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visforvengeance · 20 days

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Downright Iconic

Requested by: No One :)

Notes: helllllo! ok so i lovelovelove rafe and i've been seeing you guys do like a southern gothic type thing so I wanted to try as a southern (Georgia and texas) woman myself. so let me just say I am an atheist that grew up with a highly Christian family. I became an atheist when I was like 14 so idk too many bible verses and I'm sorry if anything is in accurate. I'm just sacrilegious af, like this story oh man. ok this is very much xblack reader based so idk read it or don't. this is heavily HEAVILY ethel cain coded, specifically gibson girl and western nights. i hope you enjoy reading this as much as I did writing it!

Pairing: rafe cameron x black!southern reader

Warnings: oh man there's so many warnings omg ok. dacryphilia. hinted somnophilia, sexual religious themes, unprotected sex, graphic graphic graphic, degradation (slut, whore, etc), actual slut shaming, I was high while writing most of this and it went berserk. um it's 4k words of porn without plot. i didn't proofread. I don't remember all of the warnings so please read at your own risk!

You sat in the front row of your church, along with your family and others who were important to society. There was your family, the Pastor’s family, the Camerons (Ward Cameron is the mayor of your quaint little town). The Thorntons and the Carreras. Your father’s voice boomed throughout the small church as he recited Proverbs 3:5-6. Kiara’s father had asked him to speak on keeping up your faith after he learned of his daughter’s betrayal.

She was caught dillydallying with that little blonde boy from the more southern parts of town. Her reputation took quite a hit when everyone found out. It nearly cost her family their business, if it weren’t for the closeness they shared with the Camerons, they’d have faced total ruin.

You shifted in your seat uncomfortably as you looked over at your friend. She kept her head down and her hands in her lap while the grip her father held on her wrist visibly tightened. You wanted to go and comfort her, but you knew your mother would disapprove. When she found out about the news, she banned you from ever even looking at Kiara again. Which was hard because she was your greatest friend. Despite your mother’s wishes, you still hung around her. You were her rock whenever she needed a shoulder to cry on, you defended her from those who called her foul names and turned on her.

Your eyes trailed over to the Cameron family. They all sat in their crisp and brightly colored Sunday’s best. Your eyes looked over the eldest child in the family, Rafe. He was a wild child, a true force to be reckoned with. Star athlete at your university, the town’s sweetheart. The boy your mama would be proud to call her son-in-law. The golden child. There was no better American teen than Rafe Cameron. Until the sun goes down and he’s the devil that lurks in the streets.

Rafe was a notorious party animal. He’s single-handedly why your town has a curfew in the first place. Despite his daddy being the mayor and constantly under public scrutiny, everyone under the age of 27 knew what Rafe Cameron got into. The parties, the drugs and alcohol, premarital sex, he did all of it.

The two eldest Cameron children were very sneaky. Sarah, who was more like her brother than she’d like to admit, was just as wild. For starters, she was dating one of those pogues. There’s nothing worse than dating a pogue around these parts. She claimed that they were in love and planned on leaving when they got the chance. You’d just nod and pet her hair, bless her heart. You weren’t a fan of slutshaming but if you looked up the very definition of a slut, there’d be a picture of Sarah sitting prettily. You didn’t know how the purity necklace Ward had gotten her hadn’t broken and melted to the ground from her sinful ways. But, you loved her nonetheless.

Since you were 13 and could no longer control the urges that came with being a growing girl, there had always been something about Rafe. You had a crush on the older boy for years. You didn’t partake in things like masturbation, but on days where you nearly gave in, thoughts of Rafe ran across your mind. His toned body hovered above yours while his breath fanned over your features. He was between your legs, grinding against you so slowly that you felt everything he had to offer.

Mama and daddy hadn’t taught you about sex yet. They always said that it was something you’d learn about when the time came. So, you didn’t know how vaginas and penises worked and how babies were made or why sometimes when you were alone, if you thought for too long then your breathing would become heavier and there’s this feeling in your stomach. And, you can’t keep your legs from rubbing together and you’re so hot, god (you’ll repent later), you could die. This unknown feeling gets so intense, but you’re so scared. So, you stop. You say your prayers and go to bed. You don’t tell anyone about these moments of little death.

Rafe was always indifferent towards you until you turned 16 and your body developed more. And, you were no longer just his annoying little sister’s best friend. Fuck, you were so much more. Your tits practically burst out of your sports bra when he sees you practicing for cheerleading. 17 and your ass was looking too good in your jeans. 18 and the sway of your hips had him on his knees.

He fucked countless girls dreaming that they were you instead. He just knows your virgin pussy would have him going crazy. He knew about your crush on him from one of the times you were talking to Kie while Sarah was out. He’d be lying if he said he didn’t wish you were in his arms too. But, something in him was holding him back. He never knew what and didn’t bother to try and figure it out. He wasn’t going to for a good long while.

When you looked over at Rafe to discover he was already looking at you, your eyes widened and you immediately looked back at your father. Rafe felt his smirk grow. He spent his days in church daydreaming about bending you over and fucking you right in front of everyone and Jesus Christ himself. He laughed when he thought about the times he didn’t burst into flames.

He tuned out the preaching as he imagined what your tits would like while he drenched your top in the holy water before him. He imagined it was you saying those prayers while you’re stupid crying on his cock, a girl like you should be praying to the correct god. Rafe wanted you so badly. He decided that he was done wasting time. He’d marry you and make you his pretty little housewife if he had to. He had to stop before the very thought of you being pregnant and swollen with his baby made him cum in his pants.

After church, your father allowed you to hang out with Sarah at Tannyhill. The two of you lounged around by the pool while Rafe and his friends did the same on the opposite side. While you lay around, floating in the pool, you watched as Rafe watched you in the pool. The sunglasses helped tremendously at hiding your line of vision and allowed you to watch him without shame. His eyes trailed all over your body like he was in a trance and couldn’t choose where to look first.

You sat yourself up on your elbows, tilting your sunglasses down to look at him. When he realized that you were looking at him, he gave you a small smile and a wink. He watched your doe eyes stare back up at him, your bottom lip being pulled in between your teeth while your eyes trailed down his torso. The heat combined with the brightness of the sun cast a light sheen on Rafe’s body. It was making you clench so deliciously around nothing and had you panting like a bitch in heat.

Rafe chuckled as he inspected your behavior around him, but Sarah’s voice hid it well enough to go unnoticed. “Rafe, let’s have a party,” Sarah suggested. Rafe hardly ever said no to a party. Their parents left a lot so they had parties pretty often. But, you never attended them. Parties weren’t exactly your thing. You’d very much rather stay at home and watch a movie. Or the most adventurous you’d get is trespassing on public park grounds after hours.

“I’m down. You spread the word and I’ll get the goods.” Sarah nodded as she began to gather her things, you began to make your way out of the water. Rafe eyed your backside while water cascaded down the smooth brown skin. He stood mesmerized with his tongue in his cheek as your ass jiggled behind you. His eyes never left your body while you walked inside the house. He couldn’t wait until he got his hands on you.

After you and Sarah had settled inside, the two of you chilled inside her room for a bit. “You should come to the party.” Her and Kie always tried to get you to attend one but you always declined their advances. But, Sarah was being very persistent. “Why do you want me to come to your stupid party so bad? I’d feel so out of place. I don’t even have anything to wear.” You tried every excuse you had but Sarah wasn’t budging. “Look. We’re grown-ups now and you can’t just live your life like some virgin loser. You ain’t even had your first kiss yet, darling,” she says as she grabs your face so you’re looking at her.

She was right. You’ve never been more intimate than holding hands. Your parents put the fear of god in you and it’s buried so far down inside of you, that the only way to purify yourself of it is to die. It’s not like boys hadn’t tried, but you’d push them away faster than they could say ‘hallelujah’. You didn’t know what had gotten into you. These kinds of things never worried you before but this crippling fear of missing out has invaded your brain.

You stared up at the pale, peachy-colored ceiling and took a deep breath. “Fine, I’ll go,” you mumbled. Sarah began jumping around in excitement, “I still don’t have anything to wear, though. My clothes aren’t very party-like.” You frowned as you thought about your clothing options. They didn’t hug your body or show what you were working with. “Fuck it, we’re going shopping,” Sarah declares as she drags you out of bed.

She convinced you to get this spicy little number that showed off the parts of your body you adored the most. The two of you rushed back to her house so you could get ready. Rafe had already started setting everything up. You were beyond nervous as you’d never done something like this before, definitely never wore anything like this either. Sarah helped you do your makeup, an hour she spent straddling your waist as she focused. You looked like a different person, you didn't even recognize yourself. It was strange. And, your parents would have a stroke if they saw you now.

The house was filled before you knew it. Various stood all over with cups in their hands or they’re making out against the wall, to be honest, you were scared. You’d never seen so much vulgarity. You couldn’t believe you let Sarah talk you into this. Never again would you let it happen. She had the audacity to leave you alone and suck faces with John B. and you were pissed. You stood near the island of the kitchen with a solo cup in your hand. You were drinking the alcohol and it left you with an unrecognizable feeling. But it was a good one. The music calmed you, as did the LED lighting surrounding the place. You welcomed its embrace easier than you thought you would.

You watched over the crowd, continuously drinking as you sat on the counter. It’s been an hour and Sarah still hasn't returned. You feared you looked like a drunken loser. And, you did. Meanwhile, Rafe stood on the other side of the house, directly across from you. His height and your sitting on the counter allowed him to watch you as the hour passed. He battled with whether he should approach you or not. The alcohol in his system lowered his inhibitions and lessened his worries.

He pushed past the intoxicated groups of bodies and reached you. He stood in between your legs while his hands rested on either side of your thighs. Just like in your dream, you could feel the warmth of his breaths against your skin, you basked in it. He invaded your senses. His scent made you woozier along with the alcohol you consumed, he smelled of hints of beer and Bleu de Chanel. His body heat radiated off of him and onto you, engulfing you like a glove. His blue eyes were all that you could see as his half-lidded eyes looked down at you. If you were sober then you’d be questioning how he was able to tempt you like this. You’d do whatever he wanted of you if he asked. And, he liked it that way.

“Hey, baby.” Baby? Did he know who he was talking to? “Hi, Rafe.” He fucking loved the way you said his name, he could feel his cock starting to stir in his pants. “My sister ditch you for that little bitch, John B. huh?” He was sweaty and breathing so heavily. It made you wonder what had him like this. But, you nodded and continued to look into his eyes. “You want me to take you upstairs to keep you company?” His fingers were caressing your thigh at this point. His touch burned you but you liked it. That didn’t sound like such a bad idea. “Yeah,” you whispered to him. He helped you off of the counter and held your hand, pulling you upstairs to his bedroom. He absolutely had no intentions of talking, unless it was to talk you right out of this little dress you were wearing that made his dick jump in his shorts.

Once you were in the quietness of his bedroom, he locked the door behind him. He sat closely next to you on his bed. He eyed your body, focusing on the plushness of your tits that spilled out of your dress. And, your thighs that looked so soft, it made him want to mark them up. Fuck, he had to have you. It made you nervous being under his gaze for this long and this closely. He usually never paid you any attention and now, suddenly, it was all on you. “You’re so fucking beautiful,” he started. He stared at you intently, practically moving you on top of him. You were hot all over. “Thank you,” you sounded more confused than pleased but Rafe could sense your nervousness and it was turning him on more than he thought was possible.

His fingers played with your inner thighs, softly drawing circles on them. “You know it’s funny. Sarah would be so pissed if she saw us right now.” You were breathless. And drunk. And so fucking close to him. And, there’s a little voice in the back of your head that’s begging you to get ahold of yourself and go home! But, you had to see this out. Maybe, you’d been praying and pleading with God to allow something like this to happen. Maybe, you’d let Rafe do whatever he wanted to you tonight. Maybe, you were willing to be Eve and let Rafe be the serpent that tempts you.

“Why?” He chuckled and shook his head. You were just a dumb little girl after all. He couldn’t wait until you were his. He’d teach you. And, mold you into his perfect woman. His pretty, pliant princess. “Because she wouldn’t want her brother and her best friend fucking each other. Not if it’s me and not if it’s you.” Everyone and their mother knew you were too good for anyone, especially Rafe. He may have been everyone’s favorite boy but they knew he had a temper on him.

“You wanna fuck me?” Were you in heaven? Like actually? You knew what ‘fucking’ meant but not exactly how to do it. But, that didn’t mean it wasn’t making you incredibly wet to know that it was what he wanted to do with you. You looked at him with wide eyes. He nodded before pressing his lips to your neck, kissing and sucking at your pulse point. “I can’t stop thinking about how that pussy would feel wrapped around my cock, mama.” His fingers were now grazing the poor excuse for underwear that you were wearing. Sarah made you buy some thongs because something about panty lines not being attractive or whatever.

You opened your legs wider for him, which made him groan into your neck. He pulled your panties to the side and was immediately met with your wetness. He softly rubbed your clit, your slick making it easy for his fingers to glide across it, quickly bringing you to orgasm. It happened too quickly for you to provide a proper warning but Rafe wasn’t complaining as he watched you come undone in his lap. Your thighs still shook around his wrist while you came down from your high.

“That was so hot, baby.” He pecked your lips once, then twice. “I’ve never done that before,” you mumbled. You were beyond embarrassed to admit that. But, Rafe managed to calm you down by stroking your arm. “Not even on your own?” You shook your head. You heard Sarah and Kie talk about cumming and how it felt but you could only imagine. You almost did try pleasuring yourself once, but you were already so scared. Your parents were supposed to be out and all was good until you heard your mom calling for you and you never tried again.

Rafe was having such a hard time trying not to rip your clothes off and fuck you beyond repair. So pretty and so untouched. He didn’t care if it was obsessive or predatory, you were going to be his. He was going to make sure of it. “Do you wanna do it again, babe?” After you gave him a yes, he wasted no time in getting both of your clothes off. Rafe couldn’t believe you were letting him do this. He didn’t believe in God and all of that shit but he was silently thanking whoever there was for this moment that he could only dream of. He thought with you being the pastor’s daughter, that you’d at least make him wait. But, you were just as wanting as he was. Or, you were proper drunk. But, that’s not what matters.

Rafe paused before reattaching himself to your body, his eyes looked over it. Admiring it. Was he in love with you? He could picture his life with you. You’d give him a handsome son and a beautiful daughter. And, even after you’ve aged and had kids, you’d still be his beautiful, loyal fucking housewife. Oh, shit. He had to be in love with you. He hadn’t even stuck his dick in you yet and he’s daydreaming about giving you his kids, what the fuck. He’d never felt this fucking giddy about a girl until you. You made him feel like a little schoolgirl with a crush or some shit. It was unnerving. But, right now he was going to make you see God on his cock, and feelings will come later.

He leaned over, scattering kisses around your body. “You’re so beautiful, baby. The most beautiful I’ve ever seen.” And he meant it this time. As his lips enclosed themselves around your nipple, teeth grazing them, he moaned. “So fucking beautiful, princess.” He was moaning like a slut above you and you were still a virgin in his bed. He was screwed. However, he didn’t see the effect all of this had on you. Your hips were twitching uncontrollably because of the proximity and of him and his words and his actions. You were begging for something, you didn’t know what. But, you were so fucking desperate for Rafe, you couldn’t bear it. You felt tears sliding down the sides of your face, Rafe noticed in his daze which made him stutter a bit. Were you crying?

“Are you…fucking crying? Baby?” His hands caressed your cheeks but his tone was mocking you. And, you liked it. You nodded shyly. He scoffed and smirked, kissing your head. “Why are you crying, hm?” You were too afraid to say that it was because you were inexperienced. And, your inability to do what you wanted was making you frustrated. Rafe looked at you expectantly, even nudging your cheek a bit. You sighed, “I can’t say what I want you to do to me because I can’t articulate it well enough. Rafe, I don’t know what any of this is or how I’m feeling and I need you to-” You stopped yourself. You couldn’t say it. Your one piece of dignity wouldn’t allow you to. “You need me to teach you, baby? You want Daddy to show you how to make yourself feel good when he can’t help you?” It felt like the fucking wind had been knocked out of you as he spoke.

“W-what?” Your eyes were wide. No one had ever spoken to you this way. And, you think you’d be quite disgusted if it were anyone else. But, Rafe was making you leave a puddle on his damn sheets. He situated himself between your legs so that his cock lay flat against your clit. He pushed his hips into you, which caused you to shiver. “I said, do you need me to show you what it feels like to lose your mind?” His hips never stopped moving. And, you never stopped moaning. What the hell was happening? You didn’t know, but you didn’t want it to stop. You were begging God to not let it stop, you didn’t care about any of it at this moment. Not what your family would think if they knew what a little whore you were being for this white boy. And, you didn’t care if you were going to hell, because as long as you had Rafe with you, no place would be as bad. As Rafe humped you into a senseless, babbling mess, your last comprehensive thought was that you now belonged to Rafe Cameron. He was yours as you were his and nothing would be able to change that. You didn’t know what voodoo magic Rafe had coursing through him but you knew you’d never be separated, till death do you part.

His hips stopped when he realized he hadn’t gotten a response. “I can’t hear you, pretty girl. You listening?” You whined at the loss of friction but answered. “Yes, baby. I need you to teach me. Please just fuckin teach me, Rafe.” You didn’t know that you just signed your deal with the devil. When Rafe said teach you, he really meant teach you.

~Now, dearest reader, I beg you let your imagination run wild with that last one.~

That was enough of a confirmation for Rafe as his hips resumed their movement. You were feeling the same things as you did when you were alone but more intense. Your tummy twisted with pleasure as your legs clasped tightly around Rafe's slutty, little waist. Your nails raked across his back harshly, but he didn’t mind. Your legs began to shake and you were panting now. You couldn’t describe this feeling, but you trusted Rafe. If he felt nothing was wrong then you allowed yourself to truly embrace it. He looked down at you, kissing you all over your face. “Come on, baby, you can do it. Give me what I want, can you do that? You gonna make a mess of me?”

You were blinded by white, hot pleasure. Rafe watched as your eyes rolled to the back of your head, he could feel the wet spawning of your pussy against him. You were fucking majestic. He wanted to watch you cum over and over again, that was his goal tonight. You felt yourself grow tired as you came down from your high. Rafe planted kisses all over your face again, “you did so good, baby.” You hummed in acknowledgment, beginning to fall asleep. But, Rafe tapped your cheek rather harshly. “What are ya doing, huh? You thought we were done?” You whined. Your half-lidded eyes stared up at Rafe. “But, Rafey, I’m so tired.” He manhandled you onto your back again, hiking your leg around his waist as he began to line himself up with your entrance.

“That’s not my problem, baby. I didn’t get to cum and you did twice. That’s not fair, princess. Don’t you want Daddy to feel good too?” You nodded, sleepily. “Good girl. Just let me fuck you, and then you can go to sleep, alright?” He didn’t wait for an answer as he pushed himself into you, bottoming out. He didn’t bother checking up on you as he was fucking for his pleasure now. He moaned at the feeling of your tight cunt squeezing his cock, already trying to milk him for everything he’s got.

“Fuck, you feel so good, baby.” He hadn’t felt anyone as tight as you since he first fucked a girl. He began thrusting inside of you, causing the both of you to moan. You were half asleep while he pounded your shit. The room was filled with the sounds of skin slapping, and wet pussy, and heavy groans and soft moans. It was purely pornographic. If only God could see you now. If only your father and mother could see you now.

The brutal fucking Rafe was giving you was fast and hard, but he was hitting that sweet spot so deliciously. You were clenching uncontrollably around him as you began squirting around him. When Rafe realized, he cursed under his breath. His hips stuttered as he watched the sight below him. When Rafe saw the tears streaming down your face again, it had him spilling inside of you. Mixtures of curses and groans left him as he came.

His head was in the crop of your neck while you played with his hair. You began to fall asleep again, feeling content just like this. Despite the mess you were laying in. But, Rafe began to move his hips again. Slowly this time. “Rafe, you said-“ “sh shh, baby, just go to sleep. Don’t worry about this.”

#x black reader #rafe cameron x reader #rafe cameron angst #rafe cameron #rafe cameron imagine #dark rafe cameron #rafe cameron smut

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genericpuff · 2 months

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I wonder why christian misrepresentation are rarely talked about if compared to other religion misrepresentation. Like, I've seen people really vocal about Greek myths misrepresentation in LO and such (and it's valid because it's a culture and religion) but I rarely saw the same thing with christian even though there are many media who use christian religion innacurately, to the point where it comes off as using it as an aesthetic and not a proper religion.

Is it because of rampant religious trauma especially in western world? No ulterior motives on this question. I'm not a christian and yet I'm curious about this. I apologize if this sounds harsh.

I obviously don't have The Answer(tm) to this but personally speaking (and I'm about to get VERY personal here so take this with MOUNTAINS OF SALT), I think it's just the obvious - Christian mythology is one of the most well-documented and strongly protected out of virtually any other religion on the planet. Especially here in the West, it's commonplace for kids to go to Sunday school, for couples to have Christian weddings even if they're not practising Christians themselves, even the American anthem references the Christian God. It's simply not as easy to 'misrepresent' it because the representation is written into our very fabric of society. Even Greece itself is primarily made up of Orthodox Christians.

So anyone that does 'misrepresent' it are either completely mislead hardcore Christians, or people who are doing it intentionally, such as with the intent to make a parody of it or to deconstruct it through a different context or whatever have you. And of course, people will still get mad at those things, if you're implying that people aren't vocal about Christian misrepresentation then frankly IDK what to tell you there LOL If you want a contextual example in the realm of webtoons, Religiously Gay was dragged to hell and back during its launch for having a very crude and insulting depiction of St. Michael, and frankly, yeah I don't disagree because what the fuck is this-

(like at best it's just terrible character design lmao that said, there's also plenty else to criticize Religiously Gay for, including its fetishy representation of gay relationships and the fact that it's still just the "naive person who looks and acts like a child hooks up with mean person in a position of power" trope, blech, but the character design is definitely the first thing you notice)

There are even plenty of hardcore Christians who will deadass claim "misrepresentation" over things that ARE factually correct but they just haven't read the actual Bible and simply cherry pick what works for their own agenda. And of course those people are routinely called out by people like myself who know for a fact that Jesus wouldn't have promoted the war crimes that many modern day Christians are committing and justifying today. So it really depends on the definition of "misrepresentation" here.

The issue specifically with LO and Rachel that I personally call her out for (and many others) is that she's called herself a "folklorist" and claimed she's so much more knowledgeable on Greek myth than anyone else, while making a complete mockery of the original mythologies while not being honest about her intent as to whether LO is actually supposed to be a legitimate retelling OR a parody (because it sure acts like the latter more than the former, but she still seems to expect us to take it seriously and consider her knowledge of Greek myth superior?) Which leads to a lot of her teenage audience claiming shit like "Persephone went down to the underworld willingly" and "Apollo did assault Persephone in the original myths actually" and the classic "why would Lore Olympus lie or make up fake myths?"

You just can't pull off this extent of erasure with Christian mythology because we have a whole ass book of it that's been preserved, sold on shelves, and systematically integrated into society for thousands of years. Of course, there are people who will still try their damned best to twist the Bible to match their own bigotry with the whole "Jesus hates gays" bullshit (he would never), but it's met with equal amounts of 'misrepresentation' that are actually fully well-read and are intentionally subverting and changing things to either critique, parody, or restore the original intent of a lot of stories in the Bible without all the manufactured right-wing crap.

Greek myth, on the other hand, has some stories that are well preserved, and others, not so much. And in the modern day outside of the poems and hymns, you'll also rarely, if ever, see anyone use stories from Greek myth to ostracize, torture, and murder other people. "Misrepresenting Christianity" is more often done by actual Christians who are using the Bible to commit hate crimes than the people who have actually read the Bible and are just taking creative liberties with it for the sake of deconstructing / parodying / analyzing / subverting it. Veggie Tales "misrepresents" Christian stories because obviously Moses wasn't a fucking cucumber lmao but it still accomplishes its goal by retelling Christian stories in a way that's fun and educational for children.

By comparison (on the whole, I'm not comparing LO to Veggie Tales LMAO) LO just isn't clear in its intentions beyond Rachel's initial statements that she was trying to "deconstruct" the myths, while labelling herself as a folklorist. Therefore, I'm going to criticize how she does it because the way she's done it up until now has been very mishandled and has resulted in a lot of misinterpretations of the myths simply for the sake of fandom. And yes, these people exist in Christian media as well - they're called TV evangelists.

And that's my (very heavy) two cents.

#here's your reminder that missionaries are colonizers #find me the Hellenistic pagans knocking on people's doors asking them if they want to hear about the glory of Aphrodite lmao #honestly it also depends on what you're surrounding yourself with #obv if you take part in the LO fandom and avoid what's going on in the christian world then what you experience and see will seem skewed #like even i could be very wrong in my opinion based on my own experiences as someone who lives in the west-#maybe there ARE pagans knocking on doors and using greek myth to commit hate crimes #so yeah we all gotta try not to fall for survorship bias #there are plenty of stories of people getting mad about christian mythology and its misrepresentations on BOTH sides #lo critical #lore olympus critical #anti lore olympus #webtoon critical #ama #ask me anything #anon ama #anon ask me anything

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epeboch · 6 months

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I really love worm, and it's infested my brain deeply since I read it. I was a teenager who related too much to alienation, and bullying, and the craving of some amount of power over anything.

It's a work that I think was deeply important in my growth into an adult person (which sure is embarrassing but that's okay) and I want to share it with people. Some of its just because I like it when I can talk to people about things I like that I normally can't but god, it's hard to recommend!

Its author is bigoted in an extremely specific manner, in the liberal 'i have so many unconscious biases that actually Aren't Bad because society agrees with me'.

He hates addicts, is homophobic, racist, and is deeply deeply committed to sharing a worldview with like, some annoying American foreign policy wonk.

I have a certain impulse to put these things in less brash language, and talk about how clearly wildbow's worldview includes some deeply deranged stuff about the global south (south america is a continent of criminals and africa is a continent of warlords), deeply sinophobic anxieties (china is an evil empire that's going to kidnap you for power) or queer people (it's pandering if the relationship isn't predatory, sorry how did you describe that schoolteacher's hands?). There's a million other things I haven't mentioned as well. The list never ends.

It's long, too, that never helps. 'oh here, please read the Bible so that I can talk to you about how much I love Michael, Homestuck so that I can talk about Rose Lalonde, etcetcetc'. Its a lot to ask!! And people have still done it!! And I feel bad about it!!

The front page of the parahumans site says something along the lines of 'this story has ever conceivable trigger, be wary' and it's true. It makes it so deeply difficult to recommend to my friends which are almost entirely made up of traumatized queer people.

The worst part is that they listen to all my stupid disclaimers and read it anyways. The worst part is that I've never recommended it to someone who didn't like it. The worst part about worm is that it's good.

#worm #wormblr #parahumans #this is a stupid post #and im a stupid poster #long post

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transmutationisms · 1 year

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i think you do a really impressive job balancing comprehensive/concise while referencing a lot of complex frameworks(contexts? schools of thought? lol idk what to call that. big brain ideas) but if you have any readings specifically on the institution of psychiatry topic that you would recommend/think are relevant, I'd be interested. it's absolutely not a conversation that's being had enough and I want to be able to articulate myself around it

yes i have readings >:)

first of all, the anti-psychiatry bibliography and resource guide is a great place to start getting oriented in this literature. it's split by sub-topic, and there are paragraphs interspersed throughout that give summaries of major thinkers' positions and short intros to key texts.

it's from 1979, though, so here are some recs from the last 4 decades:

overview critiques

mind fixers: psychiatry's troubled search for the biology of mental illness, by anne harrington

psychiatric hegemony: a marxist theory of mental illness, by bruce m z cohen

desperate remedies: psychiatry's turbulent quest to cure mental illness, by andrew scull

psychiatry and its discontents, by andrew scull

madness is civilization: when the diagnosis was social, 1948–1980, by michael e staub

contesting psychiatry: social movements in mental health, by nick crossley

the dsm & pharmacy

dsm: a history of psychiatry's bible, by allan v horwitz

the dsm-5 in perspective: philosophical reflections on the psychiatric babel, by steeves demazeux & patrick singy

pharmageddon, by david healy

pillaged: psychiatric medications and suicide risk, by ronald w maris

the making of dsm-iii: a diagnostic manual's conquest of american psychiatry, by hannah s decker

the myth of the chemical cure: a critique of psychiatric drug treatment, by joanna moncrieff

the book of woe: the dsm and the unmaking of psychiatry, by gary greenberg

prozac on the couch: prescribing gender in the era of wonder drugs, by jonathan metzl

the creation of psychopharmacology, by david healy

the bitterest pills: the troubling story of antipsychotic drugs, by joanna moncrieff

psychiatry & race

the protest psychosis: how schizophrenia became a black disease, by jonathan metzl

administrations of lunacy: racism and the haunting of american psychiatry at the milledgeville asylum, by mab segrest

the peculiar institution and the making of modern psychiatry, 1840–1880, by wendy gonaver

what's wrong with the poor? psychiatry, race, and the war on poverty, by mical raz

national and cross-national contexts

mad by the millions: mental disorders and the early years of the world health organization, by harry yi-jui wu

psychiatry and empire, by sloan mahone & megan vaughan

ʿaṣfūriyyeh: a history of madness, modernity, and war in the middle east, by joelle m abi-rached

surfacing up: psychiatry and social order in colonial zimbabwe, 1908–1968, by lynette jackson

the british anti-psychiatrists: from institutional psychiatry to the counter-culture, 1960–1971, by oisín wall

crime, madness, and politics in modern france: the medical concept of national decline, by robert a nye

reasoning against madness: psychiatry and the state in rio de janeiro, 1830–1944, by manuella meyer

colonial madness: psychiatry in french north africa, by richard keller

madhouse: psychiatry and politics in cuban history, by jennifer lynn lambe

depression in japan: psychiatric cures for a society in distress, by junko kitanaka

inheriting madness: professionalization and psychiatric knowledge in 19th century france, by ian r dowbiggin

mad in america: bad science, bad medicine, and the enduring mistreatment of the mentally ill, by robert whitaker

#sorry this is SO MANY things lmao #i wld recommend starting with harrington or scull as an intro and then maybe look at one of the more topic-specific texts #depending on what interests you specifically #book recs #psychiatry

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artbyblastweave · 7 months

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An aesthetic decision I really like about the Mad Max setting- focusing on Fury Road in particular here- is that the timeline and the setting deliberately defy coherence. Countless elements of our world have carried over- the guns, the vehicles, the musical instruments, the religious concepts, and nominally some of the actual people- but the world is geographically impossible, you don't see much contemporary architecture even in a ruined state, and there's no version of the timeline where this can be the same Max Rockatansky as the original films. But it is. The incongruities are deliberate. The setting is mythic, these are campfire tales told about Max, the King Arthur or the Omnipresent Jack figure of the new age. The world that was is swallowed in myth, the world that exists is borrowing some of the old world toys, and being up-front and bombastic with signifiers of the mythic and abstracted nature of the setting absolves you of the need to make the worldbuilding make sense- or rather, to make it make sense in the way you'd have to take a stab at if you had a year-by-year internal worldbuilding timeline of How Everything Went Down.

Fallout 1 is not exactly like this. It can't be, because you could kill a man with an overhead swing of the setting bible. But it's tapping into a similar impulse. People in the first game are using old world tech, but they don't really live in the old world; they live in settlements using materials scavenged from the old world, or in old world towns that were unimportant enough back then that their current identity totally overwrites whatever came before. They don't live in LA: They live in the Boneyard, which gives you a pretty good idea of how much of what we think of as "LA" would be recognizable as such if we were exploring the space in first-person perspective. When you encounter an area that has a direct, well-documented, and unambiguous connection to the old world, it's a Big Deal, and they're hard places to get to- places that the average person living their life in the wastes would die trying to access. Of particular note in this dynamic is The Brotherhood of Steel- for all their technical understanding of the knowledge they hoard, they've clearly seems to have undergone a few rounds of Canticle-style cultural telephone, mutating from Recognizably The American Military into a knightly order. Fallout 2 does this to a lesser extent- it has more settlements directly named after their pre-war counterparts- but it's also a game about a society that's starting to pull back together and form into something resembling the old world, for better or for worse. And it reproduces the trend of stuff with a direct, legible connection to the old world being inscrutable and dangerous to outsiders- specifically with the reveal that the Enclave consider themselves to be the direct continuation of the pre-war government, that they've just kept electing presidents out on that stupid little oil rig. I haven't really made up my mind on whether the timeframes of the games- 84 years followed by 164 years- actually work for the vibe they're going for, in particular it doesn't work with Arroyo- but on the whole, the vibe coheres.

You get into the 3d games, and it becomes much harder to continue to pull this off. One major tool that Fallouts 1 and 2 used to maintain that sense of abstraction was the overland travel map; you were visiting island of society in a vast sea of Nothing. You had encounter cells that consisted of burnt-out, looted shells of cities, maybe good for a camp site but not as anything else. Another important tool towards this end was the isometric camera angle. In a topdown worldspace you can scrub out a lot of environmental details that would be immediately recognizable to the player as artifacts of our present society if you were exploring the space in 1st person. The examine button can feed you vague, uncertain descriptions that convey enough detail to make the item recognizable while also conveying that there's been a level of information decay. Once you move into a 3d worldspace you lose both of these elements- the worldspace is what it is, I can walk across it in eleven minutes stripping it for loot as I go. I can read every sign on every still-standing building, and I've got eyeballs on every old-world bit-and-bobble with a handy interface description of what I'm looking at. And you hit random encounters in the 3d games at basically the same rate, in real-world time, that you did in the isometrics- but the isometrics could successfully abstract it out to represent that you were hitting something noteworthy every couple of weeks, while in the 3d games it's kinda inescapable that you keep getting jumped every single day walking back and forth up the same stretch of road. Not only is it recognizable, it's cramped.

I think that Fallout 3, to its credit, did a decent job of navigating this and trying to maintain the islands-in-a-sea-of-nothing vibe from the isometrics- most of the settlements are built slapdash in places that were obviously never intended for long-term human habitation (bomb craters, overpasses, suburbs), the landmark-heavy city proper is textually a difficult-to-navigate deathtrap, and the poison-sky green filter, memeworthy as it is, does help shore up the impression that you're inviting death by trying to move through the space. Fallout: New Vegas I think addresses this by going in the total opposite direction; It's set in an area of the country where the infrastructure was abnormally well preserved, and the pre-war culture was revived artificially, and from a thematic standpoint it's really interested in digging into the implications of those two things. The fact that the lonely-empty-decontextualized-void aesthetic isn't long for this world dovetails well with the cowboy themes. They have a fair number of future-imperfect context-collapse gags but they don't overdo it by any stretch of the imagination.

Fallout 4, from many directions, is sort of catching the worst of the heat here. The world is recognizable, aggressively so. In fairly-authentically recreating the suburban sprawl of the Northeast, Bethesda simply surrounded the inhabitants of the commonwealth with too much Boston for a sense of true distance from our world to be possible. Everyone still has the accents. They still know the names of all the old neighborhoods. They're still doing the "Park your car" bit. It's still Boston. And it's a busy Boston, too- you can't throw a rock without hitting a farming settlement that's doing well enough to attract tribute-seeking bandits. It's densely packed with points of interest, and those points of interest are packed to the brim with salvageable materials that, going off of the new crafting system, should be in enormous demand to the people who've been living in this area for 210 years. The game doesn't really advance a satisfying explanation, even an aesthetic explanation like fallout 3's poison sky, for why everything around you hasn't been stripped clean before you even came off the ice, why all these environmental storytelling tableaus are just waiting for you to find. It doesn't spend nearly enough time hammering out what the 200-year chronology of the most-livable area seen in a Fallout game looks like- Why don't you see something comparable to the NCR emerging? Something something CPG massacre (which is mentioned twice in the whole game, AFAICT.) And what's being lost here, right, is the ability to use the sands of time to smooth over rough spots in the worldbuilding, in the chronology. You can't hide behind the idea that the world you're experiencing is mythologized. It's presented as real, and it doesn't make much sense if it's real!

And to top it off- Fallout 4 probably has the highest density of characters who were actually there, by some means or another. The Vault Tec rep, Daisy, The Triggermen, Nick Valentine, Eddie Winter, the vault 118 inhabitants, Arlen Glass, Oswald, Kent Connolly, The whole of Cabot House, Captain Zao, The kid in the goddamn fridge and his goddamn parents, and uh. The big one. You. You, the player. Which is such a goddamn splinter under my skin, from a storytelling perspective. You were present in the before-times- but only nominally, only to the exact degree necessary to establish that that was the case. The ugly shit is alluded to, but not incorporated into the character's day-to-day in a way that's obvious to the player, you're there for like six minutes and it's pretty nifty if you overlook that bit at the end where everyone got nuked. Your ability to talk about the world before is always vague, vacuous, superficial. The dirty laundry you dig up on terminals around Boston never seems to meaningfully impact your character's worldview, their impressions of the then and the now. All of which combine to make this the simultaneously the most specific but also the most frustratingly vague game in the series. At its best, Fallout's love of juxtaposing the then and the now would make it a great setting for the Rip Van Winkle routine. But it requires a strong, strong understanding of what the world was like before and after, a willingness to use the protagonist to constantly grind the jagged edges of those things against each other, a protagonist with a better-defined outlook than Bethesda's open-ended-past approach allowed for- and it has to be in service of a greater point. And for Fallout 4 to do anything with any of that, the game would have to be about something instead of being something for you to do. Maddening. Maddening.

#fallout #fallout meta #thoughts #meta #fallout 4 #fallout 3 #fallout new vegas #fallout 1 #fallout 2 #fallout analysis

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nerdby · 2 months

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Just want to share these interviews with Chuck Palahniuk, the author of the horror novel Fight Club, about his thoughts on toxic masculinity and his book being used as an incel Bible. Long-story short, the dude comes off as a pretentious asshole who is completely devoid of artist integrity -- he doesn't give a shit about toxic masculinity or the impact his work has on society, negative or otherwise. He is the living embodiment of the phrase rich, white, cisgender gays will be the end of the queer community.

#random #books #books and reading #horror novels #horror genre #psychological horror #psychological thriller #horror nerd #bookworm #book nerd #bibliophile #chuck palahniuk #fight club #toxic masculinity #lgbtq community

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anthronewb · 5 months

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Anthropology is a reflection of the Prominant Political/social beliefs of the time

Anthropology is the study of what makes us human. Anthropologists study various cultures (past to present) to better understand them, and the data collected is used to develop anthropological theories. Despite claims of the research/findings being unbiased, factors such as the prominent political and social beliefs of the time influence the anthropologist's research (unintentionally or intentionally). Due to these factors, it is important to examine the prominent political and social beliefs of the time when reexamining anthropological theories.

When you create a timeline of anthropological theories alongside the political and social beliefs of the time, it's clear to see the influences.

18th century

Anthropological theory

Unilineal Evolution: Presented the e idea that there was a sequence of stages that all cultures would go through (Long & Chakov, 2017). Those cultures may not necessarily go through the stages at the same time or pace but would go through the same developmental stages. This would be most popularly become known as the Three Age system. The categories being; THe Stone Age, Bronze Age, and Iron Age. Each indicative of the stage of development through technology

Physical Anthropology: “scientific” approach to study the development of different racial groups. Studies humans through their biological and physiological characteristics to study human development.

Cephalic index: calculations from the measurement taken of the skull. It measured the breadth and length of the skull, which would be then used for the classification of racial groups.

Samuel Morton, a physician furthered this research and linked cranial capacity with moral and intellectual endowments and assembled a cultural ranking scheme that placed large-brained Caucasoid at the pinnacle

Anatomist and natural historian Johan Friedrich Blumenbach believed racial differences were due to adaptation to different environments

Social and Political Beliefs of the time

Enlightenment period: The biggest influence on the formation of scientific development. There was a push away from the religious doctrine, in favor of a more science-based view of society.

There was also an increase in encounters with non-Europeans with the emergence of the Trans-Atlantic Slave trade.

These factors combined to develop an interest in the scientific notion of race

Despite the push away from religious doctrine, scientific thought was still developed based on religious knowledge.

E.g. the Bible story Adam & Eve

They were believed to be Caucasian, making Caucasians the ‘superior’ race, and thus anyone else was inferior.

The main takeaway is that Caucasians were the Superior Race (more specifically Germanic) and all other races delineate from them making them inferior.

These ideas of racial superiority/inferiority would be used to support racist ideologies. Nazis would use this to support their movement.

1920’s-Boasian

Boasian Anthropology: A theory developed by Franz Boas, who is considered the “Father of American anthropology”

These consisted of Boas’s theories on culture and its development.

Cultural Relativism: We must make evaluations based on other cultures rules/beliefs and not our own. Using our own culture as a basis for analyzing other cultures results in biased research.

Boas would argue that “classificatory schemes of evolutionary theory dividing the world into “savage” "barbarian," and "civilized" peoples were "artificial," their pretensions to universal, scientific validity marred by their grounding in Western values.

He would ignore the predominant theories in favor of conducting research.

Social and Political Beliefs of the time

There wasn’t much change in political and social beliefs of the time, but much of the research was influenced by the cultures that were studied. The idea of cultural relativism was influenced by the cultures that boas studied, specifically his study of the Inuit people.

Boas would study under ethnologist Adolf Bastian, a person who believed in “psychic unity of mankind” (idea that all humans held the same intellectual capacity and all cultures were based on the same mental principles)

This would cause a shift in Boas’s approach to his study of the Inuit people.He wanted to understand Inuits as they understood themselves, rather than through his lens

Boas would influence anthropological theory into the mid-twentieth century as evidenced by his students like Zora Neale Hurston

Mid-20th century to the Present

There was a push for a more scientific-backed discipline. Processualism as it would later be classified as was first introduced by Lewis Binford. He believed that there was a certain way that anthropological research should be conducted. His main goal was to develop the

field into a “hard science” by using the scientific method. His focus was on the sub-category, archaeology and how the material evidence was identified.

Archaeological data would be classified into either Technomic (technology/tools, socio-technic (social/relation to social subsystems), and ideo-technic (ideological/ rationalizations in social system)

There was a push for reflection of traditional anthropological research- especially that of the study of race/racism.

Tody anthropological theory mostly focuses on the reflection of traditional anthropological theories

A launch of a public initiative titled, “Race: Are We So Different?” by the American Anthropological Association (AAA)”

Social and Political Beliefs of the time

There was a rise in criticisms and challenging of early anthropological theories. This was due to the rise in the fight for equality by several groups (women, gays and lesbians, African Americans, and Native Americans) with The Civil Rights movement being one of the largest movements.

This was evident by the rise in more people of color entering the discipline.

Processualism as a whole was mostly influenced by the academic community and trying to make it into a scientific discipline. A byproduct of this was ignoring the racist ideologies of past anthropological theories

There was a continued push for reflection and change in the academic community following the Civil Rights Movement.

Anthropology not influenced by society?-Counter

With the use of science, there was this idea that it created an unbiased way of interpreting information, and the outside factor was irrelevant. While it is true that science can be objective, scientists aren’t. Scientists choose what they study and can interpret data in different ways. Due to this, science will only ever offer a glimpse of objectivity. Physical anthropology used a scientific justification with the use of the cephalic index and the systems created based on the data collected for racial classifications. It is important to recognize that just because something claims a scientific basis, doesn’t make it so.

What does it mean when there is anthropological theories developed counte the predominant anthropological theory? Anthropologist like Gordon V. Childe was heavily influenced by Marxist theories. He developed/presented his theories during a time in which Marxism was heavily criticized. While he was still able to publish his works, it was much harder and prevented him for being recognized for his contributions to the field.

Just because there are examples of anthropologists developing theories counter to the prominent political and social beliefs of the time, it doesn’t mean that there can't be a relationship between the two. Rarely in life do you see everybody agree on a single thing. Take “4 out of 5 dentists recommend (blank) toothpaste” for example. The overall opinion of the toothpaste doesn’t change if one disagrees. In the case of anthropological thought/theory, anthropologists remained influenced by political/social beliefs.

While these are good reasons to dispute my claims, there isn’t enough data to support this claim.

Conclusion

The evidence supports the idea of the inter-connected relationship between prominent social/political beliefs and anthropological thought/theory. From the foundation of early anthropological theories in the eighteenth century to the present, anthropology has been formed and reformed by the ideological movements of its time. Creating a lens through which anthropologists can view and interpret cultures, reflecting the wider societal mindset, and forming a dynamic relationship between Academic research and the cultures it seeks to understand

Much of early anthropological thought/theory was rooted in the personal biases of the anthropologists conducting research. They would use religion and “science” (what we would call today pseudoscience) as justification for their beliefs. Franz Boas would become one of the first anthropologists to question this idea as his research found that the earlier thought/theory didn’t reflect his findings. This would later be called Boasian anthropology (named after its creator). This would be the driving belief into the 1960s, where anthropology would then focus on the criticism of early anthropological thought/theory and processualism which was influenced by the many movements pushing for equality. More anthropologists of color and more research on black culture were conducted. Today we still reflect on and criticize early modes of anthropological thought with the continued push for equality.

In conclusion, some may try and argue that there is a distinction between predominant social/political beliefs and anthropological thought/theory, its relationship is undeniable. To study anthropology is not to view it statically but dynamically. It is important to recognize that anthropology isn’t just a story about a culture it studies, but also about the anthropologist’s narrative and how it is influenced by society.

#anthropology #history #university of maryland

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contemplatingoutlander · 5 months

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"What influence, in fact, have ecclesiastical establishments had on society? In some instances they have been seen to erect a spiritual tyranny on the ruins of the civil authority; on many instances they have been seen upholding the thrones of political tyranny; in no instance have they been the guardians of the liberties of the people. Rulers who wish to subvert the public liberty may have found an established clergy convenient auxiliaries. A just government, instituted to secure and perpetuate it, needs them not." --James Madison, Memorial and Remonstrance Against Religious Assessments (1785)

This is an excellent article by Timothy J. Sabo. It is a long article, but well worth reading. Sabo refutes all the claims by "Christian" nationalists that the Constitution was "inspired by God," and that the Founders wrote the Constitution based on a Christian understanding of God's will.

The BIGGER Lie is the misconception that the U.S. Constitution was “inspired by God.” Let me paint the picture for you. “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness — that to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed…” You know these words, right? They are NOT in the U.S. Constitution. They are from the Declaration of Independence. [...] The Founders had their own faith-based beliefs which varied greatly, but they did not incorporate those beliefs into the U.S. Constitution. While the Declaration of Independence strives to connect us with a Creator who guarantees “unalienable rights,” the Constitution never mentions either. [...] The Founders wrote a lot about liberty, and equality, but those were words meant for them — the white men who would rule the nation. These were concepts that were never supposed to come to fruition for those “undeserving” souls: the indigenous tribes, African slaves, and women.

Sabo goes on to show just how much the Founders believed "liberty, and equality" didn't apply to indigenous people, Blacks, and women--and how the "Christians" back then used the Bible to justify slavery, second class citizenship for women, and the right to conquer the "savages" who inhabited the land.

Sabo also refutes the idea that "unalienable rights" come from the Biblical God:

"When we compare the Word of God to the Laws of Man, the most interesting fact we find is that the God of the Bible never mentions any “unalienable rights.” Instead of granting Man rights, God laid out commandments for Man to follow; quite a big difference from what God demands and what the American government granted."

As further proof that the Founders did not consider the U.S. to be founded as a Christian nation, Sabo points to the 1796 U.S. Senate ratified Treaty of Tripoli, which states in Article 11:

If the Constitution — the foundational legal document of the nation — was inspired by God, why then are the Founders, just five years after ratification, stating that the United States is not in any sense founded on the Christian religion?

Read the article for more debunks regarding the right-wing "Christian" nationalist belief that the U.S. Constitution was inspired by God and that the U.S. was founded as a Christian nation. But here's one last thought from Sabo:

The Founders were not “inspired by God” when writing the new Constitution. The truth is they were “inspired to keep God out of it.” What if America, the great nation “created by God for Christians” was created by men who decided to keep God out of the foundation of the nation? What if those Founders were not “inspired by God,” but instead were inspired to keep God out of the business of the government entirely?

_______________ *NOTE: The 100 million excess indigenous deaths in the Americas is an estimate. According to D. M. Smith (2017), some modern estimates can be as low as 70 million, although Smith estimated 175 million excess indigenous deaths in the Western Hemisphere from 1492 – 1900. Smith also estimated 13 million excess indigenous deaths from 1492 – present in the lands that now constitute the U.S. & Puerto Rico. All images (before edits) via source Thanks to @wtfnameisavailable for a comment on this post that led me to the above article by Timothy J. Sabo.

#us constition #chirstian nationalist debunk about consitution #separation of church and state #timothy sabo #medium #my edits

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oksurethisismyname · 29 days

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Hiiiii as a queer person living in the Bible Belt of the USA, I’m envisioning a “Christian trauma AU / general theology AU” because you know my main focus is always Sanji. This assumed that we’re in the USA, modern era, and I guess maybe a college or post grad AU for how they meet each other? This is a lonnnnnnnng text post so scroll at your own risk. To keep it from being toooo long I’m also sticking to east blue crew.

Hear me out:

There are a million different sects of Christianity so we’ve got a ton of angles to use.

Garp is catholic (but think FRENCH laïcité instead of American Amy Coney Barret Supreme Court justice weird catholic cult), Dragon straight up rebels against the strict structure and goes about his atheist ways. Neither of them really raise Luffy anyway so 💁🏻

Luffy ends up being agnostic. It’s not that he doesn’t believe in a higher power but he knows he needs to take action and that he can’t rely on a higher power to fix the problems of the world. Very Albert Camus, revolting against the absurd and holding himself to a higher responsibility in life

Zoro comes from a Shinto or Buddhist background. He’s not judging anyone’s religious beliefs unless they’re harming others.

Nami has religious trauma from the Baptist church that set up in her town and made it impossible to be herself. Belle Mere is so clearly queer and she’s harassed and dies at the hands of some zealous bigots who were emboldened by the words of the local Baptist church pastor (Arlong)

Ussop comes from a chill Protestant background (maybe Presbyterian?) But he’s more of a CEO (Christmas Easter Only) in terms of actually attending any sort of church. Honestly, with his dad out of the picture and his mom dying, he just had bigger things on his mind like living every day.

Finally, Sanji. Oh boy, Sanji has major “Quiverfull movement Christian” trauma from Judge. For those who don’t know, quiverfull is a Christian extremist movement where the idea is to have as many kids as possible and adhere to very strict purity rules and gender roles. Contraception isn’t allowed. Women wear long skirts and non fitted shirts to hide their womanly form (ew), and most of the time these parents homeschool there kids to avoid the “temptation” or “impurity” of modern society.

Judge had these 5 kids who he’s raised in this faith but Sanji never liked how Judge treated his mom. Why was Sora supposed to be “seen and not heard?” Why was it ok for his brothers to use scripture to bully and hurt and spread hate? Why would a loving god create women just to subjugate them? Judge wouldn’t like this, and once Sora passes away (probably because Judge wouldn’t let her seek medical care post birth of the quadruplets, so her health deteriorated for years), Judge locks him up and makes him do all sorts of horrible “prayer” and “repentance” practices, which are really just abuse.

Sanji would maybe escape when they go into town to get something mundane like a printer or a new wifi router (which only judge is allowed to use the internet). He’d probably bolt first chance he gets and when he meets Zeff, Zeff can recognize the signals of abuse. He takes Sanji in and even though Sanji never believed women were less than men, he still has years of trauma and gender roles beaten into him that he has to unpack.

His choice to cook? That’s a huge rebellion. Wearing tight fitting suits that look sinful? That’s a middle finger to his dad. He always treats women like goddesses because he feels so much guilt for the sins of his father. When he finally joins the Strawhats, he’s so overwhelmed with how free and nonjudgmental they are (of important stuff, obviously they’ll still poke fun at small stuff) that he feels comfortable dropping little comments here and there, opening up.

Ussop will be comforting Nami about something and sanji will tell him is so refreshing to see a man be so nurturing. He goes to Ussop often, asking how he’s so confident sharing his emotions.

Nami will be ordering them around and he’ll do everything she says with a smile, just happy to see her free to do what she wants (which is be a bossy bitch)

Zoro will talk about Kuina one night and Sanji will sob, overwhelmed with joy that she got to have all that strength and a friend like zoro even when faced with hurtful gender expectations.

Luffy above all is the most jarring for him. He grew up hearing about sin and sinners and temptation and evil but when he sees Luffy doing his thing, taking down bad people, fighting for the underdog, he knows that if there is a God (he she it they? Who cares), Luffy is doing their work.

——————

Bonus Gay Cherry on top is that Sanji meets Iva and gets into drag, starts performing, does some events, and through that gender liberation is able to find some peace in who he is, tucking away all the hate he was born into. And he ends up with zoro the end bye

#too long don’t read #one piece christian trauma au???#east blue crew au text post #black leg sanji #monkey d luffy #east blue crew #one piece #text post #cat burglar nami #god usopp #sanji #roronoa zoro

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justgottafinishthischapter · 1 year

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The Subcategories of Fantasy

As an author who loves Fantasy, I wanted to help my fellow writers understand all of the different elements that fantasy can fall under, ranging from the well-known to the specific. I figured that doing so could help other writers like myself understand exactly what sort of story they’re writing, and how these stories differ from one another. I’ll also be giving examples of these types of stories, as well as my own thoughts on the different genres at the end.

What is Fantasy?

Fantasy in its simplest term, is any form of media that diverges from the mundane reality of our ordinary everyday world in one facet or another. A story does not need to have magic, or dragons, or princesses to be called a fantasy story. While those are common motifs, in truth, all it takes to be considered fantasy is to not adhere to the real world in one form or another. Good Omens is a fantasy story, despite having no dragons or princesses anywhere. A Song of Ice and Fire has dragons and princesses, but magic is scarce and seldom ever seen. The Song of the Sea has a lot of magic, but a lot fewer dragons.

MEDIEVAL FANTASY

The story takes place in a fantastical world of the author’s design with a medieval or renaissance inspired setting, world view, and/or political structure. Renaissance Fantasy doesn’t really tend to exist on its own, so any setting with Renaissance aspects tends to just get lumped in with Medieval Fantasy. I don’t even really need to explain this one to you. It’s the most common subgenre of fantasy. A medieval fantasy does not have to be set in the real medieval period of Earth’s history, but rather, a medieval fantasy is any story set in a fantastical world that makes use of a medieval-based society as its setting.

HISTORICAL FANTASY

This is a story in which fantastical elements are included in real world historical settings. This is any historical setting where there’s a King of England but also a dragon or trolls to deal with. There’s almost this sort of unspoken rule that any story set in Ancient Greece will inevitably be Historical Fantasy. Arthurian Fantasy, Mythology Fantasy, and Fable Fantasy could all be considered subcategories of Historical Fantasy, since most instances of these genres would be classified as Historical Fantasy, though there are exceptions. As an example, Once Upon a Time and the Fables comics series are both Fable Fantasies, but are not Historical Fantasy. Likewise, Rick Riordian’s Percy Jackson-verse is clearly Mythology Fantasy, but is not Historical Fantasy. Classic examples of Historical Fantasy would include tales like Beowulf, The Journey to the West, and Robin Hood. It’s worth mentioning that technically, a story is not Historical Fantasy if it’s set in the era it was written in. However, the Illiad was set in Mycenaean Greece, Robin Hood’s rivalry with Prince John was a later addition to the folklore, and most Arthurian mythos was penned long after the supposed real world figure might have lived and died. But, any story set in a contemporary modernity, such as Percy Jackson, will eventually become Historical Fiction as time moves forward, though it clearly was not written to be that way.

MYTHOLOGY FANTASY

Angels, Demons, Gods, the Underworld, mythological heroes, this is a supercategory that encompasses everything from The Chronicles of Narnia to Supernatural, as well as Good Omens, American Gods, Sandman, Rise of the Guardians, Percy Jackson, Paradise Lost, Helluva Boss and Hazbin Hotel, Smite: Battleground of the Gods, Teen Titans, Dante’s Inferno, and Lore Olympus. Some people get squeemish about lumping Judeo-Christian ideologies in with Mythology (even though it is a mythology) such that the Christian sub-category sometimes gets called Religious Fantasy or Bible Fantasy. But regardless, this is the category for any sort of fantastical work in which supernatural forces are at work. Some divide this section differently. For instance, some will say that since faeries are part of Irish mythology that faeries count as part of mythology fantasy, while others will argue that this is more for the religious aspect of fantasy, with things like vampires and faeries relegated to a subcategory of more generic fantasy creatures.

ARTHURIAN FANTASY

The story revolves around Arthurian mythos. Whether it’s set in the real world of Britain, a fantasy counterpart to Britain, or in some author-created setting, King Arthur is still King Arthur. Sometimes, though very rarely, Arthurian stories have little to no magic, fusing this subgenre with Historical Fiction and not Historical Fantasy. While Arthurian mythos has evolved over the years, the big players are practically household names. Most people are unfamiliar with Sir Galehaut and Sir Dinadin, but almost everyone recognizes Arthur, Guinevere, Lancelot, Merlin, and all the other big players in Arthurian folklore. However, Arthurian myth effectively spans the entire breadth of the Medieval Period, first being mentioned in the Annaels Cambriae which places Arthur in 6th Century Britain, and his stories continued to be written until Le Mort d’Arthur in 1485. Keep in mind, the Medieval Period is from 476 - 1500, and Arthurian mythos spans about 800-900 of those 1,024 years. Due to his story spanning so much time, many elements of Arthur’s story have been forgotten or quietly put aside over time. Try to tell someone that Arthur put every newborn born in the month of may on a boat and sank it to prevent the prophecy of Mordred from coming true, and you’ll probably get a bunch of horrified looks from people who swear up and down that the Good King Arthur would never do anything so cruel. Even other elements shifted around. Ask who mordred’s parents are, and you could argue Arthur, Morgan le Fey, Morgause, Anna, King Lot, and more. Depending on how deep down the rabbit hole you’re willing to go, you can read stories of King Arthur fighting his nephew Oberon for control of Fairyland. Arthurian mythos, like mythology fantasy, tends to get the curbside drive-by approach. People repeat the elements they’ve heard a million times, while never dusting off any of the lesser known elements that would give the story a breath of fresh air.

FABLE FANTASY

Technically, all Arthurian Fantasy falls under this umbrella. Fable Fantasy is the genre term for fantasy based on fables, folk tales, and folkloric figures. Robin Hood, Reynard the Fox, Fairy Tales, Mother Goose, Baba Yaga, if it has persisted through generations of storytelling, and has had a lasting impact on the cultures that know the story, it can be considered a Fable Fantasy. Any story that pulls from these elements can likewise be considered Fable Fantasy because they are pulling from these fabled origins. So, a retelling of Beauty and the Beast is a Fable Fantasy... unless the storytelling has twisted the story so much that it’s no longer in the Fantasy genre. For more variations of this genre, well-known pop culture characters, much like Robin Hood and Fairytale characters, can be considered Fable Fantasy. So, Frankenstein’s Monster, Dracula, Santa Claus, the Grim Reaper, Peter Pan, the Phantom of the Opera, the Wizard of Oz, and other commonly retold folk characters can be thought of as more contemporary Fable fantasies. As such, both Wicked and The Phantom of the Opera can be considered Fable Fantasy musicals, as well as the more obvious Into the Woods. Once Upon a Time and the Fable comic series are both modern Fable Fantasy stories. Not all Fable Fantasy narratives are retellings of classic folktales. Peter Rabbit, Alice’s Adventures in Wonderland, Peter Pan, and The Wizard of Oz have all become widely considered folkloric staples, despite being written in the 19th and 20th centuries. Over the Garden Wall, a Cartoon Network miniseries from 2014, is considered to be a modern fairy tale, despite not being an adaptation of any other story, but instead using the tropes and ideas common to traditional old-school fairy tales. When they enter the public domain, I suspect that Dr. Seuss’ characters will likewise be effectively Fable Fantasy, well-known characters that see use and reuse over and over again in other media. Shrek and Disenchantment take a satirical approach to Fable Fantasy, poking fun of Disney and other fairytale narratives and tropes.

HISTORICAL ROMANTICISM

This setting often goes hand-in-hand with Arthurian Fantasy and Fairy Tales. This is any story that romanticizes and glorifies life in a historical setting. Popular variants include Medieval Romanticism, stories which romanticize medieval settings, Victorian Romanticism or Edwardian Romanticism, for stories that romanticize the time period between 1837-1913, and Period Romanticism, which is more of a blanket term that glorifies the eras popular with Period movies, namely, the 19th century, but sometimes earlier as well. Full of handsome princes, fair damsels, large palace-like castles, and knightly codes of honor, historically inaccurrate period gowns, debutante balls, and steamy Jane Austen-style love affairs, this story paints the past with the most optimistic and flattering image possible. Everything is flowery, poetic, and awe-inspiring. This is the type of setting Sansa Stark thought she was in at the start of A Game of Thrones before G.R.R Martin pulled the rug out from under her and revealed Westeros to be a Cynical Low Fantasy. By the very virtue of the company’s child-friendly marketing, Most Disney movies, and by extension, most movies set in the past aimed at children can likewise be categorized as Historical Romanticism, as they brush the darker side of history under the rug. The Princess Bride, Bridgerton, Don Bluth’s Anastasia, and most versions of Robin Hood and Arthurian mythos fall into this category. For contrast, Downton Abbey is not Edwardian Romanticism even though it tries to make life in the 1910s look glamorous, it’s also not afraid to blatantly point out the economic and socio-political issues that were going in in the world at the time. Downton Abbey does not sugar coat the darker side of history, and can therefore not be considered Historical Romanticism.

HISTORICAL CYNICISM

The exact opposite, Historical Cynicism is the name I give to settings that use the trope “The Dung Ages”. Like Historical Romanticism, the most popular variant of this category is Medieval Cynicism. These settings seek to make life in historical time periods look as miserable and depressing as possible. They are designed to make life seem bleak, undesirable, and disgusting. Monty Python and the Holy Grail and Disenchantment take a comedic approach to this, while A Song of Ice and Fire gives a more Epic Fantasy take. Sweeney Todd makes life in Victorian London look positively putrid, and that’s without the cannibalism subplot. The Witcher games seem to merge Medieval Cynicism with Dark Fantasy and Horror Fantasy. This subgenre hinges on Dark Fantasy, but the two are distinct from one another. Expect plenty of plagues, muted color pallets, a cruel aristocracy that enjoys crushing the lower classes under its heel, and mud or dung on everything.

HIGH FANTASY

Magic and fantastical elements are abound in this setting. Expect wizards, dragons, fantastical races, and more. Very frequently overlaps with Epic Fantasy, though they are different. The Lord of the Rings is classic High Fantasy. Most Dungeons & Dragons settings are also High Fantasy, as is The Legend of Zelda. Avatar: the Last Airbender is a High Fantasy Wuxia show, though Legend of Korra veers more toward Historical Fantasy, Steampunk, and Magitech Fantasy with its 1920s Shanghai meets New York City hub location of Republic City. The Elder Scrolls is also a High Fantasy, with plenty of elven races, the Beast Races, and star signs that actually impact those born under them. Each province has its own sort of vibe or subgenre, with High Rock being more Medieval Romanticism while Skyrim is more Dark Fantasy or Medieval Cynicism, but as a whole, Tamriel falls under the High Fantasy umbrella.

LOW FANTASY

A medieval setting where magic and fantastical elements are rare, if not nonexistent. A Song of Ice and Fire is an excellent example. Magic is real and does exist, but it only rarely comes into play. Magic is extremely scarce, and most people one might meet are humans. Even the sight of someone casting the simplest spell is so rare in Westeros that it’s practically unheard of, and the few supernatural elements that do exist in the setting live far out into the wilderness, rarely being seen by people. It’s quite rare to find completely fictional fantasy settings with no magic whatsoever, but they do exist.

EPIC FANTASY

This is any fantasy story on an epic scale. I’m talking well over 50+ named characters. A Song of Ice and Fire, The Wheel of Time, Lord of the Rings, all of these are Epic Fantasy. Yes, these stories usually end up with long book series and a lot of words behind them, but I am defining a genre, not a reading level. Epic Fantasy is about scope, not page length. Common sights in Epic Fantasy are grand battles, multiple POVs, world-spanning events, extremely high stakes, very powerful players in the narrative, and The Final Battle Between Good and Evil.

QUEST FANTASY

Any fantasy work which is primarily driven by The Epic Quest. Often overlaps with Chosen One narratives. Lord of the Rings, Eragon, The Legend of Zelda, Avatar: the Last Airbender, and the Percy Jackson books are all examples of Quest Fantasy. The bulk of the narrative is centered on The Journey and the trouble the heroes run into along the way, or are otherwise all about The Adventure, not the destination. Our band of heroes have a goal given to them and the story is focused on following the heroes on their journey. However, this is not strictly a Chosen One category. The Legend of Korra is a Chosen One Fantasy, but is not a Quest Fantasy because Korra’s main objective changes every season. Percy Jackson toes the line due to the Oracle’s prophecies, but I wouldn’t call him a Chosen One because his birth wasn’t written in the stars or anything. He just happens to be a child of Poseidon and at the center of the story. If you switched him out for Nico di Angelo or Jason Grace, the story is still functional. In Lord of the Rings, Aragorn is the True King, but Frodo is the protagonist, so I wouldn’t call Lord of the Rings a Chosen One Fantasy either. This can also tip into other genres. Monty Python and the Holy Grail is a Quest Fantasy. The entire premise of the movie is Arthur and his knights questing for the Holy Grail. Likewise, The Princess Bride is all about Wesley’s quest to rescue Princess Buttercup from Prince Humperdink. Treasure Planet is a steampunk quest fantasy telling the story of Jim’s search for Flint’s treasure, where the journey there is the bulk of the story. Sinbad: Legend of the Seven Seas is a quest fantasy with elements of Historical Fantasy and Mythology Fantasy all about Sinbad’s perilous voyage to the edge of the world to save his friend’s life.

DARK FANTASY

It’s like normal Fantasy, but bleaker and darker. The Witcher and Skyrim are good examples of Dark Fantasy, where monsters roam the wilderness, and people live in fear of the unknown beyond the safety of their villages. The general tone is more cynical, desolate, or hopeless. Some Dark Fantasy is more about just being gloomy or creepy. The movies Labyrinth and Dark Crystal are two good examples of a Dark Fantasy that’s less bleak as they are weird, yet still dark. The Black Cauldron is a perfect example of a Dark Fantasy with a dreary and macabre aesthetic paired with a genuinely horrifying necromancer villain. Pan’s Labyrinth is another good example of a Dark Fantasy. Over the Garden Wall and A Tale so Dark and Grimm are both Dark Fantasy stories as well as Fable Fantasies, reveling in the darker aspects of Grimm fairy tales.

HORROR FANTASY

It’s like Dark Fantasy, but scarier. Expect there to be horrifying monsters unlike any seen on earth. Your protagonist is probably either hunting or being hunted by something horrible. Either a monster is trying to kill them, the world is trying to kill them, the gods or demons are trying to kill them, or magic is trying to kill them. Again, The Witcher is a great example of Horror Fantasy. Geralt is a hunter of monsters, and often fights things like Werewolves, ghouls, wraiths, and lesheys. Red Riding Hood (2011) is a great example of a vaguely medieval Horror Fantasy. Depending on where you stop the line at what’s horror, what’s fantasy, and what’s Horror Fantasy, you could justify just about anything as Horror Fantasy. From The Elder Scrolls V: Skyrim with its undead Draugr and vampire clans, to Resident Evil VII with its vampires, or even certain Scooby-Doo! media (though Scooby-Doo! is certainly on the mild end of horror.)

PARANORMAL FANTASY

Unlike Dark Fantasy or Horror Fantasy, Paranormal Fantasy takes horror elements and spins them to be more romantic. This is where you’d slot in romantic or atmospheric ghost stories. Tales of witches and vampires in a macabre setting where they’re not the villains. The Addams Family fits the Paranormal Fantasy, as does Sweeney Todd, Sleepy Hollow, The Phantom of the Opera, Hotel Transylvania, most Scooby-Doo! media, Beetlejuice, the Halloweentown movies, The Nightmare Before Christmas, or Hocus Pocus. Basically, if it could be a child-friendly Halloween story, or was made by Tim Burton, it’s probably Gothic Fantasy. I guess you could also call this Monster Fantasy, Gothic Fantasy, or Spooky Fantasy.

CONTMPORARY FANTASY

The setting is medieval with castles and princesses, but there’ll also be modern conveniences or nods to pop culture in the land and setting. Dave the Barbarian is a good example of this. The royal family are all barbarians (which basically just means vague warriors that wear fur loincloths), but then they also have malls, and Dave made a megaphone out of a squirrel, some string, and a megaphone. Shrek does this too, especially in Far Far Away with nods to Starbucks and Burger King, among other modern franchises. Disenchantment also uses this as a basis for comedy. Typically, Contemporary Fantasy only uses modern conveniences in a medieval setting as more or less sight gags, punchlines, or to poke fun of corporations and consumerism. These are also the fantasy stories most likely to reexamine tropes and shine a critical light on the genre, whether by showing the farm-boy turned king being royally inept, the mental issues caused by locking the princess in a tower for years of her life, or how quickly princesses married the first man that came along without so much as a conversation beforehand.

URBAN FANTASY

The wizard has a smartphone, the prince has a Grindr, and the city watch patrol the streets on motorcycles. A standard fantasy world has come to the modern age, with skyscrapers, internet, cars, and cellphones. The familiar world gives the audience a firmer foot to ground themselves in this sort of story, compared to something set in the past, but it has its own hurdles. Namely, a modern world still needs a rich history. You also need a story that can’t be solved with a gun and an internet connection. Urban Fantasy is a very broad genre, from Hidden World Fantasy like Percy Jackson or Harry Potter, to Merged World Fantasy like RWBY. There’s also some head scratchers like the Warriors Cats books. It’s definitely Urban Fantasy. A cat society living in the forest is a fantasy, and the story is set in our modern contemporary world. But labeling the series beyond Urban Fantasy is where it gets tricky. Isekai borders on Urban Fantasy, as the magical overlaps with the modern world. The Magic Treehouse and the Arthur Spiderwick Chronicles are two great examples of Urban Fantasy in children’s literature. Goosebumps is Urban Horror Fantasy.

ISEKAI FANTASY

These are stories in which an ordinary human (or group of humans) are transported to another world in order to learn a lesson, grow, and come back home wiser, stronger, and ready to face the problems they ran away from. The Wizard of Oz, Peter Pan and Wendy, Alice’s Adventures in Wonderland, as well as movies like Stardust, Coraline, and Spirited Away, or TV shows like Over the Garden Wall, The Owl House, and Amphibia are all prime examples of this type of story. The Chronicles of Narnia is an excellent example because as the series goes on, the older Pevensee children stop needing to go back to Narnia. By Voyage of the Dawn Treader, Peter and Susan have learned all they need to from the other world, and don’t go back, leaving only Edmund and Lucy to go with their cousin instead. Because their arcs are over, they have no reason to return.

ROMANCE FANTASY

It’s a romance novel with supernatural elements. Usually, it’s a human falling in love with something inhuman, which we often call Paranormal Romance. However, this can also include stories of a fairy falling in love with a dwarf, so there’s a wider net here. This isn’t just a story with a romantic subplot, this is your Romeo and Juliet type love stories. Your Beauty and the Beast retellings. The romance is the main plot, and the supernatural elements simply make the romance more exciting or the problems of the couple more entangled in cultural baggage. Obviously, Twilight is a popular example, as is The Cruel Prince, The Captive Prince, and Of Beast and Beauty by Stacey Jay.

MAGITECH FANTASY

This is when a fantasy setting has magic-powered technology. The guardians and Divine Beasts from Breath of the Wild are a fantastic example of Magitech in a medieval fantasy setting, as are the steam-powered automatons of the Dwemmer in The Elder Scrolls. The Legend of Korra sort of fits here. The world of Avatar has advanced to include airplanes, cars, and radios, none of which are powered directly by bending, but benders do work in power plants, performing lightning bending to generate electricity. It’s certainly a middle ground between steampunk and magitech fantasy. However, the world doesn’t have to necessarily include technology, any setting where magic is a power source for anything can work. Jak and Daxter: The Precursor Legacy is a great example of Magitech Fantasy. Eco is a natural magical resource that give magical powers and effects. So, having doors that open when exposed to the electrical energy of blue eco makes sense. And while it’s never stated, Jak II has many automatic doors in Haven City that may very well run on an electric power grid fueled by blue eco veins. But eco largely gets dropped in the sequel games in favor of guns, though the guns themselves may actually be powered by eco as well. So it’s hard to say. RWBY surprisingly fits into Magitech Fantasy. Like Eco, Dust is a magical natural resource that can be used to create magical effects. The world is full of airships, shape-changing weapons, bullets and other weapons being infused with dust to give them magical effects, and Penny, a definitely real girl.

GASLAMP FANTASY

This is what happens when Steampunk has just enough fantasy elements to land in the Fantasy section. Gaslamp Fantasy is any fantasy story set in the era of gaslamps, while still incorporating fantastical elements. Dracula, Springheel Jack, Mary Poppins, Peter Pan, Sherlock Holmes vs Dracula, basically, as long as it’s set in a Victorian setting and has supernatural elements, it counts as Gaslamp Fantasy. However, it’s definitely one of the less popular subgeneres, and I couldn’t really name any others.

WUXIA

A fantasy setting that focuses more on East Asian history, folklore, and mythology to craft its setting. Wuxia is a broad term, including everything from Spirited Away to Crouching Tiger, Hidden Dragon and Dragonball. However, often times in fantasy, European-inspired regions are complicated and diverse, while Asian-inspired regions are homogenizing, if not orientalist. We can differentiate Irish, Scottish, and Welsh folklore from English, but somehow, not treating all Asian cultures like they’re the same is too taxing for some writers. So, if you’re going to tackle writing Wuxia Fantasy, do your homework, try to make the cultures thorough and intricate, and don’t profess yourself an expert on another person’s culture if you’re not Asian yourself.

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