#environment analysis

[halfahelix]

In this particular Lies screenshot it does look like his stripes got transferred from his shirt to the cabinet 😂 However, they have always matched (although with opposite orders)!

From the wiki gallery: Simon Says, The Collector, Syren, Oni-chan, Felix

Sorry about the reflection on the screen but everybody please look at this animation glitch in Lies where the stripes on Adrien's shirt disappeared and ended up on the cabinet in the background

[dreamsy990]

you know i used to think it was weird how sora and roxas have such different personalities for supposedly being 'the same person' but after playing a few games i sort of realized that they do have similar personalities, because roxas acts how sora does when he's under extreme stress.

compare roxas to sora in, say, kh1. that's where a lot of peoples idea of sora's personality comes from. sora is generally very upbeat and optimistic in that game. not very similar to roxas, right?

but let's switch the game and talk about a game where sora is ABSOLUTELY GOING THROUGH IT. chain of memories.

sora's resting state is melancholy in com. he only ever cheers up in short bursts, usually when he's joking around with friends. just like roxas.

he's quick to anger, and tends to lash out at the organization members. best example of this is when larxene makes him 'remember' namine, and he swings at her repeatedly, even after she's gone. he only stops when jiminy is able to snap him out of it.

you know what scene that resembles?

sora, while a bit more on the angry side and less sad, continues to act like this in kh2 when he's in stressful situations. (he also has a tendancy to insult people which, while it's not very related to the point, is very funny and sora saying 'gonna cry?' to xigbar is great.) i cant comment any further than that about kh2 off the top of my head.

so, roxas acts like sora does when he's stressed, right? but why is roxas always acting like that? to which i say, he isnt!

he only ever acts like that when he's also in fucked up and stressful situations, which happens to be a CONSTANT in his life. but when he's hanging out with axel and xion, a decidedly NOT stressful situation, he's a lot more like sora. he's teasing his friends and insulting his coworkers and joking around and acting like a normal kid. not really important, but unless i misremembered some sora lines which is VERY possible, both roxas and sora respond to friendly insults with "oh thanks!" a lot. just a funny little detail that felt relevant.

the biggest differences between roxas and sora boil down to environment and... i dont know how to put it besides volume? roxas is very quiet and tends to keep most of his thoughts to himself, while sora is very loud and expressive in comparison.

there is one other huge difference i noticed, which is less character based and more story. sora wanted to get off destiny islands and explore with his friends, but roxas just wanted routine. sora wants adventure, and roxas wants things to stay the same, for days where he gets off work and eats ice cream with his friends to last forever, to keep having conversations about nothing and watching the sunset. roxas wants normalcy, sora wants excitement. it's just interesting seeing their contrast.

not sure if this is very well said or anything i just wanted to talk about my boys

[moretheta]

can i just say: i've come to terms w/ the fact that the hxh succession war fandom on tumblr is teeny-tiny in comparison to other shonen.... and i'm actually super super okay with it because basically everyone here is so damn cool. we may be few but we are mighty etc. i've had more positive interactions w/ fellow readers in the past few weeks than i've had in literal years of being in other fandoms. y'all are awesome and the engagement is top tier.

and to literally everyone else who is posting succession war stuff, no matter how obscure, know that i love you and you are soosososooo appreciated! makes me smile every time

[jkl-fff]

GUYS, I FIGURED OUT THE BLACK TURTLES!

It's a detail of OTGW that's lowkey perplexed me since the series first aired. What's with the black turtles that appear in every episode? What role do they serve in the story, and what do they represent?

A small, seemingly inconsequential detail, but just the sort to occupy my mind every time I watch the show.

My first train of thought: Are they manifestations of The Beast's power and influence? If not, why does eating one turn Beatrice's dog into a slavering monster? But if so, why is Auntie Whispers purely benevolent despite eating one (and presumably much more)? Why aren't they themselves monstrous and malevolent? But also why aren't they, on the contrary, beautiful and benevolent? They're just ... sorta there, which suggests there's no supernatural nor moral element to them. Yet they're clearly not natural turtles, either ...

My second train of thpught: Are they representations of the Unknown's liminal nature, moving between land and water just as the Unknown is between life and death? Thus a foreshadow and a reminder of the brother's state? It would sorta make sense, given their omnipresence. Mirrored by the brother's Frog, whose amphibious nature is likewise liminal. And the weirdness of turtles specifically for this symbolic role fits the the weird aesthetic of The Unknown. Still, it didn't seem to quite fit.

BUT TONIGHT, I FIGURED OUT WHERE THEY COME FROM! THE OLD GRIST MILL!

WHERE THE WOODSMAN HAS BEEN GRINDING EDELWOOD TREES INTO A DISTINCTIVELY BLACK OIL FOR THE LANTERN!

SOME OF WHICH MUST BE WASHED OFF, LEAKING, OR EVEN SPILLED OUTRIGHT INTO THE STREAM THAT POWERS THE MILL, AND THUS CONTAMINATING THE ENVIRONMENT!

It's pollution. Industrial Revolution era pollution is the reason for the black turtles distinctive color and weird effects on some people, but not others.

[mostlysignssomeportents]

The real AI fight

Tonight (November 27), I'm appearing at the Toronto Metro Reference Library with Facebook whistleblower Frances Haugen.

On November 29, I'm at NYC's Strand Books with my novel The Lost Cause, a solarpunk tale of hope and danger that Rebecca Solnit called "completely delightful."

Last week's spectacular OpenAI soap-opera hijacked the attention of millions of normal, productive people and nonsensually crammed them full of the fine details of the debate between "Effective Altruism" (doomers) and "Effective Accelerationism" (AKA e/acc), a genuinely absurd debate that was allegedly at the center of the drama.

Very broadly speaking: the Effective Altruists are doomers, who believe that Large Language Models (AKA "spicy autocomplete") will someday become so advanced that it could wake up and annihilate or enslave the human race. To prevent this, we need to employ "AI Safety" – measures that will turn superintelligence into a servant or a partner, nor an adversary.

Contrast this with the Effective Accelerationists, who also believe that LLMs will someday become superintelligences with the potential to annihilate or enslave humanity – but they nevertheless advocate for faster AI development, with fewer "safety" measures, in order to produce an "upward spiral" in the "techno-capital machine."

Once-and-future OpenAI CEO Altman is said to be an accelerationists who was forced out of the company by the Altruists, who were subsequently bested, ousted, and replaced by Larry fucking Summers. This, we're told, is the ideological battle over AI: should cautiously progress our LLMs into superintelligences with safety in mind, or go full speed ahead and trust to market forces to tame and harness the superintelligences to come?

This "AI debate" is pretty stupid, proceeding as it does from the foregone conclusion that adding compute power and data to the next-word-predictor program will eventually create a conscious being, which will then inevitably become a superbeing. This is a proposition akin to the idea that if we keep breeding faster and faster horses, we'll get a locomotive:

https://locusmag.com/2020/07/cory-doctorow-full-employment/

As Molly White writes, this isn't much of a debate. The "two sides" of this debate are as similar as Tweedledee and Tweedledum. Yes, they're arrayed against each other in battle, so furious with each other that they're tearing their hair out. But for people who don't take any of this mystical nonsense about spontaneous consciousness arising from applied statistics seriously, these two sides are nearly indistinguishable, sharing as they do this extremely weird belief. The fact that they've split into warring factions on its particulars is less important than their unified belief in the certain coming of the paperclip-maximizing apocalypse:

https://newsletter.mollywhite.net/p/effective-obfuscation

White points out that there's another, much more distinct side in this AI debate – as different and distant from Dee and Dum as a Beamish Boy and a Jabberwork. This is the side of AI Ethics – the side that worries about "today’s issues of ghost labor, algorithmic bias, and erosion of the rights of artists and others." As White says, shifting the debate to existential risk from a future, hypothetical superintelligence "is incredibly convenient for the powerful individuals and companies who stand to profit from AI."

After all, both sides plan to make money selling AI tools to corporations, whose track record in deploying algorithmic "decision support" systems and other AI-based automation is pretty poor – like the claims-evaluation engine that Cigna uses to deny insurance claims:

https://www.propublica.org/article/cigna-pxdx-medical-health-insurance-rejection-claims

On a graph that plots the various positions on AI, the two groups of weirdos who disagree about how to create the inevitable superintelligence are effectively standing on the same spot, and the people who worry about the actual way that AI harms actual people right now are about a million miles away from that spot.

There's that old programmer joke, "There are 10 kinds of people, those who understand binary and those who don't." But of course, that joke could just as well be, "There are 10 kinds of people, those who understand ternary, those who understand binary, and those who don't understand either":

https://pluralistic.net/2021/12/11/the-ten-types-of-people/

What's more, the joke could be, "there are 10 kinds of people, those who understand hexadecenary, those who understand pentadecenary, those who understand tetradecenary [und so weiter] those who understand ternary, those who understand binary, and those who don't." That is to say, a "polarized" debate often has people who hold positions so far from the ones everyone is talking about that those belligerents' concerns are basically indistinguishable from one another.

The act of identifying these distant positions is a radical opening up of possibilities. Take the indigenous philosopher chief Red Jacket's response to the Christian missionaries who sought permission to proselytize to Red Jacket's people:

https://historymatters.gmu.edu/d/5790/

Red Jacket's whole rebuttal is a superb dunk, but it gets especially interesting where he points to the sectarian differences among Christians as evidence against the missionary's claim to having a single true faith, and in favor of the idea that his own people's traditional faith could be co-equal among Christian doctrines.

The split that White identifies isn't a split about whether AI tools can be useful. Plenty of us AI skeptics are happy to stipulate that there are good uses for AI. For example, I'm 100% in favor of the Human Rights Data Analysis Group using an LLM to classify and extract information from the Innocence Project New Orleans' wrongful conviction case files:

https://hrdag.org/tech-notes/large-language-models-IPNO.html

Automating "extracting officer information from documents – specifically, the officer's name and the role the officer played in the wrongful conviction" was a key step to freeing innocent people from prison, and an LLM allowed HRDAG – a tiny, cash-strapped, excellent nonprofit – to make a giant leap forward in a vital project. I'm a donor to HRDAG and you should donate to them too:

https://hrdag.networkforgood.com/

Good data-analysis is key to addressing many of our thorniest, most pressing problems. As Ben Goldacre recounts in his inaugural Oxford lecture, it is both possible and desirable to build ethical, privacy-preserving systems for analyzing the most sensitive personal data (NHS patient records) that yield scores of solid, ground-breaking medical and scientific insights:

https://www.youtube.com/watch?v=_-eaV8SWdjQ

The difference between this kind of work – HRDAG's exoneration work and Goldacre's medical research – and the approach that OpenAI and its competitors take boils down to how they treat humans. The former treats all humans as worthy of respect and consideration. The latter treats humans as instruments – for profit in the short term, and for creating a hypothetical superintelligence in the (very) long term.

As Terry Pratchett's Granny Weatherwax reminds us, this is the root of all sin: "sin is when you treat people like things":

https://brer-powerofbabel.blogspot.com/2009/02/granny-weatherwax-on-sin-favorite.html

So much of the criticism of AI misses this distinction – instead, this criticism starts by accepting the self-serving marketing claim of the "AI safety" crowd – that their software is on the verge of becoming self-aware, and is thus valuable, a good investment, and a good product to purchase. This is Lee Vinsel's "Criti-Hype": "taking press releases from startups and covering them with hellscapes":

https://sts-news.medium.com/youre-doing-it-wrong-notes-on-criticism-and-technology-hype-18b08b4307e5

Criti-hype and AI were made for each other. Emily M Bender is a tireless cataloger of criti-hypeists, like the newspaper reporters who breathlessly repeat " completely unsubstantiated claims (marketing)…sourced to Altman":

https://dair-community.social/@emilymbender/111464030855880383

Bender, like White, is at pains to point out that the real debate isn't doomers vs accelerationists. That's just "billionaires throwing money at the hope of bringing about the speculative fiction stories they grew up reading – and philosophers and others feeling important by dressing these same silly ideas up in fancy words":

https://dair-community.social/@emilymbender/111464024432217299

All of this is just a distraction from real and important scientific questions about how (and whether) to make automation tools that steer clear of Granny Weatherwax's sin of "treating people like things." Bender – a computational linguist – isn't a reactionary who hates automation for its own sake. On Mystery AI Hype Theater 3000 – the excellent podcast she co-hosts with Alex Hanna – there is a machine-generated transcript:

https://www.buzzsprout.com/2126417

There is a serious, meaty debate to be had about the costs and possibilities of different forms of automation. But the superintelligence true-believers and their criti-hyping critics keep dragging us away from these important questions and into fanciful and pointless discussions of whether and how to appease the godlike computers we will create when we disassemble the solar system and turn it into computronium.

The question of machine intelligence isn't intrinsically unserious. As a materialist, I believe that whatever makes me "me" is the result of the physics and chemistry of processes inside and around my body. My disbelief in the existence of a soul means that I'm prepared to think that it might be possible for something made by humans to replicate something like whatever process makes me "me."

Ironically, the AI doomers and accelerationists claim that they, too, are materialists – and that's why they're so consumed with the idea of machine superintelligence. But it's precisely because I'm a materialist that I understand these hypotheticals about self-aware software are less important and less urgent than the material lives of people today.

It's because I'm a materialist that my primary concerns about AI are things like the climate impact of AI data-centers and the human impact of biased, opaque, incompetent and unfit algorithmic systems – not science fiction-inspired, self-induced panics over the human race being enslaved by our robot overlords.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/11/27/10-types-of-people/#taking-up-a-lot-of-space

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[possamble]

do you have any particular thoughts regarding marcille being a half-elf? its interesting to me considering the fact that she seems self-conscious about being a half-elf, but denies it when its brought up

i remember marcille looking visibly uncomfortable over laios simply asking her how old she is, which i think the only reason she might feel nervous about this is because it might reveal her as a half-elf to him.

she's never corrected anybody whose called her an elf either.

never mind the circumstances of the reveal, in which thistle goes on about how half-elves are inferior and accusing her of wanting to become full blooded elf, she seemed particularly upset like he struck a nerve-

i wish the half-elf thing was built upon more. also, underrated marcille line:

okay so i revisited this sequence just to make sure I could back myself up and it's just... man. there's a lot going on.

the first reaction we get from Marcille is this huge panel that takes up half of the page

she is viscerally affected. flushing to the tips of her ears with the intensity of it. and we see it again, a few pages later

so it might seem like she's embarrassed about it and lying to herself, but... I really think it's just that Thistle is accidentally hitting sore spots. If you really look at what he says to get these reactions

"you'll live out your entire life [...] and die that way too"

"a hundred years from now, nobody will be there"

Hear me out. I think, if he stuck to harping on about her inferiority without bringing up how terrifyingly long-lived she is, she wouldn't have been as bothered. But right now, Thistle is accidentally hitting all the marks on Marcille's deepest fears-- and this is after the Winged Lion promised her that her dreams could come true in an extremely vulnerable moment, so it also hits her slightly guilty conscience as well.

I do truly believe that Marcille isn't bothered about being a half-elf the way that people assume she'd be bothered by it. To her, the biggest problem with being a half-elf is that it's isolating.

On one hand, it's not hard to imagine why she'd distance herself from elves in the west. A lot of them can clock her as a half-elf on sight, unlike other races, and therefore she's always branded with this weird stigma of being Othered -- I would even say that she considers herself lucky for being born outside of elven culture instead of having to grow up in it. I mean, just... look at the way elves talk about her.

Skipping past the uncomfortable implication of what 'not tolerating the existence' of half-elves would actually entail, this is incredibly fucking annoying. You can see why she wouldn't want to be around elves much. You see a lot of Marcille reacting badly here, but honestly, almost all of it can be attributed to her freaking out that her bluff completely failed. She's honestly more paying attention to Izutsumi's footsteps and trying to coordinate an opportunity to escape.

And in the end, you see her built-up frustration at being asked if she wants to be a full-blooded elf like 2-3 times in a row.

Yeah, yeah, "the lady doth protest too much," and all. But we know Marcille. We know that she's a lot more embarrassed and horrendously unconvincing when she's being prodded about something she's actually self-conscious about.

Moving onto the flipside of things, it might seem weird that she "pretends" to be a full elf around other races, but it's not really that strange if you think about it. Again, people are weird about her being infertile or whatever, and a lots of them don't even know much about what sets half-elves apart from everyone else. I mean, look at how uncomfortable Laios is just asking her about it

and look at how exasperated and resigned she looks

And like... she's right. Where would that come up in normal conversation? Why would she go out of her way to tell them? She's functionally a normal elf to other races anyway -- got the ears, the abnormally long "childhood", and the huge mana capacity. Unless it's directly relevant or important for people to know, I don't think it's all that strange or indicative of insecurity that she prefers not to bother with it.

(This combined with her sense of being an "outsider" to elf culture also explains why she thinks elf superiority is embarrassing. She sees the way elves treat short-lived races from the "outsider" perspective nonetheless, and thinks it's obnoxious; especially more so because she usually has to play the elf around short-lived races and deal with the reputation of arrogance that elves have built up.)

The sad thing is, this all means that... she doesn't actually fit in anywhere. She doesn't like going out West much because of how elves treat her. But she's also an outsider in the continents she was born in, treated like this exotic long-lived alien choosing to live among short-lived races for some reason. She is always an outsider, the Other, no matter where she goes. Add in the fact that she'll live longer than literally anyone she knows, and it's honestly kind of heartbreaking.

And I think that's the crux of it. Marcille really doesn't act like she's at all self-conscious about being a half-elf because of any feelings of inferiority or being half-made or whatever. She considers herself a perfectly legitimate being and might even, in some ways, consider herself superior to normal elves because she's not blind with elf supremacy or whatever. (And whatever "elven biases" she displays, all of them are born more out of the fact that she's kind of bad at conceptualizing how other races age and mature compared to herself, not that she actually considers herself better or more mature simply for being an elf.)

I think that whatever self-consciousness Marcille has about being a half-elf is, instead, related to terror and loneliness. The reminder that it ensures she'll never truly belong anywhere for the rest of her very long life. The reminder that, in truth, even she's not actually sure how old she is by other races' standards (hence the discomfort when asked how old she is). She doesn't want to not be a half elf, or be a full elf or full tall-man-- in her ideal world, she's still a half-elf. She just gets to live out her life at the same pace with the people she loves and doesn't have to say goodbye again and again and again until she dies.

and one last very important panel, right after Mithrun tells her that all her desires would be devoured

In her ideal world, she's still a half-elf and reality magically starts marching at her pace. But failing that, the second best thing is that she's still a half-elf-- but one who is able to accept reality and let go of her fear.

(But the rest of the story pans out the way it does because, to Marcille, taking reality apart and reshaping it was less scary than simply and fully reconciling with it.)

[musings-and-overanalyses]

Nausicaä of the Valley of the Wind: Why This is My Favourite Ghibli Movie

CW: Major high-school English teacher vibes ahead. Proceed at your own risk.

Nausicaä of the valley of wind is a story of the titular character Nausicaä and her being a bridge between the world of humans and nature to bring peace, thus fulfilling an ancient prophecy.

Nausicaa is the princess of the Valley of the Wind. The film begins with her walking and exploring the Sea of Decay, an area with toxic air, plants and fungal spores. She collects some spores and finds the hard molten shell of an Ohmu (gigantic blue-blooded trilobite-looking creatures), which her people use to make weapons and tools. As the name suggests, the Valley of the Wind is a civilisation that depends on and bases their culture around wind, which one can see through an abundance of windmills and gliders, including the one that Nausicaä rides. They are shown to be peaceful people who do not interfere with the politics of the warring human kingdoms or disturb nature. Nausicaä in particular is shown to have a special gift with animals—from calming Ohmus to having a pet fox-squirrel. As the existence of the kingdom depends on the sea wind that shields them from the effects of the sea of decay, there is a general reverence towards nature and its other members such as the Ohmus, that are often referred to with honorifics.

This was an element I liked: the symbolism goes deep in this film; for example, with the nature of wind—it being the very breath necessary for life is contrasted with its other face, through toxic spores in the sea of decay capable of killing anyone who inhales it.

It is revealed that humans had built The Giant Men, weapons so dangerous—not unlike our atomic bombs as shown through the characteristic mushroom cloud—that the destruction caused by the war had unleashed the fury of the Ohmus, an otherwise gentle species. They wiped out entire civilisations and where they died, the Sea of Decay grew on their decomposing corpses, showing how all life is interconnected and that even in death the rage of the Ohmus, and through them the rage of nature, wouldn't subside. It is then that the viewers find out that this is not some far-off planet, but a post-apocalyptic future on earth.

New species of plants and fungi made the Sea of Decay their habitat—nature and life always find a way. It is implied that the humans lost the war referred to as the Seven days of Fire, but the truth is that it is not a war that can ever be won. Even if you win the war against nature you lose. As the story progresses, we see that the plants and fungi that Nausicaä collected from the Sea of Decay are actually trying to purify the soil and water—nature holds no grudges but only seeks balance.

The seventh of the Giant Men, a sentient atomic bomb if you will, apparently hid underground for a thousand years until the kingdom of Pejite found it for use against their enemy, the Tolmekians. They both remain oblivious to the sheer destruction that can be caused by this Giant Man and they don't care either. Despite the balance between humans and nature being a delicate one, instead of trying to rebuild together, they justify to themselves that the war is necessary for self-preservation and to put humans back on top of the food chain.

In their hubris, the Tolmekians and their princess Kushana believe that with the help of their superweapon they can destroy the Sea of Decay despite knowing that it will trigger the wrath of the Ohmus. The Giant Man however is not complete and hence, though the devastation is great, the final giant man dies and all that is remains to be done is to calm the wrath of the Ohmus.

Nausicaä saves an Ohmu child who was injured by Tolmekian soldiers to lure the Ohmus into a war. She saves the baby Ohmu and sacrifices her own life to calm the sea of maddened Ohmus. The now-calm Ohmu then revive Nausicaä, symbolising the mystical healing power of nature and its ability to support and create life.

Nausicaä is an excellent protagonist, and how the trope of the chosen one is utilised is beautiful and full of symbolism. Right from the get-go, we see her being inquisitive and brave. She is willing to defend her people but not through violence. And it is made abundantly clear that her avoidance of violence is not due to any lack of strength; when she strikes down the soldiers who killed her father, rather than feeling any sense of pride (as one might expect from a character not used to strength), it sickens her. She shows understanding even towards Kushana, whose men took over her kingdom. She sincerely loves and respects animals and plants.

There was a prophecy among the people of the valley of wind that a person clad in blue over golden fields will save their kingdom and bring peace. And towards the end of the film, Nausicaä's clothes becoming blue with the blood of the baby Ohmu she saved and the golden fields being the tendrils of the Ohmus healing her is poetic to say the least.

In addition to a good female protagonist, we also get a powerful female antagonist in Kushana, who starts out as a one-note expansionist ruler, but it is revealed that she lost her limbs and got severely maimed by the sea of decay, motivating her to destroy it once and for all. Proud and arrogant, sure, but she has a motive beyond just wanting power and possesses some form of a moral code. In another story she could be the protagonist bravely defending humanity against the evil, alien-esque trilobites and spores.

It was a unique and meaningful choice on Miyazaki's part to symbolise nature through the Ohmus—alien-looking giant insects—instead of something cute and fluffy. Oftentimes humans care more about the conservation of animals that they find cute (pandas over, say, Panamanian golden frogs), but an animal doesn't have to appeal to human aesthetics to be worth conserving.

Absolutely not to be missed is the breathtaking soundtrack by Hisaishi. There are symphonies, techno music, sitar-like instruments and a child's humming, all elevating every scene to give a moving experience.

Ultimately it is an ambitious story that aims to deal with themes of coexisting with nature, the futility and dangers of war, and of how innocent children who should live carefree lives are dragged into it and made heroes. This film is often categorised as falling into the genre of Solarpunk: a literary and artistic movement that centres around building a sustainable future interconnected with nature and community. Although this film does depict violence and wars, it ultimately shows a peaceful future is possible.

Truly a masterpiece. 9/10.

[thatneoncrisis]

best part about actually being focused on my own characters for once is that i never run out of shit to talk about. its all in my noggin And its fresh

[killugon-truther]

“illumi loves killua, it’s just toxic/twisted.”

illumi literally views killua as his property that is his to control as he pleases. all he ever does is abuse & manipulate killua, so how about we stop calling it “love” and start calling it what it ACTUALLY is?

wanting to constantly control, manipulate, hurt, & abusive someone is NOT fucking love, pls learn that, and fast. it’s a bit concerning and incredibly disappointing that some of you don’t know that already, seriously. 💀

genuinely, get some help if you think that shit is “love”.

[letbuckfuck]

im ngl maybe it's just because even though i'm not an abby clark Lover i am kinda an abby clark Liker or at least an abby clark Sympathizer but i'm actually still a little pissed about the way tmmy talked about her

[jinxed-ninjago]

One of the most interesting contrasts to me between Lego parodies and Lego shows you're supposed to take semi-seriously is generally Lego parodies acknowledge that they're Legos. Lego Star Wars acknowledges that everyone's Lego; I vividly remember a scene where Luke gets his hand blasted off, freaks out briefly, then remembers he's a Lego minifigure and just puts his hand back on, for example.

With shows like Chima and Ninjago, it's basically just a story being told using Lego minifigures as a medium. There's no indication in Ninjago (or Chima that I remember) that the characters are actually Lego and Lego isn't just being used as an artistic medium, so to speak. There are of course exceptions to this (the Lego Movies being a good example of this; The Lego Ninjago Movie is a parody of Ninjago for example, which is one reason I find the complaints against it dumb lol) but generally, Lego seems to utilize properties they have a license to use for parody and properties they own to tell more serious stories with Lego characters being used as an artistic medium.

I 100% think it has to do with genre too. Lego parodies of properties they have a license to use are generally the goofy silly shenanigans normally associated with parody. They're something you can knock out in 20 minutes if you need a laugh. They don't require much suspension of disbelief because they're made to feel like you're watching little Lego people goof off.

Shows that are original Lego properties, such as Ninjago and Chima, still have comedy, because they're targeted at kids. However, you also still have an engaging storyline spanning seasons instead of shorts. They require more suspension of disbelief because Lego minifigures are being used as a medium through which to tell a story, there's no indication that the Lego people we see on screen are Lego minifigures in the universe the story takes place in.

Shows featuring properties that Lego has a license to use have a completely different vibe than properties Lego owns. It's really interesting to me and I like that there's a disconnect between the stuff Lego uses to make silly shenanigans type shows and the stuff Lego uses for more serious storylines because it allows you to know vaguely what to expect going into something (although Ninjago gets seriously dark at times and I will always be surprised by how dark it gets despite having watched the entire series and all the episodes currently released for Dragons Rising).

[red-moon-at-night]

An Analysis of Haruka’s MVs: Distance and Disability

Hello! I’ve recently fallen down the rabbit hole that is Milgram and I have been itching to make some completely normal and sane analysis posts. My silly alternate title for this was gonna be “Things About Haruka’s MVs That Just Make Sense: A Hyperfixation-fuelled Analysis”, because honestly my autistic brain has been having a field day over here.

I am in awe with just about every single music video in this project; the animation is incredible and each one packs so much carefully laid out information. But I have been rotating Haruka’s in my head constantly since I first watched them, and I have a lot of Thoughts. Not about whether he’s guilty or innocent/forgiven or unforgiven. Not about whether or not I can justify his murders. Just some straight up imagery and symbolism analysis, through the lens of disability.

Haruka’s disability has not been specified, but I am confident we can at least say he is neurodivergent. I feel like the cultural differences in names for several things e.g. ‘learning disability’ vs ‘learning difficulty’ will just invite unnecessary drama, and is a little pedantic. What does matter here is that Haruka's experience as a disabled person is heavily intertwined within his story and his motives. 

So, without further ado... let’s get into this!

Trigger warnings/TW: I will be discussing ableism, eugenics and harm towards disabled people. Everything else will be related to the music videos ‘Weakness’ and ‘All Knowing and All Agony’, so any triggering content within them may also be mentioned. Read at your own discretion and stay safe!

Disability: some brief (important) historical context

It is only within the last few decades that those who are disabled have been ‘seen’ for the first time. A modern society is (ideally) expected to be built to include and accommodate for disability, and to acknowledge disabled people’s existence. But for many countries (even the ones making steps outlined above) this is still not the case. For a very, very long time, globally, that has not been the case.

For most disabled people, society makes it very clear that they are a burden to it and are better off not existing. 

I’m going to make this section as succinct as possible because...it’s heavy stuff. But it’s important, and I want you all to get the gist of what I’m saying. The weight of it.

Let’s highlight a piece of history regarding IQ and eugenics, surrounding the publication and subsequent worldwide reception of ‘The Kallikak Family: A Study in the Heredity of Feeble-mindedness’ by Henry Herbert Goddard in 1913:

“In 1927, it was used as evidence in the case of Buck v. Bell, which culminated in a Supreme Court ruling that the involuntary sterilization of ‘mentally defective’ persons was not unconstitutional in the United States. By 1938, thirty-three US states had passed laws allowing for the forced sterilization of women with learning disabilities and twenty-nine had made sterilization  compulsory for people who were thought to have genetic conditions. Many European countries followed suit: Denmark in 1929, then Norway in 1934, and after that Sweden, Finland, Estonia, Iceland, Czechoslovakia, Yugoslavia, Latvia, Hungary and Turkey.”

— Limburg, J. (2021) Letters To My Weird Sisters: On Autism and Feminism, p. 126

This history of a ‘sterilization law’ includes Japan, who between 1948 and 1996 enacted the Eugenics Protection Law which “authorised the sterilization of people with intellectual disabilities, mental illnesses or hereditary disorders.” According to the government, about 25,000 were sterilized.

SO. It’s important to bring this up. To establish how much disabled people are not wanted, just from their governments. Let alone society. To this day, disabled people are hidden away from the public by families that are ashamed of their existence.

Japanese culture values collectivism, and maintaining the harmony of a group...to the extent of excluding those that don’t fit into the mould. That are different.

The question is: where do they go? The ones that are publicly rejected?

Haruka and The Curious Case of Distant Waters

Okay that’s enough of the heavy real-world stuff! Time to delve into some...*checks notes*...heavy fictional stuff. Fun!

Haruka’s MVs prominently display themes of distance and separation through the motif of water, specifically being submerged underwater. 

The name Haruka reinforces this concept as the specific kanji used (遥) translates to ‘distant’, ‘remote’ or ‘far away’. As there are many, many kanji choices for the name (including but not limited to: ocean/sea, eternity/permeance, clear/distinct/obvious, and spring/growth/cherry blossom) it feels like a particularly cruel and intentional choice to go with that one.

Through the exploration of this motif, we can see the extent in which Otherness/the state of being ‘Other’ drives Haruka to great lengths to close the distance and escape it.

What I noticed throughout both MVs (particularly AK&AA but note the beginning scene of Weakness), is that whenever Haruka looks at himself in a reflective surface (e.g. the vanity mirror, the fish tank), water either begins to rise and overwhelms him, or is already there and he appears submerged:

I think this is the “All-Knowing” part of AK&AA. He knows he’s different, and he knows there’s a huge ocean between him and his peers, his family, everyone. A disconnect when trying to listen and understand, but also when trying to be understood by others and listened to himself.

You know when you submerge your head in water, and your hearing gets all muffled and incomprehensible? And have you ever tried speaking underwater? You can’t, because if you open your mouth you’ll drown. It’ll just come out as bubbles rising to the surface.

I also think the bubbles symbolise rising tension, between what he wants and what he currently has. Bubbles are everywhere in these MVs, even in places where they shouldn’t logically be? Such as this scene, following the line “don’t wipe me out, don’t wipe me out”:

Immediately pans up to Haruka gasping for breath, droplets of water rising from...somewhere. For about a split second, and they’re gone. 

This boy is really going through it. I’m getting an ‘emerging from the ocean before I drown’ vibe from this one folks. When the line that follows this scene is “I can’t stop, I can’t stop”, what I’m REALLY hearing is “I can’t stop (killing) or I’ll drown”. This is his lifeboat, pulling him out from the depths of being neglected and hidden away, into the spotlight.

Some interesting images from Weakness in relation to that (of spotlights):

Anyways, onto the next point:

Blue to Orange: Water to...Nectar?

So, the orange liquid. It’s clearly representing blood, but I don’t think this is just a “danganronpa pink blood” situation of censoring/getting this video onto youtube without restrictions.

I think it’s most likely honey, specifically nectar.

The etymology of the word nectar shows its compounds translate to “death” and “overcoming”. Nectar is also called the drink of the gods, so it would make sense for it to be a ‘death-defeating’, immortalizing liquid.

For Haruka’s victims to contain nectar is very interesting. It reinforces that necessity to kill, to take the life of another, to sustain himself. To overcome the ‘living death’ he is experiencing by being hidden away from society. 

This is his means of escape from drowning.

However, as we all know, things don’t turn out great for him. By the end of AK&AA Haruka is rejected once again by his mother, after which the door is shut (the light with it is gone too) and we’re met with this imagery:

The nectar floods the room, engulfing him much like the water from earlier. 

There are many things we could take from this. One being that the nectar-gathering/killing-spree has clouded his vision; it’s so sweet, so sickly sweet and he’s addicted to the taste of attention, even if it’s very bad attention. 

Who else has honey imagery in their MV again?

Oh, right. 

Anyway, the nectar/honey situation could also be representing submerging into an even further level of distance. All that murder is gonna push people away, despite his motive being to close the gap between him and normal people. The 'ocean’ has lost clarity and become a maddening, delusional substance. After all, there is a type of honey literally called ‘mad honey’ known for its medicinal and hallucinogenic properties.

That’s enough about honey, though. Let’s move onto less unfortunate... oh, sorry, what was that? *checks notes*...Ah, yes. I meant to say, let’s move onto even more unfortunate symbolism:

The Necklace

So, this necklace. Haruka steals it from his mother’s belongings, and is his only material, physical connection to her. It is taken on the declaration of “making (her) love me again” and getting her attention once more, now he is no longer a child but a teenager closer to adulthood (at least, that’s what I consider the ‘shirt with a vest sweater and tie’ to represent. child him = the blue polo, teenager him = this one, adult him = an amalgamation of his teenager clothes).

I wasn’t sure if this was an opal or pearl/mother of pearl, but I’m leaning towards opal from the other depiction of it in Weakness:

Opals are fun because they can symbolise both good luck and bad luck, usually to do with whether it’s your birthstone. There’s something to be said of Haruka’s belief in his ‘misfortune’ and the superstition surrounding these gemstones.

But they are even more interesting for the powers they supposedly have; in medieval times the opal was considered the ‘patron of thieves’ for their ability to grant the wearer invisibility.

There is a deliciously sad irony to Haruka’s theft with that titbit of information.

Now, if this isn’t an opal, and it’s a pearl/mother of pearl there’s still some fun interpretation to be had! A little less sad, even. Pearls invoke strong imagery of the sea, of purity, and of a connection to the maternal. If this is the last thing he has relating to his mother, I can see this necklace representing a lifeline when he’s deep in the ocean. A reminder of why he’s doing all of this killing, and who it’s for.

His mother’s attention (or the idea of having a mother at all, any mother) is his driving force in life.

Speaking of that...

So We Really Need To Talk About That Fish Tank: AKA, Why Haruka’s Mom Wins ‘The Worst Parent of The Year’ Award

This fucking fish tank.

Okay, I’m gonna start by saying: I don’t think this is reading too far into things. When it takes an animation team months, sometimes years to create a 3-5 minute music video, and one as detailed as this...you don’t just wing it. There are storyboards, there are key frames and there are choices made down to the smallest of details.

From the sheer volume of animal/insect/fish décor that resides in the Sakurai household, you bet I’m gonna pay attention to what type of fish are in that fish tank.

For one thing, they live in saltwater. This is a marine tank, aka the harder choice of aquarium to have. I mean, way, WAY harder. For the experienced only.

These fish right here? One is a clownfish, and the other is a yellow boxfish.

Boxfish are a nightmare to keep alive. This article goes into more detail than I will, but all you need to know is: if there was ever a fish out of all the fish you could possibly want in your tank, this is the one to avoid like the plague.

They release deadly toxins when stressed, as a survival instinct. Boom. All your fish are dead. They need to eat a shit ton of food, but are notoriously clumsy swimmers and slow eaters. Boom. Starving, stressed out boxfish. Boxfish either dies from starvation or dies from stress and toxins.

For Haruka’s mom to have not just one of these fuckers, but a tank consisting ONLY OF MULTIPLE BOXFISH AND CLOWNFISH...

This is a high-maintenance tank. And it shows how much time and effort, how much care she puts into the things she loves.

How neglectful she is as a parent of a disabled child in contrast.

There’s something about the last scene between Haruka and his mother that reinforces this for me:

Haruka’s relationship with animals and himself: AKA, “why don’t I just become the damn fish tank?”

Let me backpedal a little bit. This subheading will make sense in a minute.

So, like I said earlier we have a lot of décor in this house relating to insects and fish. We also have a lot of pets. Both living and dead, taxidermized creatures in one household, proudly on display.

I think this may have created some confusion for Haruka regarding the value of animals being alive or dead, as in his perspective his mother values both equally. The fish in a tank may be full of alive creatures, but they’re still on display as if it’s artwork. Isn’t breaking the glass of a framed picture of a fish equal to breaking the glass of a tank with a ‘picture of living fish’?

(This isn’t to say Haruka is clueless to the impact of his actions, nor to justify any harm to animals. I just find the train of thought to be intriguing.)

So when considering these ‘objects’ are proud trophies of his work:

This is a carefully arranged display, which by the way, doesn’t contain a single fish. In fact the only piece of that moment visible here is the...large piece of driftwood? Okay. Keep that in mind.

We proceed into Haruka’s mother opening the door and seeing her son, for the first time in any of the MVs. Note the way they composed this shot:

I’m obsessed with this scene. The blue eye framing Haruka, with a literal fishbowl effect on him...

He is the goddamn fish in the aquarium now. His mother’s full attention is on him and him alone, with only the dead animals, the books, the lamp and the driftwood as window dressing to this wonderful display.

Doesn’t it just scream “Look at me! Look at what I did, mom!” to you?

That blue spotlight is on him once more. He is not just drifting deeper into an endless ocean, but contained in a vessel to be stared at.

One Last Observation

I didn’t know where to fit this in but I think the end feels appropriate.

His clothing here:

Is a frankenstein-esque mash up of clothes from his younger years. He wears this throughout AK&AA, and as I mentioned before it signifies him as an adult. However, I should clarify what I mean here as Haruka says “he thinks he’s 17″ and “doesn’t care about his age”. So... not an adult, but on the cusp of adulthood.

But I think he actually does care about his age, and quite a lot too.

This outfit feels symbolic of refusing to let go of the past, and of himself as a child. He’s literally grown out of his clothing, but he still clings onto it. He’s attached to the past because it not only contains his happiest moments, but the change from being loved to becoming neglected.

As a disabled person, you’re often treated with a lot more forgiveness when you’re younger. That is to say, some people don’t realise that children with disabilities grow up into adults with disabilities. There is a point where even support from medical and social services drops off like a cliff edge once you turn 18.

The ill-fitting clothing in this context becomes more than a reflection on Haruka’s feelings, and extends to reflecting society’s feelings on disabled adults ‘refusing to grow up’.

I don’t blame Haruka for holding onto his childhood like this. He’ll be even less publicly visible and seen once he is no longer a pitiful child, but a ‘weird’ adult in ill-fitting, children’s clothes.

[sugashook]

the twine is a metaphor for the writers not planning for ed and stede to be together/intertwined (or maybe not this fast), but they 'panicked' and added a flourish(ing relationship) pretty quickly "it works, it does, it actually made it" it actually made the show

the panic was presumably the fact that they definitely won't get s3

[jcmarchi]

Scientists pin down the origins of the moon’s tenuous atmosphere

New Post has been published on https://thedigitalinsider.com/scientists-pin-down-the-origins-of-the-moons-tenuous-atmosphere/

Scientists pin down the origins of the moon’s tenuous atmosphere

While the moon lacks any breathable air, it does host a barely-there atmosphere. Since the 1980s, astronomers have observed a very thin layer of atoms bouncing over the moon’s surface. This delicate atmosphere — technically known as an “exosphere” — is likely a product of some kind of space weathering. But exactly what those processes might be has been difficult to pin down with any certainty.

Now, scientists at MIT and the University of Chicago say they have identified the main process that formed the moon’s atmosphere and continues to sustain it today. In a study appearing today in Science Advances, the team reports that the lunar atmosphere is primarily a product of “impact vaporization.”

In their study, the researchers analyzed samples of lunar soil collected by astronauts during NASA’s Apollo missions. Their analysis suggests that over the moon’s 4.5-billion-year history its surface has been continuously bombarded, first by massive meteorites, then more recently, by smaller, dust-sized “micrometeoroids.” These constant impacts have kicked up the lunar soil, vaporizing certain atoms on contact and lofting the particles into the air. Some atoms are ejected into space, while others remain suspended over the moon, forming a tenuous atmosphere that is constantly replenished as meteorites continue to pelt the surface.

The researchers found that impact vaporization is the main process by which the moon has generated and sustained its extremely thin atmosphere over billions of years.

“We give a definitive answer that meteorite impact vaporization is the dominant process that creates the lunar atmosphere,” says the study’s lead author, Nicole Nie, an assistant professor in MIT’s Department of Earth, Atmospheric and Planetary Sciences. “The moon is close to 4.5 billion years old, and through that time the surface has been continuously bombarded by meteorites. We show that eventually, a thin atmosphere reaches a steady state because it’s being continuously replenished by small impacts all over the moon.”

Nie’s co-authors are Nicolas Dauphas, Zhe Zhang, and Timo Hopp at the University of Chicago, and Menelaos Sarantos at NASA Goddard Space Flight Center.

Weathering’s roles

In 2013, NASA sent an orbiter around the moon to do some detailed atmospheric reconnaissance. The Lunar Atmosphere and Dust Environment Explorer (LADEE, pronounced “laddie”) was tasked with remotely gathering information about the moon’s thin atmosphere, surface conditions, and any environmental influences on the lunar dust.

LADEE’s mission was designed to determine the origins of the moon’s atmosphere. Scientists hoped that the probe’s remote measurements of soil and atmospheric composition might correlate with certain space weathering processes that could then explain how the moon’s atmosphere came to be.

Researchers suspect that two space weathering processes play a role in shaping the lunar atmosphere: impact vaporization and “ion sputtering” — a phenomenon involving solar wind, which carries energetic charged particles from the sun through space. When these particles hit the moon’s surface, they can transfer their energy to the atoms in the soil and send those atoms sputtering and flying into the air. 

“Based on LADEE’s data, it seemed both processes are playing a role,” Nie says. “For instance, it showed that during meteorite showers, you see more atoms in the atmosphere, meaning impacts have an effect. But it also showed that when the moon is shielded from the sun, such as during an eclipse, there are also changes in the atmosphere’s atoms, meaning the sun also has an impact. So, the results were not clear or quantitative.”

Answers in the soil

To more precisely pin down the lunar atmosphere’s origins, Nie looked to samples of lunar soil collected by astronauts throughout NASA’s Apollo missions. She and her colleagues at the University of Chicago acquired 10 samples of lunar soil, each measuring about 100 milligrams — a tiny amount that she estimates would fit into a single raindrop.

Nie sought to first isolate two elements from each sample: potassium and rubidium. Both elements are “volatile,” meaning that they are easily vaporized by impacts and ion sputtering. Each element exists in the form of several isotopes. An isotope is a variation of the same element, that consists of the same number of protons but a slightly different number of neutrons. For instance, potassium can exist as one of three isotopes, each one having one more neutron, and there being slightly heavier than the last. Similarly, there are two isotopes of rubidium.

The team reasoned that if the moon’s atmosphere consists of atoms that have been vaporized and suspended in the air, lighter isotopes of those atoms should be more easily lofted, while heavier isotopes would be more likely to settle back in the soil. Furthermore, scientists predict that impact vaporization, and ion sputtering, should result in very different isotopic proportions in the soil. The specific ratio of light to heavy isotopes that remain in the soil, for both potassium and rubidium, should then reveal the main process contributing to the lunar atmosphere’s origins.

With all that in mind, Nie analyzed the Apollo samples by first crushing the soils into a fine powder, then dissolving the powders in acids to purify and isolate solutions containing potassium and rubidium. She then passed these solutions through a mass spectrometer to measure the various isotopes of both potassium and rubidium in each sample.

In the end, the team found that the soils contained mostly heavy isotopes of both potassium and rubidium. The researchers were able to quantify the ratio of heavy to light isotopes of both potassium and rubidium, and by comparing both elements, they found that impact vaporization was most likely the dominant process by which atoms are vaporized and lofted to form the moon’s atmosphere.

“With impact vaporization, most of the atoms would stay in the lunar atmosphere, whereas with ion sputtering, a lot of atoms would be ejected into space,” Nie says. “From our study, we now can quantify the role of both processes, to say that the relative contribution of impact vaporization versus ion sputtering is about 70:30 or larger.” In other words, 70 percent or more of the moon’s atmosphere is a product of meteorite impacts, whereas the remaining 30 percent is a consequence of the solar wind.

“The discovery of such a subtle effect is remarkable, thanks to the innovative idea of combining potassium and rubidium isotope measurements along with careful, quantitative modeling,” says Justin Hu, a postdoc who studies lunar soils at Cambridge University, who was not involved in the study. “This discovery goes beyond understanding the moon’s history, as such processes could occur and might be more significant on other moons and asteroids, which are the focus of many planned return missions.”

“Without these Apollo samples, we would not be able to get precise data and measure quantitatively to understand things in more detail,” Nie says. “It’s important for us to bring samples back from the moon and other planetary bodies, so we can draw clearer pictures of the solar system’s formation and evolution.”

This work was supported, in part, by NASA and the National Science Foundation.

[an1muuarts]

what was komaeda like during his school years at hpa?

bc there are contradicting stuff in the series

in sdr2, it was because of the stress of the killing game that caused him to be active in causing mayhem, like convincing ppl to kill in ch1 and 2

in island mode, he's pretty harmless, he just says some out of pocket stuff from time to time

but in makoto's secret file, komaeda was "constantly getting into trouble, so much so that it concerned the headmaster"

and idk if he's just being weird, or he just straight up doing criminal stuff in hpa

(if the former was true, i find it ao funny bc in the short story, the board of directors, four old men, shuddered at the mere thought of this guy)

returning back to topic, i wonder what kind of environment hpa actually is. bc it is described as the most peaceful and hopeful time before junko came along. we never actually saw what its actually like inside

if its a really stressful environment, almost matching the stress of the killing games, then it would make sense that komaeda would start shit up; otherwise it doesnt

in the dr3 anime, it really seems like its a very laid back school, where the stress only came from the examinations that come from time to time. other than that, the students just do their own thing in the meantime, i dont think they even hold classes

well, i dont think the dr3 anime is canon, cuz its not written by the dr team nor kodaka

[ghostatas]

I know angst is great and all but I dont think Fit will hurt Pac.

Don't get me wrong, he is DEFINATELY regressing into old ways (which will definately be exciting to see and break down later) but he's not completely the same. Think about how Cell and Cellbit currently act the same, but different- he is out on a rampage, killing in cold blood but he can recognise his allies this time and knows who not to hurt, hence why he backed away from ilha chume labs after he saw the 'prohibited cell' signs.

I think today, mainly the Philza kill, was a product of adrenaline of being put into a situation so similar to his past randomly. There'll probably be a few chances he'll let him go next time, but not always. He's not very close with many other islanders so I don't think he'll care too much about the kill. To Fit right now, he might even only be vaguely recognising his friends as, well, his friends. Right now they're just points to add to the scoreboard.

It's hard to explain because there's a very fine line here. Yes he's gonna go batshit crazy on people. Yes he will care little for their deaths. Yes he is fully regressing into his 2b2t self and that is very, very dangerous.

But it feels more... controlled here, I guess? After he killed Tina, although he didn't feel remorse or guilt he still felt a little conflicted- something he never would have felt before (though it could be due to him still trying to 'stabilise' in a way before he tips over the edge). You could argue that he didn't grief their base after, but that could be written off due to it being etoiles request not to.

Also this doesn't change that all this is for Ramon. Pac is also the person Fit cares for the most after Ramon. He's a little too into it right now, but the moment he is reminded of Ramon, or sees Pac, that bloodlust will turn into something a little colder and more calculated- meaning he will be more aware of what he is doing. I think seeing Pac will cool his head a little, not enough to get rid of the murder absolutely everyone, but to approach Pac amicably.