#historical role play

[songandflame-archived]

Great grief is a divine and terrible radiance which transfigures the wretched. At that moment Fantine had again become beautiful.

[ammonitetheseaserpent]

Something something abt how a clown’s whole thing is to make themselves the butt of the joke and take everything thrown at them while a jester’s whole thing is to freely call out & ridicule the king however they choose something something…

[kultofathena]

[postcard-from-the-past]

Sarah Bernhardt playing the lead role in Edmond Rostand's play of l'Aiglon, about the life of Napoleon II. Rostand had written L'Aiglon specifically for Bernhardt, and it became one of her signature roles.

French vintage postcard

[wylanzahn]

New-ish post, kinda posting this on different platforms and getting a general vibe check for some ideas I have. But basically this Halloween I want to actually do something for the TTRPG and Actualplay world (oh yeah I’m into those kinds of things). I want to try and get both players, GMs, and casual viewers alike something fun to look forward to this especially spooky season. I’ll probably talk a little more when we get closer to the actual season of scare-giving but just know that if you’re interested I’m still looking for people to join in!!

As my team and I’d first debut we’re going to try and do a two to four session actual play, which will probably be released in the weeks leading up to Halloween. We’ve had a couple good friend way in on the matter of “setting” but now I come to you fine folk. Mind you this is a horror campaign/arc so if…

Isn’t your thing, keep on a moving.

But without further ado here are a couple of the possible settings for our players, and myself, this coming espookee season…

1.) Somewhere off the coast of Florida, 1926 end of the first major housing boom in the state, a small island which calls back to the Spanish Empire, is Isla Boñyela, a small port made tourist location during the boom of disposable wealth in 1920s America. A small group of friends from the northeast tag along down for the perfect paradise vacation. Only to discover the island is much much older than anyone could have ever assumed. Whilst dealing with upstart gangsters, unnerving US soldiers, and the terrified locals they find something older than even undead conquistadors.

While I don’t have a working title, this is an old project in the running which I’ve had a few attempts at revamping over time. Its previous title was “perfect paradise vacation,” and runs on the Call of Cthulhu 7th Edition game. Anywho it’s a blast of fun with Caribbean lore, tone of anti-imperialism, and something dark lurking beneath the waves.

2.) 1950’s America, the nonexistent state of Mid-Atlantia (DMV coded) in a small suburban neighborhood where nothing goes wrong… it’s almost “All-Hallows-Eve” and little Johnny and Susie want nothing more than to trick or treat this year with all the big kids, Dad’s finally getting the big promotion at work, and Mom just got a new waffle iron! Sure everything is neat here in America. Heck you just got new neighbors! Newlyweds in fact from somewhere big and fancy, they sure aren’t like any of us in our simple town. But… and you can’t say exactly why but things are different. Or perhaps they’re all too the same? Everyday a repeat of ever other bland day that followed you over and over and over and over… and you could swear, while no one may listen to you there’s someone out there. Stalking you from outside your own home- or- perhaps, he’s just your friendly new neighbor welcoming you… to the end.

Ahhhhhh! I’ve also been working on this one for a sec and god writing it out does excite me. This is also a Call of Cthulhu game but modified/homebrewed to have a uniquely 1950s horror feel. This is definitely one of the more unique games I’ve written and am truly interested in seeing where it goes (even if we don’t choose it). This is for those who feel like isolation, fear of the unknown, fear from within, and liminal space horror comes best into play! So whadya say neighbor?

3.) The Enemy of My Enemy is My Friend, or How I Learned to Love Strahd, okay so this one is a lot less horror-y and falls much more under the comedic spooky category, just so yall know. Deep in the middle of Barovia, the ancient kingdom of Vampires, meets a council of Count Strahd von Zarovich's greatest commanders and lieutenants to hunt down Strahd's greatest enemy Rudolph van Richten and his party of heroes known as "The Grape-Smashers." Strahd's lieutenants have been gifted powers greater than any mere mortals, but are these gifts enough to stop Van Richten, or even enough to stop the personal ambitions of each other? Come find out in "How I Learned to Love Strahd."

Okay, as much as this may seem like a joke suggestion it cracks me up and I feel like it would be ill-advised of me to not at least mention it. In an era where "The Curse of Strahd," is well-overdone at this point, it's worth a take from an all evil "revenge story." Obviously this will be in Dungeons and Dragons 5th Edition, which, in my opinion, is really hard to use for horror, but this is a nice go-around. Come for the evil PCs, maybe a PvP battle or two, and a game of intrigue in the shadows of Barovia! All that and a buff Van Richten.

4.) Before Annapolis was ever called such it was known as Providence, a settlement of exiled Puritans in the Province of Maryland, but these early days were no easy set-up for the far-flung protestants... in the mid 1600s the English Civil War spilled out into their holdings across the waves as brother turned on brother, clan erasing clan, and something from the shores of the Old World would arrive in the New. When around every corner could be someone you've known your whole life, what's stopping them from hunting you in the depths of winter. All matters made worse when rumors of a witch begins circulating your small home.

Think "The VVitch" (2015) meets "A Field in England" (2013) meets Atun Shei's recent film "The Sudsbury Devil" (2023). It is the unexplored wilderness of early colonial Maryland, but the hateful warmongering that slowly builds that makes the horror and tension so clear. Unsure of what system we'll be using, but maybe the new Regency Cthulhu system.

5.) The Great Baltimore Fire of 1904 destroyed some 140 Acres of Baltimore proper... and in it's rubble awakened something far worse. But you and your fellow survivors are just trying to get by in the aftermath of the fire... only for something to call out, whether some strange magicks or perhaps just a sickness... but sickness doesn't even linger like this... it doesn't call to you...

Some more local history, aspiring from the actual Fire of 1904 things quickly devolve from there as rumors of a cult begin to spread along the streets of Rosland Park... a mysterious illness leaving even more dead... and the death of an eclectic professor. Definitely using the Call of Cthulhu 7th Edition for this one.

Aaaaaaaand that's it! Let me know what y'all think!

[myokk]

Okay, question for you- is Eloise’s hair tied at the end and curly, or in a ponytail and curly, or is there no tie and I’m just blind?

I was going to answer this quickly but I am EXTRA & had to do a write-up of her hair (sorry🙏)

First, she normally does wear her hair in a braid!💓 I do NOT know how to draw braids nor do I want to learn, so I do my weird way that looks terrible and I really should spend like 30 min researching😔🙏

When I remember, I like to add the bow but I forget a lot🥲

Her hair is CRAZY and thick, and has been the bane of her existence her whole life. I’m just channeling her inner Black (she is like a great-aunt or something of Sirius and Bellatrix) so OBVIOUSLY i had to give her amazing hair.

Since she is a Proper Young Victorian Lady™️ who spent the last 5 years at a muggle finishing school, she NEVER wears her hair down, and felt scandalized the first weeks at Hogwarts, seeing girls her age wearing TROUSERS😨 and having their hair DOWN😳 and although she’s used to it now, she still feels uncomfortable thinking of herself doing it.

Sebastian daydreams about it all the time though😇🙏

Some quick doodles I sketched up for this así.

1) her crazy hair when it’s down💓🫶

2) Imelda LOVES doing Eloise’s hair. She’s never really had girl friends before, and the ritual of gossiping/doing hair/hanging out reminds Imelda of her childhood bc her mom used to do her hair and tell stories🥹🥹 and Eloise has NEVER had friends before OR the experience with her own (awful) mother so she LOVES IT TOO💓💓💓 (Imelda teaches her Spanish some nights)

[queenlucythevaliant]

Also for the record, the whole White Witch-enchanted food thing still would have worked regardless of when the story was set. Kids like sweets, especially magic ones that symbolize temptation. The WW2 sugar rationing is not the pivotal element here

[peonycats]

just took a look at the aph greenland tag on ao3

[wonder-worker]

"[Matilda of Boulogne's office as Queen of England], initiated and broadly defined by the coronation ordo, gave her royal power and authority to share in governance. Her obligations and activities were shaped by custom established by previous queens and the ad hoc needs of king and realm. [...] [Matilda's] thorough integration into the governance of the realm was not repeated in [Eleanor of Aquitaine��s] years as queen of England. Eleanor's coronation followed a new model that emphasized the queen as progenitor of royal heirs and subordinate to the king rather than as sharer of royal power. Though Eleanor acted as regent in England between 1156 and 1158 and in Poitou on several occasions from 1165 on, her writs suggest delegated rather than shared royal authority. In England, her power was limited by the lack of lands assigned to her use and by the elaboration of financial and judicial administration. Whereas [Matilda of Boulogne's] inheritance allowed her to play an integral role in politics by securing the Londoners' loyalty and a steady supply of mercenaries, Eleanor's inheritance provided her with more extensive power in Poitou and Aquitaine than in England. Until 1163, Eleanor withdrew funds from the Exchequer by her own writ, but unlike her Anglo-Norman predecessors, she was not a member of its council nor did she issue judgments from the royal court. Eleanor's counsel and diplomatic activities, in contrast to Matilda's, are rarely mentioned. She did, however, encourage the 1159 Toulouse campaign and supported Henry in the Becket affair and the coronation of young Henry. Eleanor was not a prominent curialis; she rarely witnessed Henry's charters or interceded to secure the king's mercy. She did follow in Matilda's footsteps in her promotion of her sons, cultivation of dynastic goals through the Fontevraudian tombs, and patronage that reflected her family's traditions. For Matilda, to be queen encompassed a variety of functions-curialis, diplomat, judge, intercessor, and "regent." Through a combination of factors, Eleanor's role as queen was much more restricted."

-Heather J. Tanner, "Queenship: Office, Custom or Ad Hoc", Eleanor of Aquitaine: Lord and Lady (Edited by Bonnie Wheeler and John Carmi Parsons)

[theblackbookofarkera]

From the travelog Dreams of Distant Places Vol 12

[leroibobo]

mosque of the companions in massawa, eritrea. it was reportedly built by companions of the prophet muhammad who fled to africa due to persecution they faced in mecca. it possibly dates to 620-630 ce, which would make it the oldest purpose-built mosque in the world. however, some of the current structure was most likely built in the late 7th-9th centuries, as the mihrab and minaret as we know them hadn't been developed at the time.

[sualne]

hii! honeslty just curious, I read/watched kuroshitsuji AGES ago and I don't think I've finished the manga anyway, does grell go by she/her?? I vageuly remember ppl headcanonning them as enby though iirc in canon he's a guy?

Your tags peaked my curiosity, I haven't seen any Kuro content in a hot minute, but I remember it being the absolute must watch in my peak anime watching years lol And I absolutely loved the manga's artstyle

in canon grell is a trans woman, yana toboso has said something like "grell is a man with a woman's heart" ages ago and sometimes around 2014/16 had tweeted something about wanting to be more careful with her representation of people like grell in the future, don't quote me on that thought because i only read that tweet once and only remember reading a shitty screenshot of a translation of that interview where she allegedly said that.

i can however show you this:

it's from a bonus chapter (after chapter 108) about the popularity polls (it's a very convoluted non canon chapter) but it's one of the most blatant example of her being trans.

there's also the way she constantly refers to herself as a "young maiden" ect. idk how it goes exactly in the og but in french they translated it so grell always refers to herself with feminine terms while everyone else misgender her including the narrator. she very consistently reaffirm herself as a woman through every single ones of her appearances, like it's a thing she very much does, every single time she's on screen.

i haven't watched the anime in forever (cause it's kind of a disgrace and insult to the manga lol) but if i remember properly (which i mostly likely don't) they did omit/lowkey censor some of grell explicitly going "i wish i had been born a woman/could have been able to carry children" when she first properly introduce herself as a shinigami & the other half of jack the killer. (the anime also really did lean a lot more into the pervert queer caricature whereas in the manga she's given a bit more dignity, especially the further the story goes. though that might be my own impression and maybe it didn't change that much i just love her a whole lot).

also because i have to, please forget the anime (the first two seasons that is) and read the manga first and foremost because oh boy, what a disaster the anime is (nostlagia and atmosphere wise it's entertaining, i really love the op & ed, but it just, i just cant man it doesn't even compare to the manga at all). only watch book of circus -> book of murder -> campania movie -> the new private school arc that's coming soon (idk what they called it) after reading the manga.

[thepunkmuppet]

i think if doctor who cast a member of the six idiots as either the doctor or a historical companion i would simply never want or need anything else ever again like my life would be complete

[canichangemyblogname]

I watched all eight episodes of season 1 of Blue Eye Samurai over the weekend. I then went browsing because I wanted to read some online reviews of the show to see what people were thinking of it and also because I wanted to interact with gifs and art, as the series is visually stunning.

Yet, in my search for opinions on the show, I came across several points I'd like to address in my own words:

Mizu’s history and identity are revealed piece-by-piece and the “peaches” scene with Mizu and Ringo at the lake is intended to be a major character reveal. I think it’s weird that some viewers got angry over other viewers intentionally not gendering Mizu until that reveal, rather than immediately jumping to gender the character as the other characters in the show do. The creators intentionally left Mizu’s gender and sexuality ambiguous (and quite literally wrote in lines to lead audiences to question both) to challenge the viewer’s gut assumption that this lone wolf samurai is a man. That intentional ambiguity will lead to wide and ambiguous interpretations of where Mizu fits in, if Mizu fits in at all. But don't just take my word for this:

Re: above. I also think it’s weird that some viewers got upset over other viewers continuing to acknowledge that Mizu has a very complicated relationship with her gender, even after that reveal. Canonically, she has a very complicated relationship with her identity. The character is intended to represent liminality in identity, where she’s often between identities in a world of forced binaries that aren’t (widely) socially recognized as binaries. But, again, don’t just take my word for this:

Mizu is both white and Japanese, but she is also not white and not Japanese simultaneously (too white to be Japanese and too Japanese to be white). She’s a woman and a man. She’s a man who’s a woman. She’s also a woman who’s not a woman (yet also not quite a man). But she’s also a woman; the creators said so. Mizu was raised as a boy and grew into a man, yet she was born a girl, and boyhood was imposed upon her. She’s a woman when she’s a man, a man when she’s a man, and a woman when she’s a woman.

Additionally, Mizu straddles the line between human and demon. She’s a human in the sense she’s mortal but a demon in the sense she’s not. She's human yet otherworldly. She's fallible yet greatness. She's both the ronin and the bride, the samurai and the onryō. In short, it’s complicated, and that’s the point. Ignoring that ignores a large part of her internal character struggle and development.

Mizu is intended to represent an “other,” someone who stands outside her society in every way and goes to lengths to hide this “otherness” to get by. Gender is a mask; a tool. She either hides behind a wide-brimmed hat, glasses, and laconic anger, or she hides behind makeup, her dress, and a frown. She fits in nowhere, no matter the identity she assumes. Mizu lives in a very different time period within a very different sociocultural & political system where the concept of gender and the language surrounding it is unlike what we are familiar with in our every-day lives. But, again, don’t just take my word for this:

It’s also weird that some viewers have gotten upset over the fact women and queer people (and especially queer women) see themselves in Mizu. Given her complicated relationship with identity under the patriarchy and colonial violence, I think Mizu is a great character for cis-het women and queer folks alike to relate to. Her character is also great for how she breaks the mold on the role of a biracial character in narratives about identity (she’s not some great bridge who will unite everyone). It does not hurt anyone that gender-fluid and nonbinary people see themselves in Mizu's identity and struggle with identity. It does not hurt anyone that lesbians see themselves in the way Mizu expresses her gender. It does not hurt anyone that trans men see themselves in Mizu's relationship with manhood or that trans women can see themselves in Mizu when Mama forces her to be a boy. It's also really cool that cis-het women see themselves in Mizu's struggles to find herself. Those upset over these things are missing critical aspects of Mizu's character and are no different from the other characters in the story. The only time Mizu is herself is when she’s just Mizu (“…her gender was Mizu”), and many of the other characters are unwilling to accept "just Mizu." Accepting her means accepting the complicatedness of her gender.

Being a woman under the patriarchy is complicated and gives women a complicated relationship with their gender and identity. It is dangerous to be a woman. Women face violence for being women. Being someone who challenges sex-prescribed norms and roles under patriarchy also gives someone a complicated relationship with their identity. It is dangerous to usurp gender norms and roles (then combine that with being a woman...). People who challenge the strict boxes they're assigned face violence for existing, too. Being a racial or ethnic minority in a racially homogeneous political system additionally gives someone a complicated relationship with their identity. It is dangerous to be an ethnic minority when the political system is reproduced on your exclusion and otherness. They, too, face violence for the circumstances of their birth. All of these things are true. None of them take away from the other.

Mizu is young-- in her early 20s-- and she has been hurt in deeply affecting ways. She's angry because she's been hurt in so many different ways. She's been hurt by gender violence, like "mama's" misogyny and the situation of her birth (her mother's rape and her near murder as a child), not to mention the violent and dehumanizing treatment of the women around her. She's been hurt by racial violence, like the way she has been tormented and abused since childhood for the way she looks (with people twice trying to kill her for this before adulthood). She's been hurt by state-sanctioned violence as she faces off against the opium, flesh, and black market traders working with white men in contravention of the Shogun's very policies, yet with sanction from the Shogun. She's been hurt by colonial violence, like the circumstances of her birth and the flood of human trafficking and weapons and drug trafficking in her country. She's had men break her bones and knock her down before, but only Fowler sexually differentiated her based on bone density and fracture.

Mizu also straddles the line between victim and murderer.

It seems like Mizu finding her 'feminine' and coming to terms with her 'female side' may be a part of her future character development. Women who feel caged by modern patriarchal systems and alienated from their bodies due to the patriarchy will see themselves in Mizu. They understand a desire for freedom that the narrow archetypes of the patriarchy do not afford them as women, and they see their anger and their desire for freedom in Mizu. This, especially considering that Mizu's development was driven by one of the creators' own experiences with womanhood:

No, Mizu does not pass as a man because she "hates women" or because she hates herself as a woman or being a woman. There are actual on-screen depictions of Mizu's misogyny, like her interactions with Akemi, and dressing like a man is not an instance of this. Mizu shows no discomfort with being a woman or being seen as a woman, especially when she intends to pass herself as and present as a woman. Mizu also shows the women in the series more grace and consideration than any man in the show, in whatever capacity available to her socially and politically, without revealing herself; many of the women have remarked that she is quite unlike other men, and she's okay with that, too.

When she lives on the farm with Mama and Mikio, Mizu shows no discomfort once she acclimates to the new life. But people take this as conclusive evidence of the "only time" she was happy. She was not. This life was also a dance, a performance. The story of her being both the ronin and the onryō revealed to the audience that this lifestyle also requires her to wear a mask and dance, just as the bride does. This mask is makeup, a wedding dress, and submission, and this performance is her gender as a wife. She still understands that she cannot fully be herself and only begins to express happiness and shed her reservation when she believes she is finally safe to be herself. Only to be betrayed. Being a man is her safety, and it is familiar. Being a boy protected her from the white men as a child, and it might protect her heart now.

Mizu shows no discomfort with being known as a woman, except when it potentially threatens her goals (see Ringo and the "peaches" scene). She also shows no discomfort with being known as, seen as, or referred to as a man. As an adult, she seems okay- even familiar- with people assuming she's a man and placing her into the role of a man. Yet, being born a girl who has boyhood violently imposed upon her (she did not choose what mama did to her) is also an incredibly important part of her lived experience. Being forced into boyhood, but growing into a man anyway became part of who she is. But, being a man isn’t just a part of who she became; it’s also expedient for her goals because men and women are ontologically different in her world and the system she lives under.

She's both because she's neither, because- ontologically- she fits nowhere. When other characters point out how "unlike" a man she is, she just shrugs it off, but not in a "well, yeah, because I'm NOT a man" sort of way, but in an "I'm unlike anyone, period," sort of way. She also does not seem offended by Madam Kaji saying that Mizu’s more man than any who have walked through her door.

(Mizu doesn’t even see herself as human, let alone a woman, as so defined by her society. And knowing that creators have stated her future arc is about coming into her “feminine era” or energy, I am actually scared that this show might fall into the trope of “domesticating”/“taming” the independent woman, complete with an allegory that her anger and lack of human-ness [in Mizu’s mind] is a result of a woman having too much “masculine energy” or being masculine in contravention of womanness.)

Some also seem to forget that once Mama and Mikio are dead, no one knows who she is or where she came from. They do not have her background, and they do not know about the bounty on her (who levied the bounty and why has not yet been explained). After their deaths, she could have gone free and started anew somehow. But in that moment, she chose to go back to life as a man and chose to pursue revenge for the circumstances of her birth. Going forward, this identity is no longer imposed upon her by Mama, or a result of erroneous conclusions from local kids and Master Eiji; it was because she wanted people to see her as a man and she was familiar with navigating her world, and thus her future, as a man. And it was because she was angry, too, and only men can act on their anger.

I do think it important to note that Mizu really began to allow herself to be vulnerable and open as a woman, until she was betrayed. The question I've been rattling around is: is this because she began to feel safe for the first time in her life, or is this part of how she sees women ontologically? Because she immediately returns to being a man and emotionally hard following her betrayal. But, she does seem willing to confide in Master Eiji, seek his advice, and convey her anxieties to him.

Being a man also confines Mizu to strict social boxes, and passing herself as a man is also dangerous.

Mizu doesn't suddenly get to do everything and anything she wants because she passes as a man. She has to consider her safety and the danger of her sex being "found out." She must also consider what will draw unnecessary attention to her and distract her from her goals. Many viewers, for example, were indignant that she did not offer to chaperone the mother and daughter and, instead, left them to the cold, only to drop some money at their feet later. The indignity fails consider that while she could bribe herself inside while passing as a man, she could not bribe in two strangers. Mizu is a strange man to that woman and does not necessarily have the social position to advocate for the mother and daughter. She also must consider that causing small social stirs would distract from her goals and draw certain attention to her. Mizu is also on a dangerous and violent quest.

Edo Japan was governed by strict class, age, and gender rules. Those rules applied to men as well as women. Mizu is still expected to act within these strict rules when she's a man. Being a man might allow her to pursue revenge, but she's still expected to put herself forward as a man, and that means following all the specific rules that apply to her class as a samurai, an artisan (or artist), and a man. That wide-brimmed hat, those orange-tinted glasses, and her laconic tendencies are also part of a performance. Being a boy is the first mask she wore and dance she performed, and she was originally (and tragically) forced into it.

Challenging the normative identities of her society does not guarantee her safety. She has limitations because of her "otherness," and the transgression of sex-prescribed roles has often landed people in hot water as opposed to saving them from boiling. Mizu is passing herself off as a man every day of her life at great risk to her. If her sex is "found out" on a larger scale, society won’t resort to or just start treating her as a woman. There are far worse fates than being perceived as a woman, and hers would not simply be a tsk-tsk, slap on the wrist; now you have to wear makeup. Let's not treat being a woman-- even with all the pressures, standards, fears, and risks that come with existing as a woman-- as the worst consequence for being ‘found out’ for transgressing normative identity.

The violence Mizu would face upon being "found out" won’t only be a consequence of being a "girl." Consider not just the fact she is female and “cross-dressing” (outside of theater), but also that she is a racial minority.

I also feel like many cis-het people either ignore or just cannot see the queerness in challenging gender roles (and thus also in stories that revolve around a subversion of sex-prescribed gender). They may not know how queerness-- or "otherness"-- leads to challenging strict social stratifications and binaries nor how challenging them is seen by the larger society as queer ("strange," "suspicious," "unconventional," even "dishonorable," and "fraudulent"), even when "queerness" (as in LGBTQ+) was not yet a concept as we understand it today.

Gender and sexuality- and the language we use to communicate who we are- varies greatly across time and culture. Edo Japan was governed by strict rules on what hairstyles, clothes, and weapons could be worn by which gender, age, and social group, and this was often enshrined in law. There were specific rules about who could have sex with whom and how. These values and rules were distinctly Japanese and would not incorporate Western influences until the late 1800s. Class was one of the most consequential features to define a person's fate in feudal Japan, and gender was quite stratified. This does not mean it's inappropriate for genderqueer people to see themselves in Mizu, nor does this mean that gender-variant identities didn’t exist in Edo Japan.

People in the past did not use the same language we do today to refer to themselves. Example: Alexander The Great did not call himself a "bisexual." We all understand this. However, there is a very weird trend of people using these differences in language and cultures across time to deny aspects of a historical person's life that societies today consider taboo, whether these aspects were considered taboo during that historical time period or not. Same example: people on Twitter complaining that Netflix "made" Alexander The Great "gay," and after people push back and point out that the man did, in fact, love and fuck men, hitting back with "homosexuality wasn't even a word back then" or "modern identity didn't exist back then." Sure, that word did not exist in 300s BCE Macedonia, but that doesn't mean the man didn't love men, nor does that mean that we can't recognize that he'd be considered "queer" by today's standards and language.

Genderqueer, as a word and as the concept is understood today, did not exist in feudal Japan, but the people did and feudal Japan had its own terms and concepts that referred to gender variance. But while the show takes place in Edo Japan, it is a modern adult animation series made by a French studio and two Americans (nationality). Mizu is additionally a fictional character, not a historical figure. She was not created in a vacuum. She was created in the 21st century and co-written by a man who got his start writing for Sex in the City and hails from a country that is in the midst of a giant moral panic about genderqueer/gender-variant people and gender non-conforming people.

This series was created by two Americans (nationality) for an American company. In some parts of that country, there are laws on the book strictly defining the bounds of men and women and dictating what clothes men and women could be prosecuted for wearing. Changes in language and identity over time mean that we can recognize that if Mizu lived in modern Texas, the law would consider her a drag performer, and modern political movements in the show creators' home country would include her under the queer umbrella.

So, yeah, there will also be genderqueer people who see themselves in Mizu, and there will be genderqueer fans who are firm about Mizu being queer to them and in their “headcanons.” The scene setting being Edo Japan, does not negate the modern ideas that influence the show. "Nonbinary didn't exist in Edo Japan" completely ignores that this show was created to explore the liminality of modern racial, gender, class, and normative identities. One of the creators was literally inspired by her own relationship with her biracial identity.

Ultimately, the fact Mizu, at this point in her journey, chooses to present and pass as a man and the fact her presented gender affects relationship dynamics with other characters (see: Taigen) gives this story a queer undertone. And this may have been largely unintentional: "She’s a girl, and he’s a guy, so, of course, they get together," < ignoring how said guy thinks she’s a guy and that she intentionally passes herself as a guy. Audiences ARE going to interpret this as queer because WE don’t live in Edo-era Japan. And I feel like people forget that Mizu can be a woman and the story can still have queer undertones to it at the same time.

[misscryptidart]

"- so when you cast the Commander from the Command Zone, they're abilities are now active and they can be used as long as they don't have summoning sickness. For your commander's abilities in particular, I would most likely use it in a Control deck, where I - as a player- have more influence on the board state than someone who would utalise more phase - based mechanics... hey, you good bro?"

Socrates, still trying to comprehend the existance and implications of a late 21st century time traveler who used unbelievable technology to travel back in time so that they can explain some carboard game where his most impactful effect on philosophy is a tap ability-

[prolibytherium]

Absolutely death gripped clenched trying not to comment on reductive posts on ancient greek homosexual relationships