#referencing a common type of posting

[rowanhoney]

I think curating my dash to exclude the majority of fandom and depth of the net bred discourse has saved me, personally

[weirdmageddon]

the shift in lore literacy in homestuck’s fandom

i was thinking about how the people who got into homestuck after it ended—whose interactions with the comic are in a static, archived state, not an ongoing thing—missed out on information that was more common knowledge in the fandom at that time. i don’t know if this is true since i’m not on tiktok, but i wouldn’t be surprised if it was. the fandom certainly isn’t the same as it was before.

ive found that many people reading homestuck now simply do not understand things in homestuck that were common knowledge back in the day, with calls for “homestuck literacy classes to become mandatory” in response to baffling takes because so many people just now seem to have glazed over the comic without absorbing important plot points, and i think i know why this may be. i ended up writing a post reflecting on my time with the comic, my perspective and how ive seen this change. i still think and write about homestuck because it still fascinates me. earlier i quote retweeted that call in my thread talking about the temporal relativity of dave and rose’s god tier ascension in the green sun, saying “my homestuck literacy is 100% so guess im doing my part as a teacher by pointing out whatever i think is really cool about it”. this post im writing now started out as a reply to this tweet i got in response.

i joined the fandom in 2013. i was 11. i had been aware of it since at least late 2011, early 2012 when my friend ryan in fifth grade told me to read it but i couldn’t get past the first few pages. i remember writing a journal on deviantart around this time (late 2011-early 2012) that was mocking people who typed like gamzee, which ironically was very karkat of me. and i remember someone on flipnote hatena i was following was making flipnotes with the alpha kids.

i dont know what caused me to flip the switch into reading it but 2013. i got into it somewhere between april (i think closer to april—i remember it being quite a span of time between the last update before HOMOSUCK dropped.) this was the most recent page the comic, meaning there was no > [S] ACT 6 ACT 6 at the bottom.

i got into it during a pause in updates, which looking into it, was the year 4 megapause. i wasn’t sure of the month until seeing the news post detailing the reason for the hiatus and the status report of the comic’s development at that time. pretty cool i could narrow it down by referencing the dates of those updates and the news post to correspond with the pause!

according to readmspa, the year 4 megapause was a 59 day hiatus from Apr 14, 2013 ==> (EOA6A5) running to 12 Jun 2013, [S] ACT 6 ACT 6. then for a few months there were the first updates that i was apart of the fandom for.

and what an exciting time during the story get into the webcomic! when the updates resumed in june, part 4 of homestuck had begun. here was a glimpse of the updates in that span of time before the next hiatus began in october.

that hiatus was none other than the gigapause, the longest hiatus in the comic, which started october 2013 and lasted for a YEAR, and i already posted about what happened on the date of return.

but here were the main events happening in the story at the time i first actually got interested in it. i wasn’t aware of the full context of them then like i am now, but i was looking at the most recent updates anyway with interest:

the alpha kids just emerged as god tiers from their slabs in derse and prospit, blown up by the condesce and caliborn / lil cal-possessed b2 jack noir.

the journey to the new session started 24 hours after jack called an early reckoning in descend—for context that was about when dave entered around midnight central time and before jade even entered. it’s pretty easy to forget that side 1 of homestuck basically happens within the span of a single day—and at this point in the story, the 3 year journey (which was also 3 real life years) had just ended. john and jade emerged from the other side of the yellow yard through the fenestrated plane on LOMAX. john’s real body was asleep upon arrival in the new session, while his dreaming projection out in the dream bubbles came across vriska’s ghost ship to learn lord english lore with vriska and aranea, and go on the treasure hunt where they found the ultimate weapon at the X mark out in in the furthest ring. in the dream john stuck his hand in the juju, started warping all over canon which removed his real body from the ship on LOMAX. he zapped around for a while but eventually zapped back to LOMAX, now awake, completely out of the loop of what everyone else is up to, and bored as fuck. what was everyone else getting up to while john was asleep?

jade was now once again within the domain of the green sun. im pretty sure her space god doggy essence comes with the power to sense what was anywhere within the domain of the session since her face looks like she arrived at that spot with intent (and she literally has jack noir’s exact powers from bec’s prototyping. also this panel). she immediately dispatched b2 jack to the edge of the incinisphere, defending the newly god-tiered jane and jake. i think even if they weren’t in any danger, she would have warped to them instantly anyway because she COULD now, and i can imagine she wouldve been sooooo eager to meet everyone. even davesprite comments about her rapid departure.

the pre-scratch refugees arrived during the only time serious shit ever went down in the nobles’ months-long inert void session. the condesce used her freak psychic bronze-cerulean powers to commune with jade’s bestial side and mind controlled her, which is super dangerous as someone with the powers of a first guardian. she then used jade’s powers to corrupt jane with the tiaratop. no funtime meetup allowed!

the trolls’ meteor with rose, dave, and the remaining trolls was pulling up into the new session with no way to slow it down. grimbark jade warped there once it was in the incinisphere and took active control. she warped everyone off the trolls’ meteor and sent them to LOMAX.

as john was losing his mind on LOMAX waiting for everyone, the meteor crew warped in. after 3 years he finally reunited with rose and dave, and at least saw the trolls in person. close curtains, end of A6A5. this was the newest [S] flash page at the time, one of my first impressions of this comic, and still one of my favorite flashes. knowing the context of the flash in the story only enhances the retrospective joy i have at getting into the comic at the time i did because it’s such an anticipated moment in the story for everyone, while for someone with no context of the story it was still enjoyable.

so that’s what was going on plotwise when i joined the fandom.

from this time, through those few months of updates and through the gigapause, i was familarizing myself with the characters in the story and overseeing the state of fanbase, getting myself acquainted with the story and wrapping my head around everything.

at that time i found that a new-ish group called colab HQ who were producing a let’s read homestuck series on youtube. hearing the voices and the pacing of it like that really, really eased me into it (maybe it was my adhd that gave me trouble actually starting it?). i caught up to a certain point using lets read homestuck and from that point was able to continue with the comic on my own, and by the time the gigapause came to a close i was fully caught up. i remember the rebranding of colab hq into voxus about a year and a half after i discovered them.

but.. back to the main point of my post. even these posts from hussie’s tumblr exist in archived states. how many new fans know about hussie’s old tumblr? i don’t know, unless theyre a new fan that must scour the internet for more deep more dives on homestuck and its fandom as a whole. but since hussie deleted his tumblr (it exists archived now on homestuck.net which, alongside from the unofficial homestuck collection, has nearly singlehandedly kept the most important relics of the fandom and lore archived), that page is not an active part of the fandom now, because it’s gone. it’s a pile of bones. it’s not living and breathing. it’s in an archived state. the whole thing is already there. homestuck and its fandom history is something you now binge instead of slowly consume and meld with as it comes out. it’s now this rapid information intake that you might forget about if you read it now instead of engaged alongside it. you’re not surrounded by people actively talking and theorizing about developments anymore. the ability to have those sorts of conversations during the ongoing development of the story reinforced concepts, ideas, and lore over and over as we tried to make sense of it.

being in a fandom when the author is still delivering the story is like nothing else. it allows you grow alongside the characters and engage meaningfully with the media and people in the fandom space around you. it feels like you’re participating IN the media itself, especially if you’re interfacing with the creator. it’s in always having something to theorize or talk about and speculate. and people become very aware of these sorts of forgotten story facts because they were applying the logic of the newest official post from hussie into making their sburb ocs or something and share resources and discussion posts about “what just happened in this update?? recap????” it was this cultural osmosis thing. i think this is why homestuck literacy is now at an all time low, at least from what i can see on twitter.

reading homestuck then vs now is like the difference between serialized shows with spaces between episodes to discuss stuff and time to reflect and learn and become attached to the story, narrative, worldbuilding and its characters, vs the netflix model where it’s all dropped all at once and people forget about it after binging.

at this point in time im getting the sense that “homestuck elders” now are no longer just people who were there since 2009-2010, but now also people who were there while it was still updating, probably stretching into 2014-2015. there are many sources of lore that were common knowledge in the fandom at the time that, since becoming susceptible to the deletion of content and link rot, and with the thanosing of mspaforums, are no longer accessible at the source. and a lot of people moved on after it ended, especially following the epilogues, the kate drama, and the whatpumpkin-sarah z drama, leaving a void of information behind if not for archivists and people such as me who continue to keep old facts relevant in discussions. my friend has called me a fandom scholar before and seeing this post i think i get what they mean.

EDIT: there is a series of video essays ive watched multiple times (because theyre that good) and they are exactly what modern fans need to see more of. they really help contextualize the comic and the themes present in it help you appreciate the basic fabric of homestuck a hell of a lot more. i highly recommend them and encourage any fan of homestuck to watch them, or someone considering getting into homestuck to watch the first one.

i think this is arguably as close to the “mandatory literacy class for homestuck” that person was talking about as you can get, especially the first video.

additionally, there is also the website https://rafe.name/homestuck which is essentially a sparknotes for homestuck and can help you follow developments in the comic itself.

[astronicht]

Hi I hope this isn't presumptuous, but so, that post you made about Tolkien making the lads leave their weapons outside the hall and CS Lewis thinking the hall was gonna get burned down by a lady who also wanted to kill herself... what's the historical precedent for that? Is there a trope in medieval lit where people like... do that? I ask because uh. I am obsessed with Children of Hurin and there's a scene where that like, happens. And I'm obsessed with that scene, and would love to know if there's like, cultural/mythic context that would enrich my knowledge!

OH BOY, sorry I'm getting to this late, it's been uhhh a summer, but one, this is a very good question!! And two, yes there is absolutely precedent, particularly in early medieval literature, and high medieval literature set in the early medieval (circa 500-1100 AD) past. I'll let someone else debate how often people actually historically locked their enemies into a hall and burned them, but especially in Old Norse literature (and if Fellowship felt like it leaned a little more on Old English literature, Two Towers, where Eowyn appears, felt a little more Old Norse) this is common. Off the top of my head, you've got many Icelandic family feuds ending in burning the whole family in their hall, like Njal's Saga (Old Norse), Attila the Hun dramas (yeah he's a big guy in the burning halls circuit, but actually not in the way you might expect) like his cameos in Volsung Saga (Old Norse) and Nibelungelied (Middle High German), and my vague recollection of a few Irish and Welsh versions that no search engine is giving up for me right now.

This, predictably, got long and slightly off topic.

Disclaimer: As usual, I should say I come from an Old English-centric background, and Old English literature is actually notable among all its neighbors for not burning down too many halls. Second disclaimer, all links are not proper citations, they just go to wiki.

Hall-burning in literature is, to my understanding, part of the concerns of a few early medieval cultures in which revenge is not only expected but in many cases legally reinforced and codified, and one in which conflicts could spiral to engulf -- figuratively, or literally and in flames -- entire families. Many medieval Icelandic sagas are focused on this exact type of destruction of whole families or friendship/community units. Most relevant of these to Eowyn, Two Towers, and the vibes of Edoras (since alas I am only partway into RotK and can't speak to Children of Hurin yet!) is Volsung Saga, which is set on the Continent, not Iceland, and actually has to do with Attila the Hun. As mentioned before, an incredible amount of stuff turns out to have to do with Attila. We will come back to him!

So, on the particular post you're talking about, a few people iirc have replied pointing out that the hall in TT is clearly supposed to be based on a hall from Old English literature, namely the hall in Beowulf, which famously did not actually get burnt down. And that's all true! I was not posting with much nuance; I was mostly having a joke at the expense of CS Lewis. However, I was also referencing a very very common trope in Old Norse/early medieval stories, and I personally think JRR was as well (AND I think Beowulf was also very consciously referencing the exact same motif anyway) (no one has to agree with me, a tumblr blog, on any of these points).

The thing about the hall when our heroes approach is that the scariest damn thing in that hall is Eowyn. Certainly not every hall-burning story requires a woman with no other recourse to set the fire (in fact, the "warrior band approaches unknown hall which might have a grudge against them" is a trope that can get you killed in a pretty homosocial environment, as I guess Aragorn at least was aware, being a big reader). Still, the presence of a woman who is swiftly running out of options does fit what I'd consider one of the or perhaps The best known version of the early medieval burning hall trope: Gudrun, who shows up in at least a dozen different texts in both the Scandinavian and the German language traditions, including Volsung Saga, a text which itself often gets paraded around as the basis of lotr (which I'm sure it is, in that JRR appears to have simply and very fairly based lotr on every piece of early medieval vernacular literature I can think of).

In a portion of Gudrun's story (which of course changes a bit in each retelling), after her first marriage she is unhappily married to Atli, who is none other than our main man Attila the Hun. After Attila kills her brothers for reasons (in one version, her father), seeing no other way to take the necessary revenge and no other way out, she kills the two sons she had by him, serves them to Attila for dinner, has Attila killed, and then sets fire to the hall with everyone in it. After this, she attempts to drown herself.

The self-destruction of this act is a really important beat, and has only gotten more-so as a comparison to Eowyn the further I've read into RotK (currently, I'm at the houses of healing after merry and eowyn take on the witch king). It's a lot clearer in the book than the films, for me, that Eowyn going off to battle was not so a straightforward empowering and/or freeing move, despite allowing her some agency, but more the one path she saw as available to her with which to die with honor (which was pretty much exactly what Gudrun was facing as well). Like Gudrun, whose first husband was a great hero but has died, Eowyn's romantic choice is a hero who is presumed dead (sorry Aragorn they did Not believe in your ghost skills). In fact, in some versions Gudrun does put on armor and fight with her brothers before they're killed. She kills Attila with her own hand, with the help of another man who needs to avenge a blood feud against Attila.

So while Eowyn didn't get forced into marriage to Attila Wormtongue (with apologies to both historical Attila and that one historical skald also called Wormtongue who was reportedly hot) and burn the whole place down, she's still trapped, and like Gudrun chooses destruction alongside her household.

Reading her arc feels so much like watching Tolkien write a fix-it for Gudrun. What if she got this one little chance, and this one other little chance, and this one more -- tiny little shifts in the narrative that allow her to get out, and not through fire, and not through death.

Anyway, this got away from me. I hope it added some context to the Children of Hurin arson case! Thanks for the ask

[sophieinwonderland]

The Plurality of... Bill Cipher (The Book of Bill)

Spoiler Warning for Gravity Falls, The Book of Bill, and the nature of reality as you know it

Hello dear reader.

I recently found in my possession a strange book with no explanation as to how it got there. A bizarre tome known only as The Book of Bill.

I recognized the name and imagery from someone else's memories. Bill Cipher, a character from Alex Hirsch's hit series Gravity Falls.

It honestly seemed too perfect. I've been doing this "Plurality of..." series where I look at plurality in media. And an important part of Bill's shtick was possession.

It seemed simple enough. I can read the book, learn a bit about Bill and his possession, and then write an article about his plurality. But the reality was anything by simple, with far more than I bargained for.

And by the end of this post, this book will have driven me to break a fundamental rule I've held sacred through my "Plurality Of..." series.

What is Plurality?

Before we begin, I should explain what plurality is for anyone new here. Plurality is a term for being multiple in one body in some way.

We call the body's occupants "headmates". These can be anything from alters in dissociative disorders to spirit guides bound to a mortal, to... yes... even literal demonic possession.

Yeah, even being possessed by a demonic triangle from a 2-dimensional universe is a type of plurality. If there are multiple self-conscious agents of some kind there, it's plural!

Time To Get Weird!

(Art by magentasnail)

Let's catch you up on the basics real quick. Again, there will be huge Gravity Falls spoilers.

In Gravity Falls, Bill Cipher is a yellow a 2-dimensional triangle demon bent on causing chaos.

Through the series, Bill makes deals with multiple characters to possess their bodies. This includes both gaining full control over the body of protagonist Dipper Pines for an episode, and more interestingly, sharing control over the body of Stanford Pines for an extended period of time.

Bill's possession of Dipper left Dipper outside his body like a ghost. But his deal with Stanford is much more plural in nature, where they shared control, with Bill only controlling the body in his sleep.

Obviously real plural systems don't have headmates controlling their body while they sleep like this, but the experience can be seen as analogous to dissociative identity disorder, where it's common to experience blackouts and "wake up" in situations unsure how you got there.

That's all you really need to know about Bill for the time being.

With that out of the way, it's time get weird and dive straight into the Book of Bill!

The Book of Bills

As I begin reading the Book of Bill, I'm given a warning from Stanford Pines that the book will rewrite itself based on the mind of the reader. This seems silly, and I of course dismiss the idea out of hand. Surely there's no way a book could change itself based on who's reading it.

As I venture further into this tome, I find the occasional point of interest. References to Bill living in people's brain, him being an idea, etc.

I stop briefly to ponder that. Why does Bill refer to himself as an idea? Isn't he canonically a being from a physical 2-dimensional world? Him being described as an idea is peculiar, but something I tuck away for the future.

The first thing I find that really piques my interest in regards to plurality is the multiple times that it's just referenced that there are multiple Bills in Bill's head. Such as when Bill refers to "the voices in his head" teaming up.

In the plural community, there's a concept known as median system.

A median system is typically a system which has separate parts that are less distinct from each other. There's a pretty solid case that Bill, having a bunch of Bills in his head, could be considered a median system on his own.

In fact, the book itself actually depicts communication between multiple Bills, in the form of an interview.

And throughout the interview, there are times where the Prime Bill seemingly gets annoyed at the interviewer's questions. As if they are actually different people. While this could be Bill simply duplicating himself and pretending for comedic effect, it could just as easily be that both Bills are headmates in Bill's system.

Bill being a median system is a pretty interesting direction.

As I read on though, the book dragged me down yet another rabbit hole, and raised an important question.

Does Bill Have A Dissociative Disorder???

Let's talk about dissociative identity disorder. There are two main criteria for DID. Criterion A is the presence of two or more distinct personality states. You know, like those Bills in Bill's head.

The second is memory loss.

Recurrent gaps in the recall of everyday events, important personal information, and/or traumatic events.

This is what was on my mind when Bill was describing how he was uniquely gifted with the ability to see into the third dimension, and wanted to teach others this same skill.

But when he tries to recount it... this happened...

To me, this sounds exactly what was described in criterion B. This is also called dissociative amnesia.

And it's not just this one-off example. Bill actually references later that he dissociates (his words) and "wakes up" later after a conquest.

With everything we know, it seems incredibly likely that Bill has DID, or at least a related disorder.

Bill is what he eats

Okay... wait...

So Bill can ALSO imprison the souls of those he eats inside himself, and they can apparently take over Bill's body too???

What actually is going on here? Is this one of Bill's powers? He can just eat entire universes and then whatever he consumes becomes a part of him? Or maybe it's something else...

Maybe if we looked at this less literally and consider the previous hints of Bill having a dissociative disorder then perhaps what is going on is that Bill is introjecting these people.

Maybe whenever he enters somebody's mind, some piece of them remains...

I would love to speculate more on this... But this is the only mention of it in the entire book!

At this point, I begin to reflect on the words at the beginning. Maybe it was true that the book was changing itself to give me what I wanted. Little hints of plurality to keep me reading, to ensnare me in its vicious trap and ultimately drive me to madness.

And the worst part was, I was falling into it anyway. Because I had to know, even if this was a trap, I was in it to the very end. My thirst for knowledge and understanding unquenchable.

Even if I knew I should stop here, there was no going back.

Stanford Pines, Bill's Perfect Host

At last, beyond all of the misdirects that were put in my way, I arrived at the reason that I started on this journey.

Stanford Pines.

I need to say that when I started this journey, planning to delve into what the plurality of Bill and Ford might be like, I never imagined that it would be handled so... Beautifully.

I mean that genuinely!

I love the relationship of these two characters in the book!

They are both very out of place in their own ways. Both are aware of things in their world that are denied by others, leaving them ridiculed and ostracized for it. They manage to form a genuine friendship. Even if Bill was using Stanford the whole time to achieve his Weirdmageddon.

The two compliment each other surprisingly well. Bill provides Stanford with a friend who can get him out of his comfort zone, which is something that I think Stanford really needed.

There's a really fun part of the book where Bill just gets Stanford mind-drunk, which is apparently something he can do.

Bill fills a role in Stanford's life that nobody had since he lost contact with his brother. While Stanford had friend in with Fiddleford, his lab partner, and we do get to see parts of that friendship in the book, they are more like work acquaintances.

Alas, it wasn't meant to be. Because in the end, Bill is still an evil demon who was bent on bringing about the Weirdmageddon and was manipulating Ford the whole time.

And when Stanford found out, he tried to shut Bill out. This led to Bill trying to communicate through sticky notes to get Ford to stop ignoring him. He would front in the body at night while Ford slept, and they carried on a conversation through these sticky notes.

Wait... Sticky notes?

This is such an interesting choice for the character! Especially after so many hints of Bill Cipher having some sort of dissociative disorder.

Why?

Because sticky notes are an actual method that real DID systems use to communicate with their alters, as seen in this post from the NAMI (National Alliance on Mental Illness) website.

It's fascinating how, if you were to try to depict how headmates with strong dissociative barriers might communicate, this is one of the ways you would want to do that!

Is this coincidental? Maybe. But the talk of dissociation earlier suggests the author also has at least some basic knowledge of dissociation and how it works. And, perhaps, plurality as well?

Overall, this whole section with Bill and Ford was fantastic, and it was well-worth the read for that on its own.

The End?

I suppose this is the end. I found what I wanted. I got the content I was after. A cool plural story of a guy and his headmate from another dimension who wants to take over the world.

Through all the strange distractions and hints of Bill himself having headmates that seemingly went nowhere, I got more plurality in the book than I expected.

And yet, as I turn the final page of the book, I feel unsatisfied. Unsettled.

"Is that it?" I think to myself.

This is Gravity Falls, a show built on mysteries, and looking deeper than the surface. Surely there has to be more. Right?

What if... all the plurality in this book, is obscuring something deeper? Or maybe hinting at something deeper...

And then... I see it!

After the final page, I come to the About the Author section.

Which means it's time to talk about...

The Plurality of... Bill Cipher Alex Hirsch

Yes, I am going there!

In the beginning, I promised that this post will require me to break a rule I've held sacred through these posts.

That rule... is to never speculate on the plurality of the author.

But, Alex Hirsch, at least in a fictional sense, hasn't exactly shied away from the idea of being "possessed" by Bill. This dates back at least a decade, with him making Tweets like this one.

"Bill Cipher" even did an AMA on Reddit through Alex, playing it off as Bill possessing Hirsch while he slept.

It's a pretty open secret in the Gravity Falls community that Alex Hirsch is "possessed" by Bill. At least in some meta-fiction way that may not be canon to Gravity Falls but isn't quite real either.

And were my analysis to stop here, I wouldn't really be saying anything new or valuable. A lot of this was covered by MatPat on Film Theory.

But there's something I want to go back to that confuses me in this book.

That Bill Cipher... is an idea?

Let's bring this full circle, back to the beginning of the book where Bill mentions that he's imaginary and describes himself as an idea.

These are such weird lines because Bill didn't seem to have originated from people's minds within the narrative of Gravity Falls.

His story is of being a being from a literal flat world. So why then, does he describe himself as an idea? Why does he describe himself as imaginary???

Bill Cipher as Alex Hirsch's Tulpa

While Bill being an idea doesn't make sense if he's speaking as a being from a 2-dimensional world that's real to him, it does make sense if we consider that the Bill talking to us, who wrote the Book of Bill, is a tulpa sharing the body of its creator.

Before going on though, we need to answer an important question. What is a tulpa? The r/tulpas subreddit gives its own answer to this in its FAQ.

The simplest way to describe a tulpa is simply another person who was created intentionally/unintentionally through repeated interaction and shares a body and mind with their creator. A more complicated definition can go as follows: A tulpa is believed to be an autonomous consciousness coinhabiting a brain with their creator, often with a form of their creator's initial choice and design. A tulpa is entirely sentient and in control of their opinions, feelings, form and movement. They are willingly created via a number of techniques to act as companions, muses, and advisers. Tulpa forms can either be visualized in the mind's eye, or, with practice, seen as a hallucinatory figure using a technique called imposition.

And let's stop there on the line about being created as muses, because this is something that's found repeated throughout both The Book of Bill and Journal 3, with Stanford referring to Bill as his "muse."

It's a curious term that doesn't appear in the show, but was added to the lore in these two supplemental books.

The FAQ goes on to explain that while tulpas are often considered to be intentionally created, there are also accidental tulpas that can arise through imaginary friends or from writing characters.

Is it possible to accidentally make a tulpa? Yes - many people join the community after realizing they have had tulpas all their lives, but without knowing what they were called. These "accidental" tulpas often arise from imaginary friends and writing/roleplay characters.

On the point of roleplay characters, something I also haven't mentioned yet is that Alex Hirsch didn't just write the character of Bill Cipher. He WAS Bill Cipher. In the show, Bill is one of the characters Hirsch voices along with Grunkle Stan and Soos.

Writing tulpas and how they come about are discussed a bit more below:

Is this a new phenomena? No, it's a practice that goes back in recorded history at least as far as the Greek philosophers. The present name of the phenomenon is derived from the word used by Tibetan monks in the early 20th century. There's also evidence to suggest dedicated prayer can lead to the development of 'religious tulpas' in the minds of the particularly devout, and on the secular end, writing techniques similar to tulpa development techniques can and have resulted in writers creating accidental tulpas from their characters. Having a tulpa is nothing new, although it's gone by many names throughout the course of history and does so even today. However, we believe we are one of the first groups to address this practice as a psychological phenomena rather than a magical, occult or divine experience.

Tulpamancy and Attention

There was another passage from the book that I found noteworthy.

At the end, Stanford describes what truly sustains Bill isn't power, but attention, which Stanford describes as Bill's "lifeblood."

It's even underlined for emphasis.

Why is this important? Well first, this line goes back to the weird lines earlier suggesting Bill is an idea.

But more importantly, feeding on attention is something which is actually a pretty popular philosophy in tulpamancy. That tulpas feed on and are sustained by the attention of their hosts.

How do I give my tulpa energy? Tulpas are sustained by attention, and energy is a convenient metaphor for this. So, you can give your tulpa energy by interacting with them. It is also possible, through no shortage of work and time on the part of host and tulpa alike, for a tulpa to grow beyond this need and to learn how to sustain themselves.

How much attention/energy/interaction does my tulpa need? During the creation process you should aim to interact with your tulpa daily, anywhere from a few minutes up to a few hours, and narrating to them as and when you can. After they're fully vocal and active, the bare minimum is just acknowledging their existence, but spending time talking to them and interacting with them is very much the point of bringing them into existence. Just don't ignore them, and you'll both be fine.

On Parallels in Writing

Adding another layer, it's likely that Stanford Pines is at least partially based on Alex Hirsch himself.

One point of trivia is that Alex Hirsch has a twin sister, and Gravity Falls was inspired by vacations they would take as children. Dipper and Mabel being based on Alex and his sister is pretty well-known. But towards the end of season 2, it's revealed that their Grunkle Stan is a twin himself, with his brother being Stanford Pines, the author of the journals.

During this part of the story, it starts creating a parallel between the relationships of the younger and older twins, with Dipper (who is based on Alex) bonding with Stanford over how much they have in common. Both are nerds who are into writing and science and uncovering the mysteries of the world. Both are a bit socially awkward as well.

And while not much attention is drawn to this particular connection, both had experiences of making deals with Bill that let Bill takeover their bodies at different points.

Based on the parallels between Dipper and Stanford, one might speculate that Alex based Dipper on his younger self, while Stanford was loosely based on himself as an adult.

The personalities of these two characters are also the most likely to create a tulpa based on the psychological profiles of most tulpamancers.

In 2016, Dr. Samuel Veissiere, a psychiatry professor at McGill University, found the following in his study of tulpamancers:

From coding of qualitative interviews collected in large surveys, the most common tulpamancer profile to emerge is one of a highly cerebral, imaginative, highly articulate, upper-middle class, formally educated person with many consistently pursued interests, talents, and hobbies, but limited channels of physical social interaction. Typical tulpamancers are confident about their talents, but are quite modest and socially shy. They possess ��� or have cultivated – a high propensity for concentration, absorption, hypnotisability, and non-psychotic sensory hallucinations.

The psychological profile of tulpamancers fits both Dipper and Stanford to a t. And many of these same traits could just as easily be true for Alex Hirsch if these characters were meant to be stand-ins for himself.

Is Alex Hirsch trying to tell us that he's plural?

In the end, this is just a theory. And it's one that I feel nervous making because plurality is so deep and personal. That's why I've avoided speculating on the plurality authors in the past. Even when the writing feels so true to the plural experience that it's hard to imagine that someone who isn't plural wrote it.

So why am I making an exception with this one?

Well, in this particular case, I think that the breadcrumbs are being left intentionally, and if he is plural, then he expects somebody to follow them. I'm not worried that I would be outing somebody who didn't want others to find out.

With Alex Hirsch's love of codes and clues and mysteries, if he were plural, I have to imagine that the hints weren't accidental and he would be wondering if anybody would follow them.

And if I am completely off base and he's not plural, I think that he would still appreciate the theorizing anyway. 🤷‍♀️

But if these are intentional clues that were left behind to hint at a real life plurality, one might ask why.

Why would he want people to know about it, and hint at it in this way?

Well, I think the Book of Bill might have an answer to that too.

Shame is a powerful emotion. But it grows in the dark. The more I've tried to hide my past with Bill, the more hold it's had over me.

Perhaps this line is meant to reflect Alex Hirsch's own feelings. Because many plural systems have felt this same way about their plurality, having hide their relationships to their headmates.

The actual end now

Finally, we come to the real ending of this.

This is, again, just a theory. I don't want anyone taking it as fact. I admit that I could be completely wrong about everything that I've said here.

But if nothing else, it's at least fun to imagine that Alex Hirsch does have a Bill Cipher tulpa in his head that has been acting as his muse this whole time. And it would give a new meaning to the gag of the Weirdmageddon intro saying Gravity Falls was "created by Bill Cipher" all those years ago.

Thanks for reading, and if you have your own muse that you think might be more than a simple muse, be sure to read my guide on how to know if your imaginary friend is sentient.

And if you like this post and want to see more like it, you may want to check out The Plurality of… Avatar: The Last Airbender or The Plurality of… IF

[wombywoo]

Hello!!

I wanted to ask if you would be willing to share how you go about finding the references for the injuries you depict in your work? Your pieces where the CoD boys are sporting injuries, fresh and old, are always so lifelike and to my untrained eye seem entirely medically correct.

I have been trying my hand at drawing the boys retired and resting as well, but I’m finding it difficult to decide what work injuries to add and how to find the respective references.

How do you decide what injuries to portray? And how do you go about finding the reference material?

Your huge fan, amustikas

Oooh ok ok! I'm gonna post my answer publically because I think others would find this interesting too!

To preface, I am definitely NOT a medical professional, and as such, a lot of the stuff I choose to depict in my art is not so much..ah, medically accurate as it is....aesthetically pleasing 🤭

I'll start with scars, as a lot of us enjoy slashing up Simon's face with them, lol. Generally, I'll do a cursory google image search for the type of scar I'm looking for (be warned, these can be graphic) with searches like 'burn scar' 'surgery scar' etc. But I find that for things like cuts and lacerations, real-life scars are a bit innocuous and lame 🤷‍♀️ Unfortunately not everyone's skin wants to retain that perfect slash look™️😔

So what I usually end up referencing are costume prosthetic scars ✨

As you can see, they're pretty gnarly:

And you definitely don't have to go this intense, but I find that the dramatic, carved-like appearance of these translate better to art than a realistically healed wound 🤙

The other thing to consider is the prevalence of injuries in the military. From what I've gathered, the most common will be back/shoulder/limb injuries, just a general fucking up of the whole musculoskeletal system in general due to constant overuse 🤕 Hearing loss, shrapnel/blast/burn injuries are also common, as well as all the negative psychological effects :') goooood times (not)

I think it's neat to look up real-life examples of these things, but it can get a bit intense if you're squeamish...

SafeSearch is OFF, the horrors are REal 😳

So yeah...I tend to tone things down, all things considered...😅

For this particular piece:

I researched broken humerus injuries and treatment 👍 Poor boy 🥺(Yes, I am aware that I consumed entire articles and did a shit ton of research about this just to go ahead and put a female's x-ray in this fucking picture sdfghjkl rip💀😭)

But here you can see the actual process for applying the brace for this particular injury:

Neat, eh?

When I draw Johnny with a knee brace, it's usually a real authentic one you can buy on amazon:

Product placement blast!!!💥✨ Bezos, where is my cut?? 🫰

As for ones like this:

I tend to just...scatter some wounds around and patch them up accordingly, lol. Bruising around the eyes is common with any head injury, and surgical stitching will offer a nice puckered skin effect mmm 👌 (I swear I'm normal abt this)

I'm sure the medical malpractice lawsuits are stacking up for me now, but again--it's usually more about the ✨visuals✨

My parting advice would be--go nuts! Feel free to maim and mutilate and mangle to your heart's content 🥰

Thank you for the question, Amustikas! I love your art as well 💗🫶

[trungles]

Cross-posting an essay I wrote for my Patreon since the post is free and open to the public.

Hello everyone! I hope you're relaxing as best you can this holiday season. I recently went to see Miyazaki's latest Ghibli movie, The Boy and the Heron, and I had some thoughts about it. If you're into art historical allusions and gently cranky opinions, please enjoy. I've attached a downloadable PDF in the Patreon post if you'd prefer to read it that way. Apologies for the formatting of the endnotes! Patreon's text posting does not allow for superscripts, which means all my notations are in awkward parentheses. Please note that this writing contains some mild spoilers for The Boy and the Heron.

Hayao Miyazaki’s 2023 feature animated film The Boy and the Heron reads as an extended meditation on grief and legacy. The Master of a grand tower seeks a descendant to carry on his maddening duty, balancing toy blocks of magical stone upon which the entire fabric of his little pocket of reality rests. The world’s foundations are frail and fleeting, and can pass away into the cold void of space should he neglect to maintain this task. The Master’s desire to pass the torch undergirds much of the film’s narrative.

(Isle of the Dead. Arnold Böcklin. 1880. Oil on Canvas. Kunstmuseum. Basel, Switzerland.)

Arnold Böcklin, a Swiss Symbolist(1) painter, was born on October 16 in 1827, the same year the Swiss Evangelical Reformed Church bought a plot of land in Florence from the Grand Duke of Tuscany, Leopold II, that had long been used for the burials of Protestants around Florence. It is colloquially known as The English Cemetery, so called because it was the resting place of many Anglophones and Protestants around Tuscany, and Böcklin frequented this cemetery—his workshop was adjacent and his infant daughter Maria was buried there. In 1880, he drew inspiration from the cemetery, a lone plot of Protestant land among a sea of Catholic graveyards, and began to paint what would be the first of six images entitled Isle of the Dead. An oil on canvas piece, it depicts a moody little island mausoleum crowned with a gently swaying grove of cypresses, a type of tree common in European cemeteries and some of which are referred to as arborvitae. A figure on a boat, presumably Charon, ferries a soul toward the island and away from the viewer.

(Photo of The English Cemetery in Florence. Samuli Lintula. 2006.)

The Isle of the Dead paintings varied slightly from version to version, with figures and names added and removed to suit the needs of the time or the commissioner. The painting was glowingly referenced and remained fairly popular throughout the late 19th and early 20th centuries. The painting used to be inescapable in much of European popular culture. Professor Okulicz-Kozaryn, a philologist (someone with a deep interest in the ways language and cultural canons evolve)(2) observed that the painting, like many other works in its time, was itself iterative and became widely reiterated and referenced among its contemporaries. It became something like Romantic kitsch in the eyes of modern art critics, overwrought and excessively Byronic. I imagine Miyazaki might also resent a work of that level of manufactured ubiquity, as Miyazaki famously held Disney animated films in contempt (3). Miyazaki’s films are popularly aspirational to young animators and cartoonists, but gestures at imitation typically fall well short, often reducing Miyazaki’s weighty films to kitschy images of saccharine vibes and a lazy indulgence in a sort of empty magical domestic coziness. Being trapped in a realm of rote sentiment by an uncritical, unthoughtful viewership is its own Isle of Death.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

The Boy and the Heron follows a familiar narrative arc to many of Miyazaki’s other films: a child must journey through a magical and quietly menacing world in order to rescue their loved ones. This arc is an echo of Satsuki’s journey to find Mei in My Neighbor Totoro (1988) and Chihiro’s journey to rescue her parents Spirited Away (2001). To better understand Miyazaki’s fixation with this particular character journey, it can be instructive to watch Lev Atamanov’s 1957 animated film, The Snow Queen (4)(5), a beautifully realized take on Hans Christian Andersen’s 1844 children’s story (6)(7). Mahito’s journey continues in this tradition, as the boy travels into a painted world to rescue his new stepmother from a mysterious tower.

Throughout the film, Miyazaki visually references Isle of the Dead. Transported to a surreal world, Mahito initially awakens on a little green island with a gated mausoleum crowned with cypress trees. He is accosted by hungry pelicans before being rescued by a fisherwoman named Kiriko. After a day of catching and gutting fish, Mahito wakes up under the fisherwoman’s dining table, surrounded by kokeshi—little wooden dolls—in the shapes of the old women who run Mahito’s family’s rural household. Mahito is told they must not be touched, as the kokeshi are wards set up for his protection. There is a popular urban legend associated with the kokeshi wherein they act as stand-ins for victims of infanticide, though there seems to be very little available writing to support this legend. Still, it’s a neat little trick that Miyazaki pulls, placing a stray reference to a local legend of unverifiable provenance that persists in the popular imagination, like the effect of fairy stories passed on through oral retellings, continually remolded each new iteration.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

Kiriko’s job in this strange landscape is to catch fish to nourish unborn spirits, the adorable floating warawara, before they can attempt to ascend on a journey into the world of the living. Their journey is thwarted by flocks of supernatural pelicans, who swarm the warawara and devour them. This seems to nod to the association of pelicans with death in mythologies around the world, especially in relationship to children (8). Miyazaki’s pelicans contemplate the passing of their generations as each successive generation seems to regress, their capacity to fulfill their roles steadily diminishing.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

As Mahito’s adventure continues, we find the landscapes changing away from Böcklin’s Isle of the Dead into more familiar Ghibli territories as we start to see spaces inspired by one of Studio Ghibli’s aesthetic mainstays, Naohisa Inoue and his explorations of the fantasy realms of Iblard. He might be most familiar to Ghibli enthusiasts as the background artists for the more fantastical elements of Whisper of the Heart (1995).

(Naohisa Inoue, for Iblard Jikan, 2007. Studio Ghibli.)

By the time we arrive at the climax of The Boy and the Heron, the fantasy island environment starts to resemble English takes on Italian gardens, the likes of which captivated illustrators and commercial artists of the early 20th century such as Maxfield Parrish. This appears to be a return to one of Böcklin’s later paintings, The Island of Life (1888), a somewhat tongue-in-cheek reaction to the overwhelming presence of Isle of the Dead in his life and career. The Island of Life depicts a little spot of land amid an ocean very like the one on which Isle of the Dead’s somber mausoleum is depicted, except this time the figures are lively and engaged with each other, the vegetation lush and colorful, replete with pink flowers and palm fronds.

(Island of Life. Arnold Böcklin. Oil on canvas. 1888. Kunstmuseum. Basel, Switzerland.)

In 2022, Russia’s State Hermitage Museum in Saint Petersburg acquired the sixth and final Isle of the Dead painting. In the last year of his life, Arnold Böcklin would paint this image in collaboration with his son Carlo Böcklin, himself an artist and an architect. Arnold Böcklin spent three years painting the same image three times over at the site of his infant daughter’s grave, trapped on the Isle of the Dead. By the time of his death in 1901 at age 74, Böcklin would be survived by only five of his fourteen children. That the final Isle of the Dead painting would be a collaboration between father and son seemed a little ironic considering Hayao Miyazaki’s reticence in passing on his own legacy. Like the old Master in The Boy and the Heron, Miyazaki finds himself with no true successors.

The Master of the Tower's beautiful islands of painted glass fade into nothing as Mahito, his only worthy descendant, departs to live his own life, fulfilling the thesis of Genzaburo Yoshino’s 1937 book How Do You Live?, published three years after Carlo Böcklin’s death. In evoking Yoshino and Böcklin’s works, Hayao Miyazaki’s The Boy and the Heron suggests that, like his character the Master, Miyazaki himself must make peace with the notion that he has no heirs to his legacy, and that those whom he wished to follow in his footsteps might be best served by finding their own paths.

(Isle of the Dead. Arnold and Carlo Böcklin. Oil on canvas. 1901. The State Hermitage Museum. Saint Petersburg, Russia.)

INFORMAL ENDNOTES

1 - Symbolists are sort of tough to nail down. They were started as a literary movement to 1 distinguish themselves from the Decadents, but their manifesto was so vague that critics and academics fight about it to this day. The long and the short of it is that the Symbolists made generous use of a lot of metaphorical imagery in their work. They borrow a lot of icons from antiquity, echo the moody aesthetics from the Romantics, maintained an emphasis on figurative imagery more so than the Surrealists, and were only slightly more technically married to the trappings of traditionalist academic painters than Modernists and Impressionists. They're extremely vibes-forward.

2 - Okulicz-Kozaryn, Radosław. Predilection of Modernism for Variations. Ciulionis' Serenity among Different Developments of the Theme of Toteninsel. ACTA Academiae Artium Vilnensis 59. 2010. The article is incredibly cranky and very funny to read in parts. Contains a lot of observations I found to be helpful in placing Isle of the Dead within its context.

3 - "From my perspective, even if they are lightweight in nature, the more popular and common films still must be filled with a purity of emotion. There are few barriers to entry into these films-they will invite anyone in but the barriers to exit must be high and purifying. Films must also not be produced out of idle nervousness or boredom, or be used to recognise, emphasise, or amplify vulgarity. And in that context, I must say that I hate Disney's works. The barrier to both the entry and exit of Disney films is too low and too wide. To me, they show nothing but contempt for the audience." from Miyazaki's own writing in his collection of essays, Starting Point, published in 2014 from VIZ Media.

4 - You can watch the movie here in its original Russian with English closed captions here.

5 If you want to learn more about the making of Atamanoy's The Snow Queen, Animation Obsessive wrote a neat little article about it. It's a good overview, though I have to gently disagree with some of its conclusions about the irony of Miyazaki hating Disney and loving Snow Queen, which draws inspiration from Bambi. Feature film animation as we know it hadonly been around a few decades by 1957, and I find it specious, particularly as a comic artistand author, to see someone conflating an entire form with the character of its content, especially in the relative infancy of the form. But that's just one hot take. The rest of the essay is lovely.

6 - Miyazaki loves this movie. He blurbed it in a Japanese re-release of it in 2007.

7 - Julia Alekseyeva interprets Princess Mononoke as an iteration of Atamanov's The Snow Queen, arguing that San, the wolf princess, is Miyazaki's homage to Atamanoy's little robber girl character.

8 - Hart, George. The Routledge Dictionary of Egyptian Gods And Goddesses. Routledge Dictionaries. Abingdon, United Kingdom: Routledge. 2005.

[taekooktimeline]

Between February 14-27, 2023 (photos taken around February 20-21, 2023); July 21, 2024 (posted) -

Tae shared some fantastic photos on his Instagram stories, including two with Jungkook. According to Tae's post, he was missing Jungkook so much that he reached out to him and asked him to join him in Hawaii. Not surprisingly, Jungkook immediately took a 9-hour flight from Korea to be with Tae. This shows the depth of their romantic relationship and gives us a glimpse into their private lives, which we don't often get to see. This private trip would have remained unknown to us if they hadn't chosen to share it. It's fascinating to see this side of their relationship beyond what is publicly advertised or documented. The first photo Tae posted showed him writing, "Jungkook-ah, I'm in Hawaii right now, come here / come quickly, I miss you. This guy kekeke he took the plane / got on the plane and came right away." It's really heartwarming to see Jungkook's immediate response to Tae's longing as he hopped on a 9-hour flight to be with Tae privately. This is such a beautiful and genuine display of their affection for each other.

translation -

Tae wrote on the second photo - “He’s so pretty, I’m dying / I could die,” and put that adorable comment directly on Jk out of every place he could’ve put it in the photo. And Jk’s firm neck grip!

translation - 

Another translation of both photos (seriously, how romantic is Jk to hop on a plane when Tae says he misses him😭) -

I’m not a native Korean speaker, so unfortunately, I may miss some of the language’s nuances. However, a few people on SM have said that Tae’s phrase “so pretty I could die” carries specific connotations, specifically a strong declaration, “I love him so much/ I love him to death,” and it’s not typically used in common settings. Essentially, what he wrote can simultaneously mean that JK’s beauty overwhelms him and that he loves him deeply, without boundaries.

However, with that being said, I also want to acknowledge some Korean speakers have cautioned this is a stretch to read too much into this. I hesitated but decided to share the below perspective because I know some will wonder why I didn’t include it. Ultimately, you can decide how to interpret what Tae wrote. For me, personally, I’m going to defer to the translation given by those translator accounts I trust, which is “so pretty I could die.” I don’t think it needs to be interpreted more heavily. It’s a beautiful, candid moment that Taekook chose to share with us, which I’m so grateful for. At the end of the day, the photos themselves make a powerful statement, and that’s what truly matters.

https://x.com/kookaayu613/status/1815683347924107380?s=46&t=StSwHjW0_Domk_lHUFMaCg

CTTO for the above SS

The tracksuit photo Tae shared was when Taekook went skydiving at Kauai Skydiving, which you can find more information about at the link below - 

https://x.com/btsmap_1/status/1814924850483347608?s=46&t=StSwHjW0_Domk_lHUFMaCg 

During “Seven” promos, Jk hinted at skydiving with Tae in his Spotify interview -

https://x.com/jk_97oqol/status/1814922271875870778?s=46&t=StSwHjW0_Domk_lHUFMaCg 

And how cute is this? Sure, you can eat Hawaiian pizza just about anywhere. But it seems Jk was hinting about his trip to twice reference Hawaiian pizza (and the second time he referenced it was when Tae came to support him during “Seven” promos during Inkigayo, and Jk played with his Chanel ring and hinted at living with Tae during the live).

https://x.com/moni_vook/status/1815830528869998931?s=46&t=StSwHjW0_Domk_lHUFMaCg  Recap of Inkigayo live - https://www.tumblr.com/taekooktimeline2023/724666248895545344 

So many of us have said Tae’s Type 1 photobook has photos that radiate intimacy. They have a sense of vulnerability, rawness and openness to them.  His posts today confirm Jk took some of his photos (the below doesn’t encompass all that are speculated to be taken by Jk ) - 

CTTO

Tae also posted to his IG these below photos (among other photos) from Type 1. I can’t help but think even more these specific photos were taken by Jk, especially now that it’s confirmed he was there. They have an indescribable quality to them that radiates a moment in time being captured by someone who adores the muse. Of course, this is just my opinion so please decide as you like.  

CTTO

Mujin, Tae’s hairstylist, was spotted at Party City with the balloons - 

Both Tae’s and JK’s managers accompanied them, surely to help ensure their privacy and safety on their vacation. 

K media went wild over Tae’s posts - 

Fun facts, Jk’s outfits info:

The first is: Paradise Found -  Mens Jungle Bird Tom Selleck Magnum PI Rayon Shirt (Green Leaves Blue)

The second is: Supreme × Emilio Pucci collaboration

https://x.com/archivekukk/status/1814918682021364084?=46&t=StSwHjW0_Domk_lHUFMaCg

And in the skydiving photo, Tae is wearing Jk’s sweater!

https://x.com/keeponlovingv2/status/1814910057160847675?s=46&t=StSwHjW0_Domk_lHUFMaCg 

Interestingly, Tae had shared these songs on IG that same month Taekook were in Hawaii  -

And this trip occurred around the time Jk sang “To Find You” three times on live. 

https://x.com/angel_hemaya/status/1813552618704429159?s=46&t=StSwHjW0_Domk_lHUFMaCg  Raw - https://weverse.io/bts/live/2-114998351  (9:34-18:04)

Lyrics -

[doberbutts]

Feminist theory is not the same as feminist activism, which is what I specificied in my ask, intentionally. There is feminist theory about men's issues (yes Bell Hooks is by far the most famous theorist in this space), and that is good, but it is not the same as activism to improve men's conditions in the here and now. I wanted to give a different perspective, and have a discussion about something that I feel is a problem that has lead to and continues to lead to a lack of progress for men. I mean, the other ask you got saying thst feminism persistently centers men just by talking about our issues, that proves my point. That is an incredibly common view. Not even working towards solving men's problems, just talking about them occasionally is considered too much. There is an obvious solution to that, which I said previously. Regardless, I am and will continue to believe in the cause of fighting to improve things for both women and men, because we all deserve better. Anyway, I won't bother you anymore, but I hope you know this was written in good faith about something that is important to me.

Theory informs activism, so if you want to see feminist activism that does what I'm talking about, find the feminists talking about what I'm talking about.

Respectfully, despite referencing the other ask, you seem to have not read it if your stance is still "what has feminist activism done for men", because I gave pretty direct examples there.

But you're right. That sort of feminism is harder to find especially nowadays. A lot of people's feminism regards men as "ewwww boys are icky" and "men are 100% solely responsible for all of women's problems". Which was the entire point of my post that started this conversation. It's also compounded by the fact that a lot of times this doesn't look as big and loud as rallies and marches, and so it gets ignored. In reality, the feminist activism that follows the theory I'm describing looks like parents teaching their sons that gentleness and femininity is not bad. Dads who wear nail polish and tutus to support their sons' interests. Boys being encouraged to watch and read the "girl books" and "girl movies". Dads who do not abandon their sons' need for physical affection as they age out of fear of homosexuality.

It looks like restructuring the ways we look at sexual assault and rape so it doesn't automatically exclude the most common way men are attacked. It looks like teaching young men that they do not need to take abuse from a romantic partner or family member on the chin just to be a man. It looks like teaching men that "masculinity" does not need to be defined by stoicism and that the concept of "manning up" is harmful. It looks like teaching boys that there are ways to communicate affection that aren't violent or sexual in nature. It looks like teaching teenagers that playful ribbing is one thing, but tearing your friends down all the time so you can be the biggest man on the block is toxic behavior, and only leads to more isolation because all your friends learn to be mean to each other.

It teaches young men that pleasuring your partner involves more than just a penis, and sometimes doesn't even require a penis at all. It teaches them that their worth is far less in the length of their shaft or the hardness of their muscles or the number on the scale, but far more how they treat others. It teaches them that height and beard length and shoe size and how much alcohol they can consume or their favorite sport team aren't indicators of "manhood", because they are men regardless of the answers to any of those things. It teaches them they can be any type of man they want to be, they don't have to be what the patriarchy tells them are their only options.

And I know this, because I have watched plenty of my butch friends who are devout feminists and have been their entire lives teaching these things to their sons. This is established feminist theory that has existed for a long time. Many followers of this theory do in fact practice what they preach.

Genuinely, I don't really care what you call it. If you want to call it "man's liberation", go for it, I don't care. But to me, this is just feminism. I'm not going to call it men's lib because the feminism I was taught by the women in my life covered these things. Same as how I don't use the word "transandrophobia" because the trans theory I was taught by the trans women in my life told me "transmisogyny" covered these things.

Anyway. I urge you to go read some black feminist theory and then spend some time talking to practitioners of said theory. It might just surprise you how similar the conversation is. It might surprise you to see how their kids and families interact. I'm not saying all black people, because not every black person who is a feminist is specifically a *black feminist*, but when you find someone who fits this description you will know.

[febuwhump]

febuwhump 2024 survey results

has it been six months since febuwhump? yes. yes it has. nevertheless, here's the cold hard data (analysis) of the survey from febuwhump 2024: feb five.

firstly, this year was our most popular yet! with 1417 works in the official collection across 329 fandoms, we made (and shared) 103 fics more than 2023, and 770 more than my first year running febuwhump in 2021! this isnt even including all the art and fics posted to tumblr, or wasn't shared during the event, which would put our total so much higher!

the prompt list had 4000+ notes and i received 115 responses to the survey.

there were 62 people in the hall of fame, up from 51 in 2023.

the blog hit 2,683 followers, up from 1,946 at the end of the 2023 event.

across two independant check, based on the average word count of 2,000 words per fic in the 2024 collection, and aware of the multi-chapter fics (some of which were finished after the event), it is estimated that 2.8 million words were written for febuwhump 2024. which is just. fucking insane.

now, onto the survey results!

firstly: in what way did you participate in Febuwhump this year?

with extra write-ins not pictured, fanfiction was the overwhelming winner with 92 responses (82.6%), followed by original fiction (22.6%) and artwork (11.3%). interesting to me personally is the 4 responses who wrote poetry and the not-pictured 1 response who created web-weaving! which is very cool and i would like to see it.

fandoms

according to the survey:

the most popular fandoms written for were the star wars universe and legend of zelda universe (8/115 responses)

21 responses included original fiction

the majority of responses also referenced more than one fandom, meaning less people stuck to a single fandom or topic the entire time.

according to the collection:

21 anime/manga fandoms were represented

51 books/literature fandoms were represented, 12 being specific star wars subseries

24 RPF fandoms were represented, including bands and minecraft servers

the most popular fandoms written about in the collection were:

star wars (all media types) - 253 works

star wars: the bad batch - 80 works

torchwood - 66 works

original work - 56 works

my hero academia - 54 works

why and how

next, there were a lot of really lovely responses about why participants took part in febuwhump, a few favourite and repeated responses being that it seemed fun, they'd done it before and so wanted to do it again, and they liked to write about their favourite characters suffering. also, multiple people have been doing it for three of the four years i've been running it (of five total), and several were encouraged by friends!

the majority of participants discovered febuwhump through tumblr, the admin's tumblr, ao3 fics and discord servers. a handful said there's apparently a google doc floating around that houses a whump event calendar. i would be interested in seeing that if anyone's got it.

did you participate in Febuwhump 2020, 21, 22 or 23?

the majorty of respondants were new comers to febuwhump at 66.1% "no" to 33.9% "yes". the majority of comparisons to previous years referenced a noticably bigger community, more interaction on the blog, and the admin being more "confident" (oh, you guys), however several noted that the prompts felt more repetitive or samey this year than they did previously.

are you a Febuwhump completionist or participant?

a fairly even split, 51.3% of participants didn't finish compared to the 48.7% who did. however, only 88.1% of those completionists submitted to the hall of fame.

for those who didn't complete, the most common amount of prompts completed was 2 (13.6%), 3 (11.9%) and 12 or 6 (6.8%).

the most common place to share prompt fills was tumblr (74.8%), ao3 (72.2%), or choosing not to share at all (7%). several write-in responses said that they were planning to share in the future but hadn't yet. and while 76.4% of people submitted to the ao3 collection, those who didn't claimed it to be because the fics weren't ready to be shared on time, they weren't following the rules so didn't add to the collection, an inability to find the collection on ao3 (i swear i'm working on it) or shyness/fear.

what went well/even better if:

the only actual criticsm of the event received was that the blog was posting in a "spam"-like way, to the point that the participant almost unfollowed (and another suggested a reblog tag so it could be ignored easier if people didn't want to see the works throughout the month).

several comments asked for a later deadline for submission to the collection/hall of fame, which is going under advisement, but the current position is that by doing so, it makes the event a different event. there are no stakes to actually create once a day if, at the end of it, you actually get 2 weeks of extra time.

another couple mentioned there being too many dialogue prompts and vague prompts. this will be considered during the next voting period and prompt collation - potentially, if i allowed less dialogue prompts into the final 100 vote, less would make it through to the official 28, however the voting itself is out of my hands (unless voter fraud occurs once again).

the main suggestion for improvement (8 times out of 44 suggestions) was for an additional mod to help with reblogging more. (which imo flies in the face of the "spamming" from earlier, but there is surely a middle ground). this is likely to not happen, because i like running the event alone, despite the major burnout i receive every single year without fail. but thanks for your concern lol.

on discord:

31.3% of participants were in the discord server (which, this year, ignored the first year's 100 user cap and had 172 total users).

43.6% of people who didn't join the server did so because they hadn't heard of it, while the majority didn't join because they were either shy (the minorty) or don't use/like discord (the vast majority). i don't know if tumblr still does groupchats and if that would be a viable alternative, or if there is another forum/chat location that would work better (or to have in tandem), but i am open to suggestions.

of the people who were in the channel, most (33.3%) used it "rarely", followed by "most days" (25%) and "for half the month" (22.2%)

febuwhump 2025

the majority of responses wanted next year's colour scheme to either be red or green, but shout out to everyone who wanted orange, the person who said "children's hospital" and the other person who gave me this specific hex code: #4BEC13

which is vile, but also another vote for green.

finally, here are my favourite suggestions for febuwhump 2025's colloquial name. previously, we have endured febuwhump 2: electric boogaloo, febuwhump 3: tokyo drift, fourbuwhump and feb five.

febuwhump 6 suggestions:

fe6uwhump (which, i'll be honest, is a real contender)

"I don't know"

febuwhump 666

febuwhump: revenge of the sixth

"I don't know, sorry"

"febuwhump sex and make all the prompts kinky"

"??? i have been thinking about this for 10 mins"

febuwhump 6(9)

feBEEwhump

"i am bad at this"

"could not care less"

febuwhump feb five 2: electric boogaloo

apparently, i accidently made this a mandatory question and that made some of you mad :(

and that's the wrap up survey, six months late! any questions/queries/want to see some of that cold hard data? send me an ask. i'll actually respond to it i swear! (probably!)

[ooctlt]

I really like this blog most of the time, but sometimes you take reasonable earnest asks that are trying to be thoughtful, and are such a dick about it.

Like if it's the characters being dicks, fine. But you could say something in the tags or post to indicate you're not just viciously mocking someone for trying to engage.

I still haven't submitted an ask since seeing your response that led to comments along the lines of "anon should go die in a hole" for asking, pretty reasonably, why harrow would want to stay with people she didn't seem to like or want to be around or interact with.

(i know, because she does like them and does want them around but doesn't know how to show it) but it's an ASK blog. How do we hear that from her unless someone ASKS

i understand it might be surprising and a bit hurtful to see an ask answered with the characters being mean/flippant, and for that i do apologize that it wasnt made clear that it would be a common thing in this blog. id like to issue the disclaimer: there is always the possibility that the characters here will not take your question well. they might answer rudely, and instigating behavior is not only encouraged but expected on both ends. this does not reflect my personal opinions as the artist; there are over 250 asks even after i constantly compile duplicates, and i will answer the asks that i personally like.

i will assume you are referencing the two most recent posts where gideon acts rudely and i repost an old panel: for the former i thought anon was really sweet for being so heartfelt and encouraging, but gideon isnt the kind of person who needs to be told shes brave for doing that by a stranger. it was a simple act of survival. and harrow is still very much in the passive deprogramming phase. the latter response was meant to kickstart (spoilers) what i will call the "dicks last resort" arc, where i clean out the inbox and share more simple, low effort, but potentially rude responses*. this is because i have roughly drawn almost daily for 87 days straight, and would like to recuperate without being burnt out because i love this blog and i love art.

this leads me to my next point: some of these answers will be curt and short and rude, because they are easy to draw. if i only prioritized the "good" asks or to make certain ask responses kinder, or longer, it wouldnt be a daily blog. it would be a monthly blog where 5 asks get answered among 100s. i didnt anticipate people asking about harrows piercings, and i considered shutting it down by just having harrow say she likes them etc. but i did want to give more insight into harrows character even if she wouldnt say so herself, and that took roughly 3 full unemployed nights. if i treated every ask in good faith the same way i wouldnt have time for anything else, because they take more effort and have to be seriously considered for the future. i can retcon their favorite ice cream or play off griddlehark fighting - it takes more to keep track of a narrative about people talking Around their issues

* by rude responses i mean "this will affect the 679ers negatively, much like making your sim 🧑‍🤝‍🧑➖➖ someone" there are a few asks planned to hurt in the same way one drafts a bad end in a visual novel, and this type of interaction is encouraged. of course if you dont want them to get worse dont send asks telling gideon she should flirt with MILFs (you cant send this ask now i already said it), but i encourage the banter.

TL;DR this is the "characters think you are weird for personal questions" blog. i am sorry i didnt warn of the ask-response banter, because i also enjoy drawing these characters being dicks. i do like when aggravation and conflict leads to character development. "how do we get earnest answers unless someone asks" sometimes you will never explicitly get that from them, and thats what the dead ends are for: to let you know to try something else and read between the lines

[natalyarose]

𝓈𝒶𝒷𝓇𝒾𝓃𝒶 𝒸𝒶𝓇𝓅𝑒𝓃𝓉𝑒𝓇 (𝓋𝑒𝒹𝒾𝒸 𝒶𝓈𝓉𝓇𝑜) ♡

My little sister introduced me to Sabrina Carpenter and I gotta say I loove her!! Not necessarily my type of music, but the older I get, the more I realise how every genre has something so beautiful to offer and it just makes me so happy to see ART and joy in this world of any kind :')

My first thought is she's gottaaa be Sun influenced- the pastel, literally sunny visuals, the bubbly smile & attitude, the 'lightness'. I find Solar women possibly the easiest to spot- even Sun women I've met who have 'darker' personalities & aesthetics still offer this light energy. I checked, and she is Krittika Sun! (I know she's getting very popular now so this is all probably old news to a lot of people lol but just thought I'd share).

ALSO, I've noticed people remarking on how she is bringing the element of dance and full 'performance style' back into music. Krittika is intimately connected to the art of dance.

Then she has Moon conjunct ascendant in Purvabhadrapada, in the 1st house! Classic Jupiterian sass & vocals (Jupiterians often have gorgeous and or very powerful voices since Jupiter traditionally rules the throat) + Purvabhadrapadas position as the archetypal 'femme fatale' is referenced in her song 'Feather'. Religious imagery is common to see with Purvabhadrapda natives too given the bhadrapada Nakshatras relation to sacrifice.

Since she has Purvabhadrapada Moon; this makes her yoni animal the lion- glamorous, proud, strong.

I noticed someone comparing her energy/demeanour/look in her music video for her song 'Espresso' to Sharpay in Highschool Musical, who is played by Krittika Ascendant, Ashley Tidsdale. Definitely a nice depiction of Krittika energy- being in Taurus, we see Venus (beauty, pleasure, luxury, art) combined with Sun (joy, warmth, self love, authority). Edit - y'all I think I got confused between different birth time sources, but Ashley is in fact mostly Bharani ascendant HOWEVER, with Venus in Krittika ruling her chart.

As well as Sun & Jupiter Nakshatras' abundant qualities, I think Sabrina having Moon in the 1st definitely helps to garner likability & widespread appeal. Moon reflects whatever is around it, so she's going to be somebody who as an artist, is naturally attuned to public opinion. Moon in the 1st can have a knack for identifying what is popular, and reflecting it back through their persona or art in their own way.

With Sabrina's Sun, Moon & Asc consisting entirely of Purvabhadrapada & Krittika, this makes the energies of the 'brahmin caste' extremely relevant to her. Brahmin Nakshatras tend to be associated with spirituality, knowledge, education, prestige or a 'priestly' quality. Of course, not always especially since the ways in which each Nakshatra works is very unique; but heavily Brahmin influenced people tend to find themselves in very privileged positions in life- even if they're in a rough spot, they carry themselves with an aura of importance and therefore tend to easily attract what they desire.

As I talked about in my Vishakha women post, especially Vishakha but honestly strong Jupiter influence in general is often somewhere in the charts of those who have the type of fame where they are ever expanding & deeply influencing the masses.

Anyway, I'm eating up her music videos lol, the solar energy is so uplifting- sorta makes me nostalgic for the 2010s, when mainstream music & trends was a lot more solar inclined in that way. Some may have considered it shallow (my edgy 12 year old self sure did lmao) but honestly I think there can be something very spiritual about artists making music that's just fun, joyful and silly.

Thankyou for reading & I definitely want to do more small observational/analysis posts like this! ♡

[raven-at-the-writing-desk]

Actually could we put some light on the class difference clash epel is experiencing in school. The situations looks a little weird to me. Cuz in epel's robes vignette it starts with the other pomefiore students asking him about carpet brand preference and he has no idea what to answer. They end up having a misunderstanding that never clears up. Epel proceeds to make a table manner mistake which Rook helps cover up with a lie so epel won't be embarassed (rook can probably sympatise) while vil is more strict. It is in this vignette we see that instance of vil first making epel lie about his favorite food for unclear, debated reasons.

In Epel's labwear vignette we hear some of the NPC students whisper about him and they seem to be asuming he must also be from some rich family due to the clothes he wears (which vil gave to him and makes him wear) and maybe also because he's in pomefiore. I know that it's just like vil to give people clothes he thinks will fit them best,and some of it might be so epel blends in pomefiore better, but could Epel actually be more likely to get picked on if he was perceived as from a lower class? NRC is a prestigious boarding school but it's not like he's the only character with more...average circumstances. Compared to the literal royalty and celebrity attending.

[Referencing this post!]

Mmm... I mean, aren't the mobs (in the Labwear vignettes) already bullying Epel because they perceive him to be of high social status? I don't think it would make a difference if they knew he was of a low social status since the mobs were already bullying him (again, under the impression that he's rich) to begin with. What I'm saying is that bullying would have occurred regardless of Epel's socioeconomic status. It's not necessarily nice, but it seems to be the norm for NRC students to verbally bash one another.

I don't really recall other major or frequent instances of middle class (Trey, Jack, Ace) or low-income students (Ruggie, Deuce) in the main cast being bullied. In fact, Trey and Ruggie are pretty well-liked and respected within their own dorms despite not being as wealthy as the majority of their peers are. (In this post, I go over how roughly 75% of the main cast come from at least upper middle-class backgrounds.) The bullying seems to be centered mainly on Epel, and I think that's probably because his peers perceive him as being small and cute--and therefore delicate, meek, and easy to push around. Epel just seems like the ideal target from a quick glance. Notice how B-kun comments on Epel’s face first:

I think it's also worth noting which dorms the bullies in Epel's Labwear vignettes come from: B and C are from Savanaclaw, and A is from Pomefiore. Savanaclaw mobs are notoriously belligerent and are usually the go-to mobs to pick fights with their peers for what are very minor things. The Pomefiore mob bully seems to be an outlier; most other Pomefiore mobs, at least as depicted in Epel's Ceremonial Robes vignettes, are polite and refrain from this type of behavior.

Importantly, (Savanaclaw) C is the one that calls Epel a “little rich brat” and (Pomefiore) A says Epel is “daddy’s fancy little lad”. This wording makes both sound resentful of the rich, thinking them spoiled—so it makes me think maybe A, B, and C are actually not rich themselves and are the less privileged picking on someone they think is wealthy but unable to stand up for themselves.

Now, within Pomefiore itself, it does appear that many of its students are upper class or at least sticklers for appearances. Their knowledge of brands and aesthetics itself is not damning evidence (anyone of any class could know this too; there’s also lots of non-rich people who obsess over brands). However, the fact that all of Epel’s first year peers already seemed familiar with how to handle a full set of cutlery at a formal meal does indicate high socioeconomic status, as the common man would not know how the heck a salad dork differs from the fish fork. (Most people use 1 fork or 1 spoon for the entire meal, and forget about having courses.) Buuut we shouldn’t assume that this one vignette is representative of all Pomefiore students, just as we cannot assume the one mean Pome A is a good example of all Pomefiore students, since there are limitations with the game. (Another famous game limitation is all Savanaclaw mobs being beastmen and every other dorm having zero beastmen mobs; in the manga, we see humans in Savanaclaw and beastmen in Heartslabyul. Riddle also verbally confirms that Heartslabyul has a cat beastman in the second Beans Day event.)

I think there’s definitely intersectionality at play as well. There’s something to be said for a culture clash in addition to a clash of classes. Epel is the only one in the main cast from a decidedly rural area where there isn’t much to do (ie no brand name shops) and everyone is close and casual with one another (ie there is little in the way of formalities). This likely contributes to the disconnect between Epel and his Pomefiore peers.

Now, where is this all leading to? Am I claiming that bullying based on socioeconomic status doesn't happen at NRC? Of course not! I have no doubt that it happens, but I don't think it's specifically the rich-on-poor type. In Epel's case, it seems to be the poor-on-(perceived to be) rich kind, but the opposite also occurs (in book 1, Riddle insults Yuu's pitiful education, something which is typically associated with the lower class; magic and magic education in particular is associated with the upper class). And, of course, we have the middle ground of people of similar socioeconomic status going at each other (for example, Leona and Malleus's rivalry). What's sort of sad is that the environment at NRC is conducive to animosity and no adults ever intervening because: 1) the students are so prideful, who would actually have the guts to tell an authority figure they were being picked on? and 2) the students tend to try and retaliate or get into fights instead, which only escalates the situation.

At NRC, I get the impression that class is one thing you could get bullied for, but that power and/or connections are much more important factors. Let's revisit Ruggie, who is the most impoverished of the main cast. If we assume that the less well-off students are predominantly the ones who get picked on, then shouldn't we have many examples of Ruggie being bullied? But he isn't. In fact, the big, burly Savanaclaw mobs (who are known to be combative) seem to defer to him instead of bullying him. Leona even leaves Savanaclaw in Ruggie's care while he is away in book 6, fully expecting that the mobs will listen to Ruggie. Why? Well, Ruggie is not physically or magically strong, but he has Leona's backing. It's through this association with the powerful Leona that Ruggie gains the respect and the following of the others in his dorm. This is something we consistently see in other characters, including Epel's own dorm leader. Because Vil beats him in combat, Epel agrees to listen to what he says even if Epel dislikes it. We see mob students bend the knee to the main cast once they've gotten glimpses into their power or abilities (Leona versus the Savanaclaw mobs, Idia versus the Ignihyde mobs, each in their respective Dorm Uniform vignettes).

Circling back around to the concept of Epel being bullied! Would the Pomefiore mobs turn on him if they realize he's actually not wealthy? Maybe...? We don't really know enough about the individual personalities of the mobs to judge for ourselves. If they did bully Epel for that though... I feel like those mobs would be in for an ass whooping from Vil (and Rook) for being so petty, vindictive, and disregarding decorum. Vil can rub people the wrong way with his demanding and stern attitude (I'm one of those people sometimes), but he wouldn't stand for such "ugly" behavior. It sullies the good name of the Fairest Queen and the dorm made in her image that he oversees. Those are my thoughts on the topic! I apologize if I ended up straying a little from the initial ask (I felt like I wasn't even truly talking about Epel for half this post ashdbsadlbayw).

[lontra23]

Since this question keeps getting asked everytime a bingo with this square gets posted, here a (long) attempt to answer the question:

"Why isn't a romantic relationship just being best friends + more emotional and physical intimacy?"

For a long time I also didn't realize romantic attraction and romantic falling in love were actual strong emotions that are different from platonic love and an emotional bond, which is a big part of the confusion I think.

Personally I'd say that if and when a relationship starts feeling romantic is a bit different for everyone. (There doesn't always need to be romantic attraction involved to consider a relationship "romantic". For example see also: Cupioromantics) But: it is very much possible to sleep with someone you have an emotional connection with, without it immediately becoming a romantic relationship. (This type of thing is actually quite common for aros who never feel romantically attracted to anyone)

Like, if a relationship is friendship + physical intimacy, you can have a "friendship with benefits", and even allos agree that this doesn't automatically mean it's a romantic relationship. So obviously there needs to be some other element and sex is not the decisive factor.

However, you can also live in a house in a committed partnership with a best friend and care a whole lot about each other, tell each other everything without it being romantic. I'd say this is also a type of love, but more similar to loving a close family member. For example if you have a close relationship with your sibling, you can hug each other and it is definitely not romantic. Best friends can also be very close and touchy without it feeling romantic. IMO you can definitely love someone without being in love with them. Romantic attraction and being romantically in love is, from what i've heard and seen (and even according to some studies), supposed to feel distinctly different from close platonic friends who like to have sex sometimes

Another Example: A commenter once used this useful coffee/ tea analogy to explain:

(https://www.reddit.com/r/aaaaaaaarrrrro/s/W1r1friT7A)

Quote: << A very kind alloromantic friend described it to me the other day, that romantic feelings and friendship feelings are entirely different and cannot begin to be compared, despite the common sayings like "oh we're just friends" or "they're more than friends". He said, "On the bar of friendship your bar is filled to the top and it’s not possible to get any higher. But there’s not a drop of romantic attraction there. If I add more friendship liquid it goes into the friendship jug. Even at infinity litres of friendship there’s still no romantic liquid in the romantic jug."

It's kind of a "you can't possibly know what coffee tastes like if you've only ever drank tea" situation. From an aromantic and alloplatonic outside perspective, a romantic relationship might look like tea (friendship) and biscuits (affection) because tea and coffee look similar but the liquid in that cup is coffee (romance), and we know that coffee exists because seemingly everyone loves coffee and craves it, but if we've never craved coffee or wanted coffee or have never been able to taste coffee even when we did have it, then we can only really describe coffee by referencing tea.

I don't like the idea of coffee, never had coffee, don't know anything about what coffee is like besides what people say about it, don't particularly want coffee because I'm satisfied with what I've got, but I do like biscuits and I would totally dip those in tea so I have absolutely no idea what those coffee heads are experiencing. >> Quote end

[the-way-astray]

Ok just saw that your asks are open

Ik that you do not like Keefe (for valid reasons)

But here's something for you to analyze/think about

Not necessarily to change your mind about him bit if it does it does

Ok so

At the end of neverseen Keefe said "sometimes things have to get worse before they get better"

Yes he was referencing to him running away and for lodestat Yada Yada what have you

But I FULL heartedly believe that it was foreshadowing for the entirety of his chara arc throughout the series

Cause as of stellarlune he is at his lowest of lows

However you want to classify that us he's there

The way he treats his friends, his relationships with them, his mental state, ability state, common sense

All of it

And do I think it's gonna get worse than what it already is

YUP

But here's what that quote implies

It DOES get better

Never says when or how

But just that it does

I fully believe that after he gets past the roughest patch (whether that's him currently or even him in book 10) that he'll slowly start to realize how he's been and start trying to be better and get the help he needs

And tbh

I don't think it'll be anytime soon

I feel like he needs to have the (inevitable) argument with Sophie to finally realized it

Cause trust me as much as I ship sokeefe I really do believe they need to have an argument

Maybe even not speak for a book

But it'll be good for him in the end and hopefully he sees how he's been acting these last few books

Thoughts on this?

okay, sorry this took so long to get to. every time i try to answer it, it doesn't come out quite right. but here's my best shot.

i would agree with the idea of "sometimes things have to get worse before they get better" as an arc for keefe. that would be cool. and obviously, since at the time of this writing, the series is unfinished, there's always a possibility shannon could turn it around for herself. i've talked about this briefly in some post from a while ago, but there is a chance shannon will execute a flawless character arc for keefe in unraveled. is it likely? not really. but i wouldn't say it's impossible.

what makes me think this will not happen? in short: the fact that his flaws, the real flaws, not "cares too much about sophie" or "is too willing to self-sacrifice", have not once been villainized or called out as something seriously wrong in the series.

here's a list (referencing this post, where i list out all the things i dislike about keefe, there's more than just what i listed here, but these are the character flaws):

"i hate the way he manipulates, gaslights, extorts, and pressures sophie (and other people) into telling him shit they wouldn't ordinarily." this is never made out to be a bad thing. the person on the receiving end usually just grumbles something like "empaths", then after five seconds it's dropped. you don't see it affect keefe's relationships, you don't see people become uneasy around him, keep their distance from him because oh, that's the guy that's going to spill my secrets, it never feels like this affects keefe's relationships in any negative way. there is no long-term damage. it is completely swept under the rug, and it is never, ever seriously villainized. if shannon wanted to execute a "sometimes things have to get worse before they get better" type arc for keefe with regards to this flaw, she'd have to start by having it be a negative thing. then only can keefe work toward a better place. but shannon skipped that crucial step. so how can i assume that she's trying to develop keefe out of this, even if the development goes forwards and backwards and all over the place?

"i hate what a terrible friend he is." there are so many examples of this that i can't remember exactly what i was referencing when i wrote that. in any case, basically the same as what i said above applies. keefe needs to first be villainized for his toxic behavior if he's to grow out of it. take his comments toward fitz in the famous healing center scene, as an example. yes, the scene is told from keefe's perspective, meaning obviously he's not going to hold himself accountable. but maybe elwin steps in and reprimands keefe for what he said. maybe keefe detects sophie's anger toward him for the comments he made toward fitz. maybe he's even told off by fitz himself. there are a variety of ways to make it clear that this is not a good person to be. only then can keefe's journey even begin. if shannon is to do a "sometimes things have to get worse before they get better" type thing for keefe with regards to this, then things have to get worse for him. he needs to feel the consequences of his actions, which he never does.

"i hate the way he simultaneously pedestalizes and infantilizes sophie." once again, this is never made out to be a bad thing. if anything, keefe's pedestalization of sophie is meant to endear the audience to him. his infantilization is disguised as """"""witty"""""" jokes, so that is also probably supposed to make us like him. shannon actually managed to take keefe's toxic traits and sell them to the audience as good qualities. could be a masterclass in writing if she did something with this, but it's very clear she actually believes that these are good things. once again, if keefe is to develop out of these things and find a better place, even if he makes a few mistakes and "gets worse", so to speak, at various points along his character arc, that would still require his arc to actually like. begin. shannon hasn't even reached that part. so once again, how am i supposed to expect that she'll write any kind of arc with regards to this?

"i hate the way he's so jealous, so passive-aggressive, so toxic to his supposed friends." i've talked about this very, very briefly before, but i'm almost certain that we're supposed to see keefe as being "in the right" during the healing center scene, at least as the way shannon intended for it to be taken. one second . . . okay i found the post where i said it. here's what i said verbatim: "#i really feel like. shannon genuinely did not mean for him to come off so mean#she was definitely banking on the fact that everyone hates fitz#it's FITZ that's the one that's the butt of the mean joke by KEEFE so nobody will care! right? right guys? guys?#and honestly she's probably correct about that because most of the fandom DOES like keefe and hate fitz so like". now obviously i cannot be 100000000% sure, but from years of reading and rereading these books, i've become pretty confident that shannon genuinely wants us to perceive keefe as an otherwise-perfect angel whose only flaw is recklessness and his tendency to self-sacrifice. so those are the only flaws for which she writes a proper arc. and once again, if she wanted to write any sort of arc for him, even one that isn't perfectly linear, she would first have to start my acknowledging that keefe is the possessive, jealous, toxic friend here. but she doesn't.

"i hate the way sophie has to constantly babysit him because she doesn't know what stupid thing he'll do next and i hate the way he doesn't care about that, despite claiming he's doing half the things he does for her." this is the last one i'll mention in this post, promise. his stupidity is the flaw, by the way. i would say it's acknowledged. so congrats, shannon, you've reached the first step. better than i can say for the last four points. but that's where it ends. it's never developed from. keefe doesn't know how to work on a team and is incredibly stupid, something i ran into the ground while writing my rant. and come unlocked, 8.5 books into the series, he is still incredibly stupid and doesn't know how to work on a team. he consulted exactly zero people before running away to the forbidden cities, and while you could argue that it was ultimately his decision, i do think he should've at least gotten other people's opinions. this decision was so monumentally stupid, i cannot wrap my head around it. i'll talk about it more in my part two rant, but in my opinion, it's his stupidest move yet. now, what about the "sometimes things have to get worse before they get better" arc idea for this? doesn't this mean that this could just be a low he's hitting in his arc? well personally i'd say no. because he never reaches a point where he feels like he's working towards not hijacking plans because he wants to genuinely be better and stop. the famous nightfall scene comes to mind, and as i've mentioned before, the reason this, in my opinion, isn't indicative of his arc progressing is that he apologizes entirely out of a desire to appease sophie and win her back to his side, and not because he actually wants to change. so that doesn't count. in legacy, sophie thinks to herself that if she doesn't go with keefe to london, he will find a way to get there himself, once again showing that he has no desire to consider other people's opinions. sophie actually only agrees to go because she's scared of what stupid shit keefe will get into if she's not there to babysit him. she caves to his hijacking, instead of nipping it in the bud, the way she tried to in nightfall. so i'd say there isn't any spectacular moment before unlocked where keefe is getting better with regards to his hijacking plans because he thinks he knows better than everyone else.

okay, now that i've hopefully sufficiently proven that keefe's arc is not a "sometimes things have to get worse before they get better" arc, at least not in the way it's executed in canon, i'll move to the rest of your points:

"as of stellarlune he is at his lowest of lows/The way he treats his friends, his relationships with them, his mental state, ability state, common sense" (sorry for formatting this like the lyrics of a freaking song, but i wanted it all in one paragraph lmfao.)

i disagree with this. i actually think his arc is looking up, with regards to his flaws, at least, in stellarlune. he seems like, to put it very, very bluntly, a morally better person. like he did some thinking in the forbidden cities and decided to get his shit together. this is why i say that i have to read unraveled before making my mind up about whether keefe's arc truly sucks or not. because if shannon has him acknowledge all the things i mentioned and make an effort to be better for himself, because he wants to be, then i can see how i could be swayed to the "keefe has a good arc" side. i do still think the chances of this are incredibly slim, though.

i would tentatively say the way he treats his friends is better in stellarlune. he certainly seems like he mellowed out a bit. he also only has like a couple hundred pages of that book to himself, and even less to showing what he's truly thinking on the inside, so it's difficult to tell for sure. his ability state and mental state are as shit as ever, agreed. but i'm not really talking about that? i'm talking about his arc and the flaws that i dislike about him, that i believe should be developed or at least called out for him to be a decent character.

"And do I think it's gonna get worse than what it already is"

same, but i think that low will be hit in unraveled. i think what we're seeing in stellarlune is actually him getting better from some major low he must've hit in unraveled. but once again, none of this has anything to do with why i dislike keefe. i dislike him because his flaws are never acknowledged or developed out of as the series progesses.

"I fully believe that after he gets past the roughest patch (whether that's him currently or even him in book 10) that he'll slowly start to realize how he's been and start trying to be better and get the help he needs"

one thing that i absolutely despise when it comes to writing character arcs is when like 90% of the development happens in the last like 10% of the series. it always feels incredibly rushed and incredibly forced, and it can be done well almost never. it's my opinion that arcs, and all the major progress and setbacks, need to happen evenly throughout the series so that you really feel like the character at the 25% mark is a different character than the one at the 75% mark, with regards to the thing being developed. i don't see that with keefe. he's a toxic friend in everblaze, he's a toxic friend in legacy. he's stupid in everblaze, he's stupid in legacy. he's manipulative in everblaze, he's manipulative in legacy. there hasn't even been a realization on his part.

having said all that, i do think there is a way to write his arc in unraveled that could at least make me tolerate him. and i do agree that there's a slim possibility that shannon could magically decide to develop him in book ten. but also keep in mind that book ten or book eleven is the last book. so there's a strong possibility that i'll still consider it too little, too late. but they are future books. i'll have thoughts when they come out for sure, but for now it's hard to tell what i'll feel about them.

"I feel like he needs to have the (inevitable) argument with Sophie to finally realized it/Cause trust me as much as I ship sokeefe I really do believe they need to have an argument/Maybe even not speak for a book/But it'll be good for him in the end and hopefully he sees how he's been acting these last few books"

i agree. i've actually talked about this briefly in my keefe rant, except i've talked about how i wanted them to fight in nightfall, not in book ten. here's that part, copy-pasted verbatim:

“Sometimes I still worry that some tiny part of her holds it against me. That she’ll never fully trust me. That she’ll always see me as the guy who betrayed her and stole from her and ran off with the enemy.” (Unlocked, Keefe's diary entries, 494) This would be really cool to explore if it was actually done. Sophie holding this against Keefe and struggling with that in the aftermath of Lodestar would be an awesome way to develop their relationship and have them overcome that hurdle and give them both some much needed development. But we know that aside from a single line at the beginning of Nightfall, Sophie never really blames Keefe. She just immediately forgives him for his time with the Neverseen. It’s pathetic writing. Something like that should have consequences. But it doesn’t, because then our poor Keefe will have to be *gasp* villainized. There could be this whole arc about how Sophie doesn’t trust Keefe the same and it impacts their relationship subtly and both of them feel it but don’t want to talk about it and it’s this giant, gaping hole. Then finally there’s a climax where Keefe confronts her about it and maybe she yells at him and he agrees that he’ll do anything to get her trust back. Then he does it. He does the smart thing, takes the smart advice. And he learns. He understands what he did was wrong and is truly a different person now. Honestly, the fact that Shannon explained this out shows me that she’s aware the possibility of this arc exists, but unfortunately, didn’t actually put it into action. Would it have been the most original conflict ever? No. But it would’ve been much better than whatever this dumpster fire of a lack of an arc she actually wrote is. I think I might’ve genuinely enjoyed Sophie and Keefe as a couple if she’d just made them have some distrust that they overcome through genuine work and growth.

anyway, if i didn't answer your question the way you wanted, feel free to shoot me a follow-up ask. i think i got it, but if i misinterpreted, tell me.

tldr: the reason i don't buy keefe's arc as a "sometimes things have to get worse before they get better" kind of arc is because that would require keefe's flaws to actually be acknowledged and villainized by the narrative, and for them to have actual consequences that affect him, which they do not. this leads me to believe shannon doesn't see these things as flaws, and therefore will never give keefe the development he needs to have a good arc.

[blueikeproductions]

The Death Trackers are a semi new concept in Transformers, serving as Sentinel’s enforcers and body guards.

Conceptually they’re clearly based on the Vehicons from Prime:

More specifically the space jet variants, though I wouldn’t be surprised if the Trackers had space car variants.

I mean clip the wings, and add some tires, you’re already there, but they also seem to be loosely tied to the IDW Badgeless.

They’re not … particularly that great at their job like the TFP Vehicons, but they function as Starscream’s secret police force on post war Cybertron.

The Vehicons’, Badgeless’ & Trackers’ all descend from the Beast Machines Vehicons, Megatron’s attempt at a “Single Elegant Machine” to control Cybertron by creating mindless drones to replace the individualistic robots that originally populated the planet.

These Vehicons started a trend that slowly started becoming more common place, where the Decepticons used a near inexhaustible supply of drones that the Autobots could now down without worry of killing off too many named characters.

Unlike the original non General Vehicons from Beast Machines, the Prime Vehicons have Sparks and wills of their own, with ancillary media suggesting they’re all Clones referencing the Prequel era Star Wars Stormtroopers, and the Decepti-Clones from the Armada video game.

Cyberverse would revisit the idea of nameless drones where its Decepticons employed identical generics to fill out its ranks.

They didn’t appear much though, and while they’re not referred to as Vehicons, they seem conceptually similar to the Prime car Vehicons. The Tarn based “Perfect Decepticons” are closer to the Vehicon concept though, with Tarn serving as their equivalent General in the finale.

One thing most of them all have in common though: they’re weak as slag.

While the Maximals and Autobots struggle briefly, the Vehicons are ridiculously easy to destroy, making the Prime versions in particular sympathetic like the Star Wars Battle Droids though not nearly as charming.

Case in point, the Death Trackers in One get ripped apart pretty easily like tissue paper, with B-127 killing several by accident without even trying or meaning to with his “knife hands”. Bee’s bloodlust being played for laughs aside, it clearly sucks to be a Death Tracker just as much as if does to be a Vehicon. Presumably the Death Trackers also fought in the Quintesson War, but if someone like Bee can kill them so easily, I can’t imagine they stood up to the Quints any better.

Curiously the Trackers come in colored variants, presumably to designate rank.

What said ranks in story mean isn’t clear as of typing, though Gold clearly is meant to be the highest, though clearly not strongest; Bumblebee’s face mask smashes a Gold’s hand and he easily cuts its head off too accidentally. (I’m leaning towards a headcanon the Micronus Prime donated Cog made B-127 much more powerful, he’s effectively a Prime in strength, but this is never clarified in the story itself.)

The Silver variants appear to be a nod to the Seeker Vehicons used late in Prime, though like the Vehicons, the new shiny chrome detailing doesn’t make them any less blow up-able.

As the Death Trackers technically worked for a Prime, that presumably means any survivors in the overthrowing of Sentinel now work for Optimus, though that’s never clarified. I feel like Optimus wouldn’t want to continue calling them Death Trackers and instead insist they be called Aerialbots, to make it less … threatening.

If TFONE continues in any form, it’s pry more likely these guys get folded into the Decepticons and become the Vehicons, or Eradicons, if Megatron feels like revisiting that old name.

It also remains to be seen if the Trackers get more variants and Vehicle Modes.

[superfurytamago]

Every Japanese comedy reference in Jujutsu Kaisen chapters 240 and 241

EDIT: Added one more reference to Audrey that I completely missed out when I was writing this post. Putting my self-proclaimed Japanese comedy otaku title to shame!

I was a Japanese comedy otaku way before I got into manga and anime, which is why I get way too excited whenever I spot Japanese comedy references in other forms of media. Granted, the plot is totally coherent even without knowing the references, but please indulge me as I find myself a rare opportunity to talk about Japanese comedians. All English panels are sourced from Manga Plus and Japanese panels are my own digital copies.

Preface about Japanese comedians

Japanese comedians usually form duos called "combi" in Japanese. Some may form trios or even quartets, but duos make up the overwhelming majority. Solo comedians are becoming more common, but like Takaba, most if not all of them had started out as a duo that didn't work out over time.

Nabe Nabe Entertainment and Pony

Reference to Watanabe Entertainment, a major entertainment agency in Japan. The most famous comedian group under Watanabe's management will be the comedic trio Neptune, and the above panels reference them indirectly as well.

Another talent management agency mentioned is Pony, which is a reference to Sony Music Artists Inc (SMA). Yes, they manage comedians as well lol. Agencies have distinct styles of management, which eventually shows in the type of comedians they manage. Kenjaku assumes that Takaba is with Pony because SMA has managed to propel an impressive number of solo comedians to fame despite the comparatively smaller scale of management. They also lean more slapstick than the "cooler" forms like skits and monologues. In fact, Takaba reminds me of Koume Dayū:

Laughing Dog? Vocabula?

Both Laughing Dog (Warau Inu) and Vocabula (Vocabula Tengoku) were incredibly popular variety TV serial programmes that Neptune appeared in during the 1990s and early 2000s. Takaba admires Neptune, which is why he chooses to sign with Nabe Nabe rather than Pony, even if the latter may actually manage him better.

Kenjaku wondered for a second why Takaba didn't cite Vocabula as the reason he admires Neptune, because Vocabula was the one that gave Neptune their shot to fame, and they absolutely reached superstar levels of fame during the time. Laughing Dog came later, when they were already established as household names.

The reason why Kenjaku walked back on it with "I guess that's obvious enough" has to do with the nature of the two programmes. Laughing Dog was a sketch comedy programme like Chappelle's Show, while as the name may suggest, Vocabula focused on wordplays, puns, and parodies. Comedians were voted based on how they performed the jokes. Here's a short clip of Neptune on Vocabula:

While here's a sketch from Laughing Dog (the second, third, and fourth green leaves members are Neptune lol):

Of course Takaba was inspired by Laughing Dog, "I guess that's obvious enough".

Backbone! My backbone!

An actual short gag (ippatsu gag or lit. one-shot gag) by Haranishi from the duo FUJIWARA:

It's not the first time Akutami has referenced an actual short gag in the series. Perhaps you may remember Itadori's unfortunate reunion scene at the sister school goodwill event:

This is a gag from Kojima Yoshio:

You have my condolences, Itadori.

Comedians and auditions

Kenjaku is dressed like a stereotypical TV producer here. This dates back to Japan's asset price bubble; during which, tying a cardigan over the shoulders was a staple look among TV producers and directors. In this scene, Takaba is auditioning like he would for a part in a variety TV show. Struggling comedians like Takaba often audition for variety shows that showcase a series of comedic skits or manzai. Pass the audition and you get a spot to perform on national TV.

Comedians and theatre

Most comedians who don't get their big breaks on TV spend a large part of their careers in small theatres. A typical comedy show consists of several groups of comedians performing their skits or manzai, and the theatre will hand out feedback forms like the above. It seems like Takaba used to go by the stage name Pinchan.

P-1? C-1?

The fictional C-1 is a reference to an actual long-running competition M-1 Grand Prix, while the fictional P-1 which Takaba mentioned earlier is a reference to another competition R-1 Grand Prix. M-1 is restricted to manzai performed by two people or more, while R-1 is open to solo comedians only. There are several important annual comedy competitions in Japan. Winning these big-name competitions is usually the ticket to fame for many comedians, but even then it may not work out for everyone.

Idol shows

It has become customary to have established Japanese comedians host Japanese girl groups TV shows, and I pretty much agree with Takaba's take on why. If you're a fan of idol groups like Morning Musume, AKB48, Nogizaka46, or Idoling!!!, then you would be familiar with Japanese comedians like Ninety-Nine, Ariyoshi Hiroiki, Bananaman, and Bakarhythm.

By the way, Takaba was watching TV while eating cup noodles after the above panel. The lines are from a well-known manzai performed by comedy duo Audrey. This particular joke with them going "hehehe" at each other is a staple in their early manzai:

In fact, take a closer look at the apartment that Takaba lives in. It's based on the actual apartment Kasuga (pink vest guy on the right) used to live in, named Mutsumi-sō. His shabby apartment and extremely thrifty lifestyle had been featured in many variety TV shows in the past. He lived there for more than 20 years, and the apartment was actually quite a tourist spot for fans of Audrey. Kasuga's Japanese Wikipedia article even has a photo of it as seen below, which is what I think Akutami referenced from. The interior is largely based on Kasuga's apartment as well:

Bonus Japanese comedy!

Akutami has taken inspiration from actual Japanese comedians in the past. In chapter 153, two of the spectators look eerily like comedy duo Sandwichman:

And how can we forget Ken, the fellow comedian who gave Takaba advice in chapter 146:

He's based on Kendo Kobayashi, and if you've seen images/clips of Akutami dressed up as Mechamaru, that was when he went on Kenkoba's show:

Wow that was long. Thanks for indulging the squealing Japanese comedy fan in me!