just rewatched daniel craig's first james bond press conference from 20 (!) years ago and he was like i am intimidated by everything about this i have no intent to be legendary and i am too homosexual to talk about bond girls so i won't. and he repeated folks i am a gay coward and bond is a misogynist i want nothing to do with him and he got the part. by being the denial of an entire role in a pattinson or gosling manner he was the perfect choice (that's what the new casting directors fail to understand) and i can't overstate how i love that guy
ps: knives out always saves the december holidays with the family, i hope we get more from benoit blanc please never stop
ps 2: as a new 007 i'd choose elordi over callum turner for the exact same reasons of gay feminist coward energy (+ he's hotter)
Aang having the privilege of growing up with airbenders all around him and learning airbending straight from the monks in his temple but having to live the rest of his life as the last air nomad with no one to share his culture with.
Vs
Katara having the privilege of still having her people and culture but not ever being able to learn southern waterbending style because she never met another southern waterbender and only knowing the northern way of fighting and also having to grow up quicker.
Aang wishes he has the community Katara has and Katara wishes she had a childhood Aang had.
I was working on a history paper today and found a book from 1826 that seemed promising (though dull) for my topic, on an English Catholic family’s experience moving to France.
And it ended up not really being suitable for my purposes, as it goes. But part of the book is actually devoted to Kenelm, the author’s oldest son…and man, his dad loved him.
Kenelm seems to have had a fairly typical upbringing for a young English gentleman, although he is a bit slow to read. At twelve he’s sent to board at Stoneyhurst College—often the big step towards independence in a boy’s life, as he’ll most likely only see his parents sporadically from now on, and then leave for university.
When he’s sixteen, however, his father moves the whole family to France, so Kenelm gets pulled out of school to be with them again. Shortly after the move, his dad notices that he seems depressed. Kenelm confides in him that he’s been suffering from “scruples” for the last eighteen months—most likely what we’d now call an anxiety disorder.
And his dad is pissed—at the school, because apparently Kenelm had been seeking help there and received none, despite obviously struggling with mental health issues. So his dad takes it seriously. He sets him up to be counseled by a priest—there were no therapists back then—and doesn’t send him away to be boarded again, instead teaching him at home himself.
And his mental health does improve. His dad describes him as well-liked, gentle, pious, kind and eager to please others; at twenty he’s thinking about a career in diplomacy or going into the military—which his dad thinks he is not particularly suited for, considering his favorite pastimes are drawing and reading. He’s excited about his family’s upcoming move to Italy, and he’s been busy learning Italian and teaching it to his siblings.
Henry Kenelm Beste dies of typhus at twenty years, four months, and twenty-five days. That’s how his dad records it. That’s why his dad is telling this story. It’s not an extraordinary story—Kenelm’s story struck me because he sounds so…ordinary, like so many kids today. And he was so, so loved. His dad tried hard to help him compassionately with his mental health at a time where our current knowledge and support systems didn’t exist. You can feel how badly he wanted his son to be remembered and loved, to impress how dearly beloved he was to the people who knew him in life.
I hope he’d be glad to know someone is still thinking of Kenelm over 200 years later.
I am so utterly fascinated by “Saki”, the 18-year-running mahjong manga in which you, the reader, become gradually, frog-boilingly aware (over the course of nearly two decades’ worth of mahjong tournaments) that none of these girls are wearing underwear and most of their boobs are slowly expanding.
I need you to understand that I have, like, an anthropological level fascination with this comic. From the perspective of someone who is also a comic artist and writer, two things delight me about it:
the fact that I understand completely how an artist gets from “the fans can have a little hint of skirted asscheek” to “the pussy is completely out on center page” over the course of 18 years; and
the way in which the pussy being out is treated by the characters and diegesis as being utterly unremarkable.
Okay. Point 1. The frog-boiling.
Let me put this in perspective for you. There was already a meme about how the characters in “Saki” don’t wear underwear when I was in middle school. I am thirty now. Okay? And it’s still going.
In the time since, this has stopped being a joke. It is now indisputable canon. This is not because anyone outright says it at any point. It’s because the underwear ran out of places to hide. I’m obsessed with this thought: somewhere in the over 20 volumes of “Saki”, there is a panel in which underwear was objectively deconfirmed. And it would be so hard to figure out where that panel actually is. Maybe the artist didn’t even realize it when she drew it! The frog? Boiling!!
And of course there is also the breast expansion. I don’t know how to put a spin on this. They are just expanding. Like, this happens a lot with artists: you define a character as being, in your mind, “the one with the big boobs”, and over the years you emphasize that trait further and further so that the signal doesn’t get lost in the noise. It’s just that normally—in like a wildly popular manga series about mahjong published by literally Square Enix, for example—normally there would be a point at which the boobs stopped getting bigger. Like, an editor would step in or something. Or you would get to the point where you cannot draw the character in the same panel as her mahjong tiles without her breasts spilling over the tiles, and you’d go, “Well, this is now untenable.”
That did not happen. There is no ceiling. The frog is soup.
Point 2. The complete and utter mundanity of all of this.
It’s like this, okay: there’s no shortage of trashy ecchi manga out there. There’s a million other comics doing wildly bawdier things with wildly more improbable bishoujos.
The vibe with “Saki” is different.
It’s hard to explain this, but it feels like the world of the comic is fundamentally uninterested in the fanservice happening on the page. I cannot describe it as “leering”, because I cannot conceive of a person in the story from whose point of view one would leer. I think the artist is probably into it—I can’t imagine anyone is making her do this—but “Saki” the comic has no opinion on the matter.
There are essentially no male characters in “Saki”. Like, there was one guy? Kind of? At the very beginning? But he is gone now. They put him back in the toybox. He does not exist. It appears to be some level of canonical that in the world of “Saki”, almost all humans are women. Those women are sometimes romantically into each other. According to comments the artist has made on Twitter (which I cannot source), they have lesbian baby technology, so it’s no problem. It’s so much not a problem that the story is about mahjong, instead of any of that.
So, like, the fiction here appears to be this: this is the, like, meta-narrative of the fanservice of “Saki”, right: it’s just normal that they don’t wear underwear and their boobs are arbitrarily big. It’s been normal. It was normal before the story of the manga began. It’s just how things are. Nobody bats an eye about it, and if they do, it’s in sort of a lesbian kind of way so like what’s the problem, we love lesbians here. This is literally normal for girls.
The fanservice simply diffuses into this all-encompassing aura of disembodied, ambient sluttiness. The framing of the panels demands you acknowledge it, and the story demands you already be over it, because it’s mahjong time now, and we’re playing mahjong.
Do you get??? why I’m so fascinated??? Are you not a little enraptured???
Anyway, I have no idea how to end this weird post. I guess the conclusion is that women stay winning????
I have so many questions... How does one SUSPECT a manga character isn't wearing underwear? Like, sure, boobs are front and center amd you can see them get bigger panel by panel but how does this work for panties? Are there just that many upskirt shots?
Also how do you keep a manga about Mahjong going for 18 years, what??
jbbartram-illu
areudirty
snowghoul
stormborns
blakekathryn
andulkaphoto
ellievsbear
vaporwave
