#it's a metaphor for capitalism okay

[ipsen]

How about Quinx Squad and Haise in the Vtuber au???

you got it champ

(for the purposes of the invisible timeline in my brain, haise and kaneki are separate characters!)

haise:

leader of V’s second gen set of vtubers, The Quinxes, similar to how arima leads The Quinques (Squad 0)

the most popular of The Quinques that wasn't arima, so V decided to try and give him his own spinoff group to try and wring out some extra cash.

they have yet to have a good turnout.

haise still has other values though; he doubles as a TA for the quinxes, who are all college students at a V-run university. his reports on the place regarding them and the university itself are used by V to keep tabs on certain individuals.

his ignorance and earnestness are exploited, much to arima's disdain (but what can he do about it, right?), but it is simultaneously a thorn in V's side, as he shows mercy even to people who hurt him. a double-edged sword.

he doesn't watch eto's streams; the way she so easily advocates for violence against people she doesn't personally know unsettles him

mutsuki

similar backstory as canon, trying desperately to hide it

a member of V, in exchange for the truth about the death of his family not condemning him. was selected for the quinx project based on his demeanor and someone wanted to see what this new "representation" fad was all about.

he has the lowest viewership/subscribers of the quinxes, but he technically makes the bar in regards to numbers. plus, the other quinxes get along with him, and haise defends him to the death so he is allowed to stay

V has been trying to get him into their assassin department. he hasn't accepted or refused, but the bar for viewers is getting higher...

urie

art student with a minor in history

has a vtuber model, but he travels the most out of the quinxes and so becomes more of a vlogger instead. it's surprisingly popular, so V doesn't complain.

his dad died for one of V's underground wars. he swears vengeance on the mafia that got them killed. this is why V lets him travel around as much as they do; his revenge is easily manipulated.

does independent investigations in his spare time to try and locate his father's killer. reports any information he finds via anonymous tips to the police, which are then cross-referenced with V's agents

uses his share of sub money and dono's in order to fund trips.

saiko

candy-aesthetic vtuber as a side gig when not slacking off in college. she reviews anime and plays video games, and part of it goes into funding her sub for her main mmo.

she's in school on a scholarship because her mother forced her to go to "finally make something of herself". saiko's not very happy about it, but at least she gets free room and board away from all that.

she likes vtubing, but she doesn't actually have control of her share of the money; that goes to her mother.

raid shadow legends meme (ironic)

most popular of the quinxes for her energy and voice. it's gratifying but a little creepy to her.

shirazu

doesn't go to college, but hangs out in haise's office sometimes.

his sister's cancer treatment is funded by V, and though he's not exactly thrilled about being a vtuber, anything to help haru, right?

raid shadow legends meme (unironic)

he gets along with saiko and mutsuki, but his relationship with urie is rocky (mostly bc urie gets to travel the world, something shirazu is subconsciously jealous of as someone tethered to his sister)

posts pictures of his sick motorbike on social media

his personal account, which is super far removed from his vtuber one, has a gofundme for haru

---

”what about the second gen quinxes” workin on it

Pretty high order! But I did it!! Thanks for the request!

(as usual, accepting more)

[foxyatlas]

Writing job applications = fellatio practice. No I will not be explaining myself.

[imaginarylungfish]

something about Deku not seeing himself as worthy when Quirkless and only viewing himself worthy after getting OFA and being so scared to give up his prized Quirk as a metaphor for me not accepting myself as worthy when chronically ill and only viewing myself worthy after recovering and being so scared to return to illness in the future

[antisolanum]

Nobody appreciates the movie In Time enough

[comicaurora]

Nick Bostrom's "Fable of the Dragon Tyrant," which CGP Grey adapted into a video, left me feeling unsatisfied, and I got a certain unsettling vibe about the entire story.

I don't think it was the dragon's lack of agency, that just makes it an unusually traditional Western dragon.

You're a master at picking narratives apart to figure out why they don't satisfy. Do you have any insight, opinions, or cracktheories about why this story might be unsatisfying to some folks?

Probably because it's a very unsubtle metaphor casting the dragon as death, and death itself as a cruel, malevolent beast devouring and subjugating humanity for its own whims. This is very much intentional on the part of the writer. The paradigm of the story is that the dragon is huge, terrifying and incalculably cruel, and everyone lives their lives in the shadow of its terror or are just too deluded to recognize that it's COMING TO EAT THEM OH GOD

Intrinsic in this metaphorical structure is the idea that the dragon, aka death, is an artificial imposition on the natural order, and if we just got rid of the big ol' mean dragon, everybody would live forever and be fine. Accepting that the dragon exists is framed as a sign of desperation or even cowardice. This is an understandable read when facing a monster that only SEEMS timeless and inevitable (like LeGuin's thoughts comparing the current state of capitalism to the historical acceptance of the divine right of kings) but becomes bizarre when applied to something as legitimately factual as biological death. It's not even framed as unnatural death - the dragon specifically gets sent mostly old people. The metaphor is very explicitly about trying to frame death from old age as a big horrible dragon that everyone only thinks is unstoppable.

I get what they're going for here. The purpose of this story is to make the audience question if death is a true inevitability or if it can be fought, staved off, even defeated. But in the process, the story frames the systems of the world that have formed around death - doctors, pallative caregivers, will executors - as macabre gears in the machine dedicated to the genocidal cruelty of feeding the dragon.

In the dragon tyrant framing, these people only exist to make the rest of the world more okay with flinging themselves down the gullet of the dragon and to streamline the process by which everybody dies. By casting death as the enemy, everybody whose jobs are based on the compassionate act of comforting and aiding people suffering from loss become reframed as collaborators with the incalculably evil enemy, and everyone who's ever accepted their own death becomes a loser. This is a deeply cruel way to frame people who dedicate their lives to helping people through one of the hardest and most tragic aspects of life.

Damn, that's fucked up. Look at this eloquent idiot, explaining why we should be okay with letting a big dragon eat us because it's the natural order. Clearly he is wrong and it's not debasing at all to want to stay alive and not get eaten by a big dragon. This is a fallacy of false analogy: death is like being eaten by a big mean dragon. All his arguments look ridiculous when applied to getting eaten by a big mean dragon, therefore they must be ridiculous when applied to dying when your organs start failing because they've been running nonstop for nine decades and biological systems accumulate wear and tear like literally everything else in the universe.

Entropy increases; systems break down, from DNA to planetary orbits. Successfully shoot down the dragon and you'll end up outliving everything you thought was eternal, even the stars. The goal of immortality isn't really to personally witness the sun exploding, it's to have more good time. It's to make your twenties last into your sixties. It's to keep your back painless and your vision good for longer. We want to postpone the story's end as long as we can, and so we extrapolate "more time" into "I never want to die, I want to be young and healthy and hot forever" even though "forever" doesn't exist. To look to "forever" is to understand that your culture and language will drift, your home will eventually crumble out from under you, your shoreline will erode and change, your climate will transform, your tectonic plate will subduct or shatter, your moon's orbit will slow and tidally lock, and eventually your sun will start burning helium and cook your planet. You don't want "forever" to look like that, you want it to look like your twenties felt. But at that point you aren't fighting the Big Mean Dragon That Eats People, you're fighting the ocean and the biosphere and the earth and the stars, trying to hold them in place against entropy so your immortality can have an equally immortal world to enjoy it in. No, this argument doesn't want true immortality, it wants their twenties to last longer. But it can't admit that.

Back to the story. There's a condescending and spiteful tone in the narration. Death (being eaten by a big mean dragon) is OBVIOUSLY awful and we should all be fighting as hard as we can to make it stop happening. Even a child can see it.

The story even helpfully adds a lengthy moral explanation at the end, in case you didn't understand that the dragon was the inevitability of death and we should dedicate all our resources to figuring out how to make a big rocket and shoot it.

"Nobody should ever die" is generally understood to be a childish dream with extremely obvious and unpleasant consequences that would turn its realization into an unending and waking nightmare, and once out of the confines of easy metaphor, the story tries to act like that wasn't what it was just saying. But its more realistic proposed substitute, "It would be great if people could live longer and have more healthy, youthful years in them," is probably the world's most uncontroversial statement. This story frames it like a bold revelation that the world will attempt to beat down and crush out of a misguided acceptance that Big Mean Dragon comes for us all. It's a morality fable whose conclusion is "I hope science improves the length and quality of our lives, potentially even to the point where we never have to die at all," which has been the number one goal of huge swaths of science since the invention of agriculture. This is not a bold or controversial take. It's just being written as though we're all looking at the naked emperor and pretending he's wearing pants.

[is-the-thing-actually-jewish]

are Hanukkah sweaters a Jewish thing? i've seen them before but 90% of the time, they're people trying to make christmas displays more "inclusive." so are they legit Jewish or no?

Rating: Capitalism.

Hanukkah sweaters are a prime example of what I previously characterized as "capitalism's tendency to tepidly repackage any Christmas symbols in literally or metaphorically blue-and-silver wrapping paper to appeal to a Jewish market." As the "ugly sweater" phenomenon has grown more popular, retailers saw an excellent opportunity to widen their market by having "Hanukkah" versions.

That said, there's a wide range of Hanukkah sweaters out there, some of which are more problematic than others. Ones that are literally just recolored Christmas designs with a couple Jewish-y things tacked on, like this "Shalom Gnome" design or this "Oy to the World" design are more problematic than enthusiastically tacky designed-from-the-beginning-to-be-Jewish ones. The former says "Hanukkah! It's Christmas for Jews! Jews! They're just Christians without Santa or Jesus!" while the latter says, "Oh, you're going to walk around with an eyesore sweater full of tinsel and actual little jingle bells as though anyone could possibly forget that it's Christmas season in this country? I see you, I see you, and I'm just going to casually wear this sweater with a menorah and candles that actually light up because Judaism rocks, that's why."

Then there's a whole genre of Hanukkah sweaters with, let's say, more adult content, and people's mileage may greatly vary on how they feel about them. Personally, I find the ones riffing off more secular aspects of the holiday to be largely harmless, such as this "You Spin Me Right Round, Baby" design with dreidels. On the other hand, while some may find it amusingly subversive, I find ones making fun of the religious part of the holiday (i.e., the actual hanukkiah/menorah) to be in poor taste at best. There are a plethora of "let's get lit" Hanukkah sweaters like this one that genuinely annoy me. (For one thing, Hanukkah isn't even a drinking holiday! If you want a drinking holiday, we actually have those but Hanukkah isn't it!) Ones like this that make it into a creepy pick-up line actively disgust me. And this "gelt digger" one is genuinely antisemetic, given the stereotypes about Jews and money.

I would be remiss not to mention what I personally think is the best of the Hanukkah sweater subgenres: animal puns. My fiance owns this Meowzel Tov sweater with a truly garish design. What does "mazel tov" have to do with Hanukkah, you may ask? Absolutely nothing, but hey, cats! Can't be upset about Jewish cats! Similarly, llamas? Not Jewish at all! But Happy Llamakka? Okay, cute pun, cute graphic, I'm reluctantly charmed. Your Menorasaurus would not be kosher for actual use as the candles are all different heights, but you know what, that actually makes me smile.

So, basically: If you get joy out of being loudly Jewish during a season where everything is yelling about Christianity all the time, go ahead and wear your ridiculous ugly sweater to the company party. Just take a close look at the design to make sure it's not actually full of Christmas trees, not pretending something extremely Christmas is Jewish because it's a pun now, doesn't use Charedi men as a cartoon stand-in for anyone Jewish, and doesn't makes being Jewish primarily about not being Christian.

In sum: RIP my browser history, I'm going to be getting such terrible ads for the next several weeks. Click the links at your own risk.

~Mod Leora

[open-sketchbook]

... okay that post going around about the wind rises is fucking killing me. no, the movie doesn't go to nazi germany to admire nazi engineering. the movie goes to nazi germany, portrayed as a nightmare where the gestapo chases people through the streets, a nightmare the myopic main characters are blind to because they get distracted by the shiny planes.

there, they admire the work of hugo junkers, who their company made a deal with eight years prior. the man who will, a year later, lose his airplane business because he refused to build warplanes for the nazis, who takes the principled stand that Jiro fails to. who sees the same visions Jiro does and has the courage to say no.

the film is not fucking subtle about how germany and japan are both lurching toward a monumentally monstrous and stupid thing, a thing that Jiro just kind of ignores because he's infatuated with his art, with his planes. this is, you know, the central theme of the movie, which sees the man neglect his dying wife to draft more blueprints?!?

no, the movie does not look at the screen and go "this is a bad thing" because its not a movie for fucking four year olds, but if you think the movie ending with a character standing in a nightmare hellscape of all his broken dreams, his wife dead and country in ruins, going "yeah but we built a nice airplane" isn't a statement about that fucking guy, you've very much missed the point.

and look, the wind rises is not even, really, about history. the film is a metaphor for what it feels like to dedicate yourself to making art under capitalism. it's about how Miyazaki feels about his legacy. it's about dedicating yourself to your craft at the eve of destruction (be it World War Two or climate change driven by capitalist consumption) and knowing that the beautiful thing you are making is contributing to it. it's about the nightmare of knowing you can't control your art after you release it, disgust knowing what you make will be used to advance causes you despise.

its a complex and raw movie, a meditation on despair and pain and pride. there's conversations to be had about how responsible it is as a film, but you are not having that conversation because you are incapable of anything more that the barest surface read.

[inkskinned]

something that stuck with me once, way back in middle school when i was still learning how to write - my teacher said "writing shock and tragedy is easy, it's humor that's the hardest."

i have been up and down the halls of academia. i have the fancy degree and the experience in publishing. i think i paved most of my own road with the little bricks of sorrow i had stored inside of me. i know i did it mostly with works that are blisteringly lonely. i know why we write like that. it's lifesaving.

but yeah, i mean. i also know how much people think that "sad" media is the same thing as "good" media. our human desire to connect is so hard-pressed that we immediately latch onto any broken themes. the bullied kids and the tales of inspiration. people keep saying things like "glass onion" and "everything everywhere" weren't actually good. because, you know, they're. happy. or happy-ish. happy enough. and we only value art if it's grimdark-adjacent.

do you know - people still consistently whine at me that my writing would be so good if i just capitalized things. i used to flinch. i get kind of a weird, vindictive little rush these days - i get to say thank you for the comment! i have chronic pain and this is how i conserve my hands so i can write more during the day :) grammar isn't real anyway! and now they're trapped in the room with me, you know? i get to pull out my map and show them how grammar is not the same thing as good writing.

writers have this thing. we scratch at our insides, constantly, prying our lives apart into splinters. prying the splinters apart into atoms. when we combust something into poetry, we control it. it cannot hurt us if it exists outside of us rather than burning a hole through the bottom of our lungs. it's not a wonder to me that so much of what i make comes out like a death gasp. i spent a long time at the bottom. i keep going back, too. when you're down there for so long, the only thing you can exhale is fumes.

but humor is hard. humor needs timing; which i can't promise in a paragraph. i can kind-of force it through careful spacing, but i have no idea how fast you're reading these things. humor needs a somewhat awareness of your audience, when really - anybody could be looking. humor needs us to understand what the joke is, why it's a joke, and to think - ha! that is funny. in tragedy, everyone understands the metaphor of a kicked puppy. in humor, you need to introduce them to the concept of a dog.

and forget about positivity. forget about anything not made for adults explicitly. every time i see a well-made children's media piece, i feel fucking horrible for the creators. most of the time, people see children's media as being sort of "not worth" applause, even though i'm pretty sure they have to work twice as hard. i have no idea how hard it must be to not be able to have your character just say. "well, fuck." something about a message of peace or friendship or caring - for some reason, that makes the media not for adults. like, okay. i'm pretty sure my father actually, out of all of us, could use a good book on how to control his temper and talk about his feelings.

but whatever. i write a short story about my ocd, and how it's fucking killing me. it gets an award. it gets published. i write a short story about my ocd, and how i'm overcoming it, and how my days are getting lighter and starting to flourish. i keep getting ghosted. no response. it just is lacking... something.

is this it, forever? you can be an artist, okay. but the trade off is that the things you make - if they're happy? if they're joyful? people will say it's stupid and pandering. you bite your nails off. you file your teeth. you hear something inside of you breaking.

the other day in a writing group, someone i'd thought of as a friend said: "you write so much better these days! i love what you make when you'd rather be dead."

[wokewerewolfagainstcapitalism]

I binged the entirety of Silt Verses in about a week and I must scream.

Because YOU DON'T UNDERSTAND, Faulkner isn't the worst of them. He is just happening on screen.

The things Carpenter did for the parish, the way she carries herself, the way she's easily the most experienced killer in this story - Faulkner's body count is like. Noob numbers.

(Glottage doesn't count)

Hayward! Was a cop! A COP in the torture and sacrifice people the state doesn't like capitalist hellscape.

Paige--

Okay, Paige just handed out cocoa and asked her coworkers "are you okay" after mass layoff sacrifice and the left work, so she's an angel, never did anything wrong in her life, victims of her god absolutely had it coming.

Anyway, part of why the metaphor of capitalism in tsv works so well is that it's impossible to live in this world and not cause awful harm, not at least profit from someone's horrible death and the horrors that come before it.

This is a show about people who do terrible things because the world is built in a way that makes your every move painful to countless other people. Your electricity is powered by human sacrifice ffs.

And Faulkner for all his awful not good at all terrible choices isn't the worst of the characters, isn't irredeemable. He's just the youngest and goes through his killing era on screen.

(also, can't stop thinking about how Carpenter killed a man for Mason, knowing full well that's because Mason needs his private dirty business done and Faulkner killed Mason THE MOMENT he deemed him a traitor)

All this is to say I don't think he dies here. I don't think this story is about punishing Bad People or even about milking the most drama out of very well-crafted sequence of events and characters. I think it's about desperately trying to build, to become something slightly better despite the horrors. And it's brutal in the way it shows us how small and slow the process is. And it's wonderful in telling us how important it is.

[ye-olde-trojan-horse]

jegulus + wolfstar playing monopoly

Regulus would refuse to sell / trade any property with Sirius... ever, under any circumstances. (It's giving "if we go down, then we go down together".)

sirius: I need old kent road... wiling to sell brother mine?

regulus: you're not getting it.

sirius: I'll trade you mayfair.

regulus: fuck off.

Conversely, James would sell / trade anything with Regulus if he asked nicely... and Reg would absolutely abuse this power.

regulus: honey, would you mind selling me vine street?

james: oh for sure, here you go.

regulus: how much?

james: oh nothing it's okay :D

sirius: YOU HAVE TO PAY HIM, THAT'S CHEATING!

regulus: pleasure doing business james. *winks* james: *blushes* did I do good?

James would lose horribly, because of the aforementioned reasons... and be really sad about the fact that he is broke at the end :(

remus: james, this game is a metaphor for capitalism.

james: wow, capitalism is stupid. I get it now. :(

Sirius' main objective in the game isn't even necessarily to win - it's to get the red three, Trafalgar square, Fleet Street and the Strand because istg there is always one in every group who does that. If Sirius wins without those three, then it feels like a hollow victory. I will not be taking questions.

*after the game*

remus: pads you won.

sirius: *sobbing* but it doesn't mean anything remus: *exasperated sigh* It's okay, you're okay.

But in reality Remus would win. Because he is sensible and chooses the smart, not showy properties on the board. He would smirk every time someone landed on his train stations and quietly build his wealth.

Remus always wins. Remember this.

inspired by conversations with my moony, @carrythispictureforluck

[licorice-and-rum]

My response to some "critics" about Babel

Okay, I'm gonna start by saying this: English is not my first language so I may commit some spelling and grammar mistakes here but I felt like I just had to write this down, especially because of the negative reviews this book has that just… didn't get it.

Don't get me wrong, of course you're allowed to not like this book, I recognize that it's most certainly not gonna be everyone's cup of tea but some of the people here just didn't get what this book was all about. Babel isn't a fantasy like ACOTAR, or HP, or whatever (in the sense that, for those, the story guides the message while Babel is the contrary): like many classical books, Babel was written to make a point, it's a romance, sure, but it was written to argue for something - the necessity of violence.

So, first of all: Babel is a historical fantasy, it talks about colonialism, racism, sexism, and other matters with no qualms, no embellishing to make it digestible, no allegories or metaphors because this isn't the point. Kuang's "lack of nuance" as someone here pointed out is very deliberate and extremely important for the story because the points she wants to make are always lost in nuance (just think how many people go on misinterpreting Star Wars, Hunger Games, or even anti-system songs like The Wall ffs), and the message is too important to get lost in allegories.

Second, as to the story, many people seem to think what she's pointing out is obvious "ur dur colonialism is bad, we get it". No, you clearly don't. There's a profound difference between getting it and actually comprehending it to an elemental level. Robin's travel to Canton illustrates that perfectly: he knew that colonialism was bad, he knew it was violent but he didn't comprehend it until he was forced to face it happening in front of him - to people who could've been easily him. More than that, because that was when he finally connected the theory with the reality, it became palpable to him.

It's not enough to get it, you have to actually stay attuned to it, to feel the flow of its violence throughout the world because then, and only then, I'll realize you can't be complacent, you can't turn your head from it. And Babel is an attempt, however tiny, of showing this to you. Of telling you "Look, you're ignoring it, the discomfort you felt reading this is your conscience telling you you relate to that". So no, I refuse to accept that Kuang should have been more nuanced: she was as clear as she could because she knows people say they get it but they don't, not really.

Third, the magical system is just chef's kiss. I've seen many people complaining about it but the thing is: the silver working is not about having magic in the world, it's about creating a palpable, material place where Kuang could center her attention as she talked about the economic aspect of colonialism. That's because colonial power is not centered in one place or thing, it is scattered all around but you can't hardly make a point like Babel's if you have your characters fighting off colonialism in all corners of the world. Like the Capital in the Hunger Games, Babel is a material place that symbolizes something.

Moreover, the silver working symbolizes the Industrial Revolution and its need for the advance of colonialism. More than that, silver-working is about capital, it's about technology to generate more profit, quicker, for a specific class that doesn't care who they have to kill to continue, doesn't care whether it is good or bad for the common folk.

Fourth, many people pointed out how academic Kuang's writing style felt during Babel and they're right, it is indeed very identifiable. I'm sure I even commented something along the lines of "it feels like I'm having the best History lesson of all time". But I'm going to challenge people who say things against the notion that the historical description of Kuang was unnecessary: every time Kuang chose to give the readers historical context has served somehow to the narrative.

I remember early on in the book when Robin was still a teen walking through London and reading anything he could put his hands on, and then we get two paragraphs of historical and political context for the time, then Robin comments that he didn't understand why this mattered so much. That paragraph served so much, both because it made us know a little more about Robin and because it served to make us understand the profound environmental change England was going through at the time.

And every time she did this, it served for something. Again, Babel is a historical fantasy, it is supposed to make you think about the point Kuang is trying to make but you won't understand it if you don't know the context of which Robin and the other characters in the book are coming from. It was a time of decision: either England would consolidate itself as an almost all-powerful oppressor, or it could go down… if the oppressed people - who share a common enemy - understood their responsibility to do something.

The strikes of the English working class, the violent acts of rioters, the advancement in technology, the possibility of the Opium War, the colonialism… it's all important. It's important because it allows us to understand the deep connection between it all. It allows us to understand who profits off of it, and who doesn't; who is able to understand and who isn't. It's why Letty is upper-class. It's why Abel isn't.

It's not as simple as some people think to understand colonialism, the flows through which one thing is tied to another. Why do people ask "How does this affect me?" when we point out deeply unfair things like unpaid maternity leave (I actually saw an American once saying she "wouldn't want her tax money to go to someone who didn't plan through"), like the fact people starve when we have the ability to feed a world and a half, of that Palestine is going through ethnic cleansing? Because they are unable to understand how closely their lives are tied to other peoples they have never met and probably never will.

Kuang's message is not "colonialism is bad", she's saying "These are all the forms through which colonialism is bad to everyone but a few, do something about it", she's saying "Every single one of your struggles is tied together in more ways than you even understand. A person in Haiti, in China, in India, in the other side of the world, has more to do with you than these white rich people, fight with them, stand with them."

Fifth, I can't believe I gotta say this but I'm not going to even bother with you if you think this book is somehow "anti-white": just get over your main character syndrome. We're talking about a historical fantasy set in England in the epitome of colonialism through the eyes of a person of color. Of course, most white people are gonna be bad, get over yourself ffs!

The actual entitlement to the protagonism white people have is maddening. As a white woman (in Brazil, at least), I'm ashamed of some comments here. It's not because white people in this book are majorly racist (which, according to the setting is 100% accurate) that Kuang is talking about you (although, if you're so bothered by it, it's probably about you anyway). This is a book about the experience of people of color under the oppression of colonialism: white people are the problem!

You can't just expect someone to write about colonialism and not talk majorly about race. White people reap all the privileges of this system and not just that, they are responsible for it, and all the crying about being the bad guys is just insufferable (they're actually so right about having to console Letty once she learns about the racism they suffer).

Be f*ing accountable for your privileges, take responsibility for your internalized racism, and be accountable for the system that privileges you. It doesn't matter that it wasn't your fault, that you didn't set up the system, you still benefit from it anyway so get a grip. This story isn't about you at all, it isn't about how some white people fought against slavery or oppression, it isn't about you.

Let's be very clear about this: most white people who fought against slavery did so to serve their own interests, exactly as Kuang points out. This doesn't mean none of them were good people who actually believed slavery was bad but we're talking of a time when racism and racial discrimination weren't even discussed seriously. Most white people, even the ones against slavery would have a deeply ingrained racism in them, so get real.

More than that, though: if those people who actually have no shame in saying Babel is "anti-white" had actually read the book through, they would know that some white people actually help and are good people in the story.

Anyway, Babel is so good, it's so painfully real and so passionately well-written. You can feel Kuang's love for her people, the struggles of what it means to love something but still not be a part of it, the deep understanding of how the world works, and how intricately every single thing in our lives is.

I just felt so heard (as a person from a third-world country) reading Babel, like someone was telling me all this rage and indignation I feel is justified, it's valid. I just treasured it so much, how I identified with Robin's need for security contrasting with his indignation for the price of it; with the rage Griffin carried around him, sharpened and well-directed even in its volition; with the love Victoire had to learn to have for her country and its story; with all the pain I was able to share with someone who understood it.

It's an honor to allow words to change me so fundamentally. It's humbling to realize I'm not alone, that my actions and my feelings are shared by other people. It is really precious, you know, to be able to become a better person than I was before because of a book.

[alittlebitofloveliness]

Please opeasepleas tarry hcs I’m starving

I don't know how good these are because I'm kinda struggling with writers block rn, but I tried!

Tarry headcanons:

Tim has a thing for Darry’s arms. Like, a major thing. He’d never admit it and he tries to play it cool, but if he sees Darry in a muscle shirt he WILL miss certain details of the conversation that he usually wouldn't. 

When they got together it was quiet, quick, and very committed very early on. Neither of them like playing games and part of the reason they first grew feelings for each other was because the other was someone outside their respective gangs they could consistently rely on

Tim has a specific laugh only Darry can draw out of him. It’s about as childlike as he ever sounds and no one but Darry has ever heard it. Tim kind of loathes that ANYONE can make him feel like Darry does sometimes when they’re alone together because he never really GOT to be a kid so it’s weird for him to discover his more immature side, even though he kind of draws the same thing out of Darry

There’s a mutual understanding that they both have a lot of responsibilities and that their siblings and their gangs have to come first, so they don’t see each other very often and they’re both as okay with it as they can be

They’re actually very good about keeping their relationship on the down low (but Sylvia clocked them immediately and hasn’t stopped teasing Tim ever since. He keeps threatening to stab her and she just laughs and threatens to tattle to his boyfriend. Tim shuts up after that.)

Speaking of boyfriends, Tim HATES the word, it feels too juvenile to him so Darry calls him his ‘lady friend’ instead and Tim threatens to dump him and they end up fighting but it ends up being a fight like the one in wolverine and deadpool (iykyk)

Sometimes Darry will rant about Ponyboy and Tim just has to sit there and pretend like Darry isn’t describing himself

Sometimes Tim will rant about Curly and Darry just has to sit there and pretend like Tim isn’t describing himself

Darry is lowkey terrified of Angela and determined that Tim never find out

The Shepards really are all like cats, Ponyboy’s description of them was not wrong at all, and Darry’s always been a cat person so it kind of makes sense they understand each other. Like, Tim will act the most standoffish when he actually wants the most affection, and Darry has to like, approach him like he could go off any minute (he could) but as soon as Tim settles and leans into Darry he is NOT moving even though ‘this changes nothing and they still aren’t cuddling he was just cold’

Tim HATES the cold and Darry runs warm so they’re kind of a match made in heaven

Tim does random acts of service for Darry but they’re all kind of violent in nature, he’ll rob a grocery store at knifepoint to get Darry’s favourite chocolate kinda thing, if we’re going with the cat metaphor it’s like when a cat brings it’s people a dead bird as a gift, it’s a little off in execution but the thought is there

Tim has a gap in his bottom teeth but it only shows when he genuinely smiles which doesn’t happen very often, but Darry thinks it’s the cutest thing. Since no on in their right mind has ever once thought of Tim Shepard as cute, that was the day Darry realised he’d either finally gone insane or he had actually fallen in capital L love with the hood. He decided to interpret it as the latter

[foxyatlas]

Writing job applications = fellatio practice. No I will not be explaining myself.

[ableism]

Okay as promised to my instagram followers: My Review Of The Substance 2024 ❇️ Spoilers ahead! Tread carefully!

To qualify myself… I’m a body horror buff. If you ask me to list my favorite movies, 80% of them will be about people experiencing horrific transformations and acts of fantastical violence. Body horror is kind of my whole thing! I love French New Extremity, I’ve seen every Cronenberg, I can only get off if something nauseating happens to somebody’s body. I’m very drawn to body horror as a vessel for visualizing experiences of sexual violence and desire(re: Crash 1996, Titane, Hellraiser) or dysphoria/dysmorphia (also Titane, Being John Malkovich ((I will fight you to death, it IS body horror, die mad)), Tusk) but I think a lot of the genre leans into the ways our lives and bodies are altered by technology and the possible consequences of these extremes (The Fly, Crimes of the Future 2022, Tetsuo the Iron Man, and you guessed it, Titane AGAIN).

Immediately I’m thrilled by how The Substance hits every single one of these genre concepts. It makes the concept feel more suffocating and inescapable than other films that deal singularly with their messaging. Elisabeth is trapped by perceptions of her body on all sides; she takes the drug because she’s been deemed undesirable and devoid of value by the same people who made her famous in the first place. To escape this, she creates (through a disfiguring and grotesque process) a conventionally desirable vessel. The chase to obtain beauty is worth the most violent of undertakings. For her prime self, it generates more self loathing and degradation of her self image. For the secondary self, she continues to experience profound amounts of objectification, still valued only for her desirability, her youth, her performance of childlike naïveté. I saw an excellent review that stated The Substance holds the viewers accountable through the scenes of full nudity and salacious dancing to interpret the way we’ve been trained to default to a sexual view of bodies, physical movement, behavior. We’re made complicit in Elisa/Sue’s dehumanization.

The Substance depicts dysmorphia through body horror in the most articulate way I’ve ever seen. Logically, the viewer knows; This is not how aging works. This woman is not decrepit and wasting away, she’s just middle age. But in the digital age, youth is capital, and youth is sexually desirable and attractive. It may not be the reality of aging, but this is how we’ve been conditioned to feel about the natural course of our lives. The solution is not self acceptance. It is products, procedures, adapting diets rooted in a culture of systemically encouraging disordered eating. Elisabeth’s body becomes worthless, just a source to be used as a fountain of eternal youth. Her pain, deformity, depression, are all irrelevant if it means she can temporarily experience youth. When she tries to stop the procedure, deformed into a funhouse mirror of what an elderly person actually looks like, Sue beats her to death in a blind rage. Her appearance makes her worthless. Her perversely obtained youth is the “only good part” of her. The metaphor frankly could not be clearer and Im not… shocked per se to see people not getting it online, because I know media literacy just isn’t for everybody, but it’s straightforward and concise. That isn’t to say that The Substance isn’t full of other commentary and room for interpretation.

A lot of people in me and D’s screening were laughing during the Mostro section of the film. I spent a decent chunk of it crying! Again, media literacy isn’t for everybody, and I’m the ideal audience for this one with the existing body of knowledge to appreciate what was done here, but we still found it quite distasteful. It’s terrible and grotesque and is the most robust and “bashing you over the head” part of the metaphor. To make it abundantly clear what was being said: The best version of yourself that you could ever be is the person you are, and the person you have always been, exactly where you’re at.

At her most fantastically deformed (HUGE credit to the practical effect work in this movie, which we’ll talk about a little more in a second), she wishes she could just go back to who she was before any of this happened. None of it was worth the terror, and now she’s trapped in a monstrous body, with the same soul and character she had the entire time. It offers the sense that her body is simply something that is now happening to her, rather than just existing, or being contended over, as previously seen. It’s a level of constant infliction she could not have imagined. Loss of control is a large theme of The Substance, the point being clearly that you cannot stop the natural progression of your body’s changing, and intervention only worsens your ability to perceive your body as your own. She dresses up to perform anyways. She tries to curl her few strands of hair. She stabs earrings through her almost inconceivable skull. She just cannot stop trying to be beautiful. It’s all she’s ever been allowed to be. When she goes to perform, she is screamed at in horror by the audience, while calling out “It’s still me! It’s still me!” to no avail. Nobody ever cared who she was or how she felt, only what her body could do for them.

That’s my general plot analysis but for Other Bullshit… I cannot gush enough about the homages paid to Cronenberg in this film, and the follow through on visual language borrowed from Carrie and The Shining. It was viscerally satisfying and just a lot of fun for horror enthusiasts. The director spends so much time being totally original, while still occupying the sandbox Built by other pioneers of the genre, and I absolutely loved seeing a female director in body horror taking up the space to say “You did this, it was incredible, and here is the fresh and enthralling ideas I’m bringing to the table.” It was a body horror movie my beloved Cronenberg could not have made. That’s not to decry his skill and vision, but to praise The Substance for its bold direction and fierce representation of uniquely woman-centered body horror. To hype up my favorite little things, I adored all the flies buzzing around in the beginning of the movie before she undergoes any transformation, I love that the catalyst for her taking the drug is getting into a car crash, I love that all the sets full of evil male directors are stylized after Kubrick’s Shining (because FUCK that guy! I piss on his grave!), I love love love that the beheading at the end is the same as the head pop scene from the beginning of Scanners, and I just cannot get over the Mostro suit. It’s sublime, and the actresses deserve joint best actress Oscar’s for what they accomplished in them. Holy fucking shit! Oh my gd! Wow!!!! It’s the same feeling at the end of The Fly, but with such a fresh take, the same sharp attention and reverence for practical FX work, and drawn out for much longer, with much more modern capability to enjoy the suit for longer, from more angles, with more gritty detail. It’s not trying to emulate or elevate anything. It’s just a perfectly present and challenging addition to the genre at large.

I love that none of the men in this movie were fully formed human beings. They’re the most uncanny and robotic part of the whole film. They question and belittle the personhood of the women they encounter, so the director takes the time to strip them of theirs. It’s really not about the men here. Hell yeah! I’m also glad that there was no sexual assault scene in this film. I don’t mind this content at all and I’ve seen many done in an incredibly visceral way, I’m pro-depiction of everything and anything, but The Substance didn’t need one. The whole thing is an act of sexual violence. It’s stronger that way and was the perfect decision. And since you knew it was coming… The Substance is one of the best , if not the best, addiction allegory I’ve ever seen. The other you, the real you, is just a life source for the impostor, It takes and it takes until there’s nothing left. I felt it strong and will definitely be looking for more readings on the same page so I can expand more at some point, but I found it very clear through the visual language of IV drug use, tooth loss, aging, etc. that there was a strong point on addiction being posited in The Substance.

So that’s my enthusiasts review!!! If i was unclear: Go see this movie. If you’re a sensitive soul or new to/unsure about body horror and specific types of gore, Please check online for trigger warnings, because it is a very graphic and brutal piece of film. I’ve seen pretty much every indie horror released in 2024 and as much as I did enjoy Longlegs and Cuckoo, The Substance blows them both out of the water. We’re in the age of women in horror and I love it!! It’s fucking awesome!!!! Go watch The Substance and then eat a bug. Stay vigilant I love you 🦩

[maddiem4]

I think one of the great things about the word "transhumanism" is that it leads you to make interesting connections through the metaphor of the transgender experience. And yet, not enough people take that invitation and run with it!

Like, okay, take the Cyberpunk universe, in the Capital C, CD Projekt Red sense. Kind of a fraught approach to its genre, but we can see that in more detail through the trans lens. People are empowered to customize their bodies in ways that feel better to themselves... but access to these customizations is gatekept by major corporations rather than available through socialized medicine. An underground DIY community exists, which mostly works for people but carries risks. These customizations can carry a cost of lifetime medication dependency, which is easily worth it for a lot of people, but can be a practical problem for (again) access reasons. And there's a lot of people who get upgrades they don't necessarily want because they feel that it's necessary on a practical level to get and keep jobs, which - that's not like the real life trans experience, but you know what it means? This is a forcefem world fantasy, except for a thing that isn't a gender. No wonder it has an "strangely enticing yet profoundly problematic" aura, we've seen that before!

There's a lot to be said here about the changing sense of self, and the sense of self incorporating changes. But I think what I want to talk about is arguably the biggest fumble of the world building - cyber psychosis. The idea that if you replace enough pieces of yourself, you lose your humanity and go insane. This obviously doesn't hold up to questions like "does my psychosis meter go up when I put on glasses or take my vitamins?" It doesn't have to, it's about feelings. There's something very queer respectability politics about the fact that most protagonist characters in this universe are modified, but look down on the people who went "too far." The literal dehumanization of modified people is an ugly thing to canonize as a mechanic of your universe. It's internalized transphobia for the characters and the authors - just, for a thing that isn't a gender.

I think if you really set out to write a transhumanist story about the economic pressure to transition in ways that increase your dysphoria rather than decrease it, you could easily write a better Cyberpunk. That's the power and clarity you get from engaging intentionally with the transgender metaphor. It's not the only connection that makes sense to explore - transhumanism intersects with a lot of topics and that's the intellectual joy of it - but I think you leave a lot of potential on the table if you're not checking in with the transgender allegory at some point in your writing process.

[jacks347]

I MISSED THE NEW BVZ PREMIERE (THANKS JOB)

So now y'all get my live reaction! (I've never done one of these before, this is gonna be fun)

SPOILERS AHEAD IF YOU HAVEN'T WATCHED IT

Intro is great as always, I love this song so much

Here we go~

WHO?? WHAT??

OFF TO A STRONG START

"Lack of cooperation" My guy it's Albus, that's literally his entire thing

On your family?? YOU LEAVE FAITH OUT OF THIS (and Kerano and Devlin)

OH??

HI DEVLIN WHAT

That design is so good, Glowbat you wonder

Plot twist #1, I expect many more

We're not even 5 minutes in, this post is going to be a fucking Bible-

Does Devlin have freckles?? Did he always have freckles?? Beautiful

Oh Devlin got sassy during the break I like :P

Of course he calls for his brother, the strongest person he knows how sweet <3

Miracle of faith, in more ways than one

Oo, that sounds painful

~DINNER BREAK~

ALBUS! LANGUAGE!

Ooo scary protective Albus

"My brothers. My battalion." Oh-

Aaaaand there's the Albus we know and love XD

"Fuck you and your hat!" Pfft you leave Devlin's fedora alone XD

Oh, back to our regularly scheduled program

Waiter I'm afraid you got some capitalism in my cowboy fantasy

GIMME CROSSBOW I WANT A CROSSBOW

I don't even think Albus knows where Albus went, he just heard his brother calling and left

Ewwwww TMI Albus

LIGHTSABER?? WHO LET ALBUS PICK UP A LIGHTSABER

Oo who's at the door? And why do I not trust it-

Oh it's just Devlin-

Uh oh, Albus has to explain his family~

Hi Mahatma! I still don't entirely trust you!

Why am I playing organizing Tetris-

...oops

"Can I ask you something?" I mean you just did so-

"Do you ever feel...powerless?" Well ain't this a pleasant conversation

"Like you can't save the people you care about" WELL AIN'T THIS A PLEASANT CONVERSATION

Look at Hipswitch showing off his detective skills! I'm so proud

Oh? What's on that ship??

Oh god not more new characters-

The mafia's back that's not good-

Why is the mafia fighting the Triad I'M SCARED

THE MAFIA SHOT DOWN THE PALADIN SHIPS?? WHY?? I DON'T LIKE WHERE THIS IS GOING

Another point to the man that can't even fuckin read that he's just a tad bit stupid :P

Boys, boys! You're both pretty stop yelling XD

"Interesting" is certainly a word for it Doc, wait until you hear about the woman they're both in love with-

"Caused any distress" ...do you hear yourself Devlin?

...awkward silence...

Paladins of Cindergorn eh? Looks like we are gonna learn about Faith today

Devlin being a smartypants, Hipswitch giving the most sass I've ever heard in a single sentence, this is great

Ewww I hated everything about that metaphor

"Something doesn't feel quite right" Of course it doesn't because nothing here is ever simple

WHY IS DEVLIN CHANGING COLORS??

"Is there anything else you can actually swallow?" ...Doc that is the wrong person to ask

"Oh...eugh" 10/10 Love that reaction XD

Poor Devlin, he spent enough time single-handedly running a ship-

When did Albus attempt to learn to cook?? And why??

"Don't worry about me" Faith's healer senses are tingling

"I saw you get goosebumps, did I scare you?" Honey considering how this story is going I don't think it was fear-

HIPSWITCH THIS IS NOT THE POSITION YOU WANT TO BE IN WHEN DEVLIN GETS BACK

Oh the secondhand embarrassment is crawling up my spine and it hasn't even happened yet

Please God get off of him before I explode-

And we're safe thank god

"You don't trust him at all, do you?" Would you if you were in my position?

This is really just the backstory episode isn't it

Albus, the hired gun where his last job got him killed, wasn't too keen on being a bounty hunter until he saw the paycheck. Okay that stings a little-

"I'm sure they're fine" *Cut to them being very not fine*

Devlin proudly proclaiming he can't read, 10/10 tension diffused

"We won't tell a soul, right partner?" Sir I couldn't even if I wanted to my mouth is literally just for decoration at this point (don't take that out of context-)

Destroy a sacred scripture surrounded by Paladins of Cindergorn, a certain priestess just felt her eye twitch

Yes Doc, show off that psychology degree you worked so hard for (hi I'm a psych student so it's also the degree *I'm* working so hard for)

"Is Devlin a father?" He's not just a stepdad, he's a dad who stepped up 💪 (that was so bad forgive me-)

Devlin...what did you do...

Okay I do not trust any of what just happened, what are you after Devlin?

Oh god the mafia's back

DOGS?? OH GOD PLEASE NO

NOT DOC!! ALBUS SOUNDS SO WORRIED

Show em what you're made of Albus

Don't talk to Albus like he doesn't know what being trained from birth to be someone's dog is like-

Devlin's going through it again, someone save the poor boy from his flashbacks

Y'know, Redacted being the one getting killed instead of doing the killing is rather cathartic in a bittersweet kind of way

Time to rewrite history! Again!

"What exactly can he do?" Great question, I'll tell you when I find out

Oh great, GB's back on his villain shit what piece of lore are we getting today

I don't trust that music, what's about to happen and is it a sand worm like this is Star Wars (we already had a lightsaber it wouldn't shock me)

I KNEW IT!! ASK ME HOW I KNEW GO ON ASK

WHO IS THE MAN IN THE MASK I HAVE SO MANY QUESTIONS

"I have someone for this kind of thing" Yes go visit your wife and her special bandage technique :D

"Is it a hooker?" "No! It's not a hooker!" He sounded so offended for her, I love that

:O Let someone else fix you up?? And betray wife?? Wait no Wife is Gienne (hello GB Twitch chat :P)

Where's Faith I saw the cast list where is she

WHAT DO YOU WANT YOU BIRD NOSE FREAK

:D KERANO BABY

Oh that art is adorable

SHE CALLS HIM DAD MY HEART IS GONNA EXPLODE

Oop there's Faith-

And Kerano calls her Mom ughhhhh I'm not gonna make it y'all

"It's been x amount of time" Kerano I love you

"Death is too good for him" Yikes

"That's a relief!" "It is?" Pfft-

Faith went from furious to worried in 2 seconds hearing about Albus, that's our girl

"You didn't tell him about your father's death" HEH?? HONEY YOU DIDN'T TELL *ME* ABOUT HIS FATHER'S DEATH WTF I THOUGHT WE WERE IN THIS TOGETHER FAITH

Oh poor Devlin :(

"I miss him, Faith" Is that the first time we've ever heard Devlin call her by her name? Back in BW he always just called her Sister

Awww hug him for me Faith

Oh yeah, Faith is the only who can actually read-

"Something called Operation Sub Delta" ...what

Oh my god don't read it Faith please god don't read it

And she's reading it-

"You just want an excuse to see him again" Oh look, he's reading the thoughts of the fandom (YES WE WANT ALBUS TO SEE HIS WIFE AGAIN SO SUE US)

"I've actually met someone" EXCUSE ME?? DEVLIN YOU HOE WHO IS IT??

"Look at my choice in men" Ah so she realizes it XD

Come on Faith, connect the dots, I know you're smart enough

And she's done it

Who is Agent and what the hell is happening

Uh oh-

They have the files of the subjects that Devlin doesn't

Which means they can use Albus like their own weapon by probing his training like Kravatas did

Oh I really don't like where this is going

WHAT??

THAT'S THE END??

YOU CAN'T JUST END IT ON THAT WHAT THE HELL

Oh my god this series really loves throwing me for loops doesn't it

OKAY ENDING THOUGHTS

Absolute 100000/10 episode GB you madlad you've done it again

Was completely worth the wait, love seeing the whole cast together again including our new players!

The art is flawless, I expected nothing less of Glowbat

Keep doing what you do you mad genius GB, I'll be holding my breath for the next one (try not to kill me I can't do another 4 months-)