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wuffgang-ameowdeus-moozart · 9 months

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Aren't you tired of forced romances with no chemistry that only take away from the actually interesting plot? Don't you just want media where romance isn't portrayed as being superior and more important than (queer)platonic relationships?

Well, my exhausted aro ass is too, so here are a few tricks and wisdoms I've gathered over my years of being a-spec (which is all of them) on how to avoid romance (in media) in a very allonormative society 💚🤍🩶🖤

(this is a rec list btw. no I am not shitting on the shows that I tagged, quite the opposite)

1. Middle Grade

I get if you aren't really into that, because it is kind of annoying to be pointed to literal children's literature when all you want is a story that isn't constantly being interrupted by describing the main guy's heated eyes for the twentieth time.

However.

It is true that in middle grade, friendship is always more important than romance. Because, let's face it. Making two eleven year old characters kiss is kinda weird. So even if there is a romance, it isn't very prominent and treated more like friendship and/or a puppy crush. Plus some stories get surprisingly dark?!?!

Examples

- Howl's Moving Castle (Diana Wynne Jones), technically a romance in the end, but mostly focused on found family, shenanigans, and finding your own value

- House of Many Ways (DWJ). Yes, again. I really like her books okay? They always have something so fantastical and whimsical about them. This is my other favorite book by her and it has literally no romance at all. Plus a hmc cameo that is so fun !!

- Coraline (Neil Gaiman). Maybe this is cheating because I never actually read it. However. a) the movie traumatized me. b) Wybie was added to the movie, he doesn't exist in the book, so if "power of friendship" isn't your thing this will be great. Probably vibes over plot.

Flyte (Angie Sage). Technically this is the second book, but I never read the first one and still understood everything. Once again, no romance at all. A fun read, which can get surprisingly dark at times.

2. Short Story Collections

Once again, I get it if it isn't your thing. Short stories are - as the name reveals - short. Which means: no worldbuilding, very limited narrator, open ending, no time to really get attached to characters, etc.

But.

The cool thing about collections, is that they always have a certain theme. And as long as the theme is not romance, romance will not be the focus. Even if there is a romantic relationship, it will be used to explore this theme since there simply isn't time for anything else.

Examples:

Life Ceremony (Sayaka Murata) This is the book that actually made me figure out: hey! I do actually like short stories !! The main theme is basically about being different and it plays a lot with body horror and the perception of your own body in contrast with how society sees it. There is even a story about two women who platonically live together and raised multiple children!

Canterbury Classics: Classic Tales of Horror (introduction by Ernest Hilbert). As the name suggests, this is a collection of horror short stories, featuring well-known authors such as Bram Stoker, Edgar Allan Poe or Charlotte Perkins Gilman. As these are classic old tales, the language is a bit complicated at times and you can read them for free on Gutenberg. However, the book is very very pretty and the introduction is very interesting (Origins of the genre, specific tropes and monsters, etc.)

3. Podcasts

PODCASTS!!! If you follow me, you are probably already aware of those. However, in case you don't, let me introduce you to the wonderful world of Audiodramas.

The cool thing about Podcasts is that pretty much anyone can do it. All you need is an idea, a mic, a lot of motivation, and you're pretty much set to go. No producers or publishers you need to get approval from. So it is only natural that this medium is filled to the brim with queer creators. Basically every character is somewhat queer. It's awesome.

Examples:

- The Silt Verses. I adore TSV. I listened to the first season like, four times. (the second one is good too but OH MY GOD THE FIRST ONE). And one of the main characters is canonically and explicitly aro!! Sister Carpenter, I love you with my whole being. And the great thing is, it is very clear that the writers love her, too!! There is a lot (like a LOT) of body horror so it isn't for everybody. But if you think you can handle it I really recommend it. (Plus, not any romance plotlines at all !!)

- Wolf 359. This is one of the older ones and it is really good. It's a bunch of restless and very unwell people stuck in a spaceship under the unforgiving rule of capitalism. However bad you imagine it, I can assure you it is worse. But the really cool thing is that there literally isn't any romance at all. Like, there are great m/f friendships but they never even hint towards a romance. Some people are so unused to that that they literally ship the main dude with the fucking robot AI. (don't worry, not an actual romance plot).

- Girl in space. I am sure you will be absolutely shook to know that this one also takes place in space. It is about a girl. In space. Shocking, I know. Except that she has been on her own for well over a year when suddenly a fleet of strange ships arrive and kidnap her. There is also a very asshole-y robot. And questions about what makes us human. And found family!! And a goat. And cheese. Just go listen to it okay. This is also one of the shortest ones of the list, so maybe a good start.

- Malevolent. I have to confess that I personally am not a huge fan of this one? Like the premise is really cool - a detective who wakes up blind and with a demon in his head who can see through the detectives eyes. What the fuck?, you may ask yourself. So does Arthur Lester. Mysteries and other dimensions and a whole lot of pain ensues. Harlan is undeniably an awesome VA and a great writer, but his stories just seem a bit too repetitive to me? Nonetheless I know of lots of people who enjoy it a lot. Trying to define the relationship between Arthur and John (his demon) is perhaps the biggest mystery of them all. (Jk. there are multiple murders and stuff. they've really got other priorities)

- Middle:Below. This is another short one and probably the least famous of this list? It's about this funky lil dude with a ghost roommate and a cat who can talk (.....or can it?). There is a m/f friendship but it never turns into a romance (wow it is possible!!). They all go on adventures on the dimension between life and death. Despite the description, this is literally just a comedy. A bit spooky at best. Reminds me a bit of scarier kids cartoons like gravity falls.

4. "Gay" movies/series in countries with homophobic censorship

Now you may think, "hey that seems like a bit of an asshole move!". And you would be 100% correct in thinking that.

However.

It does also mean that the main relationship of the story can never be explicitly romantic. They can allude to it, they can try to show it. But they can never confirm. So it is very easy to interpret them as having a QPR. (because tbh I don't think I've ever seen one on television.)

Examples:

The Untamed. Look. I am aware that the first episode is so fucking atrocious, all right? And no, the CGI does in fact never get better. And sometimes the translated subtitles are a bit awkward. But I swear that it is so good. Trust me on this one, okay? Just make it through the first ep. It's a wild ride. Lan Zhan I love you. (However the book it is based on (written by a woman) depicts them being in an explicitly romantic relationship, with lots of very inaccurate and badly researched smut, so the fandom pretty much sees them as exclusively romantic.)

- Word of Honor. Very much in the same vein as The Untamed. Except that the first episode is less horrible. And the one dude has a very fruity fan. And they also raise a kid together. And the costumes of the villains are really fun!! I actually never finished this one tbh. I know that the book it is based on has one very extremely terrible ableist plot point, but I don't know if that made it into the show since I never got that far

The Devil Judge. The last two were fantasy, this one is a dystopia. Very tense and interesting. There is a romantic subplot (typical childhood friend vs bad boy love triangle), but he rejects the childhood friend and they can't exactly show him and the "bad boy" (who is actually a judge. and also kinda his sugar daddy) as explicitly romantic for the reason above. They also live in the same house and cook together and take care of a child together. Can totally recommend.

Assassination Classroom. A bunch of students have to kill their teacher who is an alien. that's literally the plot. I cried so hard at the finale. Nagisa and Karma have MASSIVE vibes and you can't convince me otherwise. (There is a romantic subplot that does end in a kiss, but they agree to continue as friends since those were..... extenuating circumstances. The dude very clearly is not into her). Nagisa also very aro-spec coded imo.

5. "Straightbaiting" Anime

Sometimes Anime does this thing (which I personally find very hilarious) where a boy and a girl will have no other romantic involvements or love interests while growing closer and closer, but never get together. A bit like reverse queerbaiting.

Examples:

- Fairy Tail. The ultimate power is friendship anime. That is all you need to know. (I should also perhaps warn you that the end of the last arc (and the sequel series, but we don't talk about that) are huge letdowns. Like the buildup? So good. But....welp. If that doesn't bother you too much and the idea to have a group of people be the main character instead of one person only, this may be the series for you. Just do yourself a favor and skip all the filler arcs

Soul Eater. I really love the vibes of this one. Once again, most of the fandom likes depicting them as explicitly romantic, but they never canonically are. It also reminds me a bit of creepy children cartoons. It is also where the superior fictional school exists, Devon. Frankenstein teaches there (the dude, not the monster). People transform into badass weapons. Nobody can convince me that Make Albarn is not a trans woman. However the ending deviates a bit from the manga, and I personally think the anime one is a bit worse

Noragami. This one will always hold a special place in my heart because it was the first anime I really watched. This one also has people who transform into weapons, but the vibes are very different. It goes a bit more into Japanese folklore in case that interests you.

Bonus: Canonically Aro/Heavily Aro-Coded Characters

They were not anywhere above because the stories they are in didn't really fit any of the categories. But they exist!

Wolf (Kipo and the Age of Wonderbeasts). I adore Wolf. There is also barely any romance. Like, it will seem like it at first, but don't worry, it's only straightbaiting. There is a romance subplot but it's very brief and very much in the background. Overall very good aro show 👍

Isaac (Heartstopper) Very queer show, very high likelihood that you already know of it. The series per se is very romance focused, but as far as I've heard the a-spec rep in S2 is really good

Georgia (Loveless). Actually never read it. But, well. Title pretty self-explanatory dare I say. By the same author as Heartstopper (Alice Oseman)

Chance/Chris and Shadow/Ryan (woe.begone) Are explicitly in a QPR together !! they are also probably the healthiest couple in the podcast lol

Henry Clerval (Frankenstein). Henry is the "a couple of besties!!" to Victor's "we look like a couple <3"

Barbie (Barbie 2023) If you've seen it you know what I mean.

Jo Marsh (Little Women). I never read the book, but Jo in the 2019 movie??? very sus.

I would also recommend checking out Japanese books! I personally think they are much better at writing romance than the western people lol. It's more about knowing each other and sharing your views of the world, thus changing each other and leaving a mark forever, even if the relationship ends. (studio ghibli romance vibes). My favorite Japanese book doesn't have an English translation :(

aber an alle Deutsch-Sprecher*innen: Die Katzen von Shinjuku (Durian Sukegawa) -> og title: Shinjuku no Neko

Can't think of anything else right now, but please leave some of your own recommendations! Hope this helps ^^

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mirageofadesert · 5 months

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Female Power Done Right: A closer look at Pian Ran from TTEOTM

The seductress: regulating sexual morality

Female characters have always been stereotyped in popular media. While this isn't limited to the portrayal of women, it has affected them disproportionately and usually in a negative way. There are a number of common stereotypes of how women are portrayed, such as the virtuous woman, the seductress/femme fatale, the Mary Sue and more. While I don't want to say that TTOETM doesn't rely on these kinds of stereotypes to tell its story, the show does get some things right when it comes to its female characters. Pian Ran is the best example of this.

Most temptress are villains, because female sexuality is often framed as something negative, something dangerous. Sexual morality serves to regulate gender relations, for example through various sexual taboos and prohibitions on premarital and extramarital sexuality or homosexuality. In the major religions and many cultures, sexuality is traditionally placed in the service of procreation. In the ascetic-monastic traditions of Hinduism, Buddhism and Christianity, which are characterized by sexual renunciation, sexuality is equated with ignorance, desire, attachment or sin and is considered an obstacle to salvation. As women are identified more strongly with physicality than men, sexuality and instinctually in all the religions mentioned, the widely received stereotype of the sexual seductress emerges, which has been used to justify a wide range of discrimination.

Therefore, seductresses are not about female sexuality, they are (through the male gaze) objects of sexual desire for men, while also being a negation point of sexual morality. Virtuous women, especially protagonists, are often sexualised, but not portrayed as sexual beings. In contrast, sexual women are often the competition of the main character. They tend to use their physical attractiveness to attack or steal the main character's love interest, or to overpower the hero with their evil tricks. For this reason, they are often associated with animals that are seen as deceitful, cunning, poisonous or dangerous (e.g. snakes, scorpions, foxes).

At the first glance, Pian Ran fits this archetype well. She is a fox demon, who feeds on the life energy of men. She seduces them, using their sexuality for her own gain and entertainment. Pian Ran also dresses "provocatively" and doesn't conform to social conventions. When we first meet her, she is playing the historical version of strip poker, not just for the money, but because the desperate men amuse her. In the same episode, she forces Ye Qingyu to accompany her to the market and uses her sensuality to throw him off balance.

However, Pianran also subverts this trope. Her sexuality isn't portrayed as something negative, it's accepted by the people around her. Ye Qingyu never judges her for it, even though he is the polar opposite. Ye Xiwu never looks down on her either, instead she comes to him for advice and even flirts with her.

Sun Zhenni's performance deserves a lot of praise. Her sexiness doesn't feel "sticky" or "creepy" to me, like many other characters of similar type do. She has a natural sensuality that isn't over the top, more sassy than naughty. You can tell that she studied her character a lot and tried to portray her as nuanced as possible.

Pian Ran is also much more than just another fox demon and seductress. She is a complex character. But her main theme isn't really seduction - it's working life.

Pian Ran vs. work life

This theme runs throughout the drama, from Li Susu offering her a letter of recommendation for a particular sect when they first meet, to Pianran's work for Tantai Jin - and her resentment of it.

She has to work to survive - literally, as Tantai Jin tricks her into believing she has swallowed a pill that will give him control over her life. "Take the pill", which will change your life and take away your freedom, is also a reminder of how certain drugs and their side effects work. While she's not without a certain amount of freedom and has her own command within the Jing Kingdom, she's tied to Tantai Jin's command and rigorous work schedule.

Our girl is a for sure a regular on r/antiwork...

This theme makes her a relatable and likeable character. It also shows how her character is a comment on current social issues, beyond gender roles. This is one of the strengths of TTOETM, it’s strong social and moral message that goes beyond the plot of the drama.

Pian Ran vs. love life

As a character, Ye Qingyu is the opposite of Pian Ran: Virtuous, very righteous and rigid. But he never judges her for her behaviour, he always understands her and gives her space. And most importantly, neither of them changes who they are as their relationship progresses. She doesn't suddenly become a modest woman, he doesn't turn away from his ideals - except maybe in that cut arc in Jing Kingdom in the 3rd arc.

In many ways, Ye Qingyu and Pian Ran embody the classic trope of the seductive and virtuous hero: she affects men in a certain way that causes them to stray from the straight and narrow or interferes with their domestic arrangements. For example, when he spends the first night with her and thus neglects his duties as head of the family, or when she contributes to his changing sides and joining Tantai Jin. In short, she is disruptive.

When she advises Ye Xiwu/Li Susu on how to seduce Tantai Jin, she suggests various manipulation tactics to gain his attention and favour, but Pian Ran also gives genuine advice - to both of them, actually (although sometimes it's my accident).

One could make the argument, that they were aiming to frame her initial strong sexuality as a coping mechanism due to the loss of her husband and love threads. The absence of her love threads manifests quite different to Tantai Jin, mainly in form of attachment issues.

However, the show doesn't try to make a point about female sexuality by emphasizing a change in Pianran's behavior based on finding the right man. If anything, it's Ye Qingyue who meets her halfway by having a premarital affair. What I like most about their relationship is that they are each other's equals. They both have high ranks in Tantai Jin's kingdom and army, and he listens to their advice and treats them equally. Moreover, Pian Ran is never a damsel in distress. Even when Ye Qingyue dies for her, it is because she was blindsided by the attack while she was winning her own duel. In the end, she shares the fate of most seductresses who disrupt the social order - she dies (if they don't join a convent). The difference is that her death is a tragedy and not framed as a regulation of sexual morality and gender relations.

Female Friendship

Before I dive into the relationship of Li Susu and Pianran, I want to comment on the common dualism of the sensuous vs. the virtuous woman. Li Susu (or Ye Xiwu) is not the virtuous heroine, it’s (again) Ye Bingchang mirroring Pian Ran. This is something that subverts the whole trope! It's the virtuous woman who become disruptive and falls from grace, while Pianran becomes a righteous heroine. However, while Pianran doesn't become virtuous, Ye Bingchang tries and fails to use seduction to manipulate Tantai Jin. She also has an additional set of love threads that make her seductive to men without using her sensuality or sexuality. It's a fascinating dynamic. As I said, TTEOTM is not a perfect show with a feminist message, but it certainly tries to subvert gender stereotypes - and not just with its women, but that's another issue.

Pian Ran's third important role in TTOETM is that of Li Susu's friend, who supports and guides her. What makes their dynamic so interesting is that while Pian Ran looks younger than Li Susu, she is considerably older (well, if you count age by years lived, not by date of birth). They are flirtatious, they share a horse and a bed, and they pass the Bechtel test! Li Susu even risks her health to cure Pian Ran of Tantai Jin's blood curse.

Both subvert gender expectations in their own way. They are strong characters without abandoning their femininity. The empowerment and the feminist ideas, they are embodying, also come natural to the storyline and are not just tropes. Therefore, they are relatable characters for a modern audience (except when they are not).

Edit: Got rid of some spelling mistakes!

#till the end of the moon #cdrama #cdrama meta #tteotm #pian ran #tantai jin #sun zhenni #ye xiwu #bai lu

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celluloidbroomcloset · 23 days

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Hi, first thanks for all the great meta and analysis❤️

So, I recently noticed this an increase of something that really annoys me: whenever the canyon stumbles upon an opinion they don’t agree with they’re acting like Con O’Neill is this helpless baby that needs protection from people criticising a character he played/his acting choices (because that obviously equals a personal attack🙄).

And as if he is this groundbreaking queer actor that has done more for the LGBTQIA+ community then David with OFMD.

Don’t get me wrong, I absolutely respect Con O’Neill and I do believe him that he is queer (despite there having been some valid doubts in the past) but I honestly don’t see that he played Izzy as gay (again, not on him, he just went with the role of the antagonist that he was given and did that really well, and then the Izzy fans tried to make it something that it was not). And if he did try to play Izzy as gay within the limitations of that script, then ok….an old white cis gay man who also falls into that hurtful trope of queer coded villain…tell me how that is groundbreaking representation again?

The same goes for “all of the other queer roles” he played according to the canyon. There are two of that I think:

1)Cliff Costello, Cucumber (another old white gay men in a show with some very backwards views about how you are only properly gay if you get fucked in the arse or fuck others in the arse. No, I’m serious, the whole premise of the show is how horrible it is that the protagonist dosnt like anal!)

2)Val Pearson, Uncle (a character that fits every horrible stereotype of how trans people look, Con O’Neill stans love to claim that aCtUaLlY Val is gender fluid, but that is purely a head canon and never established in the show! If you know how 2000s media classically portrayed trans women and always made them the butt of the joke, this role is exactly(!) reproducing all of that).

Both of these are just side character btw.

And I’m not blaming Con O’Neill for taking on these very problematic roles, as queer people we often have to take whatever representation we are given. Still -especially as a queer person- we don’t live in the 80s anymore you are allowed to be more critical about the roles you take on.

And I don’t think /he/ was the problem with these roles, I actually watched Uncle and like the way he played that character but that dosnt change the fact that the character itself is written deeply transphobic.

So maybe we shouldn’t pretend that they’re great representation?

And maybe we shouldn’t act as if Con had specifically chosen to play queer characters?

Like two deeply offensive stereotypical LGBTQIA+ characters in 40 years acting career? -that’s not more then your regular straight actor has played.

He is a decent actor but it annoys me that the canyon tries to turn him into this activist or something!

Wow, this got longer then I expected, sry just had to vent a little after seeing some rather outlandish canyon takes in the wild😅

OK, before I answer, I want to remark that this is a very thorny issue. I am not trans, and I know that there are some trans people who saw themselves in Izzy's characterization especially in Season 2 or discovered their own gender identity through that character. That's absolutely valid, and no one should ever say that it isn't.

I have not seen Con O'Neill in anything other than OFMD. From what I've seen, he's a good actor and seems a lovely guy who strongly supports fans and the LGBTQ+ community. But I can't speak to the other roles he has played because I have not seen them.

I read Izzy as queer, yes, though that's less explicit in the first season. He's very much the "queer-coded villain" trope, which is a homophobic trope...but as with everything OFMD does with tropes, it's subverted because—surprise!—almost everyone is queer. Izzy is very much an archetype of toxic masculinity and I think part of the point of the character is to develop how queerness does not always equal liberation.

I think it's very easy to fall into stan culture and arguing that the actor is the role and vice versa (so a criticism of Izzy is somehow a criticism of Con O'Neill). We have an additional layer here that this is a very queer show watched by a lot of queer people who see themselves, some for the first time, on the screen, and so are naturally defensive of the show itself, the specific characters, and the actors who play them. And that can cause a lot of problems too, especially if you're invested in the character who is canonically The Antagonist. To complicate it further, he is representative of a very common trope that for a long time was the major way queer people were represented at all in mainstream media, and we have people reading him as though he is the sole queer character. Which he likely would be, in many other stories...but not here.

It's a complicated issue. I wish that we could all step back a bit from our emotional investment in these characters and actors and recognize that they are part of a TV show that wears its tropes on its sleeve, and that just because an actor is a lovely person in real life, he is not his character.

#ofmd #our flag means death #reply #izzy hands #con o'neill

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jasminewalkerauthor · 2 months

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Trope talks: Mary sue vs not like other girls

In the intricate landscape of storytelling, character archetypes play a pivotal role in shaping narratives and reflecting societal norms. Two such tropes, the 'Mary Sue' and the 'Not Like Other Girls' archetype, have left an indelible mark on how women are portrayed in media. This exploration delves into the rise, fall, and societal implications of these tropes, drawing connections to feminist discourse and the evolution of women's representation in popular culture.

The 'Mary Sue' trope originated in fan fiction, characterizing an idealized and often flawless female character who becomes a focal point, overshadowing the narrative. Originally coined as a parody, the term found its way into mainstream discussions as a critique of poorly developed and overly perfect female characters.

The 'Mary Sue' trope has faced criticism for perpetuating unrealistic standards for female characters. These characters often lack depth and complexity, overshadowing other narrative elements. The trope can contribute to a limited and one-dimensional representation of women in media, reinforcing harmful stereotypes and expectations.

The prevalence of 'Mary Sue' characters has influenced audience expectations and perceptions of female protagonists. As audiences demand more authentic and relatable representations of women, media creators have faced the challenge of redefining female characters beyond the constraints of perfection.

Contrastingly, the 'Not Like Other Girls' archetype emerged as a response to traditional feminine stereotypes. Characters embodying this trope often distance themselves from stereotypically feminine qualities, emphasizing their uniqueness and independence. While intended as a form of empowerment, it can inadvertently perpetuate the devaluation of traditionally feminine traits.

The 'Not Like Other Girls' trope risks reinforcing harmful stereotypes about femininity by implying that conforming to certain standards makes one inferior. This undermines the diversity of female experiences and reinforces a binary view of femininity, pitting 'special' women against those who adhere to more traditional roles.

Feminist discourse has played a crucial role in challenging and deconstructing these tropes. The call for diverse and authentic representations of women in media has led to a reevaluation of character development, pushing creators to move beyond simplistic and limiting portrayals.

The evolution of women's portrayal in media reflects changing societal attitudes. Audiences increasingly demand nuanced and authentic characters who break free from restrictive tropes. The recognition of the limitations posed by the 'Mary Sue' and 'Not Like Other Girls' archetypes signals a broader cultural shift towards more inclusive and empowering narratives for women.

As we navigate the complexities of storytelling, the rise and fall of the 'Mary Sue' and 'Not Like Other Girls' tropes stand as milestones in the ongoing evolution of women's representation in media. The pitfalls of these archetypes underscore the importance of nuanced and diverse portrayals that reflect the multifaceted nature of women's experiences. In the realm of feminist discourse, the journey towards more authentic narratives continues, shaping the future of storytelling and challenging the narratives that have limited the potential of female characters for far too long.

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libbee · 1 year

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Some heartfelt advice for 8th venus ladies:

I can empathize with the emotional struggles of this placement. It is almost as if the society we are born in somehow runs on conventions that are pre existing. Trying to live by values, high standards, principles, morals, ethics, virtues is looked down upon, ridiculed, called as noob. It is almost like the society, media, politics rewards and celebrates being crooked, unethical, disorganized. I think it is projection of collective shadows and rejection of what we dislike in ourselves onto others who are not similar to us. Irony is that on a superficial level, all of us try to do virtue signalling and portray a highly moral persona of ourselves but we dont like to do the hard work of actully living according to our standards.

Venus in 8th house lady comes across such situations in life where she realizes how messed up the social systems are. How people are fake, pretentious, hypocrite and merely holding an image of goodness but dont actually live like that. She can see through lies, deception and fakery - and she hates that. This lady then does shadow work - it is usually after a major heartbreak that she figures out her emotional issues. Thereby she learns to manage her emotions to raise herself from the puddle of bad social circles. This is why it is also called the placement of rebirth or emerging like a lotus from the mud.

Shadow work is dirty and when the mud clears, it is time to rise above the social conventions and expectations. It is time to become what we call a High Value Woman. A high value woman lives by her values and standards. She is sophisticated, soft spoken, ladylike. Dont mistake high value woman for misogyny or stereotype. But it is character development. You can call it whatever you want but it is about emotional strength and realizing her inner will. It is about self actualization and reaching her highest potential.

Some traits of a high value woman are: she knows her worth, values, her time is not free for everyone, does not engage with toxic people, has emotional control, is classy, does not put down other women to look good, does not need male validation to feel desirable, is Stoic, has a career, has some pursuit in life, well read, thoughtful speaker, lives by morals and principles. In relationship, she does not appear clingy, has an identity of her own, does not chase the man, lets the man be the provider, does not play mind games, does not cheat, emotionally connected and invested in her partner. Some personal values are: empathy, kindness, classy, lives with dignity, has self respect, has boundaries for toxic people, etc. Moreover, she constantly improves her own darkness and becomes a little better person everyday.

Some of these traits might not feel good to those who dont have venus 8th house but it is really essential for these ladies because of their life themes. I dont even have to share this, just meet any 8th house venus lady in the random place and she will tell you how much character development she has gone through. No matter the nation, the state, the race, the language, anyone with 8th house venus really goes through self transformation in secrecy. It is the hallmark of this placement.

The sooner you transform the better the result. You can then attract a fellow High value man and live a drama free satisfying emotionally fulfilling private relationship. Emotional control is as important to these ladies as is brakes in a car. Since your life theme is very fated, you have psychic gifts and things happen suddenly in your life, better to drive your car smoothly to make the twists and turns easier. Dont race your car, drive in limits. Better safe than sorry.

#venus in 8th house #astro community #astro notes #astro observations #astro placements #astro tumblr #astroblr #astrology #astrology blog #astrology notes #astrology observations #8th house venus #8th house

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two-hands-toward-the-sun · 7 months

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Portraying Black Female Characters in Sandman Fic

A fanfic may not have the same reach as a published book, but being aware of how we’re portraying the many Black women of the Sandman in our fics and our posts is still imperative. As I am nonblack, the only piece of advice I can offer is this: pay attention to how Black women write about themselves. Read books by and about Black women. Listen to music by Black women and consider their lyrics. Educate yourself on damaging stereotypes Black women face in order to avoid reinforcing them in your writing. Just…see how creators portray people who share their own identities. That’s vital. Absolutely essential, even.

Below the cut I have included a few personal recommendations if you’re interested.

Books

Homegoing by Yaa Gyasi. A gorgeously written, emotionally expansive novel beginning with vignettes about two sisters who never met: in 18th century Ghana, one sister marries a white British officer, and the other is sold into slavery and trafficked to the United States. The book then follows the descendents of these sisters through eight generations. We only spend a single chapter with each character, but Gyasi is so, SO gifted at making you care about them as people in the limited time we spend with them.

(She also wrote an article in 2020 that is well worth a read, and raises points that are important to keep in mind as we seek out more diverse media.)

The Brown Sisters Trilogy by Talia Hibbert. These three books are romances (each book is about one of the titular sisters), and they’re fun and flirty with interesting, distinct characters. I was trying to think of a favorite one, but I couldn’t! They’re all enjoyable in different ways.

Music

“Deathless,” “River,” “Creature (Perfect),” “Vale,” and “Juice of Mandarins” by Ibeyi

“Black Woman” by Danielle Brooks

“Protect Your Queen” by Sampa the Great

“She’s Got Her Ticket” by Tracy Chapman

The entirety of Lemonade by Beyoncé + “Brown Skin Girl” and “I Was Here”

Additionally, here are some links to posts or articles that address the “Strong Black Woman” trope. I see undertones or overt representations of this with Lucienne often in this fandom, and I think it’s a stereotype we need to be especially aware of.

Post: a quote from the TV show Harlem

Post: 10 Ways You Can Support Black Women (specifically #9, but the whole post is important.)

Article: Why the “strong black woman” stereotype is an albatross

#the sandman netflix #the sandman #lucienne the sandman #lucienne the librarian #death of the endless #rose walker #unity kincaid #gault the sandman #mazikeen the sandman #fandom misogynoir

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n0thingiscool · 2 years

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Hot Takes From Troll Accounts - re: Breaking Bad and the MSM's General Influence on Populous Beliefs/Behaviors

Exhibit A) absurdly-“useful”

Except mainstream anything has an immediate influence on the masses hence why electing a pro Nazi rapist to office was fucking BAD for the population and the safety for women, POC, queer folk, and people with disabilities… ya goofy misdirecting troll account see you next tuesday. 😂

Exhibit B) wackweeder, grimeclown, and cactusseeds

No, to answer your question - grimeclown. But that’s kinda not really the focus.

*eyes rolling at cactusseeds* - tell me you work for media without telling me you work for media.

For wackweeder - you say “media illiterate” like that’s a bad thing. Lmfao. I prefer to put my limited time in reading published studies, reading historical books, interacting with people who value educational content (not you), taking STEM classes, and beating my ass up in fitness arenas than working on my “media literacy.” I have all my social media feeds to tell me shit I don’t care about in relation to mainstream television now, anyway. It��s not like I get to bury my head away from any of it as much as I would love to. But why the hell would I want to watch brain rot with what limited time I have on this planet. I rhetorically ask. Here’s the key response to your overall population influence illiteracy - media influences everything including drug usage. This is why most developed governments are so sensitive about tobacco and alcohol ads in the presence of children. It doesn’t generally matter how the shit is portrayed. If it did then Nancy Reagan’s “War on Drugs” TV specials would’ve had some positive effect on the masses. Hint… it didn’t.

https://academic.oup.com/alcalc/article/44/3/229/178279

Now - you can go ahead and make the argument that BB the show, itself, could’ve turned people away from using because there are zero studies to counter that argument but that’s disingenuous claim to make at best. Personally, I feel more comfortable looking at all the other numerous studies looking at drug and alcohol usage influenced through media, in general, and applying that data to the picture at hand because that is a rational thing to do.

For a lay example - why don’t news outlets publish suicide rates? Because it increases suicide. Just because it looks bad in the broad scheme doesn’t mean it has none or an anti-influence. That’s not how this works. I can think of other media influencing mob behavior: Flash mobs. The increase of street takeovers in a post Fast and Furious world. How little girls think they need to look like some twig on the runway. How little boys think they have to hide their emotions because the machismo men on their favorite shows do so. How Bhutan’s GNH (presumably - the documentation has all but vanished from online sources I had read from in the aughts - shoulda saved it back in the day…) fell after the introduction of Western Media. And so on…

People are easily influenced, man. They teach in journalism school (yes, I went) the average American reading and comprehension level is at the equivalent of the third grade. When you see mofos out there believing Q-Anon conspiracies without second guessing you know that fact isn’t far off. We’re not anywhere near as evolved a you want to believe.

Exhibit C) roadkillbuffet

I can’t tell if this is sarcasm or not but Breaking Bad was not the first gay kiss on television…

But also… if the comment isn’t sarcasm or a troll then - “but Breaking Bad was the first gay kiss on tv therefore if you’re calling a meth based television show out you are homophobic” - is a piss poor argument to make for the queer community. Of which I am in, btw.

If that were actually true and BB was the first show to validate queer relationships then how homophobic is Hollywood to take that first dive into validating queer lives in a show about meth? I’m going to guess this is a sarcasm response though. No one can be that off base… can they?

Exhibit D) "I can't read this" Cool. Go back to your basic memes.

#ask response #influence #influencer #media #behavior #mob rule

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convolutedblasphemy · 3 months

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Fandom is when you get told people can portray aroace characters however they want including completely removing their identity and on the same day you can be called homophobic for self-shipping with a gacha dude because the game is chinese and another male character looked at him affectionately so this is a canonically gay couple simply limited by censorship and you must not erase their sexuality. Something is always on fire and a 30 year old who has never had a real job before will call themselves a wise fandom elder and lecture you on how social awareness and respectful portrayal of minorities are oppressive to them. Every blog makes it clear they're not here to play mental health support but you're supposed to validate them for their shitty coping mechanisms all the time. People with the media literacy of a third-grader are writing character analyses about a parallel universe version of the show you just watched. White women so invested in mlm ships that they're having entire mental breakdowns over them on social media have convinced themselves they're carrying the entire community when it's actually those lore wizards and people who manage to make memes that break containment or last for years to come. There's AU's out there so complex and at the same time genuinely batshit that it feels like they started as a drug trip. Someone will put the Bee Movie script in your inbox. Our lingo is as incomprehensible as gamer speak at this point. Fandom is probably a fever dream niche to anyone who is a casual enjoyer of media and only uses Instagram and Facebook. I wouldn't even know how to explain this beyond "oh it's just a community of very creative people who are a fan of a specific piece of entertainment".

#fandom #fandom culture #fandom discourse #internet culture #tumblr

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oftlunarialmoon · 3 months

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No Expiration Date on Fun!

originally posted to www.onlyfunthings.org on February 22, 2017

Ciao lovelies! Today I have an opinion piece for you about societal expectations, breaking the norm, and having fun!

This post was inspired by many anonymous comments criticizing my hobbies. Their main argument is that I am too old to enjoy things like dolls and Monster High. So I’m here to explain my opinion on this matter! And, acknowledging that I am putting my opinion on the internet, I know that somehow, some anonymous person will find fault with it. So forewarning, I’m not answering any “trolling” comments, meaning if your only commentary is “lol ur lame for liking dolls” you’ll be respectfully ignored. Let’s get into it!

Part 1- Acknowledging Societal Influences

I’d like to begin by acknowledging the depth of influence that society has on the individual. To understand this, we must understand the different levels of society. Every country is a society, states inside that country are also societies within the main society, then counties and cities, etc, etc.. Where someone comes from will influence what societal norms they were affected by.

A common societal expectation in American society (and the one we’re focusing on in this piece) is the idea of what it means to be an adult, and that adults can’t enjoy “childish” things.

In the earlier days of American society, there were very rigid expectations and ideas on what it meant to be a bonafide adult. But around the 1960’s-1970’s, this rigid construct became a lot more flexible, and as time moved forward, different lifestyles became legitimized for the “American Adult.” Fun became not only allowed, but encouraged, and not just the boring kinds of fun either. The ideas for what was a legitimate recreational pursuit for the American Adult were wildly diverse and interesting.

But even though we have come so far in terms of these ideas, society has still maintained a talon grip on certain biases and ideals for “true adults.” The main ideal that is still foolishly upheld by society that I want to open dialogue about today is this old-world notion that things marketed towards children can’t be enjoyed by adults.

Part 2- On a Personal Level

To bring things back to the point of the piece, let’s make it personal. I enjoy many “childish” hobbies. I unironically like Monster High, the show, movies, and merchandise. The message behind it is really great; celebrating diversity and being yourself, and being proud of your heritage.

youtube

They even have an episode teaching viewers not to be patronizing towards people with disabilities.

youtube

Something like Monster High, with such a good message and great lessons, shouldn’t be limited to children! I think some adults need these lessons too.

Part 3- A Return to Generalization

To continue, let’s return to a general sense. There are many “Children-oriented” things that can be enjoyed by adults. One of these is the hobby of collecting dolls!

Despite how common it is for adults to collect dolls, there is still a social stigma attached to it. Many different media portray adult doll collectors as creepy, mentally unstable, possibly violent or predatory people. Just look at Criminal Minds, where they had an episode where a woman accidentally kills other women trying to make herself new dolls. (Not that I’m saying I dislike Criminal Minds, but they do perpetuate some mental illness and societal stereotypes.)

In reality, adult doll collectors are usually quite normal. Some may collect dolls for photography purposes, some are parents who collect dolls with their children, some repaint the doll’s faces to create beautiful works of art, some may just enjoy dolls.

Similarly, video game use by adults used to be heavily stigmatized, adults who played video games were seen as nerds, shut-ins, or losers: Now, there are many jobs in the video game industry, and a legitimate possibility of success via playing video games on platforms like YouTube or Twitch.

Thinking of changing standards brings me to…

Part 4- Breaking The Norms

To think about breaking a societal norm/expectation scares most people, and for good reasons. Society is very protective of its norms, and has developed methods to protect them, much like a mama bear with her cubs.

But we shouldn’t fear backlash from expressing ourselves! Society is crafted, controlled, and run by those within the society, meaning that WE, you reading this, your friends, your family, me: We have the power to change society, and we should.

What do you all think? Do you agree that adults shouldn’t be stigmatized for liking “childish” things? Do you think hobbies shouldn’t be labelled based on age? Let me know in the comments! I love hearing your opinions, or even if you have other ideas, links, articles, etc!

Thank you for reading!

I have found that I really enjoy writing opinion pieces. Do you all enjoy reading them? Let me know!

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audreydoeskaren · 2 years

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hiii there!!! i've been focused on eastern fashion for some time now and so far i haven't come across good sources for studying anything from china, let alone east asia. so this probably has been asked before but what advice do you have for new people trying to study chinese fashion?

I do have a couple personal tips! This spiralled off into a very long post which also addresses some historiographical issues, read til the end if interested.

Primary sources

Good books and articles about Chinese fashion history are few and far in between, and may not cover every time period, so primary sources are your best friends. Try to find as many artworks and texts related to fashion as possible for the time period you’re interested in, and don’t feel limited to “famous” artworks or conventional genres. “Famous” historical Chinese paintings rarely depicted realistic fashion, if they depicted people at all. Fashion should be sought in formal portraits, book illustrations, photographs, export art, figurines and burial artifacts etc.. The availability of each genre depends on the time period, the further back in time you go the more scant sources become, which is why I would recommend newcomers begin with a more recent time period, like the 19th and 20th centuries. For fashion history purposes, all visual resources are valuable as long as they depict realistic fashion, and artworks from historically less prestigious genres can be very helpful for cross referencing.

Ideally, one should have a variety of sources across genres. For example, Republican era fashion is usually studied through calendar paintings (月份牌), but these only depicted upper class women in a very specific commercialized, socially conservative context. Therefore, it would be helpful to also look at professional fashion illustrations, photographs of film stars and costumes in films for avant garde designs, as well as photographs of common women for more everyday attire. For the 19th and 20th centuries, it’s good to have artworks as well as photographs/videos, to understand both the fashion ideal and how it transferred onto real bodies.

Avant garde evening fashion on actress Hu Die, early 1930s.

Most of these things could be found online, through both reliable and dodgy methods. Since I don’t live in China, I can’t visit any museums that physically hold the artifacts, so I just pray that they have things digitized. Fashion historians and enthusiasts on Weibo and Xiaohongshu also post sources they have pretty often, so do check out those platforms. I’m afraid I can’t regularly see what people there have to say because Chinese social media platforms stress me out and give me anxiety as a Chinese person.

It is also important to be able to parcel out what primary sources are reliable for fashion history purposes, whether they depict real life fashion or something fantastical. This is most relevant for Chinese fashion prior to the 19th century, as the abundance of artworks in the 仕女 shinv genre often led people to mistake the imaginary costumes they depicted for real life fashion, because they adhered to stereotypes of “ancient” Chinese clothing cultivated in the 20th century. Shinv as a genre that specifically portrayed women gradually stopped depicting actual women’s fashion in the Late Middle Ages, and developed an “industry standard” style of fantastical costuming based on a fossilized version of Tang and Song styles (not actual Tang and Song fashion). I don’t know why this is but I know it is. Shinv artworks should NEVER be used as fashion history resources, those created after the Song Dynasty should be viewed with suspicion. Faulty understandings of pre-Qing fashion in older literature mostly stem from the inability to distinguish shinv artworks from realistic ones. With some experience of looking at these paintings, it becomes very easy to tell them apart from formal portraits and illustrations that depict real fashion. Here are some established features of shinv costuming:

The top is always tucked inside the skirt, which is contrary to real life fashion in the Yuan, Ming, Qing and 20th century.

The hairstyles are very tall and complicated, often gravity-defying

There are long, dangling decorative tassels and braids hanging from the waistband, as well as other accessories that contribute to flowiness, such as 披帛 pibo shawls

Shinv piece by Xu Beihong (1895-1953). The style of costuming is consistent with shinv artworks from previous centuries; obviously real life women did not dress like this in the early 20th century.

Use recent literature

This is a general academia thing not just fashion history, but for some reason people tend to make an exception when it comes to Chinese fashion history. DO NOT RELY ON BOOKS THAT ARE TOO OLD, especially if they’re written before the 2000s. There were a series of books on Chinese historical fashion from the 70s and 80s that were highly influential foundational works for the subject, but with the body of research that has surfaced after their publication, a significant chunk of the information in them became outdated and is now considered incorrect. New books and articles are constantly being written about Chinese fashion history, so please consult those instead of the same incorrect books from the last century. I cringe even looking at some of my older posts which were written like, a year ago, how can you expect something from decades ago to be any good.

Class difference

Most English language literature on historical Chinese fashion until very recently only ever focus on court dress, but it should be noted that most if not all historical Chinese courts had highly codified systems of dress that dictated what a person of a certain rank and standing could wear in what situation, at what time of day or year. Many types of court dress could not really be considered “fashion”, since they were ceremonial and meant to remain identical throughout the duration of a dynasty, serving purposes more symbolic and political than fashionable. Civilian fashion was much more lively and consistent in terms of rate of change. From my personal experience, both Ming and Qing are hit pretty hard by this misunderstanding, since a lot of civilian women’s fashion during the Ming is overlooked and neglected in favor of court dress with a lot of bling, and 18th century civilian Han women’s fashion is so underrepresented it’s practically invisible. Fashion had a large presence in the metropolis outside of court, especially as we draw closer to the 20th century.

18th century jifu, a kind of court dress. Apart from the overrepresentation of court dress, Qing Dynasty garments are ALWAYS displayed in this manner (laid flat instead of draped on a mannequin, because that would be too humanizing) in photographs from books and articles for maximum orientalism (no concrete evidence, just how I see it). Not that there’s anything wrong with displaying garments like this, it’s probably the best way to store them, but the severe lack of visual representations of how 2D clothes look on 3D people is frustrating.

18th century civilian fashion in a painting.

Continuity and difference

Oftentimes Chinese historical fashion is treated as sporadic episodes, people dressing themselves in one style and then suddenly changing to another one overnight when a new dynasty/decade is established. This mindset probably won’t take you very far in fashion history, because historical Chinese fashion was more like a continuous stream of development where small changes happened one after another, adding up to a major change every now and then. Seeing history as clean cut episodes marginalizes transitional periods where either important changes happened or things were simply very interesting and worthwhile to study.

When put into a postcolonial context, however, the use of clean cut time periods suddenly appears somewhat helpful. Like I explained, there are problems with the episodic view of history, but you have to admit it’s useful for representation. When people think of Western historical fashion, most can name certain periods or styles like 18th century robes a la francaise, high waisted Regency gowns, Victorian crinolines and bustles etc., which one probably learns from period dramas and the like. Whether the impressions are accurate is beside the point, as firstly there is an awareness that there were distinct periods and styles. The same cannot be said for the general perception of historical Chinese fashion, or any other non white society’s historical fashion, even though it is entirely plausible and even easy to divide Chinese historical fashion into similar distinct periods with their unique characteristics. People just think of historical Chinese fashion as “Chinese”, as if that alone is an accurate or sufficient description. As of currently, the only periods and styles represented in this way are, I think, Tang Dynasty chest-high ruqun, Qing Dynasty Manchu court dress and maybe Republican era cheongsam, which are common subjects of representation (with miserable accuracy) in period dramas. I personally would suggest people first getting into Chinese fashion history to come up with some of these time period distinctions but not take them too seriously, as they’re good for understanding the general gist of a time period and invite further research.

Narratives

Now I would like to delve into more abstract and ideological territory.

Maybe the smart people reading this can tell me if this is postmodern or something, but I think it’s important to keep in mind that lived experiences of fashion in history often run contrary to grand narratives about fashion and society that attempt to sanction what they should look like and police the acceptable ways in which they are interpreted. There are especially many grand narratives and discourses around 19th and 20th century Chinese fashion, such as the classic colonial line about late Qing fashion being backwards and stagnant and needing Western intervention I berate every so often, the pseudo feminist line about Republican era women’s fashion being inherently liberating (I’m going to talk about this in more depth in another post I’m working on), and the Cold War era anti-communist misconception about Mao era PRC not having fashion etc.. Not to mention how many of these narratives were built upon ignorance of actual historical fashion, as fashion history did not become an established discipline until the 1970s and writers speculating before that usually misinterpreted facts or straight up fabricated them (I have a couple examples of this I’m thinking of posting later). These always make me so uncomfortable I feel like I couldn’t breathe, like they’re trying to force me to feel a particular way and put my brain into a very small and tight box.

This is because the 19th and 20th centuries were centuries of grand narratives, shaped by various phenomena and ideologies of the modern era like colonialism, nationalism, fascism and communism. These are essentialist narratives constructed by historians that often serve present and future socio-political purposes, and should be handled with suspicion. These narratives are so influential that they often lead people to carry out intricate mental gymnastics to deny reality; no number of genuine photographs, films and artworks can convince someone sold on grand narratives that many people did indeed wear nice clothes in Mao’s China, seriously I’ve tried and failed so many times. If a narrative is constantly proven wrong by pieces of evidence, maybe it’s time to ditch it.

Costumes in 1950s mainland film.

Grand narratives existed before the 19th century too, I’m just not very well versed with them and can’t comment much, though I assume the general gist is the same. A well known example off the top of my head is the dynastic cycle theory in imperial era historiography, which describes Chinese history as cycles that repeat themselves with each dynasty. This view is allowed to fester in fashion history as well, with historians often describing fashion at the beginning of a dynasty as “simple” and “conservative”, which gradually develops into more extravagant and spectacular forms as the dynasty’s political power declines. An obvious problem with this view is its equating luxury and consumption with moral degeneracy and decline, which was historically used by Chinese ruling classes as a tool to enforce Confucian ideology. The other problem is that it completely fails to explain fashion at a more detailed level when it comes to actual, tangible features like fabrics, decorative motifs, silhouettes etc., and disregards linear, continuous changes that took place across dynasties. For example, late Ming women’s fashion showed more continuity with the early Qing than earlier parts of the same dynasty, and it’s more helpful to see the Ming and Qing as a continuum in terms of textile production technology and aesthetic tastes rather than two distinct cycles. (Come to think of it, I’m not sure whether dynastic cycle theory was actually used by Chinese historians before Western colonialism, or it was assumed that it was used by historians of the 20th century. That makes quite a difference.)

This is just one example, these grand narratives are everywhere and way too rampant in Chinese history discourse (not just fashion) to simply avoid or ignore. It would be more effective to have some knowledge in historiography (the study of the study of history) and theory so you can actively unravel and deconstruct them to ensure a smooth and pleasant journey on the highway of fashion history. Out of the books I’ve read so far, the ones that helped me the most are probably Edward Said’s Orientalism (I would be nowhere without him!), Judith Butler’s Gender Trouble and Frantz Fanon’s Black Skin, White Masks. These are very basic and accessible books so they’re useful outside fashion history as well.

To save you the trouble of feeling unnecessary ways like gasping in disbelief at the sight of beautiful dresses from the 1950s mainland, I suggest not to take grand narratives seriously, as they cause too many practical problems when you want to look at things a little deeper beyond surface level. I’m not asking for objectivity as it’s probably impossible, I’m not objective at all, I’m asking for an awareness of narratives and power dynamics. It’s better to first familiarize yourself with the factual part of fashion history i.e. what silhouettes and hairstyles were popular in what year/decade, before constructing narratives, or not construct narratives at all.

High expectations

Because of the prevalence of Eurocentrism and the massive volume of literature and media already produced about historical Western fashion, as well as the relatively recent academic interest in the historical fashion of non white societies, it can give people just starting out in Chinese fashion history the wrong idea that it’s going to be a breeze compared to the highly professional and demanding field that is Western fashion history. Please don’t get into Chinese fashion history expecting it to be easy. I’ve made this mistake in the past and paid a hefty price for it (significant loss of brain cells and hair trying to figure out stuff in an extremely niche subject and time period). Most people are probably aware that China had a fashion history, but most also aren’t aware of how complex and rich it actually is. You can really afford to be as specific and pedantic as you like, narrowing down changes in styles to those within a decade or between every 2 or 3 years as is customary for the 20th century. I’m not gatekeeping or trying to scare people off, if anything it’s good that Chinese fashion history is so complex because there’s always something new to learn. It’s just that I constantly get this vibe from some people in my askbox that they think Chinese society is so primitive and simple that I can answer some of their super generalized questions in one sentence or something. That’s really counterproductive.

TL;DR use primary sources, read recent literature, be wary of grand narratives, keep an open mind, apply the same theories and criticisms from other academic disciplines, and you should do just fine. And have fun exploring Chinese historical fashion!!

#don't know how to tag this #fashion history #chinese fashion

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sapphicbookclub · 10 months

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Author Spotlight: Amy Marsden

We're excited to bring you a post from Amy Marsden, author of We're All Monsters Here. Read on to hear about how this novella came to be!

I’ve always loved reading and writing, and ever since I figured out I was a lesbian I’ve wanted to see every kind of story with LGBTQ characters front and centre, specifically lesbian and/or sapphic ones. We deserve love and adventure too. I want to write mainly about lesbians not just because I am one, but because I don’t see an awful lot of us in books, or if a character is lesbian, the word still doesn’t appear in the novel. I want to help change that, one book/novella at a time.

We’re All Monsters Here was supposed to be a short story—between 5000 and 8000 words—for a writing competition, but quickly surpassed that word limit. Now a novella over 30k words long, I’m already writing the sequel, and have plans to make it a trilogy. The idea to write about a vampire came to me one random evening, and the premise of her eating the rich sparked after seeing one too many billionaires on the news not caring about us or the planet. I had a really fun time writing it.

Anna, the main character, is the poster child for morally grey. Yes, she’s a vampire who kills people and drinks their blood. But, she tries to do so to horrible people. She doesn’t always succeed, of course, girl’s gotta eat after all, but she tries. That’s the main thing, right? She’s at the weekend retreat to destroy the CEO of a multi-billion dollar oil corporation, his Board of Directors, and, ultimately, his whole company. I know there is a history in media of portraying the villains and anti-hero’s as queer, or at least queer-coded, but as I mentioned above, I want to see queer characters in every kind of story. To be honest, I’d like to read a book where there are no straight characters whatsoever.

We’re All Monsters Here has a lesbian main character in the form of Anna, a lesbian love interest—and so much more—in Saira, a bit of spice and humour and violence, and a fast-paced plot with building tension and twists you won’t see coming. It’s in first person, so you really get into Anna’s head and root for her over the course of the weekend.

It’s available on Amazon now!

Thank you to Sapphicbookclub for this guest spot opportunity.

We’re All Monsters Here - Book Blurb

When Anna is invited to a secluded retreat full of selfish, greedy humans, of course she doesn’t say no. Not only did she manipulate the CEO of the world’s largest oil corporation, Peter Beyer, into organising the four-day getaway in the first place, but no self-respecting vampire would ever turn down such easy prey. Her weekend gets even better when she meets Saira, one of Peter Beyer’s employees, and they begin a whirlwind affair. Blood and beautiful women are Anna’s idea of a great time.

She should have known it was too good to be true.

Hunters are dangerous, deadly, and dedicated to eradicating vampires. When a group of them turn up at the retreat, Anna must use her centuries of experience to escape their ever-closing net. Will she get out unscathed, or will they finally catch up to her? Will she give into her intense and unexpected feelings for Saira, or will she leave her to burn as she destroys all evidence she was ever there?

A fresh twist on urban fantasy, with an added splash of sapphic romance.

#guest post #wlw books #booklr #lgbt books #book recs #sapphic books #diverse books #fantasy #morally grey #morally grey characters #vampires

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sneezemonster15 · 2 years

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heyy,

whay do u think about sasuke n naruto's sexualitys? lot of people says naruto is bi, but i don't think like that and i just wondered your opinion

Sasuke is portrayed as gay, and Naruto as gay as well, but closeted. ALL his interactions about women are layered. He either doesn't understand the interest in them (Funny how Kishi worded it, Naruto doesn't understand 'this interest in women'), or gets bored with het porn that everyone else (straight dudes) finds quite triggering, his crush on Sakura is consistently portrayed as a cover for his feelings for Sasuke, starting with chapter three. He gets bothered when Sakura shows interest in Sasuke but not when Lee flirts with her. One of these days, imma write an analysis of chapter three. And this is shown consistently till the end. He isn't interested in Hinata even after she confesses to him, he rejects Sakura's confession without a shred of guilt or sadness because he never loved her, he makes all his oiroke jutsu girls the same generic way, but his reverse oiroke jutsu men all have individualised looks, which look like they have been based on Sasuke, in the chapter homecoming, after Naruto arrives in Konoha and Sakura wants to know his opinion on her looks, he doesn't even notice any change. He categorically says that his reasons for peeping into the bath are to do with his pranks. He has internalized homophobia, which is shown on multiple occasions, which also stems from his closetedness. He often overcompensates for his tendencies of daydreaming about Sasuke, and backpedals when asked about it, as he is feeling ashamed of his gay feelings. A very common trope in media.

Everything above is CANON.

Also, Naruto is someone who just appreciates beauty. He notices people's looks. He likes Haku's looks, and says as much. He likes Sasuke's looks, and says as much, several times. He likes that woman's looks that Itachi uses to distract Jiraiya. He thinks his mother is pretty and tells her the same. Conversely, he notices Hinata's looks and calls her plain and weird looking. He gave Lee the name bushybrows. He is very curious about how Kakashi looks and it's one of the more famous inside jokes. His research for his pervy jutsu is quite consistent with his interest in noticing looks. (Honestly that's the kind of career I like to see him having in AU fics. Something to do with creativity and art even, but with his own brand of kookiness, remember the official picture that he makes the photographer take and later gets a scolding from Hiruzen for it? Lol, I thought he looked neat with the crazy Kabuki inspired face painting). Point is he is really good at visual tricks, and his character is written consistently to facilitate it.

His character is the unpredictable hero, the rapscallion, the troublemaker, quick on his toes and very adept at turning his bunshins to look like other people and even articles of weaponry. All of this is very consistent characterisation, if you make an effort to notice it, since I will agree that Kishi makes some of it not so obvious, given the limitations of this genre and Naruto being its MC. For those who still think that SNS is accidental, you think all this detail oriented consistency is unintentional? Lol.

Anyway. Naruto appreciates good looks, but Kishi makes it a point to show properly that where others have nosebleeds looking at their objects of desire, Naruto doesn't nosebleed at women a single time. Other men react to beautiful ladies, Naruto doesn't. Whether in real life or reading it in some erotica. In fact, Naruto HAS sexual arousal when Sasuke challenges him on the hospital roof.

I get why people think he is bi. Most fans who think so project on his character, sure. But like everything Kishi does, usage of subversion, subterfuge, red herrings etc, I can see people miss upon some of his subtleties, to see that Kishi wrote Naruto as closeted gay.

Naruto doesn't show any genuine romantic interest in any woman throughout Naruto and Shippuden. The fact that he is married to Hinata is a travesty because he is a gay man forced to live in a het marriage and when he is called bi, it just seems wrong and unfair to his character. And to gay narratives. I don't recommend it. A hell lot of people are labelled as bi when they are actually gay. Especially gay men who married women out of convention and fear for their lives. Some of them pointedly insist upon it too that they be considered gay and not bi.

I will give Naruto the same consideration and respect.

#sns #naruto #ask #sasuke #sasunaru #narusasu

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theautisticgamer · 1 year

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How Sonic Prime is a Refreshing Take on Multiverse Stories

It might be easy to overlook and pass Sonic Prime simply because it’s milking on the latest story-telling trope, the multiverse. But this would be a mistake. Sonic Prime is great and a fresh take on the multiverse, and here’s why.

While Spider-Man: Into the Spiderverse had critical acclaim, Wildbrain Studios wasn’t content with the idea of making a Sonic copycat of that movie, instead changing a key aspect of it that sets it apart from not only Spiderverse but the way the multiverse is portrayed in media as a whole.

In Into the Spiderverse, the very first two minutes make it very clear that New York City and its safety revolve around Spider-Man like how the planets of our solar system revolve around the sun. Because this world revolves around Spider-Man, the story tells what it means to be Spider-Man by comparing different Spider-Men and Spider-Women from across the multiverse. While Sonic Prime uses this story-telling formula, it turns it completely on its head.

Sonic’s world usually revolves around Sonic, and Sonic seems pretty used to this (the battle between his friends and Doctor Eggman for the Paradox Prism seemingly doesn’t start until Sonic arrives unintentionally yet unapologetically late). However, when Sonic enters the Shatterverse, he doesn’t exist in any of the Shatterspaces (multiverses) naturally, instead he hops between them all. The people he considers his friends/enemies exist in their own lives without him. Sonic means nothing to these people before his arrival, and Sonic means little to them by the time he leaves. Time will also significantly pass as he hops between the Shatterspaces, with nowhere and nobody waiting upon Sonic's actions, which is the complete opposite of the show's opening battle in Sonic's universe. Instead of the world and Sonic’s friends revolving around Sonic, Sonic is revolving around his friends and their worlds.

Likewise, instead of the show focusing on what it means to be Sonic the Hedgehog, Sonic the Hedgehog is learning more about what each of his friends brings to the table. And honestly, that’s pretty important considering Sonic’s supporting cast seems to get thrown under the bus more than any other supporting cast I’ve ever seen. People often complain about how some of these characters are annoying, or that Sonic’s supporting cast is too large. Previous Sonic cartoons like Sonic X and Sonic Boom are partially to blame for this public perception as they mostly focus on Sonic’s coolness and fail to flesh out Sonic’s supporting cast. It’s unfortunate, because Sonic’s supporting cast is probably more supportive than in most series, with each character bringing something special to the table.

But back on topic: Sonic is learning what makes each of his friends special, and more often than not they do this by robbing these characters of their special traits. Miles “Tails” Prower is reliable and trustworthy, but one version of Tails, named Nine, is unreliable and untrustworthy because he’s been too hurt by others to understand trust. Amy Rose is empathetic and has strong verbal conflict resolution skills as a result, but a version of her named Thorn Rose does not have these skills and resorts to actions that hurt her friends as a result. Knuckles is fearless and never gives up, but a version of him named Dread is cowardly after failing a dangerous mission and he gives up on his goals.

Even more interesting is how different Shatterspaces may focus on taking away different strengths of the same character. While I already mentioned Tails’s reliability being paralleled by Nine’s unreliability, Tails’s sharp mind and advanced technical skills are absent in another version of Tails named Mangey. Likewise, Amy is not limited to her empathy but also has compassion, which another version of her named Rusty Rose lacks, making her a dangerous foe.

Even though the show focuses on other characters, this doesn’t mean Sonic doesn’t get character development. Quite the contrary. Sonic usually has to attempt to teach his former friends the skills they used to have, and this is difficult for Sonic to do since these skills aren’t his personal strengths. This means Sonic is forced by his circumstances to broaden his horizons in order to overcome the conflicts at hand.

Sonic also learns hard lessons of his own based on his flaws. The first arc shows how Sonic’s failure to be responsible resulted in his universe breaking into the multiple mini-universes that are the Shatterspaces, and when Sonic realizes this mess is his fault and not Eggman’s, he has a moment of deep reflection that really resonated with me. Sonic also is overconfident in his leadership skills in the last arc of the first 8-episode wave, which ultimately endangers the safety of his friends, and to resolve the issue Sonic humbles himself and puts leadership back into the hands of someone else and is willing to humbly obey orders for the greater good of his team.

This may be my favorite Sonic series simply due to how well they are doing character development and character introspective. (Of course my opinions are not limited to that, I adore Sonic Prime’s high quality animation and choreography, and Deven Mack may be Sonic’s greatest voice actor yet. This show is a wonderful experience!) I am excited to watch more of Sonic Prime in the future, and I hope my observations about the show inspire others to give this show a try.

#sonic prime #sega #Sonic the Hedgehog #Sonic #Netflix #cartoon #videogame #Spiderverse #Spiderman #Multiverse #Story-telling #video games #new show

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sapphicthunderhead · 6 months

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I need to talk about Dr. Manuela Dominguez (from The Magnus Archives). This woman Drives Me Insane. [TL; DR at the bottom.]

She is initially presented as a textbook mad scientist: a disgraced astrophysicist bent on ending the world as we know it. But with every nuance and detail introduced about this character over the course of the narrative, my understanding of her shifted. By the end, I felt as if the person she described at the beginning of her first Statement was completely divorced from the twisted thing she became— which is the repugnant truth of what happens to Fear Avatars.

Some key details from her first Statement that really struck me: 1) I can really see myself in her love for physics and her ambition. 2) Her alienation from her fanatically religious, “vicious” parents is a big contributor to her downfall, but never remotely presented as an excuse for her actions. 3) She is so utterly unrepentant.

Regarding her parents: She saw the inconsistencies and hypocrisy in their bigoted beliefs about what is “unnatural,” likely in part because, she says, “I found myself crossing that line from an early age. Although, strangely, out of everything I was, it was always my desire to pursue a scientific career that they railed against with the most energy” (MAG 135: Dark Matter).

(I could be projecting, but this line has caused me to speculate that she might also be gay. If so, it would certainly add another level of pain &/or frustration to her home situation.)

But young Dominguez disregards her parents’ ludicrous exhortations and goes on to become an an expert on dark matter (mysterious masses that cover much of the universe and do not emit, absorb, or interact with photons) and dark energy (mysterious force which may be responsible for the expansion of the universe).

It is in the process of researching these phenomena that she has a spiritual awakening of the worst kind. She soon becomes a disciple and eventually second-in-command to Maxwell Rayner, ringleader of the cult of the Dark, the Church of the Divine Host (said Host being Rayner). As a cultist, she goes on a mission aboard the vessel of allied Fears that is the Daedalus space station. There, she creates The Extinguished Sun— a sun made of dark matter, which the Church uses as a focal point in their ritual of the same name to bring about eternal darkness.

That brings us to the point where this character loses my sympathy in the same way Callum (Rayner’s partial reincarnation?) did in S5. The Extinguished Sun ritual involves keeping Marked individuals (which events in S5 lead me to fear may be predominantly children) trapped and terrified in the dark for extended periods of time, and then sacrificing them to the Dark via drowning, in a callback to the manner in which Halley/Rayner was killed/reborn as a vessel of the infinite darkness that predates time itself.

So How Am I To Cope??? Do you know how often I come across women as mad scientists in media— let alone ones who are ambiguously implied to be gay?! Not often!

But there is a possibility she kills kids, and I can’t tolerate that shite, so all I am left with is immeasurable disappointment in her lack of conscience, and in her for joining a cult instead of getting therapy, and in her parents for being dicks, and in those who have purveyed ignorance and engaged in cruelty “in the name of God” both historically and unto the modern day, and in society for the continued existence of systemic sexism (and other biases), and in the limited number of women, POC, and LGBT+ individuals portrayed as mad (and regular, marginally less fun) scientists in media, etc… It’s quite the web of inequity and suffering, stretching between this world and the fictional.

Dr. Manuela Dominguez is a character who makes me sad that there aren’t more women mad scientist characters in media. If there were, it perhaps might not hurt so much to see her progress from someone whose trials, goals, and motivations I can understand and empathize with, to an unredeemable child killer.

To clarify, I don’t believe the author’s writing of this character was bad or sexist. I don’t feel the same morose regret about what could have been when it comes to Jude Perry; I do when it comes to Agnes Montague; I don’t when it comes to Gertrude; etc. I think that Jonny intended for the audience to at least passively ponder the person that Dr. Dominguez could have been, under different circumstances. It is a feature of the writing of all the Avatars.

One of the core themes of the series is this: How do circumstances (such as economic systems, wink wink nudge nudge) shape people? Dr. Dominguez is just one of many disheartening answers to that question.

TL;DR: Dr. Dominguez started out as a victim of bad parenting, and eventually into an even more sick and twisted version of her parents, who she despised as a child for their zealotry and cruelty. But this might not hurt me so bad to think about if 1) I didn’t relate so much to her younger self, as an aspiring physicist and a sapphic trying to shake off the message that everything that brings me joy is “unnatural” and 2) if she wasn’t the first character I thought of when trying to recall women mad scientists in media.

For those who feel like looking for other fem mad scientists in podcasts, I believe Ava the theoretical physicist from Midnight Burger and doctor/assassin Vespa Ilkay from Penumbra both count. For a sane fem scientist, try the marine biologist protagonist from DOWN. If you think of any others in any kind of media, you’re welcome to respond in the comments or tags.

(I know of Poison Ivy, as well as the more sane Dr. Sattler from “Jurassic Park” and Dr. Calvin from Isaac Asimov’s “I, Robot,” and I appreciate them. You may leave them out of the replies.)

#the magnus archives #tma #tma spoilers #Dr Manuela Dominguez #manuela dominguez #tma dark #mad scientist #representation matters #yes i know #this is long #I am asking for more female mad scientists in media

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