished reading it. I am on the verge of rereading it though I know I should wait longer... Anyway if anyone has read insightful conversation/reviews of this book that go beyond praising it, please let me know, I'm very interested!

The Obelisk Gate, N.K. Jemisin -- It's such a wonderful experience to read an author who has both a vision and the technical skill to pull it off! My favorite thing about this specific volume were the visuals, I really think they were incredible. I have already forgotten parts of the plot, but I think I remember vividly every single scene with a stone-eater. I'm also sooo pleased by the way she looks at greater social power structures! Been A WHILE since I read original setting fantasy with an actual spine. TBH I was 100% burned out on that specific genre for a while and The Fifth Season is what brought me back. On the side of things I didn't like, there are a couple (that "magic" vocabulary scene was genuinely cringe imo...), but mostly I wish there was more commonplace tenderness, both in-narrative and on a meta level. If it wasn't for Hoa as a narrative element, this book would be unreadable (to me ofc).

Tag uuuh @ourlightsinvain @imindhowwelayinjune @thelioninmybed @bamboocounting @vardasvapors @anghraine @yavieriel @medievalcat @seagodofmagic @hadrianspaywall @nelyafinwe (are you in the room with us giulia...) @hoeratius & anyone else who feels like doing it :)

[miraculouscontent]

Askplosion #12 4/4:

(I would like to state for future reference that, while I do not mind long/multi-part asks, if you’d like to engage in actual discussion with me over a non-Miraculous topic, my DMs - Tumblr Messenger - should be open; I lost pieces of three multi-part asks this time just due to Tumblr not sending the remaining part(s) so yeah, I just wanted to make that clear)

(like, this askplosion ended up being super long because of this section and that’s not really what I want to have going on since I’m supposed to be a primarily Miraculous blog; I don’t want to have to stop answering non-Miraculous related asks but I might have to if this keeps up:)

.:New non-Miraculous Asks:.

Anonymous said:

What are your experiences with some really rude anons?

It’s partly my fault when it happens. Like I’ve said before, I’m an aspie, and part of what that means is I struggle to understand situations emotionally. I can come off as insensitive or read the mood wrong which often leads to people misunderstanding my intentions or where I’m coming from.

More often than not, what I’m saying will make 100% sense to me but not the person/people reading it. I also stick a lot more firmly to my opinions than I should because people tell me I fold too easily, and I come off as more egotistical than I actually am to cover up my low self-esteem lol.

So yeah, can’t think of any experience in particular but sometimes it might be my fault? At least I suspect that it is?

Anonymous said:

“Killed by kindness” makes me think of an assassin who kills people by giving hugs and compliments to people and the occasion gift that isn’t tampered until thre target does like Conrad Birdie making women swoon into fainting by singing.

omg

yes

Anonymous said:

You're watching Yashahime right now? rip

MARINETTE TAKE 2 MOROHA DESERVES BETTER

SETSUNA HAS SO LITTLE REASON TO HANG OUT WITH THE OTHER TWO GIRLS

IF I SEE ANOTHER DEUS EX TOWA I’M GONNA KICK SOMETHING

(so yes, I’m watching Yashahime)

Anonymous said:

Since someone recommended Remarried Empress, I would like to recommend my own webcomic: Princess Love-Pon! It's about a young girl named Lia Sagamore who becomes the titular magical girl and purifies people's hearts when they're tainted by the Dark Queen! It's really cool due to its diversity, the main character is black and her best friend is Afro-Latina, the villain and her prince son are also black, and there's a Japanese girl, a black guy, and an Indian girl. Plus, loads of pink and frills!

Thank you very much, though I actually don’t take recommendations, even from close friends. The Remarried Empress anon wasn’t a recommendation; they were more pointing something out to me and then I went to confirm.

Anonymous said:

Unrelated to MLB: Which Pokémon are your favourites?

I used a “Favorite Pokemon Picker” because I prefer going by generations to pick favorites and that was the easiest way of going about it. I struggle picking super favorites so here’s what I got form each generation! (my only rule was “one Pokemon per evolution line” with an exception of the Eevee line since they’re different types, and also Alolan/Galarian forms)

(note: the blue-patterned Vivillon is my favorite and I honestly don’t like Charizard normally but the Y version actually slims him down and gives him the wings I feel he should have; it’s an improvement of the design so it gets my seal of approval, I don’t like the X version at all)

(lol I was looking through this after I was done and find it really funny how it’s like, 50% cute things and then the other 50% is just EDGY, there’s very little in-between with me I guess)

Anonymous said:

Bridgerton the Series: Yay or nay? Sorry if you haven’t seen it or it’s not your thing. I was just curious.

Never seen it, though when I brought up to someone, they didn’t recommend it to me at all ahaha.

Anonymous said:

I previously kept having this argument about The Bechdel Test with someone. She keeps insisting that the test is invalid because there's nothing wrong with talking about men and that it was created for lesbians only, and not for feminists, with the implication that being a lesbian somehow means that you dislike men or want them gone. And she also thinks the test is about NEVER talking about men, rather than merely occasionally talking about other things. I keep telling her otherwise, but...

jdfhkgdfhjgdfg “lesbians only”

now all I can imagine is “lesbians only” sections at restaurants and such

Anonymous said:

Have you ever played Akinator, with or without the Miraculous Ladybug characters? Because I played it with Ochaco from MHA and Marinette and he guessed them within a second(can your character control gravity? Is your character a protagonist?). I even played it with myself as the "character" and he guessed "your shadow" lol. How about you?

I’ve played Akinator before but I don’t specifically remember what I was searching for lol.

Anonymous said:

The cast for the newest Power Rangers series got revealed, and I hate that as soon as I saw the Pink Ranger's bio mentioned she was an internet journalist, I thought of Alya. I really hope she doesn't have the same problems as Alya in the series proper.

fhgdfkgd journalists have been ruined for us forever

Anonymous said:

Have you noticed that in many shows, especially shonen shows, people tend to hate the most "feminine" female character? Like, in Naruto it was Sakura, in Death Note it was Misa, in My Hero Academia it was Ochaco(although a lot of people like her so I'm not so sure about that last one?). The most hated character in one too many a shonen is almost always the "girliest" of the characters. They're always claimed to be useless or reliant on a man. And this is within the fandom who should know better!

It probably didn’t help with Sakura that she was decked out in pink hair; that’s an instant girl label for you (or lesbian label, depends on the person :P).

I don’t think I’ve been in enough fandoms to have such an experience but I definitely see where you’re coming from.

Anonymous said:

Rewatching Chat Blanc and Here To Help from Star vs. and hearing Adrien/Marco tell Marinette/Star that they always liked the girls from the beginning makes me so pissed. It's not that I don't ship Starco(I do! But I also like MarcoxJanna), although I don't ship the love square, but I'm so annoyed with writers finding the need to make the audience "know" that the main ship's characters "always" liked each other, as if that makes their love for each other more true, even if it's obvious they had other crushes? Like, what happened to Kagami Tsurugi? Jackie-Lynn Thomas?

News flash: Teenagers are allowed to have crushes on multiple other people before they find "the One". It doesn't mean their love for that "One" is any less valid. And if you still want to pull the "they always liked each other since they first met", at least make it actually TRUE!!! Don't have them have crushes on other people before moving on to the "official" crush and be all like "Oh, by the way, I liked you from the start," when it's dead obvious they didn't. You're doing a disservice to the romantic "false" leads.

I'm willing to forgive Star's crush on Oskar and Tom since she's not the one claiming she always liked Marco(even though she fell in love with him LONG before he fell in love with her, which is a nice turn of events), although her "love" for Oskar was merely an infatuation at most and I personally don't see why it was needed. Why don't they just say that their old crush didn't do it for them???

UGH, I remember watching that show and being so annoyed because I really liked Marco and Jackie and wanted them to be a thing but I knew that they’d pull Starco in the end because of course they would.

It also totally makes it seem as if love is the most powerful relationship there is (aros would like a word), which is so bizarre when there are so many “power of friendship” tropes. Like, a male and female lead have to get together because their relationship is the strongest.

The love square would hold so much more meaning to me without this love drama nonsense. It’s tiring.

Anonymous said:

Have you seen Yuki Yuna Is a Hero? If so, then what are your thoughts on it? I was thinking of watching it but it seems to be another "taking away the empowerment of the magical girl genre by making the girls suffer instead" type story. I read about it on TV Tropes and apparently it's a deconstruction that takes after Madoka Magica which already puts a bad taste in my mouth, but then I got to the examples and they're basically about how girls who get magical powers lose their body parts one by one and that the reason only girls can be heroes is because "young girls have always been sacrifices".

Not to mention it was written by a man and aimed towards a seinen(adult men ages 17-35) demographic, making it torture porn for adult men. Also, both the laconic page for Yuki Yuna and Madoka Magica say "Being a magical girl sucks."(though for Yuki Yuna it adds "Unless you have the power of friendship.") and to be honest that kills any desire in me to watch the show. Should I give it a chance?

Oof.

Yeah, after bringing it up to a friend of mine, it was instantly recommended of me not to watch it, so I’d say, “no.”

Anonymous said:

Let's make one thing perfectly clear. I, love, love, LOVE Sailor Moon. And I love the transformations, too. But if there's one thing I don't love, it's that their outfits all look pretty much the same but with different colors/different lengths of gloves and shoes and stuff like that, and that they all have the exact same body type save for the one fat girl who's made to look bad. I don't like Madoka Magica, but at least they all had unique/different costumes(but they still have similar bodies).

We’re not allowed diversity here. Take your different body types to a show that cares; we’re all about femininity here and how girls can be beautiful and powerful no matter wha--oh wait...

Yeah, I don’t care for the design in Sailor Moon, but that’s because skirts don’t interest me design-wise unless it’s really unique/interesting.

(note that there’s a lot of talk about tomboys, sexism, and TV tropes and such below, and then Madoka Magica after that; that’s basically the rest of this askplosion:)

Anonymous said:

I just saw the thumbnail for a video called "Why You Should Watch Princess Tutu(Yes, I Know The Name Is Stupid)". Umm, why is it stupid exactly? Because it's "girly"? What is with people thinking that in order for a girly show to be good they have to first separate the show from its girliness in order to enjoy it? It's like how men will say a show is good despite it being girly, or that since it's good it's no longer girly. Nobody does this for boy shows, because boy things are "never" stupid.

Princess = girly thing

Tutu = girly thing

girly things = bad

That’s the formula~ They should’ve called it something edgier and manly so that more people would be interested.

Anonymous said:

I'm wary of any woman or girl who says, "I'm a girl, but I'd rather read books about guys" or "I'm a female writer but I mostly write stories about male characters". I feel like those women are the "not like other girls/one of the guys" type who suffer from internalized misogyny and don't like female characters. I also feel like they're the type to not care about female representation, because in their minds, girls shouldn't care about female role models. We can enjoy males just as much! I do!

To be fair, they might also just be writing about shirtless men doing “handsome” things. ;P

But nah, I see your point. Me personally, I try to find a balance of writing both, but I do think there can be bias.

Anonymous said:

Do you think it's okay to like a ship but acknowledge that it wouldn't be safe or healthy or condonable in real life? Because I was just thinking of how a lot of people like some really "toxic" ships like Veronica/JD in Heathers, Yuno/Yukki in Future Diary, Madoka/Homura in Madoka Magica(although some people don't like it because of its toxicity/like it but don't realize it's toxic), almost any villain/hero ship, the list goes on. But they're aware of the fact that it's not a good standard for healthy relationships in real life.

An alternative I've seen is people having a crush on "dangerous" characters like JD and Yuno, or Karma from Assassination Classroom(there's not a single video on YouTube with him in it that DOESN'T have comments full of people saying they want Karma to father their children), but still being aware of the fact that the character is a) not real and b) wouldn't be a good partner if they were real(and that's assuming they even want to be with you. But sometimes there's a good reason for falling in love with a "toxic/dangerous" character.

Take Monika from Doki Doki Literature Club! She's obsessed with the player(not the player CHARACTER, the flesh and blood player themselves) to the point of killing off all the other girls and "trapping" you in a room with her where she talks endlessly about lots of things. But she's actually a lonely girl who's driven insane by the fact that nothing around her is real. She latches on to you because you're the only other person who's real and sapient and has got a mind of their own. You're literally her outlet to the outside world.

She's personally my favorite character in the game due to her actually being a more fleshed out, sympathetic(and not in the idealized "moemoe" way), and realistic take on the Yandere archetype(which, like many moe archetypes, is kinda misogynistic in nature in that it reinforces submissiveness; it's basically animes version of "woman scorned".). So it makes sense that people would sympathize with her and want her to become real, because all she's ever wanted was to be real and to talk to real people. Especially since she really did care about her friends and even returned them back to life because she saved their backup files, taking herself out of the picture.

I read a few "Monika becomes real and lives with you" fanfictions where she's really sweet and not at all crazy and cares for you a lot, and it's never felt the same as all those other "Yandere/psycho lives with you and is your girl/boyfriend" type stories precisely because those stories tend to just glorify possessive partners that kill your loved ones, drive your family members to commit suicide, and tear up your stuffed animals and dollies for the sake of it, rather than go into why they're so crazy for you, and often reinforce Stockholm Syndrome.

Plus, those "things" she talks about in the empty room? They're actually quite smart and make you think about the world for a bit. Not many "crazy" type characters actually get that. They're all about how "I'll slice your boyfriend open with an axe if you don't date me wa ha ha", and even if they're not, it's all the fandom will focus on, to the point of ignoring any and all other aspects to their character. Because that "crazy in love" aspect is the most appealing part of them. Maybe it's due to forbidden fruit/bad boy(or girl) appeal? Who knows? But I'm starting to wonder if it's still as bad if people recognize the problematic aspects of "crazy in love" characters or "dysfunctional" relationships.

Because if they recognize it's not real and don't really want it for themselves, then it's probably not much of a problem. But if they just go on wanting it to be real and never take a step back and go "wait a minute, this isn't real love; they're only together because he latches onto the first girl to show him any kindness and affection and she's a doormat who doesn't want something bad to happen if she leaves him", then that's bad.

Obviously it's not as bad as being in love with literal stalkers, killers, and rapists in real life(which is an actual thing, believe it or not, it's called hybristophilia), because fictional characters will never be real. Karma Akabane will never be real. Yuno Gasai will never be real. JD will never be real. But loving fictional characters who do those things and not realizing the problem with it may cause people to seek out real criminals, so it's best to separate fiction from reality.

I can’t help judging a little internally, but yeah, I think people can ship whatever as long as it has that “not in real life” scenario going for it. It’s ultimately fiction, so just because I don’t like it and/or think that it’s bad doesn’t mean other people can’t ship it.

Anonymous said:

I'm getting tired of all the racists on TV Tropes getting upset whenever a trope has a Japanese name. Whether it's Tsundere, Yandere, Meganekko, Genki Girl, Bokukko, or any Japanese anime name, people will complain that the trope exists beyond anime so it shouldn't have a "cute anime name", and that it should instead just be given a broader(read: English) name with the same meaning. Or that the site is too obsessed with anime. I'm just sick of people saying that anime names are bad.

The other thing is that we don’t actually have English words for certain things? I mean, the whole reason we say, “tsundere,” is because it says everything in one word. It’s easy.

(Also, people are aware the the English language isn’t some unique thing that takes no inspiration from other languages, right? It’s a mix of things, so accept that other languages exist because we literally wouldn’t have English without them.)

Anonymous said:

Have you seen the TV Tropes reviews for "My Little Pony: Friendship Is Magic"? Holy crap, they are all a perfect example of the "Real Women Don't Wear Dresses" phenomenon that I have mentioned earlier and is so fucking present on this site. While some reviews praise the show for showing that "it's okay to be strong AND girly"(such as Hadles' review, which was really splendid), and that girl shows are no less good, others either insult the show by calling it "girly, saccharine, and stupid" as if "girly" is synonymous with anything bad about a show, or feel the need to distance it from its girliness in order to praise it as if a show can't be good if it's also girly.

Some people were saying things like "the show might seem girly at first, but it's actually a good, brilliant show with intricate plot twists, well-developed characters, and even some scary moments" and "the characters aren't just shallow girly-girls, they have depth!" So what, girliness is mutually exclusive to anything of value? One person even said that the Girl-Show Ghetto was the reason they couldn't get into the show or respect it. Just...wow.

And one review even said "Rarity's pretty tough for a girly girl!" Excuse me? Tough FOR a girly girl? So being a girly girl somehow automatically disqualifies you from being tough? Like "yeah, she's tough despite being a girly girl! Because girly girls aren't supposed to be tough."

It reminds me of the phrase "you're pretty for a black girl", which, while it's never been said to ME, I have heard other people complain about. It's sick and it hurts, just like this. And the few people who didn't say things like that still said that they couldn't get into the show at first because it looked "girly and vapid", before changing their minds and thinking that the show either proved their biases about girly shows wrong, no longer think it's girly since girly shows "can't" be good, or like it "despite" it's girliness.

And there were 70 reviews in all. 70 reviews full of this misogynistic "girly is bad" shit. So in conclusion nearly all the reviews on TV Tropes for My Little Pony: Friendship is Magic were along the lines of one of three things. 1) "This show is girly so I looked past it because girly shows are dumb." 2) "This show is good despite being girly/the characters are good despite being girly." and 3) "This show is not girly to me at all because it is well-written and captivating and girly shows aren't capable of such things."

Granted, some people there were able and willing to call out those who judged the show badly for being girly(or gave it the "not like other girls" treatment, but in show form), as well as people warning other potential viewers to get rid of any potential bias they may have against it due to it being girly. But there were still more people insulting its girliness as a reason they think it sucks or denying its girliness to justify their liking of it than the other way around.

I would've accepted it in the form of "If you think this show is bad because of its inherent girliness, then you are wrong!" or "This show is proof that a show being girly or aimed at girls doesn't and shouldn't take away from its value, as people seem to believe." or "A girl can be girly and be a strong female character.", but no, instead I got shit like this. It's especially insulting when TV Tropes is a site that devotes itself in part to critiquing sexist tropes found in media, only to turn right around and reinforce them.

I don’t read TV Tropes that frequently, so I fortunately missed out on all of these complete idiots who associate girly products with being bad.

(that “pretty for a black girl” comment makes me hate all aspects of “expectations of beauty” and it’s like--plz let these die)

I could maybe see an argument for criticizing a girls show for being “saccharine” if it were like, “girls’ shows written by men who clearly don’t know how to write girls are usually bad,” because then it’s not a criticism of girls’ shows exactly but rather who keeps being put in charge of writing them.

Anonymous said:

I get so annoyed when people get upset when confronted with the matter of female representation with "what's so wrong with one show having a male protagonist or mostly men and one/a few women? Why do we have to include women in everything?" These people clearly do not understand that one show doing it is one thing, but when multiple shows do it, it's an obvious problem. It's even worse when they turn around and diss shows with largely female casts for "not having enough men".

And as for people getting upset that "every show has to include women/come with a checkbox nowadays", as if it's bad to include women in your story...look around. Women make up 50% of the population. They're literally everywhere. What reason do you have to not include a substantial amount of women?

These people act like male is the default and women are a last resort. They see no problem with men dominating a cast because it's justified(despite that not reflecting real life), and yet having female characters, or, hell, a female-dominated cast(I know they also don't reflect real life, but there are still female-dominated spaces; most colleges are 2/3 female) is "unrealistic" trying to fulfill a quota, or a straw feminist agenda, as if characters can't be female for their own sake. You shouldn't have to be forced include women because their presence should be a given.

How many stories nowadays take place in the war front in Viking times or whatever? A lot of men just don't want to include female characters or see them represented(well) in media because those who are overrepresented tend to want to stay that way. They likely also have insecurities about their masculinity and are worried about female characters flooding their shows with estrogen and ruining the shows they love, because they can't relate to female characters or enjoy shows about them without negating their girliness(ie. This show seems girly, but it's actually good), since they're ashamed to associate themselves with anything feminine due to looking down on women or seeing them as bad.

Plus they want to be the center of everything so the second a show is about mostly women they get upset and claim it's "sexist against men" because it's not about them. Hence why bronies(bless their souls) are made fun of for the grave sin of enjoying a female-centric show with a female protagonist and largely female characters. Granted, there are some freaky fans, but there's still some sexism at play here.

This reminds me of a post I saw about a boy who actually looked up to female characters because you can pick a role model who doesn’t fit your gender. Crazy concept, I know. ;P

And yeah, that’s how it goes with equality. People who are best/most represented don’t want equality because they think it means less for them and they don’t want that, like a child who doesn’t want to share their cookies with everyone else.

Anonymous said:

I love TV Tropes, but if there's one problem I have with it, it's how often it associates femininity with weakness. The "Masculine Girl, Feminine Boy" trope is a good example of this, but the worst offender in my opinion is the Girly Girl With a Tomboy Streak, as most of the examples there are simply of girls who are strong-willed or fierce or can fight. Because you know, those traits are male. It's bad because there are ALREADY tropes for girly girls who can fight, Girly Bruiser and Lady of War (which TV Tropes even goes out of its way to SAY shouldn't be counted as a "Tomboy Streak" and yet does stuff like this), but it's also bad because ANY girly girl with these qualities, no matter how feminine they are otherwise, will be seen by TV Tropes as having to be at least somewhat tomboyish(read: masculine) in order to have those traits. Because regular girly girls are just weak and fragile and only want to be housewives.

It's even worse when you realize that much of these characters are created with the exact purpose of subverting the stereotype that girliness equals weak, and instead present a new and more empowering form of femininity: that femininity is strong and DOES NOT equal being a passive sex tool for men's pleasure. They're MEANT to show that being a tomboy is not the only way to be strong, and TV Tropes acknowledges that! But then they also go and claim these characters have "Tomboy Streaks" thus undermining the positive message by insinuating that you have to be tomboyish to be strong and that even girly girls have to have some level of masculinity to be deemed respectable and equal human beings, plus manipulating many impressionable folks into thinking strength and bravery is automatically tomboyish.

Worse yet, they often put a character here because "she's a big eater" or "she burps/farts a lot". Gee, I didn't know women had bodily functions? I didn't know women had digestive systems? So basically any time a girl shows that she is a human being and not a pretty, passive doll to be idealized, she is acting like a man. Because only men are fully-fledged human beings. Even outside of that, look at basically any masculinity-femininity contrast trope(Tomboy and Girly Girl, Sensitive Guy and Manly Man, Masculine Girl Feminine Boy, etc.). The "masculine" character will often be described as dominant, assertive, or outspoken, and the "feminine" character will often be called weak-willed, passive, emotional, and timid. It's fucking sickening.

The Tomboy With A Girly Streak trope is similar to its inverse in that a tomboyish girl will often be placed under this trope with their proclaimed "girly" streak being that she's tender or cries a lot or is soft spoken/a doormat. Because being girly is about not taking up too much space, not having any ambition or aspiration, and overall being a weak and shallow waste of space. For a site that claims to dismantle such sexist misconceptions, it sure does reinforce them just as much.

I almost want to stop using TV Tropes based on that and many other reasons, but it's a genuinely informative site that at least tries to avoid these stereotypes(plus it's edited by more than one person), it just doesn't do enough. For example, they made an awkward claim once that women can't fight while on their periods, and even have an Improbably Female Cast trope, as if it's abnormal that a cast could consist of mostly women and demands an explanation. To them, femininity=inferior.

And then in comes the “anti-girl tomboy” characters who basically do everything “girls don’t do;” glares at things like make-up and such, rolls eyes at the subject of “girl talk” or “romance,” drinks anything carbonated and spreads their legs wide open, etcetera.

Guys really don’t get the same version, at least not that I’m aware of? Like, at best, they don’t participate in “guy things” but that’s about it.

Having characters acknowledge it just makes everything more blatant, like if a woman comes by and the guys have to assure “DON’T WORRY, SHE’S LIKE ONE OF THE GUYS.”

It’s like a woman can only hang out and engage in “guy talk/time” (the concept of which I hate but that’s besides the point) if they can crush a beer can against their forehead.

Anonymous said:

OMG TV Tropes called Cirno the Ice Fairy from Touhou a "tomboy"? Why? Because she's boisterous and outspoken and not a "shy girly-girl" like Daiyousei! TV Tropes clearly believes that any girl or woman who is more than just a pretty face(which ALL women are, by the way), who takes up space, who has a dynamic personality and isn't just a weeping wallflower(which I'm not saying Daiyousei is) is a tomboy. Because she's acting like a man that way. Ugh, so over TV Tropes and their sexism.

And all the girls in Touhou(including Cirno) wear big frilly dresses anyway so it doesn't really make sense to see ANY of them as tomboys. But no, apparently any girl who is rowdy or tough or is active and not passive is a tomboy. You gotta be a tomboy to have attitude. You can tell they think so because they often say things like "strong, but still feminine" as if those things are opposites. They even described femininity as "weak and susceptible, vain and superficial". Like, ugh, kill me now.

I legitimately want to see a bullet point list here of what qualifies as a “tomboy.” Like, what, anyone who does one thing that isn’t “girly”?

Can we just throw out all of these terms; not even replace them, just throw them out?

(the below ask is incomplete - the first part is missing - but the asker clarified after I asked them, so clarification is below:)

Anonymous said:

Tropes is because I'm working on a story and I hope when it becomes famous that TV Tropes will write about it, but as it stands, I'm beginning to wonder that TV Tropes undermines most stories or plots to do with women one way or another. I mean, they constantly create tropes with the intent of calling out inherent biases, yet reinforce those biases themselves.

For example, they have a trope called Men Are Generic, Women Are Special, which points out the bias of male being the default, and yet on almost every other page on the wiki describing a trope, the default character will be a "he"(especially if it's a character trope), and whenever they mention "The Hero" or "The Big Bad" it's always a he unless it needs to be female(like if the heroine is in a romance story, or if the villain is a seductress). Female characters at best, can hope to be "The Heart" or "The Chick" of the group(which is often used in a demeaning way).

They even have a trope called "Improbably Female Cast" in which they point out all the instances of a story's setting having an "over-abundance" of women or girls with no men in sight, and claim that such stories have majority female characters when it is "unusual" "unlikely" or "lacks justification". Someone even suggested that the trope should be called "Where Are All The Men?" as if there's something inherently weird or wrong when a story is dominated by female characters, and like the story is in dire need of men, as if only men can be protagonists.

Even if the story has a justifiable reason for having mostly women, the fact that the writer made that choice at all is somehow deserving of mention. The mere fact that there's no "Improbably Male Cast" trope shows where the site's biases lay. They don't see anything wrong with a show being dominated by men with little to no female representation(ex. Death Note), and yet a show dominated by women(ex. MLPFIM) is somehow an anomaly and demands an explanation(even if the story does provide a reason for it, TV Tropes will still list it and presume it "improbable", as if to say "I mean, yeah, but there's no reason why you couldn't just make them mEn instead", as if writers who have mostly female characters are going out of their way to steer away from the "default" males.

In fact, they even admit that "Men Are Generic, Women Are Special" is their reason for having such a trope, but not the inverse. They even say that it's not the trope if the show revolves around a group of girlfriends with no indication of the gender ratio in the wider setting. So any time the females outnumber the males a story it's instantly labeled "improbable" because there's NO WAY any setting AT ALL could have more females than males. That's improbable! You see, this is why when women are 1/3 of the people in a given space men perceive it as "majority female" because they're uncomfortable with women having more of a presence than men.

We'll never have true equality if shows with majority female casts continue to be scrutinized under a microscope and assumed to be of inferior, lesser quality, just because there's no male characters around and it's women who are driving the plot. My problem isn't that they have a trope for majority female casts, it COULD be a testament to gender equality(ie., "there used to not be a lot of shows revolving around women, but now they're becoming increasingly common and well-known), but it's that they single out such stories as "unlikely" and thus discredit them.

And worse yet, they refuse to change the name, because they don't see a problem with it. So now every single show that doesn't have an equal number of males and females or more males than females is going to be called "improbable" by TV Tropes, because there's something(bad) to be said about shows that choose to make most of their characters women. Death Note and Naruto can slide by the radar of having loads of men, but Madoka Magica and Touhou are "improbable"? Because they have loads of women?

the clarification:

Anonymous said:

I started out complaining about how TV Tropes says that boys will watch Star Vs. The Forces of Evil only because of Marco(who's great, but it comes off like boys can only relate to boy characters) and that the show only looks girly but has a deep complex plot with scary moments(as if a show can't be dark and complex and still be girly; girly=shallow, watered down fluff), hence my complaint about TV Tropes undermining girly shows or anything "girly".

Yup, exactly like I said.

Good stuff in “girly” things is the exception. Good stuff in “manly” things is expected.

Which is funny when you consider stuff like “edgy” reboots of things. Like, Disney remakes their original movies and that usually means making them worse (like in Beauty and the Beast - god I hate that remake - where the objects are going to become complete objects when the last petal falls even though the enchantress is explicitly a good person and it comes off as super cruel and unnecessary), but that seems to just be its own breed of bad I guess.

Then there are terms like “chick flicks” and “soap operas” which are usually women-oriented and tend to be considered dumb/over-dramatic.

You know, not like MEN shows with their sexualization of women, guns and MEN things.

Anonymous said:

Remember what I said about TV Tropes being sexist? Well, they also have a trope called "Girly Run". Like, that's literally the name. Girly. Run. Thankfully the first example(which is under advertising due to the forms of media being in alphabetical order) is an aversion from the blessed Like A Girl campaign, but...just reading the page lets the casual-yet-bold-faced sexism speak for itself.

why can’t things just be like the Sims where characters can wear whatever the hell they want and have any personality without any judgment or criticism from other Sims?

(more Madoka Magica talk - and ONLY Madoka Magica talk - below because I’ve unleashed a monster apparently:)

Anonymous said:

I know you don't like Frozen but I saw a theory somewhere that Elsa's powers came from making a contract with Kyubey and her wish was to impress her sister and anyway I can't stop rolling my eyes. This isn't(just) because of my distaste for Madoka Magica compared to my love for Frozen, but if Elsa's a Puella Magi then why didn't she become a witch long ago? How did she make it to adulthood? How did she become emotionally stable? And why do her powers have to come from a negative source?

I think it might just be people looking for excuses to do their crossover fanfiction which--yeah, I’m not crazy about that.

Anonymous said:

Did you know that Cristina Vee voiced Homura Akemi in the English Dub? It's very noticeable, especially during the Cake Song, where I could've sworn she sounds exactly like Marinette. By the way, I'm still not sure what the hell was going on in that song. Could you please explain it to me(if you know)?

Nooooo don’t make me think of Homura when I think of Marinette!! fjkdgjnfdg

lol but seriously, I think the Cake Song is just meant to be one of those “weird but meant to be dEeP” things that shows do sometimes to be cool (not a criticism technically; depends on how it’s used).

I think the cake is the labyrinth and Homura saying that she’s the pumpkin makes her the odd one out since pumpkins are associated with scares and halloween, so it’s “foreshadowing” her being the witch. The things that they say they are... they’re like--ingredients for a meal, but not a cake, so the the cake is the labyrinth and they’re the things that would go inside it.

Homura and Madoka are the only ones who really get descriptions to go with them. Homura says that she’s “full of seeds” (despair?) and Madoka implies that it’ll bring sweet dreams once she’s sliced (which is either referring to the godly freedom given to magical girls before they turn into witches, or foreshadowing Madoka being “split” after Homura stops Madoka from purifying her, leading to Homura’s “sweet dream” of what it’s like when everything is “normal” after her reality twisting).

Anonymous said:

May I ask what you don't like about Kyoko's character? Is it because she was the stereotypical "jerk with a heart of gold"? Or because the writer made her flip from hating Sayaka and wanting her dead to suddenly dying for Sayaka even though she barely knows her compared to Madoka(because the writer doesn't understand how girls' relationships work)? For me it was a mixture of both(though I still don't mind KyoSaya!), but I still liked her enough, she just felt a tad stereotypical. Your thoughts?

It’s both. I just don’t like characters like her at all and the runtime of Madoka Magica can’t maintain all of these characters, “developing” them, and then killing them off. I don’t even have any time to get attached to them because they’re dead within a matter of a few episodes.

And it’s always like, “okay here’s this character’s backstory to make you feel emotionally attached--HA NOW THEY’RE DEAD. SEE??? WE TOTALLY GOT YOU.”

Like, no, you didn’t. I didn’t even have time to care about THEM, much less their actual death.

Anonymous said:

What about the girls in Madoka Magica? Do you think they're strong female characters? Now, obviously the show is not feminist, since it misses the whole point of Magical Girl, which is to empower girls and show them that girls can be powerful and feminine and can find strength in solidarity with each other by instead making them suffer and fight each other and have their power come from their emotions, which are exploited and turned against them because women can't be powerful, but still...

It’s the same way I feel about Marinette; there are some who I want to say are strong characters, but the writing is ready to just kill them off at any time and bully them for essentially having emotions.

Basically, imagine a male writer hands you a character sheet and is like, “AW YEAH CHECK OUT THIS sTrOng FEMALE CHARACTER I WROTE.”

Like, even if they were right, their ego and obnoxiousness about the whole thing, along with what they actually do to said character, makes you not want to give them any credit for it.

Anonymous said:

How do you think Puella Magi Madoka Magica would be different if they had magical boys as well(which can mean either gender-bending canon magical girls or introducing original magical boys)? Do you think the show would be better? Worse? Or would it be just about the same?

Personally I feel like having magical boys would be good and bad; good because there would be no more of the “teenage girls are hysterical” crap and it wouldn’t just be girls suffering because they can’t handle power, and bad because it would still be problematic(for stereotyping all teens as over emotional and deserving to be taken advantage of by the Incubators, and it would still be about kids suffering in a genre meant to empower girls, having some of them be boys wouldn’t help that much).

I also feel like Gen Urobuchi would still make the girls suffer more and have them be more emotionally and mentally unstable. Holy crap it feels like he read up on Aristotle’s views on women while making this show.

It would at least be more balanced I guess? Like, teenage years are a fragile time, so it would make sense for both girls and boys to be taken advantage of. I still wouldn’t like it but it would be nice to point out, “there are emotional boys as well as emotional girls.”

Anonymous said:

Literally all the problems with Treatment of Marinette, Chat's Entitlement(TM), and the sheer sexism in general(ex. all the teenage girls and even women villains being catty and bitchy, while the male villains are cool, suave, and calculating; female villains being irredeemable scum while male villains are "not as bad as they seem", etc.) could all be solved if the show just got some more female writers! You know a show isn't feminist like people claim if none of the writers are women.

That's what I love about Friendship is Magic; the show is written and directed by a woman and actually has a variety of both male and female writers! Plus, Lauren Faust explicitly identifies as a feminist and claims her works are meant to empower women and show them that there's no wrong way to be a girl. And the show reflects that! There's no "token girl" who checks all the boxes; the females have realistic flaws, diverse personalities, and let's not forget ARE THE HEROES!!! Not to mention that the cast is actually PREDOMINANTLY FEMALE. Do people have any idea how refreshing that is?!

And that's why whenever people claim that shows like Madoka Magica are feminist when it's written by men for men while also dismissing actually feminist shows written by women for women as "sexist" or "demeaning", I cringe inside. It's not just what the show looks like, it's what the people behind it say.

And Gen Urobuchi is not a feminist. At all. Just listen to the things he says about the girls, that they're terrorists who are full of hubris and destined to be alone, and that actual magical girl shows weren't his inspiration beyond the show's cosmetics, he just based it off of porn games. He only watched those shows after making Madoka Magica and admitted they were weird to him. Well, maybe they wouldn't be weird if you actually used them as inspiration! Why are you even making magical girl? So basically he admitted that all the suffering the girls go through is because it's his fetish.

I knew I wasn't imagining things when I saw all those weird shots and angles(ex. zooming in on Sayaka's thighs and breasts when she collapses to the floor, Madoka gripping the bed sheets between her legs when agitated, zooming in on Kyoko's ass when she takes her phone out of her shorts' back pocket, it's all for cheap titillation). And yet people keep saying the show is devoid of male gaze and sexism and why? Because apparently men know how to represent women better than women themselves.

you said “Madoka gripping the bed sheets between her thighs” and it gave me an immediate flashback, I hate it

I find that it’s a similar thing with gay anime/manga; I’m more likely to trust a F/F story if it’s written by a woman since they’re less likely to sexualize everything.

Anonymous said:

Homura in Puella Magi Madoka Magica: But Madoka, what's going to happen to you? You'll end up all alone here forever! You'll never be able to see your friends and family! Homura in Rebellion: Haha, screw Madoka's friends and family! Only I am worthy of Madoka's love! That girl belongs to me! MWAHAHAHAHA!!!!!!!!(I'm sorry for the over exaggeration, but this is how it felt for me.)

Apparently, it was better for Madoka to just have all of her memories and powers yoinked away.

Sayaka is Madoka’s right hand girl so idk why Homura has this idea that she needs to sAvE Madoka. The fact that this whole thing comes out of a misunderstanding (because Madoka doesn’t have her memories) is so irritating.

Anonymous said:

I actually love Madoka Magica, but I completely agree with you on the hysterical women thing. Why couldn’t they just have... both magical girls and magical boys? Like, just mention that magical boys are a thing? They don’t even have to change anything but that, they don’t even really have to show it, just be like “yeah there’s magical boys too but that’s not really what this story is about, it’s about our characters we have here”. I don’t know, feels like that would have at least helped stuff.

Yeah, they don’t have to bother having the magical boys around. Just to know they exist would be enough. I mean, the fact that the focus is on them would still be bothersome (they’d probably do a thing where each girl represents a different emotion that is easily manipulated/easy to control), but it’d be something.

Anonymous said:

One thing that weirds me out when people are talking about Madoka Magica is when people refer to the characters as "little girls". Like, excuse me? They are not "little girls". They are teenagers! All of them are at least 14 years old! I hate when people call them "little", it's just so condescending and infantilizing, especially when the show does enough of that to them already. After all, no one makes that mistake with the heroines of Lucky Star and Hidamari Sketch(who are also drawn by Aoki)!

I feel like it’s the equivalent of when people call women “girls,” y’know? Sort of a “treating females as younger than they really are,” which is probably what gives guys the feeling that they have control.

For a gender that claims to be so dominant, certain ones sure have to delude themselves a lot to make themselves feel better.

Anonymous said:

I was thinking about what you said about Puella Magi Madoka Magica passing the Bechdel Test, and if it counts if there's barely any men to talk about. And while I do agree that it counts, I also feel that it doesn't really matter much in shows such as Madoka. This isn't even about feminism, this is about the fact that if a show has next to no men in it at all then it's pretty much a given that they won't talk about them since it would be impractical to talk about something that doesn't exist.

So because of that, I think there should either be an alternative test which only applies to shows that have a significant or equal number of male characters and yet the ladies still pass the test(making it feel more "real" since the option to talk about men is there), or the test should be rewritten entirely so that it only applies to shows in which the cast is either equally gender-split, or has a majority male cast/significant amount of males even if the females still outnumber them.

Reminds me of how, on TV Tropes, someone suggested that there should be a "Weak" and "Strong" Bechdel Test, where "Weak" refers to the women talking about something other than men because it is literally what's relevant at the moment(such as two female police officers discussing how to catch a female killer), thus applying the Bechdel Test there seems semi-void, while "Strong" is when they could talk about men but choose not to(ie. two female students talking about their grades during lunch).

And just to clarify about the "Strong" one, when I say they could talk about men but choose not to, this isn't to imply that female characters should talk about men, or that something's wrong with them for not talking about men, just that there's nothing stopping them from doing so, but they choose to talk about something unrelated to men. I think this strategy is much better than the test we have because it makes conversations between female characters seem more real since they're discussing things other than men of their own volition, rather than the non-male-centered talk being because they have to talk about it in-universe. I say that because The Bechdel Test serves to show that women's lives don't and shouldn't revolve around men, and they can talk about other things if they want to, but if the conversation is because they have to(like the example I gave), that gives sexists the opportunity to go "Yeah, well, they're only talking about it because it's their job!"

But if the female characters talk about things other than men of their own free will(as in, when the option is still there), then it shows that women really do have their own free will to talk about their own things and that there is NO REASON to not pass the Bechdel Test in today's day and age(I keep hearing people claim the test is stupid and doesn't matter, but then it should be easy to pass). "Oh, but if they had the choice, they would talk about men." No, because men don't sit around and talk about the women in their lives all day so why should women talk about the men in their lives all day? And to the people saying these types of tests are getting in the way of their "creativity", well, now that we know that you think female representation is stupid and something you have to be forced to do, we don't have to listen to a word you say. ;)

I like the idea of adjusting the Bechdel Test for other circumstances and expanding it as such!

You could also extend it to things like sexualization, because--I mean, having two female characters who talk to each other probably doesn’t mean much if they’re half-dressed or the writer wanted to make them bisexual for “The Fanservice.”

Anonymous said:

To be honest deconstructions of Magical Girl confuse me. There are some good ones out there(such as Princess Tutu and Revolutionary Girl Utena, so I know they're not all just torture porn, my only gripe with Utena is the implication that girls who take on the feminine "Princess" role are weak), but at its heart Magical Girl has always dealt with death, gore and pain just as much as female empowerment.

It makes me feel like the people who write these stories haven't seen magical girl and think it's all just sunshine and rainbows and that just because it's "girly" it's vapid and has no substance, and since the only way to have substance apparently is to be "dark", they go "screw it with all this princessy magical shit! Let's make our show dark instead!" When in reality if they had just sat down and watched a magical girl anime, they would understand that this is not the case.

Not to mention that many of them tend to have fanservice and the idea that magical girls have to suffer, so instead of empowering young girls, they end up misrepresenting the genre and turning it into fetish fuel torture porn for adult men(Madoka Magica and Yuki Yuna are very good examples of this; the writer of Madoka says that the girls are terrorists and full of hubris and that he was inspired by porn games). It's not that you can't deconstruct the genre at all, but it's almost never done tastefully and the magical girl themes are just a cover used to explain the suffering the girls go through. :(

Another thing about magical girl deconstructions is that they often reinforce patriarchal themes, like that girls shouldn't want things for themselves and that genuinely doing something for someone while also having ulterior motives that help yourself are a BAD BAD BAD thing, no matter how ultimately harmless they are, even if they help everybody involved. They also tend to reinforce Tall Poppy Syndrome and portray the powers as harmful or a bad thing, implying that girls shouldn't have power.

Honestly, I think there can totally be even more substance in magical girl anime that doesn’t have to resort to “make it eDgY” (which I feel like is a slippery slope that can easily come off as lazy); for example, I’d really enjoy seeing something deeper to magical girl powers than something like, “oh, this magical girl happens to have the power that fits their personality,” such as a magical girl who has a power she feels she doesn’t fit but it’s a matter of perspective/seeing herself differently, or a magical girl who does have the powers that “fit” her personality - like a “fiery” girl with fire powers - and the weaknesses in her powers correlate to the weaknesses in her personality, so she has to either iron out those issues or find workarounds, as true “perfection” isn’t possible nor practical, which is something all the girls have to accept despite whatever pressure they’re under.

.I dunno, I like lore and powers revolving around metaphors. It’s fun.

Anonymous said:

About what you said in regards to "no pueri magi because it doesn't hit the shock value threshold enough", I remember this interesting comment I saw on an article called "The Problem With The Dark Magical Girl Genre"(which I would totally recommend checking out, by the way!) which said that shojo magical girl and seinen magical girl both embrace a different philosophy regarding strong female fighters. In shojo, they tend to embrace femininity as a strength and show girls that they have the power to do whatever they want and undergo dangerous professions. But in seinen, which conveniently enough is more likely to "deconstruct" the genre(ugh), rather than admiring the girls and supporting them in their endeavors, the girls are meant to be pitied(often to the point of infantilization) when bad things happen to them, with the fact that they are girls serving to make everything worse. It operates under the idea that girls are fragile, in need of protection, and shouldn't be fighting at all.

That's why deconstructions like Madoka Magica and Yuki Yuna don't sit right with me, and also why I don't consider them feminist series. People can say whatever they want about Sailor Moon and Pretty Cure, but ultimately they also had dark and dangerous themes(to the point where some kids had nightmares), but ultimately allowed the girls to rise above the hell they went through and find the strength in them to save the day. We feel bad for them when they die, not because they're moe girls, but because we were actually given the time to form a connection with them and want to see them succeed, rather than just be expected to pity them because they're cute manipulated girls. That way, when they ultimately save the day, it's all the more satisfying. Princess Tutu was a deconstruction that actually went about it in the right way, because the girls eventually found the courage to defeat their enemies in a way that made sense. Why the hell is it a "good" thing to subvert that?

No clue, but I basically agree with everything there. I mean, Madoka Magica’s entire stick is basically that all the girls are like “uwu” in terms of the style (with Madoka being the “cutest” of them all) and then being put in this dark and edgy plot+setting; it’s for both the shock value and the “contrast” of having “moe” characters be thrust into these situations to essentially die.

And the conclusion doesn’t end up being satisfying (at least to me) because the villain doesn’t have emotions so he’s just like “owo” (seriously, I wouldn’t hate on Rebellion so much if Kyubey had been given emotions rather than going crazy; Homura can basically do whatever she wants and it was SUCH A MISSED OPPORTUNITY) so it ends up being more about the journey getting there like wow look at all the sUbvErSiOnS and dEaTh we had along the way!

Because at the end of the day, it’s still like, “the girls give into their ‘hysterical emotions’ in the end basically no matter what,” even if they get saved by Madoka in the end.

Anonymous said:

Do you remember, in Madoka Magica, when Kyubey said that humans would still be living in caves if not for the Incubators? First of all, keep in mind what Incubators do. Their entire purpose on this earth is to feed off the emotions of young teenage girls as they spiral into despair as a result of their delusions of power. Like wow, let that sink in. Apparently humanity's advancement relies on the exploitation of women. We are literally the punching bags of the universe. Isn't it lovely?

No! You see--we’re so important to the world! If we weren’t emotionally exploited, the world wouldn’t be the way it is now! :D

(kill me)

Anonymous said:

I once saw a tag on tumblr that read "The only good magical girl anime is Madoka Magica because it's gay, and even it has problems." Like, ugh. Really? Has this person not watched ANY other magical girl anime? Such ignorance. So many things wrong with that statement that I can't--and WON'T--even begin to unravel here.

MADOKA MAGICA IS NOT GAY AND I’M SO TIRED OF PEOPLE CLAIMING IT IS

s T O P

I DON’T EVEN CONSIDER YURI ON ICE TO BE GAY. MADOKA MAGICA? NAH MAN.

Anonymous said:

Do the girls in Madoka Magica even have transformation phrases? You know, like how Marinette says "Tikki, spots on!" or how Sailor Moon says "Moon Prism Power! Make-up!" or how Iris in LoliRock says "Iris! Princess of Ephedia!" etc. But in Madoka Magica, there doesn't seem to be any of that. At least in Yuki Yuna they pressed a button on their phones. But how do the Puellae Magi even transform? Just goes to show you how Gen Urobuchi knows next to nothing about the genre he claims to deconstruct.

Transformation phrases are magical and cool and you can’t take that away from me.

Anonymous said:

I had a shower thought about Madoka randomly in bed last night: If a Magical Girl's Soul Gem loses control over its user when 100 metres or further away from it, that meant that when Homura got Sayaka's Soul Gem back for her, Sayaka should've regained consciousness once Homura was less than 100 metres away, even if she didn't have her Soul Gem yet. I also love to ponder why on Earth Homura would even bother retrieving Sayaka's Soul Gem if she only cares about Madoka and Madoka's well-being.

I think it’s just a complicated process of Homura trying to make sure Madoka doesn’t fall into despair herself (in a non-witch way) and is convinced to make a wish.

Anonymous said:

The more I think about it, the more I realize that Sayaka really got the worst deal out of the whole thing. While her story may seem more "mundane" compared to the others(she just wanted the token Ill Boy osananajimi to like her back), she's the only one who somehow isn't brought back when Madoka recreates the universe, loses her Soul Gem on more than one account(and on the second, she starts decomposing and her crush sees her and calls her a monster because he thinks she's pretending to be the REAL Sayaka), is supposedly the weakest Magical Girl, getting swiftly taken out by both Kyoko AND Homura(the latter of which doesn't even make sense, if her body can heal why was she taken out so quickly?), takes a long while to show up in Magia Record, and Gen somehow finds it suiting to single her out as the one who is "destined to die" every time she makes a contract. Apparently the series director wanted Sayaka to live/be brought back, but Gen refused because it just had to be edgy.

Of course, MEN are allowed to have wish fulfillment power fantasies and dream like the sky's no limit and aspire to be all they want to be, but the second WOMEN try to be the strong ones, the powerful ones, or dream of something for themselves and others, they have to learn a lesson about how unrealistic their fantasies are and how they'll never live out their dreams. Hence why Sayaka puts the blame all on herself, saying that she's not a hero and was stupid and selfish the whole time.

"token Ill Boy osananajimi“ dfhbgjhfdgdfg

It was a real shame because I liked Sayaka somewhat (not saying much but still) and she was such a predictable one to go. Like, “oh wow, an angst-y anime all about shock value? so basically the best friend is dead then with no chance of survival.”

I think I do remember being told/reading somewhere (so don’t quote me) that Sayaka is the one that’s hardest to keep alive in the games, so you have to work hard for it. It just sucks.

Anonymous said:

Yet another thing that bothers me about Puella Magi is how the show frames the young ladies as if everything is their fault even though they have no idea what they're getting into because the person who makes the deal doesn't even bother explaining shit to them and all the show's attempts at deconstructing is just taking lighthearted elements meant to empower girls and show them that they can be brave and strong as well as feminine and make them dark and morbid.

Like, I get the whole "having young girls fight is a little unrealistic" aspect, but most magical girl shows actually do touch on that! Only difference is that over time, they become stronger and better at fighting(which is only to be expected, whether you're a teenage girl or not) and become more competent along the way because the whole genre is about FEMALE EMPOWERMENT.

Not to mention how the show seems to forget that the Incubators are villains and even seems to put them in the right and the girls in the wrong, what with the claim that they rationalize with the girls they make contracts with like sentient human beings(yeah, because emotionally manipulating young girls and literally taking their souls out of their bodies and making them liches without their consent is definitely treating them like sentient human beings), and that they always follow up on their end of the deal whereas it's the girls' faults their wishes go sour because they never wish for what they truly want(I'm sorry, but I simply DO NOT buy that. Homura and Mami outright wished for what they wanted. Their wishes went sour because the plot "decided" that they should have wished in a different way; plus, you're telling me that if Sayaka had outright said she wished "for Kyousuke to love her back" that the show wouldn't just "make" him mind-controlled or have Sayaka "outgrow" her feelings by the time he falls in love with her, all the while making it out to be "her" fault he's so heartbroken because she was some kind of tease or whatever, further demonizing girls' sexualities?).

Plus they explicitly claim that every woman in history was a magical girl and that without them, humanity would still be in caves(as in, humanity wouldn't be able to progress without the oppression and exploitation of women, and women can't gain power without going insane because female power is some unhealthy, inhuman, infernal thing.). Even if we take this all as a reflection of patriarchal society(which I highly doubt it was, if anything, it reinforces it), all it does is imply that the oppression of women is the natural order of things, required even.

As for the girls themselves, they routinely beat themselves up and the show makes no effort to tell them they're wrong(up until the massive cop-out of an ending), like how Sayaka's last words before becoming a witch are literally her "admitting" that she was "stupid, so stupid" for wanting a boy to love her and be healed of his infirmity. It just seems like we're supposed to think "you know, maybe the Incubators aren't that bad!" while ignoring that the girls are being treated like the disposable trash bags of the universe. This show already does the magical girl genre dirty but treating it like everything the Incubators did was necessary and like it's all the girls' faults these things happened to them in the first place is the icing on the stale, sour cake. Nothing like a giant heap of sexism to help get you through your day. :/

I’ve noticed this a lot in Miraculous, but Madoka Magica somehow does it worse; this “one (supposed) mistake leads to all of these consequences you never saw coming.”

Like Ladybug calling Lila out. We know that Lila’s pettiness in “Chameleon” shows that it wouldn’t matter whether Ladybug yelled at her or not; the simple fact that Marinette opposes a liar led to Marinette getting expelled, even if only for a while. Then there’s “Miracle Queen” and all that garbage that came with it.

These two shows put their teenage girls through hell for having emotions and there’s no way to undo it.

Anonymous said:

Honestly, the Madoka Magica fandom is basically the magical girl equivalent of "not like other girls" type women. I can't say I'd be surprised if they didn't watch a single magical girl show other than Madoka because they're all "stupid and girly but this one is edgy and dark" just because those shows are written by women to inspire other girls and show femininity as a strength while Madoka Magica is written by men for men who want to see young girls suffer without any actual feminism.

Like, let's go through their arguments one-by-one to prove that they don't hold up. They love to say that Madoka Magica is better than other Magical Girl shows because "it's dark and edgy and shows the downsides to being a Magical Girl unlike other shows where it's all sunshine and lollipops". First of all, other Magical girl shows also got very dark. Princess Tutu and Utena are also "darker" takes on the genre, but even more lighthearted shows like Sailor Moon and Precure had scary moments.

The only difference is, with them, they still managed to critique problematic aspects of the genre and actually provided ways to improve it, while STILL managing to keep their target audience(FEMALES) in mind, without condescending to them and infantilizing them. And they still showed the girls being empowered and overcoming the darkness.

In Madoka, there's none of that, there's no actual critique of the genre because Gen didn't have the respect for it to do his research, it's aimed at men so it doesn't keep female viewers in mind by definition(which is also another reason why it can't be a deconstruction; deconstructions should be done FOR its target audience), and the girls are constantly put down and treated like Moe crybabies by the narrative even when they're not(cause, you know, teenage girls are "emotional"!). And it doesn't offer ways the genre could improve, it just takes a female-empowering genre and twists it to be this system of oppression that the genre is meant to avoid.

Magical Girls tend to have a very strong focus on girls empowering girls and all that awesome stuff, and yet when Madoka and Mami form a special bond and Madoka encourages Mami by telling her she's not alone? It makes her big-headed and overconfident and she gets devoured by Charlotte. See what happens when girls rely on each other? Madoka is Sayaka's best friend, but gets pushed aside in favor of Kyoko, who later dies for Sayaka because girls who want to help each other had better be prepared to suffer and die for their beliefs. Sayaka loses everything, which happens to include her best friend, over a guy. And the whole witch process means that any female solidarity that could be found in the show is thrown out the window since the core concept of the show is girls being forced to brutalize and kill and exploit each other.

People act like Madoka is Yuri when it's not, Gen was asked if Homura really was in love with Madoka and if Kyoko really was in love with Sayaka, and what did he do? He beat around the bush. Naoko Takeuchi and Kunihiko Ikuhara(the latter of whom also worked on Sailor Moon R; woah, what a surprise) both admitted that there was gay love in their stories, yet people act like Madoka is super progressive regarding homosexuality when it's just implied and those shows were MUCH more open! Doesn't stop people from claiming the show is "honorary yuri" and saying that the meaning of "yuri" should be broadened to include any close bonds between two female characters, whether or not it's actually romantic, AND favoring the show(and HomuMado) above actual yuri shows that are made to appeal to women. If all this were actually valid, Sailor Moon would be yuri as hell.

I hate seeing people fap over this show and act like it's so revolutionary for recycling things that the genre was ALREADY DOING, because I know full well that the ONLY reason it gets this wide acclaim is because Magical Girl shows have traditionally been written for women and this show is aimed at men. That's literally it. Because nothing a woman writes is good enough, especially when it dares to go against patriarchal constructs of femininity as weak and docile by portraying it as cool and awesome. It doesn't matter how cool and dark and diverse and inclusive and complex Sailor Moon and Precure and Princess Tutu and Utena are, they're written by/for women with the intention of empowering them so they're automatically invalid, cheap, happy-go-lucky crap where nothing bad ever happens and anything those shows try to do ought to be discredited because they don't appeal to men like they should so what's the point?

But the second a MAN comes in and intrudes on a female-dominated space by doing all of those things but with a very shallow understanding of how they ought to be executed, people are all over it because a MAN did it and now it's interesting and respectable! I have seen so many people say that they don't like Magical Girl because it's girly and shallow and stupid, but then they praise Madoka for things that the girly and "shallow" shows have already done! Men are always taking away things meant for women and distorting it to fit their patriarchal views and yet when they do it it's somehow better and anyone who complains is simply a whiny straw feminist!

The fandom does it all the time, someone complains about the show and why they don't like it and find it sexist, and the response is always "you're just not smart enough to understand it; you have no idea what you just watched". Because obviously since it's made by a man it's sooo much smarter then the traditional sappy stuff made by women. That's why it's so annoying when others praise it at the expense of other works in the genre: they know their reasons for liking it are, more often than not, rooted in sexism against female-aimed and female-empowering works, so the only way they can praise it is at the expense of said works, hence them being just like girls who claim they're "not like other girls" when there's nothing wrong with girls being feminine and in fact many of those girls may like the same things you do!

So while I'm not saying there's anything inherently WRONG with liking Madoka, I DO have a problem with people who act like it's better or more serious than other shows in the genre and simply discard them on the grounds that they're "for girls", since they obviously didn't watch them.

me when I initially watched Madoka Magica: I don’t get why this exists.

me when I learned it was written by a man: ohhh, now I get it.

I also take issue with people comparing things that are made for different demographics. Like look, I don’t care if you enjoy your angst display over here, but also maybe don’t compare it to the stuff not even made for you unless you’re willing to get into a fight over it?

It comes off wrong, like they have to trash on stuff because it wasn’t made for them, y’know?

Anonymous said:

Honestly, I am so sick of people saying that Magical Girl shows are sexist or anti-feminist, when all they do is portray girls being awesome and powerful while also being feminine at the same time, because "Well in Japan it's actually gender conformity because it's telling girls they can only be strong if they're feminine! You're just projecting your Western values onto an Eastern work!".

First of all these shows are made by women for women and often have explicit feminine messages that you literally cannot miss unless you are simply blind or trying not to see them. And they also tend to have a very strong focus on women supporting or empowering other women. Just think of Sailor Moon, which constantly gets this "criticism", and yet there's an episode where the girls explicitly protest against a villain who claims women are all shallow and useless and can't do anything without men's help. Would Naoko Takeuchi put that in the show if she weren't a feminist?

And then there's the fact that she has said that one message she wanted the female leads to convey was to value their relationships between other girls because girls are strong and don't need to waste time depending on men. There's also the fact that most Magical Girl shows tend to treat the powers as something special and awesome that's unique to women and girls, paired with the coming-of-age themes present in the show, and you get a magical equivalent of female puberty, with magic mixed in.

But no, all of that gets thrown out the window because they dare to be "feminine" while doing all of that stuff and the Japanese are forcing their girls to be girly through Magical Girl propaganda. And I just HATE when people act like anything feminine must be societally forced onto girls, rather than girls just happening to like them. In addition, stating that they are simply reinforcing gender roles by being feminine is such bullshit because the whole purpose isn't about conforming to patriarchal femininity, it's about reclaiming femininity.

Too often, femininity is associated with being weak, powerless, helpless, submissive, docile, vapid, catty, bitchy, petty, vain, stupid, the list goes on. Magical Girl saves femininity from a bad reputation. It shows femininity in a new light, as something strong and powerful and, hell, even admirable! It's about telling girls "Hey, you can be strong and powerful and smart, but you don't have to be a tomboy or act like a man to do so". Girls are always told they have to act masculine to be taken seriously because the only way to be respected is to be like a man, which is an indirect way of saying that only men deserve respect.

Magical Girl does away with all that in favor of showing the feminine as something innately powerful, and yet naysayers MISS the point and say that it's just stereotyping girls instead. To see people claim that Magical Girl forces girls to fit a feminine ideal to be respected is just disappointing. It's supposed to be a female power fantasy for young girls that shows them as the ones being powerful and empowering each other.

Take how in Sailor Moon the heroine often says something along the lines of "I won't let you take advantage of girls", which Wedding Peach went on to imitate. The purpose of the genre is for girls. To empower girls. So why on earth would they show them fitting into a "male" mould of power? Do these people think that any time women are shown acting distinct from men that they are doing something wrong?

And the hypocritical part is that nobody pisses on male-oriented anime for reinforcing a harmful narrative to boys that they have to be masculine to be valued and respected. Of course they don't! Because being "masculine" is never seen as a bad thing to be. It's assumed that masculinity is always strong and good and awesome and there's nothing wrong with boys being forced to be masculine because you're supposed to want to be masculine. You're not supposed to want to be feminine.

So of course people will shit all over Magical Girl for embracing, empowering, and reclaiming femininity, because it's not supposed to be that way! You're not supposed to be feminine and also be strong. You're supposed to deny your identity as a woman and assimilate into the boys' club because only boy things are worthwhile! And they cover it up by saying that Magical Girl forces girls to be feminine, when in actuality the WORLD forces girls to be MASCULINE. Magical Girl doesn't force girls to be feminine, It ALLOWS them to. Do you see the difference there?

Another thing I'd like to bring to the table is that the claim is racist and here's why: The claim that "Magical Girl shows are seen as feminist in the US for portraying femininity as a source of strength but not in Japan because it's telling girls they have to be feminine"...what does that mean? Japanese people can't be feminist? All Japanese people are sexists and think girls have to fit in a certain role? Do Japanese feminists HAVE to be anti-femininity? Are there literally no Japanese people who think you can be feminine AND strong(who also obviously identify as feminists?) Because it seems hella sexist to insinuate that Magical Girl shows are sexist because they're made in Japan and they don't believe you can be feminine AND strong there.

While there is some credibility to it since Japan IS, by and large, much more strict with gender roles, hasn't it ever occurred to these people that these types of shows exist to counter that belief? Not only that, but it implies that people aren't allowed to have opinions on works that aren't made in their culture, and that anyone who sees those shows as feminist are just projecting their Western beliefs onto an Eastern work. And even worse, when people say that, they don't have the same opinion of Western Magical Girl works.

Just look at LoliRock, Miraculous Ladybug, Winx, W.I.T.C.H., Star vs the Forces of Evil, and countless other European/Western Magical Girl works. Where are the people saying "They get their power from femininity and that is sexist!"? Nowhere! They're silent! Even though those are very much like Magical Girl works from Japan(although I don't think the genre originated from there), while still being original.

It's because people think that any media exported from Japan is automatically sexist and demeaning and so anything they create, no matter how empowering their intentions, gets twisted into something that's somehow toxic or unsafe for girls to watch. But when Europeans do the exact same thing nobody complains. Because Japan is not allowed to do anything empowering whatsoever; something's always wrong with it, apparently.

So that's why I have a problem with people who say those things; it's so problematic because they think they're being all open-minded and aware/respectful of other people's cultures, but all they're doing is reinforcing negative stereotypes further. It's kinda like what I said earlier(in another ask) about how people love to praise Madoka Magica for being a unique, dark, and interesting take on the genre when all it did was rehash elements of the genre that already existed, strip away the female empowerment, and gear it towards grown men, which is why people like it more. How about instead of speaking for Japanese people you let them speak for themselves?!

I would also like to add that there’s even a limit to women acting masculine because that’s still “not enough” for those kinda of men who would promote those beliefs. Women need to act more masculine to “be taken seriously” but then you have men who’ll tell them to “dress less” or whatever.

I think what it comes down to is that they want women to not be “emotionally taxing” with all those dAmN eMoTioNs of theirs (unless it’s for the sake of their angsty magical girl anime where the girls suffer for having emotions), but they also need to look pretty and be sexualized.

We can’t win.

[italicwatches]

Animal Sentai Zyuohger - Episode 12

Wooooo, finally got to take my camera out again yesterday. Now let’s get in on this. It’s Animal Sentai Zyuohger, episode 12! Here we GO!

-We begin back at the cabin. Sela and Leo are working on illustrations of the mysterious eagle man who has their missing Symbol. Sela’s, is a really solid portrait sketch that I could maybe critique in the specifics but shows a lot of care and hard work.

-Leo’s is a comically bad literal crayon drawing. Though Mario can see all the passion in it…But yeah this is not the one going on the flyer. Yamato gets Sela’s really good sketch and that is what he’s going to be scanning into his laptop. Also, Tusk would like to learn more about history and culture now that he’s actually intending to be stuck here for the long haul. Unfortunately, Yamato doesn’t have many good books on human society himself…But there’s a library in town.

-So that’s how Tusk finds himself making the walk…When he stumbles past a used bookstore, right about when the man in charge literally throws out a would-be customer for trying to, supposedly, read the whole book right there in the store. And when the scuffle turns into the old shopkeep getting pushed over, somehow Tusk finds himself being held responsible and that’s how he gets put to work in this tiny old shop. Tusk is…Displeased.

-And we see his furious, raging ejection of…Let’s see, a salaryman who had his phone out and was supposedly going to take photos of everything. A schoolgirl who was acting too trendy. A pair of young men who were looking for manga. And a very confused American tourist. Amongst others we didn’t see. And Tusk just has to take a deep breath, and focus, aaaaand this is going to be a godawful hellscape of a job.

-While out in the field, the rest of the crew is handing out fliers…When they get a vibe! Another Dethgalien!

-Opening! The ultimate champions, Zyuohger!

-Episode 12! The Short-Nosed Elephant

-So the MotW lands, and the Zyuohgers get a panicked person out of there…But even as they fight, the MotW just heals up whatever they throw at him, and then escapes after tossing them into each other! And that’s when Eagle realizes something really felt off about that fight…Also, where the hell was Tusk?

-Up at the Big Bow, Kubar is very eager to show off what his latest player’s tricks are. Oh, just you wait, it’s going to be a sight to behold…

-That night in the cabin, everyone learns of the mess Tusk got caught up in. Amu thinks that real world experience might be good for him….And instead of any payment, Tusk just ended up with one of the books that got damaged. A children’s picture book, the titular story of the Short-Nosed Elephant. And, reading it, he’s drawn in…

-Until, the next day, he’s back in the store, working. And remembering what the owner said, about every single book being a personal selection. And he’s starting to wonder if that might be part of the reason why the man has such high standards for his customers, not just his product…Or at least, I’m wondering that. And it seems like the sort of thing Tusk would wonder.

-Of course, he’s also thinking about his own childhood, when a gaggle of kids go running by. Being read to by his father. That was what birthed his love of books, of literature. You get passionate readers by catching them young…And so that leads to a decision.

-Indeed, Tusk goes out to the park, with a picture book in hand…And pretty soon he’s got a whole crowd of kids eager to hear his story time. The story, of course, is pretty much your classic Rudolph/Ugly Duckling story of an outcast. And the owner finds his wayward employee trying, and failing, to get the kids interested…But at the same time, the effort’s so earnest he can’t exactly be mad at Tusk, just at the situation itself…

-And the rest of the crew, who’d come to check on Tusk, find the same situation. And they set upon an idea. So, as Tusk continues to try and read, despite not having anyone listening…

-The rest of the crew shows up, in costumes! …You know it strikes me you probably would’ve gotten better results just showing off your animal faces and claiming they’re really good masks, but.

-But the kids start getting enthusiastic now that this is a show, and they actually do use his animal face and it ends happily with the help of the elephant’s friends. And soon the kids are all enthusiastic…

-Right up until the part where they encourage the kids to come by and find some more books in their lovely little children’s section. Because that’s not what he wants at all!

-And then the MotW shows up and change of plan. Tusk starts getting people out of there, while the others Instincts Awakened! Champion of the soaring sky…Champion of the surging waves…Champion of the savannah…Champion of the snowy drifts…ZYUOH EAGLE! ZYUOH SHARK! ZYUOH LION! ZYUOH TIGER! Animal Sentai, ZYUOHGER!

-The battle is on anew, with them trying to mostly just buy time until they can get Tusk back…Of course, this foe is fast, even when he takes a literal kick to the groin, and he just keeps healing…This is BULLSHIT.

-And then he takes off his hat…Which blasts them with a beam, and in a flash, he devours their language! The center of all culture is language, and they’ve lost it! A single toss sends his hat high into the air, to start devouring the language of everyone around! Words are ripped off of signs, out of mouths, away from everyone…With no language, how can the people resist what is to come?

-While back in the Big Bow, Genis is so very intrigued, even as Azald grumbles about the indirect approach…

-Down on the ground, Tusk sees what’s happened, sees how even that picture book lost everything in it…And he’s going to fix this. He’s going to set it right. The bookshop owner is lost in full despair, but…But Tusk is not going to let this continue. To see books, to see language, ripped away from people, is…No.

-In the fight, the crew’s been unsuited…And without numbers or letters, they can’t re-transform! But Tusk arrives! Instincts Awakened! Champion of the forest, ZYUOH ELEPHANT! He takes to the field, and moves fast, holding as close as he can…But again, the MotW just heals everything he takes, knocking Elephant back…

-The others try to explain it to him with gestures and charades, but of course, those are…A poor solution. Until finally the old man races in and explains it, and the secret is figured out. The only part of him that’s real is the hat! The body is just a frame he controls! And so Elephant is able to rip that hat down, and slam it apart with a Beast Unleashed stomp!

-And it works! Also the old man’s arm is entirely fine. Of course he faked it.

-Anyways, a Continue for the MotW. That frame’s a goner, but the core hat gets big!

-They’re gonna want to double team him. Animal Combination! FOUR! FIVE! SIX! THREE! TWO! ONE! ZYUOH WILD! ZYUOH KING! With the Mole Drill in Wild’s hands, and the Giraffe Cannon in King’s!

-Fuck it, full force! ZYUOH FIRE! But then Zyuoh King gets possessed and taken over?! Well this is bad. Zyuoh Wild gets blasted and blasted…Elephant manages to nail a precision strike to bring it down, though! And they go all in and form WILD ZYUOH KING! Which has its own too big hat!

-ZYUOH DYNAMIC STRIKE! And also can exist purely in one green screen shot and stock footage! The fight is over! Hurray!

-When all is said and done, the old man tries to insist that keeping Tusk’s secret will make their debts even…And the man’s lightened up a bit, seeing Tusk’s honor, and even just how hard he worked to bring a simple joy to those kids.

-Credits! Gotta have lots of elephun!

A small episode, but a lot of the character beats really worked. It’s a bit simplistic, what with being a kid’s show and all, but Tusk’s characterization here worked, you know?

Since it looks like we’re on another round of character-study episodes, we’ll just have to see who gets focus next time, in episode THIRTEEN of Animal Sentai Zyuohger! Wait for it!

[aion-rsa]

New Hawkman Origin Details Revealed

http://bit.ly/2FrpNhI

Robert Venditti walks us through the new revelations about the history of Hawkman coming up in the latest issue.

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Interview Marc Buxton

DC Entertainment

Jan 14, 2019

Hawkman

Robert Venditti has been a major part of DC’s murderer’s row of writers since the New 52 era, having steered the fate of Hal Jordan and the Green Lantern Corps for years. But as of late, Venditti has risen in the DC ranks to become one of the most innovative voices at DC Comics. Recently, Venditti and Bryan Hitch's Hawkman has become a top of the pile read. 

The new series cuts through the confusion of Hawkman’s complex history and presented a genre-bending, character-driven, cinematic look at Carter Hall and the multiple lives and worlds the titular hero has inhabited over the millennia. Along with superstar artist Bryan Hitch, Venditti has found a direction for Hawkman that makes the character one of DC’s A-list heroes. We had the pleasure to sit down with Mister Venditti to discuss Hawkman and some of the future plans at DC Comics for this timeless winged hero.

What is coming in up in Hawkman?

We have issue eight which is going to be on the stands this coming Wednesday the 16th. Throughout the series, Hawkman has been trying to uncover the mystery of his past lives. In the first issue, he realizes he didn’t just reincarnate across time as he previously thought. He reincarnated across space as well. He’s had past lives on Thanagar, and Rann, and Krypton. He’s been flipping through past lives and through time.

He’s trying to figure out the mystery of a group called the Deathbringers who are trying to destroy Earth because of him. So in issue eight, he goes to Krypton and encounters a past life known as Catar-Ol. Like Carter Hall, Catar-Ol was a historian. But he’s on Krypton and he witnesses the death of Krypton. As Carter, he remembers being Catar-Ol, so he now remembers the death of Krypton. This motivates Carter into a huge conflict in the first third of this story. He encounters the Deathbringers and now, having re-witnessed the death of Krypton, Carter now understands what could happen to Earth. Hawkman realizes he can never let this happen again.

Tell us about the Kryptonian Hawkman. What does he want? What stands in his way?

Now we’ve created the House of Ol, which is awesome. The Kryptonian Hawkman knows more than Carter Hall about the Death Bringers. He has been trying to craft a weapon to destroy the Deathbringers. That’s what Carter Hall thinks he’s going to encounter when he gets to Krypton. He thinks that’s what all the clues have been pointing to. He thinks he’s finally going to get this great weapon that’s going to destroy the Deathbringers. That’s what Carter wants on Krypton and that’s what Catar-Ol has been devoting his life to doing, to creating. How that situation ends up, readers will discover.

read more: New Hawkman Series Explores Secret Corners of DC Universe History

They’ll be some hiccups along the way that will lead Carter to some big realizations that are building towards a huge moment coming up in future issues that we’ve been planning since the moment he realized that he’s been reincarnated across time and space in issue one. We’ve been building towards this moment. Catar-Ol and Carter Hall’s experiences on Krypton will play a huge part in bringing that to pass.

Talk about working with Bryan Hitch. He seems like an unlikely but obvious choice for the character. He usually is on a core character but his cinematic style lends itself so well to Hawkman’s world of endless possibilities. What does Hitch bring to the table?

He brings everything. It’s not just Hawkman’s world, it’s Hawkman’s worlds. If you look at what we’ve done in this series, we’re going to be eight issues in, we’ve been to Gorilla City, the ruins of ancient Egypt, Dinosaur Island, Thanagar, the Microverse, a past life of Hawkman from the beginning of our universe, and now to Krypton. That’s eight issues. And Bryan Hitch has drawn all of that. He’s fleshed out all those cultures. He’s established the look of all those things. All while drawing, not just penciling but inking, lots of the pages and not missing an issue. He’s already finished with issue nine. It’s extraordinary to see him work.

The most important thing for a character like Hawkman, who I didn’t know a lot about except he had a confusing continuity, the most important thing about the series is that it be easily understandable. That people can grasp the changes we’re making and link the entire history of the character together. A huge part of what makes comic books understandable is the visual storytelling. For Bryan to be able to render all the action and all the character moments across so many different cultures and so many different locations and to do it in a way that’s so fluid and easy to read… it’s just extraordinary. I can’t think of a better person to work on this book and to build this story out. Our hope is we’re setting a template for what Hawkman is going to be going forward, a character that can reincarnate across time and space and fit in any storytelling possibility across the universe. We would love to see other storytellers pick up those threads.

Where’s Hawkgirl/Hawkwoman; can you catch up with Kendra and/or Shiera’s status in the Rebirth era?

Yeah, by far, the character we’ve talked about the most is Hawkwoman/Hawkgirl. We’ve had so many discussions about that character even before the first issue. Right now, obviously, Hawkgirl is in the main Justice League series that Scott Snyder is writing, and I’m in contact with Scott. We talk about what we’re doing and what our plans are on all those kinds of things. He’s got some exciting stuff over in that series.

For me, I felt it wasn’t a bad thing to have the characters separated. It would be one thing if Hawkgirl wasn’t anywhere else in the DC Universe because she’s a great character and she should be in a book somewhere. But with her being over in Justice League, it allows readers to see who she is without Hawkman around. Our series allows us to see who Hawkman is without Hawkgirl around, which allows us to establish who they are in their own adventures before bringing them together. Throughout their history they’ve always been together so let us establish them and let them stand on their own two feet.

Who is Hawkman to you? What attracts you to Hawkman and his worlds?

Hawkman to me, the thing I find most relatable about him, is that through all these lives he’s had he’s always been an archeologist. To me, it’s something that struck me from the very beginning, is that why would someone who can fly, who has these giant wings, why would he choose a profession that would necessitate being underground and in closed spaces, you know? What I settled on is that this sort of compulsion he’s had throughout his lives to explore, to discover, to dig into the past. It’s really been one big journey of his own self-discovery to understand who he is. I think that’s relatable to every single person. We all spend our lives discovering who we are and discovering our own identities. That’s what he’s been doing.

read more: Grant Morrison on his Return to the DC Universe

It’s a very relatable concept that lends itself, once you bring in the time and space angle, to so many storytelling possibilities. It can be earthbound, it can be cosmic, it can be present, it can be future, it can be sweeping and epic or it can be very personal. It can be all those things, and there are not a lot of characters that lend themselves to that sort of variety without it feeling forced. But Hawkman is one of them, and that makes it such a fun series to work on and we’re holding nothing back. We’re going to all those locations and doing all those things.

Talk about how you got the book. Did you pitch or did DC approach you?

DC asked me if I’d be interested in pitching for the character. I didn’t grow up on comics; I started reading them when I was in my mid-twenties. I didn’t know much about Hawkman except that he had a reputation for having a convoluted history and a sprawling continuity. Within my first hour of reading up on the character…I said to myself, “Oh, he reincarnates across time and space. That’s pretty cool.” I kept reading issues waiting for that to be said and it never gets said. So I thought, “That’s what we’re going to do. That’s how we’re going to tie this all together.” We’re going to say that the Thanagarian and the ancient Egyptian is the same person that just never realized they were reincarnations of the same person until now. Then we’re going to expand that which could mean Krypton. I put a pitch together based on those ideas and submitted it to DC, and they liked it.

Can you tease what’s coming up in Hawkman after the Krypton storyline?

Carter Hall is going to have a big revelation which brings him back to Earth with his confrontation with the Deathbringers. That’s going to be so much action, you know, I’m looking at some of the art that Bryan is turning in daily, and I’ve lost count at around ten thousand of the number of figures that are on these pages. It’s a huge story.

We have a moment that’s coming up that we’ve been waiting to do before we began writing the series. This is going to leave the character in a new place, and set up for new adventures. Like I said, there would be nothing we would want more than other creators to pick up these threads and pull on them and weave Hawkman into the DC Universe. The same way we’re saying Hawkman is part of the Kryptonian mythology and linked to the Superman mythology, and knowing Jor-El, and being a teacher to Supergirl, there’s so many opportunities for other writers and creators to weave the Hawkman mythology into the DCU. I think that will be how we get Hawkman back to a place that he deserves to be: a foundational character in the DC universe that is part of everything. He’ll be the living historical document of the DCU.

Can you share some conversations or ideas you shared with any of the DC higher ups about how they view the character’s place in the DCU?

I wouldn’t want to reveal too much, except to say that Hawkman is a character that they very much wanted to bring back. To try and elevate the character to what he means to the DCU. It’s definitely something DC is interested in, and there are some very significant plans for the character beyond just in my book that will take place at various points. I don’t know how much I can say. I’ll just leave it at that, there are definitely huge plans for the character in the DCU and everyone should watch out for that.

Hawkman #8 his stores on Jan. 16.

from Books http://bit.ly/2FBDjPl

[nyxelestia]

It's been too long since I asked you question right ? So I have question for you :) first: BIG HUG, My question is: We don't know much about Scott's family, like his grandparents or where his family come from really so do you have any headcanons for his family ? ( and are you going to develop it in frost bite ? ) BIG HUG.

Years and years ago, my mother sat my ass down and made me watch some weird romantic dramedy about a hotel maid in Manhattan, creatively titled Maid in Manhattan. Among other things, there was a requisite Cute Kid who drove most of the plot, who was the son of the titular maid. Who was this kid you might ask?

BABY TYLER POSEY!

Bb!Tyler’s character, named Ty, often hung out in the hotel while his mom worked. This made it easy for him to run into a Senatorial candidate, who he wanted to interview for a school project. He tracked down his mom to ask for permission to help the guy walk his dog and interview him for the project - except due to a series of shenanigans, she gets mistaken for a rich socialite instead, and she and the politician hit it off. Of course, the truth eventually comes out, weird drama happens in the middle, and in the end, bb!Tyler eventually reunites her with the candidate.

Among other things, there was a subplot in which Ty actually dreads having to give the presentation for his school project, because he’s got a fear of public speaking. Turns out the candidate also hates public speaking, and the way he copes with his career being centered around it involves always holding a paperclip when he’s giving speeches, because he imagines it’s a channel by which all his speaking anxiety leaves him. The way bb!Tyler reunites the two characters involves crashing a press conference and very cutely asking some questions that makes the grown-ups realize their true feelings.

Of course, he was only able to do so because he was holding a paperclip - and it turns out he’s not the only one.

Incidentally, though, that candidate’s played Ralph Fiennes - aka M from some James Bond movies…and Voldemort from the Harry Potter movies. >:) He also played secret agent John Steed in the 1998 movie The Avengers, which was an adaptation of the British TV series of the same name, with absolutely no connection to the superhero team, or Marvel in general. ;)

Now, another fun fact: I’m a huge West Wing fan. Imagine my shock when I was watching Teen Wolf and President Santos’ assistant and campaign staffer, Bram Howard, showed up in Teen Wolf. Who is Bram Howard? Glad you didn’t ask!

Bram Howard was played by Matthew Del Negro, the guy who plays Agent McCall in Teen Wolf. In The West Wing, he was a campaign staffer for Congressman Santos, the guy who ultimately became the new President of the United States in the finale of the show - making Bram Howard a White House staffer.

But how would this work with Rafael’s current job with the FBI? Well, I’m glad you didn’t ask that, either, because guess who was in the West Wing before the first Iron Man movie even came out, pre-dating the entire MCU?

Years before anyone came up with an ascended fanboy SHIELD agent in the MCU, Clark Gregg was playing an FBI agent in The West Wing. So clearly, there’s some precedent for FBI operations in politics (and/or SHIELD going undercover with the FBI somehow).

Now, Melissa Ponzio - the actress for Melissa McCall - also has a pretty interesting filmography. The Teen Wolf writers really passed up a great opportunity by making Melissa basically a damsel in distress for Season 6A. Given the Ponzio already has some experience playing a BAMF as Karen in The Walking Dead, they could’ve done SO FUCKING MUCH with a Hunter/badass Melissa in Teen Wolf.

However, this is more recent (in fact, I believe this happened after Ponzio started playing Melissa McCall). And, more importantly, if Melissa were able to handle a gun that well, would she really have ever worked as a maid? Probably not. But, let’s say that there was a period of time in her life where she really needed money. What might a young Melissa might’ve done, that she would’ve hated doing and absolutely been willing to leave to become a maid? Well, maybe she played the kind of character Ponzio played in Life as We Know It: a stripper.

As for Teen Wolf itself:

While I suspect this is mostly down to really shitty writing and lack of production communication, the fact is that we never really see any family photos or indications of an extended family in the McCall home. We never really saw any in the Stilinski family home, either - and we now know that at least from the Sheriff’s side, this is because of severe daddy issues leading to the Sheriff trying to keep his own father away from his family as much as possible. What if he’s not the only one?

Also, I can tell you from personal experience that - while not all of them - a lot of women will often stay with really shitty husbands because that’s the sort of thing they grew up with. Their fathers were shitty husbands to their mothers (ranging from philandering to drinking to abuse, all of which we’ve seen at least hints of with Agent McCall), and so many don’t leave their own husbands because they think it’s normal (or they know it’s not, but it is what they’re used to - and better the devil you know than the devil you don’t).

Also, I won’t speak for everyone, but I do know that divorce is often a process, and there can be periods of time where your parents are separated but not divorced, and that when one of your parents finally leaves the other, it’s often long, long overdue.

So here’s my headcanon for the McCall family background in general (at least until it’s jossed in 6B):

Melissa’s family was really, really shitty, and she left as soon as she could. She worked part-time as a hotel maid in San Francisco, and moonlighted as a stripper, because she’s hot af.

This was when and how she met a young, up-and-coming FBI agent named Rafael McCall, when he was working undercover as a campaign staffer for a shady politician who was spending some time in the hotel she cleaned up for (and who once threw a party involving strippers, including herself).

After the guy was busted for whatever the FBI was investigating him for, Melissa and Rafael hooked up, Rafael got her pregnant, and they got married. They moved out to a small town nearby, which was small enough to support their suburban family ‘happily ever after’ dreams (though also had enough crime that Rafael could find plenty of investigative work in town - dude, this is Beacon Hills).

However, Rafael was neither an ideal husband (the philandering we hear about from Grandpa Stilinski in 6A) nor an ideal father (the drinking stated outright by Melissa in 3B, and the multiple vague implications of abusive behavior). Melissa starts nursing school in large part to get out of the house and away from Rafael (and with the vague hope that once she’s a nurse, she will be able to support herself and her son, and can leave Rafael if needs be).

The Staircase Incident happens, and she finally kicks Rafael out of the house. He leaves quietly, because the reality is that if Melissa wanted to, she could at best end his career and at worse get him imprisoned for hurting and nearly killing his own child.

(I also like to headcanon that the Staircase Incident is actually why Scott’s jaw is off-center. Rafael doesn’t know because Scott was too concussed at the time to express pain, and by the time Scott and Melissa realized his jaw was broken, Rafael was gone and Melissa had no desire to reach out to him over this.)

Since Melissa was only just finishing up nursing school/just starting out as a nurse at this point, she got her old job at the hotel back for a little while to help support herself and Scott, now that they didn’t have Rafael anymore to rely on.

Of course, that politician whose campaign was how she and Rafael met swings by, and now he’s running for Senate. He initially hits it off with Scott and Melissa both, even letting bb!Scott interview him for a school project and giving him some public speaking pointers. Unfortunately, he quickly revealed himself to be a racist (benevolent racist, maybe, but still racist), which is why Stiles called him Voldemort from then on. :P

For Winter Wolves in particular:

The politician in question was actually under HYDRA’s thumb, which is why even with an FBI agent undercover in his staff, no one was ever able to find anything on him.

Rafael McCall and Phil Coulson had crossed paths a few times in the past during Phil’s undercover stint with the FBI.

[hermanwatts]

Sensor Sweep: Doc Savage, Gothic novels, Underwater, Appendix N

Horror (Cemetery Dance): Up until the publication of The Monk in March of 1796, the Gothics mostly followed Walpole’s formula. The books usually featured a mystery or threat to the main character, an evil villain threatening the virtue of a virginal female, supernatural elements such as a ghost or an ancestral curse, and secret passages in crumbling mansions or castles. That template carried over into the next century, as evidenced by the bulk of the stories published in the pulps during the 1930s.

Cinema (cbr.com): MOVIE URBAN LEGEND: A Doc Savage movie was cast and ready to go when they abruptly changed to an entirely different film at the last minute. In the mid-1960s, the success of heroes from novels and comic books like James Bond and Batman led to producers looking to see whatever other 20th Century heroes that could be adapted into films. Producers Mark Goodson & Bill Todman (best known for their TV game shows) decided to pick Doc Savage to turn into a matinee idol.

Westerns (Six Gun Justice): Gordon D. Shirreffs (1914 – 1996) started writing in 1945, after serving in World War in Alaska and the Aleutian Campaign. Coached by published boy’s adventure writer Frederick Nelson Litten at the Chicago campus of Northwestern University, Shirreffs broke into the young people’s market with pieces in Boy’s Life, Young Catholic Messenger and the later pulps like Dime Western, Ace High, and Six-gun Western. Experiences at Fort Bliss during the war served Shirreffs well in nailing down the gritty scenery of the Southwest, a setting that served him well throughout his career.

Cinema (Bloody Disgusting): While William Eubank‘s Underwater kicks off with immediate intensity, wasting no time plunging Kristen Stewart and the rest of the cast into the deep sea nightmare we bought a ticket to experience, it admittedly lags a bit around the middle, and unquestionably could’ve used a tad bit more monster mayhem to pick up the energy. The film’s monsters, with their massive gaping maws and spindly, Cloverfield-reminiscent legs, only actually kill one character in the entire movie, and for the most part we only catch glimpses of them in the darkness.

Science Fiction (Gizmodo): Futuristic militaries are a staple in science fiction. With their powered armor and laser guns, military science fiction novels are among the most exciting reads out there. Except for one problem. Most are not really about warfare. While military SF involves military personnel and technology, the cores of the stories tend to focus on elements other than warfare. Before I’m tracked down and shot for saying that, let me qualify that statement.

H. P. Lovecraft (The Mary Sue): When it comes to adapting the works of H.P. Lovecraft, it can be hard for some creators to decide whether they should ignore the racist politics that are embedded into the work, or address it head-on. As a Black fan of Lovecraft, I have long come to terms with the fact that he would dislike my existence, but still, find it endlessly frustrating when his “fans” insist on making excuses for his behavior.

Robert E. Howard (Black Gate): When I was around 12 in the basement of a friend’s house, I found an old copy of Weird Tales (I’m not sure about the magazine, but it must have been a pulp) and read my first Conan story. I loved it; not just for the action—I was a big fan of action stories—but because Conan was a barbarian. He was outside the settled boundaries of propriety and decorum. He made himself up as he went along. He wasn’t a woman, but I was already so sunk into the abhorrence of womanhood that that actually worked in his favor. Conan was outlaw fiction. I knew my own path forward was to be an outlaw.

Appendix N (Goodman Games): John Anthony Bellairs was born on January 17th, 1938 in Marshall, Michigan, which he described as “full of strange and enormous old houses, and the place must have worked on [his] imagination.” A shy and overweight child, he “would walk back and forth between [his] home and Catholic school and have medieval fantasies featuring [himself] as the hero.” He found refuge in books, excelling in college as an English major and even appearing on an episode of the TV quiz show G.E. College Bowl in 1959, where he recited the General Prologue to the Canterbury Tales in fluent Middle English.

D&D (Jon Mollison): It’s time to break the seals and talks bout why you should run your D&D crew through Autarch’s Nethercity.  But first we need to tuck all the sensitive and classified data behind the fold. Don’t click next unless you want to have the Secrets revealed through antiseptic blogging rather than rich play at the table.

Biography (DMR Books): Well, Crom willing, I’m here to celebrate Robert E. Howard’s birthday, despite the slings and arrows and technical glitches of outrageous fortune. I thought it would be fitting to review David C. Smith’s Robert E. Howard: A Literary Biography which came out just over a year ago. I’ve had several people ask me online about it and where it rates alongside the other two big REH bios. Let’s take a look.

Blogging (Brain Leakage): Doing that forced me to create some regular columns, like my ‘Pocky-clypse Now reviews and my Kitbashing D&D series. Both of those proved to be popular, and have managed to get me some regular readers. Several posts of mine got shared in regular PulpRev and OSR gaming blog roundups, like Castalia House Sensor Sweep, The DMRtian Chronicles, and Jeffro’s Space Gaming Blog. Each time that happened, I’ve reached a wider audience and gained new readers.

Art (Dark Worlds Quarterly): When you do find something new, it is usually very new. But every once in a while you stumble upon something old that is new. Blue Book’s covers and interior art were such a delight. Here was a collection of Burroughs artwork that you just never see. Not in the old fanzines, not in the non-fiction books. It is almost like we all forgot they existed.

Fiction (DMR Books): Pulp magazines are just plain awesome. For readers of old-time literature, they’re colorful time capsules of the nostalgic past that any time traveler would love to visit, and they’ve held a fascination for me since I learned of their existence.  I couldn’t say how many times I’ve fantasized of stepping into a turn-of-the-century Five and Dime and plucking mint issues of Argosy and Weird Tales off the racks–imagine gazing on freshly printed copies of the February 1912 issue of The All-Story which contained the opening chapters of Edgar Rice Burroughs’s Under the Moons of Mars… holy freaking smokes!

Robert E. Howard (Adventures Fantastic): I don’t know when “The House of Arabu” was written. It wasn’t published until 1952 in The Avon Fantasy Reader #18 under the title “The Witch From Hell’s Kitchen”. I like Howard’s original title much better. The story has been reprinted several times, but it isn’t as well known as much of Howard’s other sword and sorcery. I did notice that the version reprinted in The Ultimate Triumph had a slightly different closing line than the version in The Horror Stories of Robert E. Howard.

Tolkien (Tolkien and Fantasy): Christopher Tolkien has passed away in the night of 15/16 January 2020 at the age of 95. These two men taught me more than I can express about the literary life and what it means to be, and how to go about being, a literary scholar. I became friends with Humphrey in the summer of 1978 when I attended a summer program in Oxford. A few years later Humphrey put me in touch with Christopher. Though I had some excellent and helpful teachers in college, none of them affected me as profoundly, or as lastingly, as did these friendships with Humphrey and Christopher.

Leigh Brackett (Wasteland & Sky): As an example, I just finished reading Leigh Brackett’s Last Call from Sector 9G and had some thoughts about it. For one, the story was written in 1955 and it doesn’t quite feel like it. The era was full of misery and strife in her field, and yet she produced this gem in Planet Stories that could have just as easily come out of Weird Tales in 1929. It has a more timeless feel.

Fiction (Frontier Partisans): I woke up this morning thinking about old-school historical potboilers. Yeah, I know. But you all know by now that my mind functions this way…Actually, there’s a straightforward explanation for why I roused from my slumbers with visions of F. van Wyck Mason dancing through my head. I hit the pillow after scrolling through a Kindle series of novels set during the French & Indian War.

Pulp/Cinema (Don Herron): I didn’t have anything particular in mind, but then pulp expert John Locke jumped into the fray. “One of my sub-hobbies is spotting pulp mags in movies,” John just wrote to inform me. “My latest is a doozie. “It shows a Navy man reading a Fight Stories. “Better yet, the issue has a Sailor Steve Costigan story by Howard.

Writing (Emperor Ponders): Well, sure, but before my mind was even able to process that, what struck me the most was how uncomfortably written the entire thing is (or, at least, the first paragraph.) And I don’t mean typos, grammar errors, and such, but something that is deeper and harder to explain but is quintaessentially modern.

Gaming (R’lyeh Reviews): Conan the Barbarian is a supplement for Robert E. Howard’s Conan: Adventures in an Age Undreamed Of published by Modiphius Entertainment. It is the first in the ‘Conan the…’ series of supplements which focus on and take their inspiration from Conan himself at various stages of his life and what he was doing. Over this series, the supplements will track our titular character’s growth and progress as he gains in skills and abilities and talents. Thus this first supplement looks at Conan as a young man and his life among the people of his homeland, at the beginning of his career which will take him from barbarian to king, essentially the equivalent of a starting player character.

Sensor Sweep: Doc Savage, Gothic novels, Underwater, Appendix N published first on https://sixchexus.weebly.com/