#fanalyzing

[caelenath]

I love the point about how Usagi didn't try to assert herself as his family until he said it himself 🥺

As someone who was closed off because of tragedy, and who probably was naturally reserved regardless, it was important for her to let him open up on his own terms.

And their little moment when she leans against his knee 🥺🥺

Love ur blog, great to see a pro-Mamo SM fan for once. Most people I see saying how Mamoru is emotionally detached from Usagi and she doesn't deserve that kinda person, and that it sends a bad message to men... And that Seiya has more in common with her, spent more time with her than Mamo ever did and even wrote a song for her, so Seiya would be better to her... Eh...

Thank you! 

He’s not emotionally detached to her at all which people are failed to see because he learned the hard way that it’s not the best idea to be emotionally detached. 

Emotional Detachment an inability or unwillingness to connect with other people on an emotional level. For some people, being emotionally detached helps protect them from unwanted drama, anxiety, or stress. 

Was he like that in Season 1 and Part of 2? Yes which cased them problems!

Which was explained thanks to the fact he lost his parents and didn’t let anyone in.  

This scene in SuperS explains their relationship so well. 

It’s when Chibiusa was asking him about if him and usagi argue and catch his answer. 

“I don’t have to hold back against her now and Usagi as you can tell is the type that can’t hide.”

That one line tells you everything you need to know about their relationship. 

The fact he subtlety call himself out for not telling her things that he should have told her ( cough cough break up arc) 

He learned the hard way. Tell your damn girlfriend who can save the world and have a friend who also see visions that you are having dreams about her dying instead of breaking up with her and acting like an ass. That would save you a whole lot of trouble.

He learned that he has got to tell her things because he realized that she’s not going anywhere and she will listened. 

This is shown beautifully in R Movie.

If that’s not being emotionally open and honest..

Also the fact he probably vented to her about his parents and she just listened. She didn’t say “ Well  what about me? I’m here!” She didn’t say I’m your family until after he said it to reaffirm with him. That’s WAY different than “ Am I not Good Enough” She didn’t assert herself into the situation until he himself but her in and told her that he’s not lonely anymore because he got her . 

She didn’t force herself to be part of the narrative until he himself told her she was even tho she was already apart of it. She affirms to him that yes she is apart of the narrative and always will be. 

He learned that he couldn’t be emotionally detached from her cause she’s in his life to stay and he wants her there. 

But anyway.. 

But catch his second part of his answer

“ Usako as you can tell  is the type that can’t hide anything”

Which makes the birthday episode in season 3 even more OTC for Usagi because that should have been the first thing he should have known from her. This girl told the audience almost every episode what grade shes in , how old she is and etc but her own BF didn’t know when her birthday was?  

His answer in a whole shows the introversion of him and how he hold back things which he’s learning not too anymore (“I don’t have to hold back against her now.”) and the Extroversion of her where she’s an open book which people are able to tell her things ( “ Usako as you can tell is the type that can’t hide anything”).

They balance each other out because she gets him to let loose meanwhile he calms her down. 

It’s how ying and yang they are to each other which is balance. The problem is that the 90′s anime didn’t show it as well as the manga did. 

Some people need to understand that 90′s Mamoru is more emotionally mature than 90′s Seiya by the time StarS arrives because he learned not to be emotionally detached. 

Emotional Maturity- the ability to handle situations without unnecessarily escalating them. Instead of seeking to blame someone else for their problems or behavior, emotionally mature people seek to fix the problem or behavior. They accept accountability for their actions. 

Yes Mamo did act like an ass to her in the first season but once he got his feelings strengthen out ... He knew he loved Usagi and Usagi loved him. He didn’t need to be validated unlike 90′s Seiya needed to be which I think the why people keep saying they Usa and Seiya are good together because the validation of feelings but here’s the problem. 

In the whole Stars season, she not once questioned Mamo’s love for her which makes me mad about the end of 200.  Hell she barely questioned for a romantic rival that was trying to shoot their shoot meanwhile acting petty with Ami, Chibiusa and a old lady. 

Seiya on the other showed time after time that they was not emotionally mature and Usagi didn’t need that. 

Calling her dumpling

Asserting themselves in her life

Never really asking her date but just asserted themselves and but then where late. 

She wanted that cute bear key chain and instead of giving to her right away they pocket it told her to get her own and didn’t give it to her to the end. 

Calling her their girlfriend and acting like they are dating.  

Am I not good enough? which is a good example of Emotional Detachment because they didn’t connect with her at all. It was all about them. 

Even telling Mamoru to protect her at the end which was unnecessary. 

The only time they were selfless and was thinking about her when they told that shot for her and protected her at the end. 

But hey just because they wrote a song about her they are the coolest thing ever. 

[caelenath]

I really wish we'd gotten to see Mamoru in his Prince Endymion form in Crystal like we did in the anime. I like the idea that it wasn't merely a visual glamor hearkening back to his past life, but a legitimate transformation/power-up form similar to how the Senshi's sailor suits changed each time their power increased, and how Usagi would shift into her Serenity gown when she was about to deliver a major ass whoopin'.

[garyfischy]

Amazing how fandom people will see 2 mildly misogynistic white dudes in media and immediately start fanalyzing about who tops but if 2 female characters actually have thought and tension and wit in their dynamic, with similar amnts of screentime , theyre completely ignored. Like you guys know you can draw women suckin and fuckin too right.

Either that or theyll sanitize a very toxic messy amazing f/f dynamic into Dumb Girls In Love and its like.. are women not alowed to be ppl...

[caelenath]

the year of tragedy

I just realized an interesting pattern in my Mamoru headcanons.

26 = age at which Prince Endymion died

16 = age at which Mamoru died (...the first time)

6 = age at which Mamoru lost his parents

Now, Mamoru was brought back to life when he died at 16, but later lost a year of his life anyway thanks to Galaxia, and he was only able to return again because his girlfriend happened to be the sort who was capable of traveling into the universe's Cradle of Life.

It's like he has a debt with Death or something. At the least, the brevity of his mortality is showing.

In some dystopian timeline, he is forced to hibernate every x6th year of his life to keep anything from happening to him.

[caelenath]

Note to self: interesting commentary about first person pronouns in the comments.

One thing that kind of really bothers me about watching Sailor Moon in the 2020s (and outside of Japan), is how much context is missing. Sailor Moon was designed as a multi-media franchise and the information is distributed through multiple mediums that run along side each other. A lot of this media is no longer accessible. What's bothering me about this specifically is Tuxedo Mask's title is never established in the anime, but it was in the hero shows (live performances put on in public areas like malls).

Tuxedo Mask's title is a "tuxedo-wearing pretty guardian of love and beautiful people", but this is never really established in the anime. It just kind of expects you to know this already from the hero shows. This becomes an issue when people watch Sailor Moon today, in English, and Tuxedo Mask makes his speech about something like "protecting beauties". Viewers misinterpret it as him being a ladies' man when I'm pretty sure it's gender neutral most (if not all) of the time and literally his job as a guardian.

It also probably has a lot to do with why he waxes eloquent about the beauty of the objects, places, or people that are currently under attack. They have to be within his area of protection. (It's also why he has a tendency to bring up how the thing he's protecting "helps people be beautiful". Viewers who hear this without context oftentimes assume he's being shallow or sexist.)

He seems to be a guardian of beauty in the sense of the artistry of beauty, with the technique and discipline that go into it. Meanwhile, the beauty Sailor Venus protects refers more to attractiveness and natural good looks. This makes sense for a guardian based off, well, Venus.

(Edit: this is a big part of the reason he's so perpetually graceful and elegant once transformed too :>)

[hackernewsrobot]

GCC 14 Boasts Nice ASCII Art for Visualizing Buffer Overflows

https://www.phoronix.com/news/GCC-14-fanalyzer-Enhancements

[caelenath]

Is it just me, or does Mamoru get more swole each time he comes back from the dead?

There's a joke about deadlifting somewhere in here.

[caelenath]

the green unseen - chapter 2

When I wrote this fic last year, it was intended to be an open-ended speculative piece, one that wouldn't continue linearly if it continued at all. I didn't have follow-ups planned, but as these things go, they decided to show up anyway.

So here is chapter 2, which takes place immediately following chapter 1.

This fic takes place within my #mamoru in college Tumblr series, so do check that out also =)

Chapter length: ~1800 words

Warnings: None.

Chapter summary: What if that "ugly green jacket" was suddenly the knife's edge upon which your existence rested? What if the fact that it was green meant the difference between life and death?

Cross-posted to FFN.

A little fanalyzing chapter note beneath the jump.

I'm not sure if it came through very well, but I wanted to echo that scene in the anime where Usagi was crying in the phone booth after Mamoru broke up with her. =~( Though their situations are a bit different—she was devastated by heartbreak whereas he is devastated by fear—at the heart of it, it is the loss of each other that crushes them.

Also, for Usagi, who loves so openly, I could see rejection being the thing that cuts her deepest. For Mamoru, with his overwhelming sense of duty (and, I think, a need to prove his worth), I think failure would cut even deeper than rejection.

I'd love to hear what people think of this speculative experiment of mine!

[caelenath]

I love this scene for about 80 million reasons.

How baby they look. Usagi has often looked that way before, but something about how they drew Mamoru this time makes him look younger, which fits his story arc of feeling insecure and then discovering his true power at last. I feel like it's easy to forget that he is also just a kid figuring (dangerous) things out because he often acts (and sounds) older than he is.

Look at their expressions in the third gif, and be mesmerized by Usagi blinking on repeat.

The fact that they're in their pajamas, sort of. They were both sick in bed before they ran out into the city in these clothes. The outfits, especially Mamoru's untucked shirt, makes them look particularly young.

On that note, Mamoru always tucks his shirt in, so you get the feeling that he probably threw on whatever clothes he could reach as fast as possible and ran out to find his Usa, presentability be damned (except he is not so uncouth as to go outside in his actual PJs).

The physical comforting. His arm around her the whole time, the way they're turned towards each other in the last gif as they try to comprehend the horrorscape they've fallen into, her hand clutching his shirt. I could live entirely for that Little Shirt Clutch of Comfort.

「 Pretty Guardian Sailor Moon Eternal The Movie 」

[sprawa-przybyszewskiej]

Multirealities in Stanisława Przybyszewska’s plays

The most common critique of Przybyszewska I encounter everywhere is that she claimed her plays were a "historical chronicle" (an actual subtitle for The Danton Case), while being very obviously biased, belletrised, prejudiced etc., all in all not exactly the impartial retelling a chronicle is supposed to be. This critique permeats all that is written about her plays to the point when while I cannot exactly complain about the lack of resources focused on her (for such a niche personality she does have a dedicated group of scholars, fanalyzing her works and bringing to life all the forgotten bits from the Poznań archives), it seems to me way too much space is focused on these harsh views, and not enough left for enjoying what I consider to be a genius piece of literature.

When I say Przybyszewska was a genius, I don't only mean it in terms of brilliant literary prowess. She was actually a modern renaissance woman, talented in many fields, and if she constantly complained about not being good enough in any of them, it was only because she held herself to unbelievably high standards. Therefore it is simply stupid to assume she actually considered what she knew to be fictional - to be a chronicle. A title is one thing, believing it's true is another and I think the very least we could do in order to understand her and her works better, is to stop treating her like a child who did not pay attention in history clasess.

A small sidenote: Sandor Marai, my favourite Hungarian writer, has a knack for writing all love stories as if they were criminal cases, and the main character was conducting an investigation of sorts. Which makes it very fitting that in one of his most famous novels he introduces us to the concept of "reality versus truth". This seems counterintuitive, but I don't think it really is, and I also think this is something which should be more often applied to Przybyszewska. Too often she is being judged on the basis of having taken "too great a liberty" of assuming somebody's intentions and explanations. People act as if the very fact she wanted to give studying history a try already makes her a writer with an aspiration to be a historical writer. Now, I haven't read Albert Mathiez yet (but it's in my plans, as I don't think anybody can seriously discuss Przybyszewska without getting acquaintanced with Mathiez as well), but I doubt she wanted to write a history book, only better, only in form of a play, after studying Mathiez, much as she liked him.

All this points me to the direction of something I will call "A Prime Theory", and it's not very revolutionary, but it seems to be absolutely crucial to put it in place, because Przybyszewska is constantly being - unfairly - judged on the accordance and compatibility with the historical events, when it should not be the case. The foundation is this: the revolution Przybyszewska described is not The Great French Revolution, but The Great French Revolution'. According to mathematics for every Point, there is Point', identical to the first one but on a flipped side of the axis, so to say. I believe she has described something more akin to a parallel reality, with the general grasp on the events more or less the same that what we know from our history, but with occasional changes and differences. Therefore she did not describe the "reality" of the Revolution but the "truth" of it.

It is possible because the way Marai understood "truth" was that it was the essence, the gist of something much more than the actual chronology or honesty of a situation. The truth is much more personal and what we believe to be true, than what is factual and provable. The first and easier example would be the way she described Robespierre in regards to his physical traits. In every historical account I've read there is some thought dedicated to his fragile health and meagre posture, and Przybyszewska wholeheartedly disagrees, sprinkling small but firm descriptions that work to the contrary; any sign of illness or weakness is in her eyes onlyt emporal, besides, it's not really a weakness if it shows he has undergone (and proved succesful in the endeavour) such a multitude of obstacles any lesser man would have already given up. So even the "negative" traits she flips around so much they become "positive" in the end. They are literally being foils of their original meaning. The gnostic inspirations I have written about in the past have a lot to do with the general idea I'm describing now. The overall duality seems to be interwoven into the text, which is why I cannot treat it as if it were a singular thing. And I haven't even mentioned all the things she outright invents, like bragging about Robespierre's luscious hair (which are hidden under a wig anyway), or comparing him to a tiger or a cat or a dancer, or describing him with the help of a language which is highly metaphorical and imaginative. She is very visibly inventing Robespierre anew - why would she be accused of distorting a portrait of a historical figure, when it is clearly not THE historical figure she put on the stage?

It would also be unfair to judge her in terms of accuracy with history, because she was, after all, not a historian. I need people to understand (it seems funny to write about it, but it's been adressed so much by so many I think I really have to) she was not a bad historical writer, but a brilliant fictional writer. That her fiction resembles our reality so much is a point which still does not warrant reading her plays as historical plays in any way, shape or form. To be honest, I think any kind of factual reading of Przybyszewska's works is not a good idea, because she was so far removed from social and political life, she had so few friends or even just people she kept in contact with, I find it hard to believe she would even know how to describe actual, interpersonal relations, or political lobbies. This is more visible in her prose, but the relationships she's describing don't feel at all natural, and that is not because she was a bad writer - after all she a was a genius writer, with a talent few can match. She was innovative to the point of being incomprehensible by others, and the falsity and lack of natural feeling in the way she saw people is completely due to her lack of expierence of living in a society. This is what I find lacking in the discourse around Przybyszewska - not enough space is dedicated to underlining the fact her life was extraordinary in every aspect. Her life experience was something most people cannot even imagine, and especially this is not something we expect of a writer of her level.

I think I know where this dychotomy in perceiving her comes from: she used mechanical, detached language to describe the misery she lived in, and it seems to be a mascarade a lot of people still buys. It's the same things with the subtitle in TDC - we believe her at face value, completely disregarding the fact she was a writer, she was inventing fictional things all the time! It's like no one (not many people I've read anyway) is able to discern between what she put on display and what was really going on in her life or in her mind. I'm yet to see a good critical paper on her arguing that her perception of the world in all aspects must have been skewed because she was addicted to hard drugs. It's like no one notices it, nor the fact that she was allegedly sexually abused by her own father? There aren't that many more messed up situations than this one to find yourself in. The way she saw the world and described it in her works was surely affected by that, too. This is another argument in favour of truthfullness of these plays: she described what she felt was true, what she believed was true, what she imagined was true. It’s not a lie, if it doesn’t claim to be all encompassing turth, in short: it’s not a lie, because she said so (it only works in ficiton, but luckily for us, this is fiction!).

When I speak about "multi-realities" in her plays (a term I'm borrowing from Leon Chwistek, a painter and a mathematician living roughly in the same time as Przybyszewska, they had friends in common but I'm yet to discover if they knew each other personally) I mean, actually, that there is a multi-faceted way to look into her works. Yes, historical knowledge is good for analyzing the plays from one angle, but one mustn't stop at that. There are realities aplenty: reality of love, for one, is something she described very well. She also - mostly through Robespierre, partially through Billaud and Saint-Just - reaches out to the hypothetical future and describes possible, future realities. Her characters are not thethered to one spot, what she wrote encompasses more than what we see on the pages.

I think taking a step back when analyzing her works would go a long way. Not many people on here has read Ninety-Three, her short play, but this works as a good counterexample - in The Danton Case and Thermidor we get so hung up on the point that it surely must be reality, because all the characters are given the correct historical names etc. etc. we forget they are made up. In Ninety-Three, however, we don't encounter the same problem - I am positive there was never any princess Maud de la Meuge - and thus we are automatically able to read it as a piece of fiction.

Now that I think of it, this is another reason why it's easier to analyze in regards to fictionality her plays as adaptations, and not as the raw text. It's because the directors do a lot of additional fictionalizing for us, adding even more realitites to the already full melting pot of them. We need this abundance to see for ourselves neither of these plays are historical and it’s easier to come to this conclusion when the characters are very obviously wearing costumes, or the anachronism of the stage situation becomes too apparent.

[tonyskte]

Su puta madre... Pinche rolon

[8bitvenom]

my brother & I are in the middle of a debate about queer representation in comics , & if the cornerstone characters (y’know , iconic heroes like Batman ) of DC/Marvel are Established as CisHet & also if their sexuality/gender is integral to who they are as a character . right now he thinks that instead of establishing past characters as LGBTQIA+ , we should create our own / promote those made recently so they have the same iconic firepower . I think there’s leeway where some of the original iconic characters could be est. as queer w/o breaking canon , & that would mean so much to so many w/o “taking away” anything from anyone . thoughts ?

[caelenath]

Of course. The cream is for the cats.

Also, his apartment is huge?

sideways panoramic shots are a pain. but i really like how everyone at mamoru's house gets black coffee when they visit

[brianzwerner]

A New Gambling Affiliate Model

By: Brian Zwerner

There is a ton of interesting stuff going on in the sports gambling space right now in America. With states legalizing fast and the major sportsbooks spending money like drunken sailors to acquire customers, sports betting is red hot.  Building a new sportsbook is super expensive, so we are not seeing startups tackle that area. However, we are seeing tons of new entrants on the periphery. The most popular areas that startups are chasing are data and analytic tools and social networks for the gambling crowd.  In the data and analytics space, we have met with Betsperts, Fanalyze, abe Bets, and more.  In the social betting space, we have spoken with VigIt, FantasyLife, uStadium, and more. It’s a big list, trust me.

Most of these are being built on an old school affiliate model.  They build a cool product that attracts a bunch of users, and then they try to make money by giving them offers to open new gambling accounts with the big sportsbooks.  “Get a $50 match on your initial deposit to DraftKings.”  “Here’s a free $50 bet when you open a FanDuel account.” These new apps get paid every time they get one of their users to open a new betting account. Typically these are sizeable payments of at least $100 per new user.

I hate this type of marketing. To me, this feels so unnatural.  I live in Georgia, so I don’t yet have legalized betting on my phone, but I know when I do I am not going to want five or ten different sportsbook apps. I will likely open a DraftKings account, since I bought their stock, and maybe I will eventually open a second one. Setting up a new betting account is a hassle.  They have to do identity and age verification, and you need to connect a bank account.  The average gambler doesn’t want or need more than 1-2 of these.  So how are all of these new startup apps going to make money if the current affiliate model is not a great opportunity?

I have a new gambling affiliate model that I want someone to build.  Heck, I’m in the VC world. I would invest in this if someone figures it out, and I am confident others will too.  What I am about to propose isn’t easy, there are regulatory hurdles, but someone needs to get on this.  I want to see the Robinhood style pay for order flow in the sports betting affiliate world. Robinhood makes all of its money by getting paid from stock market makers to route their trades to those market makers. It is just a fraction of a penny on each share, and it added up to over $600 Million in 2020 revenue.

How would this new order flow affiliate model work? Likely a new company would need to sit in the middle between the data/social apps and the sportsbooks.  Say I am on a data app researching the Lakers versus Heat game. I crunch the numbers and decide I want to bet on the Heat +5.  Instead of closing the data app and opening up Draftkings to lay the bet, I now get to put the bet directly on the data app. The data app allows me to connect my Draftkings account, through some type of Plaid style software, and they route the bet to Draftkings.  In this example, Draftkings is excited to have the extra bet and pays out a small order flow affiliate fee. This fee probably has to run through this new middleman company, that will likely have to get its gambling licenses. Then they somehow share back some money to the data app that helped convince me to make the bet in the first place.  

How will all of this work? I don’t know, I’m not a gambling attorney. Maybe there is some type of blockchain answer to all of this or something.  This middleman company would connect to the data and social apps.  If I am talking junk with my friends on about that Lakers Heat game on a social app, then bam I would place the bet, just one button push away. And this would allow the social app to get rewarded properly for hosting that trash talking conversation.

So, who wants to build out this great new gambling affiliate solution? Let’s talk!

See prior Consumer Gems posts here  

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[thoughtfullychiefsuit]

via Entrepreneur

[padawanline]

Things are coming down to the wire on Resistance right now (at least for me, being so late to the party), and I have no doubt it's 'bout to get really real! Let's see if a little fanalyzing can clear up The Core Problem... or at least help you enjoy it a little more :) Read here.