they will need to whipstitch the wound closed, but embroidery is a "woman's" task. they will need to eat and clean and mend clothes, but why learn basic things when you can have a woman measure out your life in beads. he will be the "head" of your house, but if you want him to act accordingly, you must assign him a list of all applicable activities. you will be otherwise constantly in charge of almost-everything; so he will lead the house he is absent from.
in movies and books, the "cool" girl will be more-like-a-man. she will be "less boring," more "fun". she will have masculine ideas and masculine talents, which means a man doesn't have to change in order to find her fascinating. she will disdain of something as simple as stitching. how boring!
she will kick open the door of a car and quip what, girls can't drive? and flip her long hair down one side. she will grill and shoot a gun and skydive. be a guy. she will be sexualized.
somewhere, working on computers becomes a masculine task, and now on tv a gen-z disney character throws her hands up in the air. i can't be a computer science nerd, i'm a girl! in the real life, she will be unable to sit through some of her classes, shivering when she realizes she is the only woman present in several of them.
how many times have you read this book and seen this show and watched this movie. the singular woman is allowed 5 lines because she's not just smart! she's also pretty! she is surrounded by 20 average men, but she is stunning. she is the exception to the bland, pale lives of women-at-home, who will never be shown. she likes dirt and motorbikes and blood and shows up in a tiny dress during the final scene, rolling her eyes at our male lead's incredulity - just because i like motorcross doesn't mean anything. i'm still a woman, okay? i actually like shopping.
it is almost never reversed, and you think about that often. it is vanishingly rare to have a single man in a cast of women. the male love interest does not show up at a feminist march and sardonically squint at our leading lady - what? you thought only women care about human rights? he does not know how to balance a checkbook or kickbox because i grew up with three sisters.
when he cooks he is a chef, which is sexy. when he cleans, he's being kind, genteel. when he nurtures his family, confetti rains from the ceiling. when she does these things: it is her duty and her identity. what do you mean she has other passions and hobbies? isn't her hobby and passion homemaking?
the other day a friend embroidered a seam closed on your jacket into the shape of ivy. every time you touch it, you think of her.
something about women's hobbies and art and skills. something about women's work.
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another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!
(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.
actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)
a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.
deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.
the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.
and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.
however.
you do have to know which one you're doing.
the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).
and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.
the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.
the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.
point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.
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Scenes/Things in Supernatural that genuinely don't make sense to me if Dean was straight:
The confession booth scene.
Sam just rolling with the fact that Dean's siren is a guy while still thinking sirens infect people through sex.
Dean being flustered by several men: Gunner Lawless, Aaron, Doctor Sexy, etc.
All the parallels between Destiel and other couples. (A big one being "last night on Earth" bc how do you do that accidentally.)
Having all the gay jokes be on Dean instead of Sam.
Paralleling Sam meeting his childhood celebrity crush with Dean meeting Gunner Lawless.
The boner Dean got when Cas cleaned up.
Dean gulping after Cas does an impression from a Western movie.
Charlie, a lesbian, calling Castiel "dreamy."
The way Mary looks at Dean and Cas when they hug.
Dean wondering why everyone assumes he's gay, while Sam not caring.
The logic that Charlie can't flirt with guys because she's only attracted to women, but then having Dean flirt with the guy for her.
Dean seeming disappointed when learning that Aaron's flirting was fake.
The amount of time Dean and Cas spend staring at each other.
Dean canonically having an orgy with Crowley.
A woman saying that she knows when someone's pining for someone else to Dean, just for us to learn that Dean was never in love with Amara.
The set design and script choices that lead to a cross in the background while Dean said "I do." to Cas after he came back to life.
That time when Dean wanted to say something and Cas was like, "It's okay, I heard your prayer." But Dean still looked like he wanted to say something important.
Amara: [about Dean] "I can see inside your heart. Feel the love you feel. Except, it’s cloaked in shame.” (Thanks @adeptune01 I honestly forgot about this one.)
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