TO GIVE IT A NAME... OPERATION GOLDEN RULE OF LOVE 💛

@folcanta / folcanta.tumblr.com

JJBA • ESCAFLOWNE • SUNRISE SMOOTH • 1989 author/illustrator. i write about what i like. this blog was last active in 2016. dedicated to the memory of my wife, n'doul.

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1989 • He/Him, Sé/É (as gaeilge) • butch leather pervert • marxach ☭ saoirse don Phalaistín • jotaro/n'doul

when I'm not working (and even when I am) I research, collect, and digitally archive jojo's bizarre adventure, escaflowne, metal gear, and whatever else. I write with a creative, cultural, linguistic, and/or queer and trans lens.

award-winning and award-nominated author/artist
somehow people are finding my old art and posts (and thank you for liking it) i just want to reiterate that the bulk of the art, thoughts, fanfic, etc. preserved here are outdated, from 2016 or earlier. my old name is all over the shit so please be mindful of this and choose your actions appropriately.

this is a sideblog; i can't follow from here!

queue: ciúáil
rambling: folcanta

man it is truly such a bummer to revisit Captain Harlock, something i sincerely liked when i was younger (the 1970s series is beautifully made) aaaand not be able to make it thru the 3rd episode because of its straight up explicit fascism. turned it off, don't need it. libertarian at best (yuck) and straight up calling people DEGENERATES at worst, making fun of labour rights and bureaucracy as some kind of symbol of societal degradation. the kind of bugbrained bullshit whose more cloying counterpart is something like WALL-E. oh man it really fucking blows lol

and then to confirm my "suspicions" i look it up and— come to find out, Harlock was adopted as a mascot by some neo-nazi groups, and there are papers written on this. like yes Matsumoto was a nationalist himself and if nothing else, Arcadia of My Youth says a lot, but woof they hit you with it immediately in the first ep and i guess it went over enough people's heads— including mine, and especially embarrassing because i was already educating/identifying myself as a Marxist. whateverrrr... not my fault Matsumoto attributed all his stupid gripes to communism (which has remained popular in Japan btw) rather than rightfully attributing it to capitalism. RIP in pieces

Folken Fanel pens the Gaea equivalent of Das Kapital, the people's revolution(s) abolishes monarchism and forms the Coalition of Gaea Socialist States, and then he looks around, claps his hands, and moves to the woods to grow and smoke strains of weed too powerful to describe in words without getting an instant contact high. he tells Van "hey, little man, don't like... make me being back into everyone's business, okay?"

so in an Unofficially Official capacity, he's still part of Van's cabinet as both Brother and Druid, shows up fashionably late to meetings, apologises charmingly, and if they have visitors it's likely that they have zero clue who he is until Van gives him the go-ahead to start spitting that political fire. and even then they may remain uncertain as to who this strange man [wearing a loose chuba over a green and blue tie-dyed shirt with a black dragon on it, identical to the one i had when i was 8] is.

we may not see it, but it does happen 🙂‍↕️ The proof is in his continued parallel to Allen, who, with full beard and plaid pajama pants, is taking care of Celena in a form similar to the precogs at the end of Minority Report

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Episode 5: The Seal of the Brothers, Part 3

<- RETURN to Ep. 5 Part 2 | DIRECTORY | CONTINUE to Ep. 5 Part 4 ->

Scene 8 - Recap

The animation direction could be complete ass in this scene and it’d still work, because by now the audience already expects something horrible to happen whenever Dilandau shows up lmao.

But anyway, YOU TELL ME who’s got the upperhand here:

Alright enough goofing off from me because things are about to get goofy and I can’t let you lose sight of what’s important. We know the second Dilandau is going to touch Escaflowne that something bad will happen, because we’ve seen Van’s blood pact (Episode 2) and Folken using his blood in Scene 3 to open it. What’s actually important going forward in this entire scene is the order of events. They are very specific.

Dilandau touching Escaflowne is the first action in the following chain of events of this scene. The exact moment of contact isn’t shown to us, because instead, there is a cut to the Crusade. 

Reeden spots the Vione, and Allen then orders the levitation get cut. There’s some cute mechanical details of that, showing a red energist* being heated as a part of the process. I love how the dive is done, with the Crusade dropping from above the camera and then it “crosses over,” switching to it falling away from the camera:

Helmsman Kio is having the time of his life lol he wakes up for this shit. 

oh i never reblogged this one OOPS sorry babe. there's a lot here/these bits are expanded upon but i'm clipping them because they rule

There are many reasons to believe that Folken is extremely aware of everything around him, at all times. I outlined them in the Scene 3 Analysis and Scenes 5 and 6 Analysis.
It is important because it is Dilandau’s short term wish to operate Escaflowne that ruined Folken’s wish to keep Van on the Vione, which in turn ruined Dornkirk’s short term wish to keep Escaflowne. Zaibach is not unified. Their wishes are in conflict, and they hinder one another from obtaining their individual goals. For Dilandau and Folken, this hindrance was unintentional. But for Dornkirk… hm, what’s up with that guy lol? Dunno yet! But everyone on the Crusade is unified. It’s why Hitomi, Merle, and Allen can locate Van. It’s why the crew can successfully board a highly advanced military fortress. It’s why even Allen Schezar can notice that Dornkirk is running a fucking shit show here!!!
Lastly: Hitomi’s only skill/ability is clairvoyance. She can’t physically fight, and doesn’t want to. Folken can physically fight, but severely doesn’t want to. So, what does this mean about Folken, if his best matched opponent is Hitomi? It means [“WHITE DOVE” BLASTING SO LOUD YOU CAN’T HEAR ME BUT MY MOUTH IS MOVING].

KYAAAA

god this episode does so much for the series

also agree about the violence— hard to show something objectively designed to be Badass and then claim it's Actually Bad. and reminds me of what Coppola and Truffaut had to say about depictions of war claiming to be antiwar. Truffaut has a more overarching philosophical take about motivation/consequence whereas Coppola discusses application/portrayal:

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Episode 5: The Seal of the Brothers, Part 4

<- RETURN to Ep. 5 Part 3 | DIRECTORY | CONTINUE to Ep. 6 Part 1 ->

Scene 10 - Recap

I love the effect of having Hitomi run towards the camera and come to a stop as she sees Van off screen, and the switch to seeing him in the distance from her pov. It makes the audience feel like we will keep following Hitomi here as she reunites with Van, but when Folken yells, “Van!” before she can, she is suddenly an observer to the action.

And oh my god. Ok hahaha. I just watched Gankutsuo and Hellsing (both the TV anime and the OVA) for the first time and I am so amazed by Jouji Nakata’s voice acting lol. He is sopping wet with charisma when he's playing a complicated guy in a black cloak. Folken was his breakout role (which is true for most of the voice cast of Escaflowne) and when he yells Van’s name here it’s like… oh shit… THE DRAMA.

From here, the color scheme becomes stark red and blue, the same as the color scheme of the last half of Episode 1. By now, enough of the visual language has developed in the show to tell the audience the significance of the colors here: they are representative of the conflict between Van and Folken.

Why would those colors appear when Folken wasn’t even in Episode 1? Shouldn’t those colors represent Van and the dragon? Haha :^)

Look at that, Folken is elevated above everyone on that catwalk, hm. Likely place for him to be. Even Hitomi gets a very slight low angle in her shots, because she is the observer. From now until Folken leaves, the camera direction is evocative of both Folken and Van’s povs.

once again god's gift to the escaflowne fandom. wish we could go back in time to experience this in like the year 2000 but we can start doing it now!!!

sorry i've not been especially active, i'm back to work which takes up most of my time, and maybe i need to take a breather, at least from huffing Escaflowne 24/7 on full display... and for what... and for What.

so instead of living inside the world of Escaflowne, i've rewatched Hellsing 2001, reread the manga, and watched the Ultimate OVA for the first time. i haven't been Into Hellsing since ~2006 and have so many mixed feelings about it that i would happily detail for you, but hopefully it's enough just to say: i have criticisms. moving on: there are things about Hellsing that are actual miracles and i love Alucard.

i cannot

stop

cooing over Alucard. he's perfect. he's perfect. he's perfect. i wish he was in my house. he's the cutest sweetest little guy. a huge softie. a sentimental bastard. i love when he's having fun and i love when he's upset. taxonomically, he is a Looney Tune. i've rewatched key parts of Ultimate abouttttt four or five times because there are unbelievably elegant parts to this story that are so emotionally charged and heartbreaking... normally i am very respectful of art and the artists who make it, so with that in mind, idk How The Hell the otaku dork who made this accomplished it. for all its faults there are moments of extreme grace that are heartfelt and poetic, deeply moving, way way too smart to be an accident lol.

i don't like when series are pitched on a headcanon because it ends up being very disappointing when the delusion fails to manifest reality. so i'm being deadly serious when i say: alucard is a fruity genderfluid freak who adores his virgin stone butch wife and their weird adopted animal daughter. this is Real. this is Really How It Is. it is Real and it Happened. boggles the mind. like i'm having cognitive dissonance

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Folken's title in Japanese is gunshi, 軍師, a word/role translating to strategist or tactician, particularly of warfare. In subs/dubs, his title strategos is Greek, "army leader/general," which, through Latinised strategus arrives at the English strategist, French stratègiste, Italian stratego, Spanish/Portuguese estratego. I figure it's the English translation's way of burying the lede on the whole Atlantis thing.

And, given how Escaflowne views Europe, potentially signal the western world's obsession with the neoclassical... since that's Dornkirk's whole deal. His view of the future comes through a romanticised, mythologised ideal past, much like any fascist. The real enlightenment of the series comes through accepting the reality and responsibilities of the present, on which a future may be built, honestly, openly, communally.

Aaaanyway. I stumbled upon the given name Bólkōn in a Greek-Spanish dictionary;

Βόλκων, -ωνος, ὁ Bolcón estratego siracusano en 452 a.C

For my own writing (and fun) one of the things I pay attention to is the transformation of sounds/letters over time or between regions, and the way sounds are transcribed/transliterated into languages that don't share them. Using J/Y when translating Й, for example.

G/Q/K is a big one when trying to translate Arabic into English. K is often approximated for the hard g, and the Arabic q sound, low in the throat, doesn't appear in English, so either of the other two letters may tag in.

When it comes to V/B/P/PH/F, very few languages have historically employed all of them because they're incredibly similar to one another. V pronounced as B in Spanish attests to this— in Medieval Spanish there was no conventional orthography and they'd switch places randomly. There was also no V or K or Q in Irish prior to colonisation— our V equivalent is mh/bh, V is present only in loanwords. Irish C is always hard (but has broad or slender pronunciation) negating the need for K.

A name like "Van" or "Folken" is using sounds without 1:1 parallels, so you may see it written as "Ban" or "Paan" or even as different as "Volkern." In these cases, there's usually an agreed-upon romanisation to maintain continuity, but when it comes to languages that use completely different alphabets for sounds not present or accounted for in English, it's rounding up to what's closest. Not "incorrect" so much as "not consensus."

[φ] represented a separate sound from f, and [β] a sound separate from v, but this is what they've come to represent in modern Greek. one semi-relevant example (to me) is φανάριον, fanarion, and φαναρίου, fanariu, which means light/torch/lantern and is a diminutive of the word phanos, meaning bright/shining/resplendent.

in Latin,

That type of research is exactly the sort which lead me to this

Mercury

Hey, remember how Zaibach is likely named for the Arabic for Mercury, al-ziybach? Remember how their mechs are full of liquid silver?

sources: 1 / 2 / 3 / 4

Mercury the element is named after Mercury the planet, which is in turn named after the Roman god of financial gain, commerce, eloquence, messages, communication including divination, travelers, boundaries, luck, trickery, and thieves; he also serves as the guide of souls to the underworld, a mediator between the realm of the dead and kingdom of the living. Let's see how he interacts with other gods...

Finally Mercury was sent to Vulcan, primed with a most diplomatic request to honor high Olympus with his presence; but all Mercury’s eloquence and persuasions failed to induce the god of the forge to leave his sooty abode, and the messenger god was forced to return alone and report the failure of his attempt.
Vulcan, son of Jupiter and Juno, god of fire and the forge, seldom joined the general council of the gods. He had once been tenderly attached to his mother, lavished upon her every proof of his affection, and had even tried to console her when she mourned Jupiter’s neglect. On one occasion, intending to punish Juno, Jupiter hung her out of heaven, bound by a golden chain; and Vulcan, seeing her plight, tugged at the chain, drew her up, and was about to set her free, when Jupiter returned, and, in anger at his son’s interference, kicked him out of heaven.
Although Vulcan had risked so much and suffered so greatly in taking his mother’s part, she never even made the slightest attempt to ascertain whether he had reached the earth in safety. Hurt by her indifference and ingratitude, Vulcan vowed never again to return to Olympus, and withdrew to the solitudes of Mount Ætna.
Vulcan is primarily associated with fire, metallurgy, and craftsmanship. He was believed to have created the strongest and most sophisticated items of ancient lore, including Jupiter’s lightning bolts and Mercury’s winged helm. Additionally, he is linked to volcanoes, emphasizing his connection to both destructive and creative aspects of fire.
Roman tradition maintained that vulcan is connected to lightning (fulgur, fulgere, fulmen), which in turn was thought of as related to flames. Others interpret it as meaning lustre.

Damn, that's rough. But what the hell am I doing— that's not especially related, is it? So let's move on.

You know, there's something really interesting about the planet Mercury. This might be a little convoluted, but bear with me...

Newton's Law gave the wrong prediction for the precession of the perihelion of Mercury's orbit. Mercury's orbit is elliptical, as predicted by the Newtonian theory of gravity, but the ellipse doesn't stay in precisely the same place all the time. Its perihelion (the point in orbit at which a body is closest to the sun) should, according to Newtonian laws of gravitation, advance by 531 arcseconds per century. In the nineteenth century, however, it was observed that the actual advance is 574.
This is because Mercury, being the closest planet, has its orbit most affected by the warping of spacetime near the Sun.

Hey, that's pretty crazy!

Does anyone remember which tarot card Folken represented in the deck which was released with the film?

Gimme one second, I'll go check...

#01 — The Magician. Is that the card that represents new beginnings, psychic powers, and the manifestation of human will? Yes it is! What else is it associated with?

The Magician card is numbered One – the number of new beginnings and opportunities – and associates with the planet of Mercury, symbolizing intelligence, communication, and skillful use of resources.

Ahhhh... okay then.

Well, look. Tarot doesn't really mean anything to me personally. I do like astronomy though! Remember from earlier about how Mercury acts weird?

Vulcan (/ˈvʌlkən/) was a proposed planet that some pre-20th century astronomers thought existed in an orbit between Mercury and the Sun, responsible for the then-unexplainable shifts in Mercury's orbit.

Hmm.

he's the freakin psychic wizard who messes up mercury (zaibach's) predictions or something

The Five Star Stories

1989
Mamoru Nagano / Kazuo Yamazaki
SUNRISE

it's muted to focus on the animation alone, something places like sakugabooru insist on. music and sound are equally important for the whole, but i'm showing only a piece of it here.

i was describing this to Katia, but i want to put it in its own post, too, just to get my thoughts out.

I don't write much fanfiction anymore, though when I did it featured trans men (Jotaro) too, just like in my original work. I also don't really play with "headcanons," despite what it seems like. Because I focus on my own work now, I do just like to muck around in the text itself. If anything, I just spin yarns with my partner in real life, you know, like random "what if"s lol. But I do know that even though it's obviously not part of the story, a big reason Folken resonates with me comes from the experience of being a transgender child, and for the first time seeing something very familiar.

Born to either succeed by someone else's standards or die trying to fulfill it, death being preferable to them over failure, the traditions of home running counter to one's values, the strange cold relationship with parents, the role and responsibility that comes with a younger sibling + the pain of disappointing them, not being able to return home, wanting desperately to be understood, and even after leaving home, finding little sanctuary in the world— being othered by his surroundings in Zaibach as someone distinctly different even for reasons not understood, disliked by the generals of Fanelia and even disliked by the other sorcerers in Zaibach. Disliked even by his cohort due to the results he gains from attaining a degree of sight they aren't even aware of. No one is aware of it.

To me there's also an element of autism in that too— having a mysteriously off-putting vibe to people who then position that as your fault, especially people who believe they have something to gain through cruelty. And the complicated issue of believing your intentions and meaning are self-evident even when they're not. And even so, despite all this, and even with the wrong ideas, trying to do the right things within such constricting limits with the time he has.

Folken is an example of a man who, while his job is in anticipating it, does not personally engage in bloody warfare except on one occasion. He is multiple contradictions at once, coping with his illusions shattering once, twice, three times, trying to keep up with the change. He's non-reactive, soft, and quiet, until pushed past his limit. He has long hair and wears makeup. His singular focus, his personal form of love, means he abstains from romance. In trying to end a cycle, he finds himself stuck inside one. To me this isn't an indictment of manhood, certainly his existence isn't one either. The story's gaze on him is rightfully fitful as well as compassionate. He's Hitomi's parallel. He, Hitomi, and Van are three of a kind.

Being forcibly changed for someone else's convenience. For their world, one you're conditioned to believe in, although it was never made with you in mind.

The way Van reacts to seeing him again— not recognising him and believing he's become violent, and a traitor— is similar to how a lot of people react to their sister/daughter/girlfriend/wife "choosing" to become a man. Somehow, it's a betrayal to them. We've dared "escape" our designated role, but it's not much of an escape if we're continuously punished for trying. As if we aren't just becoming what we've always been, as if trans manhood is a poison or evil to be excised. As if a trans man models himself on the evils of cisgender men, rather than forging a path without a map. Trying to build toward a future even when you don't believe you will ever get to experience it. It would be worse to die having done nothing.

But, as with being trans, Folken is still the person he was before. He's peaceful and loving, but his outlook is radically changed by his experiences. Even something like the dragon rite, I could spin a metaphor out of that: born to be sacrificed, then realising and being altered by a powerful, deeper truth about the self and world that's not easily communicated to those who haven't also experienced it.

The double homelessness of being thrown out of your home into what you try to make a home but that too becomes a brand new prison, abandoning it for the only thing that's ever made sense.

And then dying in the name of that same truth that can't be expressed to those who don't want to hear it. Often, with the world being cruel as it is, the best we can hope for is that we'll be remembered as who we honestly were to the people who saw us in ourselves and loved us for it.

I'm personally interested and invested in (and like to write) "imperfect" transition narratives, which is why the complicated concept of him transitioning in Zaibach interests me, too. With so many limits placed on gender-affirming care, we so rarely get to choose the circumstances of our becoming, running for the window of opportunity before it shuts. Even if it isn't ideal. And I lost a lot of things many times over in the pursuit of an honest self.

As far as being "reset" through death... If through enlightenment/in Heaven we both achieve and transcend our base selves, I want to believe that sense of purity and wholeness requires self-embodiment, rather than nullifying it. Enlightenment is about surpassing ignorance and escaping denial, honouring what we have and what we need, not what we want. And I would say being trans is an ultimate act of self-acceptance and honouring our needs... although I also want it very much, ha ha.

plus... it's extremely transgender to be goth :,^)

Kumadori, the distinctive makeup style of Kabuki, stands as a vital and unmistakable aspect of Kabuki performances. It goes beyond typical characteristic stage makeup, serving as a potent means to portray a character's personality, emotions, and societal standing. Kumadori relies extensively on color symbolism to depict characters' nature and emotions. Actors' faces are coated with oshiroi (white paint), and colored lines are applied to accentuate their features and define the character. Common colors in kumadori makeup include red for heroes, blue for villains, green and brown for supernatural beings, and purple for noble characters. Alongside colors, the patterns in kumadori play a crucial role in conveying a character's personality and emotional state. For example, straight, bold lines often represent strong and confident characters, while curved lines are associated with cunning or supernatural qualities.

source: 1 / 2 / 3 / 4

:,^)

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You Don’t Have to Kick Ass to Be Kickass: Shoujo fantasy and the value of the noncombatant hero

Over the decades, the number of fantastical stories starring female characters has slowly but significantly risen. As that number has gone up, so too have the number of lady action heroes. Girls and women are no longer relegated to the roles of “white mage” or “brainiac”; they can sling spells, slay vampires, and punch supervillains in the face right alongside the menfolk.

And this is a good thing—for the most part. As with any media trend, there are complications, chief among them the balance between combatant and noncombatant protagonists. It’s all well and good to physically defend others, but not everyone can or even wants to be an action hero. By depicting only combat-oriented protagonists, writers are subtly telling audiences that you have to be a fighter in order to be the hero at the center of a story.

By exclusively valorizing masculine-coded characteristics while snubbing feminine-coded ones, we’re just holding everyone to the same (unhealthy) standards of physical strength that boys have been held to for ages. The answer to who gets to be a hero in terms of gender identity may have changed a bit over the years, but what makes someone a hero in terms of gender expression has remained largely the same.

hmmm i'm curious— this is talking about anime and manga, but the audience for the article would be english-speaking readers. so who/what, which creators, are being critiqued vs tasked with doing better?

it's true that 98% of the warriors are men (and true that they're wrong for it) but just in case you need: "a series about war without a single female warrior" is only true unless you discount Naria and Eriya's contributions.

"toxic aggression is very literally connected to AMAB bodies" is also not exactly true... Folken is an example of a man who, while his job is in anticipating it, does not personally engage in bloody warfare except on 1 occasion. He's non-reactive, soft, quiet, and if you want to include this in the tally, he has long hair and wears makeup. He treats the women who love him with kindness, but he abstains from romance, focused on ending violence. And he's Hitomi's parallel; the two of them have equal weight in and effect on Van's life and, most importantly, they're unique within the story due to having the same seer abilities, for better and worse (the abilities designated as feminine-coded) while also being centrally important and active.

edit oh yeah, and Dryden, the nerd, has such little taste for war that he abdicates the throne, lol.

These are some other key features:

  • respecting Hitomi's boundaries when she expresses them, and being framed as shitty when they're crossed
  • Hitomi advocating for herself and reacting angrily to her boundaries being crossed
  • The enemy considers Hitomi a major threat
  • Van needing saving, equally as much as Hitomi
  • Van being allowed to cry and be paralysed by fear, needing emotional help and closeness in a way that makes him young rather than selfishly reliant
  • Hitomi being a jock, both for her own pleasure and it comes in handy for the above
  • in the realm of the mundane, Millerna is the healer— that is, doctor/surgeon, covered in blood on at least 2 occasions, and helping give CPR on another (with Van's help, in a scene which i'd say is the opposite of male aggression)
  • The series is anti-war, anti-violence, where being nonviolent and nonreactive is rewarded both between the characters and by the narrative
  • The series is non-individualistic. It's collectivist, communal, even communistic. The characters all work off of each other— Hitomi is the main character, but everyone is meant to be as important as one another, taking turns as healers/caretakers, scholars, etc... there's the one scene where i think most of the cast is present to taking care of displaced citizens
  • the Dilandau/Celena mindfreak?

Hitomi was created with the purpose of making a girl who is crucial to the plot, who has a strong personality but is also riddled with self-doubt and overlooks her own feelings to her own and others' detriment. I agree that there is weird bioessentialism at play in a lot of stories like this, and I agree that this stuff could have been pushed harder, but it isn't wholly absent here, and some of that stuff-- and its other drawbacks-- i think maybe serve the point a bit more.

i do think all?much? of the "what if disco elysium was about a witch in the alps" approach to modern stories (prioritising "comfort" over "challenge") is not only cloying but is a permitted way of relegating women (and frankly anyone who isn't a cis guy, gotta be honest) to noncombatant roles rather than the reverse. As if it's more progressive, or even just more rare, to have women take up those roles. it's very "no, wearing makeup can be feminist if it's the woman's choice" as if makeup as an industry, an industry of marketing, a capitalist enterprise, capitalising off of the insecurity it engineers, isn't inherent to its existence-- not that women can't/shouldn't choose, but that this choice, or pressure, is tied to something. it's well and good to want stories that aren't about fighting, but there are plenty of those... there just aren't plenty in the action genre. some of the biggest shounen titles of all time feature boys who need help from their crew, who are made better by it, rather than proving their strength (/manhood) by abstaining from help.

like i do understand what's being said here, and i have quite a few criticisms of Escaflowne, some of which concern Hitomi and Van's relationship, and who they are in it. i just find it a peculiar example as opposed to the infinitely-generated Webtoons about being isekai'd as a silly little princess.

these issues plague queer media, too, where the rare butch (cis or trans, woman or not) or trans man, or trans woman, is either made completely equal in their "toxicity" and "aggression" to cisgender men, or, they're completely defanged and made soft and sweet with no personality... because if you don't make them soft, well, they may as well be cisgender men. which of course is the worst thing anyone can be, so don't try it! ha ha ha. aaaauuughhh!

huge thank you to my beloved @power-ace for completing their first ever Escaflowne watch, going in almost completely unawares (thank you for NOT reading my posts NOT watching my AMVs) predicting like a third of the plot re: Hitomi, and magically identifying on sight basically every little thing about Folken that i've spent hours and paragraphs trying to write about LOL 🥹 genuinely it's so relieving not to feel crazy. thank you my king for doing your time!

(i take a long time to do anything, even things i myself want to do independent of any outside persuading, so... i'm really amazed anyone would spend time taking a chance like this haha ;_;)

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