#this isn't even the most egregious example

[sysvents]

The funniest one for me was when I helped a friend find out they were a system. They were venting to me about some stuff that reminded me of a time I was questioning. Not expecting anything to come of it, I asked if they'd ever looked into dissociative identity disorder. At the time I thought, "Well I didn't have it, and I've had basically the same experience, so I'm sure they don't have it, either."

I then had to sit and stew in terrified anger I wasn't able to recognize was there when I turned out to be right, and they did have DID.

pre syscovery is "i would notice"

post syscovery is "HOW DID I NOT NOTICE"

[risingphoenix761]

Ok listen. I made the playlist. I decided exactly what to put on it. I had a specific fic (that is determined to be written against my will) in mind when I added every single song. I did this months ago, and I'm only just now doing the Ben Affleck cigarette meme about it.

Why no, officer, there's no angst or pining in here... *visibly straining to keep door the angst and pining are hiding behind shut*

[eleanorfenyx]

I was tagged by @frodo-of-the-nine-fingers to put my music on shuffle and list the first 10 songs! I know the game is to do your 'on repeat'(?) playlist, but I don't use Spotify(??) and considering I OBSESSIVELY listen to single songs for days or weeks on end at any given time (seriously spent a week listening to nothing but 'It's All Coming Back To Me Now' by Celine Dion over and over. Yes even when I had other people in my car), I don't think any repeat playlist would be a fair representation of my overall taste, even if I could find how to see it on Apple Music. So I just said fuck it and put all my songs on shuffle lol

ANYWAY

Here it is:

Higher Love by James Vincent McMorrow

Exile by Enya

New York by St. Vincent

Papers ("You're not from around here, son...") by Patrick Page, Amber Gray, André de Shields, Eva Noblezada & Reeve Carney (Hadestown)

Country Down by Beck

[Yicheng Group] Gu Cheng by Chen Zhuoxuan (陈卓璇) & Sun Bolun (孙伯纶) (The Untamed music album)

Through Me (The Flood) by Hozier

Flowers of the Field by Sky Sailing

Osono's Request by Joe Hisaishi (Kiki's Delivery Service soundtrack)

Cassandra by ABBA

[afterthelambs]

If you'd allow me to be critical of arcane s2 for a bit, my biggest issue with the final battle is that if you analyze how things ended up the way they did you realize it's literally all Piltover's fault. Why did Ambessa manage to gain power within the city? Because Piltover eagerly embraced fascism rather than reckon with the oppression that caused Jinx and Zaun to strike back. Why did Ambessa team up with Singed? Because Piltover unjustly arrested half of Zaun which caused Singed to call on Warwick, alerting her to their existence. Why did Ambessa team up with Viktor and his army of robots? Because Piltover and Caitlyn led her right to them.

Piltover did everything wrong. Literally none of this is Zaun's fault and yet they're expected to 'be the bigger person' and team up with their oppressors against a common enemy-- who is only a threat because Piltover is so stupid and discriminatory that they fell into her trap.

Despite this, the Zaunites don't get the independence or liberation they craved. I wouldnt mind if this was commentary on how lower classes can do everything right and still get nothing. But it isn't because they don't even get scenes showing how they feel about any of these developments. They're not allowed to express thoughts or show agency.

The most egregious example is how Sevika ends up on the council. We know this is antithetical to her character since she despises Zaunites who roll over for Piltover, which is why she betrayed Vander to join Silco in the first place. I'm actually not opposed to this from a plot perspective because you can do something interesting with it. Was she backed into a corner or did she change her mind on how to achieve Zaunite liberation? Did Zaunites ask her to do it or did she volunteer herself? We never know because she doesn't even get a voiceline, not even a silent scene of her interacting with them. You can say "show don't tell" all you want, but they don't even show it.

I am aware that expecting the company behind League of Legends to be good at class commentary and sociopolitics is like losing chess to a dog. My expectations were low to begin with. However I didn't expect it to be this bad.

[spiderfreedom]

the male gaze distorts reality

started watching movies again (just don't like movies really) and one thing that surprised me was how the male gaze isn't just about staring at hot naked ladies, but how it distorts reality. the male gaze creates 'people' and 'situations' that simply don't exist.

the biggest example to me is the femme fatale. the devious woman using her sexuality as a weapon. whether the trope is a blonde bimbo bubblingly bouncing her boobs, or a sophisticated older brunette casually letting the strap fall off her shoulder and threatening to reveal her bust, they are different incarnations of the same concept. the women are knowingly using the sexual desire of men against them.

i watched a particularly egregious example where a group of women were sent to seduce a group of men, hanging off their shoulders, caressing their chests, with the promise of further sex if they came to another room. the true purpose was to humiliate them by getting them to disrobe in front of other people.

when i was a kid watching these scenes, i was convinced that this was a real thing women did - there were women out there who knowingly used their sexual appeal to get men to do things they otherwise wouldn't. it had to be such a recurrent trope for a reason, right? it even shows up in movies for children - remember the hot pink pegasus seducing hercules's pegasus?

but as an adult, i find myself confused watching these scenes. i've never seen anything like this happen. i've never met someone who says they do things like this. it's one thing to be flirty and dress in a sexually attractive way to get free drinks, but it's quite another to be so sexually forward to 'deceive' and 'trap' men. not to mention, it's... dangerous. if the man even believes he's being deceived, he can turn violent. it's a foolish move.

maybe the only real life example I can think of is honeypots. but honeypots are actual spies, trained by governments, and spies are selected to have less empathy than the average human being. do we really think that among untrained women there are so many seductresses with the skill of trained spies?

"what about sex workers/prostitutes?" while the honeypot spy is employed by a government agency, prostitutes are paid by the very people they are "seducing." prostitutes have to put on an act - they need to pretend to be the sexually active and perpetually horny woman men both want and fear. but most prostitutes are not like this; they are in it because they need money fast, not because they think fucking strange men for pay is a sexy and desirable career path (fun fact - read the diary of madam pompadour, the most famous courtesan and the embodiment of aristocratic seductress, and you will find she actually did not like having sex with the king and dreaded it. not even our real life courtesans can live up to our fantasies.)

the entire idea of a woman using her sexuality against men is simply a male fantasy - and the flipside is that it's a male anxiety, too.

men wish that women would approach them and find them desirable and initiate sexual intercourse with them, without the men having to do any of the work. there's nothing inherently wrong with fantasizing that a hot person finds you so special and hot that they want to have sex with you right away. men and women of all sexual orientations entertain these secret fantasies.

but then, there's the fear - "what if these hot women are actually only pretending to be interested in me, to get something from me? and i'm too horny to think straight and i actually give it to them?!" and that is the male anxiety, that for a moment, they actually end up losing the upper hand. despite the fact that such a situation is actually pretty rare in real life (I asked several male friends if they had personally or second-hand encountered such a situation in real life, and none could say they had), it is a common trope in fiction. it is especially lascivious in film, where the seduction before the fall can be portrayed in softcore porny ways.

"this is a foolish idea, everyone knows fiction and reality are separate." well, we know they are separate, but do you know which parts? if you don't already know the facts of the situation beforehand, how can you tell when fiction is lying to you and when it's drawing from reality? do you think the young, sexually inexperienced kids watching disney's hercules know that 'seductresses' aren't a common threat when we watch this scene? or will they learn and think "ok, a thing that happens in grownup life is that hot ladies seduce men, and you gotta watch out for them!" what basis does a child or even a teenager have to know this is false? especially when this is a common trope?

"women are sexually available and active - and deceitful" is a harmful trope. when you read about the ancient greeks stereotyping that women are lustful, they don't mean it in an "aww shucks, these girls just love having sex!" kinda way, they mean it in a "women are unfaithful and will use any means to get dick, including taking advantage of their hotness" way (this is why 'whore' is the ultimate insult for women). because if this trope were real, then it would be dangerous, wouldn't it? honeypot spies are dangerous for this reason. luckily for us, it is not real, but the male anxiety surrounding it continues. the male desire/anxiety around it informs porn tropes about 'punished sluts'. it informs incel tropes about the 'cock carousel'.

and this is what i mean when i say the male gaze distorts reality. it fabricates, out of whole cloth, a person that does not exist in any meaningful way - a woman who seduces men while demanding no emotional involvement, who is eager and willing at all times, who can turn the very desire for her existence against those men to get what she wants. she is not repulsed by or afraid of the men she pretends to be attracted to. before, we had to content ourselves with art and novels glorifying this false woman, but film allows her to exist in flesh and blood. cast a real woman, have her speak words and move her body in ways dictated by a man, and suddenly she appears much more real. grow up with enough of these, and even women writers can start to think these "seductresses" are real people. she can try to reclaim her and turn her into a badass boss babe, or she can condemn her as immoral and pathetic, but the deception is complete - the argument is no longer about whether this woman exists (she does not), but about whether she is justified in her ways. the female writer does not realize she was nursed on the male gaze for years, and it will take serious seeing with her own eyes to realize what is the real world and what is male fantasies and fears.

[zettaireido-emotion]

Camus character analysis: games VS anime

If you finished the Uta no Prince-sama anime and your opinion of this man is "wow, he's kinda terrible," I don't blame you. in fact I've seen a lot of people say this

In this post, I want to talk about his characterization in the games and give my two cents on what the anime was trying to do with him, especially in his single focus episode Saintly Territory (S3E6).

Disclaimer: I wrote this on a whim because I'm sick and stuck at home so if anyone reads this, sorry I might go all over the place

Spoilers for all of the games!

The "be my slave" thing

Starting with Anime Camus's most egregious crime: treating Haruka like a servant/slave (however you want to translate it)

Basically in his focus episode, Haruka is tasked with writing a song for Camus. She wants to learn more about him in order to write it, but Camus will only let her follow him if she acts as his servant. She accepts without complaining, Cecil is rightfully angry, Haruka continues anyway and the song gets completed.

Now, am I about to say that Game Camus would never do this? No because he literally does lmao.

The anime doesn't pull this "servant" plotline out of nowhere, here's the context in his route:

Haruka accidentally overhears Camus talking about a plot to assassinate Saotome on the phone. When he notices that she heard everything, he basically tells her that he has to kill her now. But if she served him, he'd be able to keep an eye on her, make sure she doesn't leak anything, so she could escape death.

Okay uh "work under me or DIE" isn't exactly better, nor is it a good start to a love story, but I'm not finished!!

(A side note: I have to add that the anime made him look like an even bigger asshole and borderline dumb when it came to the things he made her do. Like he expected her to know that snapping your fingers means you want coffee without prior explanation. bro

^This might have been for comedic effect but I promise he can be actually funny and endearing.)

What the anime couldn't cover

The Camus episode wraps up with Haruka pulling through and writing a song that makes Camus "sincere," he says it's cool at the very end and that's the episode. I think the problem is that we technically didn't see him being sincere or what that even means to him, besides when he was singing (banger song btw)

It's a shame because in a 20-minute episode you really can't show the game experience of slowly piecing together what this man's problem is.

First of all, in Debut and AS you'll be quick to notice that he always has homeland and duty on the mind, constantly reminding himself that he's in Shining Agency/Japan for a reason, and it's NOT to have fun or make friends

The truth is, he slowly starts to appreciate the banter with his colleagues, music, and working there in general.

But because of his initial mindset, he has to rationalize & justify every connection he forms, like "it's just for work" or worse: "actually it was ALL A LIE and I NEVER ENJOYED A SECOND OF THE TIME WE SPENT TOGETHER, I'm such a great actor haha"

He uses that to fool himself and to push the other person away so it doesn't happen again. This scene is probably the best example:

(I'll be using google lens because it's faster but I checked that the tls were okay)

He also does this in the Non-Fiction drama, which may or may not have actually happened, but I think it's still a pretty good reflection of what could happen in reality because he tells Ranmaru their bond was a lie, then mopes around in his guilt thinking about the good times and wondering why he's sad, and THEN later doubles down on the "it was a lie, I don't care about you" because he just can't let himself get attached to anything.

Basically, he's terrified at the thought of forming actual bonds because he genuinely thinks he's nothing if he stops being a cold weapon:

At one point he does admit he sucks (as a love interest)-

-which is pretty huge by utapri standards. I love these games, but the amount of times where a male lead does something icky, and everyone, including Haruka, acts like it's normal or like it's Haruka's fault is ehhh but I digress

Upbringing

Of course he's very proud of his homeland and status, but sometimes it's to the point of thinking he can't be anything other than his title. So why is he like this?

We got to hear about his childhood from Camus himself a few times, and it often ended with Haruka thinking "wait? that's kinda messed up?" and Camus insisting it's nothing/it's normal so yeah that's something...

His parents were in an unhappy arranged marriage, and his mother was forced to birth an heir which traumatized her so much that she can't see Camus without falling ill. Overall it's a pretty tragic situation since what happened to her was horrible, though not Camus's fault either. Even now she refuses to see him, and I wouldn't say that makes him sad because he never really met her, but simply knowing of her sacrifice probably adds a lot of pressure. As in, he only exists for this one purpose (inheriting his father's title and serving the country), so if he doesn't play his part correctly, it would have all been for nothing.

He was raised by his father not as a child or son but as the heir, always treated and judged as an adult (even during physical training apparently, make of that what you will)

When Haruka asks about childhood memories he has a very hard time finding something that doesn't have to do with his duties or the nation. And then admits he didn't truly have a "childhood" since he was never treated like a child

As for the queen, I think his love for her is sincere: she taught him a lot of things growing up, and according to him, she's also a victim trapped by her duties so he wants to ease the burden.

So hypothetically, if he found things or people that made him happy in Japan, he would feel obligated to lock them away because that happiness is incompatible with his life: he'll have to leave when his mission ends, he shouldn't be spending time on things that aren't "useful" as he doesn't have the free will to pursue them

In his mind he's completely tied down by the fact that he was born and raised for a single reason, and the fact that he does want to serve the queen.

(This is Saotome describing him btw)

Also it might sound ridiculous to bring his self-worth into question because of how pretentious he is, but I've counted a few situations where he seemed to have complete disregard for his own life, only worrying about Haruka and Cecil's safety in scenes when they were present. And he thinks wanting to be loved unconditionally is a childish thought he shouldn't have.

"Double Face" was a lie. There's like at least 10 layers

On the surface he does have two personas, his perfect polite butler act for the media, and his cold bitchy attitude off camera. But honestly, even when he's not acting as a butler, he's often putting up a front to hide any form of vulnerability (from himself as well)

His main struggle is finding who he is outside of what he's being told to do. Before, he never actually stopped to think about what he WANTS because it just never occurs to him, or if it does he ignores it.

That's why realizing that he has his own desires is essential to his character development, and him staying with Quartet Night (and Haruka in his routes) is so important. It's why Reiji feels the need to reach out and when he does, Camus either freezes up or tears up;

This all makes him the opposite of Ranmaru (being true to yourself and sincere), and similar to Ai (gradually learning to view the world in a less cold and logical way), but I kind of want to save that for another post lmao

He is especially hard on Cecil because Cecil says & does whatever he wants, and everything still works out for him, which is a way of life that Camus can't imagine for himself at all (despite maybe wanting it?)

That he can realize this and eventually admit out loud, despite all his pride, is also one of my favorite things about him

Season 2 does hint at something, so that's pretty cool!

Side note, I really love that his theme in the new Oracle series is "Change," the melting of ice.

So what was the anime supposed to do??

Of course there's no way to show all this in a single episode or even during the runtime of the anime, and I never expected them to because the story is very surface-level (that goes for all characters).

It's just unfortunate since the anime is the most accessible and well-known utapri media in the western fandom, and the character's main episode is bound to leave the biggest impression.

I understand the choice of being laser-focused on the servant plotline, it's supposed to be funny (?) and waters him down to a trope that's easy to understand at first glance (the step-on-me guy I guess)

Still, I can't help but compare it to Ranmaru's episode, who was also hard to work with in the games but was chill in S3E7 and got to pet cats. Anime onlys will never know how much Camus loves to dote on his dog smh.....

[authenticoilspill]

I really enjoy how ohshc exaggerates how freakishly tall and short Mori and Hani are respectively.

This isn't that bad, but Hani is still made to look very short, especially in comparison to Mori. He should fall just between shoulder and elbow-level, but Haruhi seems to taken that spot, whereas she should be literally just below shoulder-level. Also, the twins should be just a little bit taller, as where Kaoru falls in comparison to Kyoya should actually by in comparison to Mori.

This is the most immediately egregious example, which is even funnier when you consider that Tamaki and Kyoya's heights are pretty spot-on. Hilary and Karou should be, in that pose, chin-level with Mori, especially since he's slouching.

Then, Haruhi. Once again, she is too short, but its worse this time. She's closest to the camera, but her head is where it would be if she were standing right next to Mori.

And Hani. Need I say anything? Realistically, for their heights, Hani's head should be above the twins' shoulders, and definitely not waist-level.

I'm mot ragging on it, by the way. I think it's really funny, and I wouldn’t have even noticed if I weren’t a massive dork and put their actual cannon heights in the heightcomparison website.

[getvalentined]

Okay I know I keep saying I'm gonna do a big post about Vincent in Rebirth and I've kinda been waiting until both my besties have gotten to him so that I can explode at both of them about him first, but there is one point that I've talked about a bit on the twits and I'm gonna babble about over here in greater detail.

There won't be a lot (if any?) direct spoilers here, but I'll be using screenshots that are absolutely spoilers to drive the point home, so keep that in mind.

Babbling under the cut.

One thing that really strikes me about Vincent's design in Rebirth is how he looks so...young. There's no other way to describe it, he looks young. In Advent Children and Dirge of Cerberus he had this sort of agelessness to him, particularly when compared to the rest of the cast; it was hard to get a read on how old he was aside from "younger than Hojo" because of this. He could have been anywhere from 25 to 35 at a glance, and up into a healthy 40+ during some scenes.

In Rebirth, that agelessness has been completely thrown out, and the only thing lending even an iota of uncertainty to his age is how covered up he is. The moment you see anything more than his eyes, it's excessively clear that this is a man in his mid-twenties, no older.

It's particularly obvious when he's confused or in pain, moments when he's not tooling his expression into something more neutral, when wouldn't be consciously presenting himself a specific way.

At a glance, Vincent is definitely older than Cloud, sure, but he's undeniably younger than Barret and Cid, he's younger than the majority of the extended cast—Reeve, Tseng, Rufus, the "emissary from Wutai," et cetera. He might even be younger than Sephiroth.

This makes the incongruity between his apparent age and his behavior hit particularly hard, in a way that it was never really able to in the Compilation thus far.

The way Vincent talks is off, noticeably off, and not just in a way to indicate education or accent—the way he structures his sentences follows grammatical standards from decades ago. Him commenting "if we're to stay the night" at Gold Saucer is one that really sticks out to me, because when other characters use similar sentence structure in the series (Genesis is the most egregious example of this) it's explicitly an indication that they're speaking in an old-fashioned way, they're being intentionally over-the-top. Vincent, though? He isn't doing that. The comment is so simple and offhand, there's no question that this is just how Vincent talks.

But he's a man in his twenties.

Vincent knows Dio as an antique collector, even though it's been over twenty years since he was in that business—Cid is the one that calls him out on this, because Cid clearly "knows" that he's older than Vincent, and Vincent brushes him off with a simple statement: "I've been around a while."

But he's...a man in his twenties?

When Cid warns him that the Tiny Bronco's radio is old enough to be considered an antique, Vincent is pleased—and in spite of having failed to properly operate the brick-phone-outdated security system in the mansion earlier, he has no problems operating the aforementioned antique radio.

But he's a man in his twenties! He's obviously a man in his twenties!

The juxtaposition between his appearance and his behavior is so stark as to be distressing; even if you don't know what happened to him, you can tell that there's something terribly wrong here.

Because Vincent Valentine is a man in his twenties, and he will be until the end of the world.

[aerithisms]

i think my problem with this dw season arc accusing the audience of fanbrain for theorising about ruby is that it both feels deceitful and isn't actually that compelling from a character perspective. the season goes out of its way to build up supernatural mystery around ruby and even invokes susan more heavily than ever before in a way that is deliberately trying to get the audience to make those connections. and then it turns around and says you stupid idiot why would you ever try to connect these dots i have deliberately tried to get you to connect.

building up a mystery only for the character to be ordinary is an impossible girl arc redux only this time accusing the viewer of failing to see the humanity of the companion, whereas the impossible girl arc was turning that accusation on the doctor. 7b didn't really blame the audience for viewing clara as a puzzle and in fact several times spells out the fact that clara is perfectly ordinary before the big reveal to give the audience a chance to catch on. as 7b goes on, instead of laying the mystery on thicker, the audience just gets more and more affirmations that clara is a normal human being (rings of akhaten, journey to the centre of the tardis, hide). i found this approach compelling because it was rooted in character, focusing on the doctor's disconnection from humanity/the gendered dynamic of a man treating a woman as his manic pixie mystery to pull him out of grief. s14's meta approach of accusing the viewer feels both unfair, given it has deliberately led the viewer towards theorising, and personally less compelling to me because it wasn't tied into character in any way.

the thing about rey's parentage in tlj is that the reason rian johnson chose to go for that reveal was that it was the only answer that was interesting. none of the theories - rey is a skywalker, rey is a kenobi, and even the eventually canonical rey is a palpatine - were interesting or satisfying because they brought nothing compelling to the table for the story being told. the only satisfaction to be gained from those answers was a fanbrained "omg rey is important because she's related to that guy from the other movie." on top of that, rey desperately wants her parents to have been important, to give her life and her abandonment some kind of significance. so them being ordinary provided the most compelling trajectory for her character because it was the thing she least wanted to hear. it forced her to do the most introspection and growth, as well as tying into the film's themes about the capacity of ordinary people to be special. it wasn't just a choice made to "gotcha" the viewer, it was rooted in character.

i don't think ruby's mother being ordinary accomplishes the same thing. by invoking susan, s14 is engaging with the most egregious example of the doctor's streak of abandonment, which has potential to be very compelling in relation to ruby (and now also the doctor's) own abandonment issues. theories that ruby might be susan, or be somehow related to susan, or somehow related to the doctor, weren't just fanbrained "omg she's related to that guy i know from the classic series." they were theories genuinely rooted in character and the potential to explore both the doctor and ruby's issues with abandonment. and this is something the show willingly led fans towards by invoking susan so much in the first place. so for the show to turn around and act like they were shallow out of nowhere ideas when they were not shallow and were based on potential character conflicts the show itself deliberately invoked, feels misguided.

as well as that, ruby's mother being ordinary does not require that same growth from ruby as it did for rey because it is exactly what ruby wanted to hear. she never wanted her mother to be important, she just wanted to know who her mother was and have a connection with her. so finding out she was a normal woman who still loves her and wants to be a part of her life is everything she's ever wanted. it doesn't introduce interesting conflict for her the way rey's parents being ordinary did for her, because they were written as different characters with different hangups over their abandonment.

tl;dr i don't necessarily dislike ruby's mother being ordinary as an idea but compared to the things it was inspired by - 7b and star wars - it is not nearly as compelling in terms of how it relates to the characters or themes. and the meta angle, while conceptually interesting, doesn't quite work for me because it feels a little manipulative of the audience.

[wardensantoineandevka]

folks, I'm once again telling you that the CritRole Fandom wiki is REALLY bad. most of the competent editors left over a year ago, and those left either prioritize speculative editorializing so that the articles are full of extremely presumptive unconfirmed half-truths OR they don't give a shit about non-CritRole stuff so their non-CritRole coverage is abysmal and completely wrong.

One of the most egregious examples right now is in their Candela coverage bc the editors have interpreted a figure of speech from Beatrix as literal, so there's this straight up weird incorrect statement in a couple of the articles:

This flat out isn't true! When Beatrix said that Nathaniel opened up a hole the Finnertys fell into, she meant it figuratively in reference to Nathaniel's work as a recruitment officer (see: when she talks to Nathaniel later in 2.02 at the Silverslip chapter house). She blames him indirectly in a domino effect; she's not referring to a literal portal, she's blaming him as having played a Pied Piper bringing them into the war! This is not only wrong, it's wrong about a MAJOR plot point of Candela Chapter 2 in a way that would fundamentally alter the narrative, given how important it is to Sean to avenge his brothers' deaths, but I've seen the above incorrect information repeated in the fanspace multiple times by multiple people in the months since.

Don't assume everything you read in a wiki article is true, especially the CritRole Fandom wiki but any wiki (even the solid ones!). Check things against the citation when you can! Do your due diligence.

Also someone please edit the articles to remove this or something. I can't bc I'm persona non grata there. But, forreal, it's funny how bad the editors at the Fandom wiki are at this until you realize that this gets repeated throughout the fanspace.

[ianthe-is-a-bitch-and-i-love-her]

I think one of the best elements of fantasy world-building for making a setting feel unique is its magic system. There's a lot of ways to approach building a magic system, and most of those ways can produce something compelling, but an approach that I've been thinking a lot about recently is what I call the Three Questions approach, because I think a lot of the times generic and interesting magic systems show up in stories that aren't really about the magic and so don't want to spend very much narrative space or exposition wordcount on it. Three Questions is great because it creates something unique and interesting without consuming much page space, and can also help with the rest of your world-building if you feel like spending a little more than the bare minimum on it.

The Three Questions are:

Where does magic come from?

What can it do?

What can't it do?

Answering the questions in order is helpful because the answer to each question suggests the answer to the next. The best recent example I've read of this system comes from How To Become the Dark Lord and Die Trying, and I'm gonna walk through that book's magic system in this context to illustrate why this approach is so effective.

Where does magic come from?

A mineral called thaumite, which grows in the body of monsters.

What can it do?

Thaumite comes in different colors, each of which corresponds to a different type of magical effects. Humans can use thaumite as a material component to create spells with effects determined by the color and magnitude determined by the size of the thaumite. Non-humans can instead consume thaumite and gain permanent passive benefits of a type thematically related to the color of thaumite. For example, red thaumite can cast fire spells and increases physical strength. Non-humans also need thaumite to live and thrive, though they can go without eating it a lot longer than they can go without food and water. Non-humans can theoretically live forever if they keep finding thaumite, but they need it more and more often as they age.

What can't it do?

Humans can't eat thaumite and be enhanced by it, and non-humans can't cast intentional spells. You can't cast spells that aren't thematically linked to an existing type of thaumite, so big complicated idiosyncratic curses and the like are off the table.

The book lays out all of this scattered through the first quarter of the book without any big egregious blocks of exposition dumping, and the results are really cool. We now know exactly what kinds of tools and challenges are protagonist can use, what limitations they have to work around and exploit, and as a result, engaging with the magic system feels like it has understandable stakes. The mechanics of the magic system inform the rest of the world-building as well - humans and non-humans are in constant conflict over access to thaumite, and the human kingdom is more built up technologically because they can utilize deliberate spells to accomplish things on a scale that non-humans can't. It all makes the world feel real and distinct.

This obviously isn't the only way to make a good magic system, and there are some things that you might want out of a magic system - like mystery and uncertainty - that this system can't accomplish by itself. But I would love to see this used more often in, say, romance stories in fantasy settings to make the world feel like less of an afterthought. Good world-building leads to better and more memorable storytelling, even when what you think you want is specific trappings to enable your story and nothing else.

[paperlunamoth]

Is anyone else just entirely enraged by how blatantly sexist 99% of anime is? Like, some of the best stories I've ever come across, the most beautiful visuals I've ever seen in storytelling, the most brilliant examples of raw creativity I've ever encountered, have come from anime. There are some anime that will forever be near and dear to my heart, because they are just so well made and impactful as stories and works of art.

But darn near every anime is RIDDLED with a dozen different sexist tropes and constant examples of blatant sexism. The women are generally significantly less competent and significantly more annoying than the men. Every female character who isn't an old woman is sexualized, even minors are sexualized, just in a "cutesy" way. You got 14yo girls with tits large enough to cause serious medical problems. There's regular fanservice (which unsurprisingly rarely services hetero women), panty shots, butt shots, girls practically thrusting their boobs into people's face. Sexual assault is regularly played for laughs and treated as perfectly acceptable behavior as long as the victim gets to smack her assailant and look annoyed afterwards, which has the added bonus of diminishing the impact of sexual violence by equating its severity with that of physical violence. Access to women's bodies is used to motivate male characters, and it's treated as though it is perfectly healthy for a man to pursue such access in the absence of genuine interest on the woman's part, or for a woman to be comfortable objectifying herself and using access to her body as currency. Sometimes women are portrayed as using access to their bodies to "coerce" men, as though women's bodies are something that men need, and women wanting something from men first in order to access them is a form of bullying or humiliation akin to making a starving person dance for their supper. I could go on. There are probably a lot of other things I missed because this is just an off the cuff rant and not meant to be comprehensive.

Point is, I hate this shit. I hate how just being aware of and caring about the issue of misogyny renders it damn near impossible to enjoy otherwise enjoyable things, and I hate that otherwise enjoyable things are sexist in the first place. And you never hear anybody talk about this, either, which is just the rage-cherry on top. Whenever an anime is being critiqued or reviewed or just generally discussed, all but the most egregiously sexist series being talked about by the most militantly liberal people will be spared even a passing, casual mention of how sexist they are. A character who seems vaguely racist or homophobic? Of course people will mention that (as they should). But constant sexism baked into the very bones of the series? Not worth bringing up, apparently.

[legoliomanikas]

Brief Thoughts About Aventurine, Religion, and Colonialism

This isn't a comprehensive summary, just things I started thinking about. It's kinda funny how things just completely fly past you when you don't think about them regularly, cuz I'm a very not-religious person so it took reading someone offhandedly refer to aspects of Aventurine's backstory as his "religious beliefs" for me to realize how important those actually are.

(2.1 Story Spoilers + reading the Sigonia relic set description will help for some context)

Despite his employment in the IPC calling for Aventurine to help amass capital in the name of Qlipoth the Preservation, we don't really hear him talk about Qlipoth often and his backstory basically omits mention of his relationship to THEM; the focus is entirely about his relationship with Gaiathra Triclops and HER blessing of luck.

The present Aventurine has changed a lot from his young self due to the influence of the IPC, in direct ways such as his newfound wealth and ruthless business practices, and in indirect manners such as how the IPCs involvement in the inter-tribal relationships of Sigonia resulted in higher tensions between the Avgins, Katicans, and other tribes.

However, his belief in Gaiathra Triclops has remained intact into his adulthood. It has soured as he begun to view HER blessing of good luck to be more akin to a curse, but it feels like a very deliberate writing decision to have him still hold onto the belief system of the Avgin. It would have been reasonable if he had later turned to the protection of Qlipoth, as joining the IPC had resulted in the wealth and status he has now, but he doesn't really do this.

Even if the colonialism took much away from him, he still wishes to retain his culture. (The value he places in the items his parents left for him and sister: the charm, the necklace, and the shirt, is further testament to this, as examples outside of his religious beliefs.)

Prayer is also something that we rarely see depicted often in Star Rail, which makes the segments of Aventurine praying with his younger self and sister stand out a lot more. The only character I can recall off the top of my head with an extended prayer sequence is Sunday at the end of 2.0, which is also notable.

One thing that I was wishing the Penacony plot would at least lampshade is the irony of sending Aventurine, a slave working for the IPC, to retake a planet that had led a slave rebellion to escape the IPC's control. While I'm now uncertain if they will address that directly, I do wonder that as we learn more about Sunday, if his relationship with Xipe the Harmony will end up being used as a way to foil him to Aventurine and/or serve as indirect commentary on the situation between the IPC and Penacony. (This is pure speculation)

But yea anyways, it's pretty interesting seeing mihoyo try to incorporate other aspects of racism and colonialism that extend beyond displays of outright hatred, such as how Aventurine's retainment of his culture's religious practices is depicted in a positive light. (Another thing that stuck out to me is how they depicted the fetishization of racial traits negatively, with the way some characters remark on his eyes, how the Avgin's untrustworthy reputation partially lies within their physical attractiveness, and how his relationship with his own appearance has changed as a result, as this is something I rarely see fictionalized but I won't elaborate on this here bc its off-topic.)

Obviously, mihoyo doesn't have the best track record when writing minorities and there's still a fucktonnnnn to be criticized about their decisions in Aventurine's lore as well (the most egregious of which being deriving the name for his planet from an actual slur), but it does seem like they are at least trying to add more depth to their depictions.

[almacambiondaughterofsaleos]

Octavia Is Sidelined So Much In Favor Of Stolitz

Despite being used as an example of how Stolas is really a good person and father, I do notice overtime her importance in the series has dwindled. Seriously, despite how the narrative wants us to think she is the treasured jewel of his life the execution would have you say that her father is more distracted by his boy toy due to how Vivziepoop has overemphasized the Stolitz ship.

Take for example is "Seeing Stars" where he neglects his daughter and breaks his promise to see the event he promised years ago, because he's so wrapped up in his divorce and even goes to insult her mother in front of her (even though he's said in the past he's tried to shield his daughter from the ugly parts of his and Stella's relationship). However, now that he's divorcing he doesn't hesitate to be as ugly with Stella as possible which shows how really good of a father he is. Also when she goes missing despite saying that Blitzo's dick isn't enough to quell Stolas's anger when it's his daughter is involved... well it actually goes like that, because both Blitzo and Stolas can't help but flirt and be flustered around each other this whole episode. Instead of focusing on his daughter, he again is on Blitzo's dick and even worse his daughter has to forgive him for neglecting her.

Most egregious one of the them is at the end of "Western Energy" where we have the emphasis on how this affects Stolas and Blitzo's relationships especially those texts talking about their fall about Ozzie's. However, we never get focus on how Octavia felt after her father fucking almost bit the dust, because in the next episode that Stolas is in he's okay and again you would think he would be injured a bit more to show how serious Striker is. But nope due to Vivziepoop remembering he's a powerful demon, he recovers in a day and we don't see Octavia at least be escorted to the hospital to see him because again Octavia is only there when she's a tool to make him look better and not her own character.

And now we get to the music video of "Just Look My Way" where Octavia's mentions in it are scrubbed in favor of Blitzo which again shows how the narrative is favoring his boy toy over his own fucking daughter who is supposed to be the center of his world and not this person he's given up so much for. Seriously, it's why if Octavia appears again I will not take the narrative seriously because we know that despite all claims that her father will get distracted from being a parent and ogle over Blitzo because he's a selfish pos and yet Octavia will be the one who has to learn to tolerate his bs because he's got the author's favoritism.

I really at the first thought that Stolas relationship with his daughter was sweet, but then I realize like so many else it really lost it's potential once you realize that Octavia is just a prop to artificially make it seem like Stolas is a good father when in actuality he's selfishly putting her needs above hers in a situation he caused. And it's a result of the fact that the writers are just using her as a writing tool and not a full character. She isn't needed until it affects Stolas and even then the Stolitz ship zaps everything around it so that any attention that Octavia is taken away. In a way, Octavia's fears were justified her father would run off and leave her because the writers are.

[avelera]

I feel like one unexpected side-effect in the (slight) uptick of queer ships becoming canon (seriously guys it's so slight if you look at the actual numbers) is learning how often slash fandom doesn't actually want the baggage that comes with their ship becoming canon.

I mean, of course they want it. The fandom wants the confirmation that they're not delusional, that they're not mocked, that the sparks they sensed between two possibly-queer characters is real.

But the side-effect of a ship becoming canon with anything more than a kiss to mark the end of the story is that it might become canon not in the way you wanted.

So long as the characters are in the will-they-won't-they, you can imagine what their first time would be like. You can imagine how they act in a relationship together. You can imagine the tone of the relationship.

You can imagine it in ways that are incredibly personal and meaningful to you.

But the minute a ship becomes canon at a point where the story still needs to progress, you're going to get divergence from the way you imagined it going.

They're going to bicker about things you never imagined would be a point of contention between them in the story, that it might have even been meaningful for you that they had never fought over previously, possibly because the story just didn't have the time for them to fight over that beforehand. Or perhaps this writer leans more into interpersonal conflict as a plot point, where you preferred the couple facing an external threat. There's as many ways to imagine the tone of a relatinship as there are people in the world.

They're going to have a different first-something than you imagined. First kiss, first date, first time sleeping together. For it to be canonical it has to be committed to the page which means it has to be set. Maybe you thought it would be awkward where it was smooth, or smooth where it should be awkward. Maybe you though the kiss would be a bigger deal to them than the sex or vice versa. Maybe canonically they flub the romance of that first time for the sake of comedy. Now that's canon too. You can ignore it with fic, obviously that's what fandom is about, but now it's AU, not "what-if?".

There might be interruptions to the love story, breakups, fights, separations, that aren't the end of the relationship but do mark an action beat that is necessary to keep the story moving and interesting. Unless the last canonical beat is them riding into the sunset together, it's inevitable and usually marks the end of a story because domestic fluff where nothing happens isn't actually a genre that can be sustained in original fiction without a plot.

Look, as queer ships become canon, this is going to be inevitable. OFMD S2 was the most egregious example I've seen recently of everyone who had engaged with the fandom having a different version of how they wanted Stede and Ed to behave once they were together. I couldn't help but laugh when I saw that the fandom fervency shifted from the canonical established queer ship (after it had the audacity to move beyond the establishing kiss and then the will-they-won't-they phase of reuniting), to the potential of a character who was never even canonically established as queer (Izzy) because everything about his story still lived in the potential land that fandom thrives in. And I don't entirely mean that as a criticism, just as a bitter irony!

Fandoms don't necessarily want a ship confirmed, they think they do, but that potential which was so enshrined and infuriatingly drawn out with regards to queer ships for so long and that's only just barely breaking just a little from when it was outright forbidden to show queer characters getting together (and it still is in most of the world if you go by population, and heavily discouraged by the mainstream powers that be in most places even where it's not banned, the limitations on international markets you get from having canonical queer characters even as side characters still makes it prohibitive for big budget flicks, since it means cutting themselves off from those markets in terms of recouping costs.)....

ANYWAY the point I'm making is that a few queer ships becoming canon has led to a perhaps predictable but depressing amount of outrage when 1) a popular queer ship doesn't become canon, but that's been building for a while now, but also 2) when the popular ship becoming canon doesn't become canon in the way the fandom wanted. Which was also inevitable but goddamn as a veteran of fandom for over two decades now, I can remember not that long ago when your queer ship becoming canon just not in the way you hoped would have been a damn nice problem to have!

[kismetconstellations]

There are so many ways that Voltron: Legendary Defender failed its characters. From the unfathomably idiotic decision to kill Allura off in the finale, to putting Coran through the pain of losing his family twice over, to all of the "jokes" at the expense of Hunk's anxiety, weight, and stomach problems.

But, to me, the most egregious example of this will forever be the numerous ways that Shiro was mistreated, even though I fully believe that most of them were unintentional and the fault of incompetence, rather than maliciousness.

I never expected a show with a TV-Y7 rating that was made to sell toys to children to address this character's extensive trauma in any meaningful way. And, perhaps there was a push behind the scenes to sideline him in order to bring Keith to the forefront, due to Keith being the head of Voltron in previous incarnations, and Shiro essentially being a Canon Foreigner created exclusively for this series.

But, when you have: - A poorly executed attempt to recreate Shiro's fight with Zarkon in the Astral Plane, void of the stunning visuals, impressively fluid fight choreography, and emotional and narrative stakes.

(Shiro fighting the show's main villain and his predecessor hand-to-hand for control of one of the most powerful weapons in the universe, vs the Paladins fighting shadowy, faceless foes that none of them- aside from Allura- have any personal connections to or conflict with, even once their identities are revealed, with long-range weapons, inside of Honerva's head.)

- Shiro, the previously "undefeated" Champion of Zarkon's gladiatorial arena and a highly trained and skilled martial artist, being slapped across the bridge of his own ship.

-Shiro's personal abuser telling him that the arm that was forcibly grafted onto his body in an attempt to turn him into a weapon for the Galra Empire is "the strongest part" of him,

Slav, an ally, echoing the sentiment and arguing that Shiro would be "even stronger with two robotic arms", and the first half of Season Seven confirming as much by depicting Shiro standing, often completely mute, on the sidelines

until he's outfitted with a new prosthetic arm. Only then is he actively allowed to participate in combat, again, and promoted to Captain of the Atlas.

-Shiro winning an intergalactic arm wrestling tournament to prove that he isn't a washed-up retiree (at the ripe old age of twenty-six), with that prosthetic.

-Said prosthetic being a mirror of his abuser's.

-No acknowledgement of Shiro's essence being transferred into the body of his clone that is down an arm. Or, how he's coping with not only not having a right arm at all, but also having been dead for a huge chunk of time, trapped inside the consciousness of the Black Lion and watching on helplessly as someone wearing his face tried to kill everyone he loves, and then resurrected to be suddenly "retired" through no choice of his own.

-Aside, of course, from an all-too lighthearted and chipper comment on routine helping him get through "being in the infinite void of the Black Lion", and a throwaway quip about how "having my consciousness transplanted from the infinity of Voltron's inner quintessence into the dead body of an evil clone of myself" has left him "a little out of sorts".

-And, Shiro not getting to kill his abuser, or even best him in combat.

Instead, he lies beaten and helpless, once again, as Keith, his replacement, takes Sendak out.

It crosses the line from clumsy writing to infuriating negligence and ineptitude.

The repeated violations of Shiro's autonomy, and what seems by all rights to be unintended ableism, even though it borders on outright disrespectful, went above and beyond any terrible writing and direction that I anticipated gritting my teeth and slogging through when I decided to finally bite the bullet and watch this show. It's utterly baffling to me that no one seemed to stop and realize that, "Hey, maybe introducing and then reinforcing the sentiment that a disabled man's prosthetic is the 'strongest part' of him, and he's effectively weak and useless without it, is a bad idea", at any point in the creative process before these episodes made it to air.

I wholeheartedly believe that as much as other characters were wronged, Voltron: Legendary Defender and its notoriously hellish fanbase that was more concerned with who these characters were having sex with than the actual plot, did not deserve Takashi Shirogane.

Shiro; a gay man, ace pilot, ambitious space explorer, and scarred trauma survivor who was abducted and forced to kill for the entertainment of his captors, subjected to unimaginable torture, and had his body modified without his knowledge or consent twice, yet never let any of his experiences, no matter how grueling or dehumanizing, stop him from being gentle, compassionate, noble, brave, self-sacrificing, and everything that epitomizes a True Hero, right to the bitter end.