#especially when it comes to character writing and trans 'representation'

[b4kuch1n]

I'm not gonna screenshot it bc 1/it really doesn't matter that much and 2/the person who made the comment is a kid but: a while ago I made a comic that's supposed to be a genuine study and reinterpretation of someone else's sprite comic (made in the spirit of authenticity too - to recreate the vibes of the sprite comics from that era, iirc very specifically because it's funny) and I got a comment on that comic's post that's like "glow up"

which is a compliment obvs. and the commenter probably didn't mean anything by it, it's a common expression. but I've been trying to find a way to gracefully put that comment away ever since it appeared lol

I just very much don't want my art to be taken as trying to one-up someone else's art when that's not the piece's intention. especially when the piece that inspired my art is perceived as "low effort" or "shitpost" or stuff like that. I did mention in the tags of that post that my considering it a study is entirely genuine, and I can legitimately write pages about the cool stuff I find in it other than and inherent in the haha funneys, but that's not for you guys that's for me. I just think that approaching art competition-first like that is a miserable way to do it, and (tipping into overthinking here if the whole tiny-comment-got-stuck-in-my-brain-for-almost-a-month part hasn't given that away yet lol) I really don't want that to be the takeaway from my own art. at least generally. if I actually think the source material is trash and what I'm doing is genuinely categorically better I'd just come out and say it lmao

[for-a-longlongtime]

You Can't Chase Away The Queers & Gays & They's

aka: have your little delulu fantasies but don't you dare be a homophobic/queerphobic cunt about it.

I'm so fucking serious right now.

A certain amount of people are being absolutely psychotically ridiculous right now over that Pedro poem published in the project by Mustafa (the poem isn't new, he had this on his blog in the early 2010s, btw). Within hours, people are yelling in public comments tHiS pROveS hE iS iNTo pUsSY + hEArTbRoKEn ovEr a wOmAN, PLUS sending anons to me and other queers saying 'this poem proves he's not gay!', 'stop writing f***** shit about him now!', further speculating, wanting receipts whether he ever talked about specific genders, etc.

You're losing the plot. STOP IT.

I'm not even gonna go into how appalled Pedro would be to know there's literally a Straight Crusade group that has been scouting socials since forever just to post fake stories. No, my concern is about all the queers, gays, and they's (the LGBTQIAS2+ community) among us fans -- especially the young ones, who are seeing all that anti-queerness and homophobia happening. It's 2025 and in so many countries queer rights are under attack, queer youths are suicidal at much higher rates than straight kids, and it still happens every fucking day that queers coming out means they're losing family, friends, jobs, housing, custody of kids, etcetc.

Let me clarify: I don't give a shit about Pedro's sexuality or who he sleeps with/dates. I’m not the person you’re gonna want to ask about any of that. Do I as a queer feel (and a lot of others with me) like he's been doing plenty of queer signalling through the years? Yeah, but that doesn't mean it's gospel/fact, and I'm sure as hell not trying to prove it or convince other people.

What IS a fuckin' problem though is when people and blogs are whipping up other fans into a literal frenzy, making them think that they need to 'defend' P or prove he's not gay. Sure, disect the poem and whatever else, knock yourself out, but do not send other people - especially not queers - plain ass hate about it, just because you want to impose your POV on them. Because you are harming people by making them feel like it's not okay to be queer/gay, and you're using Pedro as a means to do so. That's fucked up.

I'm not here to police anyone, but I'm telling y'all to have some common sense if this is something that you have either inadvertently or deliberately been doing. This is exactly why there are so few gay and queer male fans active in this fandom, because they see how much negativity there is at and how obsessive the compulsory heterosexuality is in some corners of the fandom. This is exactly why queer and trans folks feel unsafe to reach out and get to know other fans. This is why a lot of writers (queer and straight) often feel reluctant to write mlm/gay fanfic (be it P Boy x male reader/male OC, or P Boy x P Boy, or P Boy x canon character). This is why new queer/gay fans feel hesitant to put out work with queer representation, because they're afraid of negative comments or anons. And that SUCKS, because they want to tell their stories as much as other writers do, but it's damn hard when you look at the queer/homophobia that has been on the rise in this fandom as well as in society.

Is your ability to like his work, to like him as an actor, or even just as a person who does a lot of good stuff for marginalized communities, actually DEPENDENT on his (perceived) sexual orientation? On who he sleeps with or dates/has dated? To the point that you feel like you need to 'defend' him or prove things to other people? Because, first of all, in case nobody told you and it didn't occur to ya: he's not gonna fuck YOU. Second of all: wow. Get it together.

Finally, I can't believe I need to make this point, but: just because you don't like queers, doesn't mean they're gonna go away. Why are you reading my blog or Erin's or anyone else's tumblr that's clearly about queer stuff (we actually do indicate that already in our bio/pinned posts, you know) if you don't like it? WHY are you reading gay fanfic (which is about Pedro characters, not even RPF/Real Person Fiction, and YES - that is a very big difference) if it makes you angry? Most of all, why do you feel like it's okay to act like a fuckin asshole?

Stop reading things you don't like. Block people you don't like. Dislike stuff all you want, but just don't be a homophobic piece of shit about it.

Also, go read Erin's post right here.

[redgoldsparks]

It's Right to Read Day, celebrating libraries, highlighting the relentless attacks against them, and encouraging folks to take at least one action to defend them! The American Library Association's data on the most banned books from 2024 is now out; after 3 years in the top spot GENDER QUEER came in at second on the list with George M Johnson's beautiful queer memoir ALL BOYS AREN'T BLUE at number one. If you haven't read it yet, please go pick up this book.

Unfortunately, instead of dying down, we are now seeing the book ban movement morph into an effort to defund and destroy ALL public libraries and ALL public education, as exemplified by the Trump Administration aiming to dismantle the Department of Education and placing all employees of the Institute of Museum and Library Services on administrative leave. The IMLS is an independent federal agency that provides grants to libraries and museums across the country. According to the American Library Association, the IMLS provides “the majority of federal library funds.” The IMLS says it awarded $266 million in grants and research funding to cultural institutions last year. This money goes to help staff, fund maintenance, and create new programs. If you are curious how the termination of this grant funding will effect the state of California, here is a press release from the California State Library. Please call your state governor and representatives asking them to demand support for the IMLS!

I also wanted to share some resources to help you talk about book bans/book challenges if the topic comes up in conversation. There are a set of really common bad faith arguments which book banners make, and I helped write up a set of responses for Authors Against Book Bans (much of this was also written and compiled by superstar author and AABB leader Maggie Tokuda-Hall). Below the responses to bad faith arguments are a list of resources you can contribute to, especially if you live in a blue state and don't have a current legislative battle over books and libraries in your own backyard.

What to Say When They Say What They Always Say: an Authors Against Book Bans resource

I haven’t read this book but I don’t think it’s appropriate for children! 

Please read the full book before you judge it. Passages are often presented without context. 

So you want kids to have access to porn?

No. And if that is a concern of yours as a parent, install browser filters such as Google SafeSearch on your children’s devices to keep them from accessing the wealth of pornography available to them on the internet. It’s already illegal to bring pornography into schools. There are robust safeguards– from laws, to industry standards in publishing and librarianship and education– to safeguard our children from obscene materials, as determined by the Miller Test. 

What about parents’ rights?

Parents already have robust rights in their children’s education. When that means limiting access to certain books parents can do so; nearly all schools have policies to this effect. But what about all the parents who WANT their kids to have access to books? Their children should not be limited by what another parent in the community decides for their own family. And what if a parent wants to limit their child’s access to something that child would benefit from? What about the child’s rights? Children are people, not possessions of their parents.

If my taxes fund the schools and libraries, I should have a say in how they’re used.

Schools and libraries serve entire communities, not just those who agree with you. Libraries and schools have professional educators and librarians with PhDs who are trained to curate collections that serve diverse populations, not just one viewpoint.

LGBTQ+ books confuse kids or make them gay/trans. They push an agenda.

LGBTQ+ representation is not an “agenda”—it’s simply a reflection of real people’s lives. If books featuring LGBTQ+ characters are “pushing an agenda,” then books featuring straight relationships or cisgender characters are as well. Reading about something does not automatically change a person’s identity, just as reading about astronauts does not turn every child into an astronaut. Reading about LGBTQ+ characters can both help kids understand themselves and build empathy and understanding towards others.

I live California. Why should I care about book bans if they’re not happening here?

We are fortunate to live in a state where book banning on the basis of discrimination has been outlawed through AB1825, which passed in 2024. However, California has still seen numerous book challenges in cities like Huntington Beach, Burbank, Lodi, and Chico—some of which continue efforts to overturn these protections. While bans are worse in red states, they still happen in blue states. Book bans are about control—not protecting children. The people banning books today will censor other forms of speech tomorrow. The right to read is a fundamental civil liberty, and we should protect it accordingly.

How Can I Help from a Blue State? For the biggest bang for your buck, we recommend  that you donate to the grassroots organizations making a difference in the places where the bans are happening all the time. All the ACLU chapters listed here are currently involved in lawsuits against book banners. 

We suggest:

Florida Freedom to Read Project: https://www.fftrp.org/donate 

Texas Freedom to Read Project: https://www.txftrp.org/donate 

Honesty for Ohio Education: https://www.honestyforohioeducation.org/donate.html 

Diversity Awareness Youth Literacy Organization (DAYLO) in South Carolina: https://patconroyliterarycenter.org/donate-today-to-pat-conroy-literary-center/ 

Students Engaged in Advancing Texas (SEAT): https://www.studentsengaged.org/donate 

San Francisco’s Books Not Bans!: https://givebutter.com/booksnotbans 

Coeur D’Alene Public Library in Idaho: https://cdalibrary.org/donate/ 

Let Utah Read: https://www.fundlibraries.org/letutahread

Tennessee ACLU: https://www.aclu-tn.org/en/donate 

South Carolina ACLU: https://action.aclu.org/give/support-aclu-south-carolina 

Southern California ACLU: https://action.aclu.org/give/support-aclu-socal 

Iowa ACLU: https://action.aclu.org/give/support-aclu-iowa 

Fight for the First helps start grassroots groups all across the country: https://secure.actblue.com/donate/fightforthefirst 

EveryLibrary (is a national org, but they financially support many of the groups listed here, as well as AABB): https://www.everylibrary.org/donate 

You can also call your state reps to express your commitment to protecting the freedom to read. Protections in blue states are just as contagious as bans in red states. The more of us who have them, the more states will follow suit. Use the 5Calls app do this, or find your rep here: https://findyourrep.legislature.ca.gov/ 

And of course- if you are an author, editor, illustrator, cartoonist, translator, anthology editor, self-published author, please join Authors Against Book Bans! We could use the help! If you want to help recruit to AABB, feel free to print and pass out my recruitment zine at any literary event you attend <3

[the-ghost-king]

Genuinely curious, do you actually consider Nico to be good rep (taking both HoO and ToA into account), or is it more like "he's trash rep, but he's MY trash" kind of a thing? Or nostalgia? Sorry if I sounded rude, but yeah genuinely curious because I can't figure that out.

Initially, I was going to write a sort of essay for this post but life has kind of gotten in the way and I would rather just answer it for you: I do actually think Nico is good representation, personally.

I think especially for the time period in which it was revealed he was gay and what other media looked like at the time. I like HoO and ToA and I like the way HoO handles Nico's character development, and the way ToA handles his character I have some issues with but those are more or less personal and not founded in anything specific. My issue is I think TSaTS cheapens not only Nico's character and worsens him as representation, but cheapens the entire series. I think TSaTS falls victim to "the love simon effect", this video is a little older and it's been a while since I watched it but it does a good job on capturing the nuance of the situation (of love simon) and reflects feelings similiar to mine if I recall accurately.

Nico is one of the few book characters I consider to be "representation" that I engage with regularly, and thats really only because he was relatively early "out of the gate" so to speak.

Personally though, and I'm going to try and keep this concise because it's not the point and it's not your fault nor directed at you (I'm just soapboxing for a minute). I kind of dislike this idea that all queer characters need to be viewed through the lens of "representation" yes that perspective has a time and a place but I care a lot more about authenticy and realism in these portrayals and I feel like Nico is well rounded, realistic, and authentic when compared to other people I know. A lot of media focused on queer characters is about their coming out story (which is an experience for many personal reasons I wont get into i dont relate to, but the one I have mentioned here before is I was outed more than once before I had the chance to come out), or it focuses on how "I might be gay/bi/trans but I'm just like you!" but for me I find that experience foreign as well, it may be unpopular to say but I am never the queer person who is going to fit into the normatives of society and I never have. Nico, as a character, in my opinion is already a leg up on a wide variety of other "representation" solely because his entire story isn't about him being gay, it's about who he is and what he does someone who happens to be gay. TSaTS breaks a lot of established rules for his character and not in my opinion, not in the best way, but in a way that is almost like as they were writing the piece they kept looking over their shoulder at Twitter and wrote from a place of "don't cancel me". Unfortunately, for me, if I was a book character the way I experience my queerness would absolutely get me canceled or be labeled as "too confusing" or "not marketable" so I preferred Nico before TSaTS because his story was a story of queerness I was more familiar with among other things.

I left out half my thoughts and think I still failed at keeping that concept concise, sorry nonnie! Also , no rudeness at all! You framed your question from a place of genuine desire for knowledge, you are totally good! Sorry if I accidentally got a little too ranty!

[the-squeege]

I’ve been a huge fan of Glass Scientists for… what’s it been like… 7 years? Something like that.. anyway I’m super happy to see it getting more recognition AND EVEN GETTING PUBLISHED??? I got volume 2 the other day and in reading the after words about Jasper I figured I HAD to draw him and talk about why he is SO important to me and why I’m so thankful he exists the way he does. There’s so much else I could say about this series and how much I adore it and how important it is to me but for here I’m just gonna focus on Jasper and why he is so incredibly important to me.

also please go read the glass scientists if you haven’t already it’s SO GOOD

It’s.. not something I talk a lot about but to anybody who pays attention to me on here, it’s probably pretty obvious that I’m trans. Or maybe not. My best friends didn’t know for like 2 years until I made a joke about taking my t shots lol.

When I first started reading glass scientists I didn’t know I was trans. And ultimately this isn’t really a story of how I found out, to be completely blunt it kinda just happened and I’m like yeah, I’m way more comfortable this way, this is just who I am.

After coming to terms with being trans, I found a lot of comfort in many of the characters in Glass Scientists. Over the years something really resonated with me more and more about Jasper.. I always appreciated how yeah, he’s a guy and he’s also soft! And sweet! And I know how much of a walking talking trans man stereotype I am but it felt so nice to see a male character acting and feeling the way I do, bad posture and all.

A few years later and the pages where Jasper talks about being trans drop and HOOH BOY

Everything in these few pages just felt so real and personal to me. Like I had lived this experience of coming out before, as it’s something I and many other trans folk have had to do over and over again. The way Jasper talks about his journey, the way Rachel sees him and the way that the story just continues on with Jasper just.. being who he is. Especially in a world with almost no transmasc representation in media???? This was MONUMENTAL for me. I didn’t really know it was possible to be so seen and so understood in a piece of media.

The real kicker was Rachel’s line about how Jasper must have been so uncomfortable. As someone who’s been lucky enough to have a lot of support, and a loving partner who has been nothing short of incredibly kind and patient and understanding, that line just. I dunno it makes me tear up a little (a lot) every time I read it. That understanding and acknowledgment in those few little words means the world to me.

I wanted to write this out and be a lil vulnerable here after reading how Sage was worried about their portrayal of Jasper. Idk if they’d ever see this, but I wanted to get it out there that as a trans man myself, Jasper is perfect. I’m so thankful that Jasper exists in the story as he does, and that so much love and care went into portraying him. I get the same feeling reading that scene with Rachel and Jasper as I’ve had being comforted by friends and family. It’s so personal and touching. Thank you for writing Jasper the way he is <3

[llilyrose]

llilyrose spends her time analyzing aroace stuff. yay.

isat spoilers afoot

what i especially like about the way adrienne wrote mira's orientation is the lack of room for interpretation. yes they snuck aroace talk into fantasy france, but just stop and think for a minute. what would happen if mira just said "i'm aroace" or "i don't feel love the same way" instead of all the nuance we got to her character in the friend quest convo?

we know she's sex repulsed, we know she's romance repulsed. we know she loves fiction that has those things in it, loves interpreting fictional characters that way, but can't bare to see herself in that situation. it makes a lot of sense with regards to her location (vaugarde, a very sex-positive and romance-adamant country) and also with regards to herself (the way she feels about her environment). Of course she wouldn't blame other folk around her for engaging with their religion the "correct" way, of course she'd internalize all her feelings of being outcast and turn it back on herself.

The fandom respects this! Nobody ships her romantically, or sexually, because we know she's not into that. We know she would never and i know a bunch of people who would punch you for even thinking it!

Now what if Adrienne hadn't put this in the game? What if they had just said on their tumblr one day, "mira's aroace," or something. where would we be now? aspec shipping discourse would definitely take the reins. we'd have people shipping her in all kinds of different ways, bending the aroace character to the best of their ability because they could still be into sex, or romance, or whatever. this is TRUE, it's POSSIBLE, but there's no nuance. We wouldn't know the way Mira really feels about these things unless Adrienne told us, so a lot of people would either ignore/"work around" her identity or just wouldn't even know about it to begin with!

Introducing mira's orientation in the way adrienne did leaves no room for discourse. we know if she's sex-positive, sex-negative, how she reacted to finding out she was, etc. It provides so much more representation than a simple "I'm aroace" ever could. It's such a wide label, so finally having CONCRETE information about a canonical aroace's experiences with their orientation is so, so freeing and honestly quite refreshing. and it's worked into the story seamlessly!!!

She's not an emotionless carcass with no capacity for love, she's not outwardly detesting sex or romance at every possible moment, she's simply a well-rounded character who happens to be aroace. You have time to warm up to her before ever even finding out about her orientation! Or having any clue at all (barring maybe the suspicious sketches)!!!!! Aroace people are real!!! We're so real!!!!

Speaking of the suspicious sketches! We know siffrin's alloace (from, like, one line of dialogue), but we don't know if he's sex-repulsed. Adrienne's gone on record to say "aces can still have sex" in reference to siffrin, so I'm inclined to believe he has at least some sort of libido.

When looking at the sketches, both him and mira have a repulsed reaction. I think there are three possible reasons for Siffrin here!

Siffrin is sex-repulsed and has a visceral reaction to them because he thinks it's gross.

Siffrin has no libido because the stress overrides everything in his system. That combined with his ace identity would probably lead to a distaste for the papers.

Some people would NOT GET THE MEMO from the act 3 friendquest. Sometimes when you're writing you have to account for the gamers being really really dense. Some people didn't even understand the Isa friendquest was him coming out as trans basically. Since Ace characters are hard to "prove" unless they explicitly state they dislike sex, this line of dialogue might've just been there to drill it in that Siffrin is ace because the only other place we see that implication is one line in the friendquest. It could even have no tie to his relationship with sex, who knows?

one of these options is not like the others! /silly

I couldn't tell you which one of those it is, but i think at least one of them had to have hit the mark. It's a lot harder to decode siffrin's sexuality when we only get like 5 lines of dialogue total that vaguely even reference it

With this we come back to the issue from earlier: He could be demi, he could be ace, he could be sex-repulsed, he could not! Most people write them sex-repulsed and I'm personally on that bandwagon, but interpreting them a different way isn't any less correct unless you completely ignore the fact they're ace in the first place.

Even sex-positive aces have complicated relationships with sex. Some do it for the gratification, some simply have higher libido and can't think of a different way to get it out, and others only do it to please their partner.

I think writing an ace character as sex-positive should be seen as a character study instead of an excuse to ship two characters together. Is this character the type to even enjoy it in the first place? How often? How do they interact with it? Etc. Which I think is what Adrienne was talking about when she said "aces can still have sex." We don't know about siffrin's identity, we don't have a grasp on the nuance, but we do know he's ace and that he experiences love differently from the way mirabelle does, and the way isabeau does, and the way odile does, and what have you.

I love love love the representation we get in isat. An aroace, an alloace, and someone that a lot of fans headcanon as aroallo though it's unconfirmed. Even if Odile's not aro, we still get that line of dialogue about not finding romance suitable for her at the moment, which speaks true to a different experience altogether. No two characters experience love, experience life the same in isat. That's why i get to make a tumblr text post that's a bit too long exploring the different avenues adrienne took when writing the characters lol :')

[project-sekai-facts]

As an “older” fan, there are transphobes of every age, but I think one big reason a lot of adult fans are more hesitant to read this as fully canon has nothing to do with media literacy and everything to do with being burned before. I’ve been in fandoms where we all felt confident about a relationship with clear parallels to canon romantic relationships and subtext that basically anyone would accept as romantic if it was for a m/f pairing, only for the creators to deconfirm it and point the finger at us, saying how it was never romantic and we all just read into it way too much so it wasn’t their fault for leading us on. Expecting all representation to be explicitly stated isn’t a good attitude, but I think the people who seek it out the most are the people who have gotten their hopes up before because they DID read the subtext but then had creators insist that subtext never existed in the first place. I’d like to think things are getting better in that regard, but it’s still important to remember that a lot of doubt isn’t coming from ignoring the subtext but instead a history of seeing clear subtext get disregarded in the end.

yeah that's true and i really really need to stop writing posts at 2am especially when i'm sick. i've been in situations like that with shows i've watched before, where they've written out characters with queer subtext or handled the subjects really badly. admittedly what i'm referring to is western media, but i know the same stuff happens in Japanese medias too. i understand the doubt that people still hold, especially since the event left things open ended at least from what mizuki had to say (classmate A did confirm Mizuki as amab and insinuate that she IDs as female when talking to Ena but it's still up in the air for now).

that said, i won't advise putting your faith in a company that keeps putting out cashgrab gachas, but clpl has shown to care about queer issues and mention them in their stories. An's wedding event criticises marriage inequality in Japan, and even though it's only a few lines of dialogue, it's a stance against the opression of gay and trans people. i'm not saying to trust them 100%, but it's a sign that this storyline should be handled with care (it also helps that sega, although just the 3dmv maker and license holder, is a sponsor of tokyo's pride events).

[harrypottermovieproblems]

Hello, all!

We find ourselves at a funny little crossroads today. There is officially an HBO television adaptation of Harry Potter in the works, one with a clearly stated commitment to open casting that could create an inroad to character representations aligning with a great many fans' longtime hopes and dreams for Harry and Hermione especially. Ten years ago, this would have been everything we could have ever hoped for in this fandom. Today, news of this new television show cannot bring joy.

The movie adaptation has brought many book fans a great deal of frustration over the years (hence the creation of this blog); while being greatly beloved by an entire generation, it simultaneously dropped the ball in many areas focusing on characterization and worldbuilding. And yet the faces of that film franchise - the actors of the main trio especially - have been invaluable voices in the public struggle to push back the flood of anti-trans rhetoric free flowing from JK Rowling's social media accounts.

On the other hand, we finally have a long-form adaptation of the series on the horizon, but it comes less than fifteen years after the end of the original movie series and therefore inevitably falls into the exhausting position of being yet another franchise remade too soon. And most importantly, of course, the main and inescapable effect of its creation will be lining the pockets of a woman who has been actively and enthusiastically supporting bigotry against women - both trans and cis - in society and in politics.

There have been rumors that Warner Brothers is trying to buy the rights to the entirety of Harry Potter from JK Rowling, and if true, it has to be admitted - ironically, given the nature of this blog - that I hope they succeed. If the choice is between lack of artistic fulfillment in the portrayal of a fictional world or real-life financial support of a woman actively making the world a more dangerous place for vulnerable populations, there is only one choice to support.

A few years ago, I started writing a detailed post that was a general post-mortem on our collective fanship of JK Rowling, and never completed it due to general feelings of exhaustion, disgust, and feelings that it was redundant. But briefly:

Many years ago, JK Rowling made a post on her personal website about her portrayal of Aunt Marge's bulldogs. She was dissatisfied with how she had written them, because she hadn't known a lot about bulldogs at the time and hadn't taken the care to portray them in a way that did them any justice. While she meant no harm, she's since learned better and wishes, in retrospect, that she had portrayed them differently.

When I think about JK Rowling, I think about that post a lot.

Even before her newest and most outspoken TERF era, even prior to all of the issues involved in the Fantastic Beasts spinoff series, JK Rowling wrote a beloved children's series that was seen as highly progressive upon publication but also contained a number of elements that have aged, shall we say, very poorly. Some of these were markers of the time when Harry Potter was originally written - many things from the 90's have aged badly - and some of them are down to the personal ignorance of the author, whether or not you assume that ignorance came hand-in-hand with malicious intent.

She could have spoken out about this if she wished - you know, like she did with the fucking bulldogs, to say that she had no ill-intent at the time but that would write these elements differently today if she had the chance - but as far as I'm aware, she has not. In fact, despite having endless wealth and resources at her disposal now, as opposed to the original start of her writing journey as a single mother scribbling ideas on cafe napkins, her portrayal of delicate issues of things like race, gender, and sexuality in her writing has only gotten worse.

The 'JK Rowling was always a secret conservative' rhetoric is strong, especially on Tumblr, and while I understand it, I genuinely think that it is misguided. The woman spent most of her life voting in favor of and speaking out for leftist and progressive politics. We (progressives) are not immune from propaganda, radicalization, or being raging fucking bigots. However she votes now, whatever idiots she is friends with now, the call very much started from inside the house on this one.

So, to circle back to the original point of this post:

This new HBO television series, in a best-case scenario, could take all of the tone-deaf sociopolitical issues with the original novels and fix them. It could take all of the creative issues with the movie franchise and fix those too. It could give us a diverse cast and tell an emotional story that does credit to what so many people held dear about the book series while growing up.

(I doubt it will, but it could.)

And yet this would still be a thing that on some level brought me no joy, because at the end of the day, it would also be putting pallets and pallets of cash into JK Rowling's pocket as she continues to dig her way down the conservative rabbit hole instead of fixing any of the mistakes of her early writing career.

Gross.

xoxo

[immaturityofthomasastruc]

About representation of child abuse in ML

I’m sorry if this isn’t the proper way to send it I chose it because I can actually divide paragraphs here. I am also assuming none of the abuse submissions are reblogged because of the subject.  I was neglected as a child(parents often forgot to feed me, didn’t care about my hygiene and I couldn’t go to the doctor when I should have) and emotionally abused after coming out as trans as a young teen(constantly being pressured to stop being trans, treating me as stupid and melodramatic for being trans at all, showing open disgust if I did something “too manly” etc.). I was a bully for two years in middle school before realizing the weight of what I was doing. I had to put in a lot of effort to improve, especially since guilt was feeding into already-existing self-hatred. When I first saw Miraculous Ladybug on TV I didn’t expect child abuse to come up at all since it’s a hard topic even for adults and Miraculous didn’t seem like the show to tackle a complicated topic. Looking back they shouldn’t have tried because they end up giving incredibly bad messages. As you point out Chloe is treated as irredeemable and sent off with her abusive parent as punishment while Andre is never treated as the neglectful parent he is. While children can be abusive to their parents Andre is the mayor of Paris while Chloe is a kid, he holds a lot of power here that he refuses to use at all. He also doesn’t try to get Chloe psychological help which would be the correct course of action seeing her mother despite the fact it wouldn’t even make a dent in his pocket. It would be better to either have Chloe’s redemption fail while highlighting how her parents affect her behaviour but don’t justify it or have a straightforward redemption arc, maybe one where she doesn’t get forgiven but still improves to show kids there’s a way out. “I will always be like this because of abuse” is an easy thought to fall into and ML accidentally ends up teaching it to kids, Jesus. The other thing that really bugs me is the treatment Gabriel gets, it seems to me that the show tries to use his love for his wife and son as a redeeming quality but I am not sure on how good an idea that is. It’s better than if he were to hate Adrien but loving Adrien doesn’t excuse any of the things he does. In my experience most abusive parents do love their children, they really think they are doing the best for their kids. The kicker comes in when they end up harming their children in some way but refuse to acknowledge it. If your parents always end up doing more harm than good and refuse to stop, then love alone can’t save it. I don’t think that point was there as Gabriel’s love was portrayed as a good thing because this show doesn’t do nuance. Also the plot Gabriel abusing Adrien should mainly be about how Adrien feels. Of course it will affect other characters but Adrien is the one getting abused by Gabriel. Gabriel is also an incredibly controlling parent who takes away Adrien’s agency and the show never really addresses that. Adrien is a bystander in a story-arc about him getting abused. He never learns that Gabriel is Hawk Moth(writers seem to think we forgot Chat Blanc and even then that episode was more about “Ooo hero gets akumatized”), we never learn his thoughts about the whole situation and Gabriel completely gets his way in the end, leading to a happy ending. Adrien’s contribution to the finale is giving up the agency he had left. This really left a sour taste in my mouth. If you’re not going to deal with how abuse affects Adrien, why write it in at all?

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First of all, I’d like to thank you for being able to step forward and talk about your history with your parents. I’m very sorry that you had to go through that.

Second of all, you make a good point with how much the show empasizes Gabriel’s love for his family supposedly justifying his terrible actions, with or without the mask. It doesn’t help that, like you said, he doesn’t even get to confront Gabriel about their relationship himself, and ends the season believing all the delusions Gabriel had about him being a good father. 

Hell, even the movie does a better job at pointing out how much Gabriel has hurt his son over the show itself, and I’m pretty sure that’s why so many people prefer that version of Gabriel over this one. 

[kirkwallguy]

verilybitchie's comment on taash's non-binary identity within the narrative spoke to me so bad. so i will say that plain representation is just "here you have your cake too" when it's giving... no context. like what kind of gender confusion a rivaini-qunari can have? this is a question that can only be answered if we can get an answer for what rivaini see gender as. is gender nonexistent and only thing that matters is the genitalia, functionally? is being a man or a woman just about who's giving birth and nothing else, not even clothing? like what are they giving. you cannot connect any dots because there's no dot to connect with.

not only there's cultural context to such things there's also the way of experiencing confusion/questioning depending on that IS so interesting to write, read and think about.

so i feel similar to sexuality representation. like what affect does it have for them and to their life. through dorian (and krem, in gender topic) we could even learn about tevinter culturally and politically that ties to class, poverty, money, and how did they effect them. it's not even about "struggle" it can be a culture that is totally fine with LGBTQ+ but like experience-effect is still experience-effect, negative or positive, and where does a character's own personal takes lie in them. it makes it feel real and fleshed out.

god ykw i STILL haven't watched that video despite meaning to for ages. when i do you'll probably know because i'll go into annoying essay mode lol

but yeah i completely agree. it's really weird because rivain's main narrative function is to contrast the negative points of qunari society. if rivain and the lords of fortune are majorly queer friendly, then why has taash never considered that they might be non-binary before? why do they need to go to tevinter to find trans people to speak to? (even having that initial conversation about not liking being a woman be with isabela might have felt slightly more cohesive lol.) then again, if it ISN'T a society that's welcoming of trans people, then why is the qun the only one whose issues are explored? obviously this is mostly due to the writers' (ie: weekes') weird hangups about qunari society and insistence on demonising them as a regressive "other", but it also feels like it flattens rivaini society in a way that does them a massive disservice imo.

honestly i wrote out a long thing on how dav feels less interested in exploring transness than it does representing transness but it got long and i was rambling. but anyway, i really agree that it's about portraying culture more than struggling, though. as much as i don't like the way bigotry is pushed aside in dav because a lot of queer culture COMES from struggling, there are so many ways to explore how queerness can exist in a society beyond having characters be called slurs. language is one but that's off the table ig. it's nice that they wanted to go with more casual trans characters and did "person who just happens to be trans if you dig into their backstory", but it's also weird and unnatural what these trans characters choose to tell and what they choose to withhold when prompted. i mean, tarquin gives us his entire coming out story but wont give us the name of the healer who prescribed him fantasy minoxidil for his beard? that's just kind of rude. (and indicative of how transness in vg is paper thin. we aren't supposed to think about it deeply enough to consider how a character could transition despite that being kind of an important thing for lots of trans people to do)

obviously this isn't just a dav problem. i feel like I'd give the first three da games slightly more slack given that queer rights (especially in gaming) was a different landscape 10 years ago, but if we look at bg3 we can see pretty much the same issues. i don't really think aaa games are capable of tackling these issues anymore, even if it feels like they were once able to at least try to.

[voidpacifist]

things I loved about season four of sex ed (spoilers ahead)

the amount of representation present this season. the disability rep, the queer and trans rep, how not shy the writers were confronting different trans and disability rights issues head on.

eric's arc with his religion and his gayness and how he was able to reconcile the two. this one really hit home for me as someone who is both queer and a person of faith. I love getting to see gayness have a place within faith, it just healed something for me, okay?

otis was so classically otis but he finally (FINALLY) acknowledged his own idiosyncrasies without just writing them off as being the fault of wounds in his life. by the end of ep 8 he was dedicated to making things better for himself and for other people and I'm actually so proud of him for that.

aimee's journey with healing from her SA trauma and how she navigated a new relationship with that. also I know it probably wasn't intentional but she's a very autistic coded character to me and watching her flourish as herself with isaac just did something so special to my heart. I would level cities for her.

and adam too!! him finally getting the closure he needed with eric and them communicating !!!! the scene at erin wiley's funeral when eric is able to tell adam how genuinely proud of him he is, just,,,my heart I love it when people get to heal !! also again with the unintentional neurodivergent rep, like come on - sitting undiagnosed by yourself, handsome? he's just like me fr.

I was worried the writers wouldn't do isaac's character justice, even though he was given a good arc in season three I was still anxious about where they would take it now that maeve was overseas and honestly, they didn't give him very much of a story outside of his history and who he was when he was with maeve. similar to aimee with him, I really liked watching more of his artistic traits pop out and I loved seeing him have a healthy friendship with someone. even better, I love it when the feelings he harbored for that person were mutual with no strings attached. I wasn't expecting him and aimee to be endgame but I'm absolutely not disappointed about it (you can tell he's my fav because I've written the longest paragraph about him so far).

cal and aisha and pk. need I say anything more? my only gripe is that I wish we could have had a glimpse of the three of them on a date or even see if there were other people in the polycule but that's okay !! I also just really loved cal's journey with themself and I loved getting to see them supported for their identity it meant so very much to me.

lastly but certainly not the least, I loved that otis and o ended on mutually agreeable terms with each other, it just really added to the whole theme of trying to heal and open new doors and be okay with things not being in control all the time. it was especially touching that he gave his position as therapist to her because he knew and acknowledged he had work to do on himself like !!! very rare otis w but totally welcomed. had the show continued I would have loved to see more development w him.

[leighlew3]

What were the aspects of Supergirl (show in general or character) that resonated with you personally?

First and foremost, Kara herself... as someone with a ton of trauma, who would have every reason to do not so great things or wield her power for evil, yet does good things and channels her energy into trying to help people -- she's amazing. She is someone who feels isolated a lot of the time and struggles with anger issues but ultimately is such a light and a good person and somebody that just wants to do good for the world, even when it's not always appreciated or understood. Even if it means constant self sacrifice.

I relate to pretty much all of that.

I also loved the idea of Supercorp obviously, because it was such an epic tale in how they were so similar but so different and so inherently fated to be side by side. It could've been so successful if canon romantic on the show instead of just baited. Taking the decades-old lore of Super vs Luthor and instead turning into Super & Luthor -- a story of hate turned into a love story -- that's an incredible concept, and so rich and full of so much storytelling potential. Them just being friends is the 'lite' version of turning that lore on its head. But to go even deeper would've been nothing short of revolutionary.

Alas, instead they chose to tarnish the show's legacy and taint the good it DID do elsewhere in LGBTQ representation (because YES a show can have ancillary rep but still queerbait a lead dynamic -- especially when it's bait that existed before any other rep was even introduced on the show) ...by choosing to be one of the worst examples of queerbait in TV history (due to all of the romanic tropes and parallels and teases and lack of denials by TPTB who very clearly wanted people to stay tuned in based on hope for canon endgame since that very first Clois parallel in 2x01). It was also just an absolute waste of creative potential and true travesty that ultimately only hurt the show and cast and fans and everyone involved, whether everyone is ready to admit it or not.

Anyway, I enjoyed the fact that so many of the characters -- from Kara and Lena (these two especially), to Alex, Nia, and Kelly... so many of them came loaded with one form of trauma or another, but they still were ultimately inherently good people, a great example of 'found family', and heroic as heck in the end, no matter how dark it got at times for some. In large part because they had each other. I mean, I wish they all weren't LITERAL superheroes or supernatural by the end because I think the show (amongst numerous other issues) lost sight of their own messaging that "anyone can be a hero even without powers" but -- they really were inherently such good / ripe characters, the women especially (plus Brainy and J'onn).

Sure, they all (again, the women especially) often were sadly let down by superficial or just plain poor writing and overall creative direction a lot of the time, especially in the end -- but at the core, everyone could find something to relate to in at least one character, if not multiple characters, and that's great.

I know much like fans of Dana Scully in the 90s, a LOT of girls/women were inspired to get into STEM over this last decade now because of Katie McGrath's portrayal of Lena Luthor. And even more people related to Lena's trauma as a survivor of lifelong abuse at the hands of her family and especially her unhinged brother. Seeing that someone can slip into darkness as the result of years of sadistic mind games and abuse of all kinds but still come out the other side a hero, empowered, and a good person who helps others and is capable of loving and deserving of being loved? That's beautiful, and Lena offered that to SO many viewers, so it's no wonder she was a top fan favorite second only to the lead herself. And seeing how that impacted people, was so very moving.

Seeing people impacted by Alex's coming out arc in Season 2 was amazing. Having the first trans superhero on TV was amazing. And so on...

Look, there's a lot the show did wrong. In fact, possibly more was done poorly or wrong than well or good, overall, unfortunately. Alas, there were some little sparks of light to be truly appreciated.

But again, for me, I connected most to Kara's story, her strength, her dichotomy, and her indelible sense of HOPE... despite every reason at times to give up. And to the Kara/Lena love story, in all its infinite, incredible, and still mostly untapped potential.

[lesbianwyllravengard]

Not to give a white man too much credit but genuinely Rick Riordan writing Nico di Angelo as gay and Alex Fiero as transfem and genderfluid were two leading factors in me becoming comfortable with myself and my identity. Like I vividly remember reading Nico be outed to Jason in heroes of Olympus and going "this character that I love is something I was taught to hate... And he isn't punished or hated for it... Maybe that's important" and reading Alex talk about how she was kicked out and disowned for being trans but all of her friends love her and Magnus is attracted to her even when Alex is a guy and it was like huh, this character I love is trans and she still finds love and acceptance from friends who stick up for her. And yeah Riordan wasn't perfect in his representation but it was significant that it was there and not hidden away. Like for a kid who grew up isolated from every non-sanitised aspect of society by parents who were abusive, controlling, and not accepting, these characters meant the absolute world to me and to my own ability to come out to myself. Idk if I have a point here other than the obvious "representation matters" but I do also think many queer people who had accepting or safe environments especially take representation for granted in the sense that it's treated like an admirable facet of a media that should be included, which is true, but hardly ever acknowledged as the life-changing and even life-saving opportunity for queer kids like me who had literally no other outlet for self discovery nor window into the real world.

[reflectionspace]

Late Mother’s Day Post: A Rant, a Love Letter, and a Game Dev Suggestion

Let’s talk about moms in video games—starting with the bad, and ending with the hopeful.

So, Dragon Age: Veilguard. A game that thinks it’s feminist, but when it comes to motherhood? Oof. It’s deeply stereotypical, sometimes even misogynistic. The main maternal figure (Taash’s mom) is a caricature—a demanding “Karen” mom whose mild cultural expectations are framed as oppression. She’s killed off to affirm her child’s identity in a cage, just in time for a big cathartic cry.

The other maternal characters? Morrigan is flattened and sanded into little more than an exposition talky head, and as for Mythal? Do I even need to say anything?

This isn’t representation. It’s a shortcut. It’s dead mom drama disguised as progress.

So in honor of Mother’s Day—yes, belated—I want to say this:

Mothers deserve better writing.

Motherhood is one of the most complex, specific, physically and psychologically embodied experiences a person can go through. And frankly, it’s one of the hardest things to write if you’ve never experienced it.

As per Beckett rules:

“If you have a prostrate and make breeding kink jokes, you should not be writing women or moms.”

Whether you’re cis, trans, or nonbinary—if you’ve never been pregnant or given birth, writing motherhood is not impossible, but it requires care, humility, and listening. Especially in 2025, when women’s bodily autonomy is under threat in so many parts of the world, from U.S. courts to global policy.

And for the record? Adoptive or social motherhood is not lesser. At all. It has its own real psychological intensity and social challenges. But pregnancy and birth do trigger massive hormonal and physiological shifts that often affect the emotional contours of early motherhood. These are different experiences—but they are all valid. And we deserve to see them written well.

So here’s a list. Some mothers in video games who are complex, textured, flawed, loving, powerful, and written like people.

Spoilers for various games under the cut.

Alive Moms (Yes! They exist!)

Mama Welles (Cyberpunk 2077) — Tough, grieving, proud. She loved Jackie, and she loves V like family—but she can’t stand Jackie’s girlfriend, Misty. Their relationship is tense, but the player can help them reconcile. She runs a bar, honors her son’s memory, and remembers your drink order.

Yennefer of Vengerberg (The Witcher 3) — Adoptive mom to Ciri. Sharp, ambitious, and terrifyingly competent. Her love is sometimes cruel and always overwhelming, and the game lets her own it.

Rogue (Cyberpunk 2077) — Not a traditional mom, but a single mother who raised a son and ran Night City’s most dangerous bar. She’s not nurturing, but she is fiercely independent and never defined solely by her motherhood, but it's there. She'll also take care of V's pets when needed.

Jaheira (Baldur’s Gate 3) — She lost her husband, but raised a brood of kids. Her kids in Act 3 absolutely roast her for her adventurous streak and bluntness, but the family tension is affectionate. They love her, and the feeling’s mutual. It’s real, messy, warm parenthood.

Emmeline, Shadowheart’s mom (BG3) — Yes, she has low-key dementia, but in the end, she recognizes her daughter first. That reunion hit like a freight train.

The moms of Stardew Valley — The alcoholic mom (Pam), the no-nonsense carpenter mom (Robin), the warm and overburdened housewife (Jodi). They’re not perfect, but they’re distinct, lived-in, and rooted in real village life.

Wakako Okada (Cyberpunk 2077) — A streetkid V can get her help with knowledge of how Arasaka killed her grandchild. Wakako is ruthless, terrifying, pragmatic, and that bit of grief goes a long way to humanize her.

Dead Moms (but with weight)

Empress Jessamine Kaldwin (Dishonored) — She dies in the first 10 minutes of the first game, but her legacy permeates the world. In Dishonored 2, a low-Chaos Emily may learn from Meagan Foster (aka Billie Lurk) that Meagan helped in Jessamine’s assassination. Emily doesn’t necessarily forgive. Jessamine’s absence shapes who Emily becomes; sometimes as a ruler haunted by loss, sometimes as one seeking justice.

Yorinobu Arasaka’s mother (Cyberpunk 2077) — She never appears on screen. But in one of the game’s most pivotal scenes, Saburo tells Yorinobu it’s good his mother isn’t alive to see what he’s become—“The heart should only break once.” That line is what breaks Yorinobu’s self-control. He kills his father. A ghost of a mother changes the future of Night City.

To Writers: Maybe Let the Mom Live

We get it. Dead moms are instant tragedy. Built-in heartbreak. Easy motivation.

But maybe don’t kill her this time.

Maybe let her struggle and grow and screw up and apologize and and get a second chance.

Maybe let her be difficult. Or distant. Or messy. Or powerful. Or lost. Or healing. Or anything besides six feet under in a flashback.

Mothers are not story furniture.

They are not plot accelerants.

They are people.

And believe me—we notice when a game takes the time to write one like it.

And if you do kill her?

Give it weight.

Make it echo through the rest of the story.

Make it matter.

Because we notice when motherhood is treated with care.

And we notice when it isn’t.

[nyaagolor]

Howdy again, if it's the meta world VS "real world" thing in Umineko that's got you stumbling, don't worry. The assumption Ryukishi and co. seem to be going with is that the meta world IS real, and everyone's just chilling in a happy magic afterlife post-series (hence how episodes 7, 8, and 9 can even happen). The "07th Expansion All Characters Settings Collection" guidebook even has little epilogue blurbs for the cast, I can link you the translation hosted on the wiki if you want. It's still bleak in the sense that, yknow, everyone was dead from the start and the whole journey was more of a "coming to terms with what happened" kind of deal, but I think it works given stuff like the Divine Comedy references going on (if you read Battler as Dante and Beatrice as uh, Beatrice, a lot of Umineko'll start to make sense). The way I see the split is kind of an "as above, so below" type deal - while Tohya is down in the land of the living trying to write and solve things, Battler and friends really are up there fighting for their lives in purgatory, and the two reflect each other. Of course if that's not the problem you have, I'd love to hear what you're thinking!

hiii thank u for the ask!! (sorry this will be a Long One). I'll admit the meta world / real world stuff tripped me up at first, because looking at episodes 4 and 8 it really seemed to be implying that the metanarrative was the coping mechanism of Ange+Tohya and their way of pretending like their loved ones got the happy endings they didn't get in life rather than something we can actually assume happened. However extra content implies this is not the case, Ryukishi doesn't feel like the author who would do that especially after the thesis of Higurashi, and tbh even if he did there was enough plausible deniability that I would just imagine the Golden Land as real because You Gotta Cope Somehow. I love the "as above so below" vibes too, that's a fun new aspect to incorporate

My biggest hangup with the ending was basically in the idea that Sayo's narrative is fundamentally doomed. I was under the impression that the boat scene was implying that Sayo couldn't be happy even if she did escape due to the burden of the truth / her trauma. The positive framing of the catbox remaining at the bottom of the ocean initially struck me as a "her death is the happiest ending you can hope for because of how fucked up this all is" which is already a nihilistic narrative but downright unbearable when given to an intersex trans woman. I just don't vibe with hopeless trans narratives at all, and felt like I had misinterpreted smth bc Ryukishi isn't really a nihilistic guy. I'll admit I got a little soured to the narrative as a whole when I looked around online and saw people talking about how Sayo getting a happy ending was "missing the point".

After talking to @heartgold I realized that I had reversed the causality a bit. I was under the impression while playing that Ryukishi's insistence that "things had to happen this way" was him not just saying "oh everyone is already dead, the end result is already the same bc we're looking back at past events" but also "it doesn't matter what individual actions people took, it was always going to end in tragedy". I realize now it's more of a "this was totally preventable in so many ways but it already happened and now we have to grieve and cope in whatever way we can manage" kinda thing rather than a "this is fate and Sayo was screwed regardless", so I'm cool with that aspect. (Also I won't lie I prefer to imagine the boat scene as almost entirely metaphorical and more of a representation of the fragmentation of Battler's consciousness due to trauma in a similar way as what happened to Sayo, but that's neither here nor there)

The other part of it, and the thing I'm still really hung up on, is the question of whether or not the Golden Land is actually a happy ending and, if it is real, whether we're supposed to view it as a sorta perverse tragedy. On one hand, the alters are all implied to be separate people and they get their happy endings (yay), but on the other hand that doesn't really fix nor address Sayo feeling like she needs romantic love to be fulfilled (also The Incest(?) I'm genuinely unsure if the whole "alters becoming separate entities" negates the incest or not). The idea that Sayo was so far gone that even the fantasy created from her best memories does not allow her to truly be happy is just so insanely depressing to me, so I find myself stuck with that friction of wanting Sayo to have her prince and her white horse and her fantasy happy ending while also not wanting to downplay the truth. Having this little moral dilemma feels like the point of Episode 8 and really gets us into Tohya's head, which is awesome, but also gives me a lot of mixed feelings. Knowing that Sayo's truth literally has Beatrice married to Battler makes it even tougher bc I can't just use plausible deniability and say they're platonic bc they are uh. very much not as far as Ryukishi is concerned. I'm still working out my feelings on it, mostly because I desperately want Sayo to have everything she's ever wanted but also having to contend with the little part of me that's whispering "it can't and shouldn't happen and you know it". Alas. Umineko.

PS: thank you for telling me about the character booklet, that's SO cute!!! I love the little details about everyone and the cat-ear Bern is everything I've ever wanted

[folcanta]

i'm trying to summarise the way i engage with the fiction i really enjoy, like, the divide between enjoying its presentation at face value and enjoying pulling it apart to see how it works. in trying to talk about it through text it's sorta hard to avoid coming off as pretentious instead of earnest, so just know the crux of this is that i'm both fun funny and whimsical and also deadly fucking serious.

contains spoilers for escaflowne and jjba. and i guess metal gear?

i love to feel. i love melodrama. i love art which seeks to consume you, to share a body with you, briefly, to remind you what it is to feel a feeling. not in literal form (and melodrama is usually taken to mean "flat", lacking subtlety) but a fantastical representation of an ache deeply felt— and in that way it becomes more real than anything. the desperate dejection of the father in INTO THE WEST. the hard and physical, breathless, and then suddenly floating, drifting mood at the end of HEAT.

i've never been much of a shipper or whatever because most of the time, with the stuff i really love, focusing on that feels like a distraction. i don't enjoy Ace Attorney through the lens of phoenix/edgeworth, because i find their canon (and implications therein) friendship (along with larry) so riveting, i want to follow that thread to its many conclusions. if that makes me sound like a joyless crank, um... well, i'm not.

my JJBA OTP, namesake of this blog lol, is a personal delusion yes, but the reason why it struck me the way that it did is because it's based on a moment in JJBA which is then repeated with other characters going forward— a turning point between two people (this is key to it also, that it suddenly turns intimate) which expands the story right out from under you, a painful rugpull, a literary move. it's not solely about the plot expanding— the plot of stardust crusaders remains the same— but the entire work expands because the author has suddenly revealed that there was always more going on, and to stay on your toes. shaking your foundation. everything is the same and everything has begun to change. that's what grips me about it, that's why i find it so romantic, and i mean that in a classical sense too.

going back to Ace Attorney, most of those turning point moments are expressed/developed by the story of the familial bond between maya and phoenix. because that is/coincides with the actual plot, i don't really find myself inventing new "what if?" relationships because i'm so satisfied by the presentation of the facts.

i think the storyline of MGS3: Snake Eater falls into this too. you know what your mission is, and can expect what will happen, but the heartbreak of finally fulfilling what it promises feels completely new once you reach it. the Boss is like the peak example of characters who are aware of their narrative, aware of the role they're made to play by forces beyond their control, and despite being correct, must suffer for it. in my own work i tend to call this The (trans) Male Cassandra, because that's the type of guy i keep writing, almost like i have a vested interest in doing so. it's in this one way that i think characters like n'doul and jotaro are similar, and that's not only rare, but the way it's presented is rare too. especially for a story like stardust crusaders. but from there on, because of it being in stardust crusaders, i can see the future more clearly, and i can hold the story to a higher standard, because it's also holding me as a reader to a higher standard.

spoiler | the way n'doul reacts to jotaro, what he says about him, admires about him, laments to him, tells us more about how we should see jotaro. the way jotaro reacts to him does the same thing. in this singular fight, first jotaro is freaked the fuck out, then they're both having fun and mutual respect is earned and acted upon. when we realise jotaro means to keep n'doul alive, the reader is abruptly put in a position of knowing what's about to come before jotaro does. he should, but he doesn't, because, for this one moment, he thought something else was possible. even the type of death is different (suicide) and jotaro's reaction is different (shock/horror.) we saw rules, we suddenly see exceptions to rules, we knew what to expect, suddenly those expectations are changed— and the immediate tragedy of possibility denied. watching him try to do something we know isn't going to work out also serves to make him seem younger, and putting this in sometime before the fight with dio is a good reminder that he's human.

spoiler | it's a big part of what compels me about folken, as well as what i find bottomlessly heartbreaking about him. death seems to be a necessary component of the role of the seer/cassandra, but escaflowne shows us how desperate and dire the escape from fear and violence is. this being folken's ultimate aim above all else (to free van from the cycle), and hitomi pleading with him saying if he dies, then van will be all alone... hitomi is telling me why it doesn't make sense, and the story then sets it up such that it lacks even the paltry comfort of closeness, if not catharsis, for van. at that point in the story, i can't help but find it cruel in a way i don't find n'doul to be, or even the boss. cruelty is done to the boss in the storyline, the internal world is cruel to her. you can critique the "fridging" or whatever, but it isn't a departure. it doesn't unravel the story, it's key to it, for all time.

i was telling my partner that when it comes to something like Metal Gear or Ace Attorney, the quality of the thing imo speaks entirely for itself. if someone doesn't like it, or focuses on only some minute aspect of it, or goes off on a mad one interpreting signs and symbols that imo aren't there, the thing speaks for itself so loudly and plainly that any difference of opinion rolls right off my back.

then with JoJo's Bizarre Adventure it's similar, where i think araki's career and evolution of maturity in his storytelling and contemplation speaks for itself too, but my experience in the fandom (going way back now) was of people who claimed to enjoy it admitting they neither read nor even watched it, and were in no way capable of or interested in taking it as a piece of art. instead it was something to consume through someone else's summary, as fast as possible. which made having genuine conversations about it difficult when i'd try to talk about textual aspects of the series. conversations were dominated by moralising and headcanons. so compared to the above, i do feel more moved to defend it on that basis.

there's a nasty habit of presuming araki is a fucking slapdash idiot and that none of his choices have any internal coherence, which is plainly wrong, rude, anti-intellectual, and past a certain point, probably racist. the man has written books about his approach to writing manga and there's decades worth of interviews for more. but the game of telephone people play with JJBA in lieu of any sincerely felt relationship to it is a barrier i have a hard time talking through. so while it bothers me and i still try to talk it up, ultimately i have to shrug this off. we're having two different conversations.

then with Escaflowne i feel like i have to defend her with a knife LOL.

i know this isn't literally true, but having seen and read and talked a lot over the years, it seems like a huge chunk of people on earth are coming to it with either preconceived notions and expectations or preconceived notions in the form of feelings crystalised at grade school age. the latter isn't a criticism, it's life, it happened to me. if your feelings crystalised simply but positively, i do believe it was for a reason; you felt something and couldn't make heads or tails of it then. or you attributed it to something which then becomes something else later.

i'm not going to pretend there's no alternative to liking escaflowne, lol, i understand disliking it. however, dislike shouldn't preclude one from respecting it/taking it seriously. i talk about this below, but designating a piece of art— particularly from a time period in which art was funded, lol— valueless, especially foreign art, isn't something i personally want to be caught doing.

preconception of any kind is hard to disentangle because it must be tested. i think it was like that for me, and now with my adult perspective i can really easily point to what about it stirred and stuck with me because i have a map of creative work from then to now which points to it. (particularly in writing, if not art, though i think the film particularly informed my sensibilities.) and i'm still surprised by many things i missed. even if emotionally they landed, conceptually they didn't. which is why i really believe that in key respects it Is that deep.

i see people compare it to magic knight rayearth, but it's simply the truth that escaflowne sought to accomplish different things than rayearth and for a different audience. rayearth's narrative in the manga and anime is furibund in a way escaflowne isn't. escaflowne's masterful approach to pacing means episodes can fit a lot in them without being hectic— what frenzy there is, it's sustained only within the scene for which it's appropriate. but it doesn't have the same bounce as rayearth. there's breathing room. it differs structurally. escaflowne's story is in great part shown not only through character parallels, but scene parallels, done back to back in direct poetic contrast. so from that, i understand it's only being compared in terms of genre, but in terms of genre, escaflowne defies shorthanding. and as time goes on, that's more and more impressive to me. elevator pitches don't do much for me, and "[IP] meets [IP] x [trope]" takes me out instantly. inability to summarise it concisely (without ignoring some key component) is to me a credit to its form, not a shortcoming.

the problem is, like JJBA, it takes time to show someone what makes escaflowne's deft feats of emotional storytelling stand out. even though everyone agree the soundtrack is beast mode, for some reason it's harder to believe that escaflowne deserves that soundtrack. deserves its all-star team of artists. deserves its film. as if to say, you, the viewer, also don't deserve to witness (and are encouraged not to think about) this great joint effort, this great coalescing of ideas.

its staying power isn't immediately recognisable in still images. among things i'll mention further down, lack of time/patience and preference for secondhand experience is a real problem which affects art as much as anything. the art may not appeal to everyone but with how much art i hope fellow artists (in particular) have been exposed to, i need them to come to grips with the possibility that outright aversion to style might be a juvenile bias relative to where they're at in their creative career. if you're a professional artist, and the most technically skilled you've ever been, and you can't recognise or value work different from your own, or amateur work, there is a gaping deficiency in your skillset. unwillingness to engage in "low culture" is as tedious to me as unwillingness to engage in like... theory or whatever.

like great people, great works of art are often reviled in their time, then smoothed out and rebranded, defanged, resold. discussing art and examining ones own responses to that art is i think essential for the spirit and those around you. it's infectious and influential. it's actually, like, good and important to be self-serious sometimes. there's a totally insufferable cowardice in refraining from emotional indulgence. not just making "weird art," but feeling it. admitting your influences. admitting what you wish you could do. and trying.

and i really think even if you don't like the art, there are other aspects that succeed. i'm interested in film enough that i can point out all the camera work, shifting of perspective, timing, that make the series uniquely filmic, utilising techniques we associate with live action. that should be interesting to you not just on its own but because it isn't something we tend to have reason to expect from anime (because anime can tell a story through other means) nor expect it to be carried throughout so consistently as a crucial part of what we're meant to understand. if you don't like the plot, i still think the means of the plot expanding are executed with clever creativity. but it's the same problem: this requires time, and this comes through in motion. the visuals of the series are informed, altered, recontextualised, by the sound and the silence. someone has to be willing to see it, not past it.

escaflowne is a huge exercise in inference.

and it rewards for that reason— it rewards care and attention. because it doesn't beat you over the head with exposition, there's room for more nuanced storytelling. i think that is The enduring magic of it, what it demands from the viewer as a participant in the experience. it's not passive. or, its seeming passivity as a story/experience is a deception. i have full faith in the writer and team that the metaphors, symbols, parallels are exactly as intentional and significant as they are, because they are what sells the meaning of the story— but even at the time it stood apart for the same reason it's difficult to get people into it now, which is that we've since rapidly moved into such an age of western literalism and graceless lore and total lack of respect for art as craft, as work, as language. art as not simply aesthetics, but art as communication. when what's being communicated becomes simpler and done through simpler means, in as simple a process as possible, and only references the aesthetics of the past to imply history/thought without having to think, and in turn buries history.

one has to deeply, earnestly want to communicate something. and be willing to work to accomplish it, risks and all. the risks are necessary. failure is a teacher, and in that way, failure ceases to exist. and i don't say this stuff because i think it's easy. i am bad at working. i am bad at staying afloat. the same qualifiers as always: the work is hard, making time is hard, the work you like may not be what you're naturally inclined to make, not all forms of work are accessible/possible for all people, communication comes in many forms, and it's not only work to communicate, it's also work to learn how to become fluent/familiar with someone else's communication style/method. but that process fascinates me. it's a challenge. i'm not always up for it. but i can't help wanting for connection. i value the time i allow myself to sit inside something for however long it takes to process. if i dislike something, i want to understand my reaction and see if i can understand the method and motivation in which it's told, and if that clarifies something. i'm always hungry to understand. art is also fearless for me— the craft, the labour, if nothing else, makes me closer, more familiar, with the world, including the people i admire. sentiments like this mean so little to me. i don't imagine my inspirations/aspirations in defensive RPF like this and if i were treated poorly by someone i admire, i wouldn't admire them, because i don't admire that behaviour. and, their disapproval of my work wouldn't sway me. but i also don't approach art, or artists, even my favourites, with the goal of permission-seeking.

bearing in mind how much physical and mental effort it takes to create art, i am completely comfortable meeting/respecting it when it's shown to me, and, completely comfortable ignoring something disingenuous and soulless. escaflowne does not need a remake, no matter how much more "content" you might want. look at the anime remakes of recent years, they're horrifying. the source of your nostalgia already exists— it doesn't justify a hollow reanimation.

in a similar vein, i also don't need or yearn for it to be gay or trans just because i am, because my identity comes from myself, and the experience of being me is expressed in the art/stories i make. absent of my response to it, the media i enjoy is, to others, as representative of me as a blank sheet of paper. i don't cultivate my interests based on what i think will best represent me As Gay. i don't cultivate my interests based on the checkboxes of a scene i'm trying to fit into. transness is inextricable from me, but the things that look and feel like transness to me do not to other people. this doesn't make it lesser.

folken's narrative could effortlessly be explored as a transsexual one even if just because it mirrors what in my own life feels intrinsic, inseparable from transness, in the only way i've experienced it. but it's my own art that i hope speaks loudest to the nature and quality of my soul and ethics/ethos. you should demand better. but knowing when to demand that of yourself, not others, is important and affirming. shipping etc. is your own imagination, so you've already accomplished part of the work of creation. not all, but some!

it feels too easy and unfair to insist the series would be "better" if it were less heterosexual, as if profound pain and romance can only affect you if it's a 1:1 recreation of yourself. you are always bringing yourself into what you love. and you can aspire to it. you can be shaped by it. you can be dissatisfied and seek resolution, but eventually you're going to hit a wall where there are no more answers, because they were never intended to be answered in the first place. what's your next move?

i like thinking about art and i like making it. i have insane, baseless faith in my motivations and, if not my execution, then my interest in learning how to execute them. it isn't enough for me to have my interests, ideas, inspirations floating around in the realm of the hypothetical. i demand more. at the same time, i should settle for less, and i'm making a serious effort to learn how so i can avoid burning out (if that's even possible when capitalism is designed to be punitive and disabling.) but i also know i won't be satisfied by languishing. art has been the singular constant in my shitty, chaotic life— by making, i'm also making myself more real.

i'll always be able to laugh at Ace Attorney as much as i'm able to be held in the cinematic grip of, in particular, the drama of the last case of the 3rd game. and i'll always be able to think about eli snake hanging out with his 3 dipshit dads and whipping machine parts off of mother base and zipping around in heelys til he eats shit. as well as thinking about how beautiful it is that david snake fulfills the role/will of the boss in a way of which the same dipshit dad is incapable. i'm invited to play and also to contemplate the critique of the american war machine. i'm not saying this because i think this is a unique ability, lmfao! this is very simple, this is the baseline.

what i AM saying is... what a treat it is to love escaflowne. to enjoy such well-considered art, indulging in the wholeness of the vision. it can't be overstated just how much effort went into its creation— to have not only a series but a chance to revisit in the form of (possibly? definitely?) one of the most lavish anime films ever made. even my ample critiques come from a place of trying to meet and respect the art from its position, in its own internal context, its place in the world, and in my life. if i'm a good artist/writer, it's because i saw escaflowne when i was 12.

and that's why i wield the knife. lmao