As I read a certain local feminist's latest diatribe, a thought struck me like lightning.

Social Justice rhetoric is uncannily similar to Lovecraft.

/1
The screed begins innocently enough.

Standard English. Description of current state of affairs.

Then an introduction to The Horror.

A nebulous, abstract malevolent thing beyond so far beyond human construction mere language is insufficient to explain it.

/2
Lovecraft conjures monsters from far beyond known reality, their very presence an abomination in the eyes of a divine Creator.

In SocJus ideology, it is the patriarchy / institutions / networks / white privilege, an invisible, intangible power that tramples all underfoot.

/3
Mere mortals cannot see it.

Only those insiders with occult knowledge can even begin to grasp it.

Those who do see it quickly realize that ordinary language fails them, but language is the only medium they have to warn the world of such frightful horrors.

Sounds familiar?

/4
Quickly the text explodes into loquaciousness.

Lovecraft's narrators pile on adjective bombs and archaic nouns to create prose so purple it defies comprehension.

SocJus activists invent words out of nothing and weave them into a mat of mantras to pass them as arguments.

/5
In the final, soul-shattering climax there is nothing but endless loquacious ranting and raving, building up to a tremendous climactic fever pitch, breaking the floor of sanity to descend headlong forever into inescapable madness.

As with Lovecraft, so it is with SocJus.

/6
Lovecraft's narrators are all implied to be people of scant renown and frail constitutions, people who primarily inhabit the realm of the mind and only their bodies as an afterthought. Academicians, authors, men of science.

Who are the ones pushing for Social Justice today?

/7
Remember that (almost) all of Lovecraft's narrators go insane by the end.

And that huge numbers of social justice warriors are mentally ill.

Those who are not enable those who are.

/8
Social Justice aims to destroy Lovecraft's legacy.

Writers, artists, creators, those who have swallowed that strange poison seek to saw 'decolonise' the field.

Perhaps their motivations are simpler.

They see themselves in him.

And despise what they see.

/end

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More from @thebencheah

28 Oct
Forgot to mention this in the original thread.

Fortunately, PulpArchivist picked it up.
The key elements of combat is shoot, move and communicate.

These must be trained until they are second nature.

Adrenaline reduces you to the level of your training.

It does not help you rise to the occasion, unless you are already highly trained.
For 'communicate', you must do the following:

-Communicate the enemy's location, strength and actions

-Tell everyone where to go and what to do

-Tell everyone where you are going and what you will do

All this while taking and returning fire.
Read 4 tweets
28 Oct
An increasingly common trend I'm seeing in books, games and movies these days is having characters banter with or snark at each other.

In the middle of combat.

This is utterly ridiculous.

/1
The idea of casual danger dialogue stems from comic books.

With only a couple dozen pages per issue, the creators have to cram as much plot and personality into every panel as possible.

/2
This works because every panel is a slice of frozen time.

Every panel represents a beat.

Talking is a free action contained within the beat.

This is unique to the medium, not seen in other media.

And for good reason.

/3
Read 24 tweets
27 Oct
The Chinese believed that #writing and #health belonged to the same element:

The element of wood.

What applies to one field applies to the other.

The link between writing and wood should be obvious.

But health?

/1
'Health' isn't just healthcare.

Not just doctors and medicines and treatments.

It's a holistic perspective of health.

Physical, mental, emotional and spiritual health.

This also includes training and practices to become healthy.

/2
Wood represents growth.

What do you do when you train?

You grow.

You tear down muscles and build them back up.

You develop and ingrain specific motor skills.

You thicken the myelin sheaths that insulate your nerves, allowing them to fire more efficiently.

You grow.

/3
Read 11 tweets
8 Aug
Wuxia. Xianxia. Cultivation.

Among the hottest fiction trends today, and the genre I'm working on next.

I've been looking into the genre for years, but everywhere I looked I found too many power fantasies, too few actual wuxia.

It shows a lack of understanding of the genre. /1
Wuxia should be the stuff of legends.

Highly-skilled warriors in a milieu of danger and respect. Adventure in exotic realms. A world where you can earn your place with your sword.

But beyond that, wuxia has one more element:

Ethics.

It's right there in the name.

/2
Wuxia is commonly translated as 'martial hero' into English.

The meaning of 'hero' is well-known.

'Martial' has a neutral connotation. It means the ways of war.

The meaning of wuxia seems obvious: a hero who uses martial arts.

But this is not what wuxia means in Chinese.

/3
Read 23 tweets
20 Jun
To add on to this thread, a superhero's cloak has other significant properties:

Bulk, surface area, and volume.

These create certain advantages and disadvantages, which a canny caped crusader will be aware of.

/1
Such a large cape produces a large amount of drag.

The air will resist his movements, especially if the cape is allowed to billow around him.

This is how Batman glides from place to place: his cape generates drag, slowing him down significantly. /2
But the cape will also slow down a hero when performing quick, explosive movements. Running, jumping, fighting.

This is a Bad Thing.

Worse, the cape can be used against the hero. /3
Read 12 tweets
10 May
You know the old saying that the Chinese word for 'crisis' is composed of the characters for 'danger' and 'opportunity'?

It stems from a literal mistranslation of the phrase.

It's a mistake.

Or is it?

/1
The Chinese word for 'crisis' is 危机.

危 carries the connotation of danger.

机 has a huge variety of definitions, from 'machine' to 'intent' to, yes, 'opportunity'. But here, it means a 'critical point'.

危机 is best read as 'critical point of danger'. /2
Unlike English, Chinese characters cannot be read as individual words.

Every Chinese word influences all others around it. To understand one word, you must understand the entire phrase or sentence.

You cannot break apart words and read them in isolation like in English. /3
Read 12 tweets

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