#a) thinking about asian american themes and what makes a theme asian american and which characters i hc as asian diaspora and why

[hazard-symbols-that-fuck-hard]

Okay time for the PBS Kids essay

Read it under the cut!

:readmore:

In 1968, before there was PBS Kids proper, there was Mr. Roger’s Neighborhood. While it came several decades before the children’s block, it laid the foundation for the themes and values present in every facet of the network’s history.

Mr. Roger famously hated children’s programming at the time. To him, it all was droll and useless. But he didn’t dissuade the medium entirely— he saw potential. Potential that led to a few smaller television jobs, and eventually the creation of Mr. Roger’s neighborhood.

Rogers didn’t invent educational TV for children, but he did perfect it. He poured real heart and soul into probably the most sincere, heartfelt program in history.

Honestly, he could have his own essay. The more things you learn about the real man of Mr. Rogers, the more you’ll like him.

Anyway, the biggest thing that makes PBS different is the fact that it earns money through grants, fundraisers, and private donors— not through sponsorships and merchandise sales. This way, PBS Kids can push programming that it feels is important, rather than programming that merely sells well.

This also means PBS is less afraid of pushing social boundaries. Money doesn’t go away when their shows become subjects of debate— and Mr. Rogers took full advantage of this.

For context, this was 1969. The Jim Crow era had just barely, barely ended. Pool segregation was still very much legal.

Mr. Rogers sharing a pool and a towel with the Black Mr. Clemmons was a pretty big deal at the time— especially on a show made for children.

Rogers was far from the untouchable sacred cow of today. When he was alive, he had a large number of detractors. Let’s just say that scene didn’t fly nicely by everyone.

Just one year after the debut of Mr. Roger’s came Sesame Street.

While Mr. Roger’s was made for all children, Sesame Street had the explicit goal of supplementing the education of underserved communities— especially inner-city Black (and later Latino) children.

While it was made to be accessible to children of all races and income levels, they definitely went the extra mile to make it something special for inner-city Black and Brown kids. (Why do you think it it’s “Sesame Street” and not “Sesame Cul-de-Sac”?)

At the time, a wholesome, sweet show set in a brownstone street was practically unheard of.

Jon Stone, the casting director, deliberately sought to make the cast as rich with color as he possibly could, bringing on a huge amount of Black talent such as Loretta Long, Matt Robinson, and Kevin Clash, as well as featuring Black celebrities as guest stars. Later, the show would expand its horizons, bringing on actors from Latino, Asian, Native American, and many more backgrounds.

White actors were and still are a minority on show.

In addition to letters and numbers, the purpose of Sesame Street is clear: make kids of color know that they’re smart, beautiful, and loved.

It doesn’t get more explicit than this.

I want to point out this comment because it’s funny

You’re telling me this bitch isn’t Hispanic???

Anyway, these two were followed up by Reading Rainbow in 1983. And guess what?

That’s right. Non-white focus.

These three shows, (along with other, lesser-known programs like Lamb-Chops Play Along, Newton’s Apple, and Shining Times Station (who featured Ringo Starr himself?? seriously how did that happen and why does no one talk about it) and some other nostalgic favorites like Bill Nye the Science guy, The Magic Schoolbus, Arthur, and Thomas the Tank Engine) aired on the new PTV block, which evolved into PBS Kids in 1999, bringing along Between the Lions, Dragon Tales, and many more.

Arthur is another stand-out that I’d like to talk about— it doesn’t have the same racial focus of Sesame Street, but it does focus on different income levels. The characters have various housing situations, from apartments to mansions to no home at all.

It also takes cues from Sesame Street and Mr. Roger’s in regards to talking about tough topics, though as Arthur has a slightly older target audience, it discusses things through stories rather than talking directly to the audience.

Cancer, religion, workplace discrimination, along with current (at the time) events such as 9/11 and Hurricane Katrina are all discussed on the show.

Another big focus on Arthur is disability. For once, they don’t stick a character in a wheelchair and then pretend he’s not in a wheelchair. A striking number of major characters either develop or get diagnosed with physical disabilities and/or neurodivergences, such as asthma, severe food allergies, and dyslexia, and they deal with them in very realistic ways.

A handful of minor characters have more obvious disabilities, and THANK GOD they go beyond the trite messaging of “disabled people can do everything abled people can do! everyone clap now!”

One episode in particular has the awesome message of “holy shit stop trying to help me all the time— it’s patronizing as fuck. I can get around just fine without you stepping on eggshells and trying to be the hero all the fucking time”

There are sooo many other shows I could talk about, but I can’t write about them all. I’m definitely gonna point out some more standout ones, though.

Sagwa, the Chinese Siamese Cat

Created by Chinese-American woman Amy Tang

Dragonfly TV

Features a multitude of female and non-white scientists to foster an interest in science with kids in those groups

Maya & Miguel

One of the network’s first Hispanic-led shows

SciGirls

I shouldn’t have to explain what the goal of this one was.

Molly of Denali

When was the last time you saw a show that treated Native Americans as people? Much less a children’s show? 90% of the cast is Athabascan, and the show revolves around Athabascan culture, not shying away from topics like boarding schools and modern-day racism. Most of the writers are also Athabascan, and the show even has an official Gwich’in dub!

It’s this commitment to real, authentic social justice that makes PBS Kids so much different from its competitors. Could you imagine the Paw Patrol dog looking at the camera and earnestly discussing what happened to George Floyd? I don’t think so— but Arthur talked specifically about it, Sesame Street did an hour long special about race in general, and the network itself made a 30 minute special.

Disney Jr. could never. (Other than trying to teach colorblindness, of course.)

I’m gonna have to cut this into two parts, since I just hit the image limit

[zvtara-was-never-canon]

There is 58 years between the first plane flight, and a human going to space.

Technological advancements happen very quickly, so yeah that argument is mute. Even if you believe Santos Dumant was the first person to do it, that's still 63 years between his flight and a human going to space.

Also I'm not sure in which universe is democracy a widely American concept.

Even before Ancient Greece in the Vajjika Republic in 6th century bce India is widely considered to be the first example of a democratic Republic.

Also democracy is literally only in Republic City, which didn't have real democracy until the end of Book 1, and the earth kingdom who was suffering under a bad case of fascism. And Queen Hou-Ting, what ever godamm name was, sucked dick and was a terrible ruler.

The water tribes kept their chiefs, they just get to vote on it. The northern water tribe chiefdom is hereditary. The fire nation kept their firelord

Korra did not spread democracy everywhere, unlike where you claim they forced it.

Poor earth kingdom citizens, they must miss being a selfish queen who never did anything to help them, and let theives go wild, and then the facist dictator, who put people into concentration camps.

In HISTORY leaps in technology have happened fast. In a STORY you need to be careful not to make the whole thing feel like it's set in a different universe - and when we go from rudimentary industrialization, some of which is openly treated as a PROBLEM by the original's shows narrative because nature's worth and it's key role in keeping balance are a central theme in several episodes, all the way to Ford 1s everywhere, big ass factories that would obviously cause a lot of polution, lightningbending going from rare to something common that is used to give everyone electricity, all because the writers wanted to change the aesthetic from Meiji Era Japan to Prohibition Era New York, I'm gonna say that shit went a bit too far.

I didn't say americans invented democracy, I'm saying it's very common for american writers to push their own way of life as the only correct one, because there's literally over a century of the government spreading propaganda about "The american dream" and "the american way of life" to EVERYONE, including people in the USA, where the writers were raised - which is why the city that is supposed to represent the all four nations suddenly goes from "Very obviously east asian" to "Very obviously USA stuff that was never present in the old show." The character of Korra isn't running around saying "The US is inherently better", but the show very much is by making the symbol of balance and harmony so PAINFULLY american.

Now, don't get me wrong, I'm not saying Bryke or anyone involved in the making of Korra was actively trying to make propaganda, they were just influenced by it and repeated some of it without even realizing it - and so did you with the bizarre leap in logic of "If you criticize the way americans, knowingly and unknowingly, tend to push their way of life as the default/superior one in stories, that means you think the fascist villain had a point/is not that bad"

If you like Korra as a show, including the whole concept of Republic City, that's fine. It's none of my business. But as someone who literally had to study American propaganda pieces and the long lasting influence it had in media, there is NOTHING you or anyone can say to me that will convince me that is not a reflex of propaganda that breaks the world-building that had been very coherent and consistent in the previous show. Either deal with that, or block the tags/my blog.

#anti korra #anti legend of korra #anti lok

[leaves-fall-down]

Hate to say it but the overlap of "has a fanbase that heavily values their writing abilities" and "has a fanbase that deliberately detaches/miscontrues/borderline insults/fetishizes the singer's identity and inspiration from their artistry in an effort to pretend the music is closer to what the fans think they should be" venn diagram is not only just a straight up circle, but has taken over many of the same musicians and the fandoms overlap with each other to such an extreme extent that it sometimes becomes exhausting to consume any of their music as independent artists and then discuss them, let alone seeing how a lot of these artists have a "collective" fanbase that treats them all so bizzarely. Like do y'all not see the pattern with how you always feel some need to focus on certain "nicer" aspects of musicians' identities and entirely disregard others, or be all weird about it when you do acknowledge it? I'll provide examples, hopefully you'll see what I mean.

Tamino is an Egyptian and Lebanese man, at the same time he is Belgian, and that influences his art and it's so weird to just focus just on Persephone and his more "western" songs, or compare his nose to just a bunch of western white men. Hozier is Irish and inspired by Black American musicians who make political music and it's weird when you guys pretend he's just the fairy bog boy, which tbh you also likely wouldn't be saying if he was from Pennsylvania or Manchester or whatever, you're absolutely doing it with him because he is Irish, plenty of other artists write nature themes and don't get that weirdness put on them, you're doing it because he is Irish. Ethel Cain is a Southern American and writes from that very specific experience and has religious themes that influence her music and isn't just some "backwards" "hick" "redneck" (in a derogatory, insulting sense) girl that a lot of you clearly view "people like her" down south as. Måneskin has written in English since the beginning of their career, clearly takes inspiration from English and American musicians, and isn't entitled to write in Italian just because you think they should or because their native language ~fascinates~ you as an english speaker. Mitski often writes from a very VERY obvious perspective of being an Asian American woman and yet so many of you pretend that her songs about that experience are innately applicable to all of womanhood when they clearly aren't. They just aren't. They are about her experience as an ASIAN AMERICAN woman.

There are other artists y'all do this sort of shit to too (mainly Black ones!!) and it's absolutely annoying as shit to see that you can't just appreciate their identities for what they are and still need them to be closer in proximity to you and your identity or needs to "fulfill" something for you as an outsider, to the point of being delusional about the fact that this is all first and foremost their music and that it operates with their identities and they're all fantastic writers because on various levels they're being vulnerable about their identities and selves. That's not to say you can't pull your own meaning from the songs they write or whatever, but when discussing the artists themselves a lot of you are showing your asses with how you view "people like that" and how even though you're not being weird or bigoted in an obvious, deliberately mean sort of way, a lot of you still have shit to unpack and look at before you engage with them and their stuff. I mean Jesus christ even the most surface level understanding of erasure, fetishizing, and sterotypes can show what y'all are doing subconsciously, I'd hate to see how you talk about these people's identities when it's someone you don't see as both a product yet (parasocially) a friend, but is instead someone you hate.

#tamino #hozier #måneskin #mitski #ethel cain #music #talking to the void

[waitmyturtles]

Jumping into the Cooking Crush familial fray...

I've lately been a bit behind on all my dramas, but I did see percolating over the weekend a great conversation among drama friends and fiends about interpretations of Asian parenting tactics, family values, interfamily communication, and intergenerational trauma regarding Cooking Crush.

This past weekend's episode 11 seemed to bring up a lot. I feel like one of my Reasons for Being on Tumblr is to share thoughts on Asian family dynamics, structures, and tensions regarding our beloved Asian dramas, so I am simply going to add a few extra thoughts to @neuroticbookworm's absolutely FANTASTIC post here that meditates on the ongoing conflict between Ten and his father.

Before I jump into NBW's amazing post, I want to linky-poo some previous writing that I've done on Asian cultural touchpoints in other shows:

Poor Bad Buddy got the Asian analytical treatment here and here

Only Friends and Mew's lesbian moms being Asian moms first, here

A meditation specifically on BBS's Dissaya and saving face, here (which, in regards to her conflict with Ming, we should note, directly led to her literally sending her son physically away from her to continue the family feud)

When I watch our beloved Asian shows, as an Asian-American, I am clicking unconsciously into certain assumptions about how Asian parents and children WILL behave when parents are called for in a show (I emphasized this specifically in my OF piece about Mew's moms). I expect there to be either filial piety present, or struggles with it. I expect to see elder hierarchy and/or issues with elder respect. I expect to see issues regarding saving face. I expect to see issues regarding conditional love, and how a child should act so a parent may boast and/or save face with their external social circles. I expect to see issues regarding independence and parental control over... just about everything in a child's life, from their education to their partners. (Think of King's parents in Bed Friend, and how his parents were ready to arrange a marriage for him; Tian's parents sending him to America in A Tale of Thousand Stars, etc.)

Shows that DON'T deal with these issues -- shows that have wonderfully understanding parents, like Thun's mom in He's Coming To Me, and Pete's dad in Dark Blue Kiss, are also realistic, because of course, nothing is universal, and there are understanding and unconditionally loving parents in every culture.

But most of the Asian shows that we watch have themes like filial piety and elder respect/control present, and it's up to the show's writers to figure out how these elements play into the plots that they're writing.

Through @neuroticbookworm's post, I see that some in the Cooking Crush fandom are calling for Ten's dad to apologize for his hypocrisy in calling Ten out for hitting Chang Ma, while we have seen Ten's dad slapping Ten.

I want to get into how Ten engages with his father in a second, because it's pretty rare in Asian shows to see a child so directly combative, so consistently, with a parent figure. But before that, NBW makes an excellent point with the following:

But, I understand it when my friends, and Asian characters in TV shows, don’t want to force things out in the open if it can be swept under the rug for the time being, because peace of mind in Asian households is fleeting and you would be wise to take what you get.

This is a very important point that those of us in the social services are hammered with -- in other words, how do individuals, as they are growing up, adjust their behaviors to keep the stability of their family bonds either strong, or at least not weak enough to break? How does a child learn to adapt and/or cope for the sake of the other older individuals in their families who DEMAND compliance with their own emotional needs?

Ten has a combative relationship with his father -- but he's still done everything his father has asked for, save for staying away from Prem. As @respectthepetty previously noted, Fire becomes submissive around pressure and high-tension individuals and situations -- because that's how he's learn to cope vis à vis his mother and his upbringing.

This framing -- these specific, generational, tension-informed family dynamics that we see ad nauseam in Asian dramas -- do not lead to an automatic assumption among Asian audiences that apologies would emanate from the parental generation. Especially because the previous generational paradigm is that children have and should go along with the flow of parental control and demands -- as Ten and Fire have so far done.

In Asian collectivist societies and mentalities -- to combat against that flow of control would lead to a breaking of the peace among the family unit, in NBW's words.

I would even go so far as to say that an apology from a parent is as much of a fictional ending fantasy as a perfect romantic ending. And damn, what we have to go through to get an apology. NBW brought up Double Savage, which was so awfully messy -- we got a parental apology only after a not-at-fault child had to unnecessarily apologize first. The show made the children work beyond basic emotional ethics to get that parental apology. That's how rare it is for us Asians to expect a parent to apologize. (And NBW notes so beautifully that even showmakers themselves may not know how to write apologies -- because they themselves may have never received one in real life.)

Considering all these family dynamics and tensions, getting a 180-degree admission of wrongdoing from an Asian parent is rare. And part of the fabric of the lives of us Asians is in sharing stories with our communities about the tensions, the trauma, the misunderstandings that we've faced from our families to be perfect and obedient in all aspects of our lives, as NBW so eloquently says about her country's culture, which includes tremendous control over the sexual lives of children. That's why I go to Asian shows over Western media -- so that I can experience some of that communing over commonalities in fiction.

I want to make one final quick point about Ten's behavior towards his dad, which we see is abrupt and combative. Ten's got some gumption to talk to his father like that, which, me likey, but it's rare to see in Asian shows. Of utmost importance to note is that their history is marked by a severely traumatic event in the death of Ten's mom, which is guaranteed to have had a lifelong impact on the bond between Ten and his dad, and colors their relationship. I know that's obvious by way of the dialogue, but what we see in this outburst is a kind of marked ending to a journey map of his life's experience that got him to the point of the fight. (@neuroticbookworm, I'm stealing your screenshots, thank yew, friend!)

This fight had A LOT IN IT. It was about saving face, about the embarrassment that Ten's dad knows the slapping event will cause on Ten and Ten's friends (and, frankly, Ten's dad himself). It was about Ten's childhood trauma in losing his mother and his anger with his father for his father's actions. It was a revelation that Ten's dad had actually acted, in his own way, and failed at saving Ten's mom. It was about Ten's performance in school, and how Ten says that he has indeed been keeping up with his father's standards. And a whole lot more.

I'm betting money on at least some people -- maybe many people -- in Asian audiences watching this and being critical of Ten for being so combative to his father, his father being Ten's provider for education and money. THIS CRITICISM IS VERY COMMON.

While Western fandoms may celebrate performances of individualism and confrontation, many in Asian audiences will not agree with that. They will see Ten being disrespectful to a parental figure that, in our cultural mores, would arguably automatically demand respect from the start through our notions of elder respect and hierarchy.

This is, in part, because many Asians see going against the flow of familial peace as disruptive. And, anthropologically -- who are we in the West to judge that?

That's why this scene is SO FUCKING HUGE. As an American, I'm like, fuck yeah, read this fucking dad out for filth. As an Asian, I'm like, WHOAAAAAAAAAA. For real.

AND? THE ENDING of this fight -- with Ten's dad making one actually good point about how Ten's punch will affect his friends?

That's collectivism again. That's Ten's dad helping Ten to grow in that moment and recognize that Ten's actions affect other people. That shit is complicated, and I believe it's 100% intended to be complicated.

The dad is still clearly a hypocrite. I do not think that we get that entire fight scene without the show commenting on Ten's dad's hypocrisy that one's actions have impacts on others. Ten's dad is not clicked into his own collectivism, and I believe the show calls him out for it. If that scene only wanted to call out Ten -- we would have only seen that last part about Prem and Prem's friends. We would not have gotten all that other backstory, all the threads in this incredible fight scene.

It was a hell of a well-done scene. And I very much believe that scene is symbolic of this entire show -- marketed as a comedy, friends! -- being insidiously about very complicated family bonds, and depicting the struggles of these bonds just brilliantly.

This show is DIGGING THE HELL into the family backgrounds of characters experiencing tremendous life changes -- including MEDICAL STUDENTS! THE CREAM OF THE CROP FOR ASIAN PARENTS! -- and showing how these pressures can make young adults crumble or resilient.

I didn't mean to write so long, but alas -- y'all talk about Asian families, and I gotta yap. Thank you for letting me throw some coins in the pot, and to offer some thoughts about what us Asians are clicking into in our beloved Asian shows.

Tagging @lurkingshan, @bengiyo, @respectthepetty, @heretherebedork, and @williamrikers for enlightening convos this weekend, and many thanks to my dear Asian friendo @neuroticbookworm for one hell of a meditation that I enjoyed and related to deeply.

#cooking crush #cooking crush meta #cooking crush the series #cooking crush the series meta #offgun #off jumpol #gun atthaphan #tenprem #ten x prem #prem x ten #asian family dynamics #asian family structures #intergenerational trauma in asian families #intergenerational trauma #long post

[nepentheisms]

Trimax Volume 8 has one of my favorite Vash quotes in it.

"Only the victims of violence can truly describe its essence."

Really, this whole exchange with Knives that happens in the first chapter of this volume sounds very Buddhist in its language. I'll do my best to parse out some of the concepts I think are at play here, but I should make it clear that I do not have as extensive a personal history with Buddhism as I do with Christianity. I was raised Christian growing up, but my experience as a Chinese-American kid with immigrant parents meant a lot of early childhood exposure to works of fiction with Buddhist themes (think Journey to the West). Also, because we lived in an area with a sizeable population of east and southeast asian immigrants, I developed a surface level familiarity with Buddhist iconography and terminology thanks to friends who were raised Buddhist and regular encounters with Buddhist artwork in local businesses. The rest of my knowledge comes from informal self-study. If anyone out there has more relevant experience in this field, feel free to correct me if I get anything wrong.

Here we go: LONG POST AHEAD

What first caught my attention was Knives' word choice - "I was enlightened." I'm curious what word in the Japanese text was translated as "enlightened" here. A lot of foundational Buddhist literature was written in Sanskrit, and the Sanskrit word that is often translated into English as "enlightenment" is bodhi. This word carries connotations of waking up and coming into awareness and knowledge. In Japanese, the words I've seen for this concept are satori and kenshō.

According to Thomas Cleary, who translated many pieces of Zen Buddhist literature throughout his career, kenshō is the "Zen insight into the essence of one's own being," and satori is "complete kenshō" (1) . Kenshō is written using the Chinese characters 見 (jiàn) which means "see" and 性 (xìng) which means "nature" or "character." This is of particular interest for the above panels, because Knives is saying his pain "revealed [his] true self," and he wants humans to likewise look within to confront the reality of what they are.

Now, at this point in the story, it's pretty clear that Knives' ideas about both who he is and the nature of humanity as a whole are flawed. He's insisting that he has attained enlightenment - some transcendent insight into reality - but from a Buddhist perspective, he's very far off the mark because his mindset was skewed from the start. In fact, Vash gives a keen diagnosis of how Knives is going wrong when he says "We've suffered, but you bottled it up, keeping yourself from feeling the pain and never finding the true source of it." Vash's point is that after obtaining the knowledge of humanity's capacity for evil, Knives only sought to avoid further pain at all cost instead of seeking a deeper understanding of how he's been hurt. The conclusion Knives drew was "the fundamental nature of humans is that they are a threat to me, and they are my inferiors. If they cause pain to me, it is because of their inherent evil, and the only way I can eliminate the potential for suffering is by killing them all." But contrary to Knives' perspective, the path out of suffering in the enlightened Buddhist perspective isn't through forcibly imposing your will on the rest of world until you've destroyed everything that could hurt you.

Instead, Buddhism considers dukkha (suffering) the first of the Four Noble Truths and emphasizes that we should accept the reality that as finite beings in a world constantly in flux, unpleasant emotions and experiences will always find us. There always will be elements outside of our control, but we don't have to allow the hurt they cause to create persistent negative states of being. What we need to do is to not run away from suffering but to understand the cause of it (find "the true source of it" as Vash says) and develop an awareness of how it arises within us - this is the second Noble Truth, called samudhaya. In Buddhism, the origin of suffering is linked to desire and attachment, and Buddhist philosophy posits that by following the fourth Noble Truth, known as the Noble Eightfold Path, the practitioner can experience the third Noble Truth, nirodha (cessation of the desires giving rise to suffering).

With the way Knives currently is, this cessation is something that'll be out of reach for him even if he succeeds in his goals, because he hasn't reckoned with the fear and need for control that is motivating him. He can't complete the path to enlightenment, because his view of the path is obscured by self-delusion. Knives constantly acts as though his goals and feelings are the only ones that matter, but suppose he does realize his vision and kill every human being on the planet. What then? Isn't he effectively alone since there is no one else around that he considers his equal? And where does all the hate and fear that he has purposely cultivated for over a century go? It's doubtful that he'd be able to let go of his attachment to such emotions so easily.

(1): The Thomas Cleary book I'm referencing is Kensho: The Heart of Zen

#trigunbookclub #trigun meta #religion mention #trigun maximum #oof writing is hard y'all

[ck-17088]

OPINION: Why I think Transformers Earthspark will be remembered as one of the best Transformers shows of all time.

Long story short, Earthspark spoilers. Don't read if you don't want to be spoiled.

I'm delighted to say that Earthspark has again exceeded my expectations. Honestly, when the show was first announced, I expected it to be a TV show meant to pander to young children. It would either be silly or forgettable.

Nope.

The show has blown all expectations out of the water through its bold story-telling and animation. The characters all feel realistic- they have strengths and flaws, which are most apparent when they face difficult situations. Another strength is that this show is not afraid to tackle issues (war, moral issues- "how far are we willing to go for the sake of peace?", discrimination, etc) that have become a part of our society in the present and past several years.

In the new 8 episodes dropped, the central theme appears to be identity. Mainly about finding your identity (ex: finding an alt-mode), making up parts of your identity (ex: finding the right alt-mode that matches each character), and integrating new experiences into your identity (ex: Megatron's decision to gain an Earth-based alt-mode to earn the Autobots' trust)- those sort of topics. These are all important and wonderful topics to discuss and share in a show. However, what surprised me the most was that the writers were not afraid to show the ugly sides of identity-related topics.

The 17th and 18th episodes- "Home Part I" and "Home Part II"- subtly tackle racism and xenophobia. Robbie, Twitch, and Hashtag are visiting Robbie's friend in a skateboard park. While having fun, they stumble upon an anti-transformers graffiti- "Transformers go home". Twitch and Hashtags are shocked and upset over this. Twitch says "This just isn't okay" because they were born on Earth and have lived there for their entire existence. However, Robbie's friend insists that their existence on Earth isn't "okay" since "Invading the Earth wasn't okay either". He's essentially telling them that they exist because of the war, which was unwanted, so therefore, their existence "isn't okay".

That scene honestly emotionally destroyed me. Before I explain why let me say a few things.

I am Korean American. The experiences/feelings I will later talk about are my own and do not fully represent the Korean American and/or East Asian communities. Our community's experiences are varied; thus, one person’s is not enough to sum them all of them.

Throughout my life, especially in the past couple of years- during the COVID-19 pandemic, I have had all of these things happen to me:

- I have been called hateful slurs.

- People have made the slanted eyes gesture to me numerous times.

- A few people have greeted me with "ni hao". (This is offensive because they automatically assume I'm from China because I'm Asian. It supports the idea that AAPI communities are one monolith. Hint: They're not.)

- Many people have asked me if I eat dog meat… (I don't. Never have.)

- Too many times, I have been told to "go back home". (I don't even remember the exact number. That's an indicator of how many times it's happened)

- In college, I have had many academic and career advisors ask if I'm a foreign student. It doesn't appear be an offensive question, but if I were Caucasian, no one would have thought to ask me if I was a foreigner. But no, I am Asian, so there is a huge chance that I might not be American.

The fact that I am Asian, or Korean American, an ethnicity (Korean) not found in the Americas, is enough of an excuse to question my identity and my entire life - who I am, where I'm from, and my own habits. To many, it is an excellent excuse to ensure I feel like an outsider in my own home.

The "Transformers go home" scene destroyed me because it reminds me of the pain that comes from the fact that there will always be people who believe I do not belong in my own country- no matter how many experiences I have had and how ingrained they are in me.

These characters are experiencing that same pain, too, even when they shouldn't be. The insistence from Robbie's friend that their experiences aren't enough to explain their belonging to Earth because they are physically Cybertronian- or transformers- is especially heartbreaking.

However, Robbie stands up for his family and breaks ties with his friend. He refuses to accept the blatant discrimination his siblings are facing and leaves instead. This is significant because while the writers show the ugly side of human society, they also show how to combat it- by refusing to stand by and accept it.

This scene is likely why Earthspark will become and will be remembered as one of the best Transformers shows ever.

It's not just the animation or the stories/plots. It is the show's willingness to tackle issues that are difficult to discuss in real life.

In a world where Anti- Asian, Anti- Latino, Anti- LGBTQIA sentiments and (basically) any hate toward minority groups are on the rise, Earthspark is not afraid to go head-on with these issues. They are willing to show scenes to demonstrate the harm these ideas and beliefs can cause, as well as solutions on how to fight them.

The show embraces the beautiful sides of humanity- friendship, family, love, and hope- but is also not afraid to fight the ugly parts of it too.

Written by: CK17088

#transformers #transformers earthspark #ck17rambles #opinion #tf earthspark spoilers #earthspark #earthspark spoilers #if you read all of this thank you #aapi #Asian identity #if you read all of this I have respect for you #i wrote this at 3am #i seriously need to go to sleep #why am I writing all of these hashtags #transformers have taken over my brain #the flowers in the other episode has annihilated my emotions #I seriously really need to go to sleep #tf earthspark #I love this show too much #honestly if you want share your own thoughts on this scene #just be respectful to each other please

[peridot-tears]

Quick & Sloppy Analysis of Blue Eye Samurai

Mizu is from a time period before western ideas of gender took hold in Japan. A lot of the discourse around Mizu's gender seems to stem from what people think transgender identity is in a 21st century, western context.

They were born as a woman but had to live as a man. The rub over whether or not this makes them trans seems to come from these two points.

Many people transition because they have always known they were another gender born into a body that does not reflect that gender. If they were forced to live as another gender, that doesn't count as trans.

Many people are transgender because their sex and gender are different. Mizu was physically born in the body of a woman, but functions in society as a man. Regardless of how they came to be, they are, by gender, a man.

Mizu themself did find happiness as a woman, but had it snatched away from her by a man's insecurity over being bested by his wife. Mizu found comfort living as a boy under their Swordfather's care, but felt shame for hiding his true sex from him.

I think these two periods of their life are not about which slot in society they fit in, because obviously they don't fit perfectly in either, but acceptance by the people they choose to love instead. Mizu was forced by filial duty and love for their mother to become a wife, but fell in love with Mikio when he began to accept her as she was -- until he didn't. Master Eiji accepted Mizu as a boy, and raised him as he is. He stopped Mizu from confessing his sex not because he couldn't accept it, but because it didn't matter. The most telling scene to me is when Mizu says that they must be a demon, and Master Eiji tells him, Yes, perhaps they are, but that is only one part of a whole.

The show is social commentary on our expectations for people of certain classes, genders, and racial makeup. One of the biggest themes of this show is about the limits of living as a woman during the Edo Period, and the creators refer to them as "she," as she is based off of their daughter.

But we are free to interpret Mizu's gender as we wish. The whole point of their existence is that there is a question of culture and identity in our modern, globalized age, and instead of a yes or no answer, we are given a whole person and the story of their life in a completely different culture and era to draw our own conclusions.

The debate over Mizu also reminds me a lot of how westerners will point to certain historical figures throughout history as examples of genderqueer identity having always been a thing. Chevalier d'Éon of France and Bíawacheeitchish (Woman Chief) of the Crow Nation come to mind. How they identified may not fit the 21st Century English-language phrases we apply to them, but the idea is still that they lived outside of the social expectations of people born in their bodies.

Sidebar:

Mizu's reveal as someone born into the body of a woman surprised me, actually! As someone who grew up on East Asian media (primarily C-drama and anime and K-pop, with full cultural context for the former but only what I learn from my friends for the latter two), I'm very used to androgynous characters! My whole thought process throughout the first few episodes was, "Wow, they really took C-drama tropes and put them in an American show!"

Even after the reveal, I was like, "Oh, they took the other trope!" where in C-dramas, male characters played by female actresses turn out to be female characters disguised as men in order to roam with more freedom.

This whole show felt like I was watching a C-drama turned into a western cartoon, and because one of the creators is Japanese American, it made me realize how many tropes must've carried over from our Chinese and Japanese storytelling, and our cultures' influence on each other.

#this post brought to you by a second gen chinam #tears falling like peridots #bes #blue eye samurai #netflix blue eye samurai #netflix series #mizu blue eye samurai #mizu

[juliawanag]

Decided to rewatch NATLA to properly form my own takes that’s been running through my mind: (I’ll have both things that I like and dislike.) Part 1

SPOILERS!

I like it like a friend from a hundred years ago: 

First and foremost, NATLA predominantly consists of Asian American Pacific Islanders. Good for them for creating a version that is more in their lens and creativity. 

The Bendiiing. All of the elements, except for Earth, are 10/10. I really want it to be more solid, especially on AangvsBumi. It’s not that bad though, so much better than…well u know. I’ll give it an 8/10. 

I rewatched it with a Filipino dub and it’s good, 9/10. Aang VO was convincing as a kid, so either they’re a great actor or a great kid actor. The jokes (Sokka’s sarcasm) hits better on my mother tongue

"You're my friend. You will always be my friend.” 

Avatar state under the ocean 

The costume. The only one that I do agree with everyone else that lacks is Zuko’s scar. They should’ve put prosthetics on the eyebrow. 

Zuko’s hair? Hello? They did a great job. Even though my sister and I sing Ariana Grande song whenever we see them swaying. It’s an integral part of his story, and I loved that they keep it. There’s an East Asian culture that indicates that kind of haircut as a punishment. I remember my History teacher taught me this in eighth grade but I forgot which it was, my bad. And the actor’s such a champ for having that hair IRL. 

My favorite actor performances: Gordon (Aang) superb acting. Liz (Azula). Utkarsh (Bumi). Justin Wong (Chong/SecretTunnelguy) sounds exactly like the character. Made up for my delusional expectation that Dee Bradley Baker would be in this. Ken Leung (Zhao) pisses me off so much, and that means he’s doing a great job. Dallas (Zuko) & Iroh (Paul). DDK's(Ozai) a natural idk if that's acting /j

Was it established in the OG that Katara's intro is a folklore/legend? Because yeah, I don’t mind that it is considered that way in this version. 

AAAAA, the Lieutenant Jee younger casting makes so much sense now! The 41st division is chef kiss. Zuko cryiiiing when he was being banished!? Dallas Lui ate! 

THE HYBRID ANIMALS LOOOK SO GOOD. The ostrich horse blended well with whoever rides them. It doesn’t look CGI to me. MOMO HIS MOMONESS, MOMO OF THE MOMO DYNASTY 

Any Zuko fight choreography (MY FAVORITE CHOREO DALLAS LOOKS FIIIRE). And Aang’s too (Oh hey).

Aang the Hype Man

The fallen Fire Nation ship behind Zukka fighting. (It’s in my notes idk why but I guess background details are a win) 

Aang and Iroh's interactions

NATLA Zuko (I don’t think there’s much of a difference though with the OG lol, and it’s probably because the NATLA directors/producers like Zuko) 

Camera direction 

The Found Family Hug™, what Netflix can do well.

End scene of Episode 1, is very cinematic. I can’t believe TV shows have come this far. I hope employees are paid well. 

The End Theme remains the saaame, and is added with cinematic effects as well.

The folly/sound effect at the start of Episode 2. Why is this the only episode with that flair? 

Creating a grave for Gyatso.

How Ozai’s forced unity/being totalitarian is represented. Reminds me so much of our own government, it amuses me. I know it’s not directly referencing that though. It’s good that they show it early on I guess. With the Fire Nation culty greeting as well. 

On a lighter note: THE AIR SPHERE/BALL whatevah, yes! More of this goofiness. How about instead of being inspired by GOT, NATLA should be inspired by Stranger Things in terms of fantasy + childhood simplicity balanced by this trauma they're going through. (Well, ST lacks worldbuilding cause it’s just normal Earth but anyway) 

Kyoshi Takeoveeer. I hope Roku gets more screen time someday though. Pls pls pls. 

They incorporated the OG character theme songs! Of course! The ones I noticed right away are the FireNation Siblings’. So if you watched OG Avatar and you watched the scene where a mysterious girl joins the infiltration of the FN Royal Palace, you’ll know who she is. 

Sorry not sorry, Daddy Dae Kim is daddying. (Although he did catch me off guard in Zuko’s Agni Kai lmao.) The plot.

The Aang VS Zuko fight! A reference to the Fortune Teller fight. The team did so well. 

Zuko The Master of Disguise Major In Stealing Clothes. Full-time Avatar researcher. 

A fourth wall foreshadows Bumi’s OOC for this version. Jet’s "he’s not like he used to be" in line. I mean they did warn us. 

Another 4th wall is the line “Things shouldn’t be here” referring to the prototype Fire Nation balloon. 

Nice animation with the retelling of Two Lovers legend.

Lu Ten Funeral scene ate. That single teaaaar. I recommend everyone who loves the animation to watch this scene. To feel something idk AHAHAHAH. 

The actors were convincing when interacting with CGI animals. Specifically the badger moles. 

ZUKO AND IROH SCENES! 

CGI’s great did not waste any money 

In Katara’s flashback. She experienced this in her present form. And when she was so scared to go to the place where her mom was killed, she immediately changed back to her young self. Like, I wanted that so bad when I was watching the flashback. I thought, this shouldn’t be the present-day Katara. There should be a moment when she switches back to young again. And they did. 

Big Iroh moment that makes you cry as an adult when Gyatso was reassuring Aang that the genoc*de wasn’t his fault, and shouldn’t blame himself. Ahh, and the subtle sadness as they say goodbye. 

Random eye drawing from Zuko. He’s an artist AHAHAHAH. Okay, I forgot which episode. Sincerely, unreliable narrator. 

Showing Zuko's scar when Aang says "Do you even know that lives are at stake". 

Basically every scene/plot they 1 by 1 copy from the show. Did not disappoint (well, maybe because OG showrunners were there). Blue Spirit, Siege of the North. 

Zuko’s room. I love me some character bedrooms. He’s like a TV Sitcom character for that. 

Gaang teamwork scenes! It works and it's dynamic. 

Hahn as an honorable man? Yes. I don’t like love triangles so much. I like me some camaraderie. And Ian (Sokka) acted well for feeling included and seen as Hahn recognized his value as warrior/intel. 

Zutara fight scene.

Two points that I don’t know if I like but it makes me realize some stuff:

Meek Katara. I know there are specific plot points that Feisty Katara is needed. But she was always nurturing, so I think it makes sense she’s…meek? That Jet scene explains it. Maybe because I relate to her being a log AHAHAHAH. But yeah, uh, I do not, ironically, have strong feelings against that water down.

Angry Bumi. IDK how to feel about him tbh. I always think Bumi is…harsh like that. Almost scary. But yeah, he never blames Aang. Still, it doesn’t feel out of place here. He will return anyway so he’s not this one-dimensional character that is only angry at his friend (hopefully). I never thought of how Bumi would actually feel. And that he will be upset, and now it’s sad because that’s like your friend when you were twelve years old and you wonder where he’s been all this time, and if he’s alive. And..war..never made it any better to process that emotion. So, we got two versions, one that is cautious and then eventually welcomes him, and another who's completely angry and blames a literal kid that he does not know the pain (from the war). Too real, and I personally don’t mind. 

#natla #natla spoilers #natla review #atla live action #gordon cormier #dallas liu #ken leung #elizabeth yu #natla zuko #natla positivity

[alpaca-clouds]

Some thoughts on Silkpunk

It's Punk-O-Clock. And today I am going to talk about Silkpunk and... the rather complicated feelings I have about the genre.

Silkpunk is one of the new Punkgenre, the term being coined in 2015 by writer Ken Liu to describe his book series "Dandelion Dynasty" of which the first book released back then. It was originally just a cheeky way of his to describe his own writing, but he since has given a proper definition for the genre.

To quote two parts of the short description:

The vocabulary of the technology language relies on materials of historical importance to the people of East Asia and the Pacific islands: bamboo, shells, coral, paper, silk, feathers, sinew, etc. The grammar of the language puts more emphasis on biomimetics–the airships regulate their lift by analogy with the swim bladders of fish, and the submarines move like whales through the water. 

And:

Finally, the “-punk” suffix in this case is functional. The silkpunk novels are about rebellion, resistance, re-appropriation and rejuvenation of tradition, and defiance of authority, key “punk” aesthetic pillars. 

(Also: Yay, someone who thought about how to make the themes actually "punk".)

But he also makes one thing very clear:

No, it’s not “Asian-flavored steampunk.” No, it’s not “Asian-influenced fantasy.” No, it’s not …

Which kinda gets us to the core of what I want to talk about here. That Silkpunk, more than maybe most other of the punk genre gets misappropriated as a term. Because most people do use the term to say "Asian-flavored Steampunk". And to be perfectly honest: "Asian-flavored fantasy that has some steampunk aesthetics in there, and hey, look, a pagoda!"

Asia, more than maybe any other cultural circle (except maybe indigenous American cultures) sadly tends to be culturally appropriated in fantasy and science fiction a lot. Especially East Asia, doubly so Japan.

I mean, let's face it: the original punk genre - Cyberpunk - is full of appropriation of Japanese terms and aesthetics, due to all the techno orientalism.

And this makes Silkpunk so complicated. Because the genre so often gets just used as an excuse for that. Some cultural appropriation, because folks really want to give their fantasy a bit of anime flavor.

Thankfully most lists online so far have been somewhat currated in this regard to not include just self-proclaimed Silkpunk but think of this philosophical framing. Which is also why I take a big issue that half the lists of media I saw on the genre features Avatar - The Last Airbender and Legend of Korra. While with ATLA you can at least argue that there is some themes of rebellion and re-appropriation of traditions... Korra does not even do that. (Look, folks, I love Korra for the characters, but the politics of that series as messy as fuck and almost the opposite of punk.) And the design in both series also does not feature any of the described Silkpunk aesthetics, being rather more traditionally Steampunk and Dieselpunk.

I don't know... I really, really love Ken Liu as a writer and his books are amazing. But outside of his books... I have found a list of other Asian American writers whose books might be considered Silkpunk and definitely will look into it. But so far... Most of the stuff I saw under "Silkpunk" did strike me particularly as what Ken Liu describes.

#silkpunk #steampunk #asian #east asia #fantasy #science fiction #scifi #retrofuturism

[balioc]

I've been asked to provide brief commentary on some specific books from my 2023 reading list, so --

Achieving Our Country: Leftist Thought in Twentieth-Century America, Richard Rorty

I was not super impressed by this one. The core thesis -- the radical theory-driven left is not particularly helpful in terms of advancing concrete leftist political goals within the American system -- is, at this point, not news. (It wasn't even really news in 1998 when the book was published.) And everything surrounding that thesis...well, it is very serious about the idea that it is Good and Helpful to develop a nationalistic-but-leftist ideological consciousness, which should raise a lot of eyebrows no matter who you are.

This book was recommended by Matt Yglesias, and it reads very much like part of the ideological grounding of someone like Matt Yglesias. Which is not a compliment. I like Yglesias, but -- ideological grounding is not his strong suit.

The Tatami Galaxy, Tomihiko Morimi

It was...fine, I guess.

There are four stories, which are theoretically all alternate-universe versions of the same events. (Not a spoiler, that fact is revealed extremely quickly.) They're all very modern-Asian-style magical surrealism. The last story is substantially the longest and substantially the best; its vision of the titular "tatami galaxy," a Borges-style labyrinth made from endless iterations of your own college dorm room, is at the very least punchy and memorable. But there's not really enough there there, and the first three stories are a slog.

The Man Who Was Thursday, G. K. Chesterton

This is fucking amazing. Probably the best book I read all year, unless that goes to the Oscar Wilde.

It's witty throughout, although it's the wit of an old stodgy conservative British guy who sneers at a lot of things, so you have to be willing to live with that. But it's also...well, ballsy is the best word I have for it. Saying that it's a "twist book" fails to do it justice. There is a twist -- but the more-relevant thing is that it sneaks around behind you and kicks you in the back of the head in a way that is mostly not about the twist, but about a much-more-fundamentally-weird thing that Chesterton is doing. The book you are reading at the end is very much not the book you thought you were reading at the beginning.

Tomorrow and Tomorrow and Tomorrow, Gabrielle Zevin

Mnr mnr mnr mnr. My feelings here are complicated.

On the one hand: this is a book about a small number of people with incestuously-tangled lives who make art together and in reaction to each other, who are absolutely obsessed with the art that they're making. This is a theme that has a lot of resonance for me, and, like, it gets the feel of that thing largely right. There are also other, more-idiosyncratic reasons for this book to have resonance for me.

On the other hand: it's a character-driven litfic book, and I don't love any of the characters, or even particularly like them. They are the wrong flavor of nerd, with the wrong kinds of thoughts and emotional issues. Also, it is a book about making and selling video games that...reads like it was written by someone who doesn't quite understand how video games work or how the video game market works.

On the gripping hand: it does a very good job of portraying the aspect of life experience that is "as you get older, the intense dramas of your youth don't get forgotten, but the colors kind of fade and the feelings come to seem much less important with perspective."

In particular: Near the beginning, there is a side character who is portrayed as the Absolute Fucking Unforgivable Shitbag Monster of a contemporary story told using contemporary norms. He does the kind of things that are specifically tailored to make you think this guy deserves nothing but hate, forever. The characters, to the extent that they know about him and what he's done, by and large do feel that way. And then...well, it's not like there's ever a comeuppance or a redemption or anything like that. But at the end, the feeling is much more -- well, he's this guy we know, there's a lot of awkwardness related to past pain and past wrongdoing, but even so we're something sort of like old friends and really it's mostly just water under the bridge at this point.

Which is, complicatedly, interesting.

#media reviews

[comradekatara]

it's only by looking into the historical context of atla that you can see that it's diametrically opposed to the behaviour of america towards the rest of the world - it very much runs counter to american ways, and that hasn't changed

im not sure if you're responding here or asking a question or just making an observation in my inbox or what. i also don't know if the statement "that hasn't changed" is necessarily true considering the politics of korra but otherwise i very much agree that a huge pet peeve of mine is how many americans got into atla once it was uploaded to netflix in the US (it had been on netflix in a bunch of other countries beforehand fwiw) and completely ignored the context in which it was created (first bush jr term) and aired (second bush jr term). it really bothers me when people talk about the worldbuilding and themes of the show as if they're isolated to east asian history when it was literally responding to contemporary american politics, namely the invasion of iraq and general imperialist conditioning in the US, and that's actually crucial to understand before developing any critique of the show. a lot of younger people are missing that key context when discussing the show, and i do genuinely think that if you as an adult are showing atla to kids and not explaining that context to them, you are being irresponsible.

#10000dandelions #asks #i need to finish writing that one post huh #also when i had this convo w my baby brother #and he said 'you remember the bush administration?' and i said 'yeah.....' and he said 'ew. youre so old'

[scintillyyy]

the tim asian headcanon thing is - from MY train of thought - more about the settings of his comics and the themes of his skills than anything. tiger mom is a fairly NEW fanon thing. but 90's tim and even beyond (nu52 excluded of course, which is why i think everyone is confused by the asian tim fanon thing) had a lot of training by asian teachers, went to asian settings, faced a lot of asian villains, and uses an asian weapon to this day. i think that all tracks with making him asian american, or mixed as it were.

i also think (again, mostly because nu52 tim is so boring) that ppl take OFFENSE to this canon headcanon characterization because they see him as this rich white kid who's literally the most boring robin in nu52 and doesn't deserve accolades or consideration or solos or to be racebent in fanon (🙄 as if you need permission).

the reality is that he's like upper middle in background at best in his parent's peak wealth and then his dad lost all that wealth and he existed way before nu52 and nu52 just sucks and newer fans should maybe get a clue and stop assuming things about a fandom they literally just entered 🫠

those are all super fair points!! (unfortunately, i think he's canonically white myself given i can think of at least two times he either refers to himself as white or someone else refers to him as white). but completely honestly, i really don't have a strong opinion and think people should do as they like lmao (you're right, nobody needs permission!), tim is the maximally relatable robin for a reason. his actual canon issues with family/his dad in his 90s series? to me, those are pretty transcendent and could apply to anyone. that's why i like tim so much <3

yea, i didn't really think tiger-mom janet came out of asian tim headcanons, to me it's just an extension of poor timmy left all alone in big old empty drake manor his parents don't love him and will punish him for asking them for any affection at all (which i do remember starting to gain traction around the time of red robin) and to expand on that the only time they ever talk to him is to make sure he only gets 100% on his schoolwork and is in clubs that will impress their rich people friends (also, bonus, janet can barely remember what day her own son was born on/how old he is because that doesn't matter, only that he's the ~perfect drake heir~)

i will say, though, at his peak wealth i do think they were probably more upper class than upper middle. they had a million dollar plane! jack was able to buy the house next to bruce wayne's outright in cash! ....that's slightly more than anyone i know in the upper middle class's ability. i do think that the majority of their wealth was tied up in how the company was doing specifically--when it was good they had access to very good company perks such as the plane! tim was able to attend boarding school while they traveled a ton! but when the company went under, they lost all their perks and were immediately sent down to the middle class to the point where jack mentioned that the couldn't keep tim's car because they didn't have extra cash in the budget to pay for the insurance premiums on it. so they were wealthy but didn't necessarily have a good nest egg in case of emergency. this would also track with tim's canonical relationship with wealth in that tim is actually very, very aware of what things cost (he's not "what could a banana cost, ten dollars? sort of wealthy"), which would make sense if as a child he was exposed to his parents worrying/fighting about company financials on bad years. to me at least lol.

#scintilly ask tag #annakin-skywanker

[synthmusic91]

my full review of past lives (2023) dir. celine song

this movie really wanted me to believe i watched a better movie.

the characters are flat as hell, and the only reason this is as widely acclaimed as it is is because it looks like a movie that would win a bunch of awards. it’s an attempt to reverse causality by appropriating the indicators of something that would be a tear-jerker without actually having any depth whatsoever. other people have mentioned this already, though, so I won’t rehash it here.

what i’m wondering is like, what did celine song even want to accomplish here? there’s the transcendent romance angle, which is thoroughly undercut by 1. nora not even remembering hae sung’s name and 2. her insisting from the beginning that they have no chance together AND 3. NORA BEING A CALLOUS PERSON. did anyone else get that vibe? throughout the movie, we’re given zero indication that she cares about hae sung’s general wellbeing. he’s always just following her around like a lost puppy. it’s been 24 years, man. this is childish.

then there’s the pragmatism angle, which i think fits better…but still doesn’t fit well. because in order for the pragmatism to work, we’d need to see a lot more of nora’s mundane life. she wouldn’t still be chasing after white people’s silly awards. more importantly, PRAGMATISM INVOLVES GRIEF. pragmatism is letting go of dreams and ideals to maintain the current moment. it’s loss of childhood innocence, of freedom, of home, etc. but is this grief present throughout the movie? no. “but she cries at the end!” no. this is again an attempt to reverse causality. as if this single event recontextualizes her 24 years of glibness. IT DOESN’T!!! she does NOT feel grief here!!! song’s refusal to engage with such a fundamental aspect of pragmatism means this theme falls flat as well.

the theming is so muddled. it seems like the only constant here is that nora refuses to even entertain the idea of a life with hae sung. she callously leaves him again and again and again. amidst all of this poor characterization and nebulous writing, one thing is for certain: nora and hae sung never had a chance. the west (and only the west, because her passionless marriage certainly isn't tugging on anyone's heartstrings) was nora’s only choice.

but nora isn’t some savant. she’s “just some girl from Korea”. she’s actually rather plain. why the insistence, then, that “Korea was too small for her”? was there really no room for doubt, for hope that Korea could offer her similar opportunities?

apparently this movie is semi-autobiographical which…makes a lot of sense. as an east asian american woman, i’ve noticed that there’s a subgenre of east asian american woman that 1. loves navel gazing and 2. pathologically denies the possibility that they’ve ever made the wrong choices in life. past lives feels like a product of these two decidedly art-ruining drives. despite the outward insistence that hae sung and nora could’ve been something, their story only exists so nora can knock it back down. past lives feels dogmatic—not like a story in its own right, but like a platitude, someone’s attempt to justify the choices they’ve made for themselves.

#hopefully my last post on the topic cuz i shouldn't let this nonsense take up too much of my time... #past lives #past lives 2023 #celine song #movies #s

[taldigi]

If you can save the pre-canon characters and Kagami, then you can definitely save Ikuto Tsukiyomi.

Also, which do you think is worse, Miraculous or Shugo Chara?

rrrgh ok like

tldr: ML by a long shot.

So like, preface: I watched the anime like, 10-ish years ago and only read the first.. 2 books.

Shugo has Amu/Ikuto have the age diff thing (OBJECTIVELY why? This was an author choice when they absolutely could have been the same age or at least closer in age. Ikuto could have still been taller than Amu-- but 11 is WAY too young for ANY romance arc in general and SEVERAL characters fall into it. They literally didn't have to, as nothing story-wise is impacted by this) and also the incest thing with Utau was BAD (but sadly I've seen worse & she does eventually get over it and at LEAST Ikuto IS outwardly uncomfortable with it vs more modern takes on it where the bother is either clueless or lowkey into it. Not justification BUT still credit where it's due.).

There is a lot I like about SC in terms of how the Magical Girl/Magic system works. I like the Charas & what they represent and the Character Changes & the narrative of finding yourself and becoming the person you want to be and being happy. I like it being magical girls vs a giant corporation that is using the charas to obtain ultimate power. Also theming like said organization being called Easter and how Amu & Ikuto's power artifacts are two items that are like.. so intertwined with each other (a lock and key respectively)

That kinda stuff appeals to me. Good idea, not a great execution. I'd love to see a "Shugo Chara Remix" of sorts where a lot of the weird stuff worked out of it and maybe a better focus on story and character building.

That being said, the overall story and supporting cast never appealed to me and I fell off it when the story wasn't about Amu or Ikuto or Easter. I never grew to like the side characters and I felt it wasn't adventurous enough. But otherwise it was.. inoffensive? It's very average shoujo for it's time. I know it's one of the earlier takes & a pre-madoka magica magical girl story.. so it's not as influenced by it- which is somethin' I appreciate.

but ML has a lot of outright terrible writing, design, and people behind it. While, again, ML has ideas i like- where SC simply failed, ML tried to reinvent it and went the extra mile to infuse as much french hatred as possible into it.

ML has a lot of sexism, racism, and nationalistic issues. A big point is the appropriation of Chinese mysticism- and it's not even in a fun way like Xaolin Showdown (and iirc Omi was literally yellow) Sabine is a literal caricature, "ideal chinese wife" for TA's self-insert, Marinette needs to be taught her family's language by a rich white boy, and all of her asian traits have been washed out for blue eyes and a whitewashed design ( and don't character design me when other asian characters in the show are explicitly designed differently). and ddddd ont get me STARTED on the native american bullshit that shit was SO fucked and NOBODY talks about it anymore.

The Kwami are great and I think they're a naturally better take on the Charas from SC- at least, initially. Later development and shit like "true forms" and them being their own separate creatures that are subjugated on the regular by everyone (including the mains) is not a great take.. esp when a huge point the show AND THE FANDOM is obsessed with is this idea that "Adrien is trapped and hates it" and then turns around and is like "Well, the Kwami are happy with marinette or their holders so they're okay with being trapped and unable to say no to their owners". It is a huge yikes for me.

I think the precanon take- where they are born from wishes someone makes and has an innate connection to that person & their personality is way more intimate and interesting rather than the "miraculous" iteration. If there is one thing i HATE is when the magical companions are treated like accessories or tools by the heroes (t's an issue i have with pokemon as of late, as the series seems to be putting a backseat on pokemon to focus on the human characters) and Miraculous does that a LOT. Kuro Neko was a huge deciding factor in terms of how I feel about ML, since they not only demolished Plagg's character, but Adrien's as well- by establishing that Adrien does not give a fuck about Plagg and would gladly use him as an emotional "fuck you" to LB- a huge blow considering that Plagg has been consistently the only person to give a consistent fuck about Adrien, despite how often Adrien pushes him around.

Characters in ML are genuinely unlikable, too. I elaborated on it before with Adrien- but Alya is bad too. She's terrible to Marinette. Nino is bad, because of how he acted in Rocketear and the episode where he Akumatizes someone on purpose & targets Gabriel. Marinette is bad too, she's a mix Mary-Sue and Anti-Sue in all the worst ways. The worst part is that they could be better, they are close to being good. Their bases as characters are good. But their writing destroys them.

...and it all boils down to writing. You can have the most interesting characters and the most amazing worldbuilding and the most lovely art style and animaiton- but if the story is bad, then it's not going to be fun to watch. And while SC does stumble in that direction, ML goes full tilt, yelling "HOW MANY EPISODES CAN WE HAVE JIGGLE PHYSICS ON MARINETTES BOOBS BEFORE ANYONE NOTICES" the entire way while the camera slowly zooms in on Ladybug's inflating ass. (and I wish I was joking, but it's true. Ladybug's butt is bigger than Marinette's and one of these characters is wearing a skintight suit.)

Oh yeah, and ML's character design sucks. Objectively. Literally everyone is worse off than precanon. Marinette looks worse- the flats and pink pants look terrible! Adrien looks Worse, his model is weirdly contrasted to his kinda baby-face and his color scheme is frustrating and childish. Chloe looks worse, both in comparison to Melody and her white outfit. Alya looks worse, as she lost a lot of her charm and cuteness to some.. weird hipster vibe. The Kwami lost a TON of cuteness and look way more alien then they need to be-- All of the characters are abrasive to my design sensibilities... Except maybe Alix I like the snake thing going on. A shame they made her a fuckin' Alice in wonderland reference instead of something interesting.

so yeah, ML by a long shot.

#Anonymous

[semper-legens]

16. The Book of Witches, ed. by Jonathan Strahan

Owned: No, library Page count: 474 My summary: Double, double, toil and trouble - the witch is a familiar figure across the world, from the wart-faced women stirring their cauldrons to New Age witches dancing skyclad in a field to children running around on Halloween. But these witches are not like anything you have ever seen before. They're young, old, trans, queer, gay, disabled, brown. They're futuristic, historic, contemporary. They're everyone and no-one; they're in your home, they're in your community. And their stories are here. My rating: 5/5 My commentary:

Of course I was going to pick up a book called The Book of Witches. Do I even need to explain that stories of witchcraft fascinate me anymore? They do, and I was particularly interested in this when it came into work - a compilation of short stories featuring witches, written by a diverse group of writers and spotlighting unusual takes on the idea of witchcraft. The stories themselves are easy to digest in one sitting, and are wide-ranging in their scope. Some are more fantastical, some are contemporary, some are historical, and some are futuristic. The cultures on display span the world; stereotypical European witches, yes, but also Asian and African and American witches. Some perform magic and spells, some are blessed, some are cursed, some are technology-based, and others blend all of these things and more. Some are straight, gay, trans, nonbinary, and everything betwixt and between. There's a lot of witches, you see - as many as there are tales about them.

I'm not going to discuss individual stories here, more the general atmosphere of the collection and the larger takeaways I got from the collection at large. None of these stories are what one might expect from a tale about witches. Even those which draw from familiar folkloric motifs have some sort of twist to them. Many are devoid of any sort of magic at all, instead using the idea of a witch as some greater metaphoric idea. To say that these stories are interesting I feel makes them sound a lot more academic and dry than they are, but that's the best word that comes to mind. They held my interest because they were different, distinct, no two like each other. And as you can tell from the page count, there's quite a few stories in this collection! A few thematic threads nonetheless appeared; befitting a collection about witches, the treatment of the marginalised was a heady theme, as was the idea of power and what a person does with the power that they have, rightly or wrongly. I think this is the kind of book better read in stages, imbibed in shorter sips than is usually my proclivity when reading. But that's a me problem. It's a really good read, and I very much enjoyed it!

Next, life in a school for the deaf.

#The Book of Witches #Jonathan Strahan #bookblr #book blog #book blogger #5

[sharpestasp]

Rumble in the Bronx

Rumble in the Bronx reaction thread (1995 Jackie Chan American film)

I love Jackie. And his uncle, being all I could only dream of a shop in Manhattan, shown as a magical place, versus the Bronx, being a cess pit of humanity. A Chinese man in a relationship with a Black woman? That was forward thinking when this was made, as I remember the heightened Asian - African American tensions the government was doing all they could to push

I love the ridiculousness of this movie, that America could be so lawless as to allow the bike scene

And Elena is SO smitten with him. Oh. I forgot he bluffed that group and it was a trap, of course GODS he is a marvel in motion

Danny already trying to hook his sister up with Keung… Yeah, the cartoonish violence and go-gang nature of this is hysterical to me. ALSO. Danny? We meet in a wheelchair. He is capable of cane-assisted walking. That was something you didn't actually see all that often, the differing mobility. Comparing the buffoonery of the Americans' violence against Keung's massive skill at motion and environment is just so good. Also, boy Jackie sets his characters as whumpees, doesn't he?

AWWW, family. Such a theme. HA! Setting Angelo out as bait. Couldn't happen to a sleazier goon. "Don't let the situation change you. Change the situation." AHH yes, the intense destruction scene

OH this is terrible. Poor Elena. And now Keung has to make this right. By kicking their asses apparently. May I be shallow and just JACKIE CHAN'S ARMS?! Environmental weapons now. I love them.

He tells Tony's gang to get their shit straight, offers them a future. Which is when Mook shows up and sets the stage for fixing this. Gods these goons are just inhuman in their violence. Keung, catch, and improbable weapons! Rotary phone and a cell phone in the same shot.

REALLY? Okay, I forgot this part, but as soon as they set the scene, I know WHY I forgot it. Toilet humor. I do love the subplots feeding into the overall end plot.

And now we get the hovercraft scene! If I recall right, Jackie had a broken foot for the skiing scene. Physical Comedic Humor in action scenes.

"What's the official reason for this ride?"

"Because White Tiger's hoods have control of this thing!" Elena, Nancy, and Tony getting to go for the final run was a good touch too. And now the montage with the credits! DAMN fine movie. Very good mix of over the top violence and action. Watching the other actors check on Jackie after his accidents is so good too. I was right about the foot. Can I have more movies that don't take themselves TOO seriously, and are meant to entertain, please?

#rumble in the bronx (1995)