#i highly highly recommend it btw

[songofwizardry]

not to be a one-note person or one of those "man this reminds me of a book I read" people but so many times recently I have thought, "I need you to read the word for world is forest by ursula k le guin and then we can have this conversation again"

[doctormori]

I love this book to death, so here's some things I noticed <3

[artsymeeshee]

Forlorn

[hellsitegenetics]

I'm doing it. Whatever organism this comes up as, I will make a character* of that species. Even if it's a plant. Even if it's a mushroom. Even if it's microscopic. Even if it's barely studied. Even if it's a species I've made before.

(if this comes up as human I might actually cry but I'll still do it)

*probably just a character design but still

String identified: ' g t. at ga t c a, a a caact* tat c. t' a at. t' a . t' ccc. t' a t. t' a c ' a .

( t c a a gt acta c t ' t t)

*a t a caact g t t

Closest match: Sus scrofa family with sequence similarity 76 member B (FAM76B), transcript variant X4, misc_RNA Common name: Wild boar

(image source)

[coffeeandtoastforbreakfast]

It’s all going up into flames…bright, white flames…

[fluffypotatey]

okay so:

the year is 2021. the month is june. the new season of hermitcraft, season 8, has just started, and everything is great! the hermits are all messing around, having fun, building insane things within the first week of the server being active, and generally having a good time. everyone's collected themselves into little factions, pranking each other, and it's all the fun, lighthearted, mostly-vanilla content hermitcraft is known for.

and then the split between minecraft versions 1.18 and 1.19 is announced. the delay of new terrain, and especially of new mobs like the warden, considerably disrupt several of the hermits' plans. but it's fine, they'll figure something out, they're professionals, and it mostly goes unnoticed.

about two weeks later, on november 9th, grian turns to mumbo jumbo in one of his episodes, and asks the famous question that would seal hermitcraft season 8's fate:

"mumbo, is the moon... big?"

suddenly, the fans panic. they search back through videos and streams, and realize that the moon had been abnormally large and stuck in a full-moon phase since october 30th. the Moon Big event has begun.

this is where the roleplay really starts. once the moon's size has been brought up, the hermits start a weird combination of scrambling to figure out why the moon's growing, and how to stop it- but also of ignoring it, hoping it won't be a problem, hoping someone else will deal with it. the moon keeps getting bigger, more hermits start realizing it's going on, and a creeping sense of dread starts to grow. but it's fine. it's fine, right? they do little plotlines like this all the time. they'll figure something out, the moon will go back to normal, and we'll laugh about it when this is all over. it's fine.

and then, blocks start flying away. just floating up out of the ground, and falling right back down! like for a moment, a square meter chunk of dirt has decided it's a ballerina and leaped out of the ground! but it's fine, right? the blocks are coming back. no lasting harm is done. they're going to fix it all... right?

the moon gets bigger. it's growing every day- local hermit weirdguy joe hills measures it every stream. the blocks start flying higher. gravity starts getting... weird, with players getting the slow falling effect at random, and being lifted off of the earth themselves. the players form cults and rituals and whatnot to try and appease the moon, convince it to leave them alone, making plans to escape. nothing works. things keep getting worse, and the moon keeps getting bigger. but it'll be fine. these storylines never leave lasting harm, or at least they never have before. they'll be fine.

and then the blocks stop coming back, just floating into the sky forever. the players have the slow falling effect more than they don't now. the moon is now so big it's visible even during the day, and fills the entire sky at night. they start planning their escapes in earnest, and say their goodbyes. some hermits jump into a void hole in the overworld (it was the centerpiece of their village). some flee to the End, some to the nether, some just fly with elytras and hope they can get far enough away in time. one brave hermit, tango, flies himself to the moon in a futile attempt to blow the whole thing up before it can crash.

but in the end, the moon crashes into the server, and everything they'd built was destroyed. and the whole time, there'd been nothing any of them could've done. season eight was over, a full six months before anyone had expected it to end, and season nine wouldn't start until about three months later. and im still not okay about it.

(here's a cool animatic of the moon's crash! honestly i dont think you need too much hermitcraft knowledge to get the gist)

(also the moon crash happened on the day before my birthday lmao.)

….

holy shit

[larabar]

putting up my best art block defense *draws a guy* *draws a guy* *draws

[mochiiniko]

terribly designed game how was i supposed to play through the tears smh

[theeretblr]

Hi Eret! I was at Tommy's show tonight and I just wanted to say that I'm so, so deeply sorry if us in the vip section pointing you guys out caused you or any of the other ccs there any trouble. It was absolutely amazing being able to see you though, even from the first floor. I hope you still enjoyed the show!

No worries! Let me explain how it was from our perspective

I was invited to TommyInnit's LA show last night with some other creator friends (e.g. Slimecicle, Ted Nivison, RubberRoss, and more). Security tried to make sure that we wouldn't get swarmed, so they brought us in at the back of the theatre and took us away for the intermission.

We were brought back a bit early for the start of the second act. All the lights were still on, and when one person saw us and shouted our names, everyone else started turning around!

It was so sweet to see how excited everyone was! But I did definitely appreciate that the security was on top of it to prevent it from getting too rowdy! I hope you enjoyed the show!

[ironladders]

my fav little diana pictures/panels from absolute wonder woman #1 because she’s everything 🫶

[afterthelambs]

⚠️Spoilers for Look Back but I was initially confused about what Fujino and Kyomoto's relationship had to do with pursuing a career as a mangaka. After thinking about it, I interpret it as a narrative device to represent what will come when choosing to pursue art (of any form, whether it's comics, painting, animation, music, etc.).

Think about it, what's Kyomoto's role in the story? She is what got Fujino to take art seriously in middle school, and what motivated her to continue after she initially gave up. However, she's also the only thing in the story that makes Fujino wish she quit art. First, halfway through 6th grade and then later after her death. She serves as Fujino's motivator and de-motivator.

I think the scene of Fujino wishing that she never told Kyomoto to come out (that pursuing art only led to suffering) represents artists' regrets. We literally look back and see an alternate universe where Fujino never pursued art and it has a happier ending. Anyone that pursues artistic dreams will end up regretting it at some point. It's not easy, any artist will tell you that. The story is saying yes, you probably will end up healthier and more stable by giving up your dreams. Because art is suffering.

But then Fujino enters Kyomoto's room after reading the comic from the alternate reality and all of a sudden we get a montage of the happy memories and accomplishments they had pursuing their dreams together. And we realize that, everything we saw of them in the alternate 'happier' reality pales in comparison to this:

The happiest both of them look in that alternate world is when they finally meet and promise to work together someday. They loved art. They loved each other. Giving up on your dreams means missing out on all of that, and nothing in the world can replace it. Because yes art is suffering, but art is also joy and love.

And so the end of the story where Fujino goes back to work isn't her moving on. She tapes the comic strip in front of her to remind her of Kyomoto, to remind her of why she got into comics in the first place. Basically, Kyomoto IS art to Fujino. A life with her means experiencing both suffering and joy, while the life without her means having none of that.

I might be wrong about this, like maybe Fujimoto just wanted to tell a mangaka story with doomed yuri (valid) HOWEVER i like my interpretation so im sticking with it.

[hotwaterandmilk]

I've been scanning the Yami no Purple Eye art book and it got me thinking about why I still feel so strongly about Shinohara Chie's horror-tinged works in particular. They don't have the sweeping settings, period detail or political intrigue of her historical titles, but they're still the works of hers I revisit most often.

I love the way Shinohara captures the physical and psychological horror of being a teenage girl. How truly overwhelming it can be to come into a new physical state and be hit by heightened strengths and fears. All while grappling with how to reconcile this new, hungry state with the "good girl" you were before the change. It's the way she combines this age-old puberty parable with an escalated 80s bent on 40s Hollywood female monstrosity that never fails to linger in my mind.

Let me unpack my rambling thoughts on this a bit and yeah they are pretty rambly I'm sorry I've got that neurological thing going on and it makes being articulate harder than it has ever been before. Forgive me!

Spoilers, bloody images and rambling re: Yami no Purple Eye, Ao no Fuuin, Umi no Yami Tsuki no Kage and Mizu ni Sumu Hana below.

The heroines of Shinohara's longer horror works are all seemingly average girls who are awakened to something horrific within them as teenagers (be it Rinko as panther, Ruka to psychic abilities, or Souko as an oni). Suddenly they're overcome not just by abilities but feelings, appetites, desires. They go from being good, average girls to young women battling forces within them stronger than anything known to science. There's always a boy there to support them through this, but they feel otherwise isolated or dangerous, unable to seek support from anyone else.

Yami no Purple Eye is frequently compared to the 1942 film Cat People and understandably so - in both you have a beautiful young woman descendended from "cat people" whose beastial side can take over when base urges overcome their normally sweet demeanor (though this film is absolutely not the first example of a 'cat person' in speculative fiction). The major difference, I would posit (aside from the more explicitly sexual nature of Cat People's change), is that Irena is an adult and while she also struggles with her identity and powers this battle is not new to her, she is hopeful for a way out but also somewhat resigned to the way things are.

Rinko from Yami no Purple Eye is new to being a panther, she is fearful of her secret getting out but also fearful of herself, of her purple eyes and her "unnatural" urges. While so much of Cat People is a relatively subtle look at female sexuality as a monstrosity in itself, Yami no Purple Eye shows a transformation that at puberty can be harnessed as a form of protection but also remains linked to the animal kingdom and not "enlightened" modern human society.

While Rinko's incredible strength saves her from all sorts of precarious situations, it feels new and out of her control. It isolates her from normal humans and it paints a target on her her back for Kaoruko, the primary antagonist of the series. I think what makes these pubescent power awakenings so alarming for all Shinohara's horror heroines is this lack of control. They didn't willingly trigger their transformation, they don't understand it properly, and they cannot control it. Ultimately each of them goes through a period of feeling incredible isolation from human society, which is common in a lot of speculative texts where the lead finds themselves estranged from society at large.

In Umi no Yami, Tsuki no Kage Ruka has the double-whammy of losing her normal life and her twin sister, Rumi, who has become deranged while coming into her own psychic powers. Although Ruka has the support of love-interest Katsuyuki, it is this love rivalry which put a wedge between her and her sister in the first place. At times, Ruka feels lost with all the destruction triggered by the sisters' transformation, held by Katsuyuki but with a 1000 yard stare in her eyes. Both Ruka and Rumi know deep down that only they can defeat one another, but how do you defeat your identical twin? How do you fight what is essentially your shadow self and your base instincts run riot?

It requires an understanding of the transformation, an acceptance of the change that has taken place, and a peace with what must come next - all of which takes Ruka the better part of 18 volumes to achieve. Mizu ni Sumu Hana takes a shorter route on a similar theme with the two Rikkas and the seeds, giving us another set of two near identical yet drastically different girls fighting for survival.

And being a teenage girl in these stories is very much focused on trying to survive. Another consistency across all these series that underscores the isolation of the heroines is the loss of those around them. Family members and friends are murdered or manipulated indiscriminately. Even if Shinohara's heroines try to seek support from someone other than their love interest, it is very quickly put to a stop by an opposing force. For a young woman in these worlds, struggling to understand her new body and changed mind, there is no option for support outside a male romantic interest.

That in itself is horrifying (though admittedly not as well-examined within text as I'd like, it certainly does feel like a comment) but it becomes a hell of a lot worse if your love interest's goals are at odds with your own. We see this with Souko in Ao no Fuuin who is revealed to be an oni that must survive by consuming humans. Her (false) memories are human and she has only recently learned of her oni nature so understandably she doesn't want to be a predator, yet she must eat people to survive. Akira, her love interest, rather than being a dutiful normal boy like Shin'ya in Yami no Purple Eye, is from an opposing family tasked with destroying her.

Eventually Akira's affection for Souko outweighs his duty to eliminate her and the two work together to try and figure out a way for her to become human and thus no longer require defeating. But initially in Ao no Fuuin, Souko is entirely alone with her growing hunger and power, unable to confide in anyone and unsupported by a romantic interest which proves just as isolating as it sounds. Like Rinko, Souko has gaps in her memory, a sensation that she's done something unnatural but a desperate need to be wrong about it, to be proven human despite all evidence to the contrary. As both heroines have entered their teenage years they have lost all they knew of stability, family and normalcy to have it be replaced by the uncanny, unnatural and unacceptable.

To have the body and mind become unreliable in your teenage years, to feel overwhelmed by forces you didn't know were within you, to feel like you're the only one experiencing such horrors... I mean it's all a big puberty metaphor isn't it? And yeah, to a degree these stories are simply turning the horror dial up to eleven on a cross-cultural feeling of coming into the power and bodily changes of adulthood before your mind can catch up with them (though in the case of Shinohara's stories every lead is shown to be attracted to the opposite sex and not explored as being anything other than cis, so there's definitely a lot left unexplored regarding pubscent queerness in her worlds).

All of Shinohara's long-form horror heroines seem to go through a period of grasping back for the safety and "normalness" of their childhood selves, of who they were before their body and mind betrayed them. Souko repeats to herself countless times that she is human not necessarily because she knows it to be true, but because she wants it to be true. She longs for who she believes she once was and we see similar grief for Rinko and Ruka, now awakened to their new lives as teenage monsters, as they reflect back on the comforting dullness of the recent past with a newfound appreciation and longing.

Ultimately, however, Souko was never a normal teenage girl. Rinko's power was dormant but she was always of panther blood. Rikka was always going to be used as a pawn between black and white dragons. Only Ruka, whose power was awakened after surviving a near-fatal bacterial infection, ever had an entirely normal human childhood and even then she must accept that what she and her sister had in their innocence can never be rediscovered. For some of these heroines there was never a "normal" to go back to and even for those that did have a glimpse at average life, it is ultimately gone from their grasp regardless. Time marches ever onward and for these young women there is no ability to wind back the clock, they must continue forward like all of us, even if their awakening to adulthood is more violent and bloody than most.

While everything I've touched on so far seems absolutely godawful, I think it's important to tie this all together with a bow of hope. Shinohara Chie's long-form horror and suspense stories put all their leads through the wringer, but they are never without hope. There is some degree of happiness out there for all her heroines, victims of circumstance and blood. However, it is not the happiness they had anticipated for themselves as adults and I think that is key to the whole exercise. Shinohara's heroines can at times be passive, clinging desperately to the idea that they can reverse what cannot be reversed. But in the end they must accept and embrace their new bodily powers. Just as we all must accept adulthood even when it doesn't adhere to our childhood hopes and dreams.

Rinko goes through absolute hell to try to get her happy ending and ultimately she doesn't get it, but her daughter Mai does manage to carve out a sense of happiness just by being with the man she loves. Souko can shed her obligation to the Kimon and be with Akira because her previous incarnation's daughter willingly takes on the role of heir for her. Ruka can live on but to do so must kill a willing Rumi and accept that what happened to them will ultimately be forgotten by the greater consciousness. Both Rikkas are revived and can choose their ultimate lifespan as the lost lotus flowers blossom once more.

None of these are your traditional happy ending, but what links them together is a sense of sacrifice. Part of the journey into adulthood, into surviving the horror of having a body as a teenage girl, is accepting the flawed state of adulthood. It comes at considerable sacrifice and it isn't necessarily what you dreamed it would be, but it is yours and you got where you are as an adult through the blood, sweat and tears of your younger self. There's a beauty to that and to Shinohara's flawed heroines and their often patchy narratives. Having a body can be horrific, it can be overwhelming, and it is inherently isolating... but it is essential to experiencing the beauty we do have in this world.

And idk I just think that's neat.

Shinohara isn't an artist to everyone's tastes and I do think there are strengths to her historical tales that perhaps aren't as present in her more horrific works, but her super powered horror stories manage to capture a type of pubescent alarm that a lot of other authors cannot master. While all these works do feel dated to a degree and present a limited scope of gender and sexuality, there's something I find timeless about revisiting the horror and joy of being a girl both cursed and blessed with the burden of a body.

-

Edit 14/10/24: I would like to point out that my use of the term "horror" here relates to consistent thematic elements presented in these series rather than their specific genre labels, roots in other sub-genres or relation to other foundational texts outside of Shinohara's oeuvre.

Shinohara's speculative work is frequently labeled battle/suspense manga (with some shorter works earning a 'suspense horror' description at their most intense) and I am in no way disagreeing with these labels or trying to relabel the above titles as strictly horror. Nor does this post seek to break down the full context of these titles as they fit into the development of 80s/90s/00s shoujo.

This post exclusively reflects my personal thoughts on the bodily perils faced by Shinohara's super-powered heroines in the aforementioned texts through a horror lens (which in turn reflects my area of focus back when I studied film).

Everyone will have their own intrepretations of these texts and these characters and that's what makes hearing people's opinions so interesting - always open to hearing yours if you stumble onto this. ^^

[mothcpu]

copies of copies

[utilitycaster]

The thing about Ludinus is that yes, he does have a very high INT score but he is in fact stupid. He is a particular brand of stupid that I like to call Wizard Stupid, which is related to but not identical to Wizard Hubris. Wizard Hubris is the vision; Wizard Stupid is the realization.

Wizard Hubris is excessive confidence that is derived from the fact that one is a wizard, and therefore obviously knows everything, probably even more than the gods. Wizard Stupid is then carrying out the plans derived from Wizard Hubris without any kind of safety net. Where Wizard Hubris says "There is nothing beyond my capabilities"; Wizard Stupid says "No consequences can touch me." Wizard Hubris is building the Tower of Babel; Wizard Stupid is leaning one ladder on top of another ladder to do so. Wizard Hubris is the belief that you can, and indeed, are entitled, to fuck around. Wizard Stupid is the unshakeable belief that you will not be subjected to finding out.

So: let's look at Caleb. Caleb is FULL of Wizard Hubris for most of Campaign 2, given that he desires to reconfigure the time-space continuum, but except for a few relatively rare occasions, he is not terribly Wizard Stupid. He actually tends to be extremely cautious, and the cases in which he indulges the Wizard Stupidity are relatively self-contained (eg: the emerald).

Yussa, meanwhile, has few grand designs and mostly wants to hang out and fuck with the gentrification and political cronyism of Nicodranas, and honestly, good for him, seems totally reasonable. However, he does think that the Archmage's Bane is not referring to him (archmage) and that Astral Projection, a totally standard high level wizard's spell well within his abilities without any need for hubris, will carry no risk if he then decides to check out a little place called Cognouza.

Of course, many wizards have both. It's actually pretty rare to be mostly one or the other (which is why Caleb and Yussa are used for illustrative purposes). It's also pretty rare to have neither; Allura is the closest, and even she has her moments. Some degree of Wizard Hubris and Stupid do come packaged with the act of being a wizard.

Ludinus, obviously has both; he is, basically, building the Tower of Babel and he is, canonically, violating a list of safety protocols that rivals the length of a CVS receipt. And so: the hubris is "I can, should, must, and will blow up the moon that imprisons a god-eating abomination"; the stupid is sticking his fucking arm in the machine to power it.

[hellsitegenetics]

Can U blast this https://urbanshade.org/wiki/Documents/Sebastian_Solace pls

String identified: caTatcaaaaaataactGTtttatcagcatcttcagtctaaaattattatcttataCAagtataaaCCTaatccatttatacattcctaccatccttttattagtCAcatacatagataatatttgtccataAtggtctatattccagagtattGaaacggcaaccaactaaatatctatccagatctagacggttaCACCTcattagttacgtatacttatatctaacattatctgaaggtgatgctaaaattagaattaagaatAtgctactttatcgattgaagtaaatagtctaatctatctccaacaaaacttaaacacaaaacttatattgaggAtaaaaaaagattaatatagaaaattttataaccagatattatattaacttctTctctatttctatgcacatatGagattactTtagttatattattcactttatcattattaaaccaacttcaattcacataAtttgtattgaagtattatacattactatattaaaccatatactaagtctatttattacttattcaagacacaAtttaggttatagaatttttatagaaacagtgtttgctaacctcatagaaaatcctaccaatatactaaattctttaatctaaatattagtttggg

Closest match: Balaenoptera musculus genome assembly, ██████ ████████ genome assembly, Microcephalophis gracilis genome assembly, Carcharodon carcharias genome assembly, Bufoceratias wedli mutated genome assembly, Diretmus argenteus genome assembly, Gonodactylus smithii genome assembly, Homo sapiens genome assembly Common name: THAT FUCKING FISH THAT I HATE

(If this image source is shown to unauthorized personnel, you'll be BLASTed with my wizard beams)

[tifaisms]

RWBY and Trauma

So, i want to talk a little bit about RWBY. Specifically, with regards to its thematic storytelling. I think I made a post about this a few days ago but im gonna make a longer one here.

RWBY tackles a lot of themes in its storytelling. Death, grief, fear, trust, etc. to name a few.

One of the bigger themes is "keep moving forward", which was also Monty's motto. It is exemplified through the characters, both heroes and villains, and how they handle trauma and suffering.

The villains have pretty much all suffered. Salem, Cinder, Hazel, Mercury, Emerald, Roman, Neo, even Watts, all suffered. They experienced trauma, and hardship, and it shaped them.

The big difference between them and team RWBY is that they cannot move forward. Where team RWBY learn to grow and change. Salem couldn't accept loss, and grief, and instead turned those emotions to anger, same with Hazel, Adam, Neo, they all refused to move beyond their trauma. Yang put it pretty well in V8 - all this death and destruction because something bad happened to you once upon a time?

Trauma is inevitable. But the difference between the heroes and the villains is how their trauma impacts them going forward. And not just in a "the villains react negatively and the heroes don't" because Ruby reacted poorly, as did Blake, and Weiss in the early volumes. Qrow drinks to deal with it, and Ozpin let the betrayal he experienced define him.

The difference here is that the heroes try to grow and stop making their suffering everyone else's problem. You cannot use your trauma to justify lashing out at the world and other people. I think Kratos in God of War put it quite well - "Do not be sorry. Be better." You can't hurt people because you are traumatised, because all that does is traumatise everyone else. It isn't a justification for lashing out. Salem was traumatised, and she murdered so many people, and traumatised a bunch of other people, who will only continue that cycle.

It is worth noting that some of the antagonists do grow and change and become better. Ilia, Emerald, Hazel, and Neo are the big examples. They were all hurt by the world, and they turned to anger and violence. But Ilia is convinced by Blake that it isn't what she wants, and Blake is right. So Ilia turns away from that path. Hazel and Emerald both change and grow, and whilst Hazel gets the noble sacrifice, Emerald has to make amends for hurting people by being and doing better, and trying to make a positive impact on the world. And Neo had an entire arc culminating in her seeking revenge, and getting it, and realising that it was a hollow victory that left her with nothing but directionless grief and anger. When she had nothing to pursue, she was forced to confront the fact that she was just running from her actual feelings and lashing out. In the end, she chooses to go to the tree willingly, which is essentially willingly giving in to change and growth, because that's what the tree does.

The central conflict of the show is essentially that everyone has suffered, and experienced trauma. But it is the hero's ability and desire to grow beyond it and be better, so that they stop hurting the people around them, that sets them apart from the villains, who refuse to keep moving forward and instead just let their suffering infect everyone else, perpetuating an endless cycle of violence and conflict.