that guy yelling at Capcom in Twitter that he can't see the little girl android's underwear anymore

I am 100% sure that's also a grievance for the racist weirdo too. The overlap between pedophiles spending their time alternating between malding over how the game was "censored" and eagerly awaiting lewd mods for the game, and weirdo racists on twitter mad about localizations not being racist and horny enough is basically a full circle.

They're also convinced that the model change was ordered by secret pedophiles trying to ruin things for other pedophiles, and that everyone telling them to stop gooning to the child robot is "actually the real pedophile because why would you think anyone was doing that in the first place if you weren't secretly doing it too?", as if they're not doing all their gross pedophile gooner shit in public all of the time including right now. Like I think they genuinely do not have object permanence and do not understand that other people do.

This is the cover of the first volume of I'm in Love with the Villainess:

Looking through them, 3 of the 5 volumes have Rae and Claire facing each other, one has them standing to either side of their adopted daughters looking forwards, and one has the same pose the anime picture used.

Let's see, I'll use the very rigorous method of just scrolling through my library and seeing what different series do...

Adachi to Shimamura - pretty even mix.

Bloom into You: Regarding Saeki Sayaka - alone, forwards, forwards with the other girl looking at Sayaka.

The Executioner and Her Way of Life - these are all just Menou alone and also this is just yuri bait anyways.

The Magical Revolution of the Reincarnated Princess and the Genius Young Lady - most of these are forwards, but even though it's unambiguously yuri it's not really a good yuri story anyways at least not the early volumes I slogged through before I stopped reading it.

ROLL OVER AND DIE - the only two covers with the main couple have them looking forwards, and this is unambiguously yuri.

There's No Freaking Way I'll Be Your Lover! Unless... - 50/50 split, although this one's cheating because it's a yuri harem and scientific proof that the only thing harem series need to be good (if still trash) is to just be yuri as well.

That was just LNs too. Glancing at my comicrack library... Honestly looks like about a 50/50 split for the series that have tankobans with covers, but like half of the stuff I've got is just individual chapters. Conclusion: the assertion is in fact wrong lmao.

I assume the point is to get them to cooperate and force them into a "no seriously stop doing shit, don't try to keep wielding power or doing more crimes, sit down, shut up, and do your time" position without the consequences of actually just executing them. Like in practical terms what's the difference between "they're sitting in a cell and can't keep being the ringleader of something or trading favors or whatever because if they do that's it for them" and "they're actually gone forever, but someone had to do it to them"? In the latter case you've made someone deal with killing them, and you also have no further stick to force them to not fight back as hard as they can before that point with every connection or hidden asset they may have.

Here you can just post , , and/or and everyone will get what you mean.

Start from your premise or goals and work backwards to figure out what the foundation supporting those needs to look like. If you need a sparely populated wilderness, think about why, materially, that would be like that. If you need ancient ruins in the middle of nowhere think about why they'd have been there, what sort of society left them, why people aren't there anymore, etc. Then think about what this means for what it all looks like now, what the consequences of those foundations are, and if this supports what you need it to be like.

Then just keep doing that, looping through a cycle of seeing if it plausibly goes in the right direction and provides what you need, if it makes sense internally, etc and going back and forth between creating foundational elements to support these goals and working through the consequences or seeing if these lead to interesting threads of their own.

the type of fantasy setting based on D&D, where the population density and location of settlements are based not off of any actual medieval research, or thought-through material analsysi, but rather off of vibes largely inspired by the american wild west. Those vibes are then integrated into many fantasy works without any interrogation of what they would mean for the setting

It really only works for post-post-apocalyptic settings imo. You can get a depopulated setting full of lost knowledge and eldritch horrors, a land scarred by calamity, fortified survivor enclaves only slowly reestablishing new population centers as the land becomes viable again, etc without all the weirdness of D&D style "wait, why is every town basically just an exurb that's surrounded by a monster-land theme park?" fantasy worlds.

As controversial as Mushoku Tensei is, it does deserve a lot of credit for trying to rework the cliched fantasy land framework into something coherent and semi-realistic: there are people absolutely everywhere, even when they're not human they're still fundamentally people, and the places that are sparsely populated are basically full of magical radiation that makes normal plant and animal life almost impossible as it causes rampant mutations that monsterize them which makes those places very dangerous. It also did the Dungeon Meshi thing of dungeons being a sort of magical being that grows over time, except it did it earlier and better despite this basically just being a footnote to the rest of the story.

That makes plenty of sense in the whole "they are some sort of fey predator with completely alien morality" angle: the "adopted" demon knows that another family is angry because it killed their child during the battle; it understands this as having destroyed a possession of theirs, and views the situation as a threatening community figure having a grudge over property destruction which could endanger the demon; it attempts to smooth this conflict over by replacing the child with another, not understanding the social ties involved, and kills that child's parents to stop them from seeking revenge for this.

It's an alien, might-makes-right sort of morality where the demon, finding itself in a subordinate role, tries to placate threats because its entire social framework revolves around dealing out casual violence when possible and trying to avoid suffering the same.

The raccoon family living in the building she buys, who she decides to keep and use as workers instead of evicting. I mean I am presenting all of them in the worst possible light because it's funny, but "her workers are a family that lived in the building, and their payment is they get to live in the attic instead of being rendered homeless" is kind of shitty to begin with.

Most of the show's premise is a sleepy elf mom raising her autistic goth adopted daughter while traveling around to places she'd visited some 70-80 years earlier as part of a broader poignant reflection on time inexorably tearing away everything and how ultimately what matters the most are those fleeting human connections that happen along the way.

It's just there's also ontologically fascist demons who are some sort of fey predator species that preys on humans and other humanoid species. They're not handled in a very deep way which undermines the concept a bit, but everything they do is just stuff that actual fascists actually do and the demons' entire psychology is just literally what fascists actually believe and how fascists actually think about the world.

The situation with MLP was more that when gen4 started airing the schism in western counter-culture that crystalized its chauvinist libertine elements out of solution into open fascists hadn't occurred yet, so 4chan was still counter-culture and had a sizeable number of queer artists/theater kids and depressed eggs. They latched onto it with varying layers of protective irony, which made it "safe" and part of the site culture in a way that meant a lot of the future-fascists hanging around felt secure in watching and enjoying it themselves.

Also it's monarchist propaganda that's run through with reactionary themes, with four of the six main characters consisting of a small business tyrant who eventually becomes a landlord and owns slaves, a planter who owns sapient language-using beings as livestock, a royal lackey from a military family who eventually becomes royalty herself, and someone whose only long-term goal is joining the military and becoming part of a special forces unit. It also did Manifest Destiny apologia in the first season, with an episode about how it was ok for the "productive" ponies to take the land the buffalo "weren't using for anything but stomping around in anyways" for their plantations as long as they gave a portion of their harvest to the buffalo they'd forced onto more marginal lands.

The pockets of landowners who sold the land for datacenters, the pockets of construction company owners, the pockets of computer part vendor owners, etc. Basically any owners of a business that produces the sorts of capital a datacenter needs are making bank selling the shovels for this magic bean rush.

And also they're doing lots and lots of fraud and market manipulation by doing the joke about two economists stranded on an island trading a rock back and forth to build up the island's GDP enough that they can buy a boat, except for real.

Tfw when the gritty post apocalyptic sci-fantasy has someone wearing cloth pants instead of a denim patterned neoprene wetsuit.