Kamen Rider Amazons

I never thought I’d compare a Kamen Rider title to Tokyo Ghoul and Attack on Titan, but here we are. The show itself contains considerable amounts of gore, especially in the second season, some of which looks rather fake and some of which looks realistic enough to potentially nauesate. Spoiler warnings for season two, which isn’t available on English-language Amazon yet.

Kamen Rider Amazons is the franchise’s first experiment with making something that aims for an audience a little older than ten to twelve. The result is very interesting, unusual for this property, and while it’s not all great there’s a lot to recommend. The first thing to address is probably that, while this is a Darker and Grittier… side-reboot?, it abstains from the usual excess of sexual assault and so forth that accompanies the idea of dark-and-grit; when your main franchise is for selling children’s toys you don’t want that associated with onscreen graphic rape. The second thing is that, okay, there’s no nice way to put it: newer Kamen Rider titles look like shit. I’ve tried to watch post-Kabuto titles and there’s no perceptible improvement in CGI between Kamen Rider Kabuto (2006-2007) and Kamen Rider Build (2017-2018). Arguably the fight choreography is worse. Certainly the actors are far, far worse. I don’t know what happened here, whether it’s a budget issue or if they just churned these out quickly with the sole intention of selling merch and assuming that children don’t know any better. I’m pretty sure ten-year-olds these days recognize and complain about bad CGI, though.

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Some new skincare product recs

My skin is, currently, looking the best it ever has in a while. Obviously this is all YMMV and what works for me may turn your face into a complete crater, though probably not. Read on, but follow my routine with some caution, always check ingredients against your allergies.

These products can pretty much make up your entire routine, barring cleanser and sunscreen. Step by step in this order: toner, aloe vera gel (on its own or mixed with a drop or two of rosehip oil), cicapair cream, then turmeric cream. The Sidmool zinc cream is best for spot treatment.

Dr.Jart+ Cicapair Cream ($28). The one in the tube, not the one in the tub with SPF. Ingredients here. There’s a lot of imitators of this line from mid-range brands, I think pretty much all of them have got some kind of ‘cica___’ or ‘mild care’ lines that incorporate a lot of centella asiatica, Etude House Soon Jung and Innisfree Bija Cica lines coming to mind, but honestly in this case it’s worth shelling out for the Jart original. It’s a bit pricier, but you get 50 ml and you really do need very little product per application. It’s thick, it’s got shea butter and beeswax as ingredients, and if you’re clog-prone it could well clog up your pores. Having said that, there’s something superior about this cream’s formulation over its cheaper counterparts, and it does a fabulous job of soothing and calming skin, and most likely has occlusive properties. This is responsible for fixing weird breakouts I get overnight. Like I said, you don’t need much, I’m still using my tiny 5 ml sample tube after several weeks. The 50 ml tube is going to last at least a year. Good enough for the price.

It has some fragrance, very… mild and herbal and slightly earthy? It’s not a perfumed smell, and most likely it smells like this due to the ingredients, and the smell is completely different from Jart Ceramidin line. Milder but a bit less conventional. Goes away quick, though.

The Face Shop Jeju Aloe 99% Fresh Soothing Gel ($9.65). Hey look, it’s one of those super size products that clock in at a whopping 250 ml. The ingredients are pretty standard for aloe ver gels peddled by mid-range brands, and it does have alcohol denat. Having said that, the percentage of alcohol is little enough I never catch a whiff of it, and I haven’t had any issue. It’s a big product. You can use it as a hair mask, you can use it on the face, you can smear it all over the body. Nothing fancy, but what I like is that it dries down well and mixes very well with thicker moisturizers, creamy masks, or oils. (My preferred oil is rosehip; it can do magical things.) Per the ingredient list, this does contain actual fragrance, and it has this generic artificial aloe vera scent. Not my favorite thing about it, but the product’s good and it doesn’t bother me a lot.

Vicco Turmeric Cream ($5-10). Ingredients. This is cool. Real cool. Actually it’s literally cooling when applied, but not like when a product contains eucalyptus or menthol. Turmeric applied topically has a lot of anti-inflammatory, antioxidant properties, and might help with acne scarring. The Vicco cream particularly has a super-short ingredient list, contains a HUGE amount of turmeric (it’ll stain your pillowcase, yes, so watch out) and some sandalwood oil–there’s a version without the sandalwood available–and when you first apply it, it can sting a bit. But afterward it’ll completely mattify and soothe your face, and you can use it for daytime prep before applying makeup or at night. This cream comes in various sizes, at various prices, but it’s cheap enough you can just slather your face in it without fear. Obviously don’t pick it up if you’ve got an allergy to sandalwood oil.

One warning, the smell of the sandalwood oil is VERY strong and it’s going to linger on your face.

Sidmool Dr. Troub Skin Returning Zinc Cream ($21, 60 ml). Ingredients. I agree broadly with RatzillaCosme here (and her review is what persuaded me to give this cream a try) but what she doesn’t mention is that this cream is thick. The zinc content, at 10%, is pretty high and that makes it fantastic for fighting inflammation and breakouts (also works for bug bites and allergic rashes; diaper rash creams, like Sudacrem, also have a high zinc content) but that much zinc means this thing is almost impossible to spread until it’s been warmed up by your skin or has been mixed with a more emollient moisturizer, or an oil. However, once it has spread, it’s actually pretty comfortable on the skin and leaves a tacky (not greasy) finish. I can’t speak to whether it’d make a good pseudo-primer for foundation, but it does have this odd quality where it blurs your pores a bit even though there’s no silicone in the formula. There is a white cast if you haven’t rubbed the cream in enough.

For comparison, Laroche Posay Cicaplast Baume is similar in that it’s also a zinc-based cream designed to calm inflammation, but personally the Sidmool works much better for me. Cicaplast Baume is easier to spread, but once on the skin it’s much less cosmetically elegant and just sits on your face instead of absorbing, and leaves a weird, unpleasant texture.

Secret Key Witch Hazel Pore Clear Toner ($9). Ingredients. A lot of people swear by the Thayer’s Witch Hazel Toner, I swear by this. It’s cheaper (the bottle contains 243 ml), has a pretty nice ingredient list, and does a great job of being a cleansing, slightly astringent toner without being stripping. There’s some alcohol, but not so much you can smell it. It’s somewhat fragranced and that might bother some people, but I’d say it’s fairly mild.

Fate/Stay Night: Heaven’s Feel – Presage Flower


Presage Flower makes very little sense if you have never consumed any of the Fate installments before: it condenses parts of Unlimited Blade Works into a blurry opening montage, skipping rapidly past Shirou summoning Saber, Archer fighting Lancer, large chunks of Rin and Shirou interactions. As someone who’s already watched UBW, this was a relief–no one needs those scenes animated slightly differently rehashed all over again. Sure, there’s no characterization for Rin, Saber, Archer, Lancer or really anyone else who isn’t named Sakura, Shinji, or Shirou. But you can go watch the first five or eight episodes of UBW, right?

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It’s Binge Live-Action Anime Adaptations Time! Fullmetal Alchemist (2017) and Tokyo Ghoul (2017)

The Fullmetal Alchemist (2017) live action adaptation just dropped worldwide, and because I heard it’s… less bad… than some live action films of anime, I gave it a try. And it’s… less bad… than others. But it’s still really bad. More on that later.

The absolute first thing you’re going to notice is that the wigs in this film are horrendous. The direct seems committed to slapping them on everyone who needs to be blonde but, being Japanese, are obviously not. Ed’s wig is almost exceptionally terrible, though Riza Hawkeye’s doesn’t fare much better, but Ed’s wig in particular is inescapable due to the frequency of close-ups to his face. The second thing you’re going to notice is that Yamada Ryosuke has either been cursed with a truly bad script (pretty likely) or simply cannot act.

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Top Things I Liked From 2017

Now in lazy format!

The absolute topmost is Re:Creators. It’s glorious, gorgeous, very surprising, and also surprisingly lesbian. I’ve raved about it at great, frequent length on twitter. Don’t let the cheery tone and seemingly bland premise at first glance fool you. Yes, the woman in the bulky armor is a lesbian; yes the pink one too; yes so is the girl with the infinite swords. It’s all gay up in here.

I’ve also watched Houseki no Kuni, which is not perfect and is a bit more of an acquired taste–Re:Creators is pretty conventional in comparison–and is animated in a very… particular way. But it’s also quite beautiful, unique, and daring in ways Steven Universe isn’t quite (jokes about Houseki no Kuni being an anime SU aside). I’m looking forward to the rest of it airing.

I’ve written a LOT on NieR: AutomataBy Installing NieR: Automata, You Have Agreed to Heartbreak and Love in the Time of (NieR:)Automata. It is just so good and IMO deserves all its accolades, and it’d be nice if it sold even more than it already does (it still doesn’t perform as well as more mainstream AAA titles, despite the fame). Having said that, Fate/Extella is also really surprising. It’s not good, but it’s just the thing if you want a lot of lesbian romancing–three distinct routes, three different romances, all lesbian all the time–played out in a beautifully over-the-top anime way.

My Stuff

I have a new book out. If you follow me on twitter you’re already sick of hearing about it, but, well.

So there. People have said rather nice things about it. Barnes and Noble SFF Blog:

This ornate novella from the John W. Campbell Award nominee drips with lurid fairytale magic. The once-tropical Southeast Asia-inspired city-state of Sirapirat has been frozen in ice ever since the arrival of the Winter Queen, who seeks the shards of a magical broken mirror that will grant her every wish. Those pierced by the shards gain great strength, but are at risk of corruption. Over years, a girl named Nuawa, who has one of the winterglass splinters lodged in her heart, has prepared to strike back against the queen and free her people—but her well-honed plans are shattered when she falls in love with Lussadh, the queen’s greatest general and a traitor to the people of Sirapirat. Sriduangkaew’s poetic prose fairly sings, and this retelling of the Snow Queen legend is a dark delight.

Skiffy and Fanty:

Benjanun Sriduangkaew creates a fascinating and very loose retelling of The Snow Queen folktale with Winterglass, a high fantasy novella that infuses steampunk technology and an interesting form of magic.  With gorgeous prose and a refreshing perspective on fantasy in general, Sriduangkaew’s unique take on a classic tale creates a captivating narrative with twists, turns, and deadly secrets.  Sroduangkaew’s own-voices retelling features an entirely POC cast and lots of queer rep, set in Southeast Asia.  It’s a relatively quick read, and I spent a very enjoyable afternoon in the world of ice and intrigue.

I should probably have more to say about the book and its launch but it has been incredible and incredibly unreal! It’s a book I am very proud of, and it’s good to write long-form once in a while; there’s something very luxurious about having this much room and having a consistent world to work with.

Short fiction wise, my two highlights of the year were these stories. ‘The Universe as Vast as Our Longings’ in The Jewish Mexican Literary Review is a story about resistance through survival, and it’s also about interracial adoption. ‘No Pearls as Blue as These’ in Beneath Ceaseless Skies is secondary-world fantasy that’s taken some things from Attack on Titan, some things from Claymore. I expect you’d be able to recognize the inspiration if you’re familiar with both.

WINTERGLASS blog tour and interviews


On CK Oliver’s blog, I write on queer tragedy tropes, trauma porn, and the decisions I made to not be lazy and exploitative with Winterglass.

Unless you live under a rock, you have probably heard that in Chechnya, they’re rounding up gay people and putting them in concentration camps. Recently it came out that gay singer Zelimkhan Bakaev has, most likely, been tortured to death in such a camp.

This is the reality for queer people; this is happening in the real world. But in the popular imagination, of television shows and epic fantasy and science fiction, such an event is just another trope to tug at the heartstrings of and thrill the cisgender, heterosexual audience. It’s just another trope to make cisgender, heterosexual creators feel good and socially aware; it’s just another trope to make them feel radical, daring. It’s just another trope. Here’s a queer character, she lives under mortal terror of being rounded up, stuck in a concentration camp, or — as in the TV adaptation of The Handmaid’s Tale, in a scene aired to critical acclaim— watching her lover hanged and then being genitally mutilated. This, popular media wants to tell you, is what it means to be queer: constantly terrified, miserable, brutalized, sexually assaulted and then finally dead.

Don’t forget to check out CK Oliver’s Daybreak Rising!

Ana Mardoll was very kind and hosted my post, Reverse-Engineering Eternity: The Puzzle of the Snow Queen where I went into decisions I made with a fairytale retelling and on the themes of the innocent, pure girl pitted against a seductive ice queen.

It’s a very Christian story (Gerda literally dispels the Snow Queen’s enchantments with Christian prayers). The Finnish woman doesn’t remark on her endurance or strength: it is Gerda’s purity alone that she praises, and Gerda’s purity alone that — she asserts—compels and charms all into serving Gerda. Vinge has an interesting take on this, where her Gerda figure Moon Dawntreader does win through kindness and empathy rather than purity, and there’s mileage to be had from stories where kindness and empathy are the guiding principles (Steven Universe, Puella Magi Madoka Magica). But so often what happens is that writers position Gerda as the virgin, the queen as the whore, the way it happens in any story where a powerful woman is pitted against a younger, naiver one: just look at Snow White and the Huntsman (2012), Disney’s own take on Snow White (1937) or Sleeping Beauty (1950) or The Little Mermaid (1989).

Ana has written urban fantasy, Poison Kiss, that’s focused on an all-queer cast.

At The Future Fire, I consider how Nasuverse reconfigures Arthuriana into its own separate canon, dislocated from Britishness: Fairytales Told Twice, and the Idylls of the King.

This more than anything is what keeps me interested: that a team of writers (ever-expanding) would take a body of legend that is considered quintessentially English and then discards its Englishness entirely. It’s not something that white, western writers do — even limp retellings like Avalon High cleave to British origins, with the protagonists’ parents as professors of Arthuriana studies. Several darker-and-grittier fantasy makes a point of distinguishing the various English/British identities, down to the regional distinction between Caledonian and Saxon and Scottish or what have you, all distinctions that Nasuverse never even thinks about because to Japanese writers, all white Britons are more or less the same, belonging to a single amorphous culture (so much so that Lancelot being French is beside the point, he’s lumped in with the rest of the Round Table).

The Future Fire also very kindly interviewed me.

My friend J. Moufawad-Paul graciously hosted me for a guest post: Narratives of Exclusion.

(He’s the author of Continuity and Rupture, among other things, which makes socialist philosophy quite accessible–quite crucial, I think–and is really incisive to boot.)

If you read Winterglass, you may — or may not, depending — notice that nobody in it is white. Not even the Winter Queen. Or, more accurately, particularly not the Winter Queen.

The idea of the wintry monarch (all their fairy-queen variants) is popularly linked with western cultures (though far from unique to them), and The Snow Queen itself was written by a Danish author. The fear of a winter that never ends is European. And it is a story about colonization, a land taken over by a climate for which it was never built, a killing climate. The Winter Queen could have been white — most tranformative iterations of her are — but that would have necessitated that I wrote Winterglass around whiteness. Nuawa and Lussadh would exist in opposition and in relation to that whiteness.

I got interviewed! The Unpublishables is an Asian pop culture website and I got a super neat set of questions to answer: on Winterglass, writing while Asian/of color, and more.

Many POC writers, including our contributors, have felt the pressure by agents, editors, and publishers to write about our cultures in a way that fits in with the larger Western idea of diversity (eg. themes like the struggle between the “restrictive, traditional East” and the “free, modern West”, exotic elements, or whitewashed characters). Do you have any suggestions or advice about that?

I once recommended my Hong Kong urban fantasy, Scale-Bright, to a white reader. He asked ‘Is there kungfu in it?’ It was an alarming reminder that most white people can communicate with POC only through stereotypes.

Next, B. R. Sanders very kindly hosted my post, The Rightful King on Her Rightful Throne, where I talked about revolution, lineage, and the romance of the ‘good’ monarch.

But, because this is fiction (and the package is so attractive), I still find myself gravitating toward the glamour of it, to the romantic but destructively flawed ideal held by Urobuchi’s character that kingship is a service. We come to why one of Winterglass’ protagonists General Lussadh al-Kattan used to be a prince.

(Their book Ariah I found very good and they have exceptional finesse with characterization. I recently picked up their new book, Extraction, which I expect I’ll quite enjoy.)

Links round-up: Sep 2017

What Hellblade: Senua’s Sacrifice gets wrong about mental illness

The first minute of Senua’s Sacrifice is an odd mixture of sincerity, preciousness and confusion. It’s Grimdark 2.0, the well-meaning grimdark with a diversity and inclusion initiative.

But it left me holding a bag full of questions. I couldn’t tell if I was being pandered to, postured at or just being used. I didn’t know who this game was for. Perhaps I should have listened to the warning and begged Sony for a refund, citing “I’m severely mentally ill, and the game says I probably shouldn’t play.” I’d be lying if I didn’t admit that cynicism crept through me like Senua’s black rot. Despite it all, I have never wanted to be proved wrong by a game more than I have with Hellblade: Senua’s Sacrifice.

My Absolute Misogyny

Reviewers described the novel as “unflinching,” “cathartic,” “not exploitative,” and a “masterpiece.” Of course, having a mother who’s a famous Stanford professor and writer probably greased the skids for the reception of Gabriel Tallent’s debut novel. Books like these somehow manage to achieve a critical mass that critics dare not disagree with. Stephen King says it is good, ergo it must be good, and if you have a differing opinion, you clearly don’t understand the author’s work (though Roxane Gay wrote a sharp indictment.)


Using scenes of escalating brutality and grotesquerie may be a popular literary device, but it serves, in a warped and tormented way, to glorify this violence. Books like this become “must reads,” even for people who find them extremely traumatic, while the amazing women exploring themes of child sexual assault, molestation, incest, and sexual violence are pushed to the sidelines.

These two articles are pretty good at describing the same phenomenon–that of presenting fiction with a marginalized character, nominally protagonists, but who exist actually to titillate a privileged gaze: a sexual assault victim being repeatedly brutalized, a mentally ill woman warrior being traumatized over and over. Not so much stories about them as stories about their suffering, shown as tragedy porn: Grimdark 2.0 indeed.

It also reminds me of this concerning the Lara Croft reboot.

“The ability to see her as a human is even more enticing to me than the more sexualized version of yesteryear,” he said. “She literally goes from zero to hero… we’re sort of building her up and just when she gets confident, we break her down again.”

In the new Tomb Raider, Lara Croft will suffer. Her best friend will be kidnapped. She’ll get taken prisoner by island scavengers. And then, Rosenberg says, those scavengers will try to rape her.

“She is literally turned into a cornered animal,” Rosenberg said. “It’s a huge step in her evolution: she’s forced to either fight back or die.”

Dear White Women: Why We Need to Stop Crying When POC Call Us Out

Being called out used to trigger my deepest fears of abandonment and oh boy, did I cry. Crying also shielded me from the truth because it relieved the cognitive dissonance I lived with day in and day out. My growing consciousness detected the pervasiveness of abuse culture, it wanted to break free of it. But in order to escape I had to admit that I had warped and abused myself, that I had been abused by those I loved and whom I thought loved me, as well as admitting that I was perpetuating the same abuse onto others. I would have to admit that I myself had abused! Those truths were too awful and painful to accept. My struggle to deny the truth whilst coping with my own wounds created unbearable levels of stress in my brain and in my body, so I cried.

I’m a white woman. I know us, understand us and love us. I have perfected the fawning survival mechanism to the detriment of any other. At first I did it unconsciously in order to survive–especially because good little white girls didn’t fight if they want to be loved, and I couldn’t run away. It didn’t even occur to me that I was growing up within an abusive structure, it was my ‘normal’. I was one of the lucky ones and for that I was told to be grateful.

Being Labeled A ‘Bad Survivor’ Showed Me That Callout Culture Needs To Change

A few weeks later, the poster of this callout messaged me with a plot to cause physical harm to my assailant, and condemned me when I told them I was not at all OK with this. They told me that I was being unfair to them by burdening them with my refusal to allow violence to be done. It was through my refusal to condone violence against my assailant that I came to feel like a pariah in my own town. I was given cold stares when I was seen in public and made to feel unwelcome at local events.

The pushback I received — all for being a “bad survivor” — was ultimately one of the major factors that contributed to me deciding to move away. In the end, I came to be much more traumatized by the way the so-called radical queer community — with all their rhetoric about supporting survivors — treated me for how I chose to be a survivor than I ever was from my actual assault.

Public Forgiveness: The Crucial Missing Step To Making Call Out Culture Non-Toxic

We all know that one person who you and your friends no longer ask about, a persona non grata within social justice.

For the purposes of this article, let’s refer to her as G. She’s just one of the many people who have been excommunicated from social justice activism by way of social media call outs.

For G, whose name has been withheld, the call outs never end. G said in an interview: “The intent of my call out is very explicitly to compel to kill myself. I didn’t make a mistake, I don’t need training, I don’t need mediation, I am a monster.”