#in a lot of cases i think it's important to acknowledge that non-human characters have different experiences from human ones and

[commsroom]

i think there's something to be said about what exactly it means to be "non-human" in a story that is as much about humanity as wolf 359 is, where even the dear listeners are defined less by their own perspective and more by what they fail to understand and therefore reflect about the human perspective - to the point that they don't even have their own voices or faces or identities that aren't either given to them or taken from humans. they speak to humanity as a mirror.

even pryce and cutter are "very much humans" - pryce defined by her resentment of and desire to transcend its limitations, and cutter by his aspirations to redefine and create a "better" type of human - and find the idea that they might not be human laughable. it's interesting that they have distinctly transhumanist aspirations when their goal is the narrative opposite of common science fiction fears: that we will expand the definition of humanity so much that we'll lose whatever it is that makes us human. pryce and cutter's transhumanism narrows the definition of humanity to the worthy and the useful, as defined by them; "there will still be a humanity; it'll just be our humanity."

in direct opposition to that, i think it's meaningful that the show instead expands the definition of humanity in ways that include lovelace and hera, who in another show with different themes might be considered (in the descriptive, non-moralistic sense) non-human. i will always make a point of saying that personhood and humanity are two often-related but meaningfully distinct concepts, especially when talking about sci-fi and fantasy. i am talking about humanity.

the question of how hera identifies, and what social pressures influence that, is a complicated one. i've talked about it before and i will talk about again. what's important for the purposes of this post is that i think the show considers her fundamentally human. think about her role in shut up and listen - consider jacobi's lion example and the concept of different paradigms - that even things that are close to humans, comparatively speaking, understand the world in different ways. whatever differences hera may have from the others, it's primarily in experience, not fundamental understanding. she shares their emotions, their concerns, their values, their thought patterns. she has an appreciation for music, which the show considers a hallmark of humanity. she fits within the framework of humanity as the show defines and is, in her own words, left feeling "uneasy" about how difficult it might be to communicate with beings who don't. and it's significant that this takes place in shut up and listen, of all episodes, specifically because the way she is clearly and unambiguously included in the show's understanding of what it means to be human highlights the ways she and lovelace are othered by eiffel's careless comments that suggest otherwise.

(i don't want to get too into these details for this particular post, but it's worth noting that hera will refer to 'humans' as a category, often when she is upset and feeling isolated, but has never said that she 'isn't human' - she has never been upset that people are treating her 'too' human. i've seen it said about the line "you need to get it through your heads that what goes for you doesn't always go for me", but that's a frustration related to ability and safety, not identity. far more often, she will refer to herself in 'human' terms - referring idiomatically to experiences or body parts etc. that she doesn't literally have - and is upset primarily with comments referring to her status as an AI. it does not diminish how being an AI influences her perspective and experience, but again, so much of that is in terms of ability that it feels almost inseparable from a discussion about disability.)

lovelace's humanity and hera's humanity are so interlinked and directly paralleled in the text that i think it's impossible to really argue one of them is "not" human without making implications about the other. in desperate measures, lovelace tells kepler he's "not human" and he responds "you're hilarious. on a multitude of levels." later, defending lovelace against kepler's repeated dehumanization, hera very pointedly uses the phrase "that woman." in out of the loop, hera says she's never met anyone who "worked so hard at being inhuman" as jacobi, who says "what do you know about being human?" hera very emphatically responds, "i know plenty." later, defending hera against jacobi's repeated dehumanization, minkowski pointedly uses the phrase "that woman." with the care taken towards language and the way scenes and turns of phrase will parallel each other, that's not a coincidence. it might seem strange to have the "non-human" characters be the ones to express criticisms based on perceived "humanity" (something hera will do in other contexts as well - "we don't have funerals for animals" etc.) but in the broader context of the show, i think it's the point.

so, whether hera would ever call herself human, or be comfortable with that, is a complicated question for another time and depends on a lot of other factors. but wolf 359 is a show about humanity, it includes her within its definition of what it means to be human, and i wouldn't be comfortable definitively saying she's not human because of that. it can't be a neutral statement within the particular context of this show.

[tanadrin]

I really like your Silm commentary and writing and I'd definitely be interested in hearing more about how you see the Valar

-@outofangband

There are lots of ways you can read the metaphysics of Tolkien's world. One common reading is what I will call the "naive Catholic" reading, which is basically this: Tolkien was Catholic, so let's import certain basic metaphysical assumptions from Catholicism into his world, like neo-Platonism and a moral law following from a divine natural order, and take at face value, as if offered from the point of an omniscent third-person narrator, all commentaries on how the universe works, both within published works and from those non-published works which can be made consistent with them: LACE, different Silmarillion drafts, etc.

This approach has some problems, IMO. Not least is that we know many of those unpublished works are transitional fossils in an author's evolving thinking about his own world, and were later discarded. Similarly, we know that the major narratives themselves are explicitly mythologized, at various times conceived of as being the mythology of the Elves, some of whom had contact with the Valar in Valinor, or even as the mythology of Numenor, who had these stories thirdhand from the Elves, and wrote them down in some cases millennia after. I think it's also evident, by the way, that while Tolkien was very Catholic in his thinking in some ways, he was less so in others; the picture of him that emerges in his letters is someone who is religious without being dogmatic or ostentatiously pious, someone for whom religion is an important part of his life, but is not so all-consuming he finds it impossible to relate to anybody who is not religious. He is, in other words, a complete human being, and viewing his work only through the lens of his Catholicism is quite in error.

Another way to read Tolkien--which is not in contradiction with the "naive Catholic" reading, it just receives it differently!--is what I think of as the "Lintamande reading": the Valar are bastards. Let's face it: as written, the way the Valar relate to the Children of Iluvatar, and especially the Elves, can rankle. They summon the Elves to Valinor as soon as they discover them at Cuivienen, essentially seeking to annex them to Valinor without giving them a chance to develop their own culture and identity. They don't offer support to them in situ (though this is within their power), and their attitude is essentially "come to us, so we can protect you, or be left alone in Middle-Earth, probably to have to deal with Morgoth on your own." Manwe is framed as a king, ruling Arda from Taniquietil; the halls of Mandos have a purgatorial quality, condemning the unrepentant to a tormented, bodiless existence, while stripping from those who do eventually reincarnate aspects of themselves the Valar find troublesome. The valar refuse to help the innocent or guilty during the centuries of struggle in the First Age, and it becomes clear when they finally do rouse themselves to act that they could have ended this long ago, and with much less suffering.

I find this reading dissatisfying. For one, while it makes Watsonian sense of the evidence on hand, it still treats the text as authoritative in a way that I think quite intentionally it was never intended to be. Mythology is inherently an unreliable narrator! Even in a world where magic and greater-than-human beings are baked into the conceit, we must acknowledge that myth transmits information unreliably, and it has an agenda. Two, from a Doylist perspective, the Silmarillion is grounded in its arcs of catastrophe and eucatastrophe, like music returning to the tonic, part of which is also the general character interpretations offered, and I'm interested in exploring readings that maintain those interpretations while also helping us to understand why, for instance, the Valar act the way they do, or are reported to act thus, and highlighting ways that the apparently authoritative statements presented about how the world works can be complicated.

One interesting point of entry is the word "king" and associated concepts like royalty. Manwe is the Elder King, the viceregent of Iluvatar; Morgoth seeks dominion over all Arda; the leaders of the Elves are invariably described as kings and high kings, all very medieval in character and in keeping with the vibe of a North European mythological past. But where mundane, mortal kingship (as among the humans and elves) intersects with more spiritual notions of kingship and royalty, I think a more complicated picture emerges, one that Tolkien's self-consciously restricted register of language, in keeping with the tonal examples of early medieval sources he draws from, is helpless to explicate very deeply.

In conceptions of the afterlife in the Middle Ages, royalty and signifiers of royalty feature heavily. A great example of this is in the Middle English poem "Pearl," which is about a father mourning his dead daughter, and a vision he receives of her in Heaven; they speak at length from either side of a river, and she is depicted as an ennobled figure, a royal bride of Christ, who in the end is called away to the new Jerusalem. Heaven is depicted as a place of wealth: earth and trees and stones made of precious materials and so forth, and it's interesting to ask, all right, what do all these signifiers of wealth and power mean? These are, after all, very earthly things, and it seems strange that in this Christian text, which is embedded in a theological tradition all about how the last shall be first and the first shall be last, and the human world isn't nearly as important as the spiritual one, that material evidence of luxury and power should be associated with spiritual paradise.

But I think this makes perfect sense, given the context. A hierarchical society, one that does not have a tradition of egalitarianism like we do--the closest it comes is perhaps the rota fortunae and the idea that you who are high might one day be low and vice-versa--can best signify release from the physical and psychic oppression of the world by placing everyone at the top of the hierarchy, and thus obviating the need for everything below. What does paradise look like? A world in which we are all royalty, i.e., we all have the release from the burdens of existence in the manner that in mundane life only (we imagine) kings do; that we all can enjoy that luxury, that freedom from worry about our physical needs.

In a spiritual sense, "kingship" is an effective symbol for things we carve up quite differently in semantic terms, including aspects of words like "freedom," "self-determination," "sovereignty," "independence," "power," and "authority." And this makes sense even when speaking of Jesus: Christ is King, not because Christ conquered the world and handed out large tracts of land as fiefs to his retinue; Christ is King because he is God, omnibenevolent and omniscient, the source of order and justice and goodness for the whole universe.

Royalty in the context of Valinor, especially among the Valar, but also I'd say among the Vanyar and Noldor who live there, seems to me to have much more in common with spiritual notions of royalty than it does mundane ones. Not least since Valinor seems to be what we would call a post-scarcity society. Certainly it's one where the constraints and hardships of life elsewhere in Arda do not apply, and even if it's not truly post-scarcity, the best analogy might be between our modern day, in terms of cheap abundance in the developed world, and the early medieval era, where the distinction for someone from the latter might be pretty theoretical at best. This isn't to say that Valinor is an anarchist utopia, a hierarchyless society--I don't think that reading could be supported by the text--only that Manwe is king of Arda in a very different way than Morgoth seeks to be, or even than Elu Thingol is of Doriath. And that I think is supported by the text.

Moreover, I think it's clear that the Valar are meant to have the tinge of tragedy about them: their vision of the world is incomplete, and though wise and seeing much, they genuinely struggle to understand what to do sometimes. They were wrong to call the Elves to Valinor. They thought they could protect them there, and keep the influence of Morgoth at bay forever, and they couldn't. The fate of the Trees and the Flight of the Noldor proved that. They withhold acting during the First Age because they know their power is too much: they don't want to cause more suffering by unleashing themselves on Middle-Earth than the wars in Beleriand are already causing. And yes, they're angry. But they're not God; they're not omnibenevolent. They have flaws, like the impatience of Aule, the aggression of Tulkas, the possessiveness of Yavanna, and yes, the hesitancy of Manwe. They're children of Iluvatar too, just older ones. And the Doom of Mandos isn't a curse or a punishment: it's a bare statement of fact. You are doing something inadvisable: here are the consequences we forsee. We cannot (or will not) help you.

And things which we might hold up as especially authoritarian qualities of the Valar, things like the Halls of Mandos "purifying" the souls of the dead, have I think to be understood in the context that, definitionally, no one who has ever been there for any length of time has contributed any information to the stories we are reading. And the stories we are reading are composed by figures who do not live in Valinor, who do not have the example of spiritual kingship to draw from, who have only mundane kings and mundane social systems to use to understand these concepts very remote to them in both time and place. These authors are going to have to do a lot to make their hardships in Middle-Earth feel more necessary and more meaningful, to try to speculate about why the world is the way it is, and to inscribe their own particular worldviews and ideologies onto far-off figures like the Valar to try to rationalize their imperfect understanding of them. And that's the only lens we're able to see them through, because Tolkien (who knew all this; but even if he didn't, this would be a reasonable Watsonian take) intentionally chose a documentary device as a core mechanic for his worldbuilding.

[beardedmrbean]

Oh sorry didn’t know you have a special tag for me now. Of course ac mirage is glorified and gaming form of Baghdad. But what the gaming does as while we play in a golden age, the character we plays as those we fight for suffering from the corruption and wickedness of the time as no era is perfect.

Well you lived through it, but I think a lot of modern historian have guilt over the reactions towards Arabs after the Iraq invasion and 9/11. So they double down hard on Muslim “achievements” to show they are not savages

But it lead to them infantilizing brown people and demonizing the west.

Which we got women king because black activists hatred towards white people. I wonder how many native Africans are going to treat black Americans like me like a plague after that movie?

But why I pointed out mirage is that, audiences want non white civilizations to be shown as PEOPLE not the equivalent of fictional young adult novels noble savages take on them. Show the good, show the bad, show the humanity

Also I think the main issues with Islam stuff is because the left will call out Christians crimes against people. While forcing a Hindu to be side by side with a Muslim. Obviously varies, but I learn about the Kashmir Hindu genocide that happened on January 19th, 1990

It disturbing that such a religious genocide happened only about 10 years before my birth.

You gave yourself that tag, sort of at least, called yourself that and it made me laugh so I decided to run with it.

Well you lived through it, but I think a lot of modern historian have guilt over the reactions towards Arabs after the Iraq invasion and 9/11. So they double down hard on Muslim “achievements” to show they are not savages

Bush 1's Iraq war didn't really do much in the way with public opinion, up till 9/11 the Muslim community was a pretty solid republican bloc

Then they moved left, political party wise culturally they're still pretty solid red they just know the DNC will bend over and take it from them in the name of diversity points.

Case in point, imagine what would have happened if the city council that banned all but government flags on government buildings had been made up of white Christians.

They're be riots, and you will be hard pressed convince me otherwise.

Which we got women king because black activists hatred towards white people. I wonder how many native Africans are going to treat black Americans like me like a plague after that movie?

Can't find the video but at one point there was a gifset of it on here where the person was asking black Africans, probably in South Africa, if they taught about American slavery in their schools.

Their answer was a good one and the response on here to the gifs was exactly what you would expect from the perpetually offended, self absorbed, and self important people who would comment on this kind of thing.

'The whole world isn't America' they have their own history to teach and SA wasn't involved in the transatlantic slave trade anyhow, not that I'm aware of at least.

The response on here can be summed up in a single reaction image.

I'm seeing stuff with a bunch of African countries acknowledging their role and apologizing including Benin which contains the territory of the former Dahomey empire.

Not shockingly at all they're also still unironically seeking reparations, which I'm sorry no refunds on the merchandise you sold us (to put it crassly)

Depictions we're likely going to have to deal with, which I'm ok with that to a point, it's a romanticized picture of the people, time, and place.

We imagine knights on horseback charging into battle full armor on then going to do battle on foot when their loyal steed is killed.

We don't think about the fact that they couldn't take that stuff off to go to the bathroom so they just shit their armor and did battle with poopy feet, among many other nasty gross things.

So to A point I think fictionalizing things for entertainment isn't so bad, just so long as they don't go too far with it, people have different lines for that kind of thing too.

As for that last bit, posted this a couple days back.

Here's a highlight for you

Some took notice when this centuries-old religious conflict flared in 1989, as Sudan's jihad slaughtered 2.5 million Christians and enslaved perhaps 200,000 more. It ended only in 2005, when the U.S. helped broker a peace deal; in 2011.

I haven't verified those numbers, but it's Newsweek I feel like someone probably did.

Also these guys,

made the mistake of kidnapping a bunch of girls, if they'd just kept kidnapping boys to brainwash into becoming child soldiers nobody would have cared,

example

but wait no they're talking about the boys right there!!!!!!!

Yes well

10+ times as many boys per year and now they're mentioning finally

Sorry this took a while, I had a bunch of other stuff going while I was putting it together.

[aeoki]

SHINSEKAI - Magicians of ES: Chapter 6

Location: Tohoku Town (SHINSEKAI) Characters: Mika & Shuu

< Ten or so minutes later. >

Mika: Ngh~... The Mado-nees (fake) talked about some confusin’ stuff and then left.

Fufu. Even if I know it was two middle-aged men on the inside, for some reason, it still felt pretty lovely when they looked like that.

Appearances are super important. Maybe I should start payin’ more attention to that sorta stuff too~ I’ve always left it to Onii-chan or the makeup artist.

Shuu: …………

Mika: Onii-chan? Uh, can’t he hear me? Did he also mute me too…?

Nooooo! Don’t ignore meeee! If I can’t even be within your field of vision, then I… I–!

Shuu: Oh, quiet you! I am listening to you! I won’t be treating you as if you “don’t exist”, so calm down!

Mika: O-Oshi-san…♪

Shuu: Non! That’s the second time! You’ve already failed to comply with the “order” twice in this conversation! Watch what you’re saying!

Mika: Ngh, I’m sorry. I have a habit of forgettin’ things pretty quickly.

Shuu: Hmph. Humans are built to forget the things that are unimportant and of no value.

Perhaps you’re someone as cold as ice who feels indifferent to everything.

Mika: Nghh? That’s not true~ Why would you describe me like I’m some rotten human being? I’m just an idiot!

Shuu: I know. I was joking so I’d appreciate it if you laughed.

Mika: What!? Oshi– Onii-chan, I couldn’t tell it was a joke from a mile away! There’s no way I could’ve laughed!

Shuu: Fufu. In any case, it seems we don’t really need to focus too much on the “orders”. It looks like the management doesn’t really care about us.

Mika: Ngh, really? How do you know that?

Shuu: The man by the name of “Gatekeeper” showed up in Mademoiselle’s guise a while ago, but he didn’t seem interested in us at all, didn’t he?

He said those exact words, after all.

He is the chairman of the “SS” Administration Committee and is the one behind everything that has to do with “SS”. I heard from Kanata that “Gatekeeper” contacts him occasionally from someplace else.

And it appears this “Gatekeeper” is meddling in a lot of idol affairs in the other regions.

But he looked as though he simply had no interest in us. That in itself does irritate me, though.

Is he underestimating us, thinking that we have yet to adapt to this “SHINSEKAI” and will fall to our ruin?

Or could it be that he has been warned not to touch us by someone who even he cannot easily control?

Mika: And who’s that?

Shuu: I assume it would be Seiya Hidaka. I thought the one who started meddling with us was “Gatekeeper”, someone from the management.

But judging from the conversation we just saw, it was Seiya Hidaka who was hanging around us.

Not that I know what his goal is. There shouldn’t be any common ground between us, so I wonder at what point he had his eyes on us.

Mika: Ngh… Rather than “us”, it feels like he’s got his eyes on me.

Shuu: You? Why?

Mika: Who knows…? He mentioned before that he wanted to make me his successor, though?

Shuu: Hmm. Wouldn’t that be an honour? He is an influential figure who is called the last active super idol in the entertainment industry.

It wouldn’t hurt to make connections with him.

Mika: Aha, connections? That’s somethin’ I never would have imagined you’d say, Onii-chan.

Shuu: Hmph. I learnt a thing or two overseas. No matter how talented the “real deal” is, it seems one cannot simply continue pursuing the things one likes.

Art finally becomes art the moment its value is discovered.

Even if the greatest piece is created by completely removing others, it won’t be acknowledged by anyone and will only sink into a swamp of mud.

Perhaps I would be able to indulge in that satisfaction, but my current body doesn’t only belong to me.

Mika: Huh? Oshi-san, are you pregnant?

Shuu: Are there maggots squirming inside that brain of yours?

Good grief. We have known each other for quite some time now but I still cannot understand what goes on in your head.

Just what is Seiya Hidaka thinking as well, selecting you to be his successor?

Mika: Ngh~? Yeah, he has a son in the same industry already, so he should’ve gotten him to be his successor.

Shuu: In this day and age, being related by blood may just be something akin to an illusion that has faded in value.

In any case, Seiya Hidaka showed us how to leave this mad world called “SHINSEKAI” just as he left.

Mika: Yeah. He said we just had to head over to the few log-out spots that are located in the town and complete the specified procedure, right?

Shuu: Indeed. It appears it’s also possible to contact the management and leave by force that way, but if we don’t leave using the official procedures, it’ll be dangerous as it puts a lot of strain on our brains. 

Mika: Looks like it, huh… All this talk about brains and stuff, it’s scary…

A log-out spot in this neighbourhood was the samurai residence with a lake in the garden, right?

Shuu: Hmph. This is supposed to be a fantasy world so why is this town designed purely in a Japanese style, or rather, present-day Japan?

It’s just this town that seems out of place from the rest and that bothers me.

Mika: I think they’re just tryin’ to make it look more like the Tohoku region, though. It all feels really familiar to me so I think it’s nice~ I wouldn’t know what to do if I was suddenly thrown into a world with dragons and goblins.

I do like stuff like that too but I know it’s all made-up, so I can relax and have fun. What I normally experience are nightmares.

There are a lot of NPCs with weird appearances and they don’t look at me weirdly ‘cause of the colours of my eyes.

So I thought that’s nice.

Shuu: Hmph. This “SHINSEKAI” is apparently a utopia the Boy created, so he must have also taken the minority into account.

Mika: That’s true. I just had a thought, but if there really was a utopia with no discrimination or negative feelings…

Would idols also be able to live there?

Shuu: …Meaning?

Mika: Umm, I can’t really explain it.

But people experience anguish and sorrow so they seek idols to heal them and give them a good time.

They try to gather those positive feelings that they couldn’t produce themselves.

I used to have a complex about my eyes in the past but even though some people still think it’s strange, it’s also recognised as one of my unique characteristics now.

They say it’s my own charm, something that no one else has.

It’s true but this is a world that’s already complete without dark things or things that no one likes…

Will I be wanted and loved as myself and as the idol I am right now in that world?

Is there really a place for idols in a utopia where everyone can all lead happy lives equally?

Shuu: …………

← Previous Chapter ᠂ ⚘ ˚⊹˚ ⚘ ᠂  Next Chapter →

[sizablelad]

the hbomb video has inspired me to think a lot about the video essay culture on youtube and, in general, the academic institution of Queer Theory. there's a lot to be said about how Queer Theory as an academic pursuit has a very different and much more rapid ascent to prominence than a lot of other disciplines that affects the work done in it today. a badillion scholars, particularly scholars of color who because of their positionality might recognize these things out of the isolation of Queer academia, are presently discussing the state of Queer Theory as an academic pursuit and what the goals of this research can/should be, but that's a huge and complicated topic that others know more about.

at a more basic level, i feel like the sheer popularity of the video essay format as academic scholarship but for the Masses has inspired a lot of people without the basic training on how to do research to do research. i mean i'm only a frackin undergrad, but in high school i participated in a program specifically designed to teach us the basic foundation of how to do quality original research. and, simply put, it's a lot less glamorous and a lot more rigorous than people realize (including me-- i've only had a taste of what this research involves from a program that obviously has a limited scope; also only from a humanities perspective). there's a really important part at the very beginning of your research when you figure out the gap, then scope of your research. you have an idea of "oh this topic interests me and i think i want to add to the knowledge around it" and then you figure out a gap in the research that could be addressed by your own research. so i was interesting in queer characters and the potential differences when queer characters are written by queer authors vs non queer authors. so then you conduct a literature review to find out, okay, what research has been done on this topic? what has already been done, how useful would my perspective be on this research, what hasn't been addressed, how can i adjust my research goals so that i am not just conducting a review of others' research, but adding something new to the field. which, conducting a literature review and stopping there is fine! that's okay! but that is different from a goal of doing original research which says something new, and doing that requires a very symbiotic process of review and adjustment between your own research goals and the reality of the research that's already been done.

so i guess in a case like somerton's, he might genuinely want to add something to the field. maybe he loves the ideas he talks about and wants to be like the people that put those ideas to paper. but either he doesn't know how to do research so he gets stuck at doing a historical literature review, or is embarrassed that he might be "not as smart" as the community of people he admires and wants to be a part of, or maybe he just wants to make a quick buck. i don't know. but even if that's the case, him and people like him have demonstrated that they do have the skills to at least find past research, so why not just acknowledge the reality of what you're doing and say "hey look at this research i found and find interesting, i'm going to introduce you, my audience, to these people's work" and emphasize collaborations with the people who's work you're talking about. like with the internet historian video, obviously the video was very well done and funny and enjoyable to watch, and his methodology is different from someone like illuminaughtii's content mill production, which obviously requires a way different approach. what would've headed the WHOLE thing off is if he reached out to the og journalist and said "i read your article and am thinking about doing a video on it, want to endorse (.....and profit from) it?" but that would be assuming a lot of these people are good faith actors, which they aren't.

i don't really know what my point is here. maybe experts in their field are experts for a reason? the academic institution and it's scholarship have it's problems (boy does it), but at least there's processes in place to ensure academic integrity? the video essay as a genre is a cursed hellscape that is a great idea in theory but has been taken over by bad faith actors? misinformation is a plague partially perpetuated by people claiming they act in good faith and audiences can't be expected to constantly be on alert for the myriad of ways creators can take the good will of their audiences and manipulate it for their own personal agendas?

on a side note, this is why (at least, during my more intense youtube days) i tended to be suspicious of youtubers who would either 1) make a lot of research-intensive essays about a lot of different topics in a relatively short amount of time, or 2) make videos about things completely unrelated to their background. i have a hard time believing that jimbob the youtuber was able to become an expert and produce high quality of research in a topic they'd never previously publicly expressed knowledge or interest in. obviously there are exceptions, but with the proliferation and popularity of the video essay it seems like the well has been poisoned in that so many bad faith actors, realizing it's potential, have entered and been proven as bad actors on the video essay scene that it's impossible to see it as a genre with blanket integrity. i don't know the exact history of the genre, but i have to believe that this was not nearly as big a problem as it was before now.

[arab-character-of-the-day]

Submit your fictional character of choice by sending an ask or messaging me, they can be from any type of media as long as it’s not harmful/racist representation.

For more details and disclaimers please read below:

1- Canon Arab characters are of course the most preferred type of characters to be submitted, but since a lot of media don’t really specify their characters’ ethnicity, then characters that are  ambiguously Middle Eastern/North African without any specification or are from a fictional country/nation that are supposed to be in the MENA are also welcomed to be submitted, but please make sure that they aren’t canonly confirmed to be a non-Arab Middle Eastern/North African (ex: Persian, Kurdish or Turkish..etc) because I don’t want to steal representation from any other group in the region.

2- Non-human characters, whether they were aliens/genies/animals/spirits, that you feel are Arab-coded are also welcomed to be submitted, but human characters will have a priority over them when it comes to posting.

3- Media about ancient people from Arabic countries in pre-Arabization times are also welcomed, because even though they didn’t identify as Arab back then, their modern-descendants do and they have the right to see themselves in their ancestors if they wish too, but again those characters will probably be only posted in a slow posting day/if I run out of characters.

4- While I understand that Arab representation isn’t the best by a mile and that sometimes we need to lower our standards otherwise we will not have any characters to enjoy, I still would like for you to think really well about whether the character you’re going to submit is an offensive carnation or not, like I said I don’t expect every single character to be perfect representation and I’m willing to overlook some of their flaws, but there’s still need to be a red-line that shouldn’t be crossed, so if possible make sure to send me a mini-summary of the character when you submit them (as well as some HD photos of them!)

5- If you feel like any of the characters that were posted here are too offensive and it would be for the best if we pretend that they don’t exist then please DM your opinion to me and we can have a conversation about it and I may delete them, but please be careful on how you word yourself because I don’t tolerate aggressive rudeness.

6- And the most important issue: let me start by saying that I completely respect any North African who wish to identify solely as Amazigh, I will never force you or anyone to identify as something you don’t want, but at the same time I need you to understand that the Arab ethnicity is a flexible pan-identity whose meaning has changed over the millenniums and that whether you like it or not millions of native people across all of North Africa do in fact identify as Arab and have been for many centuries now, with many simultaneously identifying as both Arab+Amazigh (since they’re not mutually exclusive) and those North Africans are as valid as those who only identify as Amazigh, so all I’m asking is for you to respect that and acknowledge that you really don’t have the right to speak over them and make generalizing statements such as “North Africans aren’t Arab!” since you can only speak for yourselves. With that being said, I will continue posting and accepting submissions for fictional North African characters, since obviously they’re not real-life people who can pop-out of the screen to tell me what they identify as, unless of course they or their creators have explicitly stated/hinted that they are not Arab/are only Amazigh, if that’s the case then please tell me so and I will gladly delete them and apologize.

If you don’t like these conditions then you’re free to block/mute me, otherwise please keep your opinions to yourself because I have no patience for continuous harassment and you will be the one to get blocked.

[fozmeadows]

race & culture in fandom

For the past decade, English language fanwriting culture post the days of LiveJournal and Strikethrough has been hugely shaped by a handful of megafandoms that exploded across AO3 and tumblr – I’m talking Supernatural, Teen Wolf, Dr Who, the MCU, Harry Potter, Star Wars, BBC Sherlock – which have all been overwhelmingly white. I don’t mean in terms of the fans themselves, although whiteness also figures prominently in said fandoms: I mean that the source materials themselves feature very few POC, and the ones who are there tended to be done dirty by the creators.

Periodically, this has led POC in fandom to point out, extremely reasonably, that even where non-white characters do get central roles in various media properties, they’re often overlooked by fandom at large, such that the popular focus stays primarily on the white characters. Sometimes this happened (it was argued) because the POC characters were secondary to begin with and as such attracted less fan devotion (although this has never stopped fandoms from picking a random white gremlin from the background cast and elevating them to the status of Fave); at other times, however, there has been a clear trend of sidelining POC leads in favour of white alternatives (as per Finn, Poe and Rose Tico being edged out in Star Wars shipping by Hux, Kylo and Rey). I mention this, not to demonize individuals whose preferred ships happen to involve white characters, but to point out the collective impact these trends can have on POC in fandom spaces: it’s not bad to ship what you ship, but that doesn’t mean there’s no utility in analysing what’s popular and why through a racial lens.

All this being so, it feels increasingly salient that fanwriting culture as exists right now developed under the influence and in the shadow of these white-dominated fandoms – specifically, the taboo against criticizing or critiquing fics for any reason. Certainly, there’s a hell of a lot of value to Don’t Like, Don’t Read as a general policy, especially when it comes to the darker, kinkier side of ficwriting, and whether the context is professional or recreational, offering someone direct, unsolicited feedback on their writing style is a dick move. But on the flipside, the anti-criticism culture in fanwriting has consistently worked against fans of colour who speak out about racist tropes, fan ignorance and hurtful portrayals of living cultures. Voicing anything negative about works created for free is seen as violating a core rule of ficwriting culture – but as that culture has been foundationally shaped by white fandoms, white characters and, overwhelmingly, white ideas about what’s allowed and what isn’t, we ought to consider that all critical contexts are not created equal.

Right now, the rise of C-drama (and K-drama, and J-drama) fandoms is seeing a surge of white creators – myself included – writing fics for fandoms in which no white people exist, and where the cultural context which informs the canon is different to western norms. Which isn’t to say that no popular fandoms focused on POC have existed before now – K-pop RPF and anime fandoms, for example, have been big for a while. But with the success of The Untamed, more western fans are investing in stories whose plots, references, characterization and settings are so fundamentally rooted in real Chinese history and living Chinese culture that it’s not really possible to write around it. And yet, inevitably, too many in fandom are trying to do just that, treating respect for Chinese culture or an attempt to understand it as optional extras – because surely, fandom shouldn’t feel like work. If you’re writing something for free, on your own time, for your own pleasure, why should anyone else get to demand that you research the subject matter first?

Because it matters, is the short answer. Because race and culture are not made-up things like lightsabers and werewolves that you can alter, mock or misunderstand without the risk of hurting or marginalizing actual real people – and because, quite frankly, we already know that fandom is capable of drawing lines in the sand where it chooses. When Brony culture first reared its head (hah), the online fandom for My Little Pony – which, like the other fandoms we’re discussing here, is overwhelmingly female – was initially welcoming. It felt like progress, that so many straight men could identify with such a feminine show; a potential sign that maybe, we were finally leaving the era of mainstream hypermasculine fandom bullshit behind, at least in this one arena. And then, in pretty much the blink of an eye, things got overwhelmingly bad. Artists drawing hardcorn porn didn’t tag their works as adult, leading to those images flooding the public search results for a children’s show. Women were edged out of their own spaces. Bronies got aggressive, posting harsh, ugly criticism of artists whose gijinka interpretations of the Mane Six as humans were deemed insufficiently fuckable.

The resulting fandom conflict was deeply unpleasant, but in the end, the verdict was laid down loud and clear: if you cannot comport yourself like a decent fucking person – if your base mode of engagement within a fandom is to coopt it from the original audience and declare it newly cool only because you’re into it now; if you do not, at the very least, attempt to understand and respect the original context so as to engage appropriately (in this case, by acknowledging that the media you’re consuming was foundational to many women who were there before you and is still consumed by minors, and tagging your goddamn porn) – then the rest of fandom will treat you like a social biohazard, and rightly so.

Here’s the thing, fellow white people: when it comes to C-drama fandoms and other non-white, non-western properties? We are the Bronies.

Not, I hasten to add, in terms of toxic fuckery – though if we don’t get our collective shit together, I’m not taking that darkest timeline off the table. What I mean is that, by virtue of the whiteminding which, both consciously and unconsciously, has shaped current fan culture, particularly in terms of ficwriting conventions, we’re collectively acting as though we’re the primary audience for narratives that weren’t actually made with us in mind, being hostile dicks to Chinese and Chinese diaspora fans when they take the time to point out what we’re getting wrong. We’re bristling because we’ve conceived of ficwriting as a place wherein No Criticism Occurs without questioning how this culture, while valuable in some respects, also serves to uphold, excuse and perpetuate microaggresions and other forms of racism, lashing out or falling back on passive aggression when POC, quite understandably, talk about how they’re sick and tired of our bullshit.

An analogy: one of the most helpful and important tags on AO3 is the one for homophobia, not just because it allows readers to brace for or opt out of reading content they might find distressing, but because it lets the reader know that the writer knows what homophobia is, and is employing it deliberately. When this concept is tagged, I – like many others – often feel more able to read about it than I do when it crops up in untagged works of commercial fiction, film or TV, because I don’t have to worry that the author thinks what they’re depicting is okay. I can say definitively, “yes, the author knows this is messed up, but has elected to tell a messed up story, a fact that will be obvious to anyone who reads this,” instead of worrying that someone will see a fucked up story blind and think “oh, I guess that’s fine.” The contextual framing matters, is the point – which is why it’s so jarring and unpleasant on those rare occasions when I do stumble on a fic whose author has legitimately mistaken homophobic microaggressions for cute banter. This is why, in a ficwriting culture that otherwise aggressively dislikes criticism, the request to tag for a certain thing – while still sometimes fraught – is generally permitted: it helps everyone to have a good time and to curate their fan experience appropriately.

But when white and/or western fans fail to educate ourselves about race, culture and the history of other countries and proceed to deploy that ignorance in our writing, we’re not tagging for racism as a thing we’ve explored deliberately; we’re just being ignorant at best and hateful at worst, which means fans of colour don’t know to avoid or brace for the content of those works until they get hit in the face with microaggresions and/or outright racism. Instead, the burden is placed on them to navigate a minefield not of their creation: which fans can be trusted to write respectfully? Who, if they make an error, will listen and apologise if the error is explained? Who, if lived experience, personal translations or cultural insights are shared, can be counted on to acknowledge those contributions rather than taking sole credit? Too often, fans of colour are being made to feel like guests in their own house, while white fans act like a tone-policing HOA.

Point being: fandom and ficwriting cultures as they currently exist badly need to confront the implicit acceptance of racism and cultural bias that underlies a lot of community rules about engagement and criticism, and that needs to start with white and western fans. We don’t want to be the new Bronies, guys. We need to do better.  

[eiirisworkshop]

The Fanfic Author's Guide to Metatext

(As Used on Ao3) by Eiiri

Also available as a PDF here. This thing is 13,000 words.  The PDF is recommended.

Intro: What is Metatext?

Metatext is everything we fanfic authors post along with our story that is not the story itself: title, tags, summary, author's notes, even the rating.

It is how we communicate to potential readers what they're signing themselves up for if they choose to read our story, how we let them make informed decisions regarding which fics they want to read, how we get their interest and, frequently, how they find our story in the first place. A lot of metatext acts as a consent mechanism for readers, it's the informed part of informed consent.

Since most of us who write fanfic also read it, we understand how important this is! But, for the most part, no one ever teaches us how to use metatext; we have to pick it up by osmosis. That makes it hard to learn how to use it well, we all suck at it when we first start out, and some of us may go years without learning particular conventions that seem obvious to others in our community. This creates frustration for everybody.

Enter this guide!

This is meant to be a sort of handbook for fic writers, particularly those of us who post on Archive of Our Own, laying out and explaining the established metatext conventions already in use in our community so we (and our readers!) are all on the same page. It will also provide some best-practices tips.

The point is to give all of us the tools to communicate with our audience as clearly and effectively as possible, so the people who want to read a story like ours can find it and recognize it as what they're looking for, those who don't want to read a story like ours can easily tell it's not their cup of tea and avoid it, nobody gets hurt, and everybody has fun—including us!

Now that we know what we're talking about, let's get on with the guide! The following content sections appear in the order one is expected to provide each kind of metatext when posting a fic on Ao3, but first….

Warning!

This is a guide for all authors on Ao3. As such, it mentions subject matter and kinds of fic that you personally might hate or find disgusting, but which are allowed under the Archive's terms of use. There are no graphic descriptions or harsh language in the guide itself, but it does acknowledge the existence of fic you may find distasteful and explains how to approach metatext for such fics.

Some sexual terminology is used in an academic context.

A note from the author:

This guide reflects the conventions of the English-language fanfiction community circa 2021. Conventions may differ in other language communities, and although many of our conventions have been in place for decades (praise be to our Star Trek loving foremothers) fanfiction now exists primarily in the realm of internet fandom where things tend to change rather quickly, so some conventions in this guide may die out while other new conventions, not covered in this guide, arise.

This is not official or in any way produced by the Archive of Our Own (Ao3), and though some actual site rules are mentioned, it is not a rulebook. Primarily, it is a descriptivist take on how the userbase uses metatext to communicate amongst ourselves, provided in the interest of making that communication easier and more transparent for everyone, especially newer users.

Contents

How To Use This Guide Ratings Archive Warnings Fandom Tags Category Relationship Tags Character Tags Additional Tags Titles Summaries Author's Notes Series and Chapters Parting Thoughts

How To Use This Guide

Well, read it.  Or have it read to you.

This isn't a glossary, it's a handbook, and it's structured more like an academic paper or report, but there's lots and lots of examples in it!

Many of these examples are titles of real media and the names of characters from published media, or tags quoted directly from Ao3 complete with punctuation and formatting.

Some examples are more generic and use the names Alex, Max, Sam, Chris, Jamie, and Tori for demonstration purposes. In other generic examples, part of an example tag or phrase may be sectioned off with square brackets to show where in that tag or phrase you would put the appropriate information to complete it.  This will look something like “Top [Character A]” where you would fill in a character's name.

This guide presumes that you know the basics of how to use Ao3, at least from the perspective of reading fic. If you don't, much of this guide may be difficult to understand and will be much less helpful to you, though not entirely useless.

Ratings

Most fanfic hosting sites provide ratings systems that work a lot like the ratings on movies and videogames.

Ao3's system has four ratings:

General

Teen

Mature

Explicit

These seem like they should be pretty self-explanatory, and the site's own official info pop-up (accessible by clicking the question mark next to the section prompt) gives brief, straightforward descriptions for each of them.

Even so, many writers have found ourselves staring at that dropdown list, thinking about what we've written, and wondering what's the right freaking rating for this?  How do I know if it's appropriate for “general audiences” or if it needs to be teen and up? What's the difference between Mature and Explicit?

The best way to figure it out is often to think about your fic in comparison to mainstream media.

General is your average Disney or Dreamworks movie, Cartoon Network or Nickelodeon shows, video games like Mario, Kirby, and Pokemon.

There may be romance, but no sexual content or discussion. Scary things might happen and people might get hurt, but violence is non-graphic and usually mild. Adults may be shown drinking alcohol or smoking tobacco, and some degree of intoxication may be shown (usually played for laughs and not focused on), but hard drug use is generally not shown or discussed.  There is little to no foul language written out and what language there may be is mild, though harsher swears may be implied by narration. There are no explicit F-bombs or slurs.

Teen is more like a Marvel movie, most network television shows (things like The Office, Supernatural, or Grey's Anatomy), video games like Final Fantasy, Five Nights at Freddie's, and The Sims.

There might be some sex and sexual discussion, but nothing explicit is shown—things usually fade to black or are leftimplied. More intense danger, more severe injuries described in greater detail, and a higher level of violence may be present.  Substance use may be discussed and intoxication shown, but main characters are unlikely to be shown doing hard drugs. Some swearing and other harsh language may be present, possibly including an F-bomb or two.  In longer works, that might mean an F-bomb every few chapters.

Mature is, in American terms, an R-rated movie* like Deadpool, Fifty Shades of Grey, The Exorcist, and Schindler's List; certain shows from premium cable networks or streaming services like Game of Thrones, Shameless, Breaking Bad, and Black Sails; videogames like Bioshock, Assassin's Creed, Grand Theft Auto, and The Witcher.

Sex may be shown and it might be fairly explicit, but it's not as detailed or graphic or as much the focus of the work as it would be if it were porn. Violence, danger, and bodily harm may be significant and fairly graphic. Most drug use is fair game. Swearing and harsh language may be extensive.

Explicit is, well, extremely explicit. This is full on porn, the hardcore horror movies, and snuff films.

Sex is highly detailed and graphic. Violence and injury is highly detailed and graphic. Drug use and its effects may be highly detailed and graphic. Swearing and harsh language may be extreme, including extensive use of violent slurs.

Please note that both Mature and Explicit fics are intended for adult audiences only, but that does not mean a teenaged writer isn't going to produce fics that should be rated M or E.  Ratings should reflect the content of the fic, not the age of the author.

Strictly speaking, you don't have to choose any of these ratings; Ao3 has a “Not Rated” option, but for purposes of search results and some other functions, Not Rated fics are treated by the site as Explicit, just in case, which means they end up hidden from a significant portion of potential readers. It really is in your best interest as a writer who presumably wants people to see their stories, to select a rating. It helps readers judge if yours is the kind of story they want right now, too.

Rating a fic is a subjective decision, there is some grey area in between each level. If you're not quite sure where your fic falls, best practice is to go with the more restrictive rating.

*(Equivalent to an Australian M15+ or R18+, Canadian 14A, 18A or 18+, UK 15 or 18, German FSK 16 or FSK 18.)

Warnings

Ao3 uses a set of standard site-wide Archive Warnings to indicate that a work contains subject matter that falls into one or more of a few categories that some readers are likely to want to avoid.  Even when posting elsewhere, it's courteous to include warnings of this sort.

These warnings are:

Graphic Depictions Of Violence

Major Character Death

Rape/Non-Con

Underage

Just like with the ratings, the site provides an info-pop up that explains what each warning is for. They're really exactly what it says on the tin: detailed descriptions of violence, injury, and gore; the death of a character central to canon or tothe story being told; non-consensual sex i.e. rape; and depictions of underage sex, which the site defines as under the age of 18 for humans—Ao3 doesn't care if your local age of consent or majority is lower than that.

In addition to the four standard warnings above, the warnings section has two other choices:

No Archive Warnings Apply

Choose Not To Use Archive Warnings

These do not mean the same thing and cannot be used interchangeably. “No Archive Warnings Apply” means that absolutely nothing in your fic falls into any of the four standard warning categories. “Choose Not To Use Archive Warnings” means that you the author are opting out of the warning system; your fic could potentially contain things that fall into any and all of the four standard warning categories.

There's nothing wrong with selecting Choose Not To Use Archive Warnings! It may mean that some readers will avoid your fic because they're not sure it's safe for them, and you might need to use more courtesy tags than you otherwise would (we'll talk about courtesy tags later), but that's okay! Opting out of the warning system can be a way to avoid spoilers,* and is also good for when you're just not sure if what you've written deserves one of the Archive warnings. In that case, the best practice is to select either the warning it might deserve or Choose Not To Use Archive Warnings, then provide additional information in other tags, the summary, or an initial author's note.

Unless you're opting out of using the warning system, select all the warnings that apply to your fic, if any of them do. So if a sixteen year old main character has consensual sex then gets killed in an accident that you've written out in excruciating detail, that fic gets three out of the four standard warnings: Underage, Major Character Death, and Graphic Depictions Of Violence.

*(Fandom etiquette generally favors thorough tagging and warning over avoiding spoilers. It doesn't ruin the experience of a story to have a general sense of what's going to happen. If it did, we wouldn't all keep reading so many “there was only one bed” fics.)

Fandom Tags

What fandom or fandoms is your fic for?  You definitely know what you wrote it for, but that doesn't mean it's obvious what to tag it as.

Sometimes, it is obvious! You watched a movie that isn't based on anything, isn't part of a series, and doesn't have any spinoffs, tie-ins or anything else based on it. You wrote a fic set entirely within the world of this movie. You put this movie as the fandom for your fic. Or maybe you read a book and wrote a fic for it, and there is a movie based on the book, but the movie is really different and you definitely didn't use anything that's only in the movie. You put the book as the fandom for your fic.

All too often, though, it's not that clear.

What if you wrote a fic for something where there's a movie based on a book, but the movie's really different, and you've used both things that are only in the movie and things that are only in the book?  In that case you either tag your fic as both the movie and the book, or see if the fandom has an “all media types” tag and use that instead of the separate tags.  If the fandom doesn't have an “all media types” tag yet, you can make one! Just type it in.

“All media types” fandom tags are also useful for cases where there are lots of inter-related series, like Star Wars; there are several tellings of the story in different media but they're interchangeable or overlap significantly, like The Witcher; or the fandom has about a zillion different versions so it's very hard, even impossible, to say which ones your fic does and doesn't fit, like Batman. Use your best judgement as to whether you need to include a more specific fandom tag such as “Batman (Movies 1989-1997)” alongside the “all media types” fandom tag, but try to avoid including very many. The point of the “all media types” tag is to let you leave off the specific tags for every version.

In a situation where one piece of media has a spinoff, maybe several spinoffs, and you wrote a fic that includes things from more than one of them, you might want use the central work's “& related fandoms” tag. For example, the “Doctor Who & Related Fandoms” tag gets used for fics that include things from a combination of any era of Doctor Who, Torchwood, and The Sarah Jane Adventures.

And don't worry, from the reader-side of the site the broadest fandom tags are prioritized. The results page for an “all media types” or “& related fandoms” search includes works tagged with the more specific sub-tags for that fandom, the browse-by-fandom pages show the broadest tag for each fandom included, and putting a fandom into the search bar presumes the broadest tag for that fandom. ��A search for “Star Wars - All Media Types” will pull up work that only has a subtag for that fandom, like “The Mandalorian (TV).” You don't have to put every specific fandom subtag for people to find your fic.

If you wrote a fic for something that's an adaptation of an older work—especially an older work that's been adapted a lot, like Sherlock Holmes or The Three Musketeers—it can be hard to know how you should tag it. The best choice is to put the adaptation as the fandom, for instance “Sherlock (TV),” then, if you're also using aspects of the older source work that aren't in the adaptation, also put a broad fandom tag such as “Sherlock Holmes & Related Fandoms.” Do not tag it as being fic for the source work—in our Sherlock example that would be tagging it “Sherlock Holmes - Arthur Conan Doyle”—unless you are crossing over the source work and the adaptation. Otherwise, the specific fandom subtag for the source work ends up clogged with fic for the adaptation, which really is a different thing.

By the same token, fic for the source work shouldn't be tagged as being for the adaptation, or the adaptation's subtag will get clogged.

The same principle applies to fandoms that have been rebooted. Don't tag fic for the reboot as being for the original, or fic for the original as being for the reboot. Don't tag a fic as being for both unless the reboot and original are actually interacting. Use an “& related fandoms” tag for the original if your fic for the reboot includes some aspects of the original that weren't carried over but you haven't quite written a crossover between the two. Good examples of these situations can be seen with “Star Trek: Alternate Original Series (Movies)” vs. “Star Trek: The Original Series,” and “She-Ra and the Princesses of Power (2018)” vs. “She-Ra: Princess Of Power (1985).”

Usually, this kind of mistagging as a related fandom happens when someone writes a fic for something that is or has a reboot, spinoff, or adaptation, but they're only familiar with one of the related pieces of media, and they mistakenly presume the fandoms are the same or interchangeable because they just don't know the difference.  It's an honest mistake and it doesn't make you a bad or fake fan to not know, but it can be frustrating for readers who want fic for one thing and find the fandom tag full of fic for something else.

In order to avoid those kinds of issues, best practice is to assume fandoms are not interchangeable no matter how closely related they are, and to default to using a tag pair of the most-specific-possible sub-fandom tag + the broadest possible fandom tag when posting a fic you're not entirely sure about, for instance “Star Trek” and “Star Trek: Enterprise.”

The Marvel megafandom has its own particular tagging hell going on. Really digging into and trying to make sense of that entire situation would require its own guide, but we can go through some general tips.

There is a general “Marvel” fandom tag and tags for both “The Avengers - Ambiguous Fandom” and “The Avengers (Marvel) - All Media Types.” Most of us who write Marvel fic are working with a cherry picked combination of canons from the MCU, various comics runs, both timelines of X-Men movies, and possibly several decades worth of cartoons. That's what these tags are for.

If your cherry picked Marvel fic is more X-Men than Avengers, go for the “X-Men - All Media Types” tag.

If you are primarily working with MCU canon, use the MCU specific tags rather than “all media types” and add specific tags for individual comics runs—like Earth 616 or the Fraction Hawkeye comics—if you know you're lifting particular details from the comics.  If you're just filling in gaps in MCU canon with things that are nebulously “from the comics” don't worry about tagging for that, it's accepted standard practice in the fandom at this point, use a broader tag along with your MCU-specific tag if you want to.

Same general idea for primarily movie-verse X-Men fics. Use the movie-specific tags.

If your fic mostly draws from the comics, use the comics tags. If you're focusing on an individual run, show, or movie series rather than an ensemble or large swath of the megafranchise, tag for that and leave off the broader fandom tags.

Try your best to minimize the number of fandom tags on your Marvel work. Ideally, you can get it down to two or three. Even paring it down as much as you can you might still end up with about five.  If you're in the double digits, take another look to see if all the fandom tags you've included are really necessary, or if some of them are redundant or only there to represent characters who are in the fic but that the fic doesn't focus on. Many readers tend to search Marvel fics by character or pairing tags, it's more important that you're thorough there. For the fandom tags it's more important that you're clear.

If you write real person fiction, you need to tag it as an RPF fandom. Fic about actors who are in a show together does not belong on the fandom tag for that show. There are separate RPF fandom tags for most shows and film franchises. Much like the adaptation/source and reboot/original situations discussed earlier, a fic should really only be tagged with both a franchise's RPF tag and its main tag if something happens like the actors—or director or writer!—falling into the fictional world or meeting their characters.

Of course, not all RPF is about actors. Most sports have RPF tags, there are RPF tags for politics from around the world and for various historical settings, the fandom tags for bands are generally presumed to be RPF tags, and there is a general Real Person Fiction tag.

In order to simplify things for readers, it's best practice to use the general Real Person Fiction tag in addition to your fandom-specific tag. You may even want to put “RPF” as a courtesy tag in the Additional Tags section, too. This is because Ao3 isn't currently set up to recognize RPF as the special flavor of fic that it is in the same way that the site recognizes crossovers as special, so it can be very difficult to either seek out or avoid RPF since it's scattered across hundreds of different fandom tags.

On the subject of crossovers—they can make fandom tagging even more daunting. Even for a crossover with lots of fandoms involved, though, you just have to follow the same guidelines as to tag a single-fandom work for each fandom in the crossover. The tricky part is figuring out if what you wrote is really a crossover, or just an AU informed by another fandom—we'll talk about that later.

There are some cases where it's really hard to figure out what fandom something belongs to, like if you wrote a fanfic of someone else's fanfic, theirs is an AU and yours is about their OC, not any of the characters from canon. What do you do?! Well, you do not tag it as being a fanfic for the same thing theirs was. Put the title of their fic (or name of their series) as the fandom for your fic, attributed to their Ao3 handle just like any other fandom is attributed to its author. Explain the situation in either the summary or the initial author's note. Also, ask the author's permission before posting something like this.

What if you wrote a story about your totally original D&D character? The fandom is still D&D, you want the “Dungeons & Dragons (Roleplaying Game)” tag.

What if there's not a fandom tag on the Archive yet for what you wrote? Not a problem! You can type in a new one if you're the first person to post something for a particular fandom. Do make sure, though, that the fandom isn't just listed by a different name than you expect. Many works that aren't originally in English—including anime—are listed by their original language title or a direct translation first, and sometimes a franchise or series's official name might not be what you personally call it, for instance many people think of Phillip Pullman's His Dark Materials series as The Golden Compass series, so it's best to double check.

What if you wrote an entirely new original story that's not based on anything?  Excellent job, that takes a lot of work, but that probably doesn't belong on Ao3!  The Archive is primarily meant as a repository for fannish content, but in a few particular circumstances things we'd consider Original Work may be appropriate content for the Archive as well. Double check the Archive's Terms of Service FAQ and gauge if what you wrote falls under the scope of what is allowed. If what you wrote really doesn't fit here, post it somewhere else or try to get it published if you feel like giving it a shot.

Category

What Ao3 means by category is “does this fic focus on sex or romance, and if so what combination of genders are involved in that sex or romance?”

The category options are:

F/F

F/M

Gen

M/M

Multi

Other

The F/F, F/M, and M/M categories are for stories focused on pairings of two women, a woman and a man, and two men, respectively.  These refer to sexual and/or romantic pairings.

The Other category is for stories focused on (sexual and/or romantic) pairings where one or both partners are not strictly male or female, such as nonbinary individuals, people from cultures with gender systems that don't match to the Western man-woman system, and nonhuman characters for whom biological sex works differently or is nonexistent, including aliens, robots, and inanimate objects or abstract concepts. There are some problems with treating nonbinary humans, eldritch tentacle monsters, sexless androids, and wayward container ships as all the same category, but it's the system we currently have to work with. Use Additional Tags to clarify the situation.

Multi is for stories in which several (sexual and/or romantic) relationships are focused on or which focus on relationships with multiple partners, including cases of polyamory, serial monogamy, strings of hookups with different people, and orgies.  A fic will also show as “Multi” if you, the author, have selected more than one category for the fic, even if none of those are the Multi category. Realistically, the Archive needs separate “Multiple Categories” and “Poly” options, but for now we have to work with this system in which the two are combined.  Use Additional Tags to clarify the situation.

Gen is for stories that do not contain or are not focused on sex or romance. Romance may be present in a gen fic but it's going to be in the background.  While rare, there is such a thing as a sexually explicit gen fic—solo masturbation which does not feature fantasizing about another character is explicit gen fic; a doctor character seeing a series of patients with sex-related medical needs following an orgy may qualify if the orgy is not shown and the doctor is being strictly professional—but such fic needs to be rated, otherwise tagged, and explained carefully in the summary and/or author's note.

Much like the warnings section, category is a “select all that apply” situation. Use your best judgement. For a fic about a polyamorous relationship among a group of women, it's entirely appropriate to tag it as both F/F and Multi.  A poly fic with a combination of men and women in the relationship could be shown as both M/M and F/M, Multi, or all three. A fic that focuses equally on one brother and his husband and the other brother and his wife should be tagged both M/M and F/M, and could be tagged as Multi but you might decided not to just to be clear that there's no polyamory going on. If you wrote a fic about two characters who are both men in canon, but you wrote one of them as nonbinary, you could tag it M/M, Other, or both depending on what you feel is representative and respectful.

When dealing with trans characters, whether they're trans in canon or you're writing them as such, the category selection should match the character's gender.  If there's a character who is a cis woman in canon, but who you're writing as a trans man, you categorize the fic based on his being a man. If there's a character who is a cis man in canon, but whom you're writing as a trans man, he is still a man and the fic should be categorized accordingly. When dealing with nonbinary characters the fic should really be classed as Other though, by convention, fics about characters who are not nonbinary in canon may be classed based on the character's canon gender as well or instead. When dealing with gender swapped characters—i.e. a canonically cis male superhero who you're writing as a cis woman—class the fic using the gender you wrote her with, not the gender he is in canon.

Most of the time, gen fics should not be categorized jointly with anything else because a fic should only be categorized based on the ships it focuses on, and a gen fic should not be focusing on a ship in the first place.*

*(One of the few circumstances in which it might make sense to class a fic as both gen and something else is when writing about Queerplatonic Relationships, but that is a judgement call and depends on the fic.)

Relationship Tags

The thing about relationship tagging that people most frequently misunderstand or just don't know is the difference between “Character A/Character B” and “Character A & Character B.”

Use a “/” for romantic or sexual relationships, such as spouses, people who are dating, hookups, and friends with benefits. Use “&” for platonic or familial relationships, such as friends, siblings, parents with their kids, coworkers, and deeply connected mortal enemies who are not tragically in love.

This is where we get the phrase “slash fic.” Originally, that meant any fic focused on a romantic paring, but since so much of the romantic fic being produced was about pairs of men, “slash fic” came to mean same-sex pairings, especially male same-sex pairings. Back in earlier days of fandom, pre-Ao3 and even pre-internet, there was a convention that when writing out a different-sex pairing, you did so in man/woman order, while same-sex pairings were done top/bottom. Some authors, especially those who have been in the fic community a long time, may still do this, but the convention has not been in consistent, active use for many years, so you don't have to worry about putting the names in the “correct” order. Part of why that died out is we, as a community, have gotten less strict and more nuanced in our understandings of sex and relationships, we're writing non-penetrative sex more than we used to, and we're writing multi-partner relationships and sex more than we used to, so strictly delineating “tops” and “bottoms” has gotten less important and less useful.

The convention currently in use on Ao3 is that the names go in alphabetical order for both “/” and “&” relationships. In most cases, the Archive uses the character's full name instead of a nickname or just a given name, like James "Bucky" Barnes instead of just Bucky or James. We'll talk more about conventions for how to input character names in the Characters section. The Archive will give you suggestions as you type—if one of them fits what you mean but is slightly different from how you were typing it, for instance it's in a different order, please use the tag suggested! Consistency in tags across users helps the site work more smoothly for everybody.

This is really not the place for ship nicknames like Puckleberry, Wolfstar, or Ineffable Wives. Use the characters' names.

Now that you know how to format the relationship tag to say what you mean, you have to figure out what relationships in your fic to tag for.

The answer is you tag the relationships that are important to the story you're telling, the ones you spend time and attention following, building up, and maybe even breaking down. Tagging for a ship is not a promise of a happy ending for that pair; you don't have to limit yourself to tagging only the end-game ships if you're telling a story that's more complicated than “they get together and live happily ever after.” That said, you should generally list the main ship—the one you focus on the most—first on the list, and that will usually be the end-game ship. You should also use Additional Tags, the summary, and author's notes to make it clear to readers if your fic does not end happily for a ship you've tagged. Otherwise readers will assume that a fic tagged as being about a ship will end well for that ship, because that's what usually happens, and they'll end up disappointed and hurt, possibly feeling tricked or lied to, when your fic doesn't end well for that ship

You don't have to, and honestly shouldn't, tag for every single relationship that shows up in your fic at all. A character's brief side fling mentioned in passing, or a relationship between two background characters should not be listed under the Relationship tag section. You can list them in the format “minor Character A/Character C” or “Character C/Character D – mentions of” in the Additional Tags section if you want to, or just tag “Minor or Background Relationship(s)” under either the Relationship tag section or in the Additional Tags section.

There are two main reasons to not tag all those minor relationships. The first is to streamline your tags, which makes them clearer and more readable, and therefore more useful. The second reason is because certain ships are far more common as minor or background relationships than as the focus of a work, so tagging all your non-focus focus ships leads to the tags for these less popular ships getting clogged with stories they appear in, but that are not about them. That is, of course, very frustrating for readers who really want to read stories that focus on these ships.

If your fic contains a major relationship between a canon character and an OC, reader-insert, or self-insert, tag it as such. The archive already has /Original Character, /Reader, /You, and /Me tags for most characters in most fandoms. If such a relationship tag isn't already in use, type it in yourself. There are OC/OC tags, too, some of which specify gender, some of which do not.  All the relationship tags that include OCs stack the gender-specific versions of the tags under the nongendered ones. Use these tags as appropriate.

For group relationships, both polycules and multi-person friendships, you “/” or “&” all the names involved in alphabetical order, so Alex/Max/Sam are dating while Chris & Jamie & Tori are best friends. For a poly situation where not everyone is dating each other you should tag it something like “Alex/Max, Alex/Sam” because Alex is dating both Max and Sam, but Max and Sam are not romantically or sexually involved with each other. Use your judgement as to whether you still want to include the Alex/Max/Sam trio tag, and whether you should also use a “Sam & Max” friendship tag.

Generally, romantic “/” type relationships are emphasized over “&” type relationships in fic. It is more important that you tag your “/”s thoroughly and accurately than that you tag your “&”s at all. This is because readers are far more likely to either be looking for or be squicked by particular “/” relationships than they are “&” relationships. You can tag the same pair of characters as both / and & if both their romance and their friendship is important to the story, but a lot of people see this as redundant. If you're writing incest fic, use the / tag for the pair not the & tag and put a courtesy tag for “incest” in the Additional Tags section; this is how readers who do not want to see incestuous relationships avoid that material.

Queerplatonic Relationships, Ambiguous Relationships, Pre-Slash, and “Slash If You Squint” are all frequently listed with both the “/” and “&” forms of the pairing; use your best judgement as to whether one or the other or both is most appropriate for what you've written and clarify the nature of the relationship in your Additional Tags.

Overall, list your “/” tags first, then your “&” tags.

Character Tags

Tagging your characters is a lot like tagging your relationships. Who is your fic about? That's who you put in your character tags.

You don't have to and really should not tag every single background character who shows up for just a moment in the story, for pretty much the same reasons you shouldn't tag background relationships.  We don't want to clog less commonly focused on characters' tags with stories they don't feature prominently in.

You do need to tag the characters included in your Relationship tags.

A character study type of fic might only have one character you need to tag for. Romantic one shots frequently only have two. Longfics and fics with big ensemble casts can easily end up with a dozen characters or more who really do deserve to be tagged for.

Put them in order of importance. This doesn't have to be strict hierarchal ranking, you can just arrange them into groups of “main characters,” “major supporting characters,” and “minor supporting characters.” Nobody less than a minor supporting character should be tagged. Even minor supporting characters show up for more than one line.

If everyone in the fic is genuinely at the same level of importance (which does happen, especially with small cast fics), then order doesn't really matter. You can arrange them by order of appearance or alphabetically by name if you want to be particularly neat about it.

Do tag your OCs! Some people love reading about OCs and want to be able to find them; some people can't stand OCs and want to avoid them at all costs; most people are fine with OCs sometimes, but might have to be in the mood for an OC-centric story or only be comfortable with OCs in certain contexts. Regardless, though, Character tags are here to tell readers who the story is about, and that includes new faces. Original Characters are characters and if they're important to the story, they deserve to be tagged for just like canon characters do.

There are tags for “Original Character(s),” “Original Male Character(s),” and “Original Female Character(s).” Use these tags!  If you have OCs you're going to be using frequently in different stories, type up a character tag in the form “[OC's Name] – Original Character” and use that in addition to the generic OC tags.

Also tag “Reader,” “You,” or “Me” as a character if you've written a reader- or self-insert.

You can use the “Minor Characters” tag to wrap up everybody, both OC and canon, who doesn't warrant their own character tag. Remember, though, that this tag is also used to refer to minor canon characters who may not have their own official names.

Just like when tagging for relationships, the convention when tagging for characters is to use their full name. The suggestions the Archive gives you as you type will help you use the established way of referring to a given character.

Characters who go by more than one name usually have their two most used names listed together as one tag with the two names separated by a vertical bar like “Andy | Andromache of Scythia.” This also gets used sometimes for characters who have different names in an adaptation than in the source text, or a different name in the English-language localization of a work than in the original language. For character names from both real-world and fictional languages and cultures that put family or surname before the given name—like the real Japanese name Takeuchi Naoko or the made up Bajoran name Kira Nerys—that order is used when tagging, even if you wrote your fic putting the given name first.

Some characters' tags include the fandom they're from in parentheses after their name like “Connor (Detroit: Become Human).” This is mostly characters with ordinary given names like Connor and no canon surname, characters who have the same full name as a character in another fandom, such as Billy Flynn the lawyer from the musical Chicago and Billy Flynn the serial killer played by Tim Curry in Criminal Minds, and characters based on mythological, religious, or historical figures or named for common concepts such as Lucifer, Loki, Amethyst, Death, and Zero that make appearances in multiple fandoms.

Additional Tags

Additional Tags is one of the most complicated, and often the longest, section of metatext we find ourselves providing when we post fic. It's also the one that gives our readers the greatest volume of information.

That, of course, is what makes it so hard for us to do well.

It can help to break down Additional Tags into three main functions of tag: courtesy tags, descriptive tags, and personal tags.

Courtesy tags serve as extensions of the rating and warning systems. They can help clarify the rating, provide more information about the Archive Warnings you've used or chosen not to use, and give additional warnings to tell readers there are things in this fic that may be distasteful, upsetting, or triggering but that the Archive doesn't have a standard warning for.

Descriptive tags give the reader information about who's in this fic, what kind of things happen, what tropes are in play, and what the vibe is, as well as practical information about things like format and tense.

Personal tags tell the readers things about us, the author, our process, our relationship to our fic, and our thoughts at the time of posting.

It doesn't really matter what order you put these tags in, but it is best practice to try to clump them: courtesy tags all together so it's harder for a reader to miss an important one, ship-related info tags together, character-related info tags together, etc.

There are tons and tons of established tags on Ao3, and while it's totally fine, fun, and often necessary to make up your own tags, it's also important to use established tags that fit your fic.  For one thing, using established tags makes life easier for the tag wranglers behind the scenes. Using a new tag you just made up that means the same thing as an established tag makes more work for the tag wranglers. We like the tag wranglers, they're all volunteers, and they're largely responsible for the search and sorting features being functional. Be kind to the tag wranglers.

For basically the same reasons, using established tags makes it easier for readers to find your fic. If a reader either searches by a tag or uses filters on another search to “Include” that tag, and you didn't use that tag, your fic will not show up for them even if what you wrote is exactly what they're looking for.  Established tags can be searched by exactly the same way as you search by fandom or pairing, your off the cuff tags cannot.

Let's talk about some well-known established tags and common tag types, divvied up by main function.

Courtesy

A lot of courtesy tags are specific warnings like “Dubious Consent,” “Incest,” “Drug Use,” “Extremely Underage,” “Toxic Relationship,” and “Abuse.” Many of these have even more specific versions such as “Recreational Drug Use” and “Nonconsensual Drug Use,” or “Mildly Dubious Consent” and “Extremely Dubious Consent.”

Giving details about what, if any, drugs are used or mentioned, specifying what kinds of violence or bodily harm are discussed or depicted, details about age differences or power-imbalanced relationships between characters who date or have sex, discussion or depictions of suicide, severe or terminal illness, or mental health struggles is useful. It helps give readers a clear sense of what they'll encounter in your fic and decide if they're up for it.

One the most useful courtesy warning tags is “Dead Dove: Do Not Eat” which basically means “there are things in this fic which are really screwed up and may be disturbing, read at your own risk, steer clear if you're not sure.” This tag—like all courtesy warnings, really—is a show of good faith, by using it you are being a responsible, and thoughtful member of the fanfic community by giving readers the power and necessary information to make their own informed decisions about what they are and are not comfortable reading.

Saying to “Heed the tags” is quite self-explanatory and, if used, should be the last or second to last tag so it's easy to spot.  Remember, though, that “Heed the tags” isn't useful if your tags aren't thorough and clear.

“Additional Warnings In Author's Note” is one of only things that should ever go after “Heed the tags.”  If you use this, your additional warnings need to go in the author's note at the very beginning of the fic, not the one at the end of the first chapter.  If your additional warnings write up is going to be very long because it's highly detailed, then it can go at the bottom of the chapter with a note at the beginning indicating that the warnings are at the bottom. Some authors give an abbreviated or vague set of warnings in the initial note, then longer, highly detailed, spoilery warnings in the end note. It's best to make it as simple and straightforward as possible for readers to access warnings.

Tagging with “Dead Dove: Do Not Eat,” “Heed the tags,” or “Additional Warnings In Author's Note” is not a substitute for thorough and appropriate courtesy tagging. These are extra reminders to readers to look closely at the other warnings you've given.

While most courtesy tags are warnings, some are assurances like “No Lesbians Die” or “It's Not As Bad As It Sounds.”  A fic tagged for rape or dub-con may get a tag assuring that the consent issues are not between the characters in the main ship; or a fic with a premise that sounds likely to involve lack of consent but actually doesn't may get a tag that it's “NOT rape/non-con.” A tag like “Animal Death” may be immediately followed by a freeform tag assuring that the animal that dies is not the protagonist's beloved horse.

Descriptive

There are a few general kinds of descriptive tags including character-related, ship-related, temporal, relation-to-canon, trope-related, smut details, and technical specifications.

Many character- and ship-related tags simply expand on the Character and Relationship tags we've already talked about.  This is usually the place to specify details about OCs and inserts, such as how a reader-insert is gendered.

When it comes to character-related tags, one of the most common types in use on Ao3 and in fandom at large is the bang-path. This is things like werewolf!Alex, trans!Max, top!Sam, kid!Jamie, and captain!Tori. Basically, a bang-path is a way of specifying a version of a character. We've been using this format for decades; it comes from the very first email systems used by universities in the earliest days of internet before the World Wide Web existed. It's especially useful for quickly and concisely explaining the roles of characters in an AU. Nowadays this is also one of the primary conventions for indicating who's top and who's bottom in a ship if that's information you feel the need to establish.  The other current convention for indicating top/bottom is as non-bang-path character-related tags in the form “Top [Character A], Bottom [Character B].”

Other common sorts of character tags are things like “[Character A] Needs a Hug,” “Emotionally Constipated [Character B],” and “[Character C] is a Good Dad.”

Some character-related tags don't refer to a particular character by name, but tell readers something about what kinds of characters are in the fic. Usually, this indicates the minority status of characters and may indicate whether or not that minority status is canon, as in “Nonbinary Character,” “Canon Muslim Character,” “Deaf Character,” and “Canon Disabled Character.”

Down here in the tags is the place to put ship nicknames!  This is also where to say things like “They're idiots your honor” or indicate that they're “Idiots in Love,” maybe both since “Idiots in Love” is an established searchable tag but “They're idiots your honor” isn't yet. If your fandom has catchphrases related to your ship, put that here if you want to.

If relevant, specify some things about the nature of relationships in your fic such as “Ambiguous Relationship,” “Queerplatonic Relationships,” “Polyamory,” “Friends With Benefits,” “Teacher-Student Relationship,” and so on. Not all fics need tags like these. Use your best judgement whether your current fic does.

Temporal tags indicate when your fic takes place. That can be things like “Pre-Canon” and “Post-Canon,” “Pre-War,” “Post-Captain America: The Winter Soldier,” “1996-1997 NHL season,” “Future Fic,” and so on.  These tags may be in reference to temporal landmarks in canon, in the real world, or both depending on what's appropriate.

Some temporal tags do double duty by also being tags about the fic's relationship to canon. The Pre- and Post-Canon tags are like that.

Other relation-to-canon type tags are “Canon Compliant” for fics that fit completely inside the framework of canon without changing or contradicting anything, “Alternate Universe - Canon Divergence” for fics that are compliant up to a certain point in canon, then veer off (maybe because you started writing the fic when the show was on season two but now it's at season four and you're not incorporating everything from the newer seasons, maybe a character died and you refuse to acknowledge that, maybe you just want to explore what might have happened if a particular scene had gone differently), and the various other Alternate Universe tags for everything from coffee shop AUs and updates to modern settings, to realities where everyone is a dragon or no one has their canon superpowers.

The established format for these tags is “Alternate Universe – [type],” but a few have irregular names as well, such as “Wingfic” for AUs in which characters who don't ordinarily have wings are written as having wings.

If you have written an AU, please tag clearly what it is! Make things easy on both the readers who are in the mood to read twenty royalty AUs in a row, the readers who are in the middle of finals week and the thought of their favorite characters suffering through exams in a college AU would destroy the last shred of their sanity but would enjoy watching those characters teach high school, and the readers who really just want to stick to the world of canon right now.

Admittedly, it can get a little confusing what AU tag or tags you need to describe what you've written since most of us have never had a fandom elder sit us down and explain what the AU tags mean. One common mix up is tagging things “Alternate Universe - Modern Setting” when what's meant is “Alternate Universe - Canon Divergence.”  The misunderstanding here is usually reading “Alternate Universe - Modern Setting” and thinking it means an alternate version of the canon universe that is set at the same time as the canon universe, but is different in some way. That's not how the tag is meant to be used, though.

The Modern Setting AU tag is specifically for fic set now (at approximately the same time period it was written), for media that's canonically set somewhere that is very much not the present of the real world. This can mean things set in the past (like Jane Austen), the future (like Star Trek), or a fantasy world entirely different from our own (like Lord of the Rings or Avatar: the Last Airbender). Fic for a canon that's set more or less “now” doesn't need the Modern Setting AU tag, even if the world of canon is different from our own. If you're removing those differences by putting fantasy or superhero characters in a world without magic or supersoldier serum, you might want the “Alternate Universe - No Powers” tag instead.

Some of the most fun descriptive tags are trope tags. This includes things like “Mutual Pining,” “Bed Sharing” for when your OTP gets to their hotel room to find There Was Only One Bed, “Fake Dating,” “Angst,” Fluff,” “Hurt/Comfort” and all its variants.  Readers love tropes at least as much as we love writing them and want to be able to find their favorites. Everyone also has tropes they don't like and would rather avoid. Tagging them allows your fic to be filtered in and out by what major tropes you've used.

Explicit fics, and sometimes fics with less restrictive ratings, that contain sex usually have tags indicating details about the nature of the sexual encounter(s) portrayed and what sex acts are depicted. These are descriptive tags, but they also do double duty as courtesy tags. This is very much a situation in which tags are a consent mechanism; by thoroughly and clearly tagging your smut you are giving readers the chance to knowingly opt in or out of the experience you've written.

Most of the time, it's pretty easy to do basic tagging for sex acts—you know whether what you wrote shows Vaginal Sex, Anal Sex, or Non-penetrative Sex.  You probably know the names for different kinds of Oral Sex you may have included. You might not know what to call Frottage or Intercrural Sex, though, even if you understand the concept and included the act in your fic. Sometimes there are tags with rectangle-square type relationships (all Blow Jobs are Oral Sex, but not all Oral Sex is a Blow Job) and you're not sure if you should tag for both—you probably should. Sometimes there are tags for overlapping, closely related, or very similar acts or kinks and you're not sure which to tag—that one's more of judgement call; do your best to use the tags that most closely describe what you wrote.

Tag for the kinks at play, if any, so readers can find what they're into and avoid what they're not. Tag for what genitalia characters have if it's nonobvious, including if there's Non-Human Genitalia involved. Tag your A/B/O, your Pon Farr, and your Tentacles, including whether it's Consentacles or Tentacle Rape.

Technical specification tags give information about aspects of the fic other than its narrative content.  Most things on Ao3 are prose fiction so that's assumed to be the default, so anything else needs to be specified in tags. That includes Poetry, Podfics, things in Script Format, and Art. If it is a podfic, you should tag with the approximate length in minutes (or hours). If a fic is Illustrated (it has both words and visual art) tag for that.

Tag if your fic is a crossover or fusion.  The difference, if you're not sure, is that in a crossover, two (or more) entire worlds from different media meet, whereas in a fusion, some aspects of one world, like the cast of characters, are combined with aspects of another, like the setting or magic system.

If the team of paranormal investigators from one show get in contact with the cast of aliens from another show, that's a crossover and you need to have all the media you're drawing from up in the Fandom tags. If you've given the cast of Hamlet physical manifestations of their souls in the form of animal companions like the daemons from His Dark Materials but nothing else from His Dark Materials shows up, that's a fusion, the Fandom tag should be “Hamlet - Shakespeare,” and you need the “Alternate Universe - Daemons” tag. If you've given the members of a boy band elemental magic powers like in Avatar: the Last Airbender, that can be more of a judgement call depending how much from Avatar you've incorporated into your story. If absolutely no characters or specific settings from Avatar show up, it's probably a fusion.  Either way, if the boyband exists in real life, it needs to be tagged as RPF.

Tag if your fic is a Reader-Insert or Self-Insert.

You might want to tag for whether your fic is written with POV First, Second, or Third Person, and if it's Past Tense or Present Tense (or Future Tense, though that's extremely uncommon).  For POV First Person fics that are not self-inserts, or POV Third Person fics that are written in third person limited, you may want to tag which character's POV is being shown. Almost all POV Second Person fics are reader-insert, so if you've written one that isn't, you should tag for who the “you” is.

A fic is “POV Outsider” if the character through whom the story is being conveyed is outside the situation or not familiar with the characters and context a reader would generally know from canon. The waitress who doesn't know the guy who just sat down in her diner is a monster hunter, and the guy stuck in spaceport because some hotshot captain accidentally locked down the entire space station, are both potential narrators for POV Outsider stories.

Other technical specifications can be tags for things like OCtober and Kinktober or fic bingo games.  Tagging something as a Ficlet, One Shot, or Drabble is a technical specification (we're not going to argue right now over what counts as a drabble). Tagging for genre, like Horror or Fantasy, is too.

It's also good to tag accessibility considerations like “Sreenreader Friendly,” but make sure your fic definitely meets the needs of a given kind of accessibility before tagging it.

Personal

Even among personal tags there are established tags!  Things like “I'm Sorry,” “The Author Regrets Nothing,” “The Author Regrets Everything,” and “I Wrote This Instead of Sleeping” are common ones.  Tags about us and our relationship to the fic, such as “My First Work In This Fandom,” “Author is Not Religious,” and “Trans Porn By A Trans Author,” can help readers gauge what to expect from our fic. Of course, you are not at all obligated to disclose any personal information for any reason when posting your fic.

The “I'm Bad At Tagging” tag is common, but probably overused. Tagging is hard; very few of us have a natural feel for it even with lots of practice.  It's not a completely useless tag because it can indicate to readers that you've probably missed some things you should have tagged for, so they should be extra careful; but it can also turn into a crutch, an excuse to not try, and therefore a sign to readers they can't trust your tagging job. Just do your best, and leave off the self depreciation. If you're really concerned about the quality of your tagging, consider putting in an author's note asking readers to let you know if there are any tags you should add.

You might want to let readers know your fic is “Not Beta Read” or, if you're feeling a little cheekier than that, say “No Beta We Die Like Men” or its many fandom-specific variants like the “No Beta We Die Like Robins” frequently found among Batman fics and “No beta we die like Sunset Curve” among Julie and The Phantoms fic. Don't worry, the Archive recognizes all of these as meaning “Not Beta Read.”

The Archive can be inconsistent about whether it stacks specific variants of Additional Tags under the broadest version of the tag like it does with Fandom tags, so best practice is usually to use both.  You can double check by trying to search by a variant tag (or clicking on someone else's use of the variant); if the results page says the broader or more common form of the tag, those stack.

There's no such thing as the right number of tags. Some people prefer more tags and more detail, while other people prefer fewer more streamlined tags, and different fics have different things that need to be tagged for.  There is, however, such a thing as too many tags.  A tagblock that takes up the entire screen, or more, can be unreadable, at which point they are no longer useful. Focus on the main points and don't try to tag for absolutely everything.  Use the “Additional Warnings In Author's Note” strategy if your courtesy tags are what's getting out of hand.

Tag for as much as you feel is necessary for readers to find your fic and understand what they're getting into if they decide to open it up.

A little bit of redundancy in tags is not a sin.  In fact, slight redundancy is usually preferable to vagueness. Clear communication in tags is a cardinal virtue. Remember that tags serve a purpose, they're primarily a tool for sorting and filtering, and (unlike on some other sites like tumblr) they work, so it's best to keep them informative and try to limit rambling in the tags. Ramble at length in your author's notes instead!

Titles

Picking a title can be one of the most daunting and frustrating parts of posting a fic. Sometimes we just know what to call our fics and it's a beautiful moment. Other times we stare at that little input box for what feels like an eternity.

The good news is there's really no wrong way to select a title. Titles can be long or short, poetic or straight to the point. Song lyrics, idioms, quotes from literature or from the fic itself can be good ways to go.

Single words or phrases with meanings that are representative of the fic can be great. A lot of times these are well known terms or are easy enough to figure out like Midnight or Morning Glow, but if you find yourself using something that not a lot of people know what it means, like Chiaroscuro (an art style that uses heavy shadow and strong contrast between light and dark), Kintsukuroi (the Japanese art of repairing broken pottery with gold), or Clusivity (the grammatical term for differences in who is or isn't included in a group pronoun), you should define the term in either a subtitle, i.e. “Chiaroscuro: A Study In Contrast,” or at the beginning of the summary.

As a courtesy to other writers, especially in small fandoms, you may want to check to make sure there's not already another fic with the same title in the same fandom, but this is not required. In large fandoms, there's no point in even trying. After all, there are only so many puns to be made about the full moon and only so many verses to Hallelujah.

It may be common practice on other platforms to include information such as fandom or ship in the title of a fic, but on Ao3 nothing that is specified by tags belongs in the title unless your title happens to be the same as a tag because, for instance, you've straightforwardly titled your character study of Dean Winchester “Dean Winchester Character Study” and also responsibly tagged it as such.

Summaries

Yes, you really do need to put something down for the summary. It might only need to be a single sentence, but give the readers something to go off of.

The summary is there to serve two purposes: one, to catch the interest of potential readers, give them a taste of what's inside, and make them want to know more; and two, to give you a space to provide information or make comments that don't really fit in the tags but that you want readers to see before they open the fic.

We've already talked some about that second function. When you put an explanation of the title or clarification about tags in the summary, that's the purpose it's serving. You can also put notes to “Heed the tags” or instruct readers that there are additional warnings in the author's note here in the summary, rather than doing so in the tags.

The first function, the actual summarizing, can be very hard for some of us.  It's basically the movie trailer for your fic, butwhat are you even supposed to say?

There are two main strategies as to how to approach this: the blurb, and the excerpt. Blurbs are like the synopses you at least used to see on the backs of published books, or the “Storyline” section on an IMDb page. Writing one is a matter of telling your readers who does what, under what circumstances.

Depending on the fic, one sentence can capture the whole thing: “Sam and Alex have sex on a train.” “Tori tries to rob a bank.” “If anybody had mentioned Max's new house was haunted, Jamie wouldn't have agreed to help with the move.”

Sometimes a blurb can be a question! “What happens when you lock a nuclear engineer in a closet with a sewing kit, a tennis ball, and half a bottle of Sprite?”

Of course, plenty of blurbs are more than one sentence. Their length can vary pretty significantly depending on the type and length of fic you're working with and how much detail you're trying to convey, but it shouldn't get to be more than a few short paragraphs. You're not retelling the entire fic here.

An excerpt is a portion of the fic copied out to serve as the summary. This, too, can vary in length from a line or two to several paragraphs, but shouldn't get too long. It should not be an entire scene unless that scene happens to be uncommonly short. It's important to select a portion of the fic that both indicates the who, what, and under what circumstances of the fic and is representative of the overall tone. Excerpts that are nothing but dialogue with no indication of who's talking are almost never a good choice. Portions that are sexually explicit or extremely violent are never ever a good choice—if it deserves content warnings, it belongs inside the fic, not on the results page.

Counterintuitively, some of the best excerpts won't even look like an excerpt to the reader if they don't contain dialogue. They seem like particularly literary blurbs until the reader reaches that part in the fic and realizes they recognize a section of narration.

Some of us have very strong preferences as to whether we write blurbs or use excerpts for our summaries. Some readers have very strong preferences as to which they find useful. Ultimately, there's no accounting for taste, but there are things we can do to limit the frustration for readers who prefer summaries of the opposite kind than we prefer to write, without increasing our own frustration or work load very much. Part of that is understanding what readers dislike about each type so we know what to mitigate.

Blurbs can seem dry, academic, and overly simplified. They don't automatically give the reader a sense of your writing style the way an excerpt does. They can also seem redundant, like they're just rehashing information already given in the tags, so the reader feels like they're being denied any more information without opening the fic.

Excerpts can seem lazy, like you, the author, don't care enough to bother writing a blurb, or pushy like you're telling the reader “just read the fic; I'm not going to give you the information you need to decide if you want to read or not, I'm shoving it in front of you and you just have to read it.” That effect gets worse if your tags aren't very informative or clear about what the plot is, if the excerpt is obviously just the first few lines or paragraphs of the fic, if the except is particularly long, or, worst of all, if all three are true at once.

A lot of the potential problems with blurbs can be minimized by having fun writing them! Make it punchy, give it some character, treat it like part of the story, not just a book report. A fic for a serialized show or podcast, for instance, could have a blurb written in the style of the show's “previously on” or the podcast's intro.  Make sure the blurb gives the reader something they can't just get from the tags—like the personality of your writing, important context or characterization, or a sense of the shape of the story—but don't try to skimp on the tags to do it!

Really, the only way to minimize the potential problems with excerpts is to be very mindful in selecting them. Make sure the portion you've chosen conveys the who, what, and under what circumstances and isn't too long.  You know the story; what seems clear and obvious from the excerpt to you might not be apparent to someone who doesn't already know what happens, so you might need to ask a friend to double check you.

The absolute best way to provide a summary that works for everybody is to combine both methods. It really isn't that hard to stick a brief excerpt before your blurb, or tack a couple lines of blurb after your excerpt, but it can make a world of difference for how useful and inviting your summary is to a particular reader. The convention for summaries that use both is excerpt first, then blurb.

If you're struggling to figure out a summary, or have been in the habit of not providing one, try not to stress over it. Anything is better than nothing.  As long as you've written something for a summary, you've given the reader a little more to help them make their decision. What really isn't helpful, though, is saying “I'm bad at summaries” in your summary. It's a lot like the “I'm Bad At Tagging” tag in that it's unnecessarily self depreciating, frequently comes across as an excuse not to try, and sometimes really is just an excuse. Unlike the “I'm Bad At Tagging” tag, which has the tiny saving grace of warning readers you've probably missed something, saying you're bad at summaries has no utility at all, and may drive away a reader who thought your summary was quite good, but is uncomfortable with the negative attitude reflected by that statement. Summaries are hard. It's okay if you don't like your summary, but it's important for it to be there, and it's important to be kind to yourself about it. You're trying, that's what matters.

Author's Notes

Author's notes are the one place where we, the writers, directly address and initiate contact with our readers. We may also talk to them in the comments section, but that's different because they initiate that interaction while we reply, and comments are mostly one-on-one while in author's notes we're addressing everyone who ever reads our fic.

The very first note on a fic should contain any information, such as warnings or explanations, that a reader needs to see before they get to the body of the story, as well as anything like thanks to your beta, birthday wishes to a character, or general hellos and announcements you want readers to see before they get to the body of the story. On multi-chapter fics, notes at the beginning of chapters serve the same function for that chapter as the initial note on the fic does for the whole story, so you can do things like warn for Self-Harm on the two chapters out of thirty where it comes up, let everyone know your update schedule will be changing, or wish your readers a merry Christmas, if they celebrate it, on the chapter you posted on December 23rd but is set in mid-March.

Notes at the end of a fic or chapter are for things that don't need to be said or are not useful to a reader until after they've read the preceding content, such as translations for that handful of dialogue that's in Vulcan or Portuguese, or any parting greetings or announcements you want to give, like a thanks for reading or a reminder school is starting back so you won't be able to write as much. End notes are the best place to plug your social media to readers if you're inclined to do so, but remember that cannot include payment platforms like Patreon or Ko-fi.

As previously mentioned, warnings can go in end notes but that really should only be done when the warnings are particularly long, such that the length might cause a problem for readers who are already confident in their comfort level and would just want to scroll past the warning description. In that case, the additional warnings need to go in the note at the end of the first chapter, rather than at the end of the fic, if it's a multi-chapter fic; and you need to include an initial note telling readers that warnings/explanations of tags are at the bottom so they know to follow where the Archive tells them to see the end of the chapter/work for “more notes.”

When posting a new work, where the Preface section gives you the option to add notes “at the beginning” or “at the end” or both, if you check both boxes, it means notes at the beginning and end of the entire fic, not the beginning and end of the first chapter. For single-chapter fics this difference doesn't really matter, but for multi-chapter fics it matters a lot. In order to add notes to the beginning or end of the first chapter of a multi-chapter fic you have to first go through the entire process to post the new fic, then go in to Edit, Edit Chapter, and add the notes there.

Series and Chapters

Dealing with Series and Chapters is actually two different issues, but they're closely related and cause some of us mixups, especially when we're new to the site and its systems, so we're going to cover them together.

Series on Ao3 are for collecting up different stories that you've written that are associated with each other in some way. Chapters are for dividing up one story into parts, usually for pacing and to give yourself and your readers a chance to take breaks and breathe, rather than trying to get through the entire thing in a single marathon sitting (not that we won't still do that voluntarily, but it's nice to have rest points built in if we need them).

If your story would be one book if it was officially published, then it should be posted as a single fic—with multiple chapters if it's long or has more than one distinct part, like separate vignettes that all go together. If you later write a sequel to that fic, post it as a new fic and put them together in a series. It's exactly like chapters in a book and books in a series. Another way to think of this structure is like a TV show: different fics in the series are like different seasons of the show, with individual chapters being like episodes.

If you have several fics that all take place in the same AU but really aren't the same story those should go together as a series.  If you wrote a story about a superhero team re-cast as school teachers, then wrote another story about different characters in the same school, that's this situation.

Series are also the best way to handle things like prompt games, bingos, or Kinktober, or collect up one shots and drabbles especially if your various fills, entries, and drabbles are for more than one fandom. If you put everything for a prompt game or bingo, or all your drabbles, together as one fic with a different chapter for each story, what ends up happening is that fic gets recognized by the Archive as a crossover when it isn't, so it gets excluded from the results pages for everyone who told the filters to Exclude Crossovers even though one of the stories you wrote is exactly what they're looking for; and that fic ends up with tons and tons of wildly varying and self-contradictory tags because it's actually carrying the tags for several entirely different, possibly unrelated stories, which also means it ends up getting excluded from results pages because, for instance, one out of your thirty-one Kinktober entries is about someone's NoTP.

Dividing these kinds of things up into multiple fic in a series makes it so much easier for readers to find what of your work they actually want to read.

If you've previously posted such things as a single fic, don't worry, it's a really common misunderstanding and there is absolutely nothing stopping you from reposting them separately. You may see traffic on them go up if you do!

Parting Thoughts

Metatext is ultimately all about communication, and in this context effective communication is a matter of responsibility and balance.

Ao3 is our archive. It's designed for us, the writers, to have the freedom to write and share whatever stories we want without having to worry that we'll wake up one day and find our writing has been deleted overnight without warning.  That has happened too many times to so many in our community as other fanfic sites have died, been shut down, or caved to threats of legal action. Ao3 is dedicated to defending our legal right to create and share our stories. Part of the deal is that, in exchange for that freedom and protection, we take up the responsibility to communicate to readers what we're writing and who it's appropriate for.

We are each other's readers, and readers who don't write are still part of our community. We have a responsibility as members of this community to be respectful of others in our shared spaces.  Ao3 is a shared space. The best way we have to show each other respect is to give one another the information needed to decide if a given fic is something we want to engage with or not, and then, in turn, to not engage with fic that isn't our cup of tea. As long as our fellow writer has been clear about what their fic is, they've done their part of the job. If we decided to look at the fic despite the information given and didn't like what we found, then that's on us.

Because metatext is how we put that vital information about our fics out in the community, it's important that our metatext is clear and easy to parse. The key to that is balance. Striking the balance between putting enough tags to give a complete picture and not putting too many tags that become an unreadable wall; the balance between the urge to be thorough and tag every character and the need to be restrained so those looking for fics actually about a certain character can find them; the balance between using established tags for clarity and ease and making up our own tags for specificity and fun.

Do your best, act in good faith, remember you're communicating with other people behind those usernames and kudos, and, most importantly, have fun with your writing!

[misnomera]

On racial stereotyping of the Haans in TMA...

Right so as someone who is ethnically Chinese I have NO FUCKING clue how I didn’t notice this more distinctly in my initial binge of tma (going too fast and not paying closer attention to character names and descriptions, probably) but the Haan family storyline is, all horror elements aside, pretty fucked up in terms of racial representation re: stereotyping. This got long as hell, but please please please take a moment to read through if you’ve got time for it. thanks.

To start off, the Haans are one of the few characters in tma with an explicitly specified race and ethnicity—Chinese—and pretty much the only explicitly Chinese characters in tma, other than the mostly unimportant librarian (Zhang Xiaoling) from Beijing. But like, Haan isn’t even a properly Chinese surname, at least not in the way that it’s spelled in canon (it should be Han, one a. A quick google search tells me that Haan as a surname has...Dutch origins??).

Of course, that could be chalked up to shoddy anglicization processes within family histories, which certainly isn’t uncommon with immigrant families, so I’m not going to dwell on names too much (although I also find it interesting that John Haan’s name is so specifically and weirdly anglicized that he changed his own surname?? Hun Yung to John Haan is a very big leap of a name change and frankly not very believable. ANYWAY, this is not that important. I don’t expect Jonny, a white Englishman, to come up with perfectly unquestionable non-Cho-Chang-like Chinese names, though it certainly would be nice. Moving on).

What really bothers me about the Haans is how they almost exclusively and explicitly play into negative Chinese immigrant stereotypes. I don’t even feel like I need to say it because it’s like...it’s literally Right There, folks. John Haan (in ep 72) owns and operates a sketchy takeout restaurant. They’re all avatars of the Flesh—and John Haan is Specifically horrific and terrifying because he cooked his wife’s human meat and fed it to his unknowing customers. Does that remind you of any stereotypes which accuse Chinese people of consuming societally unacceptable and ethically questionable things like dog/cat/bat meat (which, if it’s not already crystal fucking clear, we don’t. do that.), which in turn characterize us as horrible unfeeling monsters? John Haan’s characterization feeds (haha, badum tss) directly into this harmful stereotype that have caused very real pain for Chinese people and East Asians in general. 

And Jonny does nothing to address that from within his writing (and not out of it either). And, speaking on a more meta level, Jonny could’ve easily had these flesh avatars be individuals of any race (like, what’s Jared Hopworth’s ethnicity? Do we know? No? Well then). Conversely, he could’ve easily, easily had a Chinese person be an avatar of any other entity. So why did he have to chose specifically the Flesh?

(This is a rhetorical question. You know why. Racial stereotyping and invoking a fear of the other in an attempt to enhance horror, babey~)

On Tom Haan’s side, Jonny seems weirdly intent on having other characters repeatedly comment on his accent (or rather, lack thereof) in relation to his race. Think about how, in ep 30 (killing floor), the fact that Tom Haan had spoken a line to the statement giver in “perfect English” was an emphasized beat in that statement, and a beat that was supposed to be “chilling” and meant to signify to us that something was, quote-unquote, “not right” with Tom Haan. Implicitly, that’s saying that it was unexpected, not “normal”, and in this case even eerie, for someone who looks Chinese to have spoken in fluid, unbroken English. Mind you, the line itself was perfectly scary on its own (“you cannot stop the slaughter by closing the door”), so why did Jonny feel the need to note the accent in which it was spoken in? Why did Jonny HAVE to have that statement giver note, that he initially “wasn’t even sure how much English [Haan] spoke”? 

This happens again in episode 72 with a Chinese man (and again, his ethnicity is Explicitly Noted) who we assume is also Tom Haan. This one is rather ironically funny and kind of painfully self aware, because the statement giver expresses surprise at Haan’s “crisp RP accent” and then immediately “felt bad about making the assumption that he couldn’t speak English,” and subsequently admitted that thought was “low-key racist.” Like, from a writing perspective, this entire passage is roundabout, pointless, and says absolutely nothing helpful to enhance the horror genre experience for listeners (instead it just sounded like some sort of half-assed excuse so Jonny or other listeners could say “look! We’ve addressed the racism!” You didn’t. It just made me vaguely uncomfortable). And again, having other people comment on our accents/lack thereof while assuming we are foreign is a Very Real microaggression that east asians face on the daily. If Jonny needed some filler sentences for pacing he could’ve written about Literally anything else. So why point out, yet again, that the crazy murderous man was foreign and Chinese? 

At this point, you might say, right, but yknow, it was just that the statement givers were kind of racist! It happens! Yeah sure, ok, that’s a passable in-universe explanation for descriptions of Tom Haan (though not John Haan, mind you), but the statement givers are fake made up people, and statement’s still written by Jonny, who absolutely has all the power to write overt discrimination out of his stories. And he does! Think about just how many minor (and major!!) characters are so, so carefully written as completely aracial, and do not have their ethnicity implicated at all in whatever horrors they may or may not be committing. Think about how many lgbtq+ characters have given statements, and have been in statements, without having faced direct forms of discrimination, or portrayed as embodying blatant stereotypes in their stories (though lgbtq+ rep in tma certainly has their own issues that I won’t go into here). Jonny can clearly write characters this way, and he can do it well. So why, why, am I being constantly, repeatedly reminded in-text of the fact that the Haans are East Asian, that they’re from China, that they’re Chinese immigrants, that they’re second-generation British Chinese or whatever the fuck, and that they’re also horrifying conduits for blood, gore, and general fucked-up-ness? It’s absolutely not something that is Needed for the stories to be an effective piece of horror; the only thing it does is perpetuate incredibly harmful and hurtful stereotypes.

And listen, I love tma to bits. It’s taken over my blog. I’ve really loved my interactions with the fandom. And I am consistently blown away by Jonny’s writing and how well he’s able to weave foreshadowing and plot into an incredibly complex collection of stories. But I absolutely Cannot stop thinking about the Haans because it’s just. It’s such a blatant display of racial stereotyping in writing. And I’ve certainly seen a few voices talking about it here and there, and I don’t know if I’m just not looking in the right places, but it certainly feels like something that is just straight up not on the radar for a lot of tma fans. And I’m disappointed about that. 

Just, I don’t know. Take a look at those episodes again and do some of your own thinking about why these characters had to be specifically Chinese (answer: they didn’t.). And in general, PLEASE for the love of god turn a critical eye on character portrayals and descriptions whenever they are assigned specific races/ethnicities (Some examples that come to mind are Jude Perry, Annabelle Cane, and Diego Molina), because similar issues, to an extent, extend beyond the Haans, though I haven’t covered them here. 

You shouldn’t need a POC to do point out these problems for you when they’re so glaringly There. But for those of you who really didn’t know, hope this was informative in some way. I’m tired, man. If some of the only significant Chinese characters you write are violent cannibalistic men with a perverted relationship with meat, just don’t do it. Please don’t do it. 

EDIT: Since the making of this post Jonny has acknowledged and apologized for these portrayals on his twitter and in the Rusty Quill Operations Update, which went up September 2020. A long time coming, but better late than never. This of course doesn’t necessarily negate the harm done by Jonny’s writing, and doesn’t make me much less angry about it, but is appreciated nonetheless. For more on this topic there’s a lot of productive discussions happening in my “#tma crit” tag and in the notes of this post

[lostintherealmsofthefandoms]

I've seen some people saying that Marvel made their black gay character responsible for the Hiroshima. I think that mostly of those people didn't watched the movie tbh. Cause he was not responsible for it. He taught humans technology, the first technologies, he did not created the bomb, he blamed himself because he gave humans the knowledge that gave the possibility for them themselves created, like humans do. He actually gave up on humans, on try help humans because of it, because humans only destroy. It might was a wrong move, but I remember one of the person behind the movie, don't remember if was Chloe, saying that regarding representativity they tried and was aware that they didn't got it all right, cause it was their first, but that they would get better next time. And honestly I loved hear this. Maybe was just a defensive move, but is important to not throw hate on creators that try do rep, specially when they know they didn't do it all right and are willing to learn. I'm a writer and book stan and I see a lot of authors saying that they don't put much rep on their books cause they're afraid of don't do it right and get cancelled for it. I feel that try put rep even if is badly is better than no trying at all, and is through mistakes that we learn. Some creators do badly on purpose, but I feel mostly don't, and in this case the fact that the person behind the movie admitted not be all right I truly feel was not ill intentioned, and if was not ill intentioned I feel is okay. I'm sorry, truly am if the way any rep was putted on the movie hurted someone, but please let's remember we are humans and we learn through mistakes. The movie was beautiful, is the first mcu movie with so many rep. See a gay character who is a powerful hero, see a disabled woman who is a powerful heroin and have an amazing action sequence scene btw, see non white characters as powerful heros, on Marvel is something big and to be acknowledged, they'll do it better next time I'm sure of it, but for now I'm happy for what we've got. If you hate super heroes movies, Marvel, mcu and is a supporter or part of the community or part of any of the groups rep, don't put hate on this movie just because you hate them, you might not like, but for people who are part of those groups and likes those movies, Eternals was quite a thing. And again I would ask to people in general just give a chance for the creators to try and do it wrong and get it right. Is okay point at them, you should point at them all the mistakes that were made, but with respect, not throwing hate. People can learn and grow. And this is actually the message of the movie and considering is the first mcu movie with truly rep I feel there's a certain cinematography poetry on this, how they're learning and growing, finally.

[justmenoworries]

Not Up For Interpretation - An Essay On Nonbinary - Erasure

(Trigger Warning: Misgendering, Transphobia, Nonbinary-phobia)

If you’ve been following me for a while, you probably know this was a long time coming. I’ve made several posts about my frustrations concerning this topic and how much it hurt me just how socially accepted erasing an entire identity still is. While representation marches on and things have become better for nonbinary people as a whole, we still battle with a lot of prejudice - both intentional and unintentional.

In this essay, I want to discuss just how our identities are being erased almost daily, why that is harmful and hurtful and what we all can do to change that.

Chapters:

What does Non-binary mean?

Nonbinary- representation in media

So what’s the problem?

How do we fix it?

1. What Does Non-binary Mean?

Non-binary is actually an umbrella term. It includes pretty much every gender-identity that’s neither one or the other so to speak, for example, agender.

Agender means feeling detachment from the gender spectrum in general. If you’re agender, you most likely feel a distance to the concept of gender as a whole, that it doesn’t define you as a person.

There are many identities that classify under non-binary: There’s gender-fluid (you feel you have a gender, but it’s not one gender specifically and can change), demi-gender (identifying as a gender partially, but not completely) and many others.

Sometimes, multiple non-binary identities can mix and match.

Most non-binary people use they/them pronouns, but like with so many things, it varies.

Some nonbinary-people (like me) go by two pairs of pronouns. I go by both she/her and they/them, because it’s what feels most comfortable at the moment. But who knows, maybe in the future I’ll switch to they/them exclusively or expand to he/him.

There is no one defining non-binary experience. Nb-people are just as varied and different as binary people, who go by one specific gender.

There are non-binary people who choose to go solely by she/her or he/him and that’s okay too. It doesn’t make them any more or less non-binary and their identity is still valid.

If your head’s buzzing a bit by now: That’s okay. It’s a complicated topic and no one expects you to understand all of it in one chapter of one essay.

Just know this: If a person identifies as non-binary, you should respect their decision and use the pronouns they go with.

It’s extremely hurtful to refer to someone who already told you that they use they/them pronouns with she/her or he/him, or use they/them to refer to a person who uses she/her.

Think about it like using a trans-person’s deadname: It’s rude, it’s harmful and it shows complete disrespect for the person.

Non-binary people have existed for a very long time. The concept isn’t new. The idea that there are only two genders, with every other identity being an aberration to the norm, is largely a western idea, spread through colonialism.

The Native American people use “Two-Spirit” to describe someone who identifies neither as a man nor a woman. The term itself is relatively new, but the concept of a third gender is deeply rooted in many Native American cultures.

(Author’s Note: If you are not Native American, please do not use it. That’s cultural appropriation.)

In India, the existence of a third gender has always been acknowledged and there are many terms specifically for people who don’t identify with the gender that was assigned to them at birth.

If you’re interested in learning more about non-binary history and non-binary identities around the world, I’d recommend visiting these websites:

https://nonbinary.wiki/wiki/History_of_nonbinary_gender

https://nonbinary.wiki/wiki/Gender-variant_identities_worldwide

https://thetempest.co/2020/02/01/history/the-history-of-nonbinary-genders-is-longer-than-you-think/

https://www.teenvogue.com/story/gender-variance-around-the-world

Also, maybe consider giving this book a try:

Nonbinary Gender Identities: History, Culture, Resources by Charlie Mcnabb

2. Non-binary Representation In Media

The representation of non-binary people in mainstream media hasn’t been... great, to put it mildly.

Representation, as we all know, is important.

Not only does it give minorities a chance to see themselves in media and feel heard and acknowledged. It also normalizes them.

For example, seeing a black Disney-princess was a huge deal for many black little girls, because they could finally say there was someone there who looked like them. They could see that being white wasn’t a necessity to be a Disney princess.

Seeing a canonically LGBT+ character in a children’s show teaches kids that love is love, no matter what gender you’re attracted to. At the same time, older LGBT+ viewers will see themselves validated and heard in a movie that features on-screen LGBT+ heroes.

There’s been some huge steps in the right direction in the last few years representation-wise.

Not only do we have more LGBT+ protagonists and characters in general, we’ve also begun to question and call out harmful or bigoted portrayals of the community in media, such as “Bury Your Gays” or the “Depraved Homosexual”.

With that being said: Let’s take a look at how Non-binary representation holds up in comparison, shall we?

This is Double Trouble, from the children’s show “She-Ra And The Princesses Of Power”.

They identify as non-binary and use they/them pronouns. They’re also  a slimy, duplicitous lizard-person who can change their shape at will.

Um, yeah.

Thanks, but no thanks.

Did I mention they’re also the only non-binary character in the entire show? And that they’re working with a genocidal dictator in most of the episodes they’re in?

Yikes.

Let’s look at another example.

These three (in order of appearance) are Stevonnie, Smoky Quartz and Shep. Three characters appearing in the kid’s show “Steven Universe” and it’s epilogue series “Steven Universe: Future”.

All of them identify as non-binary and use they/them as pronouns.

Stevonnie and Smoky Quartz are the result of a boy and a girl being fused together through weird alien magic.

Shep is a regular human, but they only appeared in one episode. In an epilogue series that only hardcore fans actually watched.

Well, I mean...

One out of three isn’t that bad, right?

Maybe we should pick an example from a series for older viewers.

Say hello to Doppelganger, a non-binary superhuman who goes by they/them, from the Amazon-series “The Boys”.

They’re working for a corrupt superhero-agency and use their power of shape-shifting to trick people who pose a threat to said agency into having sex with them. And then blackmail those people with footage of said sex.

....

Do I even need to say it?

If you’ve paid attention during the listing of these examples, you might have noticed a theme.

Namely that characters canonically identifying as non-binary are either

supernatural in some way, shape or form,

barely have a presence in the piece of media they’re in,

both.

Blink-and-you-miss-it-manner of representation aside, the majority of these characters fall squarely under what we call “Othering”.

“Othering” describes the practice of portraying minorities as supernatural creatures or otherwise inhuman. Or to say it bluntly: As “The Other”.

“Othering” is a pretty heinous method. Not only does it portray minorities as inherently abnormal and “different in a bad way”. It also goes directly against what representation is actually for: Normalizing.

As a general rule of thumb: If your piece of media has humans in it, but the only representation of non-white, non-straight people are explicitly inhuman... yeah, that’s bad.

So is there absolutely no positive representation for us out there?

Not quite.

As rare as human non-binary characters in media are to find, they do exist.

Here we have Bloodhound! A non-binary human hunter who uses they/them pronouns, from the game “Apex Legends”.

It’s been confirmed by the devs and the voice actress that they’re non-binary.

Nice!

These are Frisk (bottom) and Chara (top) from the game “Undertale”. While their exact gender identity hasn’t been disclosed, they both canonically use they/them pronouns, so it’s somewhere on the non-binary spectrum.

Two human children who act as the protagonist (Frisk) and antagonist (Chara), depending on how you play the game. (Interpretations vary on the antagonist/protagonist-thing, to say the least.)

Cool!

......

And, yep, that’s it.

As my little demonstration here showed, non-binary representation in media is rare. Good non-binary representation is even rarer.

Which is why those small examples of genuinely good representation are so important to the Non-binary community!

It’s hard enough to have to prove you exist. It’s even harder to prove your existence is not abnormal or unnatural.

If you’d like to further educate yourself on representation, it’s impact on society and why it matters, perhaps take a second to read through these articles:

https://www.criticalhit.net/opinion/representation-media-matters/

https://www.pbs.org/newshour/arts/why-on-screen-representation-matters-according-to-these-teens

https://jperkel.github.io/sciwridiversity2020/

https://www.forbes.com/sites/quora/2019/05/22/why-is-equal-representation-in-media-important/?sh=25f2ccc92a84

https://www.theodysseyonline.com/why-representation-the-media-matters

3. So What’s The Problem?

The problem, as is the case with so many things in the world, is prejudice.

Actually, that’s not true.

There’s not a problem, there are multiple problems. And their names are prejudice, ignorance and bigotry.

Remember how I said human non-binary representation is rare?

Yeah, very often media-fans don’t help.

Let’s take for example, the aforementioned Frisk and Chara from “Undertale”.

Despite the game explicitly using they/them to refer to both characters multiple times, the majority of players somehow got it into their heads that Frisk’s and Chara’s gender was “up for interpretation”.

There is a huge amount of fan art straight-up misgendering both characters and portraying them as binary and using only he/him or she/her pronouns.

The most egregious examples are two massively popular fan-animated web shows: “Glitchtale”, by Camila Cuevas and “Underverse” by Jael Peñaloza.

Both series are very beloved by the Undertale-fanbase and even outside of it. Meaning for many people, those two shows might be their first introduction to “Undertale” and it’s two non-binary human characters.

Take a wild guess what both Camila and Jael did with Frisk and Chara.

Underverse, X-Tale IV:

(Transcript: “Frisk lied to me in the worst possible way... I... I will never forgive him.”)

Underverse, X-Tale V:

(Transcript: “I-It’s Chara... and it’s a BOY.”)

Glitchtale, My Promise:

(Transcript: (Referring to Frisk) “I’m not scared of an angry boy anymore.”)

Glitchtale, Game Over Part 1:

(Transcript: (Referring to Chara) “It’s ok little boy.”)

This... this isn’t okay.

Not only do both of these pieces of fan-art misgender two non-binary characters, the creators knew beforehand that Frisk and Chara use they/them-pronouns, but made the conscious choice to ignore that.

To be fair, in a video discussing “Underverse”, Jael said that only X-Tale Frisk and Chara, the characters you see in the Underverse-examples above, are male, while the characters Frisk and Chara from the main game remained non-binary and used they/them (time-stamp 10:34).

Still, that doesn’t erase the fact that Jael made up alternate versions of two non-binary characters specifically to turn them male. Or that, while addressing the issue, Jael was incredibly dismissive and even mocked the people who felt hurt by her turning two non-binary characters male. Jael also went on to make a fairly non-binary-phobic joke in the video, in which she equated gender identities beyond male and female to identifying as an object.

Jael (translated): “I don’t care if people say the original Frisk and Chara are male, female, helicopters, chairs, dogs or cats, buildings, clouds...”

That’s actually a very common joke among transphobes, if not to say the transphobe-joke:

“Oh, you identify as X? Well then I identify as an attack helicopter!”

If you’re trans, chances are you’ve heard this one, or a variation of it, a million times before.

I certainly have.

I didn’t laugh then and I’m not laughing now.

(Author’s note: I might be angry at both of them for what they did, but I do not, under any circumstances, support the harassment of creators. If you’re thinking about sending either Jael or Camila hate-mail - don’t. It won’t help.)

Jael’s reaction is sadly common in the Undertale fandom. Anyone speaking up against Chara’s and Frisk’s identity being erased is immediately bludgeoned with the “up for interpretation”-argument, despite that not once being the case in the game.

And even with people who do it right and portray Frisk and Chara as they/them, you’ll have dozens of commenters swarming the work with sentences among the lines of “Oh but I think Frisk is a boy/girl! And Chara is a girl/boy!”

By the way, this kind of thing only happens to Frisk and Chara.

Every other character in “Undertale” is referred to and portrayed with their proper pronouns of she/her or he/him.

But not the characters who go by they/them.

Their gender is “up for interpretation”.

Because obviously, their identity couldn’t possibly be canonically non-binary.

Sadly, Frisk and Chara are not alone in this.

Remember Bloodhound?

And how I said they’d been confirmed as non-binary and using they/them pronouns by both the creators and the voice actress?

It seems for many players, that too translated to “up for interpretation”.

(Transcript: “does it matter what they call him? He, her, it, they toaster oven, it doesn’t matter”)

(Transcript: “I’m like 90 % sure Bloodhound is a dude because he could just sound like a girl and by their age that I’m assuming looks around 10-12 because I’ve known many males who have sounded like a female when they were younger”)

(Transcript: “I don’t care it will always be a He. F*ck that non-binary bullsh*t.”)

(Transcript: “Bloodhound is clearly female.”)

(Transcript: “I’m not calling a video game character they/them”)

(Transcript: “exactly. The face was never fully shown neither was the gender so I’d say it means that the player is Bloodhound. So it’s your gender and you refer to “him” as yourself. It’s like a self insertion in my eyes.”)

So, let me get this straight:

If a character, even a player character, uses she/her or he/him, you can accept it, no questions asked.

But when a character uses they/them, suddenly their identity and gender are “up for interpretation”?

This attitude is also widely prevalent in real life.

Many languages only include pronouns for men and women, with no third option available. Non-binary people are often forced to make up their own terms, because their language doesn’t provide one.

Non-binary people often don’t fit within other people’s ideas of gender, so they get excluded altogether. Worse, non-binary people are often the victims of misgendering, denial of their identity or even straight-up violence when coming out.

People will often tell us that we look like a certain gender, so we should only use one set of gendered pronouns. Never mind that that’s not what we want. Never mind that that’s not who we are.

Non-binary people are also largely omitted from legal documentation and studies. We cannot identify as non-binary at our workplace, because using they/them pronouns is considered “unprofessional”. We don’t have our own bathrooms like men and women do. Our gender is seen as less valid than male and female, so even that basic thing is denied to us. I’ve had to use the women’s restroom my entire life, because if I go into a male restroom, I’ll be yelled at or made fun off or simply get told I took the wrong door. It’s extremely uncomfortable for me and I wish I didn’t have to do it.

And since non-binary people aren’t seen as “real transgender-people”, we often don’t receive the medical care we need. This often renders us unable to feel good within our bodies, because the treatment and help we get is wildly inadequate.

It’s especially horrible for intersex people (people who are born with sex characteristics that don’t fit solely into the male/female category) who are often forced to change their bodies to fit within the male/female gender binary.

And you better believe each of those problems is increased ten-fold for non-binary people of color.

We are ignored and dismissed as “confused”, because of who we are.

Representation is a way for Non-binary people to show the world they exist, that they’re here and that they too have stories to tell.

But how can we, when every character that represents us is either othered, barely there or gets taken away from us?

We are not “up for interpretation”.

Neither are the characters in media who share our identity.

And it’s time to stop pretending we ever were.

For more information about Non-Binary Erasure and how harmful it is, you can check out these articles:

https://everydayfeminism.com/2015/08/common-non-binary-erasure/

https://www.dailydot.com/irl/nonbinary-people-racism/

https://nonbinary.wiki/wiki/Nonbinary_erasure

https://traj.openlibhums.org/articles/10.16995/traj.422/

https://medium.com/an-injustice/everyday-acts-of-non-binary-erasure-49ee970654fb

https://medium.com/national-center-for-institutional-diversity/the-invisible-labor-of-liberating-non-binary-identities-in-higher-education-3f75315870ec

https://musingsofanacademicasexual.wordpress.com/2015/05/11/dear-sirmadam-a-commentary-on-non-binary-erasure/

4. How Do We Fix It?

Well, first things first: Stop acting like we don’t exist.

And kindly stop other people from doing it too.

We are a part of the LGBT+ community and we deserve to be acknowledged, no matter what our pronouns are.

Address non-binary people with the right pronouns. Don’t argue with them about their identity, don’t comment on how much you think they look like a boy or a girl. Just accept them and be respectful.

If a non-binary person tells you they have two sets of pronouns, for example he/him and they/them, don’t just use one set of pronouns. That can come off as disingenuous. Alternate between the pronouns, don’t leave one or the other out. It’ll probably be hard at first, but if you keep it up, you’ll get used to it pretty quickly.

If you’re witnessing someone harass a non-binary person over their identity, step in and help them.

And please, don’t partake in non-binary erasure in media fandoms.

Don’t misgender non-binary characters, don’t “speculate” on what you think their gender might be. You already know their gender and it’s non-binary. It costs exactly 0 $ to be a decent human being and accept that.

Support Non-Binary people by educating yourself about them and helping to normalize and integrate their identity.

In fact, here’s a list of petitions, organizations and articles who will help you do just that:

https://www.change.org/p/collegeboard-let-students-use-their-preferred-name-on-collegeboard-9abad81a-0fdf-435c-8fca-fe24a5df6cc7?source_location=topic_page

6 Ways to Support Your Non-Binary Child

7 Non-Negotiables for Supporting Trans & Non-Binary Students in Your Classroom

If Your Partner Just Came Out As Non-Binary, Here’s How To Support Them

How to Support Your Non-Binary Employees, Colleagues and Friends

Ko-fi page for the Nonbinary Wiki

The Sylvia Rivera Project, an organization who aims to give low-income and non-white transgender, intersex and non-binary people a voice

The Anti Violence Project “empowers lesbian, gay, bisexual, transgender, queer, and HIV-affected communities and allies to end all forms of violence through organizing and education, and supports survivors through counseling and advocacy."

The Trans Lifeline, a hotline for transgender people by transgender people

Tl:DR: Non-Binary representation is important. Non-Binary people still suffer from society at large not acknowledging our existence and forcing us to conform. Don’t be part of that problem by taking away what little representation we have. Educate yourself and do better instead. We deserve to be seen and heard.

[maxwell-grant]

One last one for the moment; top five superheroes who definitely AREN'T Pulp Heroes, but could be with a little tweaking?

Oof, that's a hard one. It's a hard one because, again, there ultimately isn't that much separation between the two to the point there's enough of a hard line in there to work with, but I guess the cat's out of the bag now that I've staked claims on there being differences between them.

Okay so, not counting superheroes who are deliberately modeled after actual pulp heroes, so no Tom Strong or Night Raven here. I'm sticking mainly with comic book superheroes (barring one oddball exception) since the medium separation is important), who I think could become pulp heroes with some tweaking.

5: Captain America

Sort of cheating because I already covered it here, but I definitely have to include Captain America in here, especially in the stories they actively go for a "pulp" vibe as well as the earliest ones.

Fun fact about Marvel: As Timely, they actually began life as pulp publishers. Not just pulp publishers, but specializing in some of the sleaziest, ghastliest magazines of the era, and you can bet this carried over to their superheroes. Where as DC's superheroes took inspiration from the big pulp heroes such as The Shadow and Doc Savage, Timely's superheroes seemed instead much more inspired by Weird Tales stories and Poverty Row horror films, and even in the 60s, Marvel never really abandoned their horror roots, the trick was just using them as a baseline to create superheroes. In DC, the world's first contact with superheroes begins with the world looking in wonder at a friendly strongman. In Marvel, it began with the world looking in panicked horror at a flaming monster rampaging through the streets desperately trying to not burn everything it touches. It should come to little surprise then that the majority of characters I'm including in this list are Marvel characters.

People think Captain America's first comics largely consisted of him fighting Nazis left and right, but they were actually much more often based around him encountering monsters and creatures of horror, like the above panel where it looks like Cap's staring down the beginning of Berserk's Eclipse (RIP Miura).

The early Captain America comics pretty much consisted of Kirby dipping his toe into the monster comics he'd make in the 50s which would later bleed into the 60s Marvel entourage. They even tried repackaging Captain America into a horror anthology in the 50s titled "Captain America's Weird Tales", just imagine how different the character would be today if that somehow stuck.

Imagine a world where Steve Rogers never became leader of The Avengers, never got to become the shining beacon of heroism of an entire universe, and instead, when he was unfrosted, he woke up to find a world running rampant with crawling nightmares and Nazi tyranny, and he has no idea what's become of his former sidekick. That definitely sounds like the start of a promising pulp adventure.

4: Namor

Another Timely creation. In Namor's case, he didn't so much encounter horrors from beyond imagination, as much as HE was the terrifying thing beyond us ready to rampage upon mankind, whose first on-screen act consists of the calculated slaughter of a ship full of innocents. The first true villain protagonist of comic books. Not just an anti-hero, a villain intent on wiping out the human race.

And not just a cardboard supervillain, but the beautiful prince of a race of ugly fish monsters, a momma's boy who's doing what he thinks is right by warring with surface dwellers. While Namor's become largely defined by his gargantuan arrogance, here, he's almost childlike, despite being much more brutal and villainous here, spurred on by the whims of his mother, who even acknowledges that Namor had no real reason to kill the divers but did so anyway, and now encourages him to genocide. His mom even tells him "Go now, to the land of white people!", and the very last panel of the story even states he's on a "crusade against white men".

The massacre of explorers at the hands of something beyond their understanding. A monster born of an interracial coupling. A race of fish monsters with bulging eyes, antagonistic towards humanity but are shown to have positive traits just the same. A dash of racism. There is no mistaking The Sub-Mariner's pulp horror influence.

A non-white superhuman warrior born from a Lovecraftian horror story, who gradually moves away from his villainous crusade into becoming more of an anti-hero, never truly putting aside his hatred for humanity, remaining a temperamental, unpredictable outcast, with a strong, palpable undercurrent of anger in his stories. I could very easily buy Namor as having crawled out of a Weird Tales story and I can't think of other superheroes whose origins are as steeped deeply in pulp horror.

3: Doctor Fate

Technically we already have a pulp hero version of Doctor Fate in Doc Fate, and I'll get to him separately, but even besides him, the earliest Doctor Fate stories in particular feel very much like he's a character steeped in the worlds of pulp and pulp horror who decided to put on a superhero costume and show up in comic.

He's got a similar set-up to The Shadow, from the pulp Shadow in the sense that he's a mysterious, eerie crimefighter who dwells as a presence more often than an active character and who kills criminals without remorse, always watching and waiting for the right time to strike as a a wrathful old-testament force of vengeance, and from the radio Shadow due to him using superpowers to fight crime while being accompanied by a smart, fierce love interest.

Originally, Fate was not a sorcerer, but instead a scientist who discovered a way to manipulate atomic structure, of his and other things, thus making it appear that he can do magic (although we never see his face, and he's implied to be thousands of years old, before they settled on the Nabu origin). And going back to Lovecraft, a lot of it appears in the earliest Fate stories. Fate was given powers not by a sorcerer, but an alien worshipped as a god. He barely encounters traditional monsters, but instead contends with hidden races, zombie slaves, abandoned alien monoliths, and half man and half fish creatures. Fate may have actually been the very first pastiche of Lovecraft in pop culture.

And of course we can't forget the gloriousness of Doc Fate pulling an Indiana Jones on us.

2: Wolverine

I don't even think you'd have to tweak Wolverine at all. You'd just have to get him out of the costume and Avengers/X-Men associations (although the X-Men have a substantial background in pulp sci-fi stories like Slan and Odd John, so they aren't really at odds here), maybe tone down his powers a bit and, that's it. Logan's already the kind of character who has such a varied sandbox history, whose powers can lead to so many different scenarios, that it's not a stretch at all to picture Wolverine in the usual pulp hero scenarios.

You can have half-naked Wolverine running around in the jungle with animals Tarzan-style, take him to Savage Land if you wanna throw dinosaurs in there. He's already Marvel's foremost "wandering samurai/cowboy" character which was one of the stock and trade types of the pulps. Western? Done. Samurai? Done. Wuxia? Just put him in China and add a couple extra fantasy elements. Wanna make a sword and sorcery story with him? He already comes with a bunch of knives and savagery and ability to survive grisly injuries. Horror? The MCU is crawling with them, or alternatively, tell a story from the perspective of someone who's being hunted down by Wolverine. Wanna tell a detective/noir/post-apocalypse story? Logan's right there.

Wanna have him crossover with pulp heroes? He's lived through the 1800s and 1900s and traveled all over the world, you could feasibly have him meet up with just about any of them. Logan may actually be the purest example of your question, because he's very much not a Pulp Hero, and yet, he definitely feels like a character who could have been one, at just about any point in the history of pulp magazines. He's perfect for it.

1: Wario

WAAA-okay, look, bear with me for a second here, I'm not just picking Wario because I love oddball choices and he's one of my favorite characters, I got some logic to this.

Okay so, the first question here: is Mario a superhero? While I'm usually adverse to calling characters prominent outside of comic books superheroes (hence why I'm definitely not interested in debating whether Harry Potter or Goku or Link or Frodo are superheroes), I do think it's a pretty shut case that, yes, Mario is a superhero. Superheroes don't just come in the form of skintight crimefighters, right from the start comic books have had varied types of superheroes appearing in comics and comic strips. For example, the "funny animal" superheroes are a type older than superhero comics, and they were arguably not only the most successful type of superhero of the 40s-50s era, but arguably defined trends dominating nonfunny animal superheroes, traits that predated or influenced Captain Marvel as well as Otto Binder's reshaping of Superman that defined much of superhero convention as we know it. It's part of why the question of "Is Sonic a superhero" has a very clear Yes as an answer.

So upon establishing that, yes, funny cartoon characters can be and are superheroes too, is Mario one? Well, I'd say yes. He's got an iconic uniform, he's got superpowers, he goes on fantastical adventures, he is both a nebulously general do-gooder as well as having a clear mission as protector of the Mushroom Kingdom. His adventures span multiple storytelling formats, he's got catchphrases, he even dresses up in Superman's colors and has a Super prefix iconically associated with him. Not a superhero the way we usually think of, but a superhero nonetheless.

And Wario? Well, putting aside Wario-Man who's more of a running gag than anything, Wario does just about everything Mario does. He's got all the traits that define Mario as a superhero short of a Super prefix and the selfless mission (which isn't exactly a rule). He goes around and gets into crazy adventures, he picks up items, beats bad guys, conquers the odds, and gets some kind of prize for it. He's got Mario's physical traits, and Mario's costume, and just about the same name short of a single letter. The caveat being, of course, that he's Wario, and so everything Mario is or does has to be exaggerated to gross extreme.

Mario is paunchy and strong, Wario's round and built like a powerlifter. Mario's got a friendly face and a fluffy mustache, Wario's got a massive horrible grin and jagged razors for a stache. Mario is a bit of an overeater, Wario can and will eat anything in front of him. Mario gets around with acrobatics and magic power-ups, Wario brute forces his way through everything and just rolls with whatever injuries he picks up along the way.

Mario gets fire powers by consuming magic flowers. Wario sets himself on fire and barrels around destroying everything in his path. Mario harnesses the elements or abilities of beings around him to clear obstacles and solve puzzles, Wario gets turned into a zombie, a vampire or a drunk to get the same things done. Mario befriends and rides dinosaurs who raised him from infancy, Wario piledrives dinosaurs and then uses their bodies to beat up more dinosaurs. Mario pals around with fellow heroes, princesses and friendly fantasy creatures, Wario pals around with aliens, witches, mad scientists, cab drivers, and lanky weirdos. Mario always ends his adventures joyfully leaping to the next one, Wario usually ends up either cackling in a pile of treasure or completely broke.

Mario races through plains to rescue princesses, Wario invades pyramids to hunt for treasure. Mario jumps through planets with baby stars guiding his path, Wario crashes into the Amazon jungle and fistfights the devil. You can see where I'm going with this.

If you were to take one of Nintendo's heroes to make them into pulp heroes, Wario, specifically the Wario Land Wario, may be the only one who really could do it, because in essence, he's the videogame equivalent of Professor Challenger. He's Bluto moonlighting as Indiana Jones, the weird brute adventurer for weird brute adventures where everything's off limits and you can trust our intrepid hero, who really shouldn't be a hero on all accounts, to deliver us a good time, give or take a couple deaths, scams, shams and oh-damns to complete said mad treasure hunts.

[heraldofzaun]

This is my “Viktor has never been a stereotypical evil villain, you guys are just mean” post.

Hi. Well. That says it all, really, but I guess I should elaborate. I think that Viktor has always been a victim of society [cue Joker meme], it’s just that what society has shifted over the course of his lore update.

With new lore, it’s very clearly Piltover casting him out for his (in my opinion, pretty unethical from the get-go) ideas on free will/worker safety/etc. and that subsequently making him worse. But with his previous lore - what I run off of on this blog - I’ve seen a lot of commentary about how he’s always just been “evil”, or that his motivations weren’t defined, etc. And while I can agree that his old lore certainly has less of a word count (5x less, actually) and doesn’t make his motives crystal-clear, it’s just not true that his original incarnation was just a villainous scientist. (Nor is it true that he was perceived as one by his old fans!) It takes a little bit of looking at Blitzcrank’s lore, and the Journal of Justice (hey, remember that?) to see, but it’s there... So, here goes. I’m sorry for how long this ended up being (2k words!) - it ended up touching on a lot more than just Viktor.

Viktor’s always been stolen from. (Except for Blitzcrank’s newest lores, which contradict Viktor’s new lore, which... That’s a topic for another time.) It’s always been Professor Stanwick Pididly (now Professor Stanwick) who’s done the stealing - originally, he was a professor at Zaun’s “prestigious College of Techmaturgy”. In new lore, he’s a professor at an unnamed academy in Piltover. I think the best way to track the new/old changes is bullet-points, rather than writing this all out. Tumblr doesn’t allow T-charts, sadly.

Professor Pididly in old lore:

Zaunite professor.

Stole Blitzcrank (well, the accolades for developing Blitz’s sentience) from Viktor and Viktor’s doctoral team. (While this is headcanon, I’ve always assumed that Stanwick was Viktor’s (and Viktor’s team’s) doctoral advisor. I can’t quite imagine how else he’d pull off stealing a group project like that.) Viktor subsequently withdrew from the college and “barricaded himself in his private laboratory”. (Which is his house in my personal take, because really - what sort of doctoral student can afford a lab?)

Blitzcrank’s case reached Zaun’s legal system, resulting in a “legal maelstrom” (Blitz’s original lore) that ended with Stanwick presumably being legally declared Blitzcrank’s creator.

Blitzcrank’s lore states that “most now know the truth” in regards to who his creator is. This is important for later, so stick that in your back pocket.

Pididly is referred to as “Professor Pididly” in JoJ issues 3, 18, and 23, which are given the dates of August of 20CLE, March of 21 CLE, and June of 21 CLE.

Side note: According to Orianna’s judgment, which is dated May of 21 CLE - stay with me here, it’ll make sense - Blitzcrank entered the League “years before”. As League at this time was mostly running in time with the real world, this makes sense - Blitzcrank was a 2009 champion and Orianna was released in 2011. Judgments seem to be dated to a few days before a champion’s release, in order to tie with the lore - one had to be “Judged” before made a champion... but I’m rambling. Anyways, years before, back pocket.

Is referred to as “Chairman Pididly” in JoJ issue 27, dated August of 21 CLE. “Chairman” seems to be a title given to those in political power in Zaun. Another example is Chairman Magnus Dunderson, Zaun’s “Chief Executive” (issue 5). (I could’ve sworn that there is canonically a “Board of Executives” in old lore Zaun, but scrubbing through the JoJ on the wiki hasn’t turned it up - just Blitzcrank’s lore mentioning the “Council of Zaun”. Maybe it was fanon? Anyways.) Back pocket!

Also stole some work from Viktor in order to revive Urgot. Urgot’s revival was reported on in issue 3 of the JoJ, and the confirmation that it was from Viktor’s work is in Viktor’s original lore.

Professor Stanwick (Pididly? I feel like they ditched his last name because it was “too silly”, also because Stanwick sounds British-adjacent anyways and that’s Piltover’s “thing” - but anyways) in new lore:

Piltovian professor.

Stole Blitzcrank from Viktor alone, who made the robot to help clean up a specific chemical spill. Viktor went to Zaun for a few weeks and came back to find that Stanwick had “held a symposium on Blitzcrank and presented Viktor's research as his own”. Viktor subsequently continued on his studies, culminating with him later being expelled for “violating basic human dignity”. Viktor returns to a laboratory that he had in Zaun.

Blitzcrank’s case is solely a university matter. Viktor petitions Jayce to help support his claim, but Jayce is Jayce and doesn’t help out. The “matter [is] decided in Professor Stanwick’s favor”.

Blitzcrank’s lore doesn’t really say anything about if people know that Viktor made him (them, technically, but Riot doesn’t get to make the robot non-binary), but I guess it’s implied in the 3rd iteration? (That would be the first new one, after the IoW retcon making most champions’ 2nd lores being the same lore with any reference to the titular League of Legends removed.) He works with Viktor in that one. It doesn’t fit with Viktor’s updated lore at all, actually, because it mentions Stanwick absolutely zero times. (A post for another day...)

Has nothing to do with Urgot, since Urgot’s different now.

So, the general plot of “professor rips off a student” is there, it’s just got an added layer of “professor rips off a foreign/out-group student” in new lore to tie into the overarching idea of Piltover exploiting Zaun. (Is Zaun considered foreign? Yes? No? It’s sort of textually implied sometimes to be another city, but can it actually be when it’s physically underneath Piltover? Is the metaphor in new lore a class thing, then? Is it both? Am I supposed to take Viktor’s Russian accent into account when reading this text? I don’t know.) Anyways, so far so... same, in the broad strokes. Unless Viktor’s villainy in old lore is specifically because someone from his city ripped him off, I don’t know how you can compare new/old lore and say that old painted him as a villain.

But what about the everything else I put there? We’re getting there - that’s part of Viktor’s in-universe stuff. I’m taking a quick detour out of universe, to Jayce’s very first lore...

Which had Viktor stealing a techmaturgical device from Jayce. While I can’t cite this, sadly - thank you, Riot deleting the old forums and me not having the patience to look through archives at the moment - there was a backlash around this on the forums. Why would Viktor, a character who’d been stolen from, steal in turn? So Jayce’s second lore, the one that most people were familiar with before the new lore update, was made. Now Viktor stole a crystal after trying to partner with Jayce, Jayce was less well-established as an inventor, he had a bit more character... All good things. (Also, this is probably where the new lore direction of them being former college colleagues come from.)

Also, as an aside: this is the first use I can see of crystals specifically being described as arcane power sources... The only other discussion of magical crystals was the Brackern... which was then merged into magical crystals having to be from the Brackern... Which means that...

But anyways! Clearly Viktor fans didn’t see him as a villain in 2012, or at least not one that would victimize others in the same way that he’d been hurt. They made such a fuss about it that Jayce’s lore was changed to paint Viktor more sympathetically! (When’s the last time that there’s been that much backl- oh. It’s Seraphine again. Anyways.) So, again, Viktor’s perception as an evil scientist mostly seems to have come from people who weren’t really familiar with his lore. So... case closed?

Except that I also want to talk about in-universe things! Everything that I told you to put in your back pocket! Because this post is already over a thousand words and I have thrown myself firmly into this vortex.

Viktor’s victimization by society [Joker meme] is actually probably worse in old lore, which is a fact that I think has been pretty overlooked. While new lore Viktor gets kicked back down to Zaun and gets his work stolen in academia - with Stanwick presumably never being questioned on whether or not he made Blitzcrank, because there’s that whole “Zaunites are bad” thread that is both in and out of universe... Old lore Viktor sure does get it worse, although I admit that this requires some interpretation of canon. His thing with Blitzcrank was, again, a “legal maelstrom” - and with Blitzcrank being considered a Zaunite celebrity before this court case, it seems relatively easy/logical to infer that this maelstrom was a very public case.

So all of Zaun gets to see Viktor crash and burn in court. I’d say that’s a bit worse than just academia seeing it, as is the case in new lore.

And then there’s Blitzcrank’s lore flat-out saying that “most now know the truth” about who made him. (While this lore does predate Viktor’s existence - isn’t it odd to think about a Blitzcrank made by a faceless team of generic doctoral students, rather than Viktor... and a faceless team of generic doctoral students? - I see no reason not to take it as canonical for Viktor’s original lore. There’d been minor lore touchups before, so if Riot wanted Viktor’s creation of Blitzcrank to be an unknown... they could have edited Blitzcrank’s lore.) But Viktor’s still on the fringes, and nothing in his lore (which, again, was written years after Blitzcrank’s) seems to acknowledge that by the time he enters the League we have confirmation, date-wise, that it’s been years since the truth came out. (Orianna Judgment, etc.) That’s to say: people knowing that Viktor made Blitzcrank does nothing for him - he gets no apologies or anything like that.

Of course, if you take League lore as happening concurrently and nix the Judgments and the League, I guess that this is tenuous - but working within the framework of when he was released, it seems clear to me that the implication of all this lore is (whether it was intended by Riot to be read this way or not) that no one in Zaun cares that Viktor was stolen from. It’s an open secret. No one’s seeking justice for him. But it gets worse...!

So, it’s generally known that Stanwick didn’t make Blitzcrank by the time that the JoJ is running. And he’s just a professor for most of the run of that part of the lore, until... Issue 27. In which he becomes Chairman Pididly, someone who is now implied to have political power. (I have to assume he gets the position due to the political goodwill from Noxus that his revival of Urgot must have brought Zaun, but that’s just interpretation.) But! Even though most people know that Stanwick didn’t make Blitzcrank - that he stole Blitzcrank - he ends up not losing his university job (he’s still Professor Pididly for most of the JoJ, after all) but... gaining political office!

All of this is to say that Zaun is so crooked that you can have the fact that you stole from someone and ruined their life revealed... and get a promotion to government! You can shatter an idealistic man who had a “hope to better society” and make him into someone like the Machine Herald and face absolutely zero repercussions. I think that that is significantly worse than how new lore Viktor’s victimization by Piltover consisted of an academia-only dispute that left him with just some bitterness... New Viktor was, after all, kicked out of Piltovian academia for ethics violations, not for Blitzcrank.

Everything surrounding old lore Viktor is a bit harder to piece together, since you have to look through a few lores and make a few inferences, which is why I think that people don’t realize exactly how bad he had it... (That and time erasing memories, or people being new to the fandom, or people not being interested in Viktor, or...) But he had it bad, and I’m honestly disappointed that we never got to explore much of Zaun’s particular brand of corporate corruption in canon. Now they’re the perpetual underdogs, both victims and villians, and Riot isn’t quite sure how to write them beyond constant exploitation from Piltover. (Even the chem-barons have taken somewhat of a backseat lately in new lore, from what I’ve seen - Piltover seems to be the primary cause of Zaun’s ills, because the combined region is now an upper city/lower city metaphor about class. The chem-barons just seem to be written as a result of Piltover’s ignoring of Zaun - because Zaun seems to be more of an undercity than a sovereign city or state, but that varies depending on whatever piece of lore you’re reading and... Another post, another time.)

So. TL;DR: Viktor’s always been a character who was victimized by a city, be it Zaun or Piltover. Viktor’s always been a character more complex than just a maniacal villain, although it takes more work to see that in his old lore as compared to his new. (His new pretty much screams “we are trying to make him and Jayce morally grey”, after all.) This victimization is arguably worse in old lore, as it’s implied that he went through a very public legal case that ended with Stanwick taking credit for Blitzcrank. In addition to that, Stanwick’s subsequent shift to politics implies that Zaun is so corrupt that most everyone knowing that he’s a thief isn’t an issue at all. He’s untouchable.

Viktor’s always been the result of an idealistic man being crushed by a society that doesn’t care for him and his dreams. That’s nothing new.

[rosemary-is-in-pesterquest]

okay I gotta get something off my chest about Eridan's pesterquest route cuz I never see anyone get annoyed about it and it drives me nuts. y'know how he talks about liking wearing feminine clothing and talks about gender identity stuff? it's been forever since I've revisited this, but basically, I thought it was super weird the first time I played that route cuz it kind of like... mischaracterizes Alternian society?

like, hear me out cuz this shit gets a little odd. first of all, gender arguably meant very little to the trolls in terms of social restrictions or roles and expectations, and I think that's because of the broader theme of the trolls having different issues than the humans. see, it was always sort of a part joke, part worldbuilding, part social commentary sort of thing, that some things that were a big deal to humans weren't a big deal to trolls, and vise versa. for example, sexuality is basically a non-existent issue for trolls, and due to the way reproduction and genetic diversity works in their species, it's basically impossible for them to care about incest as we know it, and gender doesn't seem to matter as much to them socially when it comes to dating. meanwhile, the humans don't understand anything about the hemospectrum, and the complicated web of issues faced by those lower or higher on that spectrum. we see everyone struggle with their position, from Feferi putting in the work of staving off genocide by keeping her lusus fed, to Equius's trouble reconciling his natural inclination to behave subserviently with his class's expectation that he subjugate those lower on the spectrum, to Vriska's own struggle to survive by ruthless means... high bloods don't necessarily have things easier. but those lower on the hemospectrum are subjected to a lot of cruel systemic threats, which are often the direct result of the expectations that high bloods face. it's all pretty complicated, and the human kids are at a total loss... they have no clue about any of this.

so with that being the case... the things that Eridan was saying about his gender identity just seemed like they were issues imported from human society, rather than issues that would actually manifest that way on Alternia. on Alternia, it's doubtful that anyone would give a shit about gender identity, to the point where I doubt there'd really be much discussion around it. Alternia is kind of a rude and ornery place by nature... part of the joke is that Altenians may be literal aliens called trolls, but their society also produces a population of rude and ornery people that communicate primarily online... making them also internet trolls in the expected sense. therefore, if they find something that they can pick on you for, they will do it. Vriska clearly displays that this is a no-holds-barred kind of bullying, when she harasses Tavros for having a disability that she caused... and that makes cultural sense because Alternia has such a heavy focus on resilience, and physical strength. they're very survival oriented, so making fun of someone for a perceived physical flaw is very in character, no matter how horrible it is. but nobody makes fun of anyone over, say, sexuality. because it is literally unremarkable, and it would not get under anyone's skin to mention it. it's not even out of benevolence that nobody touches that topic... it's literally not on anyone's radar, because it doesn't matter. and I think gender identity is the same way. the only mention of gender I even remember from the trolls in homestuck, was Karkat telling Tavros that he should stop playing games that are for girls... but what Karkat meant was "stop playing games where you're likely to get murdered" because the girls he was talking about were TEREZI AND VRISKA. the game is called FATAL live action role playing, and Vriska explicitly uses the game to KILL PEOPLE. and that's literally the only thing I can remember about the trolls mentioning gender amongst each other. outside of that, it seemed similarly off of their radar, and a lot of the troll girls are so excellent as characters because they aren't subject to the narrative making them adhere to human "girl expectations".

and all of this makes it a lot more transparent that what the writing in Eridan's pesterquest route was really trying to do, was retcon the whole "March Eridan" meme of old, into something more progressive than it actually was. originally, the joke was just "boy in awkward looking drag = funny joke" and/or people finding it hot, which is like... standard fare for that era of fandom, but your mileage may vary on how irritating you find it. they could've just left that whole thing in the past, or just mentioned that he had the outfit in his wardrobe as a cheeky little wink/nudge to people who know what it's getting at... but no. they had to have him go on some lengthy monologue about gender identity, which Eridan in actual homestuck probably wouldn't have thought about for 2 seconds... and then they follow it up with the whole Sollux conflict?!??!!!

I'm sorry, Eridan barely knew Sollux existed and probably would never have given him the time of day before he got involved with Feferi. and Sollux and Feferi similarly had absolutely nothing to do with each other until he saved her as they were entering the medium. he literally died for her, but prior to that, I'm pretty sure they didn't know each other at all. and, and, AND. Sollux mainly needed Feferi as a rebound to help him fill the void left behind when he lost Aradia! Aradia has not died in pesterquest! Sollux has a bit of a thing for girls with chipper demeanors who act as a counterbalance to his negative outlook. but tbh, Aradia is a better fit for him because she acknowledges macabre and depressing things, but doesn't let it get her down. Sollux's troubles are acknowledged with a genuinely warm response, rather than glossed over with a coat of sunny optimism. Feferi tries to help Sollux, but it isn't perfect... and then Eridan crashes into the middle of it all expecting even more wild shit from Feferi, who honestly just can't catch a break.

so basically, if Aradia hasn't died, then Sollux has no reason to be interested in Feferi. and if Sollux isn't interested in Feferi, then Eridan has no reason to give a shit about Sollux. and when you add that to the gender thing... Eridan's whole route totally unravels. I'm not saying I don't support the idea of Eridan being GNC or trans in some way... I'm saying he probably doesn't have an oppression narrative because of it on Alternia. the whole point of the difference between Alternia and Earth standards, is to lampoon the importance of both of their issues, by showing a contrasting society that just doesn't have the hangups that the other side considers to be SO fundamental and SO important. it's like whoever wrote that route didn't understand this at all.

OOOO THIS WAS A VERY INTERESTING READ

[elriel-oblivion]

Okay here's the thing.. I respect everyone's opinions and they can ship whoever they want but like... For Elucien and Gwynriel... I literally cannot even see how. I would gladly ship them if someone gave me a valid reason. Elain avoids talking or even being in the same room as Lucien, and Azriel had one polite conversation with Gwyn. Az is just nice to her. As nice as he would be to any female. Elriel has foreshadowing & chemistry- The roses painted on her drawer and the rose necklace...👀

Strongly agree with all of this!! My main problem with anything that's not elriel is that a lot of anti-elriel shippers completely ignore or erase Elain. With these ships, it's always what benefits Elain does or doesn't bring. It's so misogynistic, people just ignore everything she's mentioned about her own heart and how she doesn't want a mate or the bond, she doesn't care for it, but oh Lucien's had such a hard life, he deserves his mate!!!!!

😒😒😒

Surely he deserves someone who wants him as much as he wants them, no?

Non-elriel-endgame with the canon we currently have would mean Elain's choices are stripped once again since she'd have to give up/lose the love she actually wants in favour of one she doesn't want that's attached to some cultural concept that means zilch to her and her human heart. I mean, sure sjm could spin it so Elain catches feelings for Lucien and they end up happily mated. But then what is the point of having Elain constantly avoid him for three books? That's not even setting up for a good relationship bc every time they interact/meet, the communication just gets worse.

While I can honestly see the potential of gwynriel bc platonic interactions can later become romantic, I still don't ship it bc it doesn't feel right the way elriel does to me. I can def see gwynriel becoming a strong healthy friendship, but if it's endgame then Elain ends up with Lucien, whom she visibly shrinks from and has been avoiding since acowar. She doesn't feel seen by him at all - as much as I love Lucien and truly do want him to have his own HEA, we can't deny that he's really just pursuing (I use pursuing in the loosest way since he's very respectful about it 😅) Elain bc of the bond. If we take that away, there's nothing between them imo and he probably wouldn't give Elain more than a passing glance for her beauty and that's it bc she's not the type of girl he's into.

But people don't wanna think about how that makes Elain feel. This girl who previously felt seen by only one person - who then rejected her bc of that bond itself - and craves someone to see who she truly is, is being courted by someone who doesn't actually like her for her, but just the idea of what a relationship with her would entail. He's only trying bc of some divine belief she doesn't share. That must suck like hell. It's almost objectfying, the bond. And again, I don't blame Lucien at all, not even for trying bc it is something that's important to him and his culture, but it's not a mutual thing. If it were important to Elain too and she just wasn't cooperating bc of some stupid shallow reason, then I'd be angry at her. But that's not the case at all.

But with Azriel, the first person to see her since Graysen, there's so much potential for growth - for both of them. They make each other feel seen. And for all that antis say neither has grown in the time they've known each other, how did Az pluck up the courage to almost kiss Elain after having not done anything with Mor for five centuries? How did Elain initiate that kiss - ie have the courage to follow her heart again after having it torn and shredded by Graysen? And anyway, weve never seen into Elain's head so we don't know what she feels has changed within her; we can only detect subtle changes from other povs, but there might be some huge changes in her learnt from Azriel, maybe about her outlook on life/strength, that she's just keeping hidden for the time (or that no one has bothered to see bc Elain is invisible 😭). Same with Azriel. One little chapter isn't gonna tell us everything he's been thinking the past two years.

But either way, we know now that they both have feelings for each other. Why is a mutual healthy relationship shut down so quickly, one where both partners' choices are taken heed of? If Elain had said no in that moment, Azriel would've stepped back instantly, no questions asked. He probably would've have some huge internal conflict about his own self worth but he wouldn't have gone further without Elain's consent. He's already shown he respects her, he said they've been sharing looks and touches, and these are things fandom eat up, so I don't understand why it's suddenly wrong or unwanted just bc Elain makes up half the ship.

And there's so much foreshadowing/symbolism that antis seem oblivious to, which, fair enough, interpret the text how you want. But even if somebody doesn't see the spark or blooming feelings between the pair throughout the books (how do they explain away all the stiffness whenever one of them is mentioned or is in the same room or something though? Genuinely curious here), there's a lot of plot foreshadowing. The Blood Duel has now been mentioned twice, as has the idea of breaking the bond, maybe more. There's the issue with Koschei and Elain not being able to see things related to him past mist and shadow. There's all this potential conflict that could arise between the Courts if elriel pursue their love, and conflict is the driving force of any novel.

If gwynriel were an IRL couple, I wouldn't care if there were never any conflict, but if I'm reading their story, I want more than just them falling in love and having internal conflict about whether they should kiss the other or not. Especially if the backdrop is a fantasy world on the brink of war with many players. I saw a gwynriel post mentioning Merrill once and while I do think she has the potential to be a running antagonist, I don't see her as anything but a subplot/crony for/associate with another stronger villain. I don't think she could carry a whole novel at the moment. So Gwyn is tied to nothing in the overarching plot. Same with Az. Not to mention all the theories about the Koschei/Swan Lake/firebird folklore that is potentially inspiring this new series in the acotar world. Of course, this could all change as we get more info about the next book/s and all, but compared to elriel certainly, I don't think there's as much conflict with gwynriel.

Ultimately, I don't claim knowledge of the next books' content, so I don't really care what people ship, but the main thing I take issue with is how they treat Elain in the midst. A lot of gwynriel arguments I've seen portray certain acts in a romantic/positive light for Gwyn but either completely ignore or erase any semblance of romance for Elain or tear her down. Like, we shouldn't push the narrative that Gwyn as an SA survivor can't have healthy meaningful sex in the future (yeah, of course I agree), yet some of the same people who say that are also people who judge and make fun of Elain and call her too vanilla for Az without having a clue what her bedroom habits/preferences are 🤯 This is just one of many. There are so many double standards I've seen for gwynriel against elriel and I'm just tired of it. And even if they're not doing any of that, they simply hate Elain and don't want her to be with Az and so ship gwynriel as the next best alternative. Like, can they not push down Elain in favour of Gwyn, please? That's so misogynistic 🤮

For all that this fandom flaunts the series being feminist with strong female characters, they sure do a good job in tearing down females who don't fit their definition of strong, despite even Feyre stating and acknowledging multiple times that Elain has a different kind of strength 😒

Gahhhhhhh. *exhales deeeeeeeeply* Sorry this is so damn LONG!! 😅😅😅😅😅 I did not expect to write a whole bloody essay lol but I hope it was fun/comforting to read at least 😅😆 I know I fall back on elriel posts when the ship war gets too intense bc I actually enjoy shipping elriel. They've become my otp, and I absolutely adore both characters of the ship; I think most of us elriels do. I haven't really seen any elriel stans who dislike/don't care for Elain and her welfare so it's nice being in this corner of the fandom where we can appreciate both Az and Elain equally. And of course, the other characters with their due respect. I truly do want Lucien to finally get his good life, but I don't think that's with Elain 😕

[maldito-arbol]

Let’s talk about the GP zodiacs (Part 2)

HOLSY HSIT I LOVE THE GP KIDS SO MUCH AND THEIR SIGNS ARE SO INTERESTING

Thank u to puff-poff for shooting me with an ask about the gp kids, I think our brains just assimilated

One more note: I should’ve mentioned this in my last post but compatibility between signs doesn’t only apply to romantic relationships, it applies to any kind of relationship like friendships, family relations, etc. It’s just that when it comes to more platonic relationships, wholly incompatible signs are more likely to be able to work something out together. As an example, I’m a Gemini, and I’m about 300% certain I could never ever in my life date a Pisces, but I do have a few Pisces friends that I get along well enough with.

Okay same drill—sign, element, infodump, GO

Violet

Birthdate: June 12th

Sign: Gemini

Element: Air

Overview: SQUEALS GUYS ITS VIOLET MY BELOVED. WE’RE BOTH GEMINIS THEREFORE WE ARE THE SAME PERSON. I’m kidding but no, Violet being a Gemini makes her 100x easier to project onto. So I mentioned before that Air signs are the least in tune with their emotions, are the thinkers before they act, are horribly indecisive, and these very much apply to Geminis as well. However, the most iconic trait of a Gemini is the ability to switch personalities at the drop of a hat whenever it services the group of people they’re in—what most people call the ‘two-faced’ part of Geminis. Hey, I promise you that being two-faced is actually a pretty cool and useful asset when in the hands of a decent human being. It means we get along well with a lot of different people, and if we don’t, we can act like we do as if it’s nothing. This asset, however, can turn into a curse of sorts in that a lot of us have...NO IDEA what our actual personality is. We reshape and remold ourselves and copy traits from other signs to fit in so much that we lose sight of who we are as an individual, and therefore we have a very hard time figuring out what we truly want. This is where the indecisiveness comes into play—ask a Gemini what they want for lunch and you’ll get a “what? Huh? Oh, you pick. I’m fine with whatever.” I know Geminis best because I am one, pls forgive me for rambling so much more about them than the other signssss.

Okay so first of all, let’s talk about Violet adapting to other characters to ‘fit in’. It’s not as obvious because Violet DOES seem to have one very fixed personality, but Violet prefers to speak through actions rather than words, so I would call her following Emma to help the children at GP a Gemini move. She could’ve simply dragged her to Lucas—she’s probably strong enough to do so, but instead she decided to go along with her. This isn’t to say there’s no pushback of course, as Air signs Geminis aren’t idiots, so they’ll often try to reason with others (particularly fire signs cough cough) to try to bring logic and critical thinking into the conversation. However, when that fails, they can still be counted on to support their friends even if they disagree. This is why Geminis and Leos are soulmates you heard it here, the stars said Violemma is the way. BUT ALSO CAN WE TALK ABOUT HOW VIOLET’S THE ONE ADAM LISTENS TO DURING THE LEUVIS BATTLE. YOU WANNA TALK ABOUT BEING ABLE TO GET ALONG WITH A LOT OF PEOPLE, THERE YOU GO.

Anyway it’s also very much worth noting that while Violet can seem very harsh at times (bc Geminis will put you in your PLACE), bringing her logical kind of advice into conversations can be a very helpful comforter.

On another note this scene is so gay?

Compatibility and ships: hellooooooo Air sign Violet you are compatible with other Air signs (Aquarius, Libra, and Gemini) as well as Fire signs (Leo, Sagittarius, and Aries). Usually you’ll see Aquarius and Sagittarius as the most compatible with Geminis but I disagree with that because I have never met a Sagittarius I like so I’m still pointing fervently at Leos and the fact that Emma is a Leo. Listen. Violemma is the way. I am determined to convert all of you to Violemma if it’s the last thing I do. Geminis simply cannot help themselves around Leos they fall like a fucking anvil for that bright, golden-hearted dumbass energy. If there’s any Leos in the tpn fandom let me know I might just propose to you.

Oliver

Birthdate: October 25th

Sign: Scorpio

Element: Water

Overview: the first time I looked up Oliver’s birthday I went “Scorpio???? REALLY????” but then this is another case where the more I think about it, it does indeed make sense. If Leos are the natural leaders of the Fire signs, then Scorpios are the natural leaders of the Water signs. Where Cancers and Pisces will often lose themselves to their emotions, Scorpios have a very strong handle on them. I mentioned before that Water signs are at the highest emotional level, but Scorpios are a bit of an interesting case because you oftentimes won’t even notice that they’re very emotional people. They try to act like Air signs in that way, but their true colors are always there, waiting to be coaxed out.

For Oliver, you can clearly tell that his emotional bond with his friends and especially with Lucas is very high—but even so, he doesn’t let his emotions cloud his judgment or his ability to adapt to the situation at hand. Where earth signs are very fixed and difficult to move, water signs are always moving and changing to find solutions best suited for new circumstances. The best example I can give is the part where the music plays early, and despite internally panicking about it, Oliver is the one who naturally steps up to calm everyone down.

Scorpios are great at handling others’ emotions as well as their own, which makes them marvelously empathetic leaders. We stan.

Compatibility and ships: as a Water sign, Oliver is compatible with other Water signs (Cancer, Pisces, and Scorpio) as well as Earth signs (Taurus, Virgo, and Capricorn) so speaking broadly that makes him compatible with Pepe (a Pisces) and Zack (a Cancer) but narrowing it down, Scorpios are usually best with Tauruses and Cancers. Idk if I’m the only one who ships Oliver with Pepe but I know there’s a few people who ship him with Zack—so congrats to you guys, you won the stars’ approval.

Lucas

Birthdate: November 28th

Sign: Sagittarius

Element: Fire

Overview: yall,,,, when I found out Lucas was a Saggy Titty I legitimately guffawed out loud. Lucas and Sagittarius is so funny.... because it’s so wrong. Saggy Titties are the definition of chaos, they’re brazen, impulsive, and constantly changing. Like think of a frat boy in a house full of beer and pool tables and hot girls and you get Sagittarius. This is why I have never met a Sagittarius I like—because they have frat boy energy, and even non-male Sagittariuses require wayyy too much energy for me to handle. I guess the only time Lucas really does act like a Sagittarius is in his childhood with Yuugo, and the way he’s a lot bolder and outgoing versus the quieter older Lucas we have now.

It is important to note that Lucas has been through a lot of trauma and lost a lot of comrades which could very well change the a person’s entire outlook and turn their personality 180 degrees—that could be a large factor, although on the flip side, Yuugo still fits his Capricorn sign even after going through what he’s been through. Different events affect different people differently. Lucas was most likely knocked entirely off his Sagittarius high-horse very quickly when he arrived in Goldy Pond. But if I had no prior knowledge of who he was beforehand, I very well might’ve pegged him a Leo like Emma or even another subtle Aries like Norman. So yes, he does indeed have fire energy, it’s just generally very lackluster and farrrr away from Sagittarius’ level.

Compatibility and ships: okay so I know the only Lucas ship with any weight to it in this fandom is Yuucas, and here’s the thing,,, A Sagittarius and Capricorn combo is the most horrifying fucking couple imaginable and I’m stan so hard. Realistically speaking, your Capricorns would try to put a leash on their Sagittariuses because man. I forgot to mention how childish Sagittariuses can be (though the frat boy comparison should’ve been a clue), and holy shit that poor Capricorn is gonna get ripped to shreds by their Sagittarius. Imagine like a super pompous cowboy trying to ride a furious bull that’s trying to buck him off like there’s no tomorrow. Capricorns are people who want complete control over themselves and their partners, while Sagittariuses,, Saggy Titties just want to see the world burn. Put them together and you could probably cause the End Times Apocalypse. But you know what? Good for them. I think Yuugo and Lucas love each other enough that the toxicity that comes with typical pairups with these two signs is about nonexistent between them. But I fully believe they could still destroy an entire planet and that’s valid of them to do so. Anyway moving on!

you wanna talk about another Sagittarius that makes absolutely no sense?

Paula

Birthdate: December 9th

Sign: Sagittarius

Element: Fire

Overview: My authors I am begging you, stop putting character birthdays in the Sagittarius zone you clearly don’t know what a Sagittarius is.

Since I refuse to acknowledge Paula as a Sagittarius, let’s talk about what sign she actually acts like because I said so. Paula’s a Virgo. Fight me Shirai. (Also im sus that shirai is virgophobic because where the fuck are my virgos. There’s like zero major characters that are virgos, and the characters that ARE don’t even act like virgos. I’m coming for your small intestine Shirai) so as earth signs, virgos are generally pretty resourceful and of course level-headed. They’re kinda shy and reserved, but they’re also very hard workers you can count on when you need to get a job done. Nary will you find a Virgo that procrastinates or attempts to weasel their way out of a mission they’ve been given. The unmovable earth in virgos shows through in how committed they are, and we can see all these traits in Paula. Though she’s a quieter member of the GP resistance, you can tell just how much of an asset she is to them. She doesn’t run, doesn’t lose her cool, and she’s good at pointing out important details.

Pls let me decide your characters’ birthdays for you Shirai I promise I am good at it.

Compatibility and ships: I guess, astrologically speaking, as a Sagittarius, Paula does fit pretty well with Sonya because she’s a Gemini. I actually know next to nothing about Paula ships but I do know she’s lesbian and her and Sonya are cute but I also ship her with Barbara because reasons don’t ask questions I WILL bite you anyway they’re compatible too because barb’s also a Gemini.

Lot of Geminis, don’t you think? Yes I do. Let’s talk about them.

Sonya and Sandy

Birthdates: June 3rd and May 22nd respectively

Signs: Gemini

Element: Air

Overview: these two are what I call the gemini twins bECAUSE THEYRE ALWAYS HANGING OUT AND ITS SO TRUE GEMINIS LOVE EACH OTHER BUT ALSO ITS SO WEIRD THAT WE GET ALONG. imagine like two of those one way mirrors facing each other where it just goes on and on and on for infinite mirror and that’s what two Geminis hanging out is like. Look, they’re literally thinking the same thing and it’s so great

Anyway there isn’t a whole lot of Sandy and Sonya content to go off of in the first place, but them being Geminis seems reasonable to me—at the very least they are indeed meant to get along well and they’re so in sync I could cry. Plus they’re pretty intuitive and able to think right on the spot as they’re facing Nous and Nouma (at least at first) My man Shirai also.. really likes Geminis for some reason because they keep popping up. So instead of one Spider-Man meme it looks more like this,

Compatibility and ships: not gonna dwell too long on this section because from previous ones you may already recall they’re compatible with each other and I guess with Paula as well as I must begrudgingly accept the fact that shes canonically a Sagittarius.

Pepe

Birthdate: February 19th

Sign: Pisces

Element: Water

Overview: so I mentioned before that water signs are at about the highest emotion level, which makes Pisces a very sensitive group like Cancers. But Pisces in general are known for being the kindest and most accepting people as well, which means they’re able to make a lot of friends very easily. They’re basically that one person you sat next to in class who started a conversation with you just to be nice. Now again, there’s not a whole lot of Pepe content to go off of, but we can tell he’s kind and loving to his friends and the other kids in GP. One thing I can mention is that Pisces usually are the one of the nosiest of the signs, and they get very bothered by lies and secrets (this is true for a lot of water signs, but Pisces are the worst in my experience) so we got this single piece that may have a little bit of the Pisces in Pepe showing:

Compatibility and ships: So as a Pisces, Pepe is only compatible with Oliver and Zack considering they’re also water signs. Everyone else is Fire and Air, funnily enough, but the Pepe ships with those two are super cute I think so it’s ok.

Zack

Birthdate: July 7th

Sign: Cancer

Element: Water

Overview: so do I think Zack fits his sign? Yes, in a way I do. I already went into Cancers when I explained Don, so quick recap: Cancers are some of the most sensitive and empathetic, so their loyalty to their loved ones is pretty close to on-par with an Aries. And while Zack isn’t as outwardly emotional as someone like Don, the Cancer in him shows up well in that he’s constantly taking extremely difficult missions he doesn’t want his friends to risk, and he shrugs off any injury to himself.

This might just be a me thing but almost every Cancer I’ve met has a habit of doing That. I am so concerned for their safety. I guess though, if I hadn’t known his sign beforehand, I 100% would’ve pegged him an Aries.

Compatibility and ships: I already went over this with Pepe, but Zack is compatible with Pepe and Oliver. Y’all ok listen to me. OT3. Make it happen. Between them they have every sign in the element of water. They’d be unstoppable.

Gillian

Birthdate: September 30th

Sign: Libra

Element: Air

Overview: here’s a fun one. So as I previously stated, air signs are usually out of tune with their emotions, but where that causes Aquariuses and Geminis to repress or hide them, Libras,,,, just dump them everywhere. Listen I know Libras are supposed to be the sign of the balance scales and they have a thing about the world being perfectly balanced which makes them more prone to revenge bUT ALSO. MY first and foremost takeaway from Libras is that they all suffer from Rich Bitch syndrome, in which they obsess over material items and every Libra has a thing about cute girly stuff change my mind. HOWEVER, they’re often very chaotic as well, the kinda Sagittarius of the Air signs. So like a super cute and seemingly fun girl who will probably murder you in your sleep.



I’m sorry I can’t take it I’ve been laughing at this for the past fifteen minutes it’s too funny. Anyway, Gillian’s Rich Bitch Syndrome appears through her fashion statement. Her PINS. omg. Gillian your Libra is showing.

Compatibility and ships: as a Libra Gillian is compatible with other Air signs (Aquarius, Gemini, Libra) as well as Fire signs (Aries, Sagittarius, Leo) but she’s most compatible with Aries and Sagittarius so—— Paula yes, but also Nigel because he’s an Aries! Speaking of Nigel,

Nigel

Birthdate: March 27th

Sign: Aries

Element: Fire

Overview: Aries Nigel doesn’t come as a surprise, let’s be real here. I delved into Aries before with Norman, so just as a recap: Aries are so intensely loyal to the ones they love and would do absolutely anything for them even at the cost of their lives, and this can make them prone to outbursts of anger and/or impulsivity. Here’s your one image of Aries Nigel, I don’t even have to explain:

Compatibility and ships: so I already said this but Nigel is at his most compatible with Gillian. Are there other Nigel ships?? Pls let me know I’m very curious.

Aw, it’s over now :(

I loved talking about the GP kids they fill the void in my heart. Now to move onto talking about the demons because the silliest idiot requested it and I am beyond ecstatic to spout pure headcanon bullshit. If you’re feelin excited then feel free to keep sending characters my way I will be happy to ramble about their canon zodiac or my headcanon for their zodiac

Edit: i forgot to link part 1 to anyone who wants it and doesn’t want to stalk my profile to find it