#like an identity arc applies to so many characters here

[ilynpilled]

I do not know if I like the label “identity arc” either when it concerns Jaime. Or at least how a lot of people define it in context of his arc, and how it is used in the whole ‘redemption’ discourse. One of the most integral aspects of Jaime’s story is the fact that he is so viscerally aware of certain aspects of who he is deep down. All of his chapters are labelled with his name. It is never Kingslayer or GHTJ. “Jaime. My name’s Jaime” is as clear of a declaration as one could get. Even if he does some self deluding, even if he represses his subconscious, his facade of cynicism enabling his behavior so he does not crumble under the weight of his self-concept, and even if he often plays into a fabricated persona. He is aware of who and what he is, specifically what he turned into. That is the problem. He knows who he is/was, and he hates it. Not just because how it is perceived by other people, but also because of how he perceives himself. I never understood this opinion that he has no guilt, there are so many instances of shame and self-hatred, and he is faced with a lot of his guilt in dreams (the subconscious communicating with the conscious). Not to mention his passive suicidal ideation. His arc is about redefining and transforming Jaime, and finally confronting Jaime, not necessarily about just realizing what Jaime was at his lowest. He knows he is a boy that dreamed of becoming Arthur Dayne but turned into the Smiling Knight instead. His arc did not end with him discovering this. It becomes an arc about the weighting of his values. It is about making choices and agency. The exploration of identity and redemption work hand in hand they are not diametrically opposing concepts at all here. He is who he is, and that means he is the one that can make choices to change. “…but the rest Jaime Lannister would need to write for himself. He could write whatever he chose, henceforth. Whatever he chose . . .”

[stardustdiiving]

I would love to hear more about your thoughts regarding Wanderer being trans whenever you find the time to write about it more!

(follow up to this post)

AWESOME. okay. So. This got super long and I keep nitpicking if it clearly says every single thought that goes through my head or not so I’m just going to post it

There’s many interpretations about this headcanon I enjoy, but one particular angle I would find interesting to explore that I’ll pitch here is basically centered on a characterization where Wanderer’s internal relationship with his own transness is very tied with his non-humanness, maybe even more so than his gender.

The appeal of this angle for me is essentially having a character’s queerness tie into genshin’s overarching themes about identity & personhood, especially in regards to the relationship between divinity & humanity—themes that obviously apply to Scaramouche (and also basically every other not human genshin character I can think of that people generally agree are engaging characters)

Scaramouche (which name I use for him is intentional & reflects what era of his life I’m talking about) to me is someone who basically enforces a sense of apathy over his own emotions, especially ones relating to his sense of identity—he seeks godhood in hopes of being able to purge himself clean of experiencing (human) emotions, and therefore the vulnerability & trauma he associates with having them.

Intuitively I can see him feeling a similar conscious apathy about his gender: I see him as viewing gender identity as a “too human” trait and therefore something he’s above, basically—which is really a deeper deflection of his own insecurities with his personhood/identity.

So to Scaramouche, internally, anything about his transition or transness is less about gender and actually far more about his desire to obtain godhood, and this is a mental narrative he really sticks to because it fits in comfortably with his hatred of humans and desire for a purpose/identity for his existence as a non human entity “without a heart”.

If this were a fic I were writing, Scaramouche would undergo a lot of physical/medical transitioning during his time as a Harbringer and he would essentially be narrating & viewing anything gender affirming thing he does as him becoming closer to godhood and further from being human. This would contrast how I’d portray Kabukimono earlier on in his arc—where I imagine Kabukimono took on a lot of social transitions based on observing humans and building a sense for what human things he liked to participate in or mimic.

Kabukimono, in a manner similar to Scaramouche, might sometimes categorize some of his transness as relating to being more of a puppet/nonhuman origin thing than a gender thing, (ie getting gender dysphoria from having long hair but rationalizing it has more to do with not wanting to look like Ei), Kabukimono was more in a position of building towards his transness being a positive thing that affirmed him his sense of personhood & sense of belonging with others. By the time Scaramouche reaches the point of resenting humans, and in turn resenting his own sense of humanity in his arc, he needs to establish all parts of his identity as the farthest thing from human as possible

The irony, however, that I’d highlight in the hypothetical fic of this, is that Scaramouche’s experiences with his transness are narrated as being things no one could ever understand because of how inhuman he is—while in practice you see a lot of his trans experiences are actually pretty common ones many trans people would understand.

So like, Dottore does his canon typical physical experiments/modifications on Scaramouche, and the entire time Scara is undergoing but also gloating the entire time how he’s able to endure this because he’s not as weak as humans are—and this continues when, at Scara’s request, Dottore gives him Evil Mad Scientist Top Surgery, and he’s having this snide internal monologue about how godlike he is because of all the inhuman ways he can physically modify and mold his body to be to his liking, and then suddenly he looks in a mirror and sees himself with a flat chest for the first time and just has… like, a moment of very genuine happiness with feeling more like himself for the first time, and processing all the ways he can exist more comfortably in his body without having to work around dysphoria constantly. He imagines himself existing among humans in these brief thoughts without even realizing it, and the idea is this is written in a way that makes him sound very human—and how he seems happier when he lets himself be.

Meanwhile Dottore in the background is just, very nonchalant about this and makes some bored comment about they ought to not delay more important procedures any further if he wants to ascend to godhood anytime soon. Scaramouche kind of snaps out of it & back into his usual sort of headspace/mindset and kind of sneers at him how this was a far more significant step in ascending to godhood than Dottore could ever understand.

And after he says this he mentally pauses, because he really hadn’t been thinking of it like that before—and then wonders if it was true, because it wasn’t an experiment that made him feel more powerful like the other ones had. What he feels now is something other than more powerful—but there’s not really any other explanation for this reaction. More godly, maybe. It makes him feel not more powerful, but closer to what he wants—which is a god.

So from there my idea is Scaramouche kind of…attributes the joy associated with his top surgery, and other similar major landmarks in his transition, with his pursuit of godhood. It spurs him on to want to be a god even more, because it's solidified in his mind as the one thing he really needs to be himself/truly happy

And then he does finally reach godhood—and is plugged into the Everlasting Lord of Arcane Wisdom’s body, he’s just finds himself feeling disappointed.

He has this minor mental crisis about it where he’s not unsatisfied—he’s more exhilarated than he has ever felt in his entire life, because he feels unspeakably powerful in the way he should be. It /is/ everything he wanted, and he savors the sheer triumph and power of the movement, but it’s just not the same. It’s not enough to make him regret what it took to get here but he’s really frustrated, because he doesn’t feel happy. Which is not an emotion Scaramouche really cares about, but even one thing he wants being somewhat out of his reach when he had hoped to suppress all the unpleasantness of having emotions is deeply unpleasant for him.

I think the next time Scaramouche really feels something close to what he’d been missing is post Inversion of Genesis, after he becomes the Wanderer.

In this narrative I think it would be an extra kick in the face that Dottore had helped him with part of his transition while Scaramouche watches Dottore kill Niwa, where Dottore basically affirms Scara’s dehumanization while Niwa insists on affirming his humanity with his dying breath. There’s the obvious violation violation of realizing someone basically sabotaged your support systems to isolate/alienate you from the world, then manipulated and groomed you into joining the fatui so they could experiment on you for their own satisfaction and intrigue, but he also finds himself grappling with recontextualizing alot of his interactions with Dottore, and coming to this conclusion that Dottore was only ever vaguely interested in Scaramouche’s potential for godhood, and doesn’t care about…this other part of why that was important to Scaramouche as a person. (Which is his transness, basically)

It’s not that he ever believed Dottore cared about him or wasn’t pursuing his own interests, but I think recontextualizing how dehumanizing Dottore’s treatment + view of him is, forces him to really pick apart his transness vs desire for godhood, and realize there’s sort of a distinction between the two he hadn’t been making.

Post IoG I think this line of thinking, along with learning Niwa hadn’t betrayed him making him hate humans much less, lets Wanderer start developing a much healthier relationship with his transness, and also just his entire identity in general. He can reconcile with his own humanity, which lets him reflect on himself more, and I think eventually he can come to an answer on why becoming god wasn’t what he needed to be happy with himself + his gender.

So essentially I’d write present day Wanderer as being more comfortable with his gender than Scaramouche would be. If I were to apply our contemporary English labels/language to his gender I think he’d more or less jsut view himself as a trans guy, but I guess by technicality has a sort of “non binary” gender bc he just doesn’t view himself in terms of human binaries due to being a puppet?? That’s just my own characterization tho. All in all I bend characterizations of characters’ queerness in line with what whatever sort of transformative work I feel like doing so this isn’t even the only way I’d write trans Wanderer. Just usually the one I go off the most when portraying him as a character

[the-doctor-needs-a-river]

So, going into this tentatively because there are a lot of strong feelings going around.

People are so traumatised (and validly so) about queer/disabled character deaths from shows with horrible representation and queerbaiting that this has become almost the automatic response to the death of any queer/disabled character. In a lot of situations (cough cough spn etc.) this is absolutely the case.

HOWEVER.

What people are missing is that this doesn't apply to a show in the context where multiple characters are (respectfully) represented as disabled (Lucius, Ed, Jackie, Wee John, Prince Ricky) and nearly every single character is queer. The beauty of the intention here is that a queer/disabled character gets to just be a character. There's no tokenisation there. So when a character like this in this kind of context dies, it's just a character death.

Because of good representation, there is no malice in the death.

Add into this the fact that the death makes perfect narrative sense when viewed through the larger narrative lense of the main point of this season being Ed's emotional arc, it's actually very good story telling (can go deeper into this if requested). That's not saying that it doesn't hurt or that it doesn't feel unfair: that's what good story telling is supposed to do.

I think it's easy to, especially after the first 2 episodes of s2, try and villainise Ed, but I think that's a narrow understanding of what was going on. Yes, Ed was physically abusive to Izzy and the crew, but people overlook the fact that Izzy was emotionally abusive to Ed when he was in an incredibly vulnerable state, which was ultimately the catalyst for the events of S2ep1-2. They both did wrong and both deserved/needed to give apologies; there was no innocent party between them, a fact that Izzy acknowledges multiple times. That's why the parallel to S1ep10 ("there he is") was so beautiful and devastating because it was an understanding of wrongdoing on both parts and an acceptance that they no longer fit together.

Like Izzy said, THEY were Blackbeard, and Blackbeard needed to die for Ed to be able to move on and truly be himself - think the shift from ep 2 to 3 where Ed didn't want to die, he just didn't want to live being Blackbeard but had been convinced there wasn't any alternative. That was the overarching theme of Ed's arc and what Izzy was acknowledging in his final moments.

When you think about it this way, Izzy's death has been foreshadowed as a narrative necessity from the very beginning of the series. With this in mind, the journey that he goes on in the meantime goes above and beyond the acceptance of Ed's vulnerability that we needed to see for them to get to this point; we also see Izzy find his own vulnerability and strength within his found family and identity. THEY DIDN'T NEED TO DO THIS. They gave us this because they also love Izzy and wanted to give his character as much love as possible in the time up until his purpose as a device for Ed's character arc came.

And ultimately, this is what separates Izzy from Ed and Stede - his primary purpose has always been as a character based narrative device to challenge Ed. The fact that so many people love him in his own right is amazing but this has always been his main purpose. Of course he has intervals of brilliant character ingenuity and growth of his own, especially in this new series, but this is exactly what I'm talking about when I say we've been gifted this when we didn't need to be. Does that make the loss sting even more now that we've had it? Of course it does but that's the point. They went so above and beyond with him this series because they saw the potential in his character and Con's fantastic performances, and because they love him as much as we do. But the point still stands that he served the purpose of the character and device that he was always set out to be from the very beginning.

We know from dj that this was all very intentional and, although the analogy used can potentially be questioned, he stuck to his intended trope and executed it with dignity and beautiful parallels.

I guess I'm just saying that it makes me sad to see good writing be misinterpreted, but I completely get where the trauma response is coming from. I would hate to see us get into a situation where we lose this kind of amazing representation because writers are too scared of potential backlash to take the chance of including it when what has been interpreted wasn't narratively intended.

As always, this is written with respect, love and no ill intentions and everyone is entitled to their own thoughts ❤️

[celaenaeiln]

who do you think would be the batfamilys godly parents in a pjo au?

Interesting question!

Previous post about how Dick and Percy and Tim and Nico are identical.

Also disclaimer: All these characters can come from different gods which is why I struggled with this because I have a hard time simplifying them into one trait but I tried my best to do them all right.

Bruce: I think it'd be really interesting and fitting if Bruce's godly parent was Hades. Bruce's obsession with not killing could lend itself to him experiencing the afterlife and resolving to himself to never send anyone there. He has an obsession with anti-killing and Bruce is also a billionaire so it would tie in with Hades being the god of riches.

Dick: He's the son of Apollo. Mainly for the reason that he's seen as the light to Bruce's darkness and how he made everyone happy and laugh and stuff. Apollo, the god of light, music, and archery matches with Dick's background as a performer and his exceptional physical abilities and combat skills. He also likes helping people. Apollo is the god of healing which means he can accelerate healing, provide comfort, and alleviate pain. Apollo was also known for his beauty and charisma. A demigod of Apollo would have a natural charm, an engaging presence, and the ability to inspire and captivate others which certainly applies to Dick. Furthermore Dick became an actual prophet in the Death Metal arc, having visions of the future. So many attributes that belong to Apollo are also written for Dick. I was already working on this ask when I got the second one but here's a brilliantly written essay ask by anon about why Dick could also be a son of Ares.

Jason: Jason's pretty much the son of Ares. He struggles with pain and he has a canonical violent nature to his robin ("mean streak" as Alfred called it). As Red Hood he has a lot of anger and restlessness and love. Him being the son of Aries also ties into how Jason feels sad about his own anger sometimes. This would be something fun to explore with him analyzing his own bloodlust like in canon and coming to terms with it. It also makes sense because as Red Hood he acts a lot like Clarisse but smarter. Because Ares is the god of war, Jason would have a high pain tolerance and resilience which enables him power through battles and this could be tied to his post-lazarus pit experience. Ares' children possess exceptional combat skills, strength, and a fierce determination which aligns with Jason.

Tim: Athena. As a demigod of Athena he would possess exceptional intelligence, critical thinking skills, and a natural thirst for knowledge. Furthermore he and Dick have a good tactical sense on the battlefield which aligns with Athena's Goddess of Wisdom and Strategy.

Stephanie: Hermes! She's fun, outgoing, and social but Stephanie also struggles with insecurities of not living up to expectations. For as bright and sunny as she is, she also gets super anxious about her abilities and meeting Bruce's. I feel like this is very much how sons and daughters of Hermes felt. They were a super happy bunch but at the same time they felt a collective feelings of being abandoned by their parent. Of not being enough for them. This feeling marks the majority of Stephanie's robin career. Her reappearance as Spoiler aligns with the Hermes demigods of being accepted for who they are and becoming happy. Furthermore Hermes, the god of travel, communication, and athleticism, would align with Stephanie's resourcefulness and agility as Spoiler. Hermes' children possess swiftness, agility, and a talent for communication like she does.

Cass: Artemis. Goddess of the Hunt. Children of Artemis would heightened senses, such as enhanced vision or hearing, and are skilled in survival techniques which fits in perfectly with her meta-like body reading perception skills. Artemis' children often value their autonomy and prefer solitude and while Cass may not prefer it, she's not opposed to it either. Artemis is self-sufficient and can adapt to any situations by relying on her own skills and resourcefulness which Cass excels at.

Damian: I don't know how it would work but Damian's godly parent would also be Hades. Maybe Hades is his grandparent but his powers are strengthened by his connection to the Lazarus pit given the revival thing and how Hades is the god of Death. Hades is associated with darkness and shadows so ofcourse Bruce and Damian also have the power to manipulate shadows, using them for concealment, transportation, or even offensive purposes.

Duke: Duuuuuke. Duke was so hard to define and I debated over him for a while before coming to the conclusion that his godly parent is probably Hephaestus. Given Duke's resourcefulness, technological skill, and his ability to manipulate light as the Signal, Hephaestus, the god of blacksmiths, craftsmen, and technology, would align with Duke's technological prowess and inventive nature.

Again all of them are multitalented and can come from a number of different parents so I did my best to take into account their history and abilities and motives and tried to write them individually. This turned into less PJO gods and more actual Greek God characterization whoops

[aspoonofsugar]

Alyx - The Protagonist

Yang: But she was kind of a mean person, right? She lied and cheated her way through most of the book. Weiss: She was trying to survive. The morals of those old stories are so simplistic.

This exchange is interesting, especially because it is not the first time characters interpret Alyx in opposite ways.

Oscar sees her as a child who goes on an adventure, is changed by it and struggles to go home:

Oscar: I thought the idea of falling through Remnant into a new world was exciting. I never understood why she was so sad when she finally made it back home. But now it makes more sense.

Ozpin sees her as a girl, who runs away from her problems in a fantastical dimension:

Ozpin: I was recently reminded of an old fairy tale. A young girl flees the consequences of a choice, to a magical place. But, having never learned from her initial failure, she only succeeds in spreading it.

All of these characters project parts of themselves on Alyx:

Oscar sees her as lost, because he himself feels lost and away from home.

Ozpin describes her as a coward because he himself has run away into Oscar's subconscious.

Yang criticizes Alyx's tendency to lie and cheat because she sees these 2 attributes as the worst of the worst. She is conveniently ignoring she herself has been omitting information about Raven. Not to count that lie, cheat, survive are ideas that apply to Raven specifically. This means there is a part of Yang she herself is not confronting.

Weiss sympathizes with Alyx and refuses the moral of the story as too childish. Which kind of adult would truly believe that lying and cheating to survive is wrong? Except that Weiss's whole arc revolves around her embracing childishness once again and finding the hope and wonder that was stolen from her as a child.

So, everyone sees Alyx as a part of herself, but who is Alyx really?

ALYX - THE CHARACTER

Alyx is no-one, just a shadow:

Just an empty silhouette that can be filled by anyone:

This is what characters are, especially protagonists that are meant to carry a whole story on their shoulders:

Blake: I've read so many stories... I never thought I'll be the moral of one.

Characters are in stories to teach people morals and to convey messages. Basically, they all have purposes:

Blake: Have you ever heard the namy Alyx? Little: Alyx... Is that a purpose?

Maybe this is the real reason why names equals purposes in the Ever After. It is because characters are their purposes in a story... and yet, people are much more. So, what happens when a person ends up making their sense of identity overlap with their purpose?

Little: And is to Ruby Rose your purpose?

They lose themselves. Like it is happening to Ruby and like it has most likely happened to Alyx.

Weiss: What did Jinxy want from Alyx? Blake: Her saddest memories and her happiest.

Jinxy wanted Alyx's saddest and happiest memories. If a person loses both, they lose their past self. They lose who they are. It is probable Alyx chooses to leave the previous "her" behind, but can't forge any new identity, trapped forever to be a character. A protagonist. A fairy tale.

RWBY - THE LEGENDS

Blake: We are doing the same thing Alyx did. We are ruining everything!

Here, Blake is talking about RWBY's predicament in Ever After. She thinks that since they know how the story goes, they should be able to avoid Alyx's mistakes. She is frustrated they can't and overreacts. Why is she so emotional about it?

Because Blake is not talking about the Ever After. She probably means this:

Weiss: Maybe Jaune and Winter were able to get them out. Despite everything. Despite us.

RWBY has seen the adults fail at Beacon, so they strived to be better. They learnt from their mentors' mistakes, grew stronger and chose a different approach. Only to fail in the exact same way.

Blake and Weiss are having opposite reactions to the Ever After, but deep down they are dealing with the same sense of failure.

Blake is filtering it through a fairy tale. They must do everything perfectly here in Ever After, because if they can't, what good are even they?

Weiss is dealing with it by refusing the fairy tale. They messed up so royally in Remnant, that who cares what happens in this bizzarre world, which isn't theirs?

What about Yang and Ruby?

Yang is reacting the same as ever. She is going with the flaw and cracking jokes:

Ren: It's okay to be afraid, you know. You don't always have to hide it with a joke.

Ruby is choosing to push forward:

Ruby: We may not know exactly what's going on, but for whatever reason, this place is putting us on a similar path as a book we all read as kids. I say we follow it and stop pretending we know what we are doing.

She is given the role of Alyx and she is determined to fulfill it. She is stepping once again in the role of a protagonist. And yet, to keep on following an already pre-established script without putting that much mind to it isn't the right answer.

The fairy tale should be a chance for Ruby to face heself: who she was, who she is and who she wants to become.

What if you could leave Ruby Rose behind, shed like an old coat? What might happen, if you don't?

Isn't it interesting that the metaphor of an old coat is used? What is a little red hood if not something similar to a coat? A mantle (similar to that of a superhero for that matter) that Ruby chooses to wear? Who is she outside it? Outside her allusion? Outside her fairy tale?

The same goes for RWBY as a whole. They aren't in training anymore. They are Huntresses and are slowly growing into legends. They saved Haven, protected an ancient Relic, decided the fate of a Kingdom. Ruby is famous worldwide as the young Huntress who is challenging Salem. They are growing into more than just themselves. And yet, this is extremely dangerous, because losing one-self in a bigger tale is rather easy:

Pyrrha: For it is in passing that we achieve immortality. Through this, we become a paragon of virtue and glory to rise above all.

This is why they are in a fairy tale they all know deep down, even if they have forgotten. It is so they can reconnect with whom they are. Metaphorically, they are going back to The Girl Who Fell Through The World, so that they can look at it from a different perspective. What teachings would they learn that they missed as kids? What will they discover?

What's sure is that they won't get anything if they keep refusing it (Weiss), not taking it seriously (Yang), being too worried about doing everything perfectly (Blake), following the script without thinking too much about it (Ruby).

ALYX - THE PERSON

RWBY must find themselves again and it would be interesting if they succeed by finding Alyx, as well.

In general, I think Neo, Jaune and Alyx are all characters the protagonists must "find" if they really want to figure out the world and their current situation. It is easy to see how this may work out for Neo, an enemy mad with grief, and Jaune, a friend traumatized and lonely.

What about Alyx?

It is possible she might stay in the background as a symbol. However, some hints suggest there might be more to it:

Weiss: He's adorable! Blake: And a lot older than I remember from the book

The world they are in isn't exactly the same of the fairy tale. Jinxy is much older and Little isn't in the original fairy tale. This is why they have no idea who Alyx is. How can they? They are too little to remember. They are in the Ever After, but in a future version of it. This ties with the idea they are confronting their childhoods as adults. It might also be there is a reason for it plot-wise.

Everyone seems to have their own idea of what happened to Alyx. Maybe the whole point is that they will have listen to Alyx's own version of the story.

THE GODS - THE WRITERS

These meta-themes are important outside this volume and for the story, as a whole. After all, let's not forget the Gods allude to the Brother Grimms. This means they are symbolically "the writers" of the characters. Through this lens, then, the whole conflict between the God of Light especially and Salem can be summarized as a writer not being able to write a character.

The God of Light wants Salem to learn an important lesson, so he comes up with a punishment and an obstacle for her to grow. This is how usually a writer approaches a character arc. However, Salem refuses to change, as the God of Light wants. She refuses to learn the theme he desires. If anything, the result is the opposite of what the God of Light expects. Why is that so?

Because the God of Light is dumb and not such a great writer on his own :P To write humans well he needs his brother's help. That is because humans are a mix of light and darkness, of selflessness and selfishness, of logic and emotions, of mind and heart. He approaches Salem as if she were to function exactly like him, but she is much more similar to his brother. Emotional and driven by her personal wishes.

So, the Gods are the writers and RWBY and the others are characters in their hands. When is it that a character overcomes their author? When they end up communicating something their author did not see coming. In this way, they surprise the writers and help them grow. This is probably how RWBY is gonna solve its conflict.

The girls will end up embodying a theme and a teaching the Gods and Salem did not account for. In this way, they will defeat them, symbolically.

At the same time, a meta-reading can very well apply to RWBY's most existentialist themes.

Let's consider these 2 lines:

Weiss: We are not in a book and even if we were we know how it ends, right over there.

Cinder: Oh, come now. Even if you know how the story ends, that doesn't make it any less fun to watch.

Even if all lives end in the same way (death), it doesn't mean they are not beautiful and worthy to be lived. Even if you know how the story ends, it doesn't mean you should not live it fully. You should dive deep into it, embrace wonder and go through it to the very end. Skipping pages means you are just giving up on new opportunities to grow and bloom.

[transmascpetewentz]

A Short Guide To Writing Gay Trans Men

So a few disclaimers before I start:

I'm not going to talk about anything sex-related here because 1) people have made other guides and google is your friend & 2) I'm not very comfortable with it.

I am just one person, and due to the fact that I am white and thin and perisex, I will definitely have blind spots. If you want more information about intersections that don't apply to me, ask someone who it does apply to!

I did get lots of messages from trans guys giving me advice on this, but nonetheless I do not speak for absolutely everyone.

There will be very little info here on how to accurately write medical transitions because that's not something I've experienced. Google is your best friend on this one.

This is not a complete post. I will keep adding to it as time goes on. If you're seeing this post reblogged by someone else, click on the original to see if I've made any additions or corrections before you send me that anon hate and/or comment telling me to kill myself.

What Not To Do

When there is a trans male character written by a cis person, especially a cis man, there's a very solid chance that he is going to check off at least 9 of the following boxes:

Thin

White

Able-bodied

Neurotypical or LSN neurodivergent

Binary

No nuance given to his identity and expression

Sexuality not specified or elaborated on

A cis person's love interest

2 dimensional transmasc stereotype

Usually small and feminine, but not actually femme

Gay transmasc characters written by cis people are very difficult to find because cis authors will often not specify the sexuality of the trans man dating a cis man or elaborate on his connection to the MLM community. This is because many cis authors believe that writing a gay trans man is just writing a woman but switching one of the genders. This is, of course, not true, and there must be more care taken to provide nuance and create a more accurate (and non-dysphoria-inducing) representation.

Moving Past The White Twink Stereotype

This is one of the most basic bars to clear for a cis person writing a gay trans man, and yet so many continue to fail at this very simple task. Ask yourself: is your gay transmasc character a white, hairless, thin person? If the answer is yes, that's not inherently a bad thing, though it may be good to reflect on why you want to create a character like this if this is the only type of transmasc representation you write.

The biggest thing you need to do here is to give him a set of defining traits. Not physical traits, not even gender expression traits. Just personality. What kind of person is he? How does he cope with the transphobia in this world (unless you're writing a fantasy universe without transphobia)? How does he act towards strangers? How does he approach people of different genders? What is his outlook on cis people? Once you have the basics, it's time to think about his physical appearance & expression and how that has impacted his life and his personality.

You also want to avoid the trope where a gay trans man's personality is undeveloped and he is treated as an object for cis men to help them advance their character arcs. It's fine for trans men to serve a purpose like that in the story, but they need to be their own individual humans.

Writing Sexuality

If your trans male characters date men, and I cannot reiterate this enough, make them be open about their homosexuality or bisexuality. Give them a sexual orientation and make them be proud of it. Of course, not every gay trans man is going to identify heavily with a masc/fem role in gay male relationships, but you should seriously consider whether or not your character would.

Additionally, don't follow the flawed line of logic of "trans man -> vagina -> bottom -> fem/femme." It's fine to make your gay trans male characters fem but please, I swear to god please give them a good reason for being so. If you do make your character femme, be very cautious to use language that doesn't trigger actual trans men's dysphoria. Don't constantly point out the character's physical features that may be associated with femininity unless you're making a point either about his dysphoria or about how society treats him or maybe about how he comes to accept his body. However, please be extremely careful with the last one as this trope has been used in so many transphobic portrayals.

Have your gay trans male character exist in gay spaces with other gay men (both cis and trans). Have him be open about being a gay man specifically. Give him cis gay male friends. Give him trans gay male friends. Don't allow your reader to ignore the fact that he is very much a gay man.

Dysphoria

For the love of all things good, please do not write your gay trans male character's dysphoria as "from the day I was born, I knew I was born in the wrong body. I have had no internalized shame or guilting into making me doubt my transness, and it was obvious that I was not a woman." That's not how anyone's dysphoria works, even if they did know from a young age that they were born in the wrong body.

For gay trans men specifically, most of us end up realizing we're trans around either age 12 or age 20. This doesn't mean he has to be exactly that age, but that's generally the safest age to have your character's egg crack. Of course, you can sprinkle in signs that he's trans since he was a young child, but I know a lot of gay trans men and I have yet to meet one who has known since birth and has had no doubt in his mind about it. However you can and should write older gay trans men, even some who find out they're trans in their 40s or older. Representation of older trans people is seriously lacking compared to how many there are.

Don't make your character the stereotype of a straight trans man who doesn't face the specific intersection of being trans and gay. Facing this intersection does affect something even as personal as dysphoria. Many of us will have self-doubt, believe that we're disgusting fetishists of gay men, or simply exist as women in gay spaces for a time. You also have to take into account gay beauty standards & your character's upbringing to figure out what they're likely to be most dysphoric about.

hi :3

That's it for now. I'll keep adding to this post as I get feedback and suggestions. If you want more advice, feel free to send me an ask. When I get enough asks about things, I'll make an FAQ post answering some of them.

[sapphorror]

Now that you have read the ZimVoid arc, what are your toughts on Zib and Za2r (Zib❤Zim2[2im{twoim}])?

I'M SO GLAD YOU ASKED!!! alright, maybe I was definitely going to say this all anyway, but now I have a decent excuse to braindump it all at once instead of trying to write, I don't know, coherent analysis.

Yeah, I'm obsessed with this guy. I'm still only just starting to build a proper 3D model of him in my head, so don't take anything I rave about here too seriously, but my god is Zib something else. Also, really cute. No one told me he'd be cute and I wasn't at all equipped to deal with what I got. I was operating under the assumption he was going to be at least a LITTLE cool, but this is the most pathetic wet meow meow of a character I have ever seen, and that is no small statement.

(Also also, is it just me, or does the way Zib's drawn remind anyone else of rubber hose animation like, moreso than the comics artstyle generally does? I can't quite pin down what's making it feel that way, but I like it. Gives him Vibes™, y'know?)

Anyway. Fusions like Zib are always going to be fun, just for what they imply about their component characters and the game of trying to identify what characteristics come from where. And Zib is especially fun for this because Zim and Dib are such similar people to begin with. It honestly doesn't surprise me that the Zimfluence went initially unnoticed by our Dib, not just because he's more prone to cognitive bias than he likes to believe, but because there are so many overlapping traits between these two guys that Zib wasn't so much altered by the fusion as he was exacerbated. They blend seamlessly to the point it's really hard to pick out where one ends and the other begins, and in a different kind of story, Dib might actually be forced to reflect on what that implies about him and his motivations. As is, he's just going to keep fooling himself, though.

Probably the most obvious dichotomy between them, at least where it applies to Zib, is motive, and that definitely brings up some interesting questions. When he chooses to take over the Earth, is that the Zim side disguised by Dib-passing justifications, or does it say a whole lot more about Dib's actual loyalty to the Earth against his loyalty to opposing Zim than anyone would really like it to? How about the total lack of internal conflict when it comes to decimating the Armada and wrecking the Irken Empire? What does that say about Zim's ultimate loyalties?

Granted, I am at this point pretty certain Zib didn't just put on the PAK and call it a day, I think he took precautionary measures to ensure that the Dib half remained the 'dominant' personality, given that in 10 Minutes to Doom we see him completely subsumed by Zim's coding, so this isn't a perfect equal split. But it is still a split—Zib clearly did not have the foresight to account for everything, if he even wanted to—and the fact he prepared himself for this is itself interesting, because it means the decision was premeditated, not done on a whim during some momentary mental break. This might even be why he's half-Irken; instead of the PAK altering his biology, maybe Zib altered his biology so it could survive the long-term integration of the PAK. And isn't it just insane to imagine any version of Dib willingly body-horroring himself like that, stripping away his own humanity? When he accused our Dib of being just another ignorant human, could that maybe be a sign that he didn't want to have anything in common with those people anymore?

None of this is what really gets me about Zib, though. This is.

Admittedly, I'm sort of predisposed here, because I have this whole Thing about Dib's unfaltering belief he can somehow prove himself to humanity, despite all evidence to the contrary, being in essence identical to Zim's delusion that he's already adored by all... that's it's whole own post, tbh, but my point is Dib's ostracization wouldn't be solved by exposing Zim, and it's fun to see that explicitly confirmed.

But it's also more specific than that. Because what Zib was forced to realize here is that he destroyed the only person capable of actually caring about him. And that's why the Zimvoid is the Zimvoid, isn't it? Zib could've used those portals to escape anywhere or lure in anything, but instead he does this. Part of that's the obsessive need to succeed where he'd previously failed and decimate the Armada (+ repeatedly 'defeat' Zim because he's still too emotionally stunted to understand that's not actually what he needs), and I think all of that is important, but there's also something to be said about how deeply driven Dib is by the desire for external validation, and here he went and fused himself with the one person in the universe who might be even more love-hungry than he is. Zib's not afraid of being alone simply because he dislikes isolation—I mean, even within the Zimvoid, he still physically and ESPECIALLY emotionally isolates himself from the other Zims. Being the only person left in his reality means there's no one to admire his greatness, and given who he's a combination of, of course that's his worst nightmare. And ridiculous as it may be, he understands that Zim is the only person who's ever given him that kind of attention. So why not make a whole planet of them? Why not trick them into idolizing him? I mean, who else could even matter besides Zim?

Also? This one's sort of auxiliary to the last point, but there is something deeply, deeply sexy and thematically chewy in Dib wanting/needing Zim so badly that he quite literally became him, and that not being enough. I mean, what is the Zimvoid but a huge collector's display? And it's exactly this that makes him the architect of his own ultimate tragedy. I have a thing for characters who damn themselves not through any single choice, but by passing up a million little opportunities to save themselves, totally confident in their decisions right up til the moment it actually is too late. He could've used those portals to escape to another timeline. He could've designed the Zimvoid as anything other than a ticking timebomb of lies, conflict, and an ever inflating population of lunatics. He could've given up on his destructive plans and just enjoyed the huge fucked up harem he built for himself. He could've quit while he was ahead.

And the really funny thing is, even after the collapse of the Zimvoid, his total isolation is still a consequence of his own actions. I mean, the Zim from his own timeline literally cannot be taken away from him through any method short of murder. He's still right there. But by winning, by possessing his Zim to the point of consumption, Zib defeated the entire purpose of having Zim in the first place. They'll never be separated, and that's exactly the reason why he'll always be alone.

As for ZA2R... hm. I'm not sure if I have much to say about them just yet, but suffice to say I am Deeply Compelled. I'm always weak for that (false) god x worshipper dynamic. It's about someone as lonely and broken and closed off as Zib finding out the hard way that they're still capable of genuine love, no matter how bad they are at it, and there's something very special in every Zim's desire to be someone's favorite being so specifically exploited. I mean, the dynamic of highest subordinate is essentially identical to the one Zim likes to imagine he has with the Tallest, only actually real. Dishonest and exploitative, to be sure, but still real. And hey, important question, but what about #2's personal Dib and the fact Zib is always going to be implicitly competing against the person actually cosmically destined for his partner, because he fucked his own cosmic destiny up so badly? Or the inevitable spectacle of Dib's semi-latent yandere tendencies being brought to bear against himself?

Also! Shameless Homestuck chatter, but I take so much joy in pale ZADR dynamics (black diamond romance my beloved), and the fun thing about ZA2R is that their default pacifier/pacified dynamic swaps. In, uh, normal person terms, they've managed to contrive themselves a situation in which Zim is actually the comparatively sane/stable one, keyword comparatively, and being worked to death about it. There's nothing I love more than a justified role reversal, y'know?

THAT'S ALL I'VE GOT FOR NOW but like I've been thinking about these guys nonstop for 24 hours already, I WILL be losing my mind about them again. I don't know when, I don't know how, but it's gonna happen.

[indigovigilance]

Aziraphale, Kermit the Frog, and Fraggle Rock

Inspo from @crowleys-hips, images shamelessly ripped from original post:

The costumes and set design in the Book of Job episode were supposedly inspired mostly by The Ten Commandments but I’m ignoring that for right now because this is more fun. Now that I’ve written it, this is actually one of my dark ones.

Ready? Let’s go.

read on Ao3

The Frog Prince

[Source]

Kermit, created in 1955, was originally an abstract character without a defined species. He did not [officially] become a frog until The Frog Prince episode in 1971. At the same time, he gained his pointed collar. Kermit is not the prince in this retelling, but is one of the many frogs, who don’t believe that the Frog Prince is actually human and try to convince the Frog Prince that even if there is a curse, they don’t need to try to break it, being a frog is great!

Sing out for the swamp and sing out for the ooze The life of a frog is the life you should choose Sing out for the mud and sing out for the bog It’s ever so jolly just being a frog We love the old mud hole, we say that we soak The feeling’s so good that we just gotta croak The muck and the mire, the slush and the slime Are the reasons a frog has a wonderful time

It’s a very weird musical number. I have exactly one semester of music theory under my belt but it sounds awfully minor key to me.

It’s very much about bullying someone who doesn’t feel like they belong into conforming. Exchange “frog” for “angel” and we’ve got a pretty on-the-nose parallel story here.

Two Interpretations

First: Aziraphale is a prince among frogs whose unique identity is being ignored. The ones he has turned to for help are ignoring his pleas and insisting that their way is the best way, even though it is clearly not.

Second: Aziraphale is the frog! Kermit gained his collar when he finally began to solidify as a character with a set identity. Both of these themes apply to Aziraphale’s arc in Book of Job.

*topic change*

Jim Henson & Richard Hunt

Coming back to the extreme queer theming of Season 2 (God bless you GO production team) we have a nod to Jim Henson and Richard Hunt. Much like Pterry and the Notorious NRG, both men began their artistic journeys very young. Henson began in high school, where he began developing what would later become the Muppets; he continued his work on puppets on Sesame Street. He is the creator of Kermit the Frog. He’s also well-known for The Dark Crystal and Labyrinth, other queer culture mainstays. Some years later, at 18 years old, Richard Hunt shot his shot and asked for a job puppeteering on Sesame Street in 1972; he got it. He would continue to work as a puppeteer with Jim Henson on the Muppets and related works until he died in 1992 at the age of 40 due to complications of AIDS.

Gone But Not Forgotten || Terry Pratchett

If you have not read my meta on Terry Pratchett’s representation in the Final Fifteen, I will link it at the bottom as well and highly suggest you read it. It’s not necessary reading for what comes next, but it is relevant.

Richard Hunt was openly gay and heavily involved in the New York gay community during the AIDS epidemic. He was in a relationship with a painter named Nelson Bird, who died of AIDS related complications in 1985. There is some speculation that Fraggle Rock Season 5 Episode 7 is an artistic representation of Richard Hunt losing his partner. In that episode, Wembley makes a new friend, Mudwell, played by Richard Hunt, that he abruptly loses at the end of the episode following a confession of mutual affection. You can follow the link below to watch the full episode. The final-fifteen parallel content begins at 12:30:

Gone But Not Forgotten (Fraggle Rock S05E07)

The loss is followed by a conversation between two characters that centers around remembering those who have been lost by keeping the things and memories they left behind, and the partner who [survived] goes through rituals of grieving.

If you scrolled past it but would like to read it now, here’s a link to my meta Terry Pratchett’s representation in the Final Fifteen.

[elizmanderson]

queerness in The Remarkable Retirement of Edna Fisher

book description

when you’re an old woman armed with nothing but gumption and knitting needles, stopping a sorcerer from wiping out an entire dragon-fighting organization is a tall order. no one understands why 83-year-old Edna Fisher is the Chosen One, destined to save the Knights from a dragon-riding sorcerer bent on their destruction. after all, Edna has never handled a magical weapon, faced down a dragon, or cast a spell. and everyone knows the Council of Wizards always chooses a teenager—like the vengeful girl ready to snatch Edna’s destiny from under her nose.

still, Edna leaps at the chance to leave the nursing home. with a son long dead in the Knights’ service, she’s determined to save dragon-fighters like him & ensure other mothers don’t suffer the same loss she did. but as Edna learns about the abuse in the ranks & the sorcerer’s history, she questions if it’s really the sorcerer that needs stopping—or the Knights she’s trying to save.

find it here

okay let's talk about queerness in this book

did a thread on twitter in which I said "cishet" five hundred thousand times so will probably get banned lmao but anyway I wanted to share it here too

especially since it's late in Pride Month and I have yet to post anything anywhere about it BEING Pride Month and me being queer and my books being queer, bc I've been burnt out af. so what energy I've had has gone toward planning and writing

anyway

I say "queerness in" rather than "queer characters in" because I want to talk about queerness in the book more broadly, not least bc I'm a queer creator & this is a queer book, but I've had a lot of impostor syndrome about both those things.

I figured out I was queer later in life & am a woman-presenting person w/a male-presenting partner. I've questioned my gender & sexuality repeatedly & ID'd differently over time, which is why I like "queer." I don't have to re-explain myself a dozen times. I'm queer. that's that.

but having figured out my queerness later, and having a relationship that presents as cishet, it took a long time for me to overcome feelings of ~not being queer enough~ (and sometimes I still struggle with them).

similarly, my MC is an apparently* cishet woman, unlike the MCs of many books that appear on queer book lists at this time of year. just like I took a long time to start really engaging with my community bc I worried I wasn't ~queer enough,~ for a long time, I didn't call this a queer book bc I worried it wasn't ~queer enough~. if people asked if the book was queer, I'd reply with a laundry list of explicitly queer characters rather than saying yes

fuck that though lmao. this is a queer book. let me count the ways

1. found family

as found family is so important to many queer people - by connecting us to our community, by welcoming us when bio family casts us off - found family is central to REMARKABLE RETIREMENT. while there are queer romantic arcs, the found family is the most important relationship in the book.

2. queer labels

some characters get explicit labels. Benjamin is gay. Clem is ace. queer labels are important bc they give us the ability to describe our identities and experiences! however...

3. undefined queerness

while labels are important, queerness isn't about fitting into new boxes. it's about smashing the boxes apart.

even if characters don't have specific labels applied on-page, they're queer. they don't need to claim a specific label for that to be true.*

*caveat that some media avoids using labels to pander to queer audiences w/implied queerness without ~alienating~ cishets by stating "this character is Not Cishet"**

that's not what I mean

I mean e.g. in OFMD queerness is inherent even if WORDS like queer/ace/etc aren't used. OMitB is another example (specifically Mabel) and Good Omens is yet another.

**caveat to my caveat that some media is queer-coded & avoids queer labels rather than being explicitly queer because network execs or whoever won't allow explicit queerness.

this is not the fault of the creators. sometimes it can be hard to tell the difference.

but anyway.

in REMARKABLE RETIREMENT, several queer characters are queer without using specific labels.

in some cases this is bc it doesn't come up or isn't important to them to express in the moment. like Clem is bi, but she's not worried about being bi. she's worried about being ace, because she's still kind of questioning that about herself, and she's worried it might cause problems down the road if her crush is >:[ about her not wanting to have sex. so she uses the word "ace" to describe herself in this scene but not "bi," even though she's both.

in other cases it's bc they don't have the language. Kiernan's sense of attraction and desire is described in a way that seems graysexual or demisexual (or both), and Red's sense of desire is described in a way that seems ace-spec, but neither of them use those terms, because neither of them know those terms. despite the lack of terminology, many ace readers have identified multiple ace characters based on description or experience. the lack of a specific label doesn't make those characters less queer.

similarly, some characters have not yet had this realization about themselves. which leads us to...

4. questioning

okay, back to my first asterisk of the post.

Edna is by all appearances an old cishet woman.

for most of the story, that's how she seems. that's what SHE thinks, even. she's a cishet old grandma adopting every queer young person she can find.

BUT THEN

Clem explains aceness to her

and Edna has a brief crisis bc wait a minute this sounds like her??

ultimately, Edna has too much to worry about right now to spend time questioning whether, at the age of 83, she might be somewhere on the ace spectrum

so it doesn't come up again

but that moment of crisis is THERE, & that too is queer

5. queernormativity*

I write queernorm worlds, largely bc I viscerally hate coming out lmao

it doesn't mean everyone's a queer scholar

like Clem has to explain "ace" to Edna, bc Edna thinks blankly of a deck of cards & doesn't understand what that has to do with sex

but it DOES mean queer folks get to just be and do

*caveat that this is not remotely to imply that a story is less queer if its world ISN'T queernorm

it's just a way in which MY story is queer

6. all the queer characters

not gonna do a list (even though my original idea for Pride Month when I was young and optimistic and thought I'd have energy to do it way back when was a list of queer characters), but virtually every character in this book is queer in one way or another

on twitter this is where I ended because 6 seemed like a good number for Pride since June is the sixth month, but tumblr gets a bonus

7. the author is queer

happy pride, buy my queer book

[imminent-danger-came]

do you find mk's arc in s3 a tad repetitive? i saw this point brought up in a video essay on his series long arc

Naw man.

Progress isn't linear. MK more often than not makes progress in an area and then promptly regresses afterwards (like in ROTSQ MK learned that he was separate from SWK, and that he had to find "his own way to win", which he then completely abandons in the back half of s2. After Minor Scale it's all about becoming as powerful as Monkey King as quick as he can). I like to joke MK is "2 steps forward 4 steps back" the character. He'll say "We're stronger together" in 2x10, but by the time 4x08 rolls around he's wondering if he'll just end up hurting the people he cares about (and then he'll fail to apply this logic to why Wukong would choose to take similar actions, say during s2 or at the end of s3, being delightfully hypocritical).

Then there's where MK actually is development wise at the end of s2 vs s3. By the end of s2 he's lost all of his abilities and given LBD everything she needs to destroy the world, with the only good thing happening being Monkey King's return. Of course he's worried about facing the Lady Bone Demon like he is in s2—in fact, the threat got much worse. Not only is LBD more powerful, but both him and Monkey King are powerless. Their only hope is in an uncontrollable weapon they have to reforge.

In s1 MK is just trying to master his new role as the Monkey Kid (even then wanting to protect his friends and the city, thank you 1x01). In ROTSQ he believes he'll never be as good as Wukong, carrying this belief into s2. As the stakes keep growing, MK feels more and more pressure to live up to the legacy of Monkey King, and in that desperation becomes the perfect pawn in LBD's plans. He assumes he was the wrong choice, the wrong successor, and that Wukong knows that too. After he realizes Wukong left for him in s2, in s3 he then jumps to Wukong ditching him over being a "mere mortal" again. But, MK wants to help. He wants to save his friends. By the end of s3, we've still yet to acknowledge the core issue MK's had since the AHIB special: his self-confidence. His identity and his esteem. MK's never been happy with himself (except for that one time in ROTSQ):

But, after ROTSQ came Wukong leaving in 2x01, LBD's manipulation in 2x05, Macaque's manipulation in 2x07, his ultimate failure in 2x10, being powerless in 3x01, Wukong's lies throughout s3, Wukong and Mei both leaving at the end of 3x10, and then the "to pain scene" in 3x14.

And then in s4 we hammer the nail in the coffin further with 4x07 and 4x08 living up to LBD's words: doing what you think is right leads to pain.

I think the end of TEW will be another ROTSQ situation, where currently MK is okay leaving the world a little bit better than he found it, but it's a philosophy on a shaky foundation. All it'll take is one push to all come crumbling down (and we have SO many things at this point that could be that push—MK's origins/true identity, SWK and Macaque's true falling out, another world ending calamity [no 'ol half marathons here]). Because, at the end of the day, MK may leave the world better than he found it, but he still needs to be okay making mistakes and being MK. He needs to be okay with hurting the people he cares about, because that's what happens as a part of life. He's still so hung up on keeping everything the same. He wants a world where both him and his friends never have to struggle, which will just never happen.

Like, it's ridiculous to me how high of a note the s4 special ended on for everyone in the gang. It's like being on the final episode of a season and seeing that everything's resolved and great, but knowing there's 20 minutes left before the end. You just know it's all going to come crashing down. It's going to get worse before it gets better.

And you know what! I'll say this: being mentally ill is repetitive. And that's what MK is. He has anxiety. He has depression. I mean this seriously and sincerely. MK's running around in circles in his own mind trying to run away from himself (doing so quite literally in 4x07). But he can't man. None of us can.

[dekusleftsock]

I have to say that your post on Deku peddling a lot of casual homophobia and toxic masculinity across the manga, was really interesting and eye-opening. I mostly agree with you, except the part about bkdk supposedly being the endgame for this particular arc. I've had similar thoughts about how gender and sexuality is portrayed in MHA, for quite a while, but the conclusion I always came to, was more along the lines of "Reject Masculinity; Embrace Lesbianism". As I've just stumbled upon this blog, I must therefore ask: how do you feel about transbian Deku hcs?

Oh it’s so fun! Trans lesbian deku is awesome, I love all trans hc’s so much.

Unfortunately though, I am also a bkdk shipper and my opinions in that post are about my genuine thoughts that, yes, deku is a cisgender gay man, and there’s no real problem with that. Welcome to my blog though!

A lot of my posts do focus on bkdk and togachako (while mainly togachako for the past couple of months), so that’s just your fair warning! If you aren’t into that it’s like… kind of impossible to avoid that shipping on my blog. I often post fanart and metas/shitposts that focus on those two ships solely.

And I will say, I feel like the notion of “rejecting masculinity”, especially as a trans masculine person myself, does often fall down anti trans rhetoric and spaces, as lesbianism and masculinity aren’t even necessarily contrasting things to be. NB is an identity that can be stretched so far into so many spaces that it’s kind of hard to reject masculinity OR femininity without well… falling into exclusion.

I’m not sure if that’s what you mean though, however I do enjoy most if not all trans hc’s because they are amazing and so interesting when people really dive into a characters internalized issues having to do with that identity. Transgenderism is so maleable and can easily apply to so many different types of characters, even giving them a deeper sense of depth.

Canonically though, I think I like Izuku how he is. Because everyone has issues, and while cis men have obviously had a lot of stories where they are the center of attention, told from their perspective, Izuku is unique in his own right; because how often do we really see a short, androgynous, emotionally expressive, cis male character deal with things like the insecurity of crying, the unknown of if your identity (if it really is your identity) will be accepted in spaces where you have been pushed to be with, from your perspective, a platonic female friend? Because yes, izuku WAS bullied—rather indirectly with Katsuki sure—but the little comments made about being a crybaby, being creepy, being weak, they all build up. They build and build until, hey, the bully isn’t there anymore. In fact, the bully is you.

And really, I see why people don’t necessarily pick up on Izuku of all people having masculinity issues. When the viewer sees a momma’s boy who’s relatively soft and empathetic, they register someone who vaguely understands themself. They see him be self sacrificial and think, “that’s a man who goes against masculine stereotypes, so obviously he doesn’t struggle with fitting into the stereotype himself!” Because it’s not what we’re usually shown in our every day media.

A man with masculinity issues is someone who is SUPER masculine—he’s super buff, he screams a lot, he has anger issues, he—oh wait I’m describing Katsuki.

Yet, in reality, Katsuki actually DOESNT! Not as much as Izuku does anyway. In middle school? Sure, most definitely. He registered weakness and refused to accept himself, therefore his masculinity. The anger issues build and build on each other… except for the fact that we’re forgetting the key here.

Katsuki grew up.

Katsuki HAD to grow up because the way he expressed these anger issues (that I will say, izuku also shares, the crying is literally a symptom of that in a lot of cases) was much more prevalent. It stopped him from truly growing, and when he was humbled he was able to see all the mistakes he was making. And slowly but surely, he apologized. He sacrificed. He started to really, truly, care.

He always cared of course, seeing as he cared enough to try to stop deku from getting into UA, because he thought he was a threat. Hell, after the entrance exam at their first day of UA, he genuinely thought Izuku had enough heroics in him to make it past the entrance exam! He didn’t think Izuku even NEEDED a quirk to get in. He’s always believed in him.

Was that expressed through his insecurities? Yes, because he was a dumb 15 year old.

But now that he knows he cares, that’s allowed him to reflect on himself, and on Izuku.

Izuku ofc will change, he will grow up, he will get that character development, but he has to have that realization that, oh, Katsuki really won’t hate him for anything. Ever.

Whether Izuku has internalized homophobia simply because Katsuki isn’t a girl, or because he’s afraid of Katsuki’s rejection at Izuku’s weirdness, well, I guess that’s up to your interpretation.

Mine is personally on the second side though.

[izfaish]

finished vol. 8 of loser ranger much sooner than i thought KSJEHHD

manga spoilers for vol. 8 ch. 63-72

started writing this review midway through the volume bc i had SO MANY thoughts (and not enough space here for all my screenshots)

HISUI!!! i loved the focus on her. and how relatable her story (fake? memories? orz) is, of growing apart from a childhood friend and feeling detached from normalcy,,, oughfhfjf

i just loved this page and how the resets were conveyed. looking closely, yuu (magatia) does change his expressions slightly with each reset.

also, i like the imagery of smashing windows = smashing though the illusion

GOD THIS PANEL. that sentiment,,, such good imagery. invaders broke her home and now she helped break an invader's illusion...

THIS HAD ME CACKLING. LOOK - when i first learned of chidori's name i was like 'wait his name means green in japanese' (it does not - i was thinking of midori). SO I?? had my own detective's intuition,,,

i also loved this page. even more now that i know that hisui knows d's true identity as an invader. the side characters my beloved,,, i liked this arc a lot.

LMAO i love this type of humor so much. poking fun at tropes,,, i also loved seeing the cadets now rangers again. who is that mysterious new yellow recruit...

i love this page. d's conflicted feelings on murdering blue keeper and then his apprehension towards chidori, who should've been d's next target,,, 'he's right there' is what he's probably thinking. 'could he ever suspect me of being an invader?'

yet bit by bit, d is questioning his own goals the more he realizes that his idea of the human world isn't as black and white. an introspection that probably applies to readers too. like i could tell the rangers as an institution weren't perfect, but it's nice to, over time, revise my opinions on them as an insitution and as individuals.

HE'S GOOD? WITH KIDS?? just playful and nice moment, and the dramatic irony is also fun here.

GOD OK. i just,,, love the parallels being drawn here. how d finds his resolve again, or at least another foothold to stick to his reasons. that panel above is another case of like,,, d could so easily say those words, just replace 'invader' with 'human'.

and then we're hit with the revelation that urabe will be part of the squad that will basically occupy the invader fortress - d's family of sorts. it's SUCH a good callback and really makes you understand where both of them are coming from (particularly with the juxtapostion that urabe lives in a castle of his own...)

IT'S SO GOOD. keen for vol. 9!

[fioras-resolve]

What Is Fire Emblem About: an explainer for the uninitiated

this is gonna be a bit of a weird one. i feel like fire emblem fans are gonna get angry at me for mostly sidelining the story, so i'm just gonna say: i'm a game designer, and a very ludocentric person. this is just how i'm going to talk about things. but also, you can't talk about FE story without the contexts of what the games Are mechanically. with that out of the way...

Fire Emblem started as one of the earliest examples of a Simulation RPG (or Strategy RPG in the west, but, you know). it was trying to take a wargame framework and apply that to a fantasy rpg. so unlike most wargames, every unit has a name, personality, and unique attributes. but unlike most rpg's, you're moving across a battlefield. units are defined by wargame functions, like "ranged," "high movement," "flying," etc. and if one of your allies dies, they're gone for good. it creates an emotional heft, one found in most games with permadeath. to quote jon bois, talking about xcom,

in a way, fire emblem simulates war in a way that a lot of wargames don't. it makes you care about each of your units, not just because they're unique characters with lives, but because losing them means losing what they did for the army. you only get so many healers in fire emblem, so many thieves who can open a chest, and if you trained someone up for ages just to see them die to a random critical hit, it hurts.

"it immerses you via accountability. if your ranger dies, you are left with a feeling that ultimately, they counted on you to lead them, and that even in a game that is often decided by chance, it was all your fault"

or at least, that's how it works in theory. in reality, most players will just restart the chapter if they lose someone important. strict "ironman" rules have never been implemented in fire emblem, so while theoretically this is a game about living with your mistakes, in practice it's about constantly redoing a fight until you get the right results. modern fire emblem has even made rewinding to specific moments an actual game mechanic, a design choice i call "embracing the bastards." (i say this with affection, i am one of those bastards)

to make up for the fact that you can lose characters, you get a lot of them over the course of the game. a lot of these characters, especially in early FE, are just kind of there. like, you get so many characters of the same class who are clearly just backup if the other ones die. some of these units are great, with amazing stats or the ability to use some cool weapon, and others suck. if you talk to fans of "classic" FE, you'll find that a lot of people's favorite characters are decided by gameplay. as the series progressed, characters grew to be more fleshed out narratively and more balanced mechanically depending on who you ask, so a lot of modern fans are more into a character because of their personality or character arc.

which does lead us into talking about how the series has shifted over time. because when people think of "fire emblem" now, they're not thinking about the games from the 90s. they're probably not even thinking about the games from the 2000s. so let's talk about the changing identity of fire emblem. i like to split this into four "eras," broken up by major mechanical changes and shifts in who's leading the charge. i'm sure some fe fans will disagree on on this, but this is the framing the works the best for me. so!

The Kaga Era: This was an era of fire emblem led by a single guy, Shouzou Kaga. this is, i feel, where the essence of Simulation RPG is felt the most strongly. the games are hard to get into these days if you don't already play fire emblem, but there's a real artistic commitment here to trying to capture ideas through mechanics. aside from FE1, we also got Gaiden, which leaned way harder into the RPG angle with grinding, magic, and dragon-questy towns. we got Mystery of the Emblem, a direct sequel to the first game that put familiar characters in new contexts. we got Genealogy of the Holy War, an incredibly ambitious game that plays out a story of war on a massive scale. we got Archanea Saga, a very short game consisting of four incredibly potent one-shot chapters. And we got Thracia 776, an intensely challenging game left so up to randomness that even healing can miss. some oldheads view Thracia as the height of the series.

The Renaissance: After Kaga left due to a squabble with Nintendo (which is its own story), the dev team had to pick up the pieces without its auteur director. This period is arguably when Fire Emblem was most "itself." The Kaga era was foundational, but too experimental to have a consistent identity. The Renaissance was when the idea of what A Fire Emblem Game was solidified, to the point where if you ask most older fans what they think of when they imagine Fire Emblem, you'll probably get something from the Renaissance. Probably the biggest innovation from this era was the Support Conversation. Basically, if you put two characters next to each other for long enough, they might strike up a conversation with each other. You can usually do this two more times. This fleshed out the characters beyond their first impression, and made personality more of a sticking point. Later games would expand on this further.

You could maybe argue that this period was intensely safe, but I'd say after Kaga's departure, safe was probably necessary. Binding Blade was essentially a rehash of FE1, for better and worse. Blazing Blade, a prequel to Binding, was the first FE game to be released outside of Japan, so it has an extensive tutorial, and is generally a lot easier to accommodate. But also, it features some really solid and creative level design which makes it worth playing to this day. Sacred Stones did similar to Gaiden with its skill system, world map, and grinding. Path of Radiance and Radiant Dawn... I actually haven't really played those or heard much about them but a lot of people view them as the height of the series. And Shadow Dragon was a remake of FE1, that actually tried very hard to encourage you to ironman it. Like, you can reclass freely, you get replacement units if you're running low, and the prologue ends by forcing you to pick a sacrifice. Unfortunately, people didn't really get the message. It was my first FE game, and I still reset whenever someone died. Caeda, my beloved.

The Maeda Era: This starts, oddly enough, with a remake of the third game, called New Mystery of the Emblem. It adds a player avatar that you can customize, support conversations, a new plotline about assassins, and crucially, a Casual Mode. Yes, you can now start the game choosing either Classic Mode, which has permadeath, and Casual Mode, which doesn't. This fundamentally changes the experience, as you can imagine, and it's still a pretty contentious topic within the FE community. A lot of new players struggle to get into classic Fire Emblem because the forced permadeath is just too punishing for them. But it's also core to the identity of the series. It was contentious within the dev team, too, with people fighting over whether or not to include it. Ultimately, it was decided that if the FE series was going to survive, it would need to be more playable to a casual audience.

This leads us into Fire Emblem: Awakening, which was a massive success compared to anything else before then. It featured the player avatar and casual mode, it featured a world map and grinding, and it also really leaned into the support system. It even combined this with the marriage and children system of Genealogy, adding a fourth support level which got characters to marry and have a child, who would then join your party by time traveling from the future. You could even marry someone with your player avatar. This did make Awakening more dating sim than tactics game in some people's eyes, but it really helped give the game a fandom that exceeded the existing FE fandom by a longshot. This kind of design was continued with Fire Emblem Fates, a game that was actually three different games you could choose between. Birthright was basically more Awakening, but Conquest took that paradigm and made it into a focused, polished, and tightly designed tactical experience. (Arguably too tight, I don't like it that much but I get why people do.) And the Maeda era ends with FE Heroes, a mobile gacha game with as much creativity as power creep. And honestly, how else could this end?

The Modern Era: Since Maeda is mostly working on Heroes now, we're in a similar situation to the Renaissance, where the series has to pick up where its leader left off. But instead of playing it safe, the new directors have experimented with it in a way we haven't seen since Kaga. It started, of course, with a remake of Gaiden, called Echoes: Shadows of Valentia. I have a soft spot for this game, but what's important for you to know is that it introduced 1) full voice acting, 2) special moves, and 3) turn rewinds, which finally just makes resetting a deliberate game design tool.

From this point on we have Three Houses, which did a similar split-path thing to Fates, but letting you choose based on preference for characters rather than gameplay. I think its mechanics are a really nice synthesis of a lot of different games, but that's not really why people care about Three Houses. People care about Three Houses because it features a hot girlboss voiced by Tara Platt, a school setting that's easy to project onto, multiple queer characters with subtext for each other, and a morally grey set of factions that people can argue passionately about for years. It is THE fandom-ready Fire Emblem game. After that is our most recent game, Engage. Now, this is structured like a traditional Fire Emblem, but it plays pretty substantially different. Now your units can summon past FE protagonists to give massive buffs and execute super moves. My favorite is the one that lets you rush through enemies in a straight line. It's also incredibly anime, like bright colors, power of friendship, character designs a bit too outlandish. It's great if that's your shit.

so, I've been talking a lot about how these games play. and if you're a big fan of these games, especially of the modern ones, that might frustrate you. you don't play rpg's for the combat, you play them for the story, which i have avoided talking about for the most part. and first of all, that's a very reductive way of looking at rpg's, and games generally. second, these things are intertwined, you cannot disconnect story from play. but third, i'm of the mind that what a game is About is decided by what happens when you interact with it. talking solely about what happens in cutscenes and dialogue is treating a game as something to watch or read, not as something to play. and i think we owe it to ourselves, and the medium, to do better than that.

but, last few notes before i finish the post. first off, there are a few games i missed, particularly spinoffs, like the Warriors spinoffs or that weird MegaTen crossover that isn't much FE or MegaTen at all. second, the setting, characters, and lore shifts with each entry. sometimes you get games in the same universe, like Awakening's continent is just the FE1 continent but a thousand years in the future. but you don't particularly need to worry about playing the other ones if you want to get into a specific game. third, there's a fair bit of Weird Anime Shit. particularly the consistent use of the thousand-year-old loli trope which has been around since the first game. Fates lets you marry and have children with your siblings, and it's really funny how each of their S-Supports have the other character pull up a letter from their mom saying you're not actually related. Break Glass In Case Of Incest. the games are almost always about royalty finding sacred weapons to kill a problems dragon, and i'm honestly not big on stories that valorize nobility, but it's a fairy tale, so whatever. i have in the backburner a game i've been working on that does this kind of story from the perspective of civilians, so keep an eye out for that in the next few years. also for the love of fuck, if you're a fire emblem fan please play other tactics games. the fe series is good, but there's a whole slue of games out there if you want to expand your horizons. i recommend triangle strategy, xcom 2, into the breach, my own catalogue, and walk with the living.

-Angie Nyx

[duefault]

" i alone am the honored one " - when satoru stated this it was very clearly referential to a story which attributes these words to the shakyamuni buddha when he was born. as far as i can tell, this is predominantly from the mahayana tradition - specifically with ties to thien/chan/zen school of buddhsim. below is generally the context described for this quote.

he immediately took seven steps, then with one hand pointing to heaven and one hand pointing to earth, he said, “above heaven and below heaven, i alone am honored."

so generally this makes sense. satoru was on the verge of death; was 'reborn' through reversed cursed energy and awakened to the full potential of limitless. it was a rebirth, quite literally. in addition, the above statement is part of the hanamatsuri (buddha's birthday) liturgy in most japanese buddhist services. so paralle between the birth of the buddha and satoru.

there are few others intrepretations of this phrase that i've found. they range from the idea that the buddha was making a statement about the preciousness of life (being that all life is interrelated), the emptiness of self (i - being uttered to arise a self-reflection on the ego, maybe fitting in the view of toji who then overestimates his baility), and an interesting note recorded by vietnamese thien monk thich nhat hanh:

siddhartha ought to have revealed his true identity when he was born in suddhodana's palace. he took seven steps and with his hands pointed to heaven and the earth. because of this gesture who knows how many disciples were lost

this last one particularly interesting; primarily the last verse of how many disciples were lost. while i can certainly say this was not thich nhat hanh's meaning in this context, i think in the context of jjk and satoru we can see how that might apply to his classmates during the flashback arc, and maybe even suguru?

that all being said; i think another thing that's interesting is satoru awakening to the hollow technique: purple. purple bearing significance specifically in japanese mahayana buddhism:

raigō (Japanese: 来迎, lit. "welcoming approach"; Sanskrit: pratyudyāna) in Japanese Buddhism is the appearance of the Amida Buddha on a "purple" cloud (紫雲) at the time of one's death

for reference, amida buddha (known also as amitābha) is a buddha associated with pure enlightenment and undesrtanding of the aggregates of buddhism. he is known to have 'infinite merit' and infinite perception. kind of a fitting paralle.

moreoever, amida buddha is specifically associated with the pure land school of buddhism. the pure land school believes, primarily, that calling upon amida will ensure one's rebirth in the pure land. the pure land is essentially a paradise realm, where one can attain enlightenment without any of the roadblocks of our world.

he's also associated with the bodhisattva ideal; delaying one's own enlightenment to assist others. again, kind of a fitting parallel to satoru when he becomes an instructor himself.

so. i dont know if i have any grand thesis here. just connections that i've noticed with this phrase, that seems pretty intentional. in a western context itd be like a character quoting one of jesus' proclamations at a pivotal point. the framing of this phrase and satoru making the exact gesture that the buddha is described as making doesn't seem like this was a throw away line to me.

[em-dash-press]

Do you have any advice for writing about characters with different body types? How do you incorperate body positivity and body insecurity into your writing? Ty!

Hey! Writing characters with different body types is so important. It’s another aspect of diversity in fiction that needs addressing. I’m going to go into weight first and disabilities next. 

Writing Fat Characters

My first piece of advice is to learn how not to write fat characters (I’m using the term “fat” and not other terminology to reclaim it as a neutral term and not further stigmatize it). In a vast collection of books and stories, fat characters are often/have often been introduced by immediate physical descriptors. There are a few issues I have with this:

It immediately boxes that character into a trope (the “fat character”) without giving any character description that other characters would get (noting the mannerisms that display their personalities, their interests, etc.) 

It’s often an info dump (readers want to get to know the characters, not read a bio on them. You can read more about info dumping here.)

Bringing up weight first and character traits second can also be the launch pad for subconscious biases. It’s worth checking how you introduce your characters to see if the wording is neutral or flattering, rather than passing judgment or using a stereotype to get the introduction out of the way.

You can read more about subconscious biases in creative writing here.

What if you’re writing a fat protagonist and their weight is important for a theme? You can and should absolutely describe their body type in ways that seem natural for the character. They might use their preferred terminology to set up their character arc (body positive terms, neutral terms, negative terms, or none at all). 

If their size isn’t essential to the plot or theme (it isn’t a story that includes a distinct message about body positivity/acceptance), then you could keep the descriptions limited to the ways they’d normally reflect on themselves. Like if they see someone who looks like them on screen so they fall in love with that movie.

Personally, I think the most empowering way to write fat characters is to write about any other aspect of their lives. There are so many (good, bad, horrible) books on people losing/gaining weight, struggling with self-acceptance, etc. Skinny people get to read about protagonists that experience everything other than that. Fat people deserve those stories too.

However, it depends on what story you have in mind and the many factors that play into your identity as a writer. This post has way more insight into writing an insecure character, which would apply to more situations than body weight as well. That might apply more to your question if my answer isn’t what you’re looking for.

Other issues to keep in mind:

Avoid writing the “fat friend” trope just for the sake of making your cast of characters more diverse. (More on that here.)

Avoid introducing a fat character in positive terminology strictly because their curves make them sexy to another character. (More on that here.)

Read up on other archetypes if you think you may have inherent biases (like we all do because society is like that). (More on those here.)

Writing Disabled Characters

Likewise, you should read up on tropes that prevent disabled characters from having positive and equal representation in fiction. (These are sometimes called ableist tropes, if you want to dive into your research.)

You can reflect on your existing characters or character ideas to see if they fall into any of these tropes:

A disability turned a character into a villain

The villain is the only character with a disability (think: the villain with an eye patch)

A disability turns into a magical ability (more on that here) that exists solely to make the disabled person redeemable or accepted

A disability that occurs only to cause a character’s growth arc, which disappears after they’ve learned a lesson

A disabled character who only becomes attractive to another character after getting rid of their disability (think: Yennefer’s transformation in The Witcher)

That’s not to say characters with disabilities can’t also be villains or have magic powers. It’s just that the disability itself shouldn’t be the cause/reason for those things. The characters should be the antagonist or have magic powers for separate reasons while also having their disability. 

This blog post has some great advice for writing disabled characters in a respectful, inclusive way:

Research the disability you have in mind for your character to better understand what it’s like to live with it/write that lived experience accurately

Don’t treat disabilities like plot conveniences (“I need a reason for this character to become bitter, so I’ll give them XYZ disability from XYZ accident” etc.)

Create an identity that includes but does not revolve around their disability. People are always so much more than one aspect of themselves.

You could also follow this tumblr, which posts exclusively about writing characters with disabilities. The various perspectives/pieces of advice could be helpful for whatever story you have in mind!

Incorporating Body Positivity Into My Writing

I always try to make my stories as diverse as possible, but that doesn’t always come naturally. We all have inherent biases that we work on every day. Here are a few ways I approach body diversity in my writing:

If I have one or more characters that come to mind, I write them down and any plot ideas they inspire. Then I pause and ask if all of those characters look like me. Sometimes they do and sometimes they don’t.

When they do all resemble me—in skin tone, gender, body type, age, or abilities—I make modifications to add diversity to their roster. While doing so, I keep any of their related plot ideas in mind. Will their modifications change their world view, how they interact with their world, or how I want them to grow? The answers change how I research them and ultimately, the story I end up writing.

In another situation, I might have a strong idea for a protagonist. They might be super vivid, but I have no ideas for any other characters in the story. I always intentionally build diverse characters in that situation.

It’s a practice I once had to remind myself to do at that point in my world-building process, but now it comes naturally. It’s also okay if you need to remind yourself to create more diverse characters at first. Writing stories can include habits that we have to work on as we learn better ways to write.

I’ve also made my work more diverse by focusing on the body-focused experiences I’ve lived through. Sometimes I want to write about those things to process my history.

Last Notes

A few important last things I want to add—

The most important thing to take away from this is to face your nerves/fears head on. No one will ever have personal experience in every body type or ability that humans could possibly have. That shouldn’t stop you from writing diverse characters!

Research as much as you can and read as many diverse stories as you can. You’ll pick up ideas along the way that will greatly inform your writing.

Below are some resources I’ll leave you with! I hope this answered your question. If not, please reach back out!

Diversity in Fiction: Writing the Character You’re Afraid to Write

Writing Outside of Your Identities

Seven Easy Tips for Writing a Diverse Story

[liquidstar]

Hey if I had a transmasc character and he never actually transitioned himself, would that be transphoic? bc I have a really cool, like, metaphorical thing there, where he makes this artificial living puppet to be his idealised self + physically masculine, but that metaphor kind of falls apart if he himself also transisitions into a male body.

Am willing to elaborate!

Oh there's absolutely nothing wrong with depicting a pre-transition or NO transition trans character. I do think there can be wrong ways to go about it (such as caricatured depictions) but nothing here is raising any red flags to be about that.

Not every trans person medically transitions (hormones and surgery). There can be many reasons for this, from personal choice to inability due to outside factors. That's okay. And not every trans person is about to socially transition- to come out. Many do in fact go about their lives presenting as their agab because sometimes there's not really a choice. It's something that will upend your entire life too, so many people just take their time. Nothing at all is wrong with that. Not every trans person got to go on hormones by age 16 and had top surgery by age 20, that's a very idealized narrative that isn't actually very common at all (nothing wrong w indulging in wish fulfillment tho but not to overdo it)

Basically what I'm saying here is that not every trans experience is getting to do all the medical transition stuff, or even the social transitioning. And it's not inherently wrong to depict that. Because that's just kinda... Life. There are lots of different experiences and all are valid

And the whole puppet thing in this case... I think it makes sense. I think that lots of people who want to transition/come out but can't will find ways to express themselves. In the past I've talked about how many identify w a different identity online than what they seem to irl, and I kinda compared this to that old stereotype of a closeted trans person finding freedom in "crossdressing" in private. It's not a 1:1 but I think you understand what I mean.

I would maybe be a bit careful about the idealized self stuff because while that is VERY MUCH a thing, I think it's also important to acknowledge that his appearance and medical transition (or lack there of) isn't what makes him a man. A no-op no-hrt trans dude is still a dude, no matter how much he looks like a "girl" according to binary societal standards. Y'know? But obviously that doesn't make it wrong for him to have an idealized self, I just think that too much escapism on this end isn't ideal either. But this can certainly be an arc, because like I said before, this stuff is often a necessary coping tool for many. I think what would be nice (if it ever comes to it, idk how you story will go so I'm just spitballing) would be that if the people around him ever saw his real body, they still treated him like a boy even if he doesn't "look the part." (Again, according to binary standards that mean nothing) Because it's not about looks 👍 that's only superficial, doesn't reflect who you are. And I think that could be a good lesson. if it makes sense for the story, that is.

Because his body already is a male body. Because it's his body. And he's male. That's it. Everything else (hrt and surgery) should be a personal choice about presentation, rather than conforming to a societal ideal of what a "male body" is. A male body, regardless of AGAB, can look like anything. A cis man can look like anything, or have "female" sex characteristics, since sex itself isnt binary either. (Though I'm not the person to ask for writing advice from on that end) Same applies for a trans man. Even if he does eventually want to medically transition, that doesn't make his body now any less "male," because that's his decision. Bodies just aren't that binary.

Anyway those are just random thoughts but the TLDR is that there's not an inherent issue w portraying ppl who haven't transitioned one way or the other. It's not an offensive subcategory of trans people! It's how many live and that's okay... As long as you're treating them like a character and not caricature it's all cool. But please please please please remember that a trans mans body is a mans body no matter what. Good luck anon! Feel free to ask follow-ups if you want!