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deltaengineering · 4 years ago

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What remains of Fall Anime 2020

You might have noticed that I haven’t been keeping up with my season impressions, mostly (but not exclusively) because it’s really boring to come up with new ways to say “it’s isekai, which means it’s garbage for stupids”. So here’s what I ended up finishing, in ascending order of goodinosity.

Hypnosis Mic -Division Rap Battle- Rhyme Anima

Ostentatious rap battles in an insanely stupid universe are very fun. The thing is that this doesn’t want to be a good anime, it wants to sell us on these characters, and the characters are pretty terrible on account of all of them being one-word gimmicks. So, let’s give them three rounds of introductions and have them solve lame, generic crimes for 8 episodes instead of setting up the rivalries that everyone suddenly has later, when the show gets good - because it does start delivering towards the end, and becomes really all I wanted. So I can’t even say I’m disappointed, but the first half of the show is almost entirely worthless. 4/10

Assault Lily Bouquet

I don’t want to be the guy that’s all “I’m mad at this show not catering to what I want”, but I do have to say that Salt Bucket is much better at being a goofy, lighthearted yuri comedy than it is at action (though there are a few choice cuts) and at having an engaging storyline. This is again just an ad for some game or other, so it’s no surprise it has about two dozen characters too many, but it also has quite a lot of superfluous plot - so much so that I suspect it was initially planned to be twice as long. Apart from that, it’s cool and all that some Gainax old hand got to make his own Gunbuster-like, but it’s just not very good at that and all I wanted was Kaede antics and bath scenes, of which 1 per episode is clearly too few. 5/10

The King's Avatar 2

King’s Avatar got a sequel and overall I have to say, I kinda like it more than the first season even though it looks much less ambitious and even the character designs were changed towards the bland. But I honestly don’t care much about the esports aspect of this and much of S2, especially in the back half, is more about schemes and social engineering - as close to an Eve Online anime as we’re ever going to get, I guess. It’s still very chinajank (why the hell does every episode come with a redundant chibi summary of itself, etc), and while I can’t call that “good” it does remind me of a time when I wasn’t filled with useless knowledge of anime tropes and was just enjoying the weirdness. Also, Ye God’s antics is as close to “looking for anime with OP MC” as I’m comfortable with getting. 6/10

Heaven Official's Blessing

Now how about some Chinimation that isn’t very janky? I only became aware of Heaven Official’s Blessing when it suddenly rocketed to the top of the MAL charts, so I gave it a looksie and oh boy. The first few episodes of this show are flat out gorgeous, quite funny and very very gay. So I was ready to agree with MAL for once, except it then launches into an arc that mostly consists of our dudes sitting in a dark pit telling each other stories that aren’t very interesting and seem barely related to the setup. Yeah, the back half of this just isn’t very good at all. And the subs are hot garbage. Still, the beginning is so impressive that I would recommend this show despite the middling rating it’s about to get. 6/10

Ochikobore Fruit Tart

You know the problem that these 5girls4koma stories have, where one of the characters is an annoying pervert, yeah? Well, in Fruit Tart every character is that character, and they’re rather cultured as well. Yes, it’s often of questionable taste and it has a terminal case of 4koma storytelling but dammit if I didn’t enjoy it. It certainly helps that this show’s greatest asset by far is Broko and it seems to be aware of this, because there’s a lot of Broko material. It would have probably have gotten a 6 but the last episode is just so... maximum Fruit Tart. I’m down for some trash if it’s as well made as this, and I do like my kiraralikes spicy, so thumbs up over here. YMM definitely V on this one. 7/10

Majo no Tabitabi

Speaking of things that are hard to recommend despite me liking them a lot, Elaina here challenges the very notion of what a TV show even is supposed to be. I assume most people tune in every week expecting to get something roughly similar. Not so with this one, you could get everything from slice of life antics to Higurashi-style gore, or reasonably deep character study to pervert comedy. I would say that the only unifying thread is the presence of Elaina, who is a very fun character, but there’s an episode she’s not in, so there you go. But I’m a connoisseur of the weird and I also have to say that I enjoyed every episode in its own way. Also, each episode stays remarkably consistent by itself, and in the end it wraps it all up with a sort of neat “life is like a box of chocolates” thematic bow, which isn’t earthshatteringly profound but hey, it’s there. Just don’t go in with expectations, especially not expectations based on the first episode. 7/10

Love Live! Nijigasaki

It’s Love Live. Good old reliable Love Live. Really not much to say about this one, any discussion of what makes this different from previous iterations is going to end up in minutiae only people who already watched this could possibly care about. I do have to say that while the musical numbers are as good as Sunshine’s were towards the end and there’s also a lot more of them, “looking budget deficient outside the CG” is the one thing I didn’t expect from something that’s ostensibly a Sunrise premium product. So boo on that one, apart from that it’s idols (an anagram of solid). 7/10

Garupa Pico Oomori

The chibi SD shorts based off Bang Dream are still better than the main show. Even if S3 was actually quite good, this is just the best thing you can do with 30+ characters that aren’t that deep. Garupa Pico specializes in absurd humor setpieces that at points is better at being Pop Team Epic than Pop Team Epic itself was. Take that, memelords. 7/10

Fire Force S2

Fire Force is just weird, man, and it’s sort of great. I don’t think I’ve ever seen a property of this magnitude show this much of the ol idgaf spirit. How about an episode where the A plot is the most evenhanded exploration of religion i’ve seen in anime, and the B plot is about blowing up a tryhard edgelord by exposing him to panties? How about a subplot where Batman and Thor infiltrate the vatican to kill the pope, only for that to lead into a gay rape backstory, only for that to be resolved by dank weed and dismemberment? It really is quite a thing, as they say. Now, Fire Force certainly delivers hard at points, but it’s also very scattershot, even if S2 is somewhat more consistent than S1. The weakest parts are unsurprisingly still the ones where it’s remembering its fighting shounen template, and that’s not only because I don’t like that, it’s also because it’s particularly and consistently bad at scheduling these huge, simultaneous multifight setpieces it often crescendoes with. But hey, at least these tend to look super cool. In short, Fire Force is a land of contrasts and still the only fighting shounen I give a damn about. 7/10

IDOLiSH7 Second Beat

Did you know that I think Idolshi7 is the best one of all of these huge-ass commercial idol franchises? Yeah, I think it’s better than Love Live, and as of Fall 2020 also the better looking one because Troyca still delivers where Sunrise apparently can’t. I guess still don’t like the music much, thankfully there isn’t a lot of that. It also still specializes in gigantic drama, and to its credit S2 is now much better at either getting to the point or at least making it silly and fun. You show that door who’s boss, Sou. Still fantastic Tsumugis all over the place as well, in fact I think I like all the characters now. Even Banri gets his big moment in this season! Yeah, this stuff is pretty cool. 8/10

Adachi and Shimamura

So here’s the AOTS, and it’s the lovechild of Bloom Into You and Tsuki ga Kirei. While it definitely isn’t as good as either of these two, because it lacks the “about more than just teenagers being hyperbolic about a crush” part from Bloom and the part where it has an actual ending from TgK, it carves out its own niche with its loopy, almost stoned tone that’s full of side weirdos and yuri hyperspace. It’s also uniquely focused, with a tiny core cast and even Shimamura doesn’t really matter all that much. This is all about Adachi, and thankfully Adachi is amazing. Amazingly awkward, that is. It’s very cute. So yeah, this is a bit too lacking in substance to aspire to classic status, but it’s a great time nonetheless. 8/10

#anime #review #fall2020 #Hypnosis Mic -Division Rap Battle- Rhyme Anima #Assault Lily Bouquet #The King's Avatar #Heaven Official's Blessing #Ochikobore Fruit Tart #Majo no Tabitabi #Love Live! Nijigasaki #Garupa Pico Oomori #Fire Force S2 #IDOLiSH7 #Adachi to Shimamura

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azdoine · 6 years ago

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So let’s talk about them cherubs.

I think it’s no secret that Calliope and Caliborn have always been deeply gendered characters in Homestuck, but (beyond fanart and enthusiastic headcanons) I personally haven’t seen a lot of engagement with their characters on that level. The most comprehensive readings of Calliope and Caliborn that I’ve seen have always been through the lens of metatext (Calliope and Caliborn as fandom avatars) or religion (Calliope and Caliborn as Gnostic figures).

With that in mind, I want to talk about the ways in which Calliope and Caliborn are gendered in Homestuck, and offer my own amateur reading of Calliope as a trans allegory.

Full disclosure, I love the epilogues, but I won’t be engaging with them here -- I view them as extracanonical, which is to say, I’d like to talk about them and their own presentation of Calliope’s story in another post.

Also, it’s Homestuck, so, you know. Sex, death, violence, and bigotry under the cut:

If we’re to read Calliope as a trans allegory, then we don’t need to look very far for evidence, because the text is very straightforward in suggesting it.

Almost as soon as we meet Calliope in the flesh for the first time, we’re confronted with the bleak reality of her desire for a more feminine embodiment:

'Callie Ohpeee’ serves as an aspirational figure for Calliope on multiple levels. Most obviously, she’s a vehicle for Calliope’s self-insertion into the wider world of paradox space and the alpha timeline (i.e. her self-insertion into the story of Homestuck); Callie Ohpeee is able to freely and directly interact with the elements and characters of the story that Calliope adores, while Calliope cannot. Somewhat less obviously, Calliope’s trollsona also serves as a way for her to imagine herself in non-caliginous relationships (which she desires on some level, but she feels she has been denied by her biology).

However, Calliope’s trollsona isn’t just a vehicle for her relationships and engagement with other people. Calliope’s trollsona is also key to the way in which Calliope desires to relate to herself.

Calliope desires to be attractive and feminine for her own sake: she desires to be beautiful and pretty, and her trollsona serves as the vehicle by which she satisfies this desire.

Calliope’s trollsona is quite literally her idealized feminine self, and so her relaxing “solo cosplay” sessions bring nothing more to mind than a trans woman privately enjoying a feminine presentation in the closet, as many trans women have. Her costumery and face paint imply clothes and makeup, and Caliborn takes on the role of a patriarch or patriarchy that tries to control her.

Ultimately, though, Calliope’s embodiment desires are cosmically validated by the unfolding drama of paradox space. Calliope is tormented by the apparent fact that she isn’t and can’t be Callie Ohpeee, but nevertheless, she successfully inserts herself into the lives of the alpha kids and the unfolding of the alpha timeline, forms the kinds of relationships that she wants, and receives the regard that she wants. She dies and takes on the form of her trollsona in the dream bubbles, and even when she’s physically reborn as her cherub self, she’s still “Callie” to Roxy, a meaningful nickname that goes basically unspoken.

Pretty straightforward, right? A trans girl learns that she and her body aren’t unlovable, makes friends and forms bonds as her true self, and escapes the reach of the forces that once abused her.

FEARFUL SYMMETRY

Before we can close the door on a trans reading of Calliope, we also have to consider Calliope and Caliborn as a pair, and not least because the two of them literally share the same body. Fair warning, we’re only going to get more speculative (and more indulgent) going forward.

Calliope and Caliborn are presented, at least superficially, as absolute and dichotomous opposites. They are two spirits that cannot coexist at once within the same body; their respective attitudes and temperaments couldn’t be any more different, and they are, of course, Muse and Lord: quintessentially passive and quintessentially active.

However, Calliope and Caliborn aren’t so different as one might think. Despite Caliborn’s violent protestations to the contrary, they share key characterizing interests in the likes of shipping...

...and art:

Caliborn is infamous for his disgust and anger with the absurdity of paradox space (i.e. his anger with the text of Homestuck itself), but Calliope is easily provoked into displaying the exact same petulant frustration with the direction of the story and the unfolding of events around her.

Calliope and Caliborn are consistently unified within the text -- not as incompatible opposites, but as two sides of the same coin. In Complacency of the Learned, Calliope and Caliborn are personified in the singular, androgynous Calmasis. In his chess match with Calliope, Caliborn disguises his king as his queen, and vice versa, signifying a mutual transgression and inversion of gender; Caliborn steals Calliope’s hemotyping and typing quirk, just as alternate!Calliope does the same to him, in a mutual appropriation not just of quirk (i.e. voice and presentation), but of blood, or life. On the level of the body, Caliborn’s skin is inextricably marked by the green that signifies Calliope, and Calliope is inextricably marked by Caliborn’s skull: the deaths-head he would inflict upon all life (and a hyperrealization of the masculine or unfeminine bone structure that troubles many trans women).

Most significantly, Aranea indicates to us that Calliope and Caliborn actually began as one being, which then went on to fracture into a male and female aspect, striving with and against each other -- a creation myth for gender and sexuality itself, in the vein of Plato’s Symposium, Rabbinic lore on Adam and Eve, and (rather topically) Hedwig and the Angry Inch.

With their fundamental unity in mind, we can read Calliope and Caliborn not just as ‘brother and sister’, but rather as two identities, personas, or aspects of one person. This is why, for example, calling a cherub by one of their two names brings that personality to the surface -- because, on a literal or symbolic level, it constitutes the active validation of that personality and identity, and the abject denial of the other.

Does all of this suggest a bigender, genderfluid, or otherwise non-binary reading of Calliope and Caliborn? Maybe, but let’s keep going, first.

Aranea’s exposition tells us that even adult, mature, ‘binary’ cherubs are still figures of gender duality, inversion, and transgression. Mating cherubs take on the forms of dueling cosmic serpents -- the sex act occurs between two hyperreal phallic symbols, suggesting male homosexuality in specific and queerness more broadly. It was Calliope’s biological father who ultimately submitted to their biological mother, and thus it was Calliope’s biological father who laid their egg, while their biological mother was the one to fertilize it, revealing the separation of sexual anatomy and power relations from gender among cherubs.

The gender dualities, inversions, and transgressions at play can still exist within cherubs who are, by all accounts, decisively male or female in gender identity -- despite the lack of of any way to assign them a sex or gender from the outside.

The dueling personalities within each young cherub are siblings to each other, but they are also different possible selves that the cosmically-transgender cherub might become as they grow to adulthood -- just as the dueling alternate selves of so many other characters can illuminate their own internal conflicts. In Homestuck, the inner life is always prone to manifest in the outer life, again and again.

I TRAGICALLY LOST A SISTER TO MURDER

Having established a reading of Calliope and Caliborn as two identities within one person -- as ‘Calmasis’ at odds with themself, containing multitudes and torn between them -- we can move on to look at the way Calliope and Caliborn relate to each other, and to gender, in order to get the bigger picture.

Caliborn introduces himself to us as undyingUmbrage, a username of largely straightforward meaning. His umbrage -- his anger, irritation, annoyance, or offense in the face of the world -- is neverending, everlasting, and eternal, and so too is his own life. Caliborn is immortal, allowing him to carry his rage forward forever.

If Caliborn’s username is simple, then Calliope’s is more sophisticated, which fits their characters. As uranianUmbra, her title invokes most obviously Uranus the planet and Urania the heavenly muse, but also the ‘uranian’, Karl Ulrichs’ antiquated title for gay men and trans women: those with an anima muliebris virili corpore inclusa, “a woman’s soul enclosed in a man’s body.” As the umbra, or darkest shadow, she invokes the Jungian shadow archetype, the suppressed, unconscious, or rejected aspect of the self.

As such, Calliope identifies and codes herself both as transfeminine and as Caliborn’s allegorical shadow archetype -- a part of himself that he can neither accept, acknowledge, or escape, perpetually haunting him. In-universe, Calliope names herself after Uranus’ topspin, and the ‘English’ of a cue-ball that it echoes -- thus, she implicitly identifies herself and the trans feminine uranian with the cue-ball that threatens Caliborn and Lord English. She symbolically establishes herself and the trans feminine as Caliborn’s only intrinsic vulnerabilities!

And on some level, Calliope tells us all of this! Because while Caliborn wants to destroy Calliope, she hopes to make him like her:

Calliope manifests a sincere investment in so many of the things that Caliborn orbits at a distance. Thus, to Caliborn, she represents a threat from within to his ability to maintain distance, because on some level, she serves as a manifestation of his own desire to draw closer. She confronts him with the reality of his own desire, or at least, with the latent possibility of his own sincere investment -- she serves to remind him that anyone who can waste as much time on creating Homosuck as he does is both an invested creative and sincerely invested in Homestuck on some level.

And it’s much the same on the level of gender, too. Calliope serves as a sincere reflection of the gender identity that Caliborn can only orbit at a distance. It was, after all, Caliborn’s idea to swap the king and queen chess pieces, and to disguise them as each other. Calliope lashes out at him because he cannot do so earnestly: because Caliborn makes a shitty twist out of his insincere production, because he can’t commit to swapping the places of the king and queen, and because he abuses Calliope’s willingness to swap the pieces (because he abuses and misdirects her inclination to gender transgression, and by extension, betrays the premises of his own idea).

This is why Caliborn kills Calliope’s dreamself instead of predominating over her in the conventional way -- not just because it’s easier and more convenient for him, but because his predomination would mean “consuming” her personality and “integrating” with it. It would constitute an integration with his shadow archetype, and thus, on some level, a partial destruction of the persona and ego he has established for himself. To Caliborn, as pathological as he has become, any level of integration with Calliope represents an existential threat, and so he has to cut her out of himself like a cancer.

But even having cut Calliope out of himself, Caliborn cannot escape her. By cutting her out of himself, he has defined himself around the hole she has left in him -- he has permanently divorced himself of the opportunity to integrate with her or accept what she represents. While both Caliborn and alt!Calliope take up each other’s typing quirks as a sign of victory, Caliborn takes Calliope’s quirk as a way by which he can signal his ‘wholeness’:

And this is, of course, complete bullshit and posturing of the highest order. Andrew Hussie not only directly characterizes the conflict between Caliborn and Calliope as an inner conflict within him, but he also tells him that his only path to maturity and personal growth was through integration with Calliope.

Not to be denied, Caliborn continues to constantly assert the self-justifying completion and authority of his masculinity, for himself and for others...

...but even so, he still can’t help but betray himself and his own idealized masculinity:

Masc4masc, Caliborn certainly isn’t! In his creative endeavors, he telegraphs his ultimate disgust for masculinity. He needs to draw out the femininity he wants to see in men -- he acts out gruesome, hateful misogyny against women, but even as he murders so many of the women of his manga or otherwise ejects them from his story, he’s still compelled to recreate femininity and symbolically recreate womanhood within the male cast he has left behind.

And he’s not just motivated by homophobia and a disgust for men who are intimate with other men! Nor is he just motivated by a desire to place these feminized characters below him. Just as Calliope does sincerely with her Callie Ohpeee trollsona, Caliborn is compelled to feminize his own self-insert, the crude rendition of Lord English he creates for his own satisfaction. Given free reign to depict himself and insert himself into his story however he likes, Caliborn opts to turn away from the full thrust of hypermasculinity, and he makes himself beautiful and gorgeous.

And as soon as he does so, Caliborn’s repressed attraction to Calliope erupts again:

This isn’t just the matter of blackrom incest that the text superficially suggests; even on a purely textual level, due to the alien nature of their relationship, Caliborn only barely regards Calliope as a sister, and he certainly has no problem with objectifying and sexualizing all of the other women he hates.

No, Caliborn has to repress his attraction to Calliope because, given their shared form, his attraction to her as a woman necessarily constitutes an implicit recognition that he could be attractive as a woman, and his body could be attractive as a woman’s body.

Caliborn can never accept that, and he’ll never directly address it or engage with it. He’ll never think about what all of this means for him, or act on his idle fantasies. The time for turning back is well behind him.

He is, now and forever, exactly the kind of angry and disaffected chud who will never unplug from 4chan or stop masturbating to awful trap hentai. He has deliberately imprisoned himself within the teleology of his own self-confirming hegemonic masculinity, and he thinks it is glorious.

THE DEMON IS ALREADY HERE

To fully understand Caliborn, of course, we need to understand Lord English.

If Caliborn has imprisoned himself within his own assertions, then Lord English is the embodiment of those assertions, and Caliborn’s transformation into Lord English is his ultimate apotheosis: having murdered his shadow and excised her spirit from within himself, his transformation enables him to excise her from without. His ascension allows him not only to purge Calliope’s visage from his body, closing off the possibilities once implied and allowed by his youthful and androgynous form, but also to recreate, reconfirm, and relive his victory over Calliope at every turn.

To understand what I mean by that, let’s look at the characters and components who go into Lord English, starting with Equius.

Equius, is, of course, a long-form joke character about the pathetic contradictions of hegemonic masculinity. In his pesterlogs, he opens every line with blatantly phallic imagery...

But when he actually tries to handle said phallus in real life, his titanic strength prevents him from doing anything but destroying it:

And the same goes for one of his horns, which he has apparently broken off. The autocastration symbolism is not subtle, and about the mildest thing we can conclude is that he’s a chronic, addicted masturbator who has compromised his own sexual performance.

He’s also textually obsessed with upholding the racial hegemony of the Alternian civilization...

...but his obsession with hierarchy and dominance quickly collapses into a thin pretext for his barely-suppressed desire to submit to those who are higher than him on the hemospectrum...

...and to those who are lower than him!

Equius is a character intrinsically lined to the collapse and self-destruction of masculinity and male sexuality, which is topical enough that we might end there. However -- and there’s no nice way for me to say this -- we also need to establish that Equius is a necrophile and a sexual predator, too.

@mmmmalo and others have written intriguingly and at length about reading “blue beauties” as a cipher for “sexualized corpses” in Homestuck, but for Equius, it’s about as textual as it gets. Equius is explicitly sexually and romantically interested in Aradia even after her death, and his necrophillic attraction is only reinforced by the symbolism: he constructs an unliving replacement body for her, which parses most obviously as a symbolic embalming and restoration of her corpse, and he treats it like a love doll even as it’s uninhabited and lifeless. He seeks to literally transform her body into a “blue beauty” by the transfusion of his own blood, which (given the color-coding of troll body fluids) parses as a clear insemination joke about his genetic material.

We might excuse his attraction for various fantastic mitigating factors -- Aradia is, after all, still ‘alive’ in a kind of undead state -- but Equius’ more general sexual predation cannot be so easily ignored. Aradia is chronically depressed and in absolute need of the service that Equius can provide, which he uses to take advantage of her and to compromise her bodily autonomy and judgement with the device he covertly implants inside of her.

Equius is undeniably a sexual predator who constructs women’s bodies in order to further his own domination, and his own motif of sexual self-destruction and inversion puts the final dark twist on his story. He is brutally dominated by Gamzee, suffocated to death until his corpse is blue in the face, and ultimately prototyped together with AR. He finds a unique fulfillment as he becomes the object of his own desire, when he is transformed into his own cybernetic “blue beauty”.

It’s not hard for me as a trans woman to see certain tropes at play, but for those of us who aren’t up to date on foundational transmisogynistic screeds...

Today the Frankenstein phenomenon is omnipresent not only in religious myth, but in its offspring, phallocratic technology. The insane desire for power, the madness of boundary violation, is the mark of necrophiliacs who sense the lack of soul/spirit/life-loving principle with themselves and therefore try to invade and kill off all spirit, substituting conglomerates of corpses. This necrophilic invasion/elimination takes a variety of forms. Transsexualism is an example of male surgical siring which invades the female world with substitutes... The projected manufacture by men of artificial wombs, of cyborgs which will be part flesh, part robot, of clones – all are manifestations of phallocratic boundary violation. So also the behaviorism of B.F. Skinner and “physical control of the mind” through the use of implanted electrodes by such scientists as Delgado, are variations of monstrous male “motherhood”.

-Gyn/Ecology

Blanchard believes that autogynephilia is best conceived as misdirected heterosexuality. These men are heterosexual, but due to an error in the development of normal heterosexual preference, the erotic target (a woman) gets located on the inside (the self) rather than the outside...

Autogynephiles are men who have created their image of attractive women in their own bodies, an image that coexists with their original, male selves. The female self is a man-made creation. They visit the female image when they want to have sex, and some became so attached to the female image that they want it to become their one, true self...

-The Man Who Would Be Queen

But hey, does anyone else remember that time when ARquius got upset and envious because he couldn’t lactate like a mother would?

EXTREMELY SUBTLE.

As for Equius’ fusion with the AR, or Auto-Responder, we come to Dirk Strider.

Dirk Strider is, if anything, the furthest thing imaginable from the autoerotic subject that Equius presents: he is not so much attracted to another self as he is utterly repulsed by himself in his own totality.

Dirk Strider is a self-loathing, self-destructive, self-mutilating gay man, caught in the grips of a kind of hateful narcissism. He is not overtly trans-coded, or related to the trans feminine, but his male homosexuality ties into another, subtler form of trans feminine horror, one which Jake suggests in aside:

Dirk Strider presents the horror of the destruction of the self and the destruction of manhood more generally, both in the service of the satisfaction of others and in the fulfillment of self-hatred. He creates and destroys himself with abandon. In Unite/Synchronize, it’s Dirk who willingly decapitates himself to cross the gulf of space and time between him and Jake, and he allows Dave to decapitate him and destroy his ‘unbreakable’ katana with Caledfwlch -- the uranian cue-ball sword that destroys masculinity -- in Collide.

And keep in mind that when Dirk decapitates himself, it’s Lil’ Hal who looks out from his severed head:

Holy castration symbolism, batman! Remember that Hal’s shades are a part of ARquius’ own phallic imagery:

Lil’ Hal is a phallic specter that terrorizes both Dirk and Jake on the individual level, as well as in their relationship with each other. He drives Dirk’s Brobot-self to greater aggression, he’s aggressive, condescending, and cruel with Jake in general, and he apparently manipulates events to force Jake to kiss Dirk’s severed head -- which, if we’re taking the castration metaphor seriously, basically means he forced Jake to give Dirk head. Classy.

Is it any wonder that Dirk is so compelled to lop Lil’ Hal off of himself and out of his life, no matter the ethics or implications for himself? Hal is the perfect storm and culmination of all of the worst things Dirk sees in himself, and the omniscient apotheosis of his own detatched, ultramasculine, hypercompetent, ironic persona -- all despite being treated as a 13-year-old by the text, an immature and incomplete version of Dirk.

Remind you of anyone else?

Dirk and Lil Hal are in this respect a brighter mirror of Calliope and Caliborn: they are a self divided for whom the better half has softly predominated.

Dirk probably hasn’t literally castrated himself to destroy his masculinity in the way that Caliborn has literally destroyed his own femininity; Dirk and Hal certainly aren’t so explicitly gendered or trans-coded as Calliope and Caliborn are, so it’s more difficult to read them and their relationship as trans-coded. (Unless you want to read Dirk and Hal that way, in which case, hell yeah, go forth and be valid, and link me your fanfiction, please.)

Nevertheless, Dirk’s symbolic castration and literal rejection of lil Hal represents, if nothing else, a rejection of and predomination over his most toxic aspect (and his most toxically masculine aspect), and the gruesome excision of such from his life.

But while Dirk has left his worst half behind, his worst half has gone on to supercede him: entering into union with Equius, and by extension, Caliborn.

And what of Gamzee, the most important character in the entire comic?

Well, Gamzee is, of course, another mirror to Calliope and Caliborn. Like Calliope and Caliborn -- our allegorical Calmasis -- Gamzee is caught in an erratic duality between two possibilties.

Just like our Calmasis, Gamzee vacillates almost all through life between two fundamentally different personas. At the time of his introduction, he was someone basically passive, agreeable, and kindly -- even lovable, to the point that he still has his fans and stans to this day.

Of course, as time went on, he became more and more aggressive. Even against the backdrop of his largely passive behavior, his increasing aggression culminated in his many infamously depraved and murderously violent outbursts: a transition not incidentally marked (among other things) by his rejection of the green (and Calliope-coded) sopor slime that once helped to pacify him, and his radicalization at the hands of his future self (in Lil’ Cal).

In his typing quirk, Gamzee likewise alternates between Calliope’s lowercase and Caliborn’s uppercase:

Definitely no themes of duality here, nope!

Most tellingly, even in his ascension to Lord English, Gamzee is also halved, just like Calliope & Caliborn: Gamzee is bisected such that only half of him enters Lil’ Cal, while half of him is left behind, utterly broken and irrelevant.

But if Gamzee is a reflection of Calliope and Caliborn, then what else does this piece of shit clown have to say about them?

Well, like Calliope, Gamzee is quite involved in his own constructed persona -- but unlike Calliope, he’s almost never regarded as anything but disgusting and pathetic.

No amount of face paint can cover the scars across his face, and instead of covering himself up, his costume only accentuates his own body, exposing himself in the most pornographically aggressive and perverse way possible.

Even in making himself into a clown he reaches towards something inherently absurd; something that has no existence in itself save for how comical and disgusting it is to others. His aspirations and imitations render him a walking joke and a figure of corrupt terror.

And most horribly and grotesquely, if Calliope and Caliborn are a trans allegory, and Gamzee is any kind of reflection of them, we know exactly what kind of warped and fictitious trans archetype Gamzee is:

Gamzee suggests himself as a serial killer, and he’s one who hordes corpses and steals trophies from his victims, at that.

But there’s one more person we need to look at in this gruesome sequence: Doc Scratch, another parallel to Calliope in this incestuous slurry of signifiers. In Doc Scratch, the man with the uranian cue-ball head, we see even Calliope’s most harmless, silly traits taken to their most nightmarish and oppressive conclusions.

It’s Doc Scratch who selectively warps troll culture in order to create the world and the culture that Calliope loved so, and who meddles in the alpha timeline as he so desires; it’s he who shows just how perverse and oppressive omniscience can be, transforming all her scrapbooks and her labors of love into his own exhaustive account of the cosmos, turning her love of her favorite characters into his own callous disregard for objects to be manipulated. When he uses her own thoughtful tone, it only telegraphs menace.

And, most darkly for our own analysis, Doc Scratch is a sexual predator and a pedophile.

Almost from the start, he’s undeniably sexualized as a threat in his conversations with Vriska:

Even his omniscience is sexualized by his own words, casting the light of his awareness as a phallic presence invading and penetrating the unknown:

Vriska is an unreliable narrator, of course, and we might not want to read too deeply into Doc Scratch’s words. Scratch is certainly quick to assure Rose that he’s not a predator in his conversations with her...

...but as always, the gulf between what Doc Scratch says and what he means is almost insurmountable. Doc Scratch tells Rose that he has no biological means of reproduction, but he is a conglomerate of and a vessel for multiple sexual beings, and even the castrated may experience sexual pleasure and pursue sexual ends.

Most tellingly, Doc Scratch only tells Rose that he isn’t attracted to her “in the way she means”. From an entity known for wordplay and lies of omission, this constitutes a tacit admission that he IS attracted to her in some way that she isn’t asking about.

Aradia explicitly characterizes his interference in her and Kanaya’s lives as ‘grooming’...

And he does much the same to Damara:

Doc Scratch is an undeniably sexual and sexualized threat.

We might ask how, exactly, he’s supposed to be attracted to Rose and the other young girls he victimizes -- and certainly I think he’s a sexual voyeur in the general case, but I think he’s also an even more abstract and pedophillic threat.

Doc Scratch is a copy of Lil’ Cal, given life and omniscience as a First Guardian; he is the child’s toy which was once fawned over by a puppet pornographer, and he is a child-sized man. He titles himself after the Scratch process which allows children the chance to grow up, but which also transforms adults into children; he presents the absolute perverse sentimentality of all adult transgressions into the realm of childish things.

This alludes to Caliborn, of course, as the boy who cannot escape his childhood, but it’s also sexologically linked to toxic trans feminine archetypes...

Blanchard (1991) started with the idea that some cases of male-to-female gender dysphoria and transsexualism are fundamentally motivated by an ETII, in which natal males who are otherwise sexually attracted to women eroticize the idea of being women to such an extent that they want to become a woman themselves. Freund and Blanchard (1993) later extended this idea to an analogous ETII that might motivate some pedophilic men to impersonate or fantasize about being children.

It is fitting that the most compelling finding of our study—that autopedophilic men sexually attracted to girls tend to find it sexually arousing to imagine themselves as a girl—reflects the likely confluence of the two ETIIs that had been proposed many years ago: one that involves locating an individual of a different gender within one’s own body, and the other that involves locating an individual of a different age within one’s own body.

...and it’s also a searing indictment of Calliope.

To cosmic entities such as her and Scratch, how can other people be anything but objects, tools, and characters to be abused? Before the power and knowledge they might come to command, how can other people be anything but insects?

To Scratch and Calliope, how can other people be anything but children?

Even as Calliope becomes a mere player within the story of paradox space, Doc Scratch accuses her of a fundamental and unwholesome transgression. She lets go of the condescending oversight she used to hold over the alpha timeline, no matter how kindly and well-meaning she was, and she descends from the omniscient authority of her lonesome ivory tower, but Doc Scratch still names her as an offense to herself and to others. Her desire to be a person is cast as a perversion, a deviance, and a sickness.

SBURB is a game her kind was never meant to play, after all. It’s a coming-of-age narrative not meant for her.

Ultimately, Doc Scratch himself is a fundamental accusation against Calliope: he is a grail of the souls who signify some of the most horrible gendered narratives and trans feminine narratives we can imagine, animated in mockery of Calliope as if to say: “this is you”. Equius, an autoerotic, necrophillic predator, and Hal, an aggressive, intellectualist meddler; even Gamzee, who is both a murderous pervert and her own adoptive father, a normative role model who is anything but.

And when Caliborn rises to prominence and Lord English births himself from the corpse of Doc Scratch, it’s nothing less a recreation of the traditional predomination that Caliborn has denied himself. To Caliborn, Lord English is the sign of his own victory: he may see the souls within Lil’ Cal as like-minded role models to emulate and assimilate, or as hateful and loathesome symbols of Calliope to be crushed under his will, but his predomination allows him to take both options without interrogating himself, just as he’s gone without interrogating everything else he wants.

And to Calliope, well, if Doc Scratch was an accusation against her, then what could be more horrible to her than Lord English? He has destroyed Doc Scratch and symbolically ended her own perversions, but only through the act of being born.

The only alternative to the horror of being Doc Scratch is the terror of being Lord English; the only alternative to the horror of being Calliope is the terror of being Caliborn.

ISOLATION

I could navel-gaze for hours about the potential symbolism of Lord English, but I think it’s time to return full circle to a somewhat more grounded look at Calliope.

If Calliope, Caliborn, and Lord English cast light upon each other, then what does alternate!Calliope have to say about them?

Having naturally predominated and standing as a singular figure in the furthest ring, Alt!Calliope serves to illuminate the alternatives to Caliborn’s false victory: in all the alternate possibilities illuminated by the dream bubbles, we see that Calliope can naturally predominate over Caliborn, but not vice versa.

Alternate!Calliope strongly suggests to us that Calliope is inherently stronger than Caliborn, and she tells us that Calliope and Caliborn share the same strength: she tells us yet again that Calliope and Caliborn are two sides of the same coin.

She suggests to us that, in a sense, Calliope and Caliborn are just Calliope -- that Calmasis, upon achieving integration, will simply view herself as Calliope, and Caliborn will lose because he was never the true self.

So why, then, does Caliborn win in the alpha timeline? Is it just an arbitrary time loop, a timeline plucked from the frothing sea of paradox space and arbitrarily validated by the happenstance of the immature Caliborn’s power over time?

No, I certainly don’t think so; I’d like to think that the principle of AURYN applies even here. Caliborn wins out over Calliope because they’re Doing As They Will -- because, even on the level of our trans allegory, they both have reason to want Caliborn’s victory. Even on the level of our trans allegory, Calmasis needs to be Caliborn.

Alternate!Calliope tells us that she had to become strong because she had no-one else to comfort her, and I think suggests two important points of interest:

Firstly, that alt!Calliope serves to reflect Calliope’s inner drama, just as Calliope serves to reflect Caliborn’s inner drama. Caliborn fears and loathes the possibility of being like Calliope, the sentimental degenerate and weakling that she is, and Calliope fears and dreads the possibility of becoming alt!Calliope. Calliope fears that even if she rejects the hateful accusations that are Doc Scratch, and rejects the teleological future of Lord English, her only alternative is to be like alt!Calliope: someone who has won, and who has become herself, but at the cost of isolation, distance, and loneliness, without humanity, connection, or kindness.

In other words, Calliope fears her victory would mean her little green skull is always going to be a miserable Federal Fucking Issue, for herself and for others.

Secondly, that Calliope’s relationships with humans are in some sense the vector by which Caliborn came to dominate. Alt!Calliope won because she had no-one to take comfort in, and thus she had to be strong on her own, but I think the flip side of that is that alt!Calliope was able to be strong, because she had no relationships that could weaken her -- she was more insulated from the toxic ideas of the cultures that came before her. No one could so much as accidentally insinuate to her that she wasn’t good enough or pretty enough as she was, save perhaps for Caliborn -- and certainly Caliborn would have been malevolent, but he would have had less in the way of the language and systematic ideas to be the hateful and cultivated misogynist that he became in the alpha timeline.

In other words, alt!Calliope doesn’t have any reason whatsoever to worry about her little green skull in the first place.

But there’s another much more straightforward reason why Caliborn had to win, too:

If we’re supposed to take Calliope and Calliborn as two facets of a whole more generally, let alone as a specific trans allegory, well... they may have been two personas, or even two people, but they are confined to an existence as a single player. The cherub session likely never could been anything but a single player session; the cherub session was always going to be a dead session.

And whether it’s a fundamental fact of SBURB or just an idea in Calliope’s head -- one of the ideas she’s likely constructed with the human cultural biases she’s obtained by osmosis -- Caliborn is someone who can win a dead session, and Calliope isn’t. How could a Space player, a patient creative, succeed in a test of frantic, timed destruction? How could a passive Muse succeed where even an active Lord would struggle -- how could a woman succeed where even a man would struggle?

Only someone like Caliborn could ever possibly win. Perhaps Calliope reflects Caliborn as the person he desperately wishes he wasn’t, and she is the shadow that lies outside of his hateful and constructed self, but as a precarious supergiant hangs overhead and the light of Skaia gutters out, Caliborn reflects Calliope as the person she desperately needs to be, and he is the self she has to construct for herself.

Caliborn kills Calliope’s dreamself not just because he desperately hates her, but also because she has to allow him to supercede her, and he is the kind of person she needs to be: because SBURB is unfair, Skaia is unfair, and he can escape the desolate waste of her life, while she cannot.

And so it happens that Calliope is exiled from the real and cast to the unreality of the dream bubbles, while Caliborn grows monstrously beyond himself, self-mutilated and cancerous.

People have commented on the obvious romantic symbolism at play in Calliope’s return to life in the real...

...but it’s not just the power of a love that saves Calliope. Love is powerful and transformative, but love alone isn’t magical. It isn’t even the power of a magical macguffin ring that saves Calliope, either, because a ring is never just a ring, even when it is magical.

What redeems the possibility of Calliope’s existence is recognition and freedom.

TL;DR: ‘Caliborn’ is Calliope’s deadname.

#homestuck #calliope #trans calliope #homestuck analysis #homestuck meta #effortpost #self-indulgent complete bullshit

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thebibliosphere · 8 years ago

Note

can you talk some more about Dishonoured? (is that the game?) I'm so confused but everyone seems very excited(?) about something? Sorry, my autistic ass is so confused lmao

Oh boy can I.

Hello friend, welcome to the collective freakout that is the Dishonored fandom going “wait WHAT, OH MY GOD YES!!”

Dishonored is a stealth sneaky sneaky magic/stabby game which came out back in 2012. The premise is, without giving too much away, thatyou are the personal bodyguard to Empress Jessamine who is murdered in front of you by a man named Daud. Princess Emily is also kidnapped and they vanish into literal thin air, and you’re left behind to hold Jessamine in your arms as she dies. You are then framed for her murder and spend the rest of game trying to regain your honor, find Emily and restore balance to the Empire. How you do that is all on you.

You can either ghost through the world on silent sneaky feet without shedding a single drop of blood and show mercy (sort of) to those who have wronged you, or you can finish what others have started and watch the world burn.

The Outsider everyone is talking about, is an ancient god entity from the Void who chooses to give you supernatural powers to aide you in your endeavors, how much you use them or how little, is up to you. It’s sort of like the immortal eldritch equivalent of binge watching a new show on Netflix. Everyone else he previously Marked is boring and predictable, but you, oh you with grief and murder and love in your heart, you could be fun.

If you do the predicted “kill everything in your path” outcome, he’s unsurprised but still moderately entertained and thanks you for the show. If you opt not to kill anyone, he’s somewhat wryly amused that you proved him wrong, and tells you he’s enjoyed watching, and I cannot stress enough how much I LOVE the moral functioning code in Dishonored (the Chaos ranking). It is to my mind one of the only few games that boasts a truly nuanced approach to morality and how we interact with the world around us by showing us the subtle and not to subtle ways in which our actions affect the world we live in. The literal difference between a childs drawings and the fall of an Empire.

It is worth pointing out that Corvo’s actions, despite non chaotic, are not always good. He is adhering to a personal code of morality which is acted out by you the player. Mercy and honor are not synonymous with Good, just like revenge and justice are not the same thing but often mistaken for two sides of the same coin.

There is instead a kind of poetic justice to a lot of the things he does, making them satisfying to watch, but without actually crossing the line into being “just as bad as them”. You can of course also be, just as bad as them. There are a million and one ways to make someone die in this game, and you can do it with as much or as little finesse as you like.

If you are low chaos, ie you sneak around and find ways to complete your goals without killing anyone, the world will be…it will still be bad, but things will be a little kinder. People will be softer, they will strive to do better. More people will survive. There is less fear in the streets, people will know about a masked man, but they’ll hear the stories, yea, the whole garrison, the whole garrison put to sleep with some kind of dart—and did you hear about what the High Overseer was actually doing though??? What a monster…

If however you opt for stabby stabby murder central, the game becomes collectively harder. There will be more rats, there will be more guards who are more hostile and alert. But the good people in the game, the people who are truly good, will become afraid of you, will become twisted and cynical. And it’s fucking chilling. Like, it’s just…hhnnngh, it’s so subtle right up until it’s not it’s like a punch to the gut. I love it.

I still remember the first time I played the game and Samuel called me a bad person and that he hated me, I was like “but, but…I didn’t…I chose to be merciful! those people did awful things and I was merciful!” and then it hit me…I wasn’t. I wasn’t merciful, I wasn’t good. I still stood on the precipice over Hell and I chose to spare some people under the guise of morality and my own righteousness, while slaughtering countless others who got in my path. What made those people any less important to me than a main NPC? They weren’t. They were still People in the world I was in. And I killed them. I didn’t even try to find a way not to. I just treated them like the result of a world gone mad around me and waded through blood, like my survival meant the inevitability of their death. I treated them with the same non-thought with which the blatantly morally corrupt NPcharacters had treated me and countless others like me.

And that is some Avatar The Last Airbender shit right there. That’s Aang on the mountain and giant lion sea turtles right there. It’s Pratchett with Sam Vimes in the deep down dark holding and axe and Granny Weatherwax who stares into the depths of her soul and comes up swinging for the light. It’s wonderful and it gives me chills just remembering the first time it happened and I had paused the game to go “what…no!” and the enormity of it hit me. It completely changed the way I play the game, most games, actually. And I get frustrated with other sneaky games with supposed moral coding that don’t hold me to that same level of accountability, or don’t even allow me to try.

And then the DLC comes out and you’re playing as Daud, the assassin who killed the empress and he’s having a fucking moral melt down. He’s having nightmares about it, battling against the clock to make amends and set things right before Corvo catches up with him and kills him, and you can either play with the same ruthless disregard for life that lead you to these circumstances or…or you can tread a little lighter, a little softer. All the while knowing your life ultimately hangs in the balance. And as you the player, knowing how his fate ends depending on how you played as Corvo.

Dishonored 2 operates on the same pretenses, except it’s some years later, and you have the choice to play as either Corvo or Emily. Ousted from your home, you have to make your way to Karnaca to restore order, and defeat the people who planned the coup before returning home to reclaim the throne. How you do that? Again, that’s up to you. You can either rage and lash out in a world where cruelty thrives—you can be ruthless and merciless—or you can find another way.

I’ll be really interested to see what goes on with this new Daud and Billie (Daud’s right hand in the first game) expansion of the universe. What choices are canon and which ones are not, and how they will affect the world of Dunwall as we know it. I already have a theory about why they want to kill the Outsider, but I wont say just yet. All I know is it looks like we get to play as Billie, and I am 100% here for That.

#cradlerat #Dishonored #long post

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republicstandard · 7 years ago

Text

9 Top Tips For Surviving Twitter As A Right Wing Thought Criminal

Should you decide to enlist in the culture war hosted on the Twitter-dot-com hellscape (where every day is Hamburger Hill), there are some things that you need to learn and apply in order to survive to tweet another day. Welcome to boot camp, you scrubs and noobs.

1. Choose Your Fighter

You, dear-never-ever-before-user of Twitter should take the time to read the Terms of Service. There are a plethora of words and behaviors that can get you booted from the platform and all of them are vaguely explained with the broadest interpretation possible. Once you've read Twitters soul sucking list of obligatory rules that severely limit your speech while protecting it for the people you cross intellectual swords with in the idea war, you are ready to build your player.

As Twitter is becoming pretty censorious, I'm also on: Gab: https://t.co/TrQ2JW4sAI YouTube: https://t.co/1NfMOYwkbF FB: https://t.co/zeAtcHTDcf WT: https://t.co/xs18l5Tpkc pic.twitter.com/EkVtklMN10

— Orwell & Goode 🇨🇱 (@OrwellNGoode) May 14, 2018

The limits are on the far end of infinity. You may choose to be a cute doggo, or perhaps an ms-paint frog or toad, an oft overlooked historical figure, a painting, or a parody of a living or dead celebrity with a morbidly hilarious twist. Your creativity in creating your avatar and name has a moment to really shine here but whatever you do, don't choose your own face and name because some of the people you talk to want to kill you. Or, at least completely ruin your life so that you will do it yourself. This is not an exaggeration. Rest in peace, Andrew.

2. Your first tweet

Oh good. You decided to stick around.

For the love all that is holy do not tweet using the hashtag #MyFirstTweet. It's very tempting, I know, but as it's your very first tweet, everyone you run across will already know it's your very first ever tweet on account of there being no previous tweets preceding it. The new friends that you make today will use this tweet to let their friends know that you have taken the monumental step of becoming a brand new Twitter user; so do make it snappy and full of wit, let your personality shine. For goodness sake understand that the monsters that want you dead use the search feature and the hashtag #MyFirstTweet to hunt down brand new baby right wing accounts to have them aborted. Much like they screech about needing the "freedom" to do to actual humans in the streets, wearing nothing but pink knit double peak hats and their own undercoat of rapist-repellent blubber.

Yeah. I went there. Bring it.

3. Follow carefully

Despite the disgusting urchins that lurk about bandying their rotund degeneracy on #findom, the mountain of actual pedophiles that will try to convince you they are the good guys, and the entirety of #blacktwitter, Twitter is actually a very friendly place and you are bound to make lots of wholesome friends fast; especially if you have never ever been on the platform before, not even once.

Exercise restraint in your tender first few days and resist following back your new friends too quickly as this will result in a “shadowban" or will prompt Big Brother to underhandedly investigate your phone number under the guise of checking to see if you're human, as if robots can't be programmed to use a phone. I suggest just a few follows per hour- keeping it under 100 for the first day. Apparently, according to Ze Bluebird Gestapo, having like minded friends is the same thing as terrorism and you will be gulaged for it. Yes, I'm mixing up Nazi and Communist metaphors in the same sentence. Don't @ me.

4. Personal Security

You need to download and use a VPN. The animals you will run across will pull cute little stunts, like e-drag you into an argument by calling you completely true things as if they are an insult, and acting as if per capita is a flavor of snow cone only people who hate communism can taste. and then drop a link as if they are proving a point, but in reality is an IP address snatcher which is used to find out who and where you are, instead of just answering the question about why 13% of the population commits over 54% of all violent crime.

Next you will want to turn on the double authentication feature, because as soon as you say something true, some cyber-SJW is going to start jaw-jacking from the monumental sugar rush from powdered donuts and 17 cases of orange flavored Mountain Dew and try to hack your account. In the same vein, make certain your email address is hidden and that you aren't using @YourRealEmailAddress as your handle. For your password, use a ridiculous combination of letters and numbers that have no connection to your actual life- which the hideous banshees and their he-minions are trying to end. Am I hammering that point home enough?

Remember to self care today. And be kind. And always punch Nazis.

— Emma Evans (@TrancewithMe) June 28, 2018

Finally, delete the phone number you used to set up your account. You may need it later and it would be sad if it were already occupied.

5. Get a Thesaurus

I've said it before but it bears repeating; get a thesaurus. Contrary to popular belief, you are in fact allowed to talk about objective biological realities, religion, the various systems of government in the world, criticize certain groups of rootless manipulative cabals of wandering tribal people without getting suspended if you follow three simple rules.

Frame and maintain the conversation.

Use uncommon synonyms.

Subtlety can be volatile.

It goes without saying that a debate isn't won until it changes someone's mind. Minds can't be won if the conversation gets deleted. Since mein feind maintains control of the flow of information via control of the media, what you say on twitter could be the final straw that bends the balance of someone's mind to the right. We want that, we need that, especially as the left gets more unhinged.

Understand that the globo-tech complex is happy to assist in the restriction of speech through the creation of algorithms and databases in which words are input and some alert dings off in some rainbow diversity cheeto cheese powder crusted dungeon sticky with sips drips where some slack eyed Gollum pushes the ban button; and you're suddenly on the other side of a suspension. One such word is “retard” and there are many more. Aside from minority reporting, there are particular words and phrases searched just to report wrong-thinking accounts. A small price to pay to cleanse the universe of criticism that may mean people have to self-reflect and experience personal growth and take responsibility for their lives, the horror.

Take what you want to say, leave off the slurs, play around with synonyms and you can take a blatant violation of ToS and turn it into poetic philosophy. If you're intent on low brow trolling, I don't blame you, but I'll miss you when you're gone.

6. Engaging the Enemy

Never engage a hostile. There I said it, my legal obligations have been met. You cannot blame me for what you do with the following entirely hypothetical thought experiment. This article is satire and not for use by anyone, ever. I warned you.

If have attracted a swarm of busy-body detractors through the use of hashtags, do yourself a solid and check their bio and follower count. If their bio contains and reference to #resist just block them, they are there for one purpose and it's to bait you into a violation of ToS. Similarly, if they have 0 or 1 followers it is a sock account of a #resist account. If they have less than 50 followers they have nothing to say, no one likes them anyway, and they just want your attention.

Doxxxing is officially endorsed by Twitter dot comhttps://t.co/aPr8KZAO65

— These tweets are endorsed by this site. (@EndorsedTweets) June 21, 2018

To engage a hostile blue check mark I recommend to avoid placing your extra-spicy tweet on the thread under their tweet. Instead, drop a teaser; then quote tweet the azure-ticked parasite and drop your main show, curtain call, and encore onto your own wall. Most of the people who sit around deriving sexual pleasure from the fantasy of Nazi scalp-hunting haunt the timelines of these verified whine bags, just waiting for you to show up to report your ‘spouts of hate’. Or, as I like to call them, incontrovertible but inconvenient truths.

7. Types of bans and what to do

You are going to get banned at some point. Deal with it.

Shadowban: this is triggered by following too fast, liking too much, retweeting too often, being too active when new, using too many hashtags, using popular hashtags in multiple tweets, and just for the random inconvenience because you're found to be guilty by association. Your options are to take a break, or power through it. There is some theory that these shadowbans are on timers of 1, 3, 5, 12, and 24 hours and that tweeting resets the timer and extends the discomfort. If you have triggered one you will experience a sudden drop in interaction and may think that your friends are ignoring you. They likely just aren't getting your notifications. If you want to check, DM a friend and ask them to tell you if your notifications are coming through. DO NOT use a shadowban checker website, it's believed that these are run by la resistance, and may put your account at risk; or at least in a database to be watched closely. In any case, shadowbans are usually temporary and you'll be back to normal before you know it. It's worth noting that more shadowbanning occurs during certain news cycles like mass casualty events, terror attacks, and when the President does something noteworthy.

Permanent Shadowban: On rare occasions the shadowban never goes away. I don't know what to do about it but if you have some verifiable information regarding this, please contact me or Republic Standard.

12 hour, 24 hour, and 7 day temporary restrictions: Oooh you bad bad boy! Looks like you broke ToS and had to delete some tweets. You should have followed my advice. Tsk tsk. You can DM your mutual followers, participate in DM groups and you can share tweets from the timeline to the DMs, and block accounts. You cannot like, retweet, or share pictures nor can you follow anyone. There's nothing you can do about this; you're stuck like Chuck, whoever he is. There's no use getting your panties in a twist over it though, it's a good time to get to know your friends a little better one on one and perhaps even explore the possibility of meeting in person. It's an isolating online experience but you do have a little time to reflect on what you can do to refine your technique.

Suspension: Sadly, anything after 7 days and you're gone. Finished. Never to be seen from ever again. No coming back from this, George. It's over. Finito. Buh bye. Later gator. Basically dead. Sayonara. Ciao.

Aren't you glad you remembered to delete your phone number?

8. Opsec

I wish I didn't have to go there, but I have to go there. Even if you have a pure, hate-free, friendly account that never runs the risk of crossing ToS, you still aren't out of the frying pan.

Being right wing has painted a big old target on your back and some of the people aiming arrows at you are going to look a lot like friends, and potential lovers.

Infiltration isn't a new tactic. On anonymous Twitter it's not even particularly hard. Despite the fact that most people who try are hilariously bad at it, some aren't. Despite all the accurate memes about the left being dumb and useless, when it comes to operational security the left is a decade ahead of the right. Whether you agree with the ideas of real-world rallies or not, we have to come to the understanding that social media platforms are not secure places to organize such things. Unite the Right organizers just managed to doxx themselves because they could not get this very simple idea into their skulls. If it isn't on a website you control from the code up and you are operating military grade hardware, it's not even remotely close to secret. Stop thinking that it is.

Hey hey hey time to get doxxed by antifa from using discord YEEEEAAAA BOIIIII https://t.co/zZ3kO54Wmg

— Pikawubz (@pikawubz) May 8, 2018

Don't share your photos, too much detail about your location, or too much detail about your life. If you choose to trust someone, make sure it's mutual. As difficult as it is to imagine loyalties do change. Ideological commitment under certain conditions like bribery, threats of doxxing, or a broken heart, can be overcome. Don't forget that this is an ideological war and the stakes are high.

9. You are not alone

You've made it this far, and this following section truly is the most important part. You have found a warm community of the brightest minds, kindest hearts and most determined people I have ever known to exist. Yeah, we have our in-fights and squabbles; what family doesn't? Helping one another to discover truths that have been hidden from us, fight for a future we want and need, through tough times, and sharing laughter, anger, fears and frustrations bonds us together. If you are ever in a situation where you feel isolated, reach out. If you feel despondent, reach out. If you are being threatened, reach out. We are here for each other. You never have to be alone again.

Happy tweeting. See you in the trenches.

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