i talk a lot about anime, usually whatever's airing, as well as whatevermy latest interest is [the hundred line]. i do writing stuff occassionally as well. she/her
My 'The Hundred Line: Last Defense Academy' Masterpost
Under the cut is a hyperlink list of THL routes and the order I completed them in leading to my first impressions of those routes. I don't censor route names so beware of that because some of them contain minor spoilers (but honestly it doesn't matter because if you watch the second credits roll the names are there as well and its fun trying to figure out where you are sometimes).
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stupid idea for a fighting game manga character: glasses type who has memorised the first 1000 digits of pi and at the start of every set they start somewhere in it and choose their mix-ups based on the digit (i.e. 1-3 is low, 4-6 is mid, 7-9 is high). defeated by the protagonist/bigger threat because they exploit the time-lag when the number 0 comes up and they have to use the next digit along. or even some crazy bullshit about deriving their place in the list themself from the set, like maybe they decide where to start next match based on the number they finished on and the villain exploits this to clean their clock.
like you can imagine the dialogue right, in their intro a jobber reveals the secret like, "you know a mix-up isn't truly random right? people develop habits and tend towards certain options more than others. it's human nature to rely on something that worked the first time isn't it? [] doesn't let such fickle sentiments weigh her down, her mix-ups are always random and eventually [insert panel of a mid connecting] you won't be able to keep up. you can't predict the unpredictable, you can only hope she drops you. [insert her character's victory pose] and she never drops you."
stupid idea for a fighting game manga character: glasses type who has memorised the first 1000 digits of pi and at the start of every set they start somewhere in it and choose their mix-ups based on the digit (i.e. 1-3 is low, 4-6 is mid, 7-9 is high). defeated by the protagonist/bigger threat because they exploit the time-lag when the number 0 comes up and they have to use the next digit along. or even some crazy bullshit about deriving their place in the list themself from the set, like maybe they decide where to start next match based on the number they finished on and the villain exploits this to clean their clock.
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so obviously i have a million ideas ive never brought to fruition but i like writing them down so another for the pile is something i've been chewing on lately:
what does the source material for a villainess story actually look like? what does it sound like? what kind of voice are we trying to employ? is it just run-of-the-mill romantasy with all the inherent pitfalls? can't we do something interesting with the assumptions at play? is it a power fantasy? if a story like that existed how would we determine where to place the new protagonist? if this first story only exists to create the facade of a backdrop for the second what is the meaningful difference between the two works? how does the shift in perspective affect the themes? would the reader be expected to be familiar with the first work if they read the second? how would one play with those expectations?
like there's so much to think about when it comes to exploring this specific kind of story and i think it would be really interesting to really stab at it. not to say plenty of other works don't, i just don't think they want to pierce through the veil so to speak. like i think an earnest attempt at 'I Was An Orphan, But Now I'm the Princess' seems like it wouldn't all that interesting, and that's kind of the point behind the 'real' story being 'The Reformation of The Orphan Princess' Bully', but still. there's plenty of good stories where a fish-out-of-water charms the people around them through good character so it can be done.
honestly it might come back to the madonna-whore complex, wherein the roles between the heroine and the villainess are typically reversed inside this dynamic but they aren't really allowed to break free from it. like the imagined source material for so many of these works elevate the purity of the main character while making the villainess one-dimensionally evil, yet when the roles reverse feel a compulsion to turn the original lead into that same kind of villain.
i think it's just misguided attempt at writing conflict inside this world while believing wholeheartedly that the main character must always be a paragon of virtue. it is interesting to challenge that idea with the 'second' work, to point out that there must be some invisible force at play within or without the main character that causes them to exude this pure aura, because nobody is that perfect.
like ive been thinking about this IRT 'Fiancee Observation Log' as it's been airing and the conflict being that Heroina is also a reincarnator that is desperately trying to adhere to the original script because it promises her happiness, avoids the whatever bad end is waiting for them, and also she can't help it because she exudes charm magic unwittingly. this has interesting implications, but ultimately it makes me feel like the genre itself is incapable of really stepping outside of the bounds of 'one of these girls is fundamentally evil because that's just how it is'. and that's kind of sad.
a lot of these works talk about fate, about fated ones, about what fate the girls have divined is waiting for them, about how to break away from the ugly fates they have already endured. and part of why it's so powerful is that girls feel pieces of that throughout their lives, the pressure to marry and have children, the idea that one day their prince will come and save them from their mundane life. i think there's many other reasons these stories have caught on but that is probably the second biggest.
biggest is of course the 'power fantasy' of being rich and smart and successful and comfortable in your own skin. everyone defines those things differently and so you see slight variations to those things, but by and large all of those idea are necessary to creating this specific fantasy.
so yeah, i think these are the things i would consider when i think about actually writing a villainess isekai, which would be pretty fun to do i think. i mean i wouldn't do it, but it would be fun. if i were to do it. which i wont.
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i mean no fault or malice on the behalf of Dan Olson, but if he had approached the stream with Mr. Beat with the intent of embarrassing him by making him out to be a clueless fool who acts on emotion and believes what he's told without further thought, he would have acted the exact same as he did
it feels like a summary of many of the illusions of Beast Industries that Olson pointed out in his video. the nature of a wine & dine, the way they use their success to hide their failure, the way that criticism is softened from personal relationships, and so on, all in display. Mr. Beat plays the fool so well that i feel bad for him
Being critical of your interests is sooooo fun when you have the critic gene & then you sound kind of insane to the average tv watcher when you're like "this is my favorite show, It's Racist" & then you try to clarify what you mean & get that [Speech (legendary) - FAILURE] "the racism is really interesting though"
[Speech (legendary) - SUCCESS] I find the sociopolitical context of pulpy old sci-fi born circa the civil rights movement really fascinating to analyze especially when it was progressive for its time but still reveals the writers' unexamined biases in the subtext
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hm! some of the information im uncovering for my research into the Pendulum Video is like. actively infuriating
did you know that about 50% of Pendulum Cards are exclusively anime support, and that 25% of them are exclusively Yuya archetype cards? haha, im going to eat glass