Matoi Ryuuko versus Chitanda Eru, or, Not all woobies are moe (萌); not all moe characters are woobies

Thesis: A character cannot seem sexy to me if that character is not interested in sex.



Ryuuko, the protagonist of Kill La Kill! is a young lady whose father was brutally slain. She came home one day to find his rapidly cooling body as he bled out. This hardship immediately transformed her from a normal girl into a violent woman who will stop at nothing to get bloody revenge.

I have seen 12 episodes of Kill La Kill! so far. At no point has Ryuuko struck me as sexy, mostly because at no point has Ryuuko showed any desire for sex.
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Automata prefigured not just artificial intelligence, but the public’s terrors of it. Pop culture cyborgs, from Metropolis to Do Androids Dream of Electric Sheep? to Transcendence, share a common ancestor in Vaucanson’s Duck and the chess-playing Mechanical Turk. Cybernetic awareness and the freakouts about cloning are echoes of the public’s reactions to the earliest androids.
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Shows with unusual charm: Gen’ei Takeru Taikyou – magical girl squad meets Catcher in the Rye

Some shows embrace traditional stereotypes but manage to have at least a few truly fresh twists.

In the case of Gen’ei Takeru Taikyou, the angst is pretty well-written, both for the villain and the heroines. Aside from the angst it’s a pretty standard mass-marketed entertainment product.

First, let me praise the angsty villain. If he didn’t have any superpowers, he would be a pretty standard teenage rebel, channelling Holden Caulfield:


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Various criticisms of Yozakura Quartet: Hana no Uta

Yozakura Quartet – Hana No Uta is remarkably nuanced. It has a lot of unresolved sexual tension, some of which serves to underscore some of the bizarre conventions of anime.

Ao is a catgirl, not a human; she is theoretically supposed to be 15, but in some ways acts much younger or much older (which might be understandable if her psychology is more feline than hominid). She shows no sign of going to school, and while she demands a lot of cuddling from friends of both sexes, she shows an unrealistically small awareness of sex. She is as receptive to caresses as a lonely kitten, but frequently cares for the heroine as if Ao were a mother and the heroine were Ao’s daughter.
In particular, she allows her 16-year-old best friend to lick her nipple through her swimsuit and then carries on as though nothing had happened. If such a thing were to happen in a realistic character drama, there would have to be some social resolution.

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Shikabane Hime

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is a fairly strong series.


The Action Girl can get into serious combat because she can’t be killed by normal means – she’s undead. She’s superhuman, but not especially strong, so she has to fight with weapons. It’s a somewhat gloomy series, because she doesn’t want to die, and she doesn’t want to be undead, and she doesn’t even enjoy fighting a whole lot – she would rather have had a normal life and a normal death.

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wraps up most of the major questions, but leaves a big space so that the writers can do a final story if the get funding.

Damn it, Japan.

All I ask for is a story that is coherent and complete within itself. If you keep making stories with more room to grow, you get the ideology of the cancerous tumor that always wants to grow and never acknowledges its limits. Shikabane Hime did an excellent job of committing to its characters and its setting. The writers are obviously capable of committing to the plot. The producers should give the writers an opportunity to make that commitment.

venial temptations and life-changing mistakes

The heroic hours of life do not announce their presence by drum and trumpet,
challenging us to be true to ourselves by appeals to the martial spirit that
keeps the blood at heat. Some little, unassuming, unobtrusive choice presents
itself before us slyly and craftily, glib and insinuating, in the modest garb
of innocence. To yield to its blandishments is so easy. The wrong, it seems,
is venial… Then it is that you will be summoned to show the courage of
adventurous youth.
— Benjamin Cardozo



When “Girls” hit this spring, I was shocked by how true the show rang to my life—not my old life as a post-collegiate single girl but my new one, as a married, monogamous, home-owning mother.
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I normally hate to recommend particular anime series, because most of them are 24-minute merchandise commercials, and I would hate for someone to come to me and say, “Look, I watched 12 episodes of that on your advice, and now I demand that you give me those 288 minutes of my life back.” (And I have made some terrible recommendations in the past. When <a href=””>Avenger</a&gt; first came out, I was convinced that it would be the most awesome show ever, and I told all my otaku buddies to watch it. As is too often the case, the first episode promised much more than the story could ever deliver. After a few mediocre episodes, it ran out of good ideas and flailed around purposelessly until its time was up.)

In the case of <em>Pupipo~! </em>however, it seems that the author takes a fairly well-informed approach to paranormal issues and delivers a coherent story within a time limit of 4 minutes per episode. So you could watch six plot-packed episodes of this in the time it would normally take you to watch a single episode of slickly-produced-but-story-poor giant-robots-and-fan-service.

I have high hopes that <em>Pupipo~!</em> will turn out to be a <a href=””>story with a purpose</a>. Empirical evidence suggests that <a href=””>all stories tend to change their audiences’ behaviors</a>. If I can find stories that elevate the overall level of anime from fan service to philosophy, I should do what little I can to promote them.

Game is Feminism by proxy.

“Game” is not a side “side-show” issue. It is a THE issue at the moment because it is the most destructive concept in the manosphere.


1) People still seem to draw a distinction between Game and Feminism. GAME IS FEMINISM. Game is Feminism by proxy. Feminism encourages male sacrifice and Vagina worship, “Game” advocates the exact same behaviour as Feminism does.

2) The practice of “Game”, reinforces the misandric culture which is evident in Western society. i.e. That men must SACRIFICE and EARN the right to be with a women, any women, even if that women is a drug addicted abusive violent individual.

3) After being exposed for the malevolent multi-level marketing shyster-scum that they are, game promoters have decided to take a new tact and move to “lifestyle blogs”. The aim here is to recruit impressionable men to their cause (cult) by promoting “Game” in addition to other polite society sanctioned “manly” vectors such as drinking, sports, and working out

4) Game hacks, promoters repeatedly try to co-opt any effort men engage in to organise for purposes other than seeking out women. Despite being COMPLETELY DISCREDITED they return, over and over again. Should we tolerate people who tell us the Earth is flat? What is wrong with calling these people morons? The problem with people who promote Game is not simply that they a have been led astray, the problem is that their beliefs AS WELL AS BEING COMPLETELY DISCREDITED actually PROMOTE THE EXACT OPPOSITE of what MRA’s are trying to achieve.

Roissyite gamers try to co-opt any attempt by men to organize for a purpose other than seeking out women.

Andy Nowicki wrote much the same kind of thing:

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William Gibson whines about the Cyberpunk 2077 trailer

In case you had been wondering whether William Gibson was jealous, you don’t need to wonder any more.

William Gibson is commonly credited with creating cyberpunk, not because William Gibson did anything very noteworthy, but because William Gibson was the first guy to get RECOGNIZED BY OTHERS for writing cyberpunk.

Gibson was given too much credit. And now he’s not in the spotlight and he’s not really happy about it. Disrespecting mainstream cyberpunk as “generic” has been a bad habit since 1989, and Gibson has never been free from that bad habit.

Gibson was always a literary geek and never a computer geek, so I don’t think he appreciates how much goes into making a GTA-style game.  This is the same guy who tried to copy-protect his poetry so that it could be read once, and would then delete itself before it could be copied.  It was a cute gimmick to camouflage a cash grab, but it failed.  It got cracked. Everyone has access to that poetry Gibson tried to protect.


A particularly well-received work by Gibson was Agrippa (a book of the dead) (1992), a 300-line semi-autobiographical electronic poem that was his contribution to a collaborative project with artist Dennis Ashbaugh and publisher Kevin Begos, Jr.[111] Gibson’s text focused on the ethereal nature of memories (the title refers to a photo album) and was originally published on a 3.5″ floppy disk embedded in the back of an artist’s book containing etchings by Ashbaugh (intended to fade from view once the book was opened and exposed to light — they never did, however). Gibson commented that Ashbaugh’s design “eventually included a supposedly self-devouring floppy-disk intended to display the text only once, then eat itself.”[112] Contrary to numerous colorful reports, the diskettes were never actually “hacked“; instead the poem was manually transcribed from a surreptitious videotape of a public showing in Manhattan in December 1992, and released on the MindVox bulletin board the next day; this is the text that circulated widely on the Internet.[113]

Since its debut in 1992, the mystery of Agrippa remained hidden for 20 years. Although many had tried to hack the code and decrypt the program, the uncompiled source code was lost long ago. Alan Liu and his team at “The Agrippa Files”[114] created an extensive website with tools and resources to crack the Agrippa Code. They collaborated with Matthew Kirschenbaum at the Maryland Institute for Technology in the Humanities and the Digital Forensics Lab, and Quinn DuPont, a PhD student of cryptography from the University of Toronto, in calling for the aid of cryptographers to figure out how the program works by creating “Cracking the Agrippa Code: The Challenge”,[115] which enlisted participants to solve the intentional scrambling of the poem in exchange for prizes.[116] The code was successfully cracked by Robert Xiao in late July 2012.[115],_poetry,_and_performance_art