does dc have like. any adult butch women? at all? the closest example i can think of is karsta wor-ul but she's not a recurring character and that's like. literally it. surely im forgetting some... onyx maybe counts... but like dc still always draws women so feminine like they Have to have form-fitting clothes and big boobs and full faces of makeup it's hard to actually call any of them butch designs. (not that women with big boobs or form-fitting clothes can't be butch but like in terms of character designs clearly made by straight men you know?)
33 notes
·
View notes
The thing about Charles that most enrages me, vis-à-vis his plotlines and development, is that his crimes and his punishments are mostly entirely disconnected. He gets comeuppances all the time, but only occasionally are they a consequence of him being Bad, as opposed to just being annoying—or, sometimes, just being an easy target. And then sometimes he does or says something utterly heinous and the narrative gives him nothing but a slap on the wrist. Hawkeye and BJ (and sometimes the entire camp!) will torment him for minor, petty things, like destroying his French horn because he was bad at playing it. But the things he said to Margaret in the supply room in Mail Call Three were so vile that the scene is usually cut from syndicated airings. And what does he get for it? She jabs him with an elbow and pushes him out of the room and then nothing bad happens to him for the entire rest of the episode.
I have a whole half-written essay on the utterly nonsensical way Charles’ bigotry is portrayed on the show—the way it had to be portrayed, really, in order to make the character function—but this is the single worst result of that whole mess, to me. Because this mismatch between actions and consequences affects all the other characters, too. If Hawkeye, and by extension the narrative itself, gets angrier at Charles for snoring than for yelling about keeping his family’s bloodline pure (not to mention being racist against Max—you know, Hawkeye’s supposed fucking friend?), then that says something about both the protagonist and the show. Something extremely unflattering, to put it lightly.
74 notes
·
View notes
ok so here. here's the thing about giving silurian magic in the webtoon,, i think it actually diminishes her character a little bit?
because listen listen the thing about silurian is that she's,, just a girl. she's just a girl. that's how her father sees her, that's how everyone around her treats her and that's all she has known her entire life. she's just a girl, she can't even inherit her father's title nor be his heir because to him she's just his daughter who he loves very much but who one day he'll marry off to a hopefully good man to get an heir who'll take care of his city. and she knows this. she's not,, happy about it but she's aware of it. and then one day, this horrible thing happens in her city, this terrible very not good thing happens and there's a lot of people, her people, in danger and the one behind this is a man who everyone trusted and believed in and it turns out he's been killing innocents this whole time and is planning to kill thousands more. and silurian is just a girl right? she's just a girl, nothing very much special about her. but this is her city and this is her people and she can't just sit around and wait for everyone to die.
so she stands up and does something about it.
and she's just a girl so it may end up with her death. that's a very real possibility. but this is her responsibility and she won't stay down when the people around her need help.
and there's just something very poignant to me about a character that doesn't have much power nor is expected to accomplish a great amount of things to look around them and decide they still want to help. that even when surrounded by amazing people and terrible odds, they in their normalcy still can and must help in whatever way they can. especially when the narrative acknowledges this and shows that their efforts were not in vain and they deserve the same recognition as more powerful characters.
that's kind of the point of silurian's character. she was brave and she was kind and her death was a tragedy not because she was in a relationship with one of the male characters but because she was a good person who wanted to protect others with what little power she had and she didn't deserve to die.
so to give her powerful magic that allows her to easily defeat what was supposed to be a major villain in the original novel in which she died,,, kinda misses the point a little?? imo??
so,,, that's the thing. about giving silurian magic
26 notes
·
View notes
Everyone lost so that today spurs women could win it’s written in the script it’s the conclusion to this weekend’s narrative and we WILL all get to witness this greatness
2 notes
·
View notes
Round 4 is over!
Congratulations to our remaining competitors for making it to the semi-finals!
The SEMI-FINALS will start November 24, at 12pm EST
4 notes
·
View notes
Thinking about the implications of a female character created to support a man’s story, a secondary character who appears only in (what appears to be) a retelling of some tale. Who probably never existed even within the overarching story’s fictional world. Who was probably just created by one (fictional) man to explain another (fictional) man’s poor behavior. A girl who is young and pretty and at first seems independent, but soon becomes completely dependent on the man who swept her off her feet. And then an unmarried housewife. Who participates in events around the town until it gets too hard without her “husband” around (he never planned to be around). Who gets lonely and cries when she thinks no one is looking, and there might as well be no one looking because no one steps in until she’s at the window and her house is covered in weeds and the rain floods the ground into a swamp and she can’t reach him and he can’t reach her. A young girl who lost her parents an unspecified “long time” ago, who probably misses them and who may have gone without a father figure for some of her formative years, and maybe that’s why she was so eager to move in with a man twice her age, but it doesn’t matter because she wasn’t given that depth and she was never going to be given that depth. And probably none of that ever happened anyway. She’s a girl with no agency at all, not even over her own existence.
Thinking about the implications of taking this girl, this character, and giving her some agency. Turning her into the first character of a story within a story to be proven real. To have physical proof of her existence, to be given flesh and blood, and, most importantly, to have the power to tell her own story. But it’s the same story, more or less. Though this time, she gets to make the move on a man who’s only 10 years her senior, not 20. And he gets to be the virtuous hero who refuses her, the temptress. And her heart still gets broken, but she’s the one breaking it. And it’s almost silly, the way she pined after this man who only ever saw her as a child. Until you find out how it happened before. But it’s her story this time, and she’s the one telling it. It’s her poor decision, and she gets out mostly unscathed. But she’s not the hero, and she’s not telling the story for herself. It’s a story told to another man to explain another man’s character. It’s her story, and she’s the one telling it, but it’s not about her.
Thinking about what it might mean, if it means anything, to take her and reimagine her once again. To keep the love story (if that’s what it is) but get rid of the age gap, and make them high school sweethearts. So she gets introduced by name early on, and gets left early on. So everyone knows she’s one to pay attention to. And she’ll get to tell her story later, but not until the end. Before then, she becomes a looming figure. A name on a slip of paper. A name that’s the source of conflict, the central conflict that builds throughout the story. She’s almost the antagonist, except it’s not her, just her name and what it could mean. And she still gets to tell her story, and it’s still really about the men, etc. etc. And it’s the same story, for the most part.
Thinking about agency and storytelling. About who gets to tell their story and who doesn’t. Is it worth it to have agency if it just means you’re the one who makes the big mistakes? Is it even really your agency if that was always supposed to be your story anyway, like some sort of destiny? Are you just getting blamed for it? Is it still your story if you tell it for the benefit of someone else? Is it still your story if you’re not the one telling it? What does it mean to have agency within a work of fiction? Do any of these questions even matter because it’s all fictional anyway and no one has control and everyone is created to serve The Narrative and The Protagonists? What does it mean to be a woman in fiction? What does it have to do with being a woman in real life? If you tell your story within a story, do you still have agency if there’s someone else writing the larger plot? What does it mean for a female character if the author is a man? The screenwriter is a man? The composer is a man? The director is a man?
2 notes
·
View notes
Different anon! What are your thoughts on Soranik?
I haven't read mainline GL past the 90s on account of my war against Geoff Johns so I dont much know her!
5 notes
·
View notes
*takes sweet female character with no personality* *makes them bitter*
1 note
·
View note