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astonmartinii · 9 months

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Could you do a smau where she’s max’s sister and dominating MotoGP the way max is f1. Maybe they have the typical annoying younger sister/protective big brother relationship and he finds out she’s dating one of the f1 drivers? Xx

cherry lip balm | oscar piastri social media au

pairing: oscar piastri x motogp!verstappen!reader

the verstappen siblings run motorsport, but the youngest's f1 allegiances may belong elsewhere

f1 and motogp

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f1 and motogp: happy international siblings day to max and y/n verstappen, these two have 60 wins between them 🏆

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user1: my faves i love them

user2: the way jos wasn't gonna let them kids do anything else lol

yourusername: + victoria verstappen the patron saint who puts up with both of us love you 🥰

maxverstappen: you mean putting up with you ? i'm a mature man of the world now

yourusername: girl you are fussier than all of our nephews put together mature MY ASS

maxverstappen1: i am mature and i have BOUNDARIES

yourusername: yeah you have boundaries between all your food you bland man

victoriaverstappen: i think you just proved y/n right

user3: they are the most unhinged people ever i feel so bad for victoria lol

user4: patiently waiting for y/n's championship

marcmarquez93: no marquez representation?

yourusername: you need to serve more

maxverstappen1: you guys don't have the verstappen sass

user5: someone needs to stop them 😭

yourusername

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yourusername: the two sides of a race week

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user6: the way she won this race and was like yeah i need that 0.5 of me drinking coffee actually

yourusername: it's a hot chocolate cause i'm a child

user7: are we all collectively ignoring the whole ass man on the last slide?

maxverstappen1: no we're not Y/N Y/M/N VERSTAPPEN CALL ME THIS INSTANT

yourusername: calm it on the all caps and maybe i'll call you

maxverstappen1: MAYBE?

yourusername: well that's not making it any better maxie

user8: i can't loose this parasocial relationship y/n get that man's hands off of you now

landonorris: y/n please pick up max's call he's threatening to throw my monza trophy PLEASE PICK UP I DON'T HAVE THAT MANY TROPHIES

yourusername: please refer to my previous comment about all caps and then come back

landonorris: y/n may you please call your beloved brother back so my very limited trophy collection does not get destroyed

yourusername: sure just for you lando ❤️

maxverstappen1: STOP FLIRTING PLEASE

yourusername: i just picked up ... and ur still commenting (plus that's not lando in the pic btw he's too skinny to be him)

landonorris: why am i getting bullied by both verstappens today, i'm just trying to help :(

maxverstappen1

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maxverstappen1: there's no party like a verstappen party and a verstappen-only party with no BOYFRIENDS because they don't exist :)

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user14: ahaha passive aggressive max is my fave

yourusername: just cause you're too much of a pussy to ask charles out so i can't have a boy friend?

maxverstappen1: what?

yourusername: what?

user15: max as overprotective brother is my new favourite thing

danielricciardo: i fear y/n is 22 years old and her own woman

yourusername: awwww thanks danny at least one man here has SENSE

maxverstappen1: how much did she pay you to comment that?

danielricciardo: she didn't pay me but my house plant currently at hers was being held at gun point

yourusername: i would never

danielricciardo: so i can delete my comment

yourusername: do that and sheila gets it

user16: i know we should be more concerned with max going insane, but daniel's choice of name for his house plant is the most pressing issue

user17: hear me out but for comedic purposes ... i need y/n's bf to be a driver

maxverstappen1: do not speak that into the universe

oscarpiastri

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oscarpiastri: i like the taste of her cherry lip balm

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user22: what 😭 the 😭 fuck 😭

yourusername: you don't taste half bad either ;)

oscarpiastri: come back to bed

maxverstappen1: NO NO NO STOP RIGHT THERE OSCAR JACK PIASTRI WHAT ARE YOU DOING DON'T SAY THAT ABOUT MY SISTER

oscarpiastri: how do you know my middle name?

maxverstappen1: i called your mum, anyhow YOU ARE A DEAD MAN

oscarpiastri: how did you get my mum's number?

maxverstappen1: i'm trying to threaten you please stop asking questions

yourusername: maxy please stop trying to be scary i know you still wear footy pjamas at christmas

maxverstappen1: well i hope oscar is terrified by my christmas spirit

user23: i feel like i lose brain cells watching y/n and max talk to each other

user24: we ignoring the fact that max managed to get oscar's mum's number just to ask for his middle name PETTY KING

maxverstappen1: it was more than a middle name, i needed a character witness

yourusername: CHARACTER WITNESS? YOU WORK WITH HIM? YOUR BEST FRIEND IS HIS TEAMMATE?

maxverstappen1: i understand you are making points and no one has a bad word to say about him ... but i've got to stick to the bit now

oscarpiastri: so i'm not going to die in hungary?

maxverstappen1: no. but keep all your business to yourself, i don't need to know what lip balm my sister uses and that you own a bed

oscarpiastri: got it 🫡

user25: well that was dramatic

maxverstappen1

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maxverstappen1: congrats on your first podium in f1 oscar, welcome to the family i guess ... don't take photos on my phone every again

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user28: so we can all say oscar has max's approval now?

user29: mans was like wow he challenged me in the race he has the stamp of approval now

yourusername: jokes on you we look great @oscarpiastri

oscarpiastri: and what the people don't know is that max was also doing face masks with us

maxverstappen1: not the serve you think it is i am very secure in my masculinity

yourusername: i'm glad you've gotten over your weird older brother act ... does this mean you'll both come to my next race?

oscarpiastri: i'll be there :)

maxverstappen1: i guess

yourusername: whooooooooop finally

user30: the way i am so happy for oscar i feel like i've been on this journey with him

user31: honestly rookie of the year and it's not even close

user30: i was talking about him and max... but yeah he's doing great !!!

landonorris: can i also get a pass for your next race y/n for keeping it a secret?

maxverstappen1: WHAT

yourusername: ur so dumb i actually can't

oscarpiastri: i'm not helping you here dude i just got approval

landonorris: well now i regret helping you guys

maxverstappen1: open your door lando

user32: is he dead?

yourusername

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yourusername: fifth win of the season, my family and the love of my life, what could be better

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user33: i feel like the shit storm of max and oscar has defo distracted us from the fact that f1 and motogp fans are suffering through a verstappen winning nearly every race

maxverstappen1: i want everyone to appreciate my character growth as i took that gross ass last photo

yourusername: thank you maxy, what a sacrifice

oscarpiastri: thanks dude, you did push me in the water right after though

maxverstappen1: uh you snooze you lose, a verstappen rule of life, you had no phone on you so fair game, i thought you wanted to be part of this family

oscarpiastri: I DO ... does this mean i can push you in next time?

maxverstappen1: absolutely not.

yourusername: do it anyway osc i'll protect you babe

oscarpiastri: idk i'm scared

yourusername: he's ticklish he's so easy to beat

maxverstappen1: THAT WAS A SECRET Y/N

user34: if you told me last season that i'd see max go from wanting to kill piastri to being brothers with him and that i'd know he wears footy pjs and is ticklish i'd laugh in ur face

maxverstappen1: ONLY AT CHRISTMAS

oscarpiastri: don't worry mate i think it's cute

maxverstappen1: okay now i prefer you over y/n

yourusername: who? what? where? when? why?

oscarpiastri: soz babe you snooze you lose

note: ahhhhh i really enjoyed writing this so i hope you enjoy i love writing comment domestics if you couldn't tell lol xx

#f1 imagine #f1 x reader #f1 instagram au #f1 x you #f1 #oscar piastri x you #oscar piastri x reader #oscar piastri instagram au #oscar piastri imagine #oscar piastri

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indigostudies · 3 months

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very silly post but i wanted to unwind a bit so i thought i would rate chinese endearments!

宝贝：classic, casual endearment. i call my cats this, has a similar feel to "babe" for me. 4/5, one point deducted because it's pretty basic.

宝宝：like a cutesier version of 宝贝, i would never call a romantic partner this, but it's great for pets and children. 3.5/5, points deducted because it can sound kind of trite or cringey.

亲爱的：much more formal, has a similar feel to "beloved" or "darling" to me. arguably my favourite endearment because it literally means "[one] who is an intimate love". 5/5 if an s/o called me this i would melt.

老[姓名]：this can come off as overtly lovey-dovey at times but it's also really common among married or long-term couples. it doesn't really have an english comparison but personally i think it's very sweet. it can also be used teasingly which i enjoy. 4.5/5 with 0.5 points taken off because it can sound kind of old-fashioned.

老婆/老公：an even more married version of the above; this feels much more teasing to me, though. 4/5 with one point deducted because unfortunately 老公 can also mean eunuch (oops).

(老)狐狸(精)：i've only ever heard this in dramas as a reference to a man, but it's meant to call someone sly or cunning. can be admonishing, but can also be an affectionate reproval. can also be used for women, but then to me it comes off as a bit more judgemental, so 4/5.

小哥：technically a descriptor of a young man, but i'm personally attached to this as a term of endearment, and if someone called me this i would be smitten. i think it has been gaining some popularity among chinese sapphics, especially butch lesbians/T's? but unfortunately i don't.............really use social media so i can't confirm this.

姐姐/哥哥：these are technically originally terms for older brothers/sisters, but they're also used for people of the same generation who are older than you, and can be used in a flirty way. 4/5 only because non-chinese english speakers can get kind of weird about them.

阿-/小-：personally i prefer the 阿- suffix over 小- because 小- sounds like you're talking to a child to me, but i'm aware this is very regional. not overly romantic, but can be very sweet, so i'm giving it a 3.5/5.

those are all the ones i can think of off the top of my head, but if you have any others you can think of, let me know!

#汉语 #very silly post but i hope it's interesting at least #indigo ink

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bozepomagaj · 6 months

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ATINY/MOA/CARATS vs Made in Abyss was the last thing I expected and its hilarious

feel like I need to say something since twitter absolutely loves spreading misinfo and just accusing people of shit, how have you people not LEARNED your lesson yet? Since when is twitter such a trusted source, especially gossip accounts?

And before you braindead stans start calling me a d!ckrider, I promise you I do not care about these men cuz I've got better things to focus on and I'm making this because people are overreacting and it's getting annoying. It's so obvious 90% of you haven't watched the anime (and thats completely fine, I get you) and then ended up listening to someone who made stuff up and overexaggerated. I'm not here to defend the author because I hate him as much as you do and can absolutely recognize the dude is into some weird shit but saying people are ONLY interested in this series because of r@pe and p€dophilia is INSANE. So let me answer some questions as a Made an Abyss reader (not calling myself a fan because you'll catch me DEAD before you see me buying any merch or manga despite my love for the series), kpop fan second.

Does Made In Abyss contain p3d0ph1l1c themes, gore etc.?

There absolutely is because the author is a creep (refering to the nsfw however, most of the times it's very easily skippable. As someone who hates l0l1con cuz it creeps me out, I can tell you that I really didn't have a hard time skipping said scenes even in the manga which is far more explicit than the anime (Prushka asking about Bond's 'stick', Faputa looking into Regs pants, Vueko's weird comments) and sometimes, they're even added as extras (0.5 chapters) which certain sites that contain scans don't even include. I didn't even know about the existence about a few of these chapters BECAUSE they don't include them.

The OVA is a nightmare to watch and was not only unfunny but creepy as fuck especially when they try to boil down such an amazing character like Ozen into 'I like seeing little kids in pain'. Now I have no idea if this was made independently but I don't remember the author making any spin-offs that they could base this on so I can't tell you who wrote it but even then I doubt that the author minded it since the man himself had to include that Faputas behind smells like the 'Sun' so again, not here to defend him cuz he most definitely is a weirdo, no doubt about it.

Is Made in Abyss torture p*rn?

If MiA is torture p*rn then AoT is military propaganda and supports child labor, TPN is also torture p*rn, JJK promotes violence, Berserk excuses r*pe and Evangelion is also p*do bait. See how stupid that sounds? Just because an anime INCLUDES something, does not mean it necessarily supports it. Yes, r*pe is mentioned but it's not even SHOWN, and it's a cruical part of a characters backstory. The torture that happens, happens only once if we exclude Riko's 'experiment' at the very beginning of the manga. And Mitty's transformation can't even be classified as torture cuz it's a.... transformation. Prushka's death is very censored so its not like you can jack off to that anyways. Now the piss thing is something I have noticed but haven't really payed attention it because bffr why the hell would I so idk, maybe the author is trying to tell us something or the guy thinks pee pee poo poo funny🤷‍♀️.

Is there any plot besides the weird stuff?

See now this is the part that gets me most because the reason why a majority of people nowadays got into MiA in the first place is BECAUSE of the amazing plot. The world building, the mystery, the fight scenes, etc. It's amazingly drawn, nicely paced and unique in its own way. But of course, it's manga&anime and what's anime without fanservice? I already explained that in manga, said scenes can be easily skipped and the anime thankfully doesn't include a lot of these. I do have to admit thag I dropped the manga for now since the chapter where they were in a bath cuz it was another one of those 'here we go again' moments where it made me roll my eyes and just close the tab so I don't really know what's been happening recently and if things go weirder.

I'm also gonna tell you honestly that yes, the fandom is filled with sweaty dudebros itching to see these kids half naked and the author is aware of them and pondering to them because he too is one of them. But a large majority is back from when the anime originally came out and are mostly hiding on twitter so it's easy to avoid them and they've been pretty rare ever since people with actual interest in the series have begun watching it. A reason why back in the day I didn't wanna interact with the fandom at ALL was because the moment I tried to have a normal conversation about the plot and what might actually be going on, I instead get bombarded with "UWAAAA😭😭😭" and 'c*nny' comments. I also cannot defend and don't even plan on defending the fact that Faputa is pretty much naked the entire series. I get that she lives in the literal wilderness, but the very least you could do is put a cloth on her y'know. And mind you, I'm talking about the manga. The anime is a LOT more heavily censored, and from what I heard, even MORE censored in Korea.

To sum it up:

Do I think Mingi/Soobin/Woozi are p*dos cuz they watched the anime? Absolutely the fuck not. Considering Mingi is a big CSM fan, I can see why he watched Made in Abyss because I was in that same pipeline. I think some of you are going way too far with these comments, if you wanna call them weird, creepy, wanna unstan them for reading stuff like this go ahead, not gonna stop because in the end no one can but accusing people of crimes isn't funny and never will be. If they were exposed for watching shit like Kodomo no Jikan then that most definitely IS eyebrow raising. Maybe I'm slightly biased due to me only enjoying MiA for the plot so seeing people say the fans are p3d0s when the first time I watched this was when I was freshly 15.... yeah idk abt that one. Whether they liked the weird and questionable scenes, I have zero idea I'm just here to say that you can enjoy said anime without being a weirdo and you shouldn't begin jumping to conclusions and start calling people straight up criminals. If anyone wants to have a productive conversation and ask questions abt said anime cuz I doubt you're gonna go watch an anime over a Twitter drama, go ahead and ask. If you wanna insult me and call me a d!ckrider then go ahead and do that too, who am I to stop you?

#mingi #soobin #woozi #seventeen #ateez #txt #tomorrow x together #made in abyss

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ineffable-opinions · 3 months

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Seme/uke - long response

A decolonial and subaltern take on three posts on seme/uke dynamics that aims to contextualize them while questioning ethnocentrism. I welcome alternative perspectives, corrections and criticisms.

Post #1: Seme/uke dynamics in Be Loved in House...

@absolutebl responding to @echos-of-ivy

Seme – Uke

About two or more characters in a ship/pairing:

seme 攻め: top (the pitcher) (from origin - attack) also referred to as 左 (left)、タチ (tachi)、トップ (top)

uke 受け: bottom (the catcher) (from origin – receive / accept) also referred to as 右 (right)、ネコ(neko/cat)、ボトム (bottom)

riba リバ: verse (doesn't mind being either a top or a bottom) (from origin - reversible)

seme and uke are sourced from martial arts lingo: seme (martial arts), uke (martial arts) & is related to nanshoku tradition (depictied in ukiyo-e style painting below) of androphilia rather than western norms of queerness. Such differences in culture in queerness is seldom appreciated.

Spring Pastimes. Miyagawa Isshō, c. 1750

Sometimes, androphilic men use seme/uke/riba instead of the following terms which are popular in their queer community:

tachi タチ凸 - top

neko ネコ凹 - bottom

riba リバ回 – verse

Other BL producing countries also have similar terms for seme/uke/riba. And those countries also have terms for top/bottom/verse/side in their queer communities.

For example,

In Chinese BL (danmei), seme/uke/riba -> gong (攻)/shou (受)/hu gong (互攻)[1]

In Chinese tongzhi community -

top: gong (攻) or 1 or 上 or 凸

bottom: shou (受) or 0 or 下 or 凹

verse: bu fen (不分)or 0.5 or 10

side: 不10 or 纯爱[2]

四爱 (fourth love) is the Chinese term for heterosexual relationship wherein the woman tops. When fictionalized, such romances are referred to as GB (girl boy) romance as opposed to BG (boy girl) and the heroine is referred to as female gong 女攻め.

In Thai BL, seme/uke/riba -> me (เมะ)/ ke (เคะ)/ se (เซะ) & their queer community have these terms.

Evolution

When the work does not involve sexual acts, seme/uke/riba is assigned based on speculation (‘what if’) in line with audiences’ preference. There are a bunch of stuff that are employed to determine the dynamics but owing to variation in taste, audience don’t always agree with each other. Since seme/uke/riba archetypes rose to that status with the yaoi (doujin) boom with development of comiket, etc. tanbi, June, original shonen ai and other such types of BL don’t follow these archetypes. Live action which follows, to an extent, the latter tradition, such as Boys Love (2006), also don’t have uke/seme/riba archetypes, instead follows the archetypes that was popularized by tanbi literary movement. Tanbi literary movement was queer in more ways than one. It preceded/birthed BL (Mori Mari) and influenced it.

As no culture is passive recipient [pun intended], different glocalizations of seme/uke/riba dynamics exhibit different features, both within and outside Asia (eg. original English-language BL publication).

IRL

While being top/bottom/verse/side pertains to sexual preference/choices and acts or lack thereof, it is not devoid of other implications. Here are some interplay between these preferences/choices and the implications to consider:

Are these preference/choices innate or socially formed? Or both? Or neither?

What does it mean to be top/bottom/verse/side – within and outside the queer community?

Performance of masculinity, femininity, neither. Which masculinity/femininity? Is that masculinity/femininity performance – marginalized, soft, protest, hegemonic or amalgamated?

How local and global queer cultures influence it?

Is it some kind of conformation/attempt to fit in? If yes, what kind and why?

How are those choices impacted by history (including that of colonialism), legal/political implication (e.g.: pink certificate in Türkiye), local forms of patriarchy & heterosexism, class, nationality, race, skin color, caste, age, employment (including sex work) or lack thereof, physical location & avenues of exploration, abilities and disabilities, access to internet & other infrastructure, education (including sex education), health conditions and access to medical care, etc.

How do they form expectations regarding oneself and others?

While it can be argued that there shouldn’t be any other implication associated with such preference/choices, one can not simply wish them away as it is more often than not linked to certain social realities.

BL as well as gei comi are genres of fiction, telling tales of male androphilia – these are reproductions of imagination entwined with realities, reflecting desires, fantasies and biases plenty.

Conflation

I disagree that uke/seme/riba archetypes are conflated “casually” with bottom/top/verse in narratives and discussions around them. There is a difference that P’AbsoluteBL probably isn’t aware of:

Uke is the bottom in a ship. A character could be uke in a ship, seme or riba in another. For a character to be a ‘bottom’, he has to be sou uke or total/complete uke. It means no matter who he is paired with he will always be the uke.

Alternatively, a sou uke is a character that makes all other characters become seme for him and go after him.

Similarly, a character could be called ‘top’ when that character is a sou seme or total/complete seme. Unless a character is established as a sou seme or sou uke in the narrative, there is always a possibility that those characters are verse. While most BL involves set ships, it is not rare to find characters who are uke in one relationship becoming seme or riba in another. Sometimes, after a time skip, transmigration, reincarnation, etc. BL characters end up switching within a ship.

In Live Action

While there is plenty of riba ships in other BL media, live action has had very few.

These couples were riba in the novel:

Bai Luoyin and Gu Hai – Addicted – The censorship struck right after the couple had their first coitus interfemoris (based on the chronology in the novel).

Lu Feng and Cheng Yichen - A Round Trip to Love

Lan Yu and Chen Handong - Lan Yu

Dom/sub

While the P’AbsoluteBL is allowed to do whatever, I don’t think correlating dom/sub with seme/uke is a good idea in the context of BL because:

BL has a separate speculative fiction subgenre called dom-sub-verse (Dom/Subユニバース) which have its own conventions. It is one of the many subgenres that took inspiration from omegaverse and has grown parallel to it. It takes dominance and submission from the kink community and explores them as innate/biological traits.

It involves characters who are identified as Dom(ドム), Sub(サブ), Switch(スウィッチ), and Usual/Normal/Neutral(ユージュアル/ノーマル/ニュートラル). Along with the standard elements of BDSM in fiction such as safeword, sub space, sub drop and aftercare, it also involves additional elements such as kneel(ニール), glare(グレア) and collar (カラー). There are commands コマンド (命令) that Dom gives to Sub. Sometimes elements borrowed from omegaverse such as heats/ruts, suppressants and professional Dom also appear in this sub-genre.

Dom×Sub ship: Dom is the seme & Sub is the uke.

eg. Hizamazuite Ai Wo Tou 『跪いて愛を��う』 & Rhetoric 『レトリック』 by 山田ノノノ Mijuku Na Boku Ha Shihai Wo Kou 『未熟な僕は支配を乞う 1』 by音海ちさ

Sub×Dom ship: Sub is the seme & Dom is the uke.

Jouzu Ni Dekita Ne Watasesan 『上手にできたね、渡瀬さん』 by 野萩あき Shoshinsha Dom Ha Hameraretai 『初心者Domはハメられたい』 by やんちゃ Gohoubi Ni Kubiwa Wo Kudasai (ご褒美に首輪をください) by Naruse Kano

Dom×Switch ship: Dom is the seme & Switch is the uke.

Sono Meirei De Ore Wo Abaite 『その命令で俺を暴いて』 by 小夏うみれ愛の声で暴いて by 泉門くきいでおすわりしてみせて by 由元千子

Switch×Switch ship: One of the switches is the seme and the other the uke.

強情なSwitchの躾け方 by ことぶき

Dom×Dom ship: One of the dom is the seme and the other the uke.

コマンドミー、プリーズ by 町田とまとサディスティックに暴かれたい by 星崎レオ (uke is a Dom, seme’s identity is not made clear) Kyousei Switch 『強制Switch』 by 彩田あまた

Like most BL genres, it is yet to make its way into live-action BL.

There are plenty of BDSM themed BL as well as training (調教) style BL where seme/riba/uke can be switch or sub or dom.

Problematizing the Problem

Hence, the argument that conflation of seme/uke with top/bottom is “a PROBLEM” is ironic. The main reason given for that argument is that “het consumers [would] conflate (egregiously & incorrectly) top with male/masculine and bottom with female/feminine.” Here are some things that I think is relevant to think about that:

Why would ‘het people’ or any people for that matter think in terms of male-female / masculine-feminine binaries? Do they think in those binaries only and not other binaries such as wen(文)-wu(武)? Why think in binaries and dichotomies at all? Don’t they not think in terms of multiplicity of genders/gender expressions such as various kinds of masculinities and femininities) based off on their local contexts?

Do queer people not make such/similar conflations? (Hint: they do.)

Is it a problem? While this seems to be the popular notion, plenty of scholars from across the globe has dismantled it.

What exactly do P’AbsoluteBL think ‘het people’ conflate riba characters with? Feminine-feminine? Masculine-masculine? Neither? Both? Something else?

There are different conceptions of masculinities within a culture which get reflected in cultural goods, including BL, from there. Here are some really old depictions:

Qing dynasty Chinese Water and Land Ritual painting depicting a divine civil official and thunder god in military regalia. [Wen - wu]

Paintings of Padmapani and Vajrapani on either side of the Buddha, from cave 1 of the Ajanta Caves.

Moreover, if the problem is hinging on a particular understanding of seme/uke: the one in which seme is not feminine or uke is not masculine enough. If latter is the issue, it can be fixed by sticking to BL media with otokomae uke or macho uke. If former is the issue, there’s more than enough works with maiden seme and josou seme. If one is yet to encounter any such works, one is not looking far enough.

Masculinities in BL

Here are three central characters from Finder series embodies different types of masculinities – a lot of it is presentation, physical attributes, age, power and social standing. Akihito is a young and vivacious uke who happens to be short and sinewy. Asami Ryuichi is a supadari seme: a guy who is tall, well educated, high earning, with good looks. In addition, he cooks and cleans and cares when he wants to. Fei Long is tall, beautiful and cunning and can be regarded as a riba character. But can any of these characters considered not masculine by regular standards? Isn’t Akihito masculine enough for his age? And if we are to compare Asami, we are sure to find him lacking but then give him time to grow. They have a dozen years between them. Moreover, can average men stand comparison with a super darling? But then in the grand setup of patriarchy, isn’t power concentrated in the hands of the older men who dominates even the super darlings, both in real world and fictional ones.

Ayase Yukiya & Kanou Somuku from No Money

Consider the case of Ayase, would you call him a “feminine” uke? Probably yes. He is small in stature - petite and cute. He is definitely very small in comparison to his seme Kanou. They probably have one of the most exaggerated size differences and an extreme case of the traditional pairing.

The traditional pairing comes from the customary practice of androphilia in pre-modern Japan. It involves relationship between a wakashu and a nenja or from the tradition of nanshoku. The former is not considered a man by the period’s standards and is considered a third gender by some scholars. The latter is considered as a mentor and lover for the former. While the traditional faded with ‘modernization’, tanbi literary movement (among others) kept alive remnants of it through the writings of the likes of Yukio Mishima.

Note that the youth on the left is wearing a kimono whose style (furisode) and color was considered appropriate for adolescents of both sexes but not adult men, which along with the partially shaved pate denotes the boy's wakashū age status while the exposed bare feet indicates the purely sexual demeanor.

The traditional pairing has clearly inspired Japanese mangaka both BL artists and others. Look at the wakashu in customary androgynous clothing, younger, fairer and even smaller than the nenja, with relatively less experience being embraced by nenja who is in customary male clothing.

Check out more shunga about nanshoku to see visual ancestor of “yaoi”. The visual legacy continued with the likes of Go Mishima. The queers did it first.

From the series "Mishima Go Book of Young Man" - Japan - 1972 (Showa 47)

Ayase in No Money fits into the wakashu ideal. Moreover, the creators of this manga explicitly differentiated between feminine uke with wakashu uke by juxtaposing Ayase with Someya who embodies traditional femininity.

Someya and Honda from Henshin Dekinai

Putting it into perspective, it is noticeable that many a BL involves similar pairing. A lot of criticism BL faces is when it sticks to nanshoku dynamics. Interestingly, critics who can’t imagine genders beyond masculine and feminine, fail to tell apart “feminine” characteristics from wakashu characteristics. But there is no dearth of such dynamics getting subverted in numerous ways in BL:

ship with younger, lower class, petite, androgynous or any combination of customary wakashu characteristics in seme/riba.

ship with all parties being of similar age, class, physical attributes, experience, etc.

Emancipation

Shouldn’t typical uke archetype be seen as an example of subversion of the main character masculinity that dominates media landscape? Shouldn’t they be exalted for being what they are? Uke archetype that allows all genders to project onto and gain pleasure from, is that any less than a marvel in itself?

Pursuer & Pursued

In order to analyses if there is a shift in seme-uke dynamic, the P’AbsoluteBL employs the following to categories who is active:

who is pursuing whom

who makes the first call in terms of declarations and physical touch

who seems to be more in charge of the relationship

In BL, these are never reserved for seme/uke/riba. Who takes on which role depends on the narrative. BL rarely have fixed pursuer-pursued. All parties involved in a ship take on active role in different circumstances.

Take, for example, the original edition of Ossan’s Love, Hasegawa Yukiya employs certain indirect tactics to pursuing Soichi Haruta such as cooking, cleaning and caring for him. (These are tasks that seme/riba/uke usually engage in lighter BLs to gain and retain the attention/affection of the one they are pursuing.) Hasegawa also engages in activities they do together as a means to grow closer. Once he learns of his love rival, he switches up the tactic. He pursues more directly and aggressively. Soichi rejects him. He withdraws and returns to the original tactic but without attempts to grow closer. Soichi feels the loss and tries to get close to Hasegawa but is brushed off. He does not back down. Instead, he takes on a more aggressive route of pursuit - making amends and chasing after Hasegawa.

What P’AbsoluteBL implies with “I think BLIHID’s main couple has a REALLY weak seme/uke dynamic from the get go” is made abundantly clear in with “ShiLei does a lot of active pursuit, also he’s very self actualized.” Here, using pursuer/pursued would have sufficed. Instead, P’AbsoluteBL chose to disappropriate established terms ‘seme/uke’ and imbibed them with implications of “active pursuit” as well as “self-actualization” [regarding queer identity] that seme/uke/riba doesn’t carry originally. Most of it based on biases built on equating all BL to one type of BL: the one with traditional pairing that follows royal road progression.

What P’AbsoluteBL actively avoids discussing is that Beloved in House is basically following the super popular ‘domineering president’ plot based on a BG romance.

Live Action Struggles

P’AbsoluteBL mentions an imagined ‘struggles around seme/uke’ in live-action BL. I think the actual issue plaguing live action BL is the struggle to balance business and other interests while being able to do justice to the diversity within BL as a media genre.

source: (chil-chil.net)

In the chart:

ほのぼの – heartwarming – Example: Restart After Come Back Home

コメディ – comedy – Cherry Magic

ダーク – dark – Sing in Love

シリアス – serious – Cornered Mouse Dream of Cheese

キュン – exciting (kyun) – Mr. Unlucky Has No Choice but to Kiss

Japan has trouble in diversifying its live-action in terms of sub-genres and treatment/mood. Even Thailand, despite the amount it produces have trouble offering variety. Riba couple, maiden seme, yarachin characters, yandere X yandere ship, etc. are either very rare or non-existent in live action BL. Moreover, live action BL is seldom explicit and are mostly in the speculative territory with seme/uke/riba dynamics, making it all the harder to diversify.

Tbh, what fascinated me the most is the “I kind of automatically cringed” part of the question. I would love to know what brought about that reaction. I am sure that it would help shed some light on discourse surrounding BL in general.

Post #2: Blushing Maiden Trope & Seme/Uke

Discussion (intended and in italics) between an anon, @heretherebedork & P’AbsoluteBL on actions and reactions during physical relationships.

The discussion centers around “the character placed into the stereotypically feminine role” being repulsed/reluctant/hesitant when it comes to physical relationships. It is directly attributed to “purity culture in BLs”.

BL have a complicated relationship with “purity” or being “clean”. Tanbi roots of BL hinged on sexuality and obsession with beauty to the point of decadence. Shonen ai (original meaning) works also had characters who are usually promiscuous for one reason or the other, never forming very deep relationship (at least not enough to stick to monogamous unions for long) yet endlessly entangled with other characters, often baffling non-queer characters in those works.

from Song of the Wind and Trees

[Inviting readers to hazard a guess: who is the seme and who is the uke. Answer at the end of this post.]

But how explicit the depiction of physical relationships has varied in BL with time and space. Japanese BL with the self-published BL (aniparo / yaoi – original meaning) boom saw very explicit depictions side by side with the commercial BL which have barely any explicit content or those which take a closed-door approach. Now Japanese BL have a wide range in terms of explicit content and have grown to incorporate elements from other genres including gei comi. Korean BL is similarly doing well. It is not uncommon to have chapters or parts of chapter in manhwa and novels dedicated to the celebration of physical relationships. Thai BL also have no dearth of explicit content, especially in web publishing. Chinese BL in its early days had lots of explicit content, especially in self-publishing. But as censors started taking notice and cracking down, authors and platforms clamped down. Most BL were purged of any & all explicit content. Some of it migrated to Taiwanese platforms, AO3 & other foreign hosts. Now all danmei published is “pure love” devoid of even allusion to depiction of any physical relationship beyond above neck action.

When it comes to BL live action, things are a little different. In Japan and to an extend abroad, there has always been overlap between audience of BL and audience of Japanese GVs and pink eiga. Moreover, early live-action Japanese BL was probably aimed exclusively at hardcore BL fans. They were way more explicit on average and did not always involve physical relationship between the main ship. Same seems true about early live-action Chinese BL. A Round Trip to Love Part 2 (2016) even had bondage and SM scenes which wasn’t there in the novel; but then it didn’t have the hard-earned happy ending the novel had either. But now, even dangai with “socialist brotherhood” (社会主义兄弟情) can’t be aired. Meanwhile, Japan’s average BL today lacks much explicit content. This isn’t to say that it doesn’t drop an occasional Sei no Gekiyaku (2020) once in a blue moon. Here are my speculations to why more of those doesn’t get made.

There is another reason for “purity culture” in BL.

Sathaporn Panichraksapong, an MD of GMMTV, a major producer of BL series, claimed that audience members who are mainly heterosexual women look for romantic relationships among the characters rather than sexual relationships.

We know that our audience are [sic] women. Women want to see only two boys having romantic moments together. They don't want to see sex. Sexual relationships in BL are for a gay audience. That's why in SOTUS the Series we have only two kissing scenes. With only these, audiences were already screaming. This is enough for them. (Interview with Sathaporn, GMMTV, 10 Aug. 2017)

Jirattikorn, Amporn. "Heterosexual Reading vs. Queering Thai Boys' Love Dramas among Chinese and Filipino Audiences." (2023).

As Jirattikorn goes on to highlight, this [wrong] perception about the audience (“women”) have changed ever since.

While early BL series tend to portray pure love without showing many sexual relationships, later BL series started to show more sex scenes between the two male lead characters.

Jirattikorn (2023)

“It’s always the character being pursued, who is typically in his first relationship, who Never Thinks Of Sex. They’re often very sweet and innocent and wide-eyed.”

While heretherebedork attributes it to “purity culture”, it can be argued that this has to do with what audience wanted:

I like the way they portray love in Thai BL. It is a kind of puppy love. BL of other nations, like Chinese BL, are darker. In Thai BL, two male characters often start off friends, then develop feelings for each other. It is very light, very sweet. (Krissy, f, 27, Philippines)

Jirattikorn (2023)

and what media houses thought they wanted, as evidenced by Jirattikorn’s interviews with BL fans. This is not to dismiss struggles with purity culture which is often a very slow part of decolonialization.

P’AbsoluteBL goes further to the argument that “purity” is associated with seme/uke dynamics in BL and maps it to typical het pairing (BG):

The stronger the seme/uke dynamic (the more heterosexually dysmorphic and less actually gay) the more likely this trope will manifest. Simply put: the man (because he is hooah a MANLY MAN DUDE) wants sex but the woman (delicate pure flower of cleanliness and joy) does not. And if she does want it she is a DIRTY, worthless, whore - so she MUST protest sex (GASP) at every single turn. (Seme is acting the male and uke the female in these kinds of narratives.) *please sense my sarcasm dumb interwebs, mm’kay?*

It’s true that the argument seems persuasive but is it right? Probably not. Seme, uke and riba characters can be divided into strong/weak categories based on their characterization - with the strong ones being those who pursue, take initiative, most likely to initiate intimacy at least for their first time, etc. and weak ones being those at the receiving end of pursuits and initiatives. Pairing a strong one with a weak one is probably more traditional –

strong riba x weak riba like in Addicted (at least before time skip)

strong seme x weak uke like in Old Fashioned Cupcake

weak seme x strong uke like in Saezurutori Wa Habatakanai (at least before time skip; pavam Doumeki)

compared to those with both parties being strong (which leads to delectable friction and sparks flying when done right) or both being weak (which leads to audience wondering: will either of them do something? No? Very well!).

BL’s sex negativity

Seme gets overwhelmed by his lust for uke, acts aggressively and has to be shut down or warned off.

Not only seme, uke and riba characters does this too. P’AbsoluteBL attributes “getting overwhelmed by lust” and “acting aggressively” to seme when it can be attributed to both uke (襲い受け) and riba as well. Other than acting aggressively, characters may employ seduction (eg. Xia Shang Zhou in You Are Mine (2023) - tried and failed & Charlie in Pit Babe (2023) - successful) and/or manipulation (Color Recipe by Harada).

Seme won’t take no for an answer because his needs are too great and his needs take precedence (he’s “the man” after all) and the uke is just TOO CUTE how could anyone resist? (After all the seme is only gay for this one guy because he is so cute. Everything, therefor, is the uke and his cutenesses’ fault.)

Moreover, P’AbsoluteBL is probably not aware of kawai seme who employ their cuteness to get uke to lower the guard and to seduce. Cuteness is clearly not a uke prerogative.

Like the sailor-costume wearing seme on the cover, cuteness is sometimes invoked through conventionally women’s clothing, cosplaying (maid, sailor, nurse), etc.

If the seme makes the choice to have sex for the uke, then the uke is not at fault and is still technically innocent. Only if an uke wants it, is he actually impure (or actually gay). In H4 when they both comfort and sex shame the bottom after the rape sequence, this is the narrative’s mentality. (A man who does not want sex is assumed to be able to fight another man off.) Oh and ALSO, the seme must read the uke’s mind and know what the uke really wants.

I don’t even know what went into this argument. There is an entire subgenre: 調教 BL (training / conditioning) that is focused on pleasure training. If a character (seme/uke/riba) wants sex in a narrative, it usually only means that their partner is on the right track. Moreover, when a character wants, actively seeks and are denied intimacy for manipulation reasons, then their partner is made out to be cruel (either 鬼�� or ゲス・クズ).

In other words, if the uke is interested in sex, he’s made impure by this interest. Sex of any kind is an act of desperation and indicates lack of control and therefor diminishes both parties but particularly the uke, therefor the uke shouldn’t have to take responsibility of wanting sex, so the decision must be made by the seme for both of them. He is being a “good seme” by doing this. The uke, therefore MUST appear reluctant to have sex, or he is not a good/pure/virtuous person.

Honestly, I haven’t come across BL which gives off this kind of message. However, two-faced scummy characters (seme/uke/riba) get to employ hypocrisy, which includes slut-shaming, to humiliate characters they are shipped with but then such narratives are built to illicit hatred (for scummy characters) and angst and often punished with:

(a) unhappy ending for the couple

(b) breaking up of the ship

(d) switching within ship – uke turns into riba/seme or seme turns into riba/uke – or shift in power dynamics (rich character becomes relatively poorer, junior from school becomes senior/superior in workplace).

A lot of readers find such dramatic plots satisfying and hence it is a successful subgenre.

Can you guess the seme in these 20 BL manga? Try this quiz on renta.

Post #3: How do they determine who will be archetype seme/uke?

Discussion regarding seme/uke determination in BL: @elynn0723 & P'AbsoluteBL (intended and in italics).

I think your confusion is partly nested in the fact that seme/uke is not about who fucks who, not really. Certainly not anymore. Seme/uke are narrative archetypes not physical acts.

Disappropritation. Discussed above.

I should say for the record that personality is NOT sexual preference.

P’AbsoluteBL goes onto give examples (all of which are fictionalized in different genres – GB, BL, etc.) but probably due to being limited by lack of exposure, goes onto ask, “How weird that anyone would think queers do this.” Queers do this. If one is willing to look beyond LGBTQIA+ form of queerness (which is born and brought up in America), one can see queer possibilities. For example, Kothi-Panthi queerness in India/South Asia. It is probably a good idea to pay attention to it when generalizing queerness given how big India/South Asia’s (queer) population is. There are very many similar forms of queerness in other parts of Global South. In many cultures, sexuality doesn’t inform identity but sexual preference does.

[ Aside: Kothi-Panthi model of queerness

This model doesn’t work for whole of India – region (India is so big and heavily populated - different sexual cultures and practices); linguistics (different terms in different region, same terms different meanings in different region, decline of Farsi (used in queer spaces in Delhi) and other queer argot/cant and their replacement with American English internet slang); class & caste (LGBTQIA+ being self-identification of mostly urban/rurban, upper class, English educated v/self- identification common among the sex workers, working class and other lower classes in rural as well as urban spaces who are excluded from consumerist queerness);

NGOfication of queer movement & action; global queering and neoliberal take over leading to americanization –– intermixing & “gay” (and other terms) being used differently by different classes.]

How do they determine who will be archetype seme/uke?

P’AbsoluteBL points to narrative roles - who is “after” the relationship more, and then goes onto claim “the heroine is the main character, the love interest is her love interest. It’s decided for them because it’s a romance novel.” I don’t know if this helps explaining either seme/uke/riba archetypes in BL or pursued/pursuer. Aren’t there romances where hero pursues heroine and the other way around? Aren’t there romances where both party pursue each other?

Even if we assume that androphilic female audience is projecting the sexual mores & expectations imposed on them onto male characters, then by the very act aren’t they subverting those expectations.

How do they determine who tops?

P’AbsoluteBL provides the following schema:

seme = active pursuer

since active pursuer is “the male role”

he should do the penetrating

which has to be done

P’AbsoluteBL also gives a term for this association: heterosexual dysmorphia - "the idea that any couple must fit into predetermined binary gender roles". This is probably coming from a place of ignorance since the example given is confined to musings about sexism concerning the upper class in Global North. Also, at least in the ambit of Kothi-Panthi sexuality, fitting into masculine top-feminine bottom dynamic doesn’t place them into any predetermined binary gender roles. Instead, it only places them in the fluid space of multi-genders: can/are seamlessly float(ing) between being kinnar/hijra/ali and being “cis-men”.

If one is to ask the question: “Which one of you is The Girl?” to a kothi-panthi couple, the kothi would tell you without hesitation: “I am The Girl.” Might even asked you in turn, “Couldn’t you tell?”

Kothi [is the word used by] effeminate men who desire to be penetrated by "real" men whom they call ‘panthi’.

Queer Movements by Paromita Chakravarti & Aniruddha Dutta

Seme/uke/riba archetypes are imbibed with different traits and different spin on personalities that a seasoned BL sommelier might be able to spot easily but would confuse those who are less familiar with all that the genre has to offer. The following excerpt from an analysis by @ranchthoughts reflects the most popular idea about seme/uke dynamics.

Most BL shows can be read through a lens of seme/uke dynamics, which originated in yaoi. The seme is the “pursuer” character and the uke is the “pursued”. There are certain physical (height, skin colour, etc.), social (age, wealth, social capital, etc.), and personality (active vs. passive, extroverted vs. introverted, flirtier vs. shyer) markers which are typically associated with either the seme or the uke. For example, semes tend to be taller, wealthier, older, flirtier, tanner, more active, and have a higher social status, while ukes tend to be shorter, poorer, younger, shyer, paler, and have a lower social status. “Seme” and “uke” roles are also sometimes conflated with masculinity and femininity (semes are “masculine” and ukes are “feminine”) and sexual preferences (semes are dominant and tops and ukes are submissive and bottoms). There are also tropes associated with either the seme or the uke, like ukes typically give cheek kisses and semes forehead kisses. Thus, things like height, age, wealth, personality, presumed sexual preference, and the role they take in tropes can index the character’s status as a seme or a uke, and in turn the character’s identity as a seme or uke in the narrative (pursuer vs. pursued) indexes a character’s personality, sexual preferences, etc., however unrealistic and simplistic that is in real life. In a BL, we would expect the seme (pursuer) and uke (pursued) characters to exhibit most, if not all, of the associated seme or uke traits and roles in tropes, though this is not always true (and some BLs have little to no seme/uke dynamics at all).

There are two interesting things about such an understanding of seme/uke dynamics:

It closely resembles nenja/wakashu dynamics (and its cousins) in the customary and mostly age-stratified androphilia in pre-modern Japan.

Live action BL, at least the ones that were current and popular, stuck mainly to a single type of dynamic: pairing of one seme of a particular kind (スパダリ – super darling) with one uke of a particular kind (ヘタレ – milquetoast). There are barely any riba couple. It is painting picture of BL in monochromes. So much so that Bad Buddy and My School President were seen as some path breaking feat and a break away from “yaoi” tropes by live action audience, rather than seeing them having just another (or less familiar) set of yaoi / BL tropes.

What P’AbsoluteBL identifies as “heterosexual dysmorphia” in “yaoi” is basically what BL inherited from Japan’s pre-modern androphilia including “femininity” in uke from chiago, wakashu and androgynous Kabuki actors and (hyper)masculinity in seme from nenja and others who enacted “the male role”. BL did not passively receive any of these. And for moe, artists and audience alike, subverted it all.

This is true for all tropes that are attributed to seme/uke.

Height difference – Earliest BLs had petite bishonen pairings. Yaoi introduced height differences – all of them: tall seme x short uke short seme x tall uke (this is probably the most sexualized height difference) tall seme x tall uke (with little to no difference) both/all short riba CP/ship both/all tall riba CP/ship tall riba x short riba short riba x tall riba

Cuteness – Used to establish how irresistible a character (seme/uke/riba) is irrespective of their attitudes and behavior are. Oft part of seme’s seduction tactic, especially when uke has a weakness for cute things. Even when cuteness is not one of the seme’s attributes, it is invoked either actively by serving kawai in speech or through actions including cosplay; or passively like in the following example where a typical super darling seme, Asami Ryuichi from Finder unintentionally triggers moe in Takaba Akihito (his uke) by cuddling a baby.

Uke’s cuteness is exploited to establish a sou uke (an uke every other character turns seme for) or subvert the same like in No Money where one of the epitomes of bishonen cuteness, Ayase (uke), who manages to enthrall others however isn’t a sou uke as one might expect and thus subverts the wakashu trope. Moreover, Kanou (seme) wasn’t initially drawn to Ayase due to his cuteness but due to Ayase’s kindness that lifted him out of the abyss of despair, when Kanou was at his weakest.

3. Bulk – BL have main characters (seme/uke/riba) with varying bulk and body types. There is far less diversity when it comes to Live Action BL.

4. Blushing maiden/virginal innocent trope – applies to all sorts of BL characters.

Edit: Conclusion

1. Surprisingly, ethnocentrism and loud echo of colonial masculinity in particular seem to permeate the discourse surrounding BL.

2. I really wish live action BL would have as much diversity as other BL media. Why is it so slow to diversify? Is it because of business interests? Is sticking to super darling X milquetoast pairing with royal road progression a sensible business decision? Or is sexism promoting wrong impressions of what audience want?

3. How come the Japanese terms "seme" & "uke" are used a lot but not "riba"? Where did live action BL audience learn these terms?

***

Yaoi = [how P'AbsoluteBL uses it] synonym for ボーイズラブ (boys love) manga.

= [popular use in anglophone BL manga fandom] BL manga with explicit content; as opposed to shonen ai.

= [original meaning] derivative works, which were mostly plot-what-plot type, that are self-published (doujinshi)

Answer to a question posted above: Gilbert Cocteau – uke in Song of the Wind and Trees

Below is the seme: Serge Battour

from Song of the Wind and Trees

Earliest BL manga had very pretty seme/uke/riba characters (if we are to call them so) and were not too preoccupied with "manliness" or a single type of "masculinity". But, they were surely obsessed with bishonen.

[1] 互攻 is also used to indicate POV switching between gong and shou in fiction.

[2] 纯爱 is also used to indicates asexual androphilia.

CP/pairing - involves 2 characters. Ship - involves 2 or more characters.

Inviting @waitmyturtles and @lurkingshan to share your thoughts if any (since I have noticed you guys use the terms "seme" & "uke" as well). Hope you guys don't mind the mention.

#japanese bl #boys love #bl history #thai bl #chinese bl #danmei #bl trivia #bl tropes #seme/uke #seme #uke #riba #korean bl #taiwanese bl

87 notes · View notes

demonslayedher · 4 months

Text

You need a mountain to make a sword

Mt. Youkou, which only exists in the Kimetsu no Yaiba universe is essentially named "Mt. Sunlight," is said to receive the most sunlight, which gets soaked into the Shoujouhi iron ore and Shoujouhi iron sand—both of which also only exist in this universe and are named for a particular shade of red. This mountain is therefore crucial to the development of Nichirin blades, and deserves more focus than a one-time mention in Chapter 9. If demons were to find this place and prevent them from mining, the Corp would be screwed.

A mountain is a finite resource, though. This post was supposed to be short and simple to say: 1. Large portions of that mountain are lost in the effort to collect the sunlight-soaked iron sand 2. Large portions of that iron sand is lost in smelting it into steel 3. Large portions of that steel is lost in the smithing process

But of course, it is not short and simple, I have more to say about charcoal and what this all means within the context of the KnY world and additional speculation about the production of Nichirin blades.

First you need to break the mountain! Okay, so you start with a mountain. This one is said to be “closest to the sun,” which has made some people theorize that this is the tallest mountain, Mt. Fuji, but perhaps that is just a way of saying it is in a sunny spot in the east. The main criteria is that it is very exposed to the sun. I think the "it doesn't rain" there thing is an exaggeration, as there are trees drawn there, so I assume it has some sort of a water source.

I will focus primarily on collecting the Shoujouhi iron sand as opposed to the ore, because in real life steel smelting in Japan, iron sand was more widely available than ore—and however they got the Shoujouhi ore, I’m guessing it was more of a process of scraping it off exposed parts of the mountain instead of digging deep in the dark for it. It used to be that that iron sand was collected in rivers and lakes from the natural, slow erosion process, but going by the illustration in the manga panel, they appear to practice kanna-nagashi, a process of collecting iron sand in large amounts by speeding up the natural erosion process by scraping off chunks of granite mountain into man-man waterways, and channeling it through a series of collection pools to sort the heavier iron sand from the rest of the sediment. Another reason to suspect this method is because the "Kana" of Kanamori's name is written with the same "kanna" kanji: 鉄穴 ("iron cavity," as opposed to the more common real life last name Kanamori which uses the simple 金 for metal/gold).

In the heyday of real-life traditional iron and steel smelting with iron sand, kanna-nagashi resulted in mountains being leveled because they used up so much of the natural environment. This was used for meeting almost all of the iron and steel needs of populous Edo period society, which did not need as many swords as in previous eras but needed anything from tools and nails to pots and pans. The swordsmiths in Kimetsu no Yaiba only needed to make swords for the Demon Slayer Corp (which we’ll use for referring to the organization’s full history, though it was less formally called “the demon hunters” for most of its existence). The swordsmiths making Nichirin blades were probably frugal with the precious Shoujouhi iron. They needed to make it last for as many centuries as it would take to defeat Kibutsuji Muzan.

Not all iron sand is created equal! While what's very crucial to Nichirin blades is that the iron that has soaked up the power of the sun, what's also crucial to making Japanese blades is a high level of purity in the iron. To put this in perspective, the more common kind of real-life iron sand (akome) that could be used for general iron needs might make up 5-10% of the rock plucked off the mountain, but masa iron sand, the kind that was (and still is) preferred for making Japanese swords might only make up about 0.5-2%. These sands would differ in size, the amount and array of impurities, and how high of a temperature and how long you need to smelt them. However, the real-world smelting process for making sword-quality steel used a mix of these two kinds of iron sands, so it might be reasonable to assume they stretch out the Shoujouhi iron sand supply by supplementing it with high quality sands from other nearby, shadier mountains. There is also the matter of how much of it was Shoujouhi ore, and how much of that ore was available relative to the sand on this fictional mountain, but I’ll focus primarily on a real-world iron sand based processes for consideration on numbers.

Anyway, we've perhaps already wasted at least 85% of what we've taken from the mountain to get this sand, and then it's time for smelting the Shoujouhi iron sand (and Shoujouhi iron ore, in this case) in a traditional tatara clay furnace, because for most of Japanese smelting history, that was what you had.

Tatara iron and steelmaking made the most of what Japan had! Smelting iron in clay furnaces did not originate in Japan, but while many other places in the world had more abundant sources of iron ore to start with, Japan did not, so the tatara method was continually development to make the most of what was available: iron sand. Two of the other major ingredients in this method were clay and charcoal, the qualities of which were important in setting off the chemical processes of smelting the iron sand into pig iron (which would be refined into better iron or for steel for making swords). With Edo period developments in this Japanese smelting method, they were able to skip the pig iron step and achieve a sword-quality steel, tamahagane. Tatara is still the only method with which you can achieve tamahagane.

Look at this beautiful sword baby:

(Fun fact: Tamahagane is covered with many different colors—but rather than being indicative of Nichirin-like properties, these are tiny films of remaining impurities in the metal, which reflect light similar to how it bounces off a soap bubble or a CD. Cool, huh? I also tend to theorize that the coloring changing aspect of Nichirin is a matter of bending the visible spectrum of the sunlight contained within them.)

We don't have time here to go into the fascinating details about how this smelting process works and why tamagahane gives you the characteristic attributes of Japanese blades, but suffice to say, what's crucial is that tamahagane has a high level of purity and an ideal amount of carbon for making blades that are both strong and ductile. However, prior to the Edo period development of tamahagane, we don't actually know all the details about the materials used. Swords could vary widely in quality in the Sengoku period, and it's very likely that the high-quality ones (like what the demon hunters would had used) mixed stronger, imported iron with the local iron sand. This is another reason I'm willing to bet Nichirin blades might be reenforced with other material, though it is still entirely possible in-universe that they are purely Shoujouhi and the craftsmanship of the swords back then was purely thanks to the swordsmiths’ efforts.

A quick note here before we go on: historically, it makes the most sense for Tanjirou to have been offered tamagahane at the end of the Final Selection, because this was the standard material for Japanese swords at the time. In Chapter 8, Kiriya does not say “tamahagane,” but just “hagane,” which means “steel.” However, the first fanbook says that they choose their “kouseki,” which is “ore,” implying that this is still in a raw material stage. It’s possible that before the Edo period development of tamahagane, swordsmen were offered their choice of lumps of Shoujouhi ore, but given the speed with which Tanjirou received a completed sword, I’m willing to bet it had already undergone the smelting process with Shoujouhi iron sand in one big smelting batch. Although industrialized methods of smelting steel with mined iron ore, coke, and brick furnaces were already the norm by the early Taisho period, tatara was still in use, and still the only method of making tamahagane, so I am inclined to think the Swordsmith Village stuck with this and used tamahagane (and Japanese fans who are familiar with the tatara process all tend to assume the same, though most of the ones I've talked to about it are biased tatara nerds in the first place).

Charcoal is crucial in tatara and Japanese swordsmithing! We also don't have time to go into detail about the clay or construction of the tatara furnace, but because this is KnY and I love charcoal, we will touch on that briefly: The charcoal used in tatara would be slightly different from the charcoal Tanjirou produced for household use or the charcoal used in multiple steps of the actual smithing process (both as a heat source and as a coating in a crucial step of the process). In a tatara furnance, it needed to burn quickly and at high enough temperatures to melt iron sand, it was left somewhat "undercooked" in the charcoal making process so as to leave more volatile organic components. Even with those sorts of adjustments to the charcoal making process specifically for tatara, Tanjirou could absolutely talk shop with the Swordsmith Village charcoal producers.

Also, in order to get trees big enough for tatara charcoal use, the trees were ideally 30-50 years old. Forestry methods in tatara charcoal production typically allowed the forest to grow back every 30 years, but this meant they needed roughly 30 different areas to cycle through and cut down from year to year. A single operation of the tatara furnace typically requires about 12 tons of charcoal, that is, roughly one hectare of forest. (This is why industrial tatara in real life usually required owning entire mountains in order to have that much forest available.)

What is one tatara operation? For our purposes here, suffice to say that a tatara operation for the purposes of making tamahagane is a roughly 70-hour process of adding iron sand and charcoal to the flames every 30 minutes or so, resulting in a 2-3 ton lump of mixed metal, called a kera (which is written with sort of vivid kanji that makes it's like the "mother of metal," 鉧). What adjustments that might require to include Shoujouhi iron ore, I am not sure. It is an extremely labor-intensive process, with a high level of know-how required to be successful. It is very easy for the process to be ruined if the giant flames are not maintained, or the proportion of the materials is off, or if there is too much moisture or not enough constant air flow, etc. It also uses a lot of material. In addition to about 12 tons of charcoal, one operation typically requires about 10 tons of iron sand. Roughly 70% of the resulting kera would be tamahagane. That means, very roughly, that of the 10 tons of iron sand, only 15-20% remains as ideal sword material, but maybe only about 0.3-4% of the overall iron sand turns into top quality tamahagane.

How many swords are we talking? The Swordsmith Village exclusively made swords for the Corp, which in Tanjirou's day and age is said to be “a few hundred” people (Chapter 4, and given the context, I assume this means “a few hundred swordsmen” as opposed to including outside supporting roles). Tamagahane for a katana is about 4 kilograms, so you can get, conservatively (and this is only my guess based on weight calculations, not on actually numbers of lumps of tamahagane I found results for), about 375 swords worth from one kera, or maybe up to 90 especially high-quality swords. We see anyone from a Mizunoto like Inosuke to a Pillar like Muichirou getting their swords replaced without much fuss, and clearly some styles of Nichirin blades require more or less steel (looking at you, Stone Pillar). The swordsmiths likely also use material for practice and trying new techniques, as well as for having extra swords available like those stocked up in the village.

I'll allow you to think backwards about how much mountain this consumes every year in a Corp that has been collecting ore and sand from Mt. Youkou for 800-1000 years, with the more damaging kanna-nagashi process being used for about 250-300 years. Instead, I will work forward to say that for a typical katana, that 4-kilogram tamahagane results in only a 1-kilogram sword, so you lose material at this stage too.

To recap: The amount of Mt. Youkou destroyed but which gets collected as iron sand is only about 0.5-15% (if we're being generous). The amount of that iron sand which gets converted into tamahagane is only about 15-20% (or less if they are very stringent about Nichirin quality), though the numbers might be very different depending on the amount of iron ore used. The amount of tamahagane which remains as a finished sword is only about 25%. This is not even taking into account the amount of forest, clay, or even the series of stones necessary for the polishing process, not at all to mention expertise and labor.

So quit breaking your swords, Tanjirou.

Sources: In modern day, the Society for the Preservation of Japanese Art Swords (NBTHK, or Nittouho) operates the Nittouho Tatara furnace three times every winter, so most of these numbers are based on their modern-day operations (though they do not practice kanna-nagashi, which was primarily practiced in the Edo period when tatara was a major industry). Other info primarily comes from other tatara related museums, especially the Okuizumo Tatara and Sword Museum and Wakou Museum, though it’s been glossed over for fandom purposes. Also, I’m a sword nerd anyway.

#SWORDS SWORDS SWORDS #KnY nerdery #KnY Reference #KnY References #I made it AS SHORT AS THE SPIRIT OF HAGANEZUKA WOULD LET ME

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starstuffandalotofcoffee · 1 year

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ah, the things your sibling texts you when you are a radiation safety officer.

The dose was elsewhere given in layperson's terms as "ten x-rays per hour" which, using the RADAR Medical Procedure rough estimate, and a high-dose procedure (lumbar spine), gives me something on the order of 7 mSv/hour (700 mrem/hour). This is, in fact, pretty bad; for reference, the NRC's goal for the general public is 5 mSv (500 mrem) per year, and as a radiation worker, if I were to get about half that dose (that is to say, the dose from being in close proximity with this capsule, unshielded, for an hour) this would trigger an investigation into what I was doing.

With all that said, dose limits are intentionally fairly conservative, and you would need to handle this for quite a long time continuously to get a fatal dose. The Guardian reports it as being 19 Bq (about 0.5 nCi), incidentally, which is a pretty standard Cs-137 test source. Like, if you know a nuclear medicine technologist, they probably handle a very similar source regularly, but for brief periods at a time.

Anyway, if you're in Western Australia, do pay attention to this and if you see a weird metal thing on the road, matching this description, don't touch it! Follow the instructions of authorities! But, that said, the good thing about radiation is that your dose drops off steeply if you keep a distance. Unless you are in close proximity for an extended period of time, you are not at risk.

(On the other hand, from that same safety officer standpoint, I am screaming into a pillow. No one checked this en route? No one ensured this was in a secure container? No one checked this on delivery? This is in violation of like 5 separate parts of HAZMAT training in the US, and probably in Australia too.)

#welcome to cursed physics knowledge with me #also yes. all of radiation physics in the us anyway is done in both metric and imperial. it sucks.#i'm more comfortable with sieverts/gray for dose but also all activities are still given in curies so 19 bq was hard to conceptualize

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churchofthecomet · 3 months

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thoughts about this week's episode (spoilers ahead)

from relistening to last episode: i like Mariana more and more as time goes on. i like that they explain cases to her and she has ideas or analyses of them. i like that she's understanding and competent and pretty sharp. this is truly an OC with no equivalent in the originals, but she works!!

from this episode:

companion/colleague/friend/flatmate!! so true John tell us more about this relationship

saw someone refer to John as a "cringefail podcaster boyfriend" and yeah... maybe I am beginning to like him more. i can see it!

"don't be silly! you're a handsome prince!" "i'm in tights." "hmm, [laughing] yes."

there will be fanart of the robot-and-prince scene by tomorrow i'm manifesting it please?

their costumes probably blended in perfectly with the overall production vibes of Solar Thunder

for the first time in this podcast, I could figure out the solution to the mystery before the 2/3rds mark. the whole con was an effort to get him out of the house for 9+ hours per day!

john's a coward for editing out the first half of the opera. should have been a 2 hour episode (1.5 hours opera, 0.5 hours podcast)

i assume that Sherlock is completely zoned into the opera

very very excited to hear that the opera is called Bohemia and stars one Irene Adler -- I have a feeling they'll be revisiting it soon

i adore Sherlock's fucking "talking to whatsherface at the opera intermission" voice (and John's "what... on Earth?")... and then 5 mins into the conversation he's back to normal

Sherlock and gun safety don't exactly mix, do they. "I'm a normal human being, I don't wander around with a gun!" "Well I do :)"

IT'S A THREE PARTER????? it's a three part story sldkfjdslkfjd FUCK SHIT THIS IS SO SAD

#sherlock & co #sherlock and co

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demigirlravenqueen · 9 months

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Historically ever after part 5

Darling Charming 2 New And Improved!

I wanted to do an updated version of this post because, it was really just my second attempt at doing something like this so it's not really the best and I've learned quite a bit more about 18th century fashion since then and I'm not really satisfied with that post anymore. Darling was the fist character that I decided to make these posts on because everybody kind of knows that her design was 18th century inspired. I think that it's just one of the recognisable historical styles .

Starting with the dress, it has an open front showing another layer underneath like most styles of dresses from the Georgian period which usually had a petticoat underneath as well as a matching stomacher if one was worn. The robe robe a la francaise is, I think the most iconic for this look. The robe a la francaise also featured large box pleats at the back and were commonly worn over side hoops which gave the iconic wide hip look.

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I think that darlings dress more closely resembles an English gown or robe a l’anglaise which is more fitted and less often worn with side hops therefore usually having a more round skirt shape.

Either way it doesn't really matter as I doubt that the people designing these outfits really had this in mind. But I'll leave this article by the American Duchess which dose a good job explaining the different styles of 18th century gowns if you're interested.

We also have those lovely elbow length frilled sleeves which were common on fashionable gowns.

The print on her dress really resembles some of the floral patterns common during this period, such as these ones I found in the Met's online collections.

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the underlayer's pattern is more subtle and and resembles these silk woven fabrics.

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Her hair is swept back and curled in a way that's meant to reference the large fancy hair styles iconic to the period, mostly around the mid 18th century. Feathers, ribbons and jewellery were all pretty common hair pieces.

Her hair is also verry light which is again a reference to white powdered hair.

While were talking about hair I'd also like to mention that we plenty of primary sources indicating the use of blue and pink hair powder during this time. I don't know a lot about that (or just historical hair in general I'm trying my best), but Abbey Cox did a great video the history of coloured hair, and after watching that I was able to find portraits showing it. It's such a niche fun fact that I don't think that it was intentional and they probably just chose blue to go with the colour scheme they already had but it's still cool.

Her jewellery was interesting to look into, full disclosure I don't know much about jewellery outside of the Victorian era and even then my knowledge is pretty limited so I was mainly digging through the V&A archives and comparing them.

Her necklaces are I think the most similar. You got the jewels arranged in a circle around another jewel and the elaborate patterns.

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I think her bracelet is more armour inspired I'm not really able to get a good enough look at it to notice much detail.

dangly earrings sort of like hers I've seen a lot of but rather different.

With her flower shaped ring I was either expecting to either find nothing or something similar but smaller which they made more bulky for doll production. I didn't find a similar ring, most were verry simple in shape, but I did find this broch and gasped verry loudly when I did because it was so similar.

I might do another one on her dragon games outfit, but I don't really think there's anything there, and this post is getting long, nothing compared with what I have in the works for Lizzie but... I have homework to do and this has already taken up enough of my time.

As always, feel free to add on or correct me.

Part 0.5 Part 1 (original darling post) Part 2 Part 3 Part 4

#eah #ever after high #darling charming #eah darling #fashion history

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12pt-times-new-roman · 2 years

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anyway EXU: Calamity is everything I hoped it would be and I absolutely love it. some initial observations:

More solstices! Woo! So every 100-120 years, a celestial solstice aligns with some other celestial bodies and is therefore strong enough to change the layout of magical leylines. A device can measure the strength of a solstice, and if that measurement is more than 0.025, it could potentially be a apogee solstice; the celestial solstice right before the Calamity measured a 0.5.

Ghor Dranas lore! In the Schism, when the Betrayers split away from the Prime Deities, there was a threat made during one of the battles by the Betrayer Gods, attributed mostly to the Lord of the Hells (Asmodeus). The name is a very specific wording that Asmodeus said, "put me where you will. In darkness, I will gather my shadows to me." Ghor Dranas literally translates to "a gathering of shadows," giving the name very dark connotations. Asmodeus is the most likely contender for the Betrayer God that Zerxus saw in his dream, given the god's appearance as a red-skinned, horned being.

Zerxus has some really good items. In order to get a strength score of 29, he must have a belt of storm giant strength, and to get an AC of 25 his armor or shield must have a combined bonus of +4 (assuming that he's wearing plate armor and took the defense fighting style at level 2).

Also, Zerxus saying that he doesn't care much for gods as a paladin? Plus the fact that Luis' name was underneath the symbol of the Luxon during the intro? and that a searing light greater than that of the Dawnfather himself emitted from Zerxus' hand when he saved Asmodeus in his dream? and that Zerxus saw a starscape inside the well? and the talk about people deciding their own fate rather than having a destiny determined by the gods? my bet is on this guy being a paladin of the Luxon.

Brennan calling people from Cath Moira "terrestrials," marisha calling the broken bow an "extraterrestrial artifact," and all the other references to imply that people from the flying cities called people on the ground "terrestrials" and that people on the ground called them "extraterrestrials" — none of that feels like a coincidence.

"Zerxus" is very possibly related to King Xerxes. "Loquacious" literally means "talkative" and "Seelie" is one of the courts of the Feywild. "Nydas" is also very likely related to King Midas, a figure in Greek myth who could turn anything he touched to gold.

Loquacious' appearance is so incredibly gender. I love them so much.

Ooooh, Cerrit is an Inquisitive Rogue. I've never seen this archetype played before because its niches are so, so specific and very much not combat-oriented like most rogue archetypes, and it's great to see Travis finally play a character with incredibly high intelligence.

Very interesting that Vespin Chloras wasn't attempting to ascend to the place of a Prime Deity, but to the place of a Betrayer God. That leaves me with a couple questions, and gives some answers. That means that the previous god of death, who was usurped by the Raven Queen, was in fact a Prime Deity. It also implies either that the only way one can ascend is by replacing an existing god, or that the Raven Queen's rites were developed specifically to do that — meaning she would've had to have had some reason to want to usurp the previous god of death rather than just ascending and becoming an entirely new god.

Honestly, this setup makes so much sense and I love it. I can't wait to see where this goes. My guess is that what Chloras actually did was to achieve some kind of state between mortality and divinity, hence why he's infecting dreams and mirrors, and now he's going to go to the Betrayer Gods for help to finish the ritual in exchange for freeing them.

But what the fuck is Laerryn going to do with the bow fragment? She seemed to want to use it as a tuning fork for a Plane Shift spell, but if that bow belonged to a Solar, then the spell would likely take them to Elysium or Mount Celestia. Going to the engine that drives the entire city with it makes me think that she wants to bamf the entire city somewhere else, but why doesn't make sense, because she doesn't currently know that there is or believe that there could be a threat of war.

Anyway, very much looking forward to where this is going to go and I'm so glad that my term is over in time for me to actually pay attention to this <3

#critical role #critical role liveblog #critical role spoilers #exandria unlimited #exandria unlimited calamity #exu #exu calamity #exu spoilers

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archie-sunshine · 3 months

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ARCHIE-SUNSHINE'S FAQ!

Hi!! I'm putting this together as a quick helpful post to clear stuff up regarding my inbox, because I've been getting a lot of similar questions and I want to be able to tap a sign to let people know what they gotta know without putting in so much effort!

So, here's my FAQ for my inbox!

1: What drawing software/hardware do you use? Are you a traditional only artist?

I use clip studio paint and an ancient wacom tablet that's been chugging since 2018 :] And I also do traditional art, specifically as a way to pass the time in my college classes! my preferred drawing pens are a the 0.5 POLOP Fruits Clip, the Tombow Fudenosuke Brush pen, and the Pigma MICRON Plastic Nib, and i colour with ZEBRA mildliner highlighters!

2: Is your Inbox getting my message?

Yes it is! I just usually have around 30-50 other asks in my inbox that im also working through!! If your ask was super nonspecific as well, I might have deleted it because I didn't know where to start!

3. Are you taking commissions?

Not currently!! I'm closed for commissions right now, but I DO take them, and you can buy them on my KO-FI!

4. What are your thoughts on [Insert TFP character here]/why don't you like tfp

I don't have any because I only watched half a season of that show and got bored to death! and i dislike the show because the pacing is weird, the writing is sub par, the characters bore me to death save for a few notable exceptions, the music is boring, the designs are weird and complicated, and every attempt at comedy falls flat. aka, its just not my cup of tea!

5. Will you draw/What are your thoughts on MPREG/MECHPREG

I don't like pregnancy when it involves a fetus, though I do enjoy dirty talk and scenarios surrounding breeding! I do enjoy oviposition/egg laying, but I prefer it as part of a monster fucking scenario.

6. What would you think [insert character/pairing here]'s kids would look like/what would [insert character] look like as a kid/do you think [insert couple here] would be great parents?

I don't like talking about kids or children!! and I don't like talking about couples as parents in general!

Hope this has cleared stuff up for some of you folks! I'll be adding this post to my pinned post for future reference!!

#archie answers #my requests #transformers #faq #faq post #faq page

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roseworth · 2 months

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hi tumblr user roseworth im desperately trying to figure out how old rose and eddie were by the end of their tenures in tt03 / how long they knew each other and it is... difficult especially because sooo much happened dc-event-wise during tt03. do you have any canon sources or noncanon thoughts on their ages beyond eddie being 17 in part of tt03 and rose being 14(?) when lilli dies ^_^

hiiiiii <3 unfortunately i dont have a great answer for this bc. comic timelines. but ill do my very best

so for rose the only time we get anything about her age in tt03 is in issue #0.5 (when she gets taken by slade) when it says that lili and slade met 18 years ago

so i assume that makes rose ~17 when she join slade (since lili would've been pregnant for 9 months after this)

we also get this panel saying that lili died 18 months before rose joins slade, putting her at around 15 or 16 when lili dies. iirc she was 14 when wintergreen sees her for the first time, so we can assume a year went by between wintergreen meeting lili and lili's death (if tt03 is to be believed! but deathstroke 1991 (annual #4) mentions that shes 14 when her mom dies)

anyways this also means that roy hired her as a live-in nanny when she was 16 years old which is really funny to me. but none of that matters; point is she was 17ish at the start of tt03

this is just my personal headcanon but i assume that the time between titans/yj graduation day -> infinite crisis is around a year, and if rose joins up with slade a little after graduation day then shes with him for just under a year

HOWEVER if we go by what slade says in nightwing #112, rose has only been with him for a few months

so based on that, rose is 17 (probably closer to 18) when she leaves slade

then infinite crisis happens and we skip to a year later! so shes 18/19 now. we dont get any specifics on her age but just for funsies we can assume that shes at least 18 since shes smoking and cyborg doesnt have a problem with it (he confiscates her alcohol but not her cigarettes), and the tobacco age in california in 2006 was 18

THEN it gets complicated. i dont have a source for this but i think theres supposed to be a year between oyl -> final crisis, making rose 19/20 by fresh hell (the secret reason she got kicked off the teen titans was because she wasnt a teen #adulthood)

also in fresh hell, she orders alcohol at a bar in canada (in the northwest territories where the drinking age is 19) so theoretically that makes her at least 19. though she never actually gets the drinks because she gets in a fight 2 seconds after this so she doesnt get carded so who knows!

from there. i dont have much. i assume that a full year doesnt go by from fresh hell to the end of the universe (if anyone knows how long bart & kon were dead for that might change things, but i assume we're not given any exact info on how long it was), so i would put rose at ~20 right before the new 52 happens!!

as for eddie, ill use the same tt03 timeline that i used for rose

like you mentioned, hes 17 in tt03 #42 (for reference rose is 18/19 at this time)

he didnt join the teen titans that long before this, we see him asking to join in 52 #51, which is like a week or two before tt03 #34 (the first tt issue after oyl) so its safe to assume that eddie is 17 when he joins the team

anyways after #42, i dont think we get any mention of his age? which is honestly kinda weird since his age is Very Important given that hes selling his soul to neron at 20. we should have an eddie's age tracker at all times

if we assume that hes 17 when he joins the teen titans and oyl -> final crisis is 1 year, then hes right around 18 or 19 when he dies

when he loses his powers then tries to make another contract to get them back in tt03 #68, kid eternity mentions that he'd have "a few years of superheroing," so him being 18 around this time makes sense

then he dies in #74 </3 no mention of his age anywhere but id say hes right around 18 when he dies

take all of this with a grain of salt bc a lot of this is just me making up timelines. but i personally think rose is 15 when her mom dies, 17 when slade takes her, 18 when she leaves slade, and 19 as of tt03 #34 (oyl). and eddie is 17 when he joins the team and 18 when he dies!

#hm.... a 19 year old (rose) talking to a 17 year old (eddie) ???? that age gap is kind of problematic dont you think #to me eddie & rose are that one post like #18 y/o with 'minors dni' in their bio vs 17 y/o with '18+ dni' in their bio #rose wilson #eddie bloomberg #dc #long post

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menalez · 8 months

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you’re watering down the meaning of lesbophobia. saying that just because someone’s a lesbian that doesn’t mean they get a pass to make disgusting comments about women isn’t lesbophobia

no one said that 👍🏾 here’s the actual lesbophobic statements she made:

“lesbians are more prone to being unempathetic to pregnancy”

“i get sometimes why het girls are uncomfortable around lesbians”

“Referring to women as “huge blown out vaginas and deflated balloon tits” reeks of a lack of empathy that lesbians have for an experience they will likely never go through. It’s a form of misogyny born out of an absence of sympathy. Men do it, and lesbian have done it too. And it does have something to do with her being a lesbian, because as I said, lesbians will likely never go through childbirth and thus they can make these comments without insulting themselves, the same way men do.”

“when OSA women hate in post-partum body, it is usually an internalised misogyny, because as I said, most of these women in the future will have children and most of them plan on having children too!… When lesbians hate on post-partum body, it is an entirely different stance. Because, as I said, lesbians generally do not experience pregnancy… It is similar to how men discuss pregnancy, because men too, do not experience pregnancy. The hatred to post-partum body from these two demographics (men and lesbians) comes from an absence of empathy and experience with pregnancy. Men can hate on pregnancy and not be insulted themselves, because they don’t experience it. Lesbians can hate on pregnancy and not be insulted themselves, because they (usually) don’t experience it. The real targets of both of these demographics’ misogyny is OSA women, because suffice it to say that 99.9% of those who get pregnant are OSA women.” (wow 0.5% of the female population aren’t the majority of pregnant women? wild!)

“Similarly to men, lesbians can generally show misogyny towards pregnancy and post-partum body without insulting themselves.” (as if it’s impossible for us to get pregnant lol)

“if the one who made that comment about mothers’ bodies was a man, you’d all jump on it to say that men are disgusting because they think like that, but because that person was a lesbian, we’re not allowed to draw any sort of conclusion. NOW we’re not allowed to generalise or make it about the person’s demographic.”

“As I said, hating post-partum body comes from a lack of empathy similar to men: both men and lesbians have it in common that they will not experience pregnancy… Thus, lack of empathy for that aspect of women’s lives gives lesbians a unique stance where they can hate on a female experience without insulting themselves”

“Also, it is true that most lesbians will not have children… they (typically) miss out on a uniquely female experience, so when they hate on that female experience, it comes from an external POV rather than internal. Hence it’s from when OSA women do it because regardless, most OSA women will experience it or have before.”

so she’s not being called a lesbophobe for not giving a woman who is already being criticised “a pass to make disgusting comments about women”. she’s being called that for: 1. attributing making misogynistic comments about women’s bodies to one’s lesbianism 2. repeatedly likening lesbians to men and equating lesbians with men & repeatedly saying we are similar to men bc we won’t experience pregnancy 3. saying het women being lesbophobic is somehow understandable 4. saying we, unlike OSA women, aren’t coming from a place of internalised misogyny if we express misogynistic views about post-partum bodies

#ms-revived-frogs #anonymous

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ut-versotale · 10 months

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A Trip Down Nostalgia Lane

This AU's been in existence for so long, and the most current iteration is so wildly different from the rest. As such, I felt it'd be kinda cool to show you guys how the AU's progressed over the years. I don't think it's too big of a problem to reveal what the initial plans were for each iteration, what I liked and didn't like, and my thought process behind forgoing the old ones

If you don't particularly care for all that, here's the iterations' major characters lined up. (Iteration 4 I only have revealed Asriel and Undyne, so the rest I've designed so far are silhouetted)

Iteration 0.5

Oh boy, where to begin with this one...?

I number it "0.5" and not "1" because there were only two parts that never even officially released on this Tumblr blog. I did upload Part 1 for an April Fool's joke a while ago. But really, it was only ever present on the TS!Underswap Discord server over half a decade ago.

To put it bluntly, Versotale at this point was just a reskinned Undertale roleswap AU. The personalities, while I tried to keep them intact, were not the main driving force. As such:

Asriel is a silent protagonist (And not in a cool clever way like Kris; I mean just straight-up silent)

The only difference with Undyne as a narrator was noting that Frisk was a human at the first save point

Flowey had a more formal speech pattern but was otherwise barely affected despite carrying Chara's consciousness. They weren't even named Asthana yet.

Frisk... well, I can give my past self this, he certainly made an effort to differentiate Frisk from Toriel. I can't say he did a GOOD job at that, but they certainly were different. Awkward dialogue, though, and not much sense behind why they were the mayor of the Ruins at 13 years old

Overall, you can 100% tell I made this as a young teen. Awkward dialogue, barely any effort put into the concept, unoriginal...

It's pretty easy to see why I forewent this version of the AU. Only two parts were ever made. I must thank @beethovenus who gave me a lot of very helpful critiques, such as giving Asriel a voice and making original sprites rather than using sprite edits, as well as encouraging me to make this Tumblr blog for it. Thus, brings us to what I'd like to consider the first PROPER attempt at this AU...

Iteration 1

Ah, this one... this ALSO lasted only two parts. Can't remember why. But I made a lot more headway on this one. Quality aside, I am happy that I had the guts to try and make original sprites of my own back then, even if they aren't particularly good compared to now.

This was where I really attempted to make the characters act noticeably different. Though there were still quite a lot of problems, some that would even persist all the way up until Iteration 4.

I wanted to give Asriel a combination of his regular and Flowey personalities. A cool idea on paper, but the lore doesn't support him acting like that well enough. Thus, I refer to this version of him as Sassriel. This was one of those problems that persisted up until Iteration 3.

Undyne having this snarky back-and-forth with Sassriel. Again, cool idea on paper, but it is not supported by her personality in Undertale, nor the altered circumstances in VT Iteration 1. Also, with Undyne being a disembodied consciousness, it means she's merely an observer of the story and not an active participant, meaning her dialogue got very boring very fast. Undyne in canon was always an active character, so putting her in a role that basically FORCED her to be a passive character was maybe one of the worst decisions I could've made that lasted way too long, all the way until Iteration 4.

You'll notice a whole bunch of characters that never actually saw the light of day in the comic. In the bottom row, starting from left to right, there would have been Pepper (Who DID have a design but I've lost it), Donavan, Dr. Aakil, Lily, and Queen Alice. There's not much to say about them story-wise since I mainly just got the designs down, and you can probably guess what the plot was gonna be like given this was the early days of the AU where it was still very much following the Undertale formula. I think the only UNIQUE things I should mention are that Aakil's version of the amalgamates would've been cyborgs.

Iteration 2

This is the one that's lasted the longest (so far), managing to push its way into the Cold West. I tried to break out of the Undertale formula a tiny bit with this one, to varying degrees of success. There's not much history I can recall or find with this iteration, but I suppose I can give a character rundown of the ones you never saw, ironically enough all positioned on the bottom row again.

Donavan... not very unique compared to Undyne. The main gimmick that separated him from her, I think, was that he had gloves designed by Aakil that were soul-powered.

Valencia... a new character who was meant to be an expanded version of Napstablook's role. Fun fact: Valencia's hooded trenchcoat design there was originally Pepper's Iteration 1 design.

Everyone else was... about what you'd expect.

Looking back on this version, I am... honestly very embarrassed by how badly I butchered the Cold West. I wanted to do so many cool things, like a bounty on Asriel's head and all. But my God... Spade and Pepper sucked so much. Especially Pepper. For characters who at this point were meant to be this AU's replacement of Sans and Papyrus... what poor substitutes.

And honestly, I think that's why I scrapped this one; because I hated the Cold West and how I did it. It felt rushed, awkwardly-written, bad characterization, horrifically-bad puzzles, etc. Thus, Iteration 3 was made.

Iteration 3: Hybrid

I nicknamed this short-lived one "Hybrid" for multiple reasons.

It's where Deltarune became an extremely prevalent influence in Versotale's universe. So no longer is Versotale just an Undertale AU, it can also be considered a Deltarune AU as well.

Many characters could be considered hybrids at this point. Asriel and Undyne shared determination and a body. And, more interestingly, the Mettaton role also shared a body with Mettaton. More about that in a bit

When I was making Part 10-B of Iteration 2, Iteration 3 was meant to flow naturally into it, effectively replacing all of what had came beforehand. That never worked out.

Ultimately, I abandoned this version because it just simply wasn't doing it for me. By this point, the project was beginning to feel stale and boring. Despite my attempts to make a new unique storyline, it just kinda... felt like it was still following in Undertale's footsteps far too much. I mean, you've got the protagonist kid, an old fallen member of their species, the double-crossing flower, a mentor who's lived in a secluded area all their life, a chef who wants to join the guard, a tough grizzled guard captain, a morally-dubious scientist, a celebrity, a monarch... you see how I became dislliusioned with the quality of what was supposed to be my "Unique Undertale storyline." The most unique thing at this point WAS probably Spade. But still, many elements of this version of the story were very fleshed-out. I tried to turn Pepper into a character who wasn't just a bargain-bin Papyrus clone, I had come up with a more unique Hotland area, and it probably could've turned out really nice.

I think the thing I genuinely really liked from this old version was that Shella (This iteration's celebrity character) actually was also possessed by Mettaton. There was this huge backstory thing where the scientist character had monster dust and was injecting humans with it, and since Mettaton was a ghost, his consciousness became attached to Shella's and served as her sort of "assistant." He gave her all the tips and confidence to become famous and gave Mettaton the opportunity to indirectly entertain humans like he always wanted. While a cool idea on paper, having... well, essentially Mettaton technically in the same place as canon Undertale again just felt cheap and lazy. Not to mention it only continued my disillusionment with my "unique story" being far too similar to Undertale for comfort.

But the Surface shenanigans this iteration... man, for as weird as Gaster being king was, I had such a cool thing planned for all the Ebottobia characters. It's something I wanna carry over into Iteration 4 to a certain extent.

Iteration 4: "King Asriel"

This one's really freaking cool. Going back to the drawing board completely, the story resembles almost nothing like Undertale's, with the sole exception of the main premise: People underground, free them from imprisonment through peace or violence.

I'm so proud of these ideas so far, you have no idea. The new Ruins area I'm excited for, the new Cold West feels like an actual proper flowing storyline now, the other areas have way more uniqueness, the characters feel like their own characters with their own stories now (Even the ones that appear in canon), the plot feels completely different... I think you all are really going to like it

That's all. Just felt like taking a trip down memory lane and share some ideas and designs the public never got to see.

#undertale #undertale au #versotale

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