#if there's sufficient interest

[sassysnowperson]

Hades 2 (occasionally) Toxic Yuri Shipping Tier List

Anyone who knows the Hades series knows it's for The Bisexuals, but anyone who has played Hades 2 knows it Loves Women. And considering that love, I think we should talk about the F/F shipping options for our protagonist, with the characters we've seen this far.

(spoilers Abound! And I've avoided blood family members [probably, it's greek myth so who knows really] partially due to personal preference, partially because I didn't want to type that much and it was an easy cut)

I know. I know! I have trash rarepair shipping opinions, but lets get into it:

Nope

Melinoë/Nemesis - I KNOW. The F/F relationship set up to be the canon romance! The Hot Stronk Lady with thighs that could crush you! Size Difference! I KNOW. But Nemesis is just. No. Someone described her as petulant and that felt right. She's sulky, she's got her own issues, she's taking it out on you. It wouldn't be enemies to lovers, it'd be fucking that person you're in a group project with who hates group projects and decides to go off and do their own thing while actively sabotaging you even though you have a shared fucking grade and DON'T MAKE YOUR ISSUES MY PROBLEM TO FIX, NEMESIS.

Not for me, but I see it (aka the kink bracket)

Melinoë/Circe: While Circe's outward persona is a little too syrupy for me, I fully admit that sex with someone who can make you bigger or smaller (or an animal, though as far as we know Melinoë hasn't ticked her off that much) has some FAB kink potential. *chefkiss*

Melinoë/Hecate: Melinoë wants praise, Hecate wants her to stop thinking of her like a mother. Let's have sex about it! Also. Abs. I mean come on ABS.

Melinoë/Scylla: Tentacles. And you can't tell me Scylla doesn't want to have sex with (someone she thinks is) a groupie.

Cute

Melinoë/Echo: Echo deserves hot rebound sex, Melinoë could use a break after the grimness of the mourning fields. I definitely see this one as a FWB situation, heavy on the mutual benefit. And having sex with someone made out of stone is. it has potential.

Melinoë/Arachne: She got fucked over by the gods, now she gets to fuck a god! I don't think I have the right kinks to really get into the sex here, but I'll just say bondage and leave it at that. But I'm fascinated by the chemistry between them. Arachne in the game is adorable, but she's also a character that really highlights injustice, and breaks through some of Melinoë's naivete about the supposed "good"-ness of her Olympian relatives. She strikes me as someone who is Very Angry but has also gone to a lot of therapy about it, and actually has a pretty good handle on her values and is carefully choosing her actions in line with that. There's something interesting there.

Melinoë/Selene: To be totally honest, this one almost went in nope, but I liked the comedy of having Nemesis hanging out there by herself too much. I just don't see a lot of chemistry. But, thinking about why, I realize that Selene is very kind and supportive, and helpful, and a little distant. So is Melinoë. They'd both need to put in a lot of work to connect emotionally, instead of believing the things they do for each other are enough. And I think there's a very interesting story in that. Well done, Selene, you've earned your place in the cute bracket.

Hot

Melinoë/Dora: Dora's the most low-stakes friend Melinoë's got. She doesn't care if Mel saves the world, she just wants to hang out and chill. Mel desperately needs that energy in her life. This is, genuinely, the F/F ship I think would be best for Melinoë's long-term mental health. She needs to let go of the idea that she's only useful for the things she does, and she needs to know how to have fun. Also, ghost sex could be very hot, you know?

Melinoë/Medea: Despite what I said about Dora, this is the HOT bracket, not the healthy or good for you bracket. And evil witch that's on your side with a taste for vengeance and a titty window is HOT. Do I think it's good? No! Do I think that Medea can effortlessly give Melinoë five orgasms in a row and leave Melinoë so mindblown that she forgets she's an anxious perfectionist mess for five seconds? Yes! And then Medea can curse her enemies and send Melinoë on her way. Melinoë is pretty sure she should have some emotions about this but is too fucked out to manage any.

Melinoë/Eris: The trash ship that got me to write this whole bracket in the first place. Eris. Brat who REGULARLY SHOOTS ME WITH THE GUN SHE STOLE FROM MY BROTHER ERIS. Whyyyy do I have so many feelings about Eris??? Well, maybe because here's the enemies to lovers that actually feels earned. Melinoë is an anxious do-gooder who has been raised by people that both love her tremendously and have (accidentally) trained her to view her value primarily in her utility. Eris is the scapegoat youngest child who has ADHD in the sort of way that comes with Fuck You demand avoidance and is out on her own for the first time, making mistakes and happy in them. I think they should have a fantastically toxic and doomed fling now (the immortal equivalent of undergrand college student age) and then come back together in the immortal equivilant of their late thirties once Eris learns that personal satisfaction can come in ways that don't harm other people and Melinoë learns that her own joy is a thing worth striving for along with her other goals. They admit that they learned a lot from each other, laugh about how stupid they were when they were young, brunch just to "catch up", and then eight hours and nine orgasms later they admit they never really got over each other and decide to give it another shot. Do you see my vision? Do you see it???

(thanks to it'snowonder's Hades 2 All Characters Tier List for the rankings image)

[sevenines]

i saw this tweet and found it interesting for two reasons. one is that some people base how good cartoon network would be to toh by how it treated su, and despite the fact that su’s treatment by the network was considered poor at the time, now its thought to be exceptionally good in comparison to modern shows.

two is how exactly su got impacted by a limited budget. a common criticism is how characters like connie, peridot, and lapis are left out of missions. but balancing a lot of characters is not only hard but also costly (extra animation, extra voices—it’s been revealed that the show is limited to a set number of characters per episode otherwise they’re over budget). animation mistakes are not uncommon since retakes cost extra. the entire reason the original show got cut short was due to loss of funding!

[calypsolemon]

interesting commentary on why lloyd is "worthy" of power and responsibility in dragons rising

[fatehbaz]

About the entanglement of "science" and Empire. About geographic imaginaries. About how Empire appeals to and encourages children to participate in these scripts.

Was checking out this recent thing, from scavengedluxury's beloved series of posts looking at the archive of the Budapest Municipal Photography Company.

The caption reads: "Toys and board games, 1940."

And I think the text on the game-box in the back says something like "the whole world is yours", maybe?

(The use of appeals to science/progress in imperial narratives probably already well-known to many, especially for those familiar with Victorian era, Edwardian era, Gilded Age, early twentieth century, etc., in US and Europe.)

And was struck, because I had also recently gone looking through nemfrog's posts about the often-strange imagery of children's material in late nineteenth- and early twentieth-century US/Europe. And was disturbed/intrigued by this thing:

Caption here reads: "Game Board. Walter Mittelholzer's flight over Africa. [...] 1931. Commemorative game board map of Africa for a promotional game published for the N*stle Company, for tracking the trip of Walter Mittelholzer across Africa, the first pilot to fly a north-south route."

Hmm.

"Africa is for your consumption and pleasure! A special game celebrating German achievement, brought to you by the N*stle Company!"

1930s-era German national aspirations in Africa. A company which, in the preceding decade, had shifted focus to expand its cacao production (which would be dependent on tropical plantations). Adventure, excitement, knowledge, science, engineering prowess, etc. For kids!

Another, from a couple decades earlier, this time British.

Caption reads: "The "World's globe circler." A game board based on Nellie Bly's travels. 1890." At center, a trumpet, and a proclamation: "ALL RECORDS BROKEN".

Same year that the United States "closed the frontier" and conquered "the Wild West" (the massacre at Wounded Knee happened in December 1890). A couple years later, the US annexed Hawai'i; by decade's end, the US military was in both Cuba and the Philippines. The Scramble for Africa was taking place. At the time, Britain especially already had a culture of "travel writing" or "travel fiction" or whatever we want to call it, wherein domestic residents of the metropole back home could read about travel, tourism, expeditions, adventures, etc. on the peripheries of the Empire. Concurrent with the advent of popular novels, magazines, mass-market print media, etc. Intrepid explorers rescuing Indigenous peoples from their own backwardness. Many tales of exotic allure set in South Asia. Heroic white hunters taking down scary tigers. Elegant Englishwomen sipping tea in the shade of an umbrella, giggling at the elephants, the local customs, the strange sights. Orientalism, tropicality, othering.

I'd lately been looking at a lot of work on race/racism and imperative-of-empire in British scientific and pop-sci literature, especially involving South and Southeast Asia. (From scholars like Varun Sharma, Rohan Deb Roy, Ezra Rashkow, Jonathan Saha, Pratik Chakrabarti.) But I'd also lately been looking at Mashid Mayar's work, which I think closely suits this kinda thing with the board games. Some of her publications:

"From Tools to Toys: American Dissected Maps and Geographic Knowledge at the Turn of the Twentieth Century". In: Knowledge Landscapes North America, edited by Kloeckner et al., 2016.

"What on Earth! Slated Globes, School Geography and Imperial Pedagogy". European Journal of American Studies 16, number 3, Summer 2020.

Citizens and Rulers of the World: The American Child and the Cartographic Pedagogies of Empire, 2022.

Discussing her book, Mayar was interviewed by LA Review of Books in 2022. She says:

[Quote.] Growing up at the turn of the 20th century, for many American children, also meant learning to view the world through the lens of "home geography." [...] [T]hey inevitably responded to the transnational whims of an empire that had stretched its dominion across the globe [recent forays into Panama, Cuba, Hawai'i, the Philippines] [...]. [W]hite, well-to-do, literate American children [...] learned how to identify and imagine “homes” on the map of the world. [...] [T]he cognitive maps children developed, to which we have access through the scant archival records they left behind (i.e., geographical puzzles they designed and printed in juvenile periodicals) [...] mixed nativism and the logic of colonization with playful, appropriative scalar confusion, and an intimate, often unquestioned sense of belonging to the global expanse of an empire [...]. Dissected maps - that is, maps mounted on cardboard or wood and then cut into smaller pieces that children were to put back together - are a generative example of the ways imperial pedagogy [...] found its place outside formal education, in children's lives outside the classroom. [...] [W]ell before having been adopted as playthings in the United States, dissected maps had been designed to entertain and teach the children of King George III about the global spatial affairs of the British Empire. […] [J]uvenile periodicals of the time printed child-made geographical puzzles [...]. [I]t was their assumption that "(un)charted," non-American spaces (both inside and outside the national borders) sought legibility as potential homes, [...] and that, if they did not do so, they were bound to recede into ruin/"savagery," meaning that it would become the colonizers' responsibility/burden to "restore" them [...]. [E]mpires learn from and owe to childhood in their attempts at survival and growth over generations [...]. [These] "multigenerational power constellations" [...] survived, by making accessible pedagogical scripts that children of the white and wealthy could learn from and appropriate as times changed [...]. [End quote.] Source: Words of Mashid Mayar, as transcribed in an interviewed conducted and published by M. Buna. "Children's Maps of the American Empire: A Conversation with Mashid Mayar". LA Review of Books. 11 July 2022.

Some other stuff I was recently looking at, specifically about European (especially German) geographic imaginaries of globe-as-playground:

The Play World: Toys, Texts, and the Transatlantic German Childhood (Patricia Anne Simpson, 2020) /// "19th-Century Board Game Offers a Tour of the German Colonies" (Sarah Zabrodski, 2016) /// Advertising Empire: Race and Visual Culture in Imperial Germany (David Ciarlo, 2011) /// Learning Empire: Globalization and the German Quest for World Status, 1875-1919 (Erik Grimmer-Solem, 2019) /// “Ruling Africa: Science as Sovereignty in the German Colonial Empire and Its Aftermath” (Andrew Zimmerman. In: German Colonialism in a Global Age, 2014) /// "Exotic Education: Writing Empire for German Boys and Girls, 1884-1914". (Jeffrey Bowersox. In: German Colonialism and National Identity, 2017) /// Raising Germans in the Age of Empire: Youth and Colonial Culture, 1871-1914 (Jeff Bowersox, 2013) /// "[Translation:] (Educating Modernism: A Trade-Specific Portrait of the German Toy Industry in the Developing Mass-Market Society)" (Heike Hoffmann, PhD dissertation, Tubingen, 2000) /// Home and Harem: Nature, Gender, Empire, and the Cultures of Travel (Inderpal Grewal, 1996) /// "'Le rix d'Indochine' at the French Table: Representation of Food, Race and the Vietnamese in a Colonial-Era Board Game" (Elizabeth Collins, 2021) /// "The Beast in a Box: Playing with Empire in Early Nineteenth-Century Britain" (Romita Ray, 2006) /// Playing Oppression: The Legacy of Conquest and Empire in Colonialist Board Games (Mary Flanagan and Mikael Jakobsson, 2023)

[critrolesideblog]

Essek sat on the floor in the center of the Nein-Sided Tower laboratory. Papers crammed with arcane equations were spread about him in a semicircle, and the slate wall before him contained diagrams and notes copied from the fragile pages of a mostly-destroyed Aeorian spellbook.

"Oh, boy." Caleb had appeared in the doorway, returned from his quest of retrieving possible spell components from his bedroom. He was grinning with the sort of delight most typically seen on the faces of children who'd just received a gift. "Are we shifting into floor mode?"

"It seemed appropriate." Essek grinned back at him as he set the satchel of components down on a nearby table and waved his hands back and forth through the air excitedly. It was a habit Essek found endearing in the extreme. His enjoyment in puzzling over Caleb's subtler body language not-withstanding, his hand-waving was like a brightly-painted sign that said HAPPY and EXCITED.

He turned his focus back to the challenge in front of him as Caleb began carefully tip-toeing his way around the papers. The spell in question sent its target into a maze in a demiplane. Essek supposed it could have practical uses under the correct circumstances, but really it excited them simply because it was, well, fun. The demiplane foundations had been a wonderfully engaging brain teaser to solve, but the randomization of the maze was proving to be a much more complex bit of arcana. And complex arcana simply made more sense on the floor.

He was certain the fragment on the upper right corner of page twelve of the spellbook held the key to the puzzle. He copied it neatly onto a fresh piece of paper and considered it. It took some time before he noticed Caleb was watching him in his periphery rather than examining the equations on the ground, a soft smile on his face.

"What?"

"This thing you do when you're thinking hard," Caleb replied after a moment, tapping his fingers on his chin in demonstration. Essek's own fingers stuttered to a halt. He had long ago trained his hands to find other, less-obtrusive outlets for their energy when not in the comfort of his own home, but this time he had not caught himself. Before he could apologize, however, Caleb continued. "It … It's cute." There was a hint of bashfulness to the way he turned his head back towards the papers on the ground that, combined with the lingering boyish excitement, made him look as young as he was.

"Cute?" Asked Essek, once his senses returned to him. "I do not think I have been called cute in a hundred years, if that."

"I find that hard to believe. We were calling you 'hot boi' within an hour of meeting you."

"Well, 'hot,' certainly. Handsome. Sexy, perhaps." This earned him a grin from Caleb, and he tapped his fingers against his chin as he thought it over. "Hmm, not cute, though, no. At least, not to my face."

"I will have to add being the first to do so to my list of accomplishments."

Both grinning, they turned their focus back to the puzzle at hand. They settled into a comfortable silence broken only by the tapping of fingers and the scratching of quill against paper, until a solution struck Essek like a lightning bolt.

"We need to apply Petjyre's Possibility Theorem!"

Caleb was already in motion reaching for the nearest piece of chalk. "Ja, ja, and we can apply Wysaric's rune to stabilize the containment field."

And off they went.

[cerullos]

watching my favorite lesbian tragedy

[yoihino]

Shout out to Wakfu for being one of the only series where a character's skin actually turns darker as the show goes on (he gets lost in the dessert and gains a permanent tan for the rest of the season and until the end of the show)

[odessa-castle]

I'm bouncing around a larger post about Nishiki and the mortifying ordeal of being known, but in the meantime I'm thinking about Nishiki and Kiryu and how the clothes make (or don't make) the man. Like, beyond my visceral horror that Kiryu begged Nishiki to pick out a safe and boring suit for him in Y0 and then said he was envisioning something purple with gold stripes.

I'm thinking about Nishiki's incredible sensitivity to image and his need to control how he's perceived. I'm thinking about Kiryu's inability to let go of the past. I'm thinking about how KIryu dresses like who he thinks he is, and Nishiki dresses like who he thinks he wants to be.

There's some interesting incidental dialogue between Nishiki and Kiryu in Y0 while they're en route to the men's suit store. I wish it wasn't so easy to miss, because there's a lot to unpack here. (I'm just transcribing the English in-game subtitles here; I don't speak Japanese so I have no idea how loose vs. direct the localization is in this part.)

NISHIKI: …now that I think about it, you've been dressing like an old man since we were kids. KIRYU: Have I? NISHIKI: Yeah. The few times we got to pick our clothes, it was always like, "you're choosing THAT?" NISHIKI: I wouldn't say you're a plain guy…You'd pick shirts with weird prints though. KIRYU: Guess I forgot all that. It's weirder to me that you haven't. NISHIKI: Well, confession time. You're why I started caring about fashion. I swore I'd never go out dressed like you. KIRYU: Come on, I'm not THAT bad. [we have already discussed why kiryu is, in fact, that bad.] NISHIKI: [laughing] Aww, did I hurt your feelings? NISHIKI: Well, this time you've got me with you. I'll see my bro gets taken care of. KIRYU: Heh. What an honor. NISHIKI: Leave it to me.

Nishiki doesn't bring up Sunflower Orphanage much; when he does share memories of his childhood, those memories are kind of painful (see: "do orphans not get to dream?"). Kiryu's surprised that Nishiki remembers how they dressed as kids, but it makes sense that wearing a limited selection of hand-me-downs stuck with Nishiki so strongly. His clothes announced his poverty, and they weren't even his -- he had to share them with the other orphans, so what he wore showed he belonged to yet another stigmatized group. And I'm sure people picked up on those visual signals, especially other kids. Kids can be vicious, and appearance is an easy and immediate target! We don't know for sure how young Nishiki interacted with his peers and teachers, but given what the Morning Glory kids go through in Y3 (and given, like, everything about Nishiki), he probably didn't have a great time.

Kiryu frames his childhood as poor but loving, and places much more emphasis on the latter. There might be some rose-colored glasses at work there -- let's look at the flashback where Kazama tries (and fails) to violently dissuade Kiryu and Nishiki from joining the yakuza.

KIRYU: I owe you everything, but this isn’t about that. [...] We’ve looked up to you for all this time. Your car. Your confidence… The way everybody bows to you. We idolized you. I want that life, too. Is that so wrong!?

Nishiki doesn't really speak in this flashback, but like, Kiryu uses "we" enough for us to draw some obvious conclusions about Nishiki's own motivations. That being said, I don't think Kiryu's being dishonest or disingenuous when he describes his childhood as happy, and himself as well-loved. He's not ashamed of his upbringing, and he doesn't hide where he came from. Nishiki seems to have the inverse view. It's not that he doesn't love (at least some of) the people he grew up with, but what comes up first for him is what he didn't have. He didn't have money. He didn't have respect. He didn't have a cure for his little sister. He didn't have a lot of choice, right down to the clothes he wore.

(There's a whole other essay here about why Kiryu's and Nishiki's perspectives diverge on this, but I'm trying to limit the scope of this post. Suffice to say that, while I don't think game canon gives a timeline, I do think Nishiki was a little older when his parents were killed -- old enough that he actually remembers them, at least.)

The same mindset fuels Nishiki's interest in fashion. Yeah, part of it is that he's ribbing Kiryu, but I think it goes deeper than Kiryu wearing ugly shirts. Nishiki doesn't want people to look at him and see what's missing. Fashion isn't a means of personal expression for him, really. It's a message. It's the interplay of knowledge and resources and presentation: knowing what clothes read as successful and trendy and expensive, being able to afford those things, and convincing people that your successful important outfit makes you a successful important person. And he's not wrong about the social dimensions of fashion.

NISHIKI: Try sporting a suit that runs 500 grand for once. Trust me, you’ll see the world in a whole new light. KIRYU: Fashion’s not my thing. Besides, Kazama-san never wore flashy clothes. NISHIKI: You do realize he’s the family captain, right? Number two in the whole Dojima operation? You get to that level, you can wear whatever you damn well please. But for the rest of us, “flashy” is part of the business. KIRYU: So that fancy new car you bought was just “business”. NISHIKI: Yeah, and that fancy lighter of mine, too. Which you still haven’t given back. KIRYU: You want to play the rich guy, quit being so stingy. NISHIKI: But you get what I’m saying, right? People see the expensive car, the designer jacket, and the gleam of that little Dojima pin, they pay attention. A yakuza’s only as good as his image. [...] Take your buddy today. These squeaky-clean idiots, borrowing money just to blow on tits and booze… Nobody in this town gives a crap about substance. What you see is what you get.

That's our first take on one of the major themes of the game: what does it mean to be yakuza? Again, there is truth to what Nishiki's saying here, particularly in terms of the ethos of the eighties. I'm not an expert on the bubble era, but the worldbuilding in the game speaks for itself. People hail taxis with 10,000-yen bills. You punch money out of punks during random street battles. Nishiki keeps a personal bottle of high-end booze at a bar he's visited twice, mostly because he "can’t stand being taken for a bum." The act of spending is important, not what you're spending it on.

Nishiki's outfit in Y0 is perfectly suited (heh) to that outlook. And look, I might be inviting controversy here, but in context, I think it's a werq. Yes, it's loud. But the silhouette -- squared shoulders, single breasted, thinner peaked lapel -- is right on trend for the time period, and it fits him well. The colors look good on him. The bold pattern (no, it's not animal print) under the solid maroon is a risk, but he pulls it off. And excess aside, he knows when to pull back on the accessories. It's bright and confident and memorable, and boy would Nishiki like to be all of those things.

Also -- and importantly -- Kiryu would never go out dressed like that. Because we can't talk about Nishiki and Kiryu without talking about Nishiki's Mt. Fuji-sized inferiority complex. Mastering image doesn't just make Nishiki stand out; it makes him stand out from Kiryu. Let's go back to the beginning of the game.

NISHIKI: I’ll admit, though, you’re finally starting to look the part. You make a pretty convincing yakuza. You’re done with collections today, right? KIRYU: Yeah. NISHIKI: Good. That should put Kazama-san’s mind at ease a bit. KIRYU: Heh, dunno about that. But he always knew all I could do is fight. You’re the one who’s good at the dance.

Nishiki then calls attention to the "rags" that Kiryu's wearing, which...is not an unfair assessment. (TUCK IN YOUR SHIRT, KIRYU. HEM YOUR PANTS.) As the two of them walk around Kamurocho, Nishiki offers Kiryu plenty of hot tips, from meeting girls to making big bucks to cozying up to the brass. But even when Nishiki's opining on his area of expertise, there's a competitive edge to it. "You asking me to pick out clothes for you means you admit you have terrible taste," he tells Kiryu on the way to the suit shop. Kiryu tells him to shut up, but there's no actual hurt behind it. Kiryu doesn't really care that his taste in clothes sucks. Fashion isn't important to him. Most of the things Nishiki knows so much about don't really matter to Kiryu. And that makes Nishiki feel more insecure! Because if Kiryu rolls out of bed looking like a yakuza, if Nishiki's image counseling sessions aren't helpful or meaningful, if Kiryu can skip the dance and get to the top on the strength of his fists and convictions, then who cares about Nishiki's 500 grand suit or his hourlong hair care routine? If image isn't what makes a yakuza, what does that make Nishiki?

At the end of Chapter 6, Nishiki tries to look out for Kiryu again -- this time, by granting him a merciful death before the Dojima Family drags him to the Hole. It's one of my favorite scenes in the game. Nishiki's crying too hard to aim the gun properly; Kiryu tells him to man up and shoot. Finally, Nishiki collapses.

NISHIKI: Can’t do it… How could I shoot you!? Without you, I’ll always be nothing. Can’t make it as a yakuza… No. I wouldn’t even still be alive now if I didn’t have you beside me! I’m just… If you’re not with me, I’m useless! Nothing means anything!

Mastering image hasn't granted Nishiki anything of substance. At the end of the day, Nishiki's playing dress-up, and he knows it.

And I'm almost certainly getting into overthinking-this territory now (if I haven't gotten there already), but I kind of like the spin this puts on Nishiki ripping his expensive suit off in Chapter 14 when he decides to fight the Dojima Family at Kiryu's side. Like yes, ripping off your outer layers to get at the naked (so to speak) truth -- your irezumi, and what it represents -- is just Yakuza Storytelling 101. It's decisive, it's kind of dumb, it's great, it gets me hyped every time. But I like that Nishiki's honest answer to "what does it mean to be a yakuza?" isn't about looking the part. I am genuinely trying not to end this paragraph by saying that Nishiki must become like a dragon, but like...you get where I'm going with this.

Of course, Nishiki's back to playing dress-up in Y1/Kiwami. I'm not the first to call the Patriarch Nishikiyama look a glow-down (though I like the patterned white tie). Like, fashion-conscious Nishiki would look good in a Hedi Slimane/Tom Ford-esque skinny black suit. But he picks a silhouette you'd expect to see on a much older man, torso-swallowing pants and all. The slicked-back hair doesn't help. He's just so transparently trying to look bigger and broader and older, and he doesn't pull it off. Big Bad Patriarch isn't a good look for him, in any sense of the phrase.

A final thought: Kiryu's clothes, and Nishiki's commentary on them, are the subject of their first conversation in Y0 -- and of their last. Kiryu's costume progression in Y0 is a pretty obvious commentary on his journey, to the point where Kiryu and Nishiki explicitly call attention to the color connotations in their final exchange. As a Dojima grunt, he wears black, and it doesn't look good on him because "brutish thug who keeps his head down and does what he's told" isn't a role he's comfortable with. He wears white when he works in real estate, but the change in color isn't enough to sell anyone on his transformation into a civilian. Although it's a little rich for Oda "Red Clown Shoes" Jun to chide someone for not wearing a proper suit. At the end of the game, Kiryu's in his classic grey suit, and well, the game spells it out:

KIRYU: I’m not feeling black or white these days. This is where I’m at right now. I chose it myself. I’m making it a fresh start. NISHIKI: Fine, fine. See if I care! Wear it the rest of your life!

Nishiki, dismayed, tells Kiryu that the grey suit already looks dated, but for Kiryu, "fresh start" doesn't mean "on trend". His image might be out of step with how other yakuza view themselves, or want to be seen, but if he's always going to look like a yakuza, he might as well stake his claim on what being a yakuza means. Still, it's telling that, even as a young man, Kiryu looks like a throwback to an earlier era. As the series progresses, the games hammer this home more and more. How many antagonists tell Kiryu that he's out of touch with the modern world, that he represents a version of the yakuza that no longer exists, that it's time for him to make way for the next generation?

"Wear it the rest of your life!" is a funny little in-joke, yeah, but...it's a little sad when you think about it, isn't it? Kiryu gets new outfits from Y3 on -- and in every game, he ultimately puts the suit back on and heads to Kamurocho. It's exactly of a piece with how Kiryu views being yakuza. We, and he, can debate the exact extent of his retirement from the Tojo Clan's affairs, but the yakuza isn't a career for Kiryu, it's a set of beliefs he carries with him. He wears the suit the same way he wears the dragon on his back: as an indelible part of his self-image.

[uncanny-tranny]

"The average person will not care if trans people exist in the same spaces as them," and, "some of the most powerful people are of the opinion that trans people must be separated from society, thus, it's important to not stop your allyship with 'I don't care'" are both true.

It is good that so many cis people don't care enough about who is trans and who isn't, that isn't solely what will save us. It's important to stop people in power from affecting the lives of trans people, from preventing them from pushing us out of every space and opportunity they can.

[rawliverandgoronspice]

I don't get why people hate the timeline so much, its not like you can't pretty much completely ignore it when you play the games. The only time it even approaches mattering to the story is when there is an explicit sequel like botw and totk or zelda and zelda 2

Hey sorry your ask got lost in the sauce of my broken tumblr, but: yeah!

I mean, I get why in some sense. It's been a heated point of debate and I think some people understandably resent the space it has taken not only in fandom discourse, but in how people began to understand the game and its narrative aesthetic choices. There is such a thing as over-rationalizing everything to hard logic, and sometimes it's just not the fandom for that --especially when you begin to forget it's all just fan theory and start to forget what the games are supposed to be like and evoke beyond just strict facts displayed in a linear way.

What I think bugs me with TotK in particular is that it both evokes and relies on continuity and the idea of a timeline, of archeology, of history itself, while being so loose and vacant with it that it both is doing Timeline Shit while also completely failing to understand why some parts of the fandom were invested in Timeline Shit to begin with.

But that's just my two cents of course!

[blackpilljesus]

There's a strong link between the way moids treat cattle/animals and the way they treat women. Believing they're here for moids to use as they see fit, keeping them in enclosures to extract from them while claiming to protect them when they've forced them to be dependent on moids, forcing them to reproduce so they can have more fodder to exploit, and domesticating them.

Saw a video of torture devices that were used on women that were anything but quiet docile submissive slaves. Considering this and things like the witch trials, authorities turning a blind eye most times when moids kill women but imprisoning women who fight back against abusers, moids impregnating -raping- girls whose bodies hadn't developed yet (which could be a contributing factor to why we have a huge gap inbetween our physical strength) moids seeking younger women & girls to reproduce with because these women wont have reached a level of self actualisation to realise how pathetic the xy is, etc. I believe that moids have -attempted to- domesticate women through femicide as well as social punishments & torture.

Emphasis on "attempt" because I dont think women are naturally the empathetic emotionally observant yet mindless mommy bangmaids moids want them to be. There are a few far gone but most just act in a manner that pleases maIes to survive. The difference in womens behaviour when there's maIes around vs when there's not is the biggest telltale sign of this.

Women who weren't useful to maIe supremacy were killed off or brutalised into conforming. Women who conformed went on to reproduce.

This reddit post from the (rip) blackpillfeminism sub explains this concept so well:

This is all something that explains our environment. The war has been fought & the damage has been done. What we see/live today are consequences of the aforementioned. Moids have taken everything from women they are literal terrorists they wont change & cant be forgiven idgaf. Most we can do is save possible lives going through this by refusing to add to it.

Side note; I'm not saying this to absolve anybody of responsibility. In the end moids choose to be evil & women choose to love n worship them so long as other women to be shields are around. My point is about how maIe terrorism has shaped womens behaviour/being as a whole. Those who are separatists/blackpilled wouldn't reproduce so our ideologies & systems die when we die. Sure there's outliers of every batch so I dont think the concept entirely will die but it's maIe supremacy that has systems guaranteeing its ingrained continuation.

[that-disabled-princess]

Happy birthday, Runaan! I hope being turned into a cupcake is at least slightly better than being trapped in a coin.

[ID: Three photos from different angles of a crochet chocolate cupcake. The frosting is made to resemble the top half of Runaan's head. He has black safety eyes, tan skin, white hair in three ponytails, dark purple horns, and light purple horizontal markings across his nose and cheeks. His right horn has a silver horn cuff. His left horn is much smaller than the right and doesn't have a horn cuff. In the first photo, there is a lit candle on top of the cupcake. /end ID]

[asurrogateblog]

Do you rec any pink floyd books? i want to know about all the weird homosexual stuff roger did in his dictator era

hello!

I absolutely have recommendations, although I'd say that for the most part, roger was (unfortunately) far too distracted by starring in his own personal high-concept psychological horror movie to get up to much homosexual behavior. maybe that would've fixed him

I have two main recs:

Inside Out: A Personal History of Pink Floyd by Nick Mason

Nick's book is literally laugh-out-loud funny. He has such a dry sense of humor about all of it, and that makes it such an enjoyable read. Obviously it's a little biased, since he is and was roger's best friend, but he never holds back from making fun of him. It's great

Comfortably Numb: The Inside Story of Pink Floyd by Mark Blake

This book is a little more objective, and is a more official history. It has a ton of great anecdotes that nick doesn't include, and brings up topics that the rest of the band has avoided discussing (i.e., the coke bender of '87). It's really well-written and informative

I have pdfs of both of these, so if you don't want to buy physical copies, let me know if you want them!

[blood-orange-juice]

I am unpleasantly surprised by the lack of Ningguang x Lumine fanfiction. 29 fics on ao3 (Wriowinne has 24, to help you understand the scale of the disaster).

I think the fandom is sleeping on these two.

[corviiids]

complaining

[robo-dino-puppy]

horizon forbidden west | sheerside mountains 11/?