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soleminisanction · 1 year

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I'm currently reading through tim's history chronologically and haven't gotten super far yet, but there's a question knocking around inside my head, so: how do you think tim views his own masculinity? from previous unorganized readings, I got a bit of a impression that both jack and tim can somewhat old fashioned and conservative in some of the ways they think and yet, tim is both pretty boyish but doesn't always appreciate what jack values as masculine interests and view points... so, how do you think tim views himself in that regard? how do you view him in that regard? does him being queer now change some of those interpretations?

Just to put my cards on the table here, my take on this is very much colored by the fact that I read Jack Drake as a direct parallel for Chuck Dixon.

Chuck is, notoriously at this point, a reactionary conservative, specifically of the racist, sexist and homophobic variety who thinks "I was fired for being a homophobe" is a relatable sob story and who's spent the last ten years of his professional career writing literal Q-anon propaganda and self-published Turner Diaries fan fiction. And his politics often got involved in his stories, especially in the form of throwing female love interests at young men like Tim and Connor Hawke to discourage the reading that they might be gay.

So while Jack is never (to my knowledge) shown to be openly homophobic in the comics, his tendency for conservative opinions and a heavy-handed, sometimes borderline abusive or neglectful parenting style makes me think that it makes sense for him to be a source of similar influence in-universe. I like this reading because it partially recontextualizes the conflict between Tim and his father into a metaphorical conflict between Dixon as a writer and the character he only thinks he has total control over.

As for how that affects Tim's views on masculinity... I guess the simplest way to put it is, it's complicated? A part of me is always tempted to filter out the moments when he's clearly being used as a mouthpiece for Dixon's Opinions; which, TBF, I do with other characters as well, even Steph. So I mostly tend to skim over his more Conservative moments as just Dixon Being Dixon.

My general perception is that Tim's natural personality gravitates towards the center of the sliding scale of gender, in that space where queerness intermingles with the punk, nerd and goth subcultures. Like he's fully a man (cis in the comics, trans in my heart) but he's also comfortable painting his nails and isn't really bothered by people considering him pretty rather than handsome. But, while his father was alive, Tim felt pressured to live up to Jack's expectations of masculinity, so he'd somewhat overcompensate by posturing with the positive aspects of masculinity he approved of: being a protector and a provider, especially of women, being brave in the face of opposition, being disciplined enough to choose celibacy until he's older, that sort of thing.

And then after Jack died, he was more free to just... let that go and be himself, because for as much as Bruce (and Jason, and many other adult male superheroes) is a Towering Symbol of Masculinity, none of them expect Tim to be that way if he doesn't want to be, and he's got plenty of other role models like Dick, Alfred and Ted Kord who clearly show that there are other ways of being a man that are just fine.

That this roughly corresponds with Dixon leaving the company and Tim fully changing hands to various writers, many of whom -- as we now know according to various testimonies since he came out -- always thought of him as some variety of queer, is simply narrative synergy.

Him coming out hasn't really changed my perception in that regard. I always read him as queer. That DC let him actually come out was just a pleasant surprise.

#tim drake #dc comics asks #robin #batman dc #gender and sexuality #chuck dixon #chuck dixon slander

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lifesupreme-if · 4 months

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I was wondering, Wasn't there one male or NB LI at one point? or was it always all female and i'm just going insane ?? I think I remember reading your demo, but I usually don't do all single set gender RO casts so, if it was always all women, I find it interesting (in a good way💕) that you made me enjoy it enough to wanna follow and keep up with the game. Not a lot of writers/creators are capable of getting people to move outside their comfort enough to continue reading their work and or playing their games, but obviously something about Life Supreme pulled me in.

Also, if you are okay answering, was there a reason you made it an all women RO cast? Is that just what you're comfortable with? and if you ever decided to do other IFs, would that aspect always be the same?

I feel like I'm being too nosy, so if any of these questions put you off AT ALL, please don't feel the need to respond to them.

Lastly, Which of the ladies are you most excited about writing? and Is there a not too spoilery scene (that you can tell us about), that you're most looking forward to ??

Me personally after going over a few asks for each, I'm kinda excited to see interactions with Stephanie and or Dorothea. But I also, love when games have the ??? RO, I tend to automatically gravitate towards them once I even THINK I know who they are in game. 😊

hi there!!!!!!!!!!

this cast has always been only female romance options; it was me taking my roleplay characters and putting them into a game (aside from claude and cho, who were my old roleplay partner's characters) and i only roleplay as women :) i'm so happy that it pulled you in regardless!!!!!!!!! i'm so freakin happy that you're here, and that means the world to me

an all-female romantic cast is what i'm comfortable with, and as it turns out, looking at the lesbian flag and term high femme yearningly and going "god i wish that was me, maybe one day" in fact did just mean i was a lesbian (shoutout everyone on here who assumed i was before i did).

every other project i have or consider working on has female ROs, save for two nonbinary romance options :)

and you are not being nosy at ALL this is delightful!!!!!!!!!! i am an incredibly nosy creature myself, though, so maybe that's why i'm so excited about this?

---

i am excited about all of the ladies for different reasons, but the ways in which dylan is selfish and a bad person make me very excited to write her. i am most excited about the scene where she tells the merc they aren't able to have cyberware to work with her—i want her to piss people off!!!!!!!!!!!!!!!!!

you'll get to interact with dorothea the soonest, as she'll be in the next update! and while [locked] will be a ways out, i have a feeling you'll be able to guess her identity as soon as she shows >:3c

#THANK YOU SO FREAKIN MUCH THIS ASK MADE ME SO HAPPY!!!!!!!!!!!!!!!!!#anon #also woe lesbianism be upon me ig #BUT STILL IM SO HAPPY THAT YOURE EXCITED AND INTRIGUED AND IDK THAT YOU TOLD ME THIS MEANS A LOT TO ME #THANK YOU THANK YOU THANK YOU THANK YOU!!!!!!!!!!!!!

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jelliclesunsandmoons · 3 years

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Victoria headcanons

Victoria is one of my favorite characters from this musical, but I've noticed that she tends to not get very much characterization in fanworks apart from her from relationship to Mistoffelees, which is a real shame! So, to readdress the balance somewhat, here are my Tori headcanons!

-Victoria is the daughter of Jennyanydots and Bustopher Jones, and the twin sister of the aforementioned Mistoffelees. It’s joked within the family that Misto got the lion’s share of blessings between the twins, as he was born perfectly healthy, with magical powers to boot! While Victoria was born small, sickly, and as they would later find out, deaf.

-There was a lot of uncertainty amongst the tribe about what to do for Victoria when it was discovered she was hard of hearing. While they d0 often use nonverbal cues to communicate, particularly when humans were around, much of their culture and customs revolve around song! There was much worry that she would feel alienated from the tribe because of this. Luckily, there was no need to be worried, as she developed a love of music through dance!

-Though she can take care herself just fine, there’s still a need for her to have someone else around much of the time. And since he’s in protector training, Plato often volunteers to be Victoria’s “bodyguard” whenever the grownups are busy! And he may have developed just a teeny-weeny little crush on her from it.

-Tori was assigned male at birth and started transitioning to female in her early teens. While jellicles shifting their gender presentation isn’t exactly uncommon, it can be rather difficult for the younglings to properly vocalize what it is they’re feeling to their families. But little Tori had a pretty strong sense of self, even as a little one, and was able to come into herself with the full support of her family and community.

-She has an almost princess-like role in the tribe, as most of the jellicles are aware of just her turbulent her childhood was, and feel a great deal of protectiveness and concern over her well-being. Even Old Deuteronomy gives her special attention whenever he can! Her mother tries to keep her from becoming spoilt, but if anything, the extra attention made her kinder and more considerate herself.

-Munkustrap was her and Misto’s kittensitter when they were still little. His own daughters, Electra and Cettie, would be born not long after that, leading the four little kittens to spend much of their early childhood together. Though Misto drifted away from the group as he got older, Tori formed a lifelong friendship with them, and eventually little Jemima as well! And though she may have been fathered by Bustopher, Munk very much considers her one of his girls.

-She and Etcetera found out rather quickly that they can actually pass for one-another fairly well. To the point where, if Tori musses up her coat a bit, they’re nearly indistinguishable. They take advantage of this far, far more often than they should!

-She has quite a bit of untapped magical potential! It shouldn’t be a surprise since she comes from a long line of magical cats, but between her mother’s experienced sorcery and her brother’s magical prodigy, her own magical talent tends to be missed. She herself is rather unaware of her powers, but maybe that’ll change soon...

-She’s very close with her mother, but not so much with her father. Which isn’t to say she doesn’t love him, but he can be rather distant, and it’s a bit hard for her to really relate to him much of the time. Jenny, by contrast, is warm, loving, and caring, so Victoria gravitates towards her far more!

-She and Misto have two vastly different mindsets when it comes to growing up. Whereas he wants nothing more than to leave childhood behind and be seen as an adult, Victoria...doesn’t. While there are some aspects of adulthood that appeal to her, she’s not quite ready to leave her childhood behind just yet, even after her dance with Plato at the ball! She knows she has to grow up eventually, but for now, she just wants to stay a kitten with her friends for a little bit longer...

✨That’s all for now!

#cats #cats the musical #cats 1998 #victoria #plato #platoria #mr mistoffelees #jennyanydots #bustopher jones #munkustrap #electra #etcetra #jemima #my headcanons

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tcm · 3 years

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Reframing Films of the Past: An Interview with TCM Writers

All month long in March, TCM will be taking a look at a number of beloved classic films that have stood the test of time, but when viewed by contemporary standards, certain aspects of these films are troubling and problematic. During TCM’s Reframed: Classics in the Rearview Mirror programming, all five TCM hosts will appear on the network to discuss these issues, their historical and cultural context and how we can keep the legacy of great films alive for future generations.

Also joining in on this conversation are four TCM writers who were open enough to share their thoughts on their love of classic movies and watching troubling images of the past. Special thanks to Theresa Brown, Constance Cherise, Susan King and Kim Luperi for taking part in this conversation. Continue the conversation over on TCM’s Twitter.

What do you say to people who don’t like classics because they’re racist and sexist?

KL: There are positive representations in classic Hollywood that I think would blow some peoples’ minds. I always love introducing people to new titles that challenge expectations.

That said, anyone who broadly slaps a sexist or racist label on a large part of the medium’s history does a disservice to cinema and themselves. That mindset keeps them ignorant not only of some excellent movies and groundbreaking innovation but history itself.

I think people need to remember that movies are a product of their time and they can reflect the society they were made into a variety of degrees - good, bad, politically, culturally, socially. That’s not to excuse racism or sexism; it needs to be recognized and called out as such for us to contend with it today. But it’s important for people who say they don’t like classics for those reasons to understand the historical context. In particular, we need to acknowledge that society has evolved - and what was deemed socially acceptable at times has, too, even if sexism and racism are always wrong - and we are applying a modern lens to these films that come with the benefit of decades worth of activism, growth and education.

SK: I totally agree K.L. For years I have been encouraging people to watch vintage movies who keep proclaiming they don’t like black-and-white films or silent films. For every Birth of a Nation (1915) there are beautiful dramas, wonderful comedies and delicious mysteries and film noirs.

These films that have racist and sexist elements shouldn’t be collectively swept under the rug, because as K.L. stated they shine a light on what society was like – both good and bad.

CC: First off, fellow writers may I say, I think your work is amazing. I'm continually learning from the talent that is here, and I am humbled to be a part of this particular company. Similar to the prior answers, for every racist/sexist film the opposite exists. Personally, classic musicals attracted me due to their visual assault, creativity and their unmistakable triple-threat performances. While we cannot ignore racist stereotypes and sexism, there are films that simply are "fantasies of art." There is also a review of evolution. In 20 years, what we now deem as acceptable behavior/conversation will be thought of as outdated and will also require being put into "historical context." What we collectively said/thought/did 20 years ago, we are currently either re-adjusting or reckoning with now, and that is a truth of life that will never change. We will always evolve.

TB: I would say to them they should consider the times the movie was made in. It was a whole different mindset back then.

Are there movies that you love but are hesitant to recommend to others because of problematic elements in them? If so, which movies?

TB: Yes, there are movies I’m hesitant to recommend. The big one, off the top of my head, would be Gone With the Wind (1939). The whole slavery thing is a bit of a sticky wicket for people, especially Black folks. Me, I love the movie. It is truly a monumental feat of filmmaking for 1939. I’m not saying I’m happy with the depiction of African Americans in that film. I recognize the issues. But when I look at a classic film, I suppose I find I have to compartmentalize things. I tend to gravitate on the humanity of a character I can relate to.

KL: Synthetic Sin (1929), a long thought lost film, was found in the 2010s, and I saw it at Cinecon a few years ago. As a Colleen Moore fan, I thoroughly enjoyed most of it, but it contains a scene of her performing in blackface that doesn’t add anything to the plot. That decision brings the movie down in my memory, which is why I have trouble recommending it.

Also Smarty (1934), starring Warren William and Joan Blondell, is another movie I don’t recommend because it’s basically about spousal abuse played for comedy, and it did not age well for that reason.

SK: Breakfast at Tiffany’s (1961): Audrey Hepburn is my favorite actress and I love her Oscar-nominated performance as Holly. I adore Orangy as Cat, as well as George Peppard and Buddy Ebsen, who is wonderfully endearing. And of course, “Moon River” makes me cry whenever I hear it. But then I cringe and am practically nauseous every time Mickey Rooney pops up on screen with his disgusting stereotypical performance as Holly’s Japanese landlord Mr. Yunioshi. What was director Blake Edwards thinking casting him in this part? Perhaps because he’s such a caricature no Japanese actor wanted to play him, so he cast Rooney with whom he had worked within the 1950s.

CC: I cannot necessarily state that I am in "love," but, a film that comes to mind would be Anna and the King of Siam (1946). It is an absolutely beautiful visual film. However, Rex Harrison as King Mongkut requires some explanation.

Holiday Inn (1942), and the Abraham number...why??? Might I also add, there were many jaw-dropping, racist cartoons.

How did you learn to deal with the negative images of the past?

KL: I often look at it as a learning experience. Negative images can provoke much-needed conversation (internally or with others) and for me, they often prompt my education in an area that I wasn’t well versed in. For instance, blackface is featured in some classic films, and its history is something I never knew much about. That said, seeing its use in movies prompted me to do some research, which led me first to TCM’s short documentary about blackface and Hollywood. I love how TCM strives to provide context and seeks to educate viewers on uncomfortable, contentious subjects so we can appreciate classic films while still acknowledging and understanding the history and the harmful stereotypes some perpetuated.

SK: It’s also been a learning experience for me. Though I started watching movies as a little girl in the late 1950s, thanks to TCM and Warner Archive I realized that a lot of films were taken out of circulation because of racist elements. TCM has not only screened a lot of these films but they have accompanied the movies with conversations exploring the stereotypes in the films.

CC: As a Black woman, negative images of the past continue to be a lesson on how Blacks, as well as other minorities, were seen (and in some cases still are seen) through an accepted mainstream American lens. On one hand, it's true, during the depiction of these films the majority of Black Americans were truly relegated to servant roles, so it stands to reason that depictions of Black America would be within the same vein. What is triggering to me, are demeaning roles, and the constant exaggeration of the slow-minded stereotype, blackface. When you look at the glass ceiling that minority performers faced from those in power, the need for suppression and domination is transparent because art can be a powerful agent of change. I dealt with the negative images of the past by knowing and understanding that the depiction being given to me was someone else's narrative, of who they thought I was, not who I actually am.

TB: I’m not sure HOW I learned to deal with negative images. Again, I think it might go back to me compartmentalizing.

I don’t know if this is right or wrong…but I’ve always found myself identifying with the leads and their struggles. As a human being, I can certainly identify with losing a romantic partner, money troubles, losing a job…no matter the ethnicity.

In what ways have we evolved from the movies of the classic era?

KL: I think we are more socially and culturally conscious now when it comes to stories, diversity and representation on screen and behind the scenes, which is a step forward. That said, while there's been growth, there's still much work to be done.

SK: I think this year’s crop of awards contenders show how things have evolved with Da 5 Bloods, Soul, One Night in Miami, Minari, Ma Rainey’s Black Bottom, The United States Vs. Billie Holiday, Judas and the Black Messiah and MLK/FBI.

But we still have a long way to go. I’d love to see more Native American representation in feature films; more Asian-American and Latino stories.

CC: There are minority artists, writers, producers, directors, actors with the increasing capacity to create through their own authentic voice, thereby affecting the world, and a measurable amount of them are women! Generally speaking, filmmakers (usually male) have held the voice of the minority narrative as well as the female narrative. I agree with both writers above in the thought that it is progress, and I also agree, more stories of diversified races are needed.

TB: One important way we've evolved from the movies made in the classic era by being more inclusive in casting.

Are there any deal-breakers for you when watching a movie, regardless of the era, that make it hard to watch?

KL: Physical violence in romantic relationships that's played as comedy is pretty much a dealbreaker for me. I mentioned above that I don't recommend Smarty (1934) to people, because when I finally watched it recently, it. was. tough. The way their abuse was painted as part of their relationship just didn’t sit well with me.

SK: Extreme racist elements and just as KL states physical violence.

Regarding extreme racist elements, D.W. Griffith’s Birth of a Nation (1915) is just too horrific to watch. I was sickened when I saw it when I was in grad school at USC 44 years ago and it’s only gotten worse. And then there’s also Wonder Bar (1934), the pre-code Al Jolson movie that features the Busby Berkeley black minstrel number “Goin’ to Heaven on a Mule.” Disgusting.

I also agree with KL about physical violence in comedies and even dramas. I recently revisited Private Lives (1931) with Norma Shearer and Robert Montgomery based on Noel Coward’s hit play. I have fond memories of seeing Maggie Smith in person in the play when I was 20 in the play and less than fond memories of watching Joan Collins destroying Coward’s bon mots.

But watching the movie again, you realized just how physically violent Amanda and Elyot’s relationship is-they are always talking about committing physical violence-”we were like two violent acids bubbling about in a nasty little matrimonial battle”; “certain women should be struck regularly, like gongs”-or constantly screaming and throwing things.

There is nothing funny or romantic about this.

KL: I try to put Birth of a Nation out of my mind, but S.K. did remind me of it again, and movies featuring extreme racism at their core like that are also dealbreakers; I totally agree with her assessment. I understand the technological achievements, but I think in the long run, especially in how it helped revive the KKK, the social harm that film brought about outdoes its cinematic innovations.

CC: Like S.K., Wonder Bar immediately came to mind. Excessive acts of violence, such as in the film Natural Born Killers (1994). I walked out of the theatre while the film was still playing. I expected violence, but the gratuitousness was just too much for me. I also have an issue with physical abuse, towards women and children. This is not to say I would not feel the same way about a man. However, when males are involved, it tends to be a fight, an exchange of physical energy, generally speaking, when we see physical abuse it is perpetuated towards women and children.

TB: I have a couple of moments that pinch my heart when I watch a movie. It doesn’t mean I won’t watch the movie. It just means I roll my eyes…verrrrry hard.

-Blackface…that’s a little rough; especially when the time period OF the movie is the ‘30s or ‘40s film.

-Not giving the Black actors a real name to be called by in the film (Snowflake…Belvedere…Lightnin’). I mean, can’t they have a regular name like Debbie or Bob?

-When the actor can’t do the simplest of tasks, i.e. Butterfly McQueen answering the phone in Mildred Pierce (1945) and not knowing which end to speak into. What up with that?

Are there elements they got right that we still haven’t caught up to?

KL: I don't know if the pre-Code era got sex right (and sensationalism was definitely something studios were going for) but in some ways, I feel that subject was treated as somewhat more accepted and natural back then. Of course, what was shown onscreen in the classic era was nowhere near the extent it is today, but the way the Production Code put a lid on sex (in addition to many other factors) once again made it into more of a taboo topic than it is or should be.

One thing I particularly hate in modern movies is gratuitous violence, and it perplexes and angers me how America weighs violence vs. sex in general through the modern ratings system: films are more likely to get a pass with violence, mostly landing in PG-13 territory and thus making them more socially acceptable, while sex, something natural, is shunned with strictly R ratings. Obviously, there are limits for both, but I think the general thinking there is backwards today.

CC: The elegance, the sophistication, the precision, the dialogue, the intelligence, the wit. The fashion! The layering of craftsmanship. We aren't fans of these films for fleeting reasons, we are fans because of their timeless qualities.

I'm going to sound like a sentimental sap here, ladies get ready. I think they got the institution of family right. Yes, I do lean towards MGM films, so I am coloring my opinion from that perspective. Even if a person hasn't experienced what would have been considered a "traditional family" there is something to be said about witnessing that example. Perhaps not so much of a father and a mother, but to witness a balanced, functioning, loving relationship. What it "looks like" when a father/mother/brother/sister etc. genuinely loves another family member.

I was part of the latch-key generation, and although my parents remained together, many of my friends' parents were divorced. Most won't admit it, but by the reaction to the documentary [Won't You Be My Neighbor?, 2018], the bulk of them went home, sat in front of the TV and watched Mr. Rogers tell them how special they were because their parents certainly were not. We don't know what can "be" unless we see it.

#Reframed #TCM #Turner Classic Movies #representation #racism #sexism #inclusion #diversity #cinephile #film #old Hollywood #Theresa Brown #Kim Luperi #Susan King #Constance Cherise

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soulcluster-moved · 2 years

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Get to Know the Mun! REPOST DON’T REBLOG

——— BASICS! ♡

(PEN)NAME: lailah

PRONOUNS: she/they

ZODIAC SIGN: virgo

TAKEN OR SINGLE: single

——— THREE FACTS! ♡

I don’t know how much I’ve spent on adam warlock merch/comics at this point and I don’t know if I want to know

When I was in high school, my short story got picked to be published in an anthology, but they misprinted it and I didn’t have a backup copy to send them to fix it :”)

Editing is actually one of my favorite parts of writing (I used to be an editor in high school and college, actually). It’s like a fun puzzle to see where words work better, to make the sentence more concise and dynamic. I don’t know if it shows through but I enjoy it.

——— EXPERIENCE! ♡

My first experience with roleplay was in high school and we literally carried around a giant binder filled with loose leaf paper and we each took a turn passing it around (between periods) and writing in it. It took me a long time to figure out internet roleplay. First I transitioned to google docs with friends, and then a friend introduced me to forums, and ??? I think I used xanga? then somehow I found out Tumblr had a roleplay community. I started off in groups around 2012~ and stayed there for a long time before I finally figured out indie tumblr roleplay. I’ve finally left groups entirely and I don’t think I’ll ever go back. I’ve roleplayed in a looot of fandoms, both with canons and ocs.

——— MUSE PREFERENCE! ♡

I think I care mildly more about overall themes and the story being told and tend to be able to write most character types, at least I like to think so. My muses tend to be varied (I hope so, at least) because I don’t like to write characters that are too similar. I do seem to gravitate more toward male presenting muses, for whatever reason. I’d say the fandoms I wrote in the most are Harvest Moon/farm sims, Dragon Age, and, recently, Marvel.

Like, I don’t know, it’s hard to pinpoint my one character type but I do see a few patterns: (1) The wholesome dad type, (2) the devoted type (whether it be to an ideal or a person), (3) the outsider kind of character. So ??? I don’t know, make of that what you will. I’ve also noticed that lately I have an interest in characters that have complicated relationships, where everything is not black and white with each other. ——— FLUFF / ANGST / SMUT! ♡

FLUFF: I do particularly enjoy slice of life/fluff type things. media doesnt seem to give characters a break before shuffling them off to the next traumatic event so I really enjoy writing aspects where they get to sit down and exist in peace, process their life and explore who they are as well as their relationships.

ANGST: depends. angst for the sake of angst is not appealing to me. I don’t like to pile on too much. I prefer to have a point and a resolution to it. I also feel it just sometimes makes things convoluted.

SMUT: ehhh I write it but it’s not a priority. I think I like to think about it and discuss it more, as I do like exploring the topic. I find one shots or drabbles, snippets of moments, very fun though. I will still occasionally write smut threads but it kind of wanes after a while. I guess this just depends on how much I’m feeling the ship at any given point.

PLOT / MEMES: memes are fine, and I’m good with spring boarding those into threads, but I prefer plotting by far. I still, someday, want to do a giant universe plot where there’s several muses from both sides in the one verse and, ideally, even spanning generations. making up pairings, families, friendships, etc. and adding in villains/plots sprinkled throughout. I’ve gotten to do it a bit in the past and it’s just a lot of fun

tagging: if you read it, I tag you tagged by: I stole it

#ooc #if you can tell me my character type that'd be great #dash games

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tricksterreformed-a · 3 years

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ROMANTIC HEADCANONS

name: Gabriel gender: Male (because that’s what he picked)

preferred pet names: He’ll call anybody he dates ‘babe’, but if the shoe is on the other foot and his partner tries to give him a pet name Gabriel will be concerned. relationship status: depends on the verse

opinion on true love: Gabriel believes that love is a choice and that love can be hard work and that if you’ve got those things plus some good communication, isn’t that true love? He does not, however, believe in the notion of ONE true love. Because love is a thing people build together and there’s no one way to do it. opinion on love at first sight: In his head he knows love at first sight is really just attraction at first sight, but in his heart he loves to have that ‘hey, I just met you and this is crazy...’ moment. He knows it isn’t love but he likes thinking about like it is sometimes.

ideal physical traits: We make a lot of jokes about monsterfucking on this blog but in all seriousness Gabriel finds a very wide variety of things attractive. And it is difficult to nail down anything super specific, because there’s almost gauranteed to be an exception in his history/in some verse. ideal personality traits: A sense of humor is key. That’s the number one thing Gabriel looks for. Both in the form of someone who laughs at his jokes and in the form of someone who makes their own jokes. He also really loves and respects creativity in a romantic partner. In all aspects of the relationship.

unattractive physical traits: An overly youthful apperance is the only real turn-off for Gabriel. He’s old. He doesn’t want to feel like a creep too. unattractive personality traits: Aside from the inability to make or take a joke and an excess of seriousness, Gabriel finds people who too set in their ways to even listen unattractive. He loves swapping stories, that’s very important to him and if someone can’t listen and consider ideas that are different from theirs then no thanks! he’s out!

do they have a type?: Sort of? But not an exclusive type. Gabriel does tend to gravitate towards powerful people but that’s possibly him tying to make sure he only dates people who have agency in the relationship. opinion of public affection: Hand holding? Yes! Aggressively making out in public? Only if there’s a good reason for it, like making someone uncomfortable or proving a point or as a distraction.

favourite canon ship: Okay so if we’re talking explicit/on-screen canon he has two referenced relationships, Kali and Rowena. And of those two Kali/Gabe is my favorite because it’s all complicated history and them double crossing each other. We get a whole episode of infered history and implication and I’m here for that! It screams spies in love to me and it’s good. (I like Rowena/Gabe in canon, but they work together for a week, have sex, and then he dies. There’s not much there. I prefer Rowena/Gabe as developed in fandom/through my own writing.) Which brings us to... If by ‘canon’ we mean Gabriel/Any other canon SPN character I’m a fan of Gabe/Sam (although that one is: writing it myself > canon > a large chunk of popular fandom content), Gabe/Dean in a ‘it started as a joke how did we get here’ way and Gabe/Bobby in a way that’s heavily based in my take on Gabriel and how delighted he would be that somebody called him on his trickster shit! read a book about him! knows what he does as the trickster!! I’m also very soft on Gabe/Loki. Like listen man... Listen. My theory is that their love was unconsummated during the events of canon but... but... favourite non-canon ship: I write a lot of non-canon ships! And actually looking through this blog I ship him with a lot of OCs. I’ve always considered myself a crossover shipper but I guess I prefer writing with OCs now. That’s a shift for me. That being said, I can’t pick a favorite because I love writing all of them and none of them are the same.

tagged by: @paradiseturnedhell tagging: @inferniangod, @heartsurpluss (for Dean?), @daedaluscried (for Berry), @thxwxlf, and anyone else who wants to do it!

#the cars are used and the takes are hot #here's looking at queue kid

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vt-scribbles · 4 years

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LRB: Giant/Tiny ramble

So Tiny-taker’s post I reblogged got me thinking about something interesting abt my own interests in G/T.

They stated that their Androphobia [p much a fear or discomfort/lack of safety around men] caused them to feel the need to shrink male characters in GT content to feel safer around them.

It got me thinking about where some of my preferences in GT have come from, and I came to a pretty... odd realization? [Rambly G/T thoughts under Readmore]

I, personally, like tinies and giants both being any gender. So I ruled out that having much stake in my preferences. In general, my interests in GT tend to be pretty wide! At least, compared to most people I guess, who usually gravitate towards a particular niche or trope.

G/T is nonsexual for me, at its core. So it doesn’t have any stake in those preferences either.

Yadda yadda, I came to realize... my interests/preferences in GT stem from two core aspects:

Trust

Overcoming hardship

----------

Overcoming hardship is the less relevant one, but shorter to explain. I like G/T where things may be dramatic or scary sometimes, but ultimately, the smaller party gets out of things okay. I don’t like cruel giants that get their way, overly aggressive hardship to the smaller party, or hopeless situations that are drawn out.

[Yes I do also LOVE wholesome stuff, but hear me out.]

Not only is dramatic stuff involving GT more narratively interesting to me, but it feeds into the catharsis of ‘overcoming hardship.’ Sometimes, life problems really do feel like a giant cruelly pinning you under their power, mocking you, taking away what makes you feel safe. It’s not fair, and in real life, it’s so amorphous and [usually] out of our control that it leads quickly to hopelessness. So I take great comfort in GT dynamics where the smaller party may be in danger, or at a larger party’s unquestioning mercy, and you worry for them... but in the end, they either get away, overcome it, or sometimes... the danger turns around and the larger party transforms from threat to ally. Or at least, neutral.

I love big villains, but I want them to either be defeated, or turned around. I don’t want them to win. I love wholesome GT, but there’s also something so potent about seeing a smaller party overcome a literally ‘larger than life’ threat, obstacle, or situation.

=============

Then there’s the much bigger beast... the theme of trust.

-------

I could go on for literal pages about all my different preferences in Giant/Tiny. I used to have a limited palate when it came to my likes in it, but they’ve greatly broadened over time. But something has always been consistent: Trust as a core element.

Again, I like genuine danger and threats and overcoming them... but I also ADORE beyond words the broad scale of dynamics you can get out of non-antagonistic G/T relationships. Allow me to elaborate.

I’m all-for wholesome ‘harmless giant/giantess’ tropes. That’s where I started on my GT journey, and that hasn’t gone away. But over time, I started to really drift towards something a bit more specific... And as of the present, it’s currently one of my favorite dynamics.

I love when Smaller Party [Character A] is initially untrusting and cautious of Larger Party [Character B]... for very valid reasons. Perhaps they accidentally hurt them. Maybe they’re enemies because of unfortunate circumstance. Maybe their species’ are natural enemies. Maybe B did something to make A not trust them. Regardless, eventually... B earns A’s trust over time. Even if they’re scary, or perhaps they SHOULDN’T get along, or maybe there’s something that makes B a danger to them... they still make it work. Despite all of A’s misgivings, despite their hesitation, etc, B genuinely earns their trust. Not through words... through actions.

Careful touches, protecting them, doing quiet personal activities like stargazing with them, giving them space when they need it, treating them like they’re both equal in size, the list goes on for ages.

But this very much feeds into another big thing I love that’s a bit more niche: Fearplay.

What I mean by that is: Characters A and B interact in a way where one acts threateningly, or maybe just a bit ‘shady,’ but there’s not any genuine danger involved. Neither party is ACTUALLY at risk, it’s all an act. Or a trust exercise. Usually, they’re both in on it, so it’s a mutual thing. Maybe the larger party acts intimidating to the smaller one because the smaller one finds it fun, or thrilling. They like to indulge them. It still all comes back to trust, because B could easily ACTUALLY hurt A, but A knows they never would and that it’s all an act. It’s the rush of thrillseeking without any of the danger.

--------

I’m not a very trusting person, generally... but I want to be. I constantly WANT to trust people, but it’s gotten me burned countless times over. It’s my instinct to believe people at face-value, or to overlook mistreatment. Yet, it very often gets me bitten. I want to give my trust to people, and to have it valued and respected so I may rest comfortably in their presence.

So, to see a smaller character WANT to trust a bigger one... and they don’t get burned because of it??? That’s so enticing to me. That’s amazing. I could see it over and over and it’d never get old. Characters giving their trust, freely or not, and having it be held, cherished, and respected by the other person without question will forever be one of the biggest things that draws me to G/T. Because while it can be done with normal sized characters... there’s something so much more potent about a giant cherishing another’s trust like a prized treasure.

#giant/tiny #gt #g/t #size difference #ramble #vt text

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sir-huffman · 3 years

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tagged by: @songzhong (hello, here’s a wall of text, and I enjoyed reading about you Mao!) tagging: @you on the dash - aka you see this you’re tagged.

——— BASICS!

Name: Duke ( any pronouns, but most use masculine )

Face Claims: - Itsuki Kamiyama from GOTH (professional like above) - Suga from Night of Drizzling Rain (general)

——— THREE FACTS!

1) I am an ISTJ and a Taurus...so take that what you will. I’d like to say I’m friendly, but tend to put a very large wall (of text) up so people know what they’re getting into with me and to give an explanation for my actions...as such I am very introverted and only have so much energy for interaction. This leaves me seldom to contact people in the RPC unless I have a specific idea in mind for our muses...which honestly I never do. The best is for me to just chuck a meme at people and see how our muses vibe. After that, well uh...yeah. I’m one of those RPers who have more people I interact IC than OOC cuz OOC interaction takes a lot out of me unless we somehow vibe well.

And by vibe well, I mean our muses generally interact well and aren’t apathetic towards each other. There are so many muns that I respect and consider friends and admire from afar, but we’re not close due to just our muses just not vibing as well as others (which is totes fine it’s just how things sometimes go, ya know?).

( you’ll find that I write a lot hence the read more )

2) I am very stubborn and have a little bit of tunnel vision in my own HCs and world crafting. My muses tend to be people who hold an authoritative and demanding presence where their opinions are stated as truth...which is the complete opposite of my own personality. But I’ve learned that I have to kinda draw my lines and I feel like I can probably give people whiplash between my timid and nervous nature and when it comes to defining my muses. Honestly I’m just very flexible with molding my muses to help fit for interaction, but I do have hard lines and like to make it clear if I’m bending my characters vs how they would naturally act...I tend to make my muses push overs unless I’m like 100% comfy...and even them I make them push overs...hence the amount of my crack threads because I have no sense control and just wanna have fun...with my tight assed muses.

3) That said...I’m just a meme. My main reputation is just being that one mun who RPs a Team Rocket OC with 6 Magikarps. But I truly just have two sides. The very crackish side where (1) I’ll just throw our muses in ridiculous situations and (2) the very angst heavy side that usually only talked about due to my muses handling trauma and very apathetic and nonchalant towards breaking hearts. And as I write this out I feel like I’m giving people whiplash on whoever is reading this since they see Huffman here and is like “oh, how cute what a soft boy” and then I bring up Morax who is just a monstrosity of a muse where I’m toning him down 99% of the time because...well...(*looks at hands*) he’ll end up killing a muse 99% of the time if I don’t stop him and that isn’t fun to RP.

——— EXPERIENCE!

My first experience in RPing in general was on an old website called TinierMe and also a mobile app called VampiresLIVE (lol). However I officially started RPing on Tumblr in 2014 as a Gijinka!Groudon blog originally known as theruleroftheland. After that I’ve slowly branched out of the Pokemon RPC but hold a strong connection with the friends I’ve made there (or kinda, I’m horrible at keeping contact with others since I disappear for months/years at a time). But I’ve found I’m most comfortable writing on tumblr due to the amount of formatting and organization that comes with RPing on here.

I’m slowly branching out to Discord (thank you to my dear RP partners over there who are patient with me because I’m slow) and becoming more accustom with being social over there.

——— MUSE PREFERENCE!

Gender: 100% male to RP as. I find that I gravitate towards males since I have disconnection with male muses from myself and I like having that wall. Writing females get a little too personal for my own comfort so having that extra layer of distance really helps. Also it helps me look at things differently.

Multi or Single:

I prefer single-muse blogs to run as I like keeping things strictly relating to my muse on one blog and another muse on another. Over the years I’ve been interested in throwing my old muses onto a multi-muse blog but honestly I can never bring myself making a multi-fandom multi-muse blog due to my own heavy need for organization.

As for shipping, I work under what I call a Quasi-Single shipping (aka multi- and single- ship). I operate under the impression that my muses are in an overarching timeline of their life that is heavily affected by their relationships. As such the MULTISHIP aspect is prone to have cheating and relationship overlap. I’m into having muses naturally engage in threesomes, foursomes, lying, cheating, misunderstandings, fights, break ups, get back togethers, etc. with all muses and muns participating together in the joy of it all. Jealousy and questioning of my muses’ relationships and actions are welcomed as I like having the sense that my muses are human and things aren’t so cookie cutter.

That said I am also SINGLESHIP in the sense that most of my muses are not polyamorous and are very much interested in having an end goal relationship where they settle down and marry. With who and how that happens really depends on both my muse and my partner’s muse. So whoever my muse is really shooting to get married to and actively advances will be my main single ship partner...or really whoever is going to influence my muse the most and I can see my muse actually yearning for (which honestly isn’t that many muses *cries*).

That said...Huffman in particular is going to be really hard to single-ship with as he is 100% dedicated his entire life to his lord and savior Lord Barbatos and this is the thanks he gets to Mondstadt and he will betray his own lover and such for Mondstadt.

He is also a(ego)romantic so he has a huge disconnection with serious relationships as he will honestly treat them just like he treats every other citizen in Mondstadt and it can slowly get to any of his partners since he just thinks is just apart of his job as a partner...which is the same job he has with the people of Mondstadt.

fluff/angst/smut:

Fluff: Generally I don’t find myself interested in fluff, but I realized that is only because of my previous muses couldn’t handle fluff at all. For this particular blog (Huffman) fluff is honestly the only thing that I can offer due to the nature of his character. Fluff with the undertone of angst is going to happen a lot, it’s not going to be sugary sweet fluff but just a result of Huffman’s very grounded and relaxed nature. He is calm and level headed, very rational (a little too rational) and very determined to make sure everyone is happy...and as such angst won’t really happen because Huffman tries to avoid such things naturally.

Angst: I enjoy angst, I’m that person who loves crying and my favorite tropes (especially in shipping) is unrequited love especially when it’s with a character who has so much love and dedication to one person. As such, I find that I’m more inclined to talk about angst than actually RPing it. I’m very slow (really really slow) when it comes to RPing unless it’s crack or relaxed banter. So when it comes to angst, I like to set time aside and fully write it out...making me having to respond weeks to months later...haha sorry. Also I naturally have muses who are apathetic towards angst and other muses feelings that is hard for me to write because I’m the opposite and I get heavily invested...it takes a lot out of me.

That said...most of my angst comes from very slow burns rather than actually writing it out. It’s more of the anticipation of the heartache, breakup, betrayal, cheating, etc. that I’m more inclined to talk about than actually RP...as stated above my muses are generally cold hearted and very accepting of any consequence to their actions...they tend to be planners and expect karma to creep up on them someday.

Smut: I am very particular about smut. I personally like talking about it but actually writing it takes a lot more time for me to do. There are some words that I refuse to write (which happens to be a lot of the smutty words lol) due to how I read them in my head irks me and doesn’t flow right (my worst subject in school was English so I don’t know many words okay). As such, it takes time for me to fully write smut and even then the way I tackle it is very action oriented rather than immersive (I like to think) so uh...RIP my rp partners who want to write smut since I usually respond when I’m half asleep and have no filter and probably stare at me like “wtf did I just read?”. I’m sorry my smut partners who have to deal with me.

plot/ memes:

Memes: I’m more inclined to send memes than actually get around to responding to them. I like keeping my thread count low because I’m slow and usually memes require immediate interaction (something that I may or may not have the time for). However, most of my threads come from memes that will fizzle out over time and I eventually drop without warning- it just how it goes.

Plots: I like plotting and defining pre-established relationships. Having to start everyone off with a blank slate isn’t something I like unless it just seems natural for our muses (ie. for Huffman he probs doesn’t know many Liyue characters, but he definitely is close to Mondstadt characters at least on a name basis). As such, I tend to like establishing relationships and then going from there so I know how Huffman will interact with them.

Plotted threads, however, take a lot out of me as I like coining an idea and then having a starter be written and then go from there. If there are checkpoints to happen, I get awkward because my muses are 95% certain to shift the narrative based on what is being written and the situation that arises. So heavily plotted threads isn’t good, but defining the trajectory of a relationship is something I’m down for...mostly because I’m a quasi-single ship and 99% of my muses relationships are going to fail naturally - which is something hard to bring up when there is ship talking happen.

#ooc: { about duke }#ooc: { long post }#//when you give up half way in editing this #//and just decide to leave this giant wall of text for those who wish to read it #//*kicks onto dash and leaves*

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rakumel · 3 years

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Re: naming characters

At first I was just going to stick to OP’s directions and use the tags, but...I kinda want to write a bit about it too? In any case, after thinking it over, it seems like most of my character’s names fit into two categories.

The first category is characters whose names are simply words that sound like they could be a name, but aren’t. (Although if I use them as a name...I guess they are now?) For example, there’s Tragus, the Team Rocket grunt named after a part of the ear, which itself derives from a Greek word for male goat - which I didn’t know until after (story spoilers) so that amused me greatly.

Another example is Dr. Mertensia Grele, CEO of an ecological robotics company. Mertensia is a genus of wildflowers commonly called bluebells; I got that from looking up plants that were native to tundra regions. It caught my eye both because the flower was lovely, and the word mertensia looks very similar to old-fashioned names such as Hortense, Prudence, or Drucilla. Grele is simply the French word for hail, which I got from looking up different words for ice.

The second category consists of characters who are named after a person or another character who shares some aspect of their personality, even if it’s just a minor one. This often happens with characters of mine who are still in the early stages of development, or whose personality is difficult to define or pin down for some reason.

A good example of this category is Auron, one of my Pokemon trainer characters. Those of you who’ve played Final Fantasy 10 will recognize that name immediately. Both characters have a serious demeanor (though my Auron steers more toward snarky territory). Both of them question and frequently challenge what is considered socially acceptable. The similarities pretty much end there, though; certainly they look nothing alike. If the story he was in ever got further than the planning stage, I might worry about altering my guy’s name a bit to avoid confusion. But right now? Nah.

One of my Sailor Moon fan characters has a name that’s a long reach reference! Sailor Eris’ real name is Alicia Rappaccini. The last name came from a short story I had to read in high school: Rappaccini’s Daughter by Nathaniel Hawthorne (which seems to be based on an even older story from India, if Wikipedia is right). It seemed fitting because Eris’ “element”, what all her attacks are based around, is poison.

Every once in a while I’ll have a character whose name falls into both categories. Another Pokemon trainer character, full name Sophie Bellemere, is one of these. Her first name comes from a neighbor I had growing up; her last name came from two words meaning “beautiful” and “sea.”

For both categories, I tend to gravitate towards unusual or uncommon names that still sound pleasing, at least to me. I don’t tend to use baby naming websites unless I’m really hard pressed for ideas; mainly because they’re plastered with ads and obnoxious-looking, but also because I’m never really sure how accurate the “meanings” of the names listed are. Especially when it comes to names that fall outside WASP-y territory. I also don’t particularly like using wacky thing-names, like Stapler or Traffic Cone, unless they’re in a slapstick comedy or something. (Though I have to admit The Adventures of Max Stapler sounds like it should be a thing, for some reason.)

The most important thing, however, is that the name fits. And I’ll be honest here: I have no idea what specifically makes a name “click into place” for me. I couldn’t tell you why this name and not another, other than it just...fits. This is who they are, that is their name. I’m also very particular when it comes to choosing a name; I will look up several words and “try on” several names over the course of many days before selecting one.

#rakudrawsstuff #not a drawing I just want to be able to find this again #for some reason

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dr-who-said-lgbtq-rights · 3 years

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i, a fan of superwholock, dissect and give my opinion on the individual shows

idk i thought this would be fun and i currently have 4-5 hours to kill soooo

let’s start with

doctor who

(only new who. i have not seen the older stuff :( )

k. so. i have been a fan of this since i was pretty young. honestly i think i was a little too young to be watching it when my mom first showed me it but that’s beside the point. basically: i really like dr who

this is probably the best show out of superwholock, both in my opinion and in general. however... i am going to be nitpicky bc why not

1. the canon.

(yes the example is abt a dr who episode)

in short, the canon is comprised of a) retcons and b) contradictions. im not an avid follower of canon with any media but good god nobody can keep up with dr who canon

(i am blaming moffat bc i hate him and i think a lot of it is his fault anyway)

2. representation

honestly, the representation isn’t bad. however, i would describe it less as “good” and more as “a good starting point.”

for example, there is quite a bit of queer rep, POC rep, and a lot of characters are women. however, while this is nice, the show could still use a lot more rep, and the rep it has currently should probably be improved upon (for example: jack harkness is NOT straight, but he falls under the “multi-spec person wants to screw everyone” stereotype (i have not seen torchwood so this may be amended in that i just needed an example off the top of my head)).

3. story

some people yearn for romance. i yearn for the days when the doc would take their companion to some party, flirt with a tree, the companion almost dies while britney spears is playing in the background, etc. etc.

basically, the story starts out nice. just a bunch of goofing off, maybe a “big deal” thing here and there. life was fun.

then, the story changes. (this happened specifically from eleven onward, so yeah you can bet your ass im blaming moffat ‘cuz it’s his fault) things gradually became less fun. conspiracies ran amok; just when you thought it was over, turns out there’s an even bigger part of this plan that what you just defeated. the doc actually started caring about the timeline (what happened to time being wibbly wobbly?) sure, there are still fun episodes where the doc and the companion(s) go out for funsies but it’s just not the same as it was.

4. morals

morals are good. basically:

you can have a dark past but still have a bright future, and

be kind

bonus 5. cowardice

at least one of the doctors played by one of the male actors should have worn a dress. there were plenty of opportunities but noooooo there’s a gender binary or something (like,,, they’re an alien????? if gender on gallifrey is the same as gender on earth i am going to fly to britain and drop kick some writers)

OVERALL

needs work, but p good and enjoyable.

~~~

now it’s time for

sherlock

just. um. ohhh boy. basically

but i am going to do my best

1. representation

eugh. representation was baaaad in this. like, i think the only POC in the entire show that had any significance were the Chinese gang members and that is like,,, incredibly poor rep. i think the innkeepers in thob were gay but that’s as far as queer rep goes. there were a few women, i would die for all of them, we need more women. also the “im a high functioning sociopath” line makes me cringe everytime

basically this show had shit representation

2. john

okee he’s a great character right??? the common sense of the operation right??? wrong

he cheated on mary??? and we don’t address it like,,, at all??? it made me so fucking mad.

(again fuck you moffat and gatiss probably had something to do with it too so im mad at him as well)

3. sherlock

classic “let’s make him a bitch” mistake. needs the stick surgically removed from his ass

4. story

story’s actually not that bad. it’s not like, great or anything but i enjoy it

bonus 5. ending

i just want to address it. i think the ending was p good and yall tjlc-ers are just upset that they didn’t bang or anything. they’re literally living in the same [two-room] flat??? and they’re raising rosie???? TOGETHER???? like what more do you want

anyway sherlock’s ace soooo

OVERALL

eh. needs LOTS of work. i love mrs hudson tho, she’s beautiful

~~~

and finally

supernatural

ohohoh. boooyyyy.

(plz forgive me this is so shitty but i threw it together in like,,, a minute)

1. story

aight so the first five seasons? p good. not much to say there

the other ten? the skill level of the writing went wayyyyyy down but i still enjoyed it

2. representation

this show is notorious for bad rep and for good reason. kevin, our beloved prophet and the only recurring asian-american character? dead. charlie, so nerdy and fun and also a lesbian? dead. castiel, the angel who was totally gay? dead. basically: if you find yourself in spn and you are not a straight white man, etc etc, you are going to a) die or b) die but in a worse way

3. mythology/treatment of religions

okay so. a while back i had a wicca/witchcraft hyperfixation which was closely followed by a general pagan religions hyperfixation, so i know some stuff here and there abt religions.

and good golly does this show make me MAD

why is christianity the central and most powerful religion? (i know why, it’s a rhetorical question) why do you demonize the other religions?? (again it’s rhetorical)

one thing that really annoys me is when they say something is a “pagan god.” like,,, do you know how many gods that contains??? if you didn’t know, a religion is considered pagan if it isn’t under the abrahamic religions umbrella. what are the abrahamic religions, you ask? well, they are christianity, judaism, and islam. literally every other religion ever is a pagan religion. so, when they say “it’s a pagan god,” i cry.

back to demonizing... they literally made a greek muse eat someone. my greek mythology phase ended a long time ago and i didn’t really get into the muses but i am p sure they didn’t eat people. also the fact that it makes hoodoo look dark and stuff when it’s actually more abt peace and healing... i bet ten dollars it’s because hoodoo was created by enslaved african americans

there are so many examples of this show disrespecting religions... i just can’t

4. general notes

(for you himym fans: *saluting* general notes) (sorry i couldn’t resist)

-the filler episodes/episodes where random shit happened were the best

-the finale memes are *chef’s kiss*

-god there’s so much abt this show that i can’t even choose bc my brain is overloading

-am i glad amara wasn’t ganked at the end of s11? yes. am i happy about the dean/amara kiss? gods no

-john winchester 🤝 steven moffat: getting a spot on my “fuck you” list

OVERALL

there is just. so much improvement needed. however if there is an absolute shit show with likeable characters i tend to gravitate to it

~~~

and for funsies let’s talk abt superwholock as a whole

-honestly im a sucker for crossover fandoms. if you scroll far enough on my blog you may find my rotbtd fanart.

-it’s honestly just a fun idea

-there’s a lot of ways you could make it happen and all of them are fun

-great opportunities for rarepairs so rare no crackshipper has thought of it

~~~

aight that’s it. thank you for reading! if you have any questions abt my opinions abt other aspects of the shows just ask, i like talking abt this

#dr-who-said... something #as a side note: if you wanna hear abt pagan religions just ask #i may not be fixated on it anymore but i still find them interesting #superwholock

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gunnerpalace · 4 years

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Hi! Same anon as the previous one. Tbh, I agree wholeheartedly with you. Y'see I do ask rhetorically,too but i could really accept and understand how and why ppl can be oblivious to IchiRuki, and somehow felt that the 'canon' should suffice, even the most excruciating of all is the fact a number found the ending even acceptable (ships aside, too). Again, I could respect that. But it's my greatest bane when ppl ask 'why' and not be clear they are asking rhetorically because I literally will

provide you an actual answer. And I get it, it’s the reason why ppl find shipping wars toxic and silly. But then again, as human, conflicts are always part of us (partly because as social psych explains so, we are gravitated to the negative for that allows us to change and survive), and the reason why “logical fallacies” are coined in the first place. Human will always debate, and argue about something; the only thing we could change is how we approach the opposing views.

Again, I dont condone any way, shape or form of abuse and harm. In some certain extent, I could perhaps understand it’s much harder for some IH to approach the actual argument being there’s either too much noise, and trapped in their own island between sea of salt. Thus becoming too acquianted w/ few IH who shared the same thought until it became their views as the only truth (see, that’s why its important to have debates! it is what keep us grounded and fair! Just like you said)

Who am I to speak though? I never ever challenged anyone anyways. And as you said, you just have to understand things in every way you could possibly think of–endless ‘whys’. Which is where I agree in your reply the most–this silly fandom wars is just the black mirror to every truth that lies beneath human psyche–the dark and the grimy. Heck, being a psych major is like staring at dark hole–at times, good, but most just plain confusing, revolting even or just heartbreaking.

Sorry it’s been long, but for the final of this ask: let me tell how glad I was with IchiRuki fandom I found in tumblr. It was the saltiest I’ve ever been (im not generally a fandom person anyways) but it’s the himalayan salt–expensive and actually nutritive it really deepened my desire to become wiser in general. And you for your wonderful essays, critiques and whatnot. I definitively would love to talk with you more not only about IchiRuki but the wonders and nightmare that us humans! Kudos!

I have sitting in my drafts a post spelling out my thoughts on “canon” (and thus, the people who cling to it) in that as a concept it privileges:

officiality over quality when it comes to validity (thus violating Sturgeon’s law)

corporations (intellectual property rights holders) over fans, and thus capitalists over proletarians

hierarchical dominance over mutualist networking within fandom

curative fandom over transformative fandom

genre over literary content

plot over characters

events over emotions

It is notable that (1) generally degrades art as a whole, (2) generally advances the capitalist agenda, and (3–7) generally advances the dominance of men over women (as the genders tend to be instructed by society to view these as A. dichotomies rather than spectrums, and B. to ascribe gender to them and make them polarities). These form the sides of a mutually reinforcing power structure (in the typical “Iron Triangle” fashion) designed to preserve and maintain the status quo.

Who really benefits from say, the policing of what is or is not “canon” in Star Wars? Disney, first and foremost. And then whomever (almost certainly male) decides to dedicate their time to memorizing the minutiae of whatever that corporation has decided is “legitimate.”

One can imagine a universe in which fan fic is recognized by companies for what it is: free advertising. (Much like fan art already is.) Instead, it is specifically targeted by demonetization efforts in a way that fan art isn’t. Why? Because it demonstrates that corporate control and “official” sanction has no bearing on quality, and it is thus viewed as undermining the official products.

In the same way, by demonstrating that most “canonical” works are frankly shit, it undermines the investiture of fans in focusing on details that are ultimately errata (the events, the plot, the genre), which is the core function of curative fandom and the reason for its hierarchical structure. The people who “know the most” are at the top, but what they “know” is basically useless garbage. And those people so-engaged are, of course, usually male.

To “destroy” the basis of their credibility, and indeed the very purpose of their community, is naturally viewed by them as an attack.

(This is not to say that efforts to tear down internal consistency within established cultural properties are good unto themselves, or even desirable. For example, efforts to redefine properties such as Star Wars, Star Trek, Doctor Who, and Ghostbusters, for the sake of a identity-politics agenda have largely A. failed as art, B. failed as entertainment, C. failed to attract the supposedly intended audience, and D. failed to advance the agenda in question. Trying to repurpose extant media in the name of culture wars is essentially always doomed to failure unless it is done deftly and gradually.)

(At the same time, this also shows what I was talking about last time, with regard to people seeing whatever they want to see. You will see people complain that Star Trek and Doctor Who didn’t “used to be so political,” which is obviously nonsense. These shows were always political. What changed was how their politics were presented. For example, Star Trek has, since TNG, always shown a nominally socialist or outright communist future, but was beloved by plenty of conservatives because they could [somehow] ignore that aspect of it.)

Of course, almost no one is seriously suggesting that one side of the spectrums outlined above be destroyed, rather merely that a new balance be struck upon the spectrum. But, as we have seen time and again in society, any threat to the status quo, whether that be 20% of Hugo Awards going to non-white male authors or the top income tax rate in America being increased by a measly 5.3% (from 28.7% to 34%… when the all-time high was 94% and for over 50 years it was above 50%) is a threat. This is why, for example, Republicans are out there branding AOC as a “socialist” when her policies are really no different at all from a 1960 Democrat who believed in FDR’s New Deal. (Which they, of course, have also demonized as “socialism.”)

(As an aside, all this ignores the fact that most of the “literary canon” of Western civilization, or at least English literature… is Biblical or historical fan fic.)

And this is when I finally get to my point.

Those people out there who denigrate and mock shippers and shipping, the people who hurl “it reads like fan fiction” as an insult, and so on, are the people who benefit from and enjoy the extant power structure. You will see the same thing with self-identified “gamers” complaining about “fake girl gamers.” Admitting that the hobby has a lot of women in it, and a lot of “casuals,” and is indeed increasingly dominated by “non-traditional demographics” is an affront to the constructed identity of being a “gamer.” They are “losing control.” And they don’t like it.

This exact same sort of population is what the “fanbase” of Bleach has been largely reduced down to through a slow boiling off of any actual quality. Of course they’re dismissive of people who are looking for anything of substance: their identity, their “personal relationship” with the franchise, is founded on a superficial appreciation of it: things happening, flashy attacks, eye-catching character designs, fights, etc.

(What this really boils down to, at heart, is that society at large has generally told men that emotions are bad, romance and relationships of all kinds are gross, and that thinking and reflecting on things is stupid. So of course they not only don’t care about such things, but actively sneer at them as “girly” or “feminine,” which is again defined by society at large as strictly inferior. And this gender divide and misogyny is of course promulgated and reinforced by the powers that be, the capitalists, to facilitate class divisions just like say racism generally is.)

(The latest trick of these corporate overlords has been the weaponization of “woke” culture to continue to play the people off one another all the time. “If you don’t like this [poorly written, dimensionless Mary Sue] Strong Female Character, then you are a racist misogynist!” They are always only ever playing both sides for profit, not advancing an actual ideological position. It is worth noting that there was a push by IH some years ago to define IR as “anti-feminist” for critiquing Orihime for essentially the exact same reasons [admittedly, not for profit, but still as critical cover].)

Which makes it very curious, therefore, that the most ardent IH supporters tend to be women. (Though there are more than a few men, they seem to tend to support it because it is “canon” and to attack it is to attack “canon” and thus trigger all of the above, rather than out of any real investment.) I think there are a number of reasons for this (which I have detailed before) and at any rate it is not particularly surprising; 53% of white women voted for Trump, after all.

What we are really seeing in fandom, are again the exact same dynamics that we see at larger and larger scales, for the exact same reasons. The stakes are smaller, but the perception of the power struggle is exactly the same.

Of course, the people who are involved in these things rarely think to interrogate themselves as to the true dimensions and root causes of their motivations. People rarely do that in general.

Putting all that aside, I’m glad that you have found a place you enjoy and feel comfortable, and thank you for the kind words, although I am not of the opinion that there is anything poignant about the non-fiction I write. It is, as I keep trying to emphasize, all there to be seen. One just has to open their eyes. So, it’s hard for me to accept appreciation of it.

Anyway, don’t feel shy about coming off of anon rather than continuing to send asks. We don’t really bite.

#Asks

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obcreru · 4 years

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✔ : What drew you to the character you currently play? What types of characters are you generally drawn to? / 웃 : An existing character you’ve played in the past that you miss?

Have a Happy Munday Monday!

✔ : What drew you to the character you currently play?

Miyuki is my oldest One Piece OC.

Created her in my teens. She shares quite a lot with the water dragon slayer I made for the Fairy Tail fandom, but I did not feel quite right bringing her into forum roleplay which were the shit in that time. I mostly played 1x1 roleplays with friends using her. She was also my take on a Mizu Mizu no Mi devil fruit user. I would later change her, since a lot of things challenged the existence of the Mizu Mizu no Mi.

A bit off topic...

Earlier, I made passing statements about the Mizu Mizu no Mi, and while it was from a place of jealousy, I can also say I am happy someone is challenging the canon in that fashion. If you see them, give them a chance.

But back on topic.

Miyuki and I grew together. She became the basis for my water dragon slayer, and vice versa. So, I really see her as a part of me. She still started out as the annoying brat that she can be today, but I think she really matured. So, has her story. I am proud of her, but I do not think I found the right words to eloquently write her story. Let alone animate her the way I seen other people are able to with their own characters.

I would like to someday, as my younger self would be happy I did.

Miyuki is another troubled girl, and much of her story happened off screen. She hides behind a childish, shy and playful facade, so to some she may come off as shallow and no depth. If you should ever feel the need to endure those walls, you will notice more of her. She is a broken mirror, her fragments still falling and shattering to the floor. However, she holds close to some of the stronger fragments to her. She holds them so close, her fingers are cut in the process. Those pieces of glass are her shield, and unfortunately the resentment from the times her mirror was shattered, her sword.

Every person goes through a process of fragmentation over the course of their lives. Some, are able to put the pieces together, while others it is not easy. Miyuki is a little of both. She can put the pieces together, but there are significant pieces that are lost to her forever. And like a portion of those people, she is determined to find a solution. Does she give up on what was forgotten? Or, does she find what she wishes for? For her story, those questions often come up for her. Sometimes, she chooses to give up the search. Other times, she chooses to seek the truth. And for Miyuki, I can assure you, she makes some interesting choices.

What types of characters are you generally drawn to?

Female characters, from the glamour to the not-so glamorous. It is funny, I tend to love writing women who are somewhat unhinged in some aspect, but at the same time those types are often a hit or a miss in media for me. On some days, I may gravitate to literal strong women, and other days, I may gravitate to the non-combative, mentally strong.

As for male characters, I prefer writing those that challenge the social norms quietly and sufficiently. They mostly seem lazy and apathetic for the most part, but around the people they like the most, they have their own quirks.

When shipping any of my original characters in general, I like delving deeply into their psyche and into their partner’s.

웃 : An existing character you’ve played in the past that you miss?

A bunch, but if I were to choose, it would be my own fire starter, Kasei. She is not human. Would never call her a vampire or a demon, but she does have traits of both. She is the brawn while her twin is a tactician. However, I doubt I would bring her here. She would most likely piss everyone off. :/

#thank you for the ask!#munday on the dot #(( I might have been rambling. ))#viciousbite #【ooc replies】🌊 surface correspondence #【ask】🌊 hello! this is miyuki speaking!

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laughing-with-god · 5 years

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BNHA Crackhead Theory Part Two

I guess I must miss school or something because I suddenly got an urge to write an argumentative paper for no reason at all. But, I would like to organize my thoughts and hopefully convince a few people that there is some smidgen of truth in my little crackhead theory so please give a read if you’re interested.

(I want to be a Psychologist one day so I’m mostly looking into the subconscious and emotional aspect of this theory. Not a lot of actions will be used as evidence, I will raise more questions than answers because this theory is not one that can be proven or disproven. In layman’s terms- it’s just something to think about.)

(I very recently watched all of the anime and I haven’t read the manga. I don’t think it’s that big of a difference because I’m not trying to uncover something huge in the plotline, I’m focusing more on character development.)

When I first watched My Hero Academia, I couldn’t help but be baffled at the infatuation Izuku Midoriya had for Katsuki Bakugo. Why would he keep reaching out to the same boy who has bullied him and degraded his dreams? Midorya kept trailing after him even though everything about a childs’ development says that Midoriya should’ve avoided anyone and everything that didn’t make him feel comfortable, accepted and safe.

The easy and most accepted answer? Deku is a good person who sees the best in everyone and simply admired Katsuki for his amazing quirk.

A Pysh student’s answer?

Midoriya unknowingly seeks out powerful yet emotionally unavailable men who will most likely hurt and/or leave him.

Why?

I speak as a fatherless girl who suffered through her own fair share of Bakugo’s, and I say this with all of my chest; IZUKU HAS DADDY ISSUES.

EVIDENCE (lmao if you can call it that)

-Izuku’s father had the quirk of breathing fire.

This may not be an awfully useful quirk, unless you’re in constant need of a fire, but it was most likely a very flashy and cool thing to see in action. Who else do we know has a flashy and obnoxious fire based quirk?

Could it be that Katsuki was a subconscious reminder to Izuku of his absent father?

It’s a long stretch but psychology tells us that we tend to crave the familiar when dealing with a neglectful presence in our childhood. Example; someone who dealt with a verbally abusive mother might find themselves gravitating towards females who hold similar traits. Izuku probably doesn’t know much about his father as a person (personality wise) so it makes sense for him to subconsciously find himself attaching to his dad’s quirk (one of the few things he knew about him) and projecting it onto Katsuki when he developed his.

-Age, Stature and Dominance

According to my research, which could totally be wrong, Katsuki is slightly older than Izuku. Katsuki is also bigger than him and had an ‘alpha dog’ popularity during their childhood. Now, it’s totally normal for a dynamic to form amongst youth that will make some kids more popular than others. But Izuku’s tendency to follow Katsuki is perhaps deeper than that. People with daddy issues tend to like older and more dominant men that fit the stigma of what a ‘man’ is. Ie; strong, self-assured and approved by everyone around them. Even as a kid, Bakugo had nearly everyone eating out of the palm of his hand. So what’s the difference between the other boys who followed Katsuki and Deku?

Well, Deku had nothing to gain from following Katsuki around.

He was always getting made fun of by him or being made to carry the things the other boys didn’t want to. So while the other boys felt like they were in the ‘it’ crowd by being allowed to hang out with Katsuki, Izuku had no feeling of acceptance that usually is the driving force in peer groups. So why did he follow him around so much?

Acceptance.

Izuku projected his need for acceptance by an older and powerful male onto Katsuki and worked for it helplessly despite his wounded feelings. This can also explain why Deku was quick to try to save Katsuki (when he fell into the pond thingy and with the sludge monster) because part of him was terrified of losing yet another strong male figure. Although this is a weak piece of evidence given Deku tries to save everyone lololol.

Side note- I don’t wanna see “Well katsuki isn’t that much older than Deku.” because the truth is, a drastic age difference isn’t needed for the dynamic to take effect.

-”But Chinkbihh, aren’t they too young in these examples for you to argue that it’s daddy issues?”

Well my little grasshopper, to that I say bullshit. The stigma of daddy issues is people immediately assume that it’s about romantic, taboo and even kinky relationships that fatherless little girls grow up into. It’s more than that. Losing a parent is a very traumatic thing and can scar a kid for life. Symptoms show very early in kids because at that time of their lives, it was a very recent thing that happened to them. Not to mention, when kids first attend school and have to hear about other kids’ dads it can open the wound and cause more symptoms to occur.

-Symptoms of Daddy Issues

*Enabling narcissistic and sometimes abusive men in your life

*Clinging onto male figures you know aren’t good for you.

*Being attracted to men who hold similar attributes as the missing father

*Constantly seeking validation that you are good enough for said male.

-End Notes

This is more based off the early years of Katsuki and Deku. Obviously when a positive male figure like All Might came to help Izuku then his need for validation shifted. However, I saw so much of myself within Izuku always following Bakugo that I had to step back and think for a moment. I don’t think it’s something that the author intended to happen, but I do see a trace of it so I thought it was worth mentioning. Well....it’s still more believable than some of these traitor theories I’m seeing lmao. As I stated before, It’s a crackhead theory so you don’t have to blow up my inbox bc trust me I know this is trash

#my hero academia #bnha #bnha theory #bnha bakugo katsuki #bnha midoriya #deku x kacchan #bakudeku

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queermediastudies · 5 years

Text

Identity, Infidelity, and iPhones: A Critique of “Tangerine”

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Tangerine, set in Los Angeles in 2015, follows the journey of two black transgender women through the streets of West Hollywood the day that one of them is released from jail. The main character, Sin-Dee Rella, learns from her friend Alexandra that her fiance, Chester, has been cheating on her while she was in jail for a month. Sin-Dee sets off to seek revenge on Chester and the “other woman”. The film, which takes place over the course of Christmas Eve, depicts sex work, infidelity, drug use, singing performances, transphobic violence, and more. The plot comes to a peak with all the main characters in one donut shop, where the biggest secret of the film is revealed. Part drama and part comedy, Tangerine is a story of revenge, friendship, identity, sexuality, and love.

The reception of Tangerine was rather mixed. The film was highly acclaimed for its methods of production, as it was shot entirely from three iPhone 5s smartphones. It was also praised for its casting: the two main characters, Sin-Dee and Alexandra, are played by Kitana Kiki Rodriguez and Mya Taylor, two openly transgender actresses. Taylor won several independent film awards for her role (Shawan, 2015). Today, the film has a score of 96 on Rotten Tomatoes. However, the film has also received criticism about its portrayals of trans characters.

While Tangerine exhibits themes that align with aspects of queer theory, it also has some problematic elements within its production and content. As a viewer, my personal subject positionality impacts my interpretations and criticisms of the film, and my identity informs how my reading of the film differs from others’. Overall, Tangerine is a complex text that requires many different perspectives to dissect.

One of the major themes evident in Tangerine is intersectionality. This film follows the lives of two transgender black women who are also sex workers. This represents an intersection of marginalized gender identity, race, and class, all of which overlap and inform each other to create experiences unique to these particular positions in society. The intersection of these many marginalized identities is not often represented on screen, and this film was made in the 2015, pre Pose era.

Other apparent themes in the film include trans identity and gender performativity. In one scene, Sin-Dee drags Dinah, the “other woman” to Alexandra’s performance where she sings Doris Day’s Toyland in a club. Dinah later refers to the performance as a “drag show”, to which Alexandra sternly replies “I am not a drag queen”. This exchange challenges Dinah, who, rather than deconstructing her ideas of gender, still thinks of Alexandra as a man performing as a woman. Although Tangerine includes trans characters, the film does not give Sin-Dee or Alexandra much more background or storyline other than their trans identity, a critique that will be explored more in later sections.

One of the most common praises for Tangerine is for its method of filming: the entire film was shot using iPhones and a four dollar editing app. This cheap, user-friendly technology exhibits a queer approach to production. As Scott & Fawaz point out in Queer About Comics, “low-tech quality makes comics either fundamentally democratic or especially available to democratic practices” (Scott & Fawaz, 2018, p 201). This idea is reflected in Tangerine, as the groundbreaking use of iPhones showed audiences the endless opportunities available with more readily accessible technology. The editing of the film also exemplified some nontraditional techniques. The footage was edited to be quite oversaturated, giving it a slight orange hue, thus the name Tangerine. These film choices deliberately broke cinematic norms.

Tangerine mirrors Pose when it comes to some of its criticism. Because of the casting of two trans women of color, the film was able to deflect a lot of criticism. Dr. Martin makes this argument with Pose, saying that “These gay and trans actors of color function as a shield for Pose’s problematic representational politics” (Martin, 2018). While the casting of these two actresses seems groundbreaking, the film itself was created and written by two straight, white, cisgender men, Sean Baker and Chris Bergoch. These two men received the praise and profits from Tangerine even though there were many problematic layers within the casting, production, content, and intended audience of the film.

For one, although Baker and Bergoch may have had good intentions by trying to cast black trans actors, their methods for finding actors were questionable. Their desire to create this film came from Baker’s “fascination” with a particular Los Angeles intersection that was known for sex work. “As straight, white, cisgender men, he and frequent writing partner Chris Bergoch knew they needed a collaborator familiar with the area’s culture. Approaching people on the street proved futile, so they wandered over to a nearby LGBT center. There, Baker instantly “gravitated” toward a transgender woman named Mya Taylor, an aspiring entertainer who had never acted before, but was game for whatever Baker and Bergoch wanted” (Jacobs, 2015). The intense interest in a community that Baker is not a part of seems voyeuristic if not intrusive. Also, the way that Baker found Mya Taylor shows a situation where Taylor has very little power in the creation of this film. While Baker did intend to get an “inside perspective” of the area’s culture rather than relying on his own perspective, his casting of Taylor seems to be solely based on the fact that she is a black trans woman and was willing to participate. This has some connotations of tokenism and performativity that must be looked at more closely.

Secondly, the film itself has many issues of representation of trans lives. Overall, Sin-Dee and Alexandra have been propped up as “window dressings” of the film. As Rich Juzwiak states in a critique of the film, “We get virtually no sense of Sin-Dee’s interior life, and the sense we get of Alexandra’s is eye-rollingly trite (she wants to be a singer)” (Juzwiak, 2015). We do not get much of a sense of these characters’ lives outside of sex work, such as their backgrounds or even where they live when they are not on the streets. Instead, Baker and Bergoch rely heavily on tropes and stereotypes of black trans women as well as sex workers. On the other hand, they show the family and home life of Razmik, a cab driver who is a regular customer of Sin-Dee and Alexandras. This makes sense with the later plot, but the stark distinctions between these characters are clear.

The obsession with anatomy in Tangerine presents another layer of concern. For one, the fetishization of trans women was a major component of the film. Razmik consistently objectifies and fetishizes trans women. We see this when he unknowingly picks up a cis woman, then proceeds to kick her out of his car when he realizes she is not trans. This fetishization is dehumanizing, as it portrays trans women as objects of a straight male’s gaze rather than people with complex identities. Cavalcante (2017) criticizes films such as Boys Don’t Cry and TransAmerica for “scenes in both films that fetishized genitalia” (Cavalcante, 2017). This obsession with the anatomy of trans bodies is also shown when Dinah calls Chester “homo” for wanting to marry Sin-Dee. Selena, the woman that Razmik picked up, also called him “homo” when she realized he was looking for a trans woman. This implies that Sin-Dee and other trans women are men, invalidating their female identity. There are also consistent references to Dinah as a “real” woman or a “fish”. This reference implies that, as a cisgender woman, Dinah’s biology is what makes her a woman, and that trans women are not real women. While the trans characters use this reference themselves, it is still problematic to use biology as the determining factor for womanhood. Rather than challenging this implication, Tangerine consistently perpetuates transphobic language and ideas.

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As viewers, it is important to recognize our own subject positionality when critiquing films. Personally, as a young queer woman of color in college, I often tend to have a critical, almost cynical lens with many texts. For one, as a mixed-race person, I rarely see images of myself in the media, so I understand the importance of representation. When I do come across characters that I identify with, I often will fall prey to the trap of representation without considering larger structures within media.

Because of my subjective experiences as a queer woman, I would say I am also sex-positive and sex work positive. I had trouble with some criticisms of Tangerine that I found online because many people took issue with the portrayal of Sin-Dee and Alexandra as sex workers. The particular editorials I came across used a lot of anti-sex worker language. While I agree that “trans women as sex workers” is a trope that must be challenged, my own positionality tells me that there is nothing inherently wrong with sex work. Sex workers deserve to have their stories told and they deserve respect and dignity. While there is a lot of questionable material in Tangerine, I don’t think the presence of sex work alone is inherently problematic. However, the portrayal of sex work as indecent, as it was sometimes portrayed in Tangerine, contributes to the stigma against it. My personal experiences and views further complicated my reading of this film.

At first glance, Tangerine seems indisputably groundbreaking based on its cast and the characters it is representing. However, a closer look behind the scenes reveals that the features praised in the film are a veil for some questionable processes. A close examination of the text recalls Tourmaline’s Teen Vogue piece: “Too often, people with resources who already have a platform become the ones to tell the stories of those at the margins rather than people who themselves belong to these communities. The process ends up extracting from people who are taking the most risks just to live our lives and connect with our histories…” (Tourmaline, 2017). If we truly want a raw, real look at the lives of trans people of color and sex workers, we must leave the storytelling up to them, rather than approaching these communities with nosy voyeurism as Baker did. However, Tangerine revealed the possibility of a full-length film created with very limited technology. Perhaps the next breakout film will be a story created by trans women of color using nothing but iPhones.

Works Cited

Critique by Lucy Briggs

Jacobs, M. (2015, July 9). Tangerine may have had a tiny budget, but the film's heart is bigger because of it. Huffington Post. Retrieved from https://www.huffpost.com/entry/tangerine-movie-transgender_n_559bc990e4b05d7587e22881.

Juzwiak, R. (2015, October 17). Trans sex work comedy Tangerine is the most overrated movie of the year. Gawker. Retrieved from http://defamer.gawker.com/trans-sex-work-comedy-tangerine-is-the-most-overrated-m-1717662910.

Martin, A. L. (2018, August 2). Pose(r): Ryan Murphy, trans and queer of color labor, and the politics of representation. Los Angeles Review of Books. Retrieved from https://lareviewofbooks.org/article/poser-ryan-murphy-trans-queer-color-labor-politics-representation/.

Scott, D. & Fawaz, R. (2018) Queer about comics. American Literature, Volume 90, Number 2, June 2018, pp 197-219. Doi: 10.1215/00029831-4564274

Shawhan, J. (2015, August 6). Beyond using progressive filming techniques and casting, Tangerine is expressive and warm. Nashville Scene. Retrieved from https://www.nashvillescene.com/arts-culture/film/article/13060247/beyond-using-progressive-filming-techniques-and-casting-tangerine-is-expressive-and-warm.

#tangerine #queer media studies #pose #qtpoc #iphone #queer reading #intersectionality

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armsdealing · 4 years

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* 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓 𝒔𝒉𝒆𝒆𝒕 // repost, don’t reblog !

𝑩𝑨𝑺𝑰𝑪𝑺 :

FULL NAME. saul enrique bautista-reyes NICKNAME. in boxing circles he’s “el bellacoso” bautista, bellacoso (prod. “bel-a-coso” by americans who can’t pronounce it properly) being his boxing nickname, a dominican slang term for someone who’s mean and carelessly brash. sometimes it will be misunderstood and he will be nicknamed “bellicose” bautista, which works just as well. outside boxing circles, he’s just called saul. close family call him saulito, or rique. he does not accept these nicknames from anyone else. he will run all over you if you try to use them. GENDER. trans male. HEIGHT. 5′10″ AGE. twenty - six. ZODIAC. aries. SPOKEN LANGUAGES. english, his spanish a mix of colombian, puerto rican, and dominican dialectic variants. he knows enough asl and colombian sl to get by as well.

𝑷𝑯𝒀𝑺𝑰𝑪𝑨𝑳 𝑪𝑯𝑨𝑹𝑨𝑪𝑻𝑬𝑹𝑰𝑺𝑻𝑰𝑪𝑺 :

HAIR COLOR. dark brown. EYE COLOR. hazel SKIN TONE. light brown. BODY TYPE. muscular and athletic, with broad shoulders and back. VOICE. here. he has a low, growl-y, kind of voice. he can sound real imposing when he wants to. otherwise, he sounds quite smooth. it’s a voice you enjoy listening to, which makes it all the more unfortunate when most things that come out of his mouth are aggravating as hell. DOMINANT HAND. born left-handed, made himself ambidextrous. POSTURE. he has a perfect posture, seemingly effortless. SCARS. none noticeable enough to be noteworthy. TATTOOS. he has a wolf scratch marks tattoo on his neck, very faint and small. as for the others, i’ve yet to get detailed with them, but these pictures are good placement/vibe reference, sans face tattoos. BIRTHMARKS. he’s got a c shaped birthmark by his left hipbone. MOST NOTICEABLE FEATURE(S). his lips, his eyebrows, his voice, his eyes -- the mischievous way they glint -- his curly head of hair, and his smile. he smiles a lot, but it doesn’t necessarily look friendly except in rare circumstances.

𝑪𝑯𝑰𝑳𝑫𝑯𝑶𝑶𝑫 :

PLACE OF BIRTH. a small country by the name of brooklyn, new york. HOMETOWN. brooklyn, new york. SIBLINGS. he has like six, which comprise his step siblings, the reyes: natalia, isabel, alba, sergio, inigo and ignacio. he’s the second oldest, right behind natalia. PARENTS. there’s his birth parents, cristobal and omahyra bautista, and his step parents, berenice and emmanuel reyes. when asked about his parents, he will mention the latter.

𝑨𝑫𝑼𝑳𝑻 𝑳𝑰𝑭𝑬 :

OCCUPATION. semipro boxer, gang muscle. CURRENT RESIDENCE. bushwick, brooklyn. CLOSE FRIENDS. he has some gym buddies and sparring partners, but outside his family and the predators, he does not have many close friendships. which sucks! he could use some friends! this is me publicly asking for u to give him friends. RELATIONSHIP STATUS. depends on the verse. FINANCIAL STATUS. working class. DRIVER’S LICENSE. yes. CRIMINAL RECORD. yes. VICES. picking fights, being annoying, flirting shamelessly.

𝑺𝑬𝑿 & 𝑹𝑶𝑴𝑨𝑵𝑪𝑬 :

SEXUAL ORIENTATION. gay. PREFERRED EMOTIONAL ROLE. submissive | dominant | switch PREFERRED SEXUAL ROLE. submissive | dominant | switch LIBIDO. medium. TURN ON’S. a little slickness in speech and demeanor; experience, boldness, without resorting to pushiness. overall saul has a strong personality, so he gravitates toward guys that can put up with that and have a strong composition as well, but are sweeter and nicer than him in turn. sincere interest can and is very attractive, as it can easily disarm him (and sometimes scare the shit out of him), since he’s not used to that type of stuff. also, he likes it when you can hold your own in a fight, too, sue him. TURN OFF’S. trying to push him and testing his boundaries, mostly. taking his comments too seriously. RELATIONSHIP TENDENCIES. more of the above. saul hasn’t had any big relationships to speak about them from experience but he would mainly appreciate someone he can joke around with and who won’t be serious or take things seriously all the time. he is not a mushy, “corny” type of person but he can appreciate a little sweetness in small doses, so long as you accept that his attempts at reciprocrating will be clunky at best. relationships with him will be slow moving, as he is quite guarded about his emotions, and being emotionally intimate with someone else. he’d rather flirt with you, and toss in a few jokes to defuse tension, than talk about the important things. in order for him to be fully comfortable, he needs to feel like you’re friends first, with romantic love just an extension of said friendship. and if that is managed, then maybe saul can relax, and maybe even show softer aspects about himself. all in all, you can expect loyalty and lightheartedness, with plenty physical affection.

𝑴𝑰𝑪𝑬𝑳𝑳𝑨𝑵𝑬𝑶𝑼𝑺 :

CHARACTER’S THEME SONG. CARO - bad bunny / BOASTY - wiley, sean paul, stefflon don, idris elba. / FLEXIN’ - tkay maidza HOBBIES TO PASS TIME. gyms and training, obviously, but also sports (basketball, more than soccer, but he will also play soccer), watching MMA and boxing (he follows the sport and has his own favorite fighters), running, listening to music. LEFT OR RIGHT BRAINED. he’s right brained. PHOBIAS. none. SELF CONFIDENCE LEVEL. he’s highly confident, bordering on cocky, mostly about his skill as a fighter. he seems even narcissistic, but he doesn’t really care for his looks beyond acknowledging that he is, indeed, quite good looking. overall tho he just refuses to downplay anything about himself. he’s an acquired taste. VULNERABILITIES. his vulnerabilities revolve mostly about his feelings and being emotional. he can do it, he’s just not very fluent at it. he tends to be guarded and not open about them, and tone deaf regarding being comforting and earnest towards others. he will try, though, when he feels like that’s what’s necessary of him. he will do his best.

𝑻𝑨𝑮𝑮𝑬𝑫 𝑩𝒀 — stole! 𝑻𝑨𝑮𝑮𝑰𝑵𝑮 — @elpueblc (jeanine), @tribeof (alex), @withlwolves (maria), @generationalsins (louis), @undones (august)

#* saul.#misc.#i am alive #academically depressed but Alive

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