#where have i heard that before....

[cherryys]

holy fucking shit

[simple-sheep]

Wow lots of y'all being antisemitic on Holocaust Remembrance Day huh?

Quite a choice to reblog antisemitic shit today, gotta tell ya!!

[thefloatingstone]

Appleseed PDA montage to save you from reading endless pages of unimportant politics that don't amount to anything

also because I have nothing better to do, I'm bored, I'm moody, my gaming laptop is still broken so no BG3, and it's too late at night to start drawing after doing animation clean-up all day.

[starry-bi-sky]

danyal al ghul memes because i don't think i've done those yet for this au.

(the jason one is in reference to the fanon headcanon/au that Jason and Damian potentially knew each other and interacted while jason was in the league. I've thought about it before in context of this au, but haven't thought about it enough to feel inspired or motivated to make a post exploring the idea)

(diablito means, as you can guess, 'little devil'. while i'm neutral to latino jason, i think the nickname is cute as fuck and was danny's main nickname from Jason. i don't wanna touch that timeline so im not gonna decide how old they were when Jason was there.)

Skulker: i am the ghost zone's greatest hunter! i capture and hunt creatures both rare and dangerous. Danyal: a poacher?? you're a poacher?? you poach animals??Skulker:...i sense i've made a mistake of some kind.

anyways that was the day that Skulker cemented himself as Danny's no.1 opp, and still remains there to this day even if he and Vlad are both viciously fighting for second. Out of everyone in the the AP rogues gallery, Skulker will be the first to be thrown under the bus in terms of 'o shit here comes phantom fucking RUN'.

[trans-androgyne]

It is honestly starting to feel like y'all using transandrophobia are actually just girls that wanted to feel extra special. Stopped experiencing misogyny so now you need a new problem. Get a life.

This is such low-grade anon hate, I was just making fun of another anon for doing the whole worn-out “you’re just girls who want to feel special” thing in my inbox. I’ll still post this for documenting purposes as well as because it’s really funny you’re saying I don’t still experience misogyny while being misogynistic to me. Thanks for the example of transandrophobic rhetoric, but be more creative next time.

[phoenixcatch7]

It's always funny to me when in an lu fic the chain is offered bananas and don't accept them. Like, you're offering these high energy adventures free food?? Fruit they'll have never even heard of before??? A ridiculously expensive imported good at best?? AND it boosts your attack?

Not ONE of these idiots would ever turn down something new and interesting to eat at least once. They'd be all over those bananas and immediately get dubbed yiga and I'm honestly surprised no one has used it in a fic yet 🤭

[autisticandroids]

CASTIEL: Stop. What's the point if you don't mean it? You fear me - not love, not respect, just fear.

[youtube with closed captions]

a godstiel pity party. i'd like to thank an anon i got way back in february of 2021.

[triglycercule]

nightmare viewing the murder time three as little toys but more in like a little spoiled kid kinda way. because it would be funny and if you take into the account that he was like 6 before getting corrupted and do some mental loopholes it would be even funnier. like these are his dolls (killer dust and horror) and this is their barbie dreamhouse (his castle). they all have to stay in one room because nightmare needs to keep his toys in a toy box. the toys only ever come out when he wants to play but oh damn it they keep on breaking out!! silly toys,,, and then he locks them into the room again.

nightmare serves them food with plastic tea cups and plastic plates and there is no food. there is no tea. they have to imagine the food because dolls can't literally eat. there are food containers and stuff in the house but its all just a bunch of empty boxes. horror starts tweaking out after he scavenges the kitchen and finds a cereal box and milk carton that have NOTHING in it (why keep empty boxes?????)

they have to go where he wants them to go. nightmare gets to dress them up in whatever he wants because theyre his dolls they can wear anything he wants. it gets incredibly embarrassing when the trio is forced to wear pink pretty dresses and fight like that. or they have to go around the castle doing stupid fucking roleplays and it gets weird because theyre being forced to reenact a bullying scene and nightmare's giving them the death stare if they don't get it right (is this projection. this must be some form of coping mechanism dust theorizes)

and then you know nightmare's not exactly the best toy owner so he loses a few of his dolls here and there. maybe they get destroyed when he was playing a bit too rough with them! (killer dies in battle for like the 29th time) but its okay because he can just go back on down to the store (something new) and buy. wait no. steal another doll and then put it back in his dreamhouse and BOOM he has a full set again!! so sweet so cute. his dolls don't have consciousness what are you talking about theyre begging to be let go?? that's all just your imagination. what do you mean you're asking about the several slowly dying bodies with removed arms or legs in his dungeon. oh that's just where the broken but not yet destroyed toys go dw theyre fine its humane

[sergle]

what I was talking abt earlier. we have fully looped back around and away from feminism, societally, whereas before it was very Feminism 101 to acknowledge that many parts of existing as a woman in a misogynistic society are painful and upsetting. not that being a woman is Inherently Negative in a bubble. but that living on this earth, in the conditions we're living in, is hostile to women. and that gender is a performance. that many of the Staples Of Femininity as accepted by society are things that you have to create and perform and mold artificially and aren't inherent, that COMPLAINING about day to day difficulties of existing as a woman is something that you're allowed to do. acknowledging these basic, again, feminism 101 things, that something tied to womanhood is more time consuming or more expensive or more dangerous Because Of The Problems. does not CREATE the problems. that when women complain about having to perform femininity, they are not, in fact, oppressing themselves. the call does not come from inside the fucking house. saying that you HAVE suffered does not fucking equate that you believe you SHOULD have suffered.

like I could talk about this for hours. how braindead and one-dimensional the Takes are getting. "being a woman is looking in the mirror and going fuck yeah i'm a woman" damn. I guess any negative experiences you have by living in a misogynistic world... are your fault if you are anything but positive? "you don't actually want liberation" we've fully gone back to telling feminists "you WANT to be oppressed" when anything negative about our society is pointed out. it's not real until I say it out loud, I guess, and then I'm actually the one who caused it. if anybody expresses any unhappiness with how they're treated or the status quo or the language and culture surrounding womanhood and femininity. they've created it, right that second. they invented it just now. it wasn't a problem before somebody complained, right? also trans women aren't braindead zombies who just follow the flow of whatever cis women around them say. I am pretty fucking sure they are very much aware of pain, and are MORE than aware of the swirling torrent of misogyny and standards of femininity than anybody else. actually. and I am pretty sure someone complaining on tumblr that being a woman means always putting on a performance is going to make someone change their mind about transitioning. also "performing femininity" as a necessity to being treated well as a woman is not fucking NEWS to your Local Trans Woman. I AM PRETTY SURE SHE GETS THE CONCEPT. using trans women as a scapegoat for this braindead perspective on gender politics is spineless, meritless, and pathetic.

[midnightdemonhunter]

we're scared and we're coming for--

[tododeku-or-bust]

Being Black/Brown in Fandom Spaces be like:

*'White Perceived'- when anime characters walk around with names like "Todoroki", "Shigaraki", "Usagi" and "Naruto", and White fans fervently tell Black/Brown fans they can't cosplay them properly, as though these characters aren't also very much not White either just because they have light skin.

[valyrfia]

universe really went lestappen vs. carlando fight

[oceanpilled]

daily ocean photo : day 3 ᡣ𐭩

Actor : Chloe Petteplace

Production : 2024 Original Kids Theatre Company

Requested by : @ttheatre-trashh

[sysig]

Off to make mischief and terrible decisions for everyone (Patreon)

[spaceorphan18]

*ten minute later*

[eggtrolls]

haiku misinformation: a fact check

there's an post going around about haiku that has a lot of incorrect information about haiku, its terminology, history, etc. I will try to debunk some of the biggest inaccuracies here. everything in quotes is a direct statement from the original post. this is also really, really long.

"Haiku are made of 14 on, which are essentially the equivalent to Japanese syllabic structures, except the nature of how Japanese as a language is constructed versus English means that any given proper haiku could be translated in extremely and intensely different ways, each giving a subtle but distinctly different meaning."

Starting off strong - haiku are (usually) made of 17 on. It's the classic 5-7-5 pattern! 5+7+5=17! [possibly this is a mix-up with wakiku (脇(わき)句(く)) which is another type of Japanese poetry that does use 14 on but who knows.]

Definitions: an on is a phonetic unit, the equivalent to a mora (pl. morae) in English. this concept a) exists in English and b) like on, is related to syllables but distinctly different from them (i.e. ba is one mora but baa with a long vowel is two morae). On can be counted using the number of hiragana (phonetic syllabic characters) when the text is transliterated, so a word like Osaka that has the long O sound (made up of 4 kana) would be 4 morae or 4 on (o-o-sa-ka; おおさか). it's not really a syllabic structure at all, and more importantly has nothing to do with translation. idk where that last part comes from because that's really...not the point here. Yes, any given "proper" haiku could be translated in different ways with a subtle but distinctly different meaning but that's true of just...translation, period. check out Deborah Smith's translation of The Vegetarian by Han Kang for more on that.

Furthermore, haiku were/are not rigidly locked into the 5-7-5 on pattern. That's just not true, which is why I said usually above. Easy example: a 1676 haiku by Matsuo Basho that uses 18-on:

冨士の風や　扇にのせて 江戸土産; ふじのかぜや おうぎにのせて えどみやげ; the wind of Fuji /I've brought on my fan/a gift from Edo <- that first line is 6-on!

2. "The best way I can explain what I mean is that in English a good poem can be defined as a shallow river, whereas a good haiku is a deeply-dug well."

Not dignifying this with a response. Deeply incorrect and untrue. @bill-blake-fans-anonymous can handle this assertion.

3. "The presence of the kigu. There is a specific series of characters/words which are used to imply a season, and specifically a specific aspect of a season which the haiku revolves around. The creation of a haiku is often done as a meditative practice revolving around the kigu--you're essentially contemplating on this particular natural feature (nearly always the temporal aspect emphasizes either ephemerality or the opposite as well bc Buddhist ideas of enlightenment and beauty begin coming into play) and building an evocative and purposeful point that revolves around it like a hinge. It functions as both ground and anchor."

First (and largest) problem: the word. is. kigo. kigo. It's ki (季; season)-go (語; word) = 季語. Both the English and Japanese language Wikipedia, or a 3-second google search, will tell you this immediately. I have no idea where the term kigu comes from.

Second problem: plenty of haiku, both traditional and contemporary, do not use kigo. these are described as muki (無季; seasonless). Matsuo Basho, the haiku-writing poet non-Japanese people are most likely to know, wrote at least ten seasonless haiku that exist today. Masaoka Shiki, the Meiji-era haiku poet and reformist, wrote hundreds of kigo-free haiku and as an agnostic, tried to separate haiku from Buddhism and focus more on the shasei, the sketches from daily life. you can actually, today, buy what are called saijiki, which are lists of words and terms that refer to specific seasons (in the traditional Japanese calendar, so there are actually a lot of "micro" seasons as well). some saijiki include a whole section of "seasonles" words - here's an article about non-season kigo in a saijiki.

so the claim that English-language haiku are invalid or not "real" haiku because they lack a kigo doesn't hold up, unless you invalidate a whole bunch of Japanese haiku as well. the op also claimed they would categorize a lot of English "haiku" as senryū which is...an opinion. Yes, haiku tend to be focused around nature (more on that below) and senryū tend to be more comedic or about human foibles but...that's it! it's a tendency! it's not a hard and fast rule!

Third problem: the claim that a haiku is as meditative practice revolving around the kigu kigo...yeah, no. the earlier form of haiku, the hokku, were the introductory poems of the longer poetic form, the renga and the hokku gradually became a standalone poetic form known as haiku. the hokku had a lot of purposes and we have a historical record of them going back ~1000 years to Emperor Juntoku where they were declamatory poems tied to events (births, deaths, etc.) or social events (moon-viewing parties) - not really meditative. haiku, if a genre can focus on a single idea, focus on an experience and that can be real or imaginary, direct and personal or neither.

Here's another Basho poem for your consideration:

夏草や 兵どもが 夢の跡 (natsukusa ya tsuwamonodomo ga yume no ato; summer grasses--/traces of dreams/of ancient warriors)

both the dreams and the grasses are those of Basho (contemporary) and of the warriors (ancient); it's about travel, it's about connecting the present to the ancient past, it's not really so much about the summer.

(Fourth, minor problem that I'm not really going to get into: you'd have to take this 'Buddhist ideas of enlightenment and beauty' up with haiku scholar Haruo Shirane but he explicitly says in the Routledge Global Haiku Reader (2024) that "pioneers of English-language haiku [such as D.T. Suzuki, Alan Watts, and the Beats] mistakenly emphasized Zen Buddhism in Japanese haiku".....so.)

4. "The presence of the kireji...it's a concept borderline absent from English because it's an intersection of linguistics and philosophy that doesn't really exist outside of the context of Japanese."

Let's begin with clarification. What is kireji (lit. a 'cutting word')? It's a class of terms in Japanese poetry that can do a few things, depending on the specific kireji and its place in the poem. In the middle of the poem, it can mark a thematic break, a cut in the stream of thought highlighting the parallel(s) between the preceding and following phrases. At the end of the poem, it provides a sense of ending and closure - it helps mark rhythmic division, to say the least, and it is seen as the 'pivot' word.

Two problems with claims above:

a. there are haiku that do not use kireji. For the hat trick, here's a Matsuo Basho haiku from 1689 AD that is kireji-free: 初しぐれ猿も小蓑をほしげ也 (hatsu shigure saru mo komino wo hoshige nari; the first cold shower/even the monkey seems to want/a little coat of straw) <- NB: I love this haiku so much

b. the idea of a kireji, as in a pivot word that provides an inflection point with rhythmic division and structure, exist not just in English poetry but in multiple different types of poetry across time and space! The caesura in Latin and Ancient Greek! The volta in sonnets! Whatever is happening in the third line of the Korean sijo!

final thoughts:

the op included language, which I won't quote here because it was messy and tied into other rbs, about Orientalism and appropriation in English-language haiku, which is definitely a real thing. but this blanket statement ignores that the relationship between haiku and "the West", much like Japan and "the West", was and is not a one-way street. Western writers were influenced by haiku and, in turn, those writers influenced Japanese writers who wrote haiku inspired by these influences - this process has been going on for well over a century. Furthermore, English and Japanese are not the only languages in which haiku are written! Nobel Prize winner Rabindranath Tagore was writing haiku in Bengali; other Indian poets were and are writing them in Gujrati and Malayalam, particularly by the poet Ashitha. the Pakistani poet Omer Tarin has written haiku about Hiroshima! The Spanish poet Lorca published haiku in, get this, Spanish, in 1921 and the Mexican poet José Juan Tablada published more in 1922! Italian translations of Yosano Akiko were published in 1919! any discussion of the idea that English/non-Japanese-language haiku aren't really haiku because they don't hold to the "rules" (which Japanese authors have been revising, adapting, critiquing, and/or straight up flouting for centuries) or because English/non-Japanese poetry is "a shallow river whereas a good haiku is a deeply-dug well" just shows a lack of knowledge around traditions and depths of...well, poetry itself.

my god this is so long.

in summary: this is a complex topic. If anyone would like some actual information about haiku, its history, common themes and forms, or a collection of good poets, the Routledge Global Haiku Reader (2024) and Haiku Before Haiku : From the Renga Masters to Basho (2011) are great references and really accessible in their language! hmu if you're interested and I can send you some pdfs.