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@thewitchofwonders
filter #umineko spoilers

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black teto and brazillian miku yuri
not every piece of art centered on a straight woman is "hetslop" and at some point it becomes misogyny to dismiss art abt women with that term
first reply that really annoyed meeeee (if i'm remembering correctly, idk it's been a while since i looked at this post)
there is nothing to be gained by acting like women aren't oppressed by men, and nothing to be gained by acting like straight and bisexual women have nothing interesting to say abt their relationships with men. and as several ppl have pointed out in the notes, the term "hetslop" is often levied at Black women especially as well as other women of color. so like. just don'tttttt be annoying on my post like this thank you
Artwork by Yumiko Åshima, influential shÅjo manga artist, of her character from ē¶æć®å½ę (wata no kunihoshi; the star of cottonland)
Rose Brocaded Satin Dinner Dress
c. 1892
Augusta Auctions

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me in the fandom tag wading through a thousand omegaverse, yandere, cum inflation reader insert fics in order to find a cool gifset i saw 3 years ago
᯽ TAKE MY REVOLUTION ᯽
Satoyama Garden, Yokohama, Japan
uh oh theres nothing good or interesting for me left to say in the conversation, its time to send some sort of image i have lying around in my gallery...
lrb: del toro saying he was envisioning a tcomc adaptation, and i could only think of this post:

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Iām reflecting again on Frankenstein 2025 now that Iām reading the original novel, and itās kind of astonishing how much del Toro seems to dislike monsters and stories about monsters. In the movie, the monster recites Ozymandias, which is obviously meant to be an epic reference to the guy married to Mary Shelley (who wrote Frankenstein if you didnāt know!). Itās also clearly meant to be part of del Toroās interpretation of Frankenstein as a cultural object, casting Victor as an abusive pseudo-father to his creation, which goes on to outlive him and #heal from the trauma of having an evil dad. Frankenstein is a story about intergenerational trauma for del Toro, or at least thatās what the film argues.
And I think thatās a really stupid and boring interpretation, but more to the point, citing Ozymandias actively works against both del Toroās interpretation and Frankenstein as a cultural object. Victor isnāt Ozymandias in the film. The monster survives him. Victorās ācolossal wreckā lives on, while he is the one who fades into obscurity. Like itās a direct inversion of the poem lol. Which like, I guess you can do thatā¦? But I donāt get the feeling that del Toro was doing an inversion. And Victor is trying to destroy his own creation! A substantial part of Ozymandias is about the folly of conquest and expansion. How do you account for the fact that Victor travelled to the ends of the earth to destroy his own āempireā? Are we to understand that his hubris is what drives his need to destroy the monster, much like Ozymandiasā ego led to his empireās fall? Going even further, a fundamental part of empire and conquest is violence, but the monster is only ever violent in self defence in the film. Del Toro omits all of its āsinsā it committed in the novel. But you cannot have it both ways - the monster cannot be a symbolic empire and then also be pure and sinless. Victor cannot be a conqueror and also actively trying to ruin his own conquest.
And on a broader cultural level, Victor also cannot be Ozymandias. His name has been permanently transferred to the monster in the cultural imagination - people call the monster āFrankenstein,ā not Victor, whereas Ozymandias only has his name left (nothing beside remains). And, unlike kingdoms and empires, which have existed for so long that most of them have been completely forgotten (which is another element of the poem), Victor created a thing that has never existed before. The monster is not an empire or kingdom. It is impossible for Victor to fade into obscurity or for his works (ye mighty) to be forgotten, because he has permanently changed the world. A much better analog is the Soviet Union - it fell decades ago, but Sputnik remains and will always remain. Itās not something that can be forgotten. There was a humanity that existed prior to us sending an object into space, and a humanity that existed afterwards, and those are two distinct humanities. The monster is much the same.
And I think this vapid reading of Frankenstein the novel, Frankenstein the cultural object, and Ozymandias the poem all speaks to del Toroās total lack of imagination wrt monsters, specifically Frankensteinās monster. A monster is just an ugly thing created by ugly men with ugly ambitions, and those ambitions inevitably lead to self-destruction. Is that all Frankenstein is? The monster is kind of irrelevant in this configuration, itās mostly just about Victorās sins lol. And the only way to redeem the monster (and it must be redeemed, otherwise it is disgusting and unworthy of humanity) is to make it beautiful and free of sin, and the only reason it gets to be those things is because itās the product of a virgin birth. It is a despicable vision of monstrosity, and it is also a very stupid movie
Way Down Hadestown: Wedding Hymn and Funeral Dirge
Iāve talked a lot recently about the conflation of death and marriage in ancient literature, and the most obvious manifestation of that in myth is Persephone, for whom marriage and death are literally the same thing. By marrying Hades, she goes down to the Underworld and disappears from the world of the living, which constitutes a death (as she is a god, it is less than permanent, but still a death). One of the genius things about Hadestown is how well it plays into these ancient tropes and themes with its very modern take on myth. Specifically, I canāt stop thinking about Way Down Hadestown, which is the song of Persephoneās wedding and funeral.
Continuar lendo
there are no umineko x divine comedy web weavings here???
Ikeda Riyoko's Wedding Dress (1981)
This time, we bring you a story that is the dictionary definition of josei manga: Wedding Dress by Riyoko Ikeda.
When Eric, who also kindly proofread this script for us, mentioned that Ikeda had a manga where the protagonist plots revenge through a wedding dress, I knew I had to find it.
Said manga is compiled in the first volume of Ikeda Riyoko's Short Story Collection published in 1988 with the same name and another collection of short stories from 2014, Kaze no Joukei (Wedding Dress is only in the print version, not the digital version). But luckily, this short story also has two digital releases: One is included in vol.2 of Aoi Zakuro, and the other is a single-story digital release. I got the second one.
Some more digging told me that this manga was first published in issue No.5 of Monthly Seventeen's Special Issue YOU in 1981. I couldn't find an image of the cover of the magazine, but I trust where I do my digging: Yoshihiro Yonezawa Memorial Library of Manga and Subculture has scans of old Puff issues with the list of ALL the manga published in a given year. It reminds me of how we used to get our desired information before the internet, and I love it.
DDL MangaDex
PS. Looking up publication info is more time-consuming than one might think.

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