#male anime render

[prof-kenny]

Black Butler Gregory Violet Prefect Violet Wolf House

[kd89-3dstudios]

Sims 4 PosePacks (Requests)

I hope you like it, I think they turned out really well 🤭❤️

HIGH SIZE POSES

You get:

6 Couple Poses - Request

6 Single Male - Request

You need:

Andrew's Pose Player & Teleport Any Sim - Downlode

Generally don't use the slider mod with my Posing or Animation.

DO NOT USE THE SLIDER MOD

Requirement

I don't own any of it. All freely available Ts4 Acc and many thanks to the creators. Go to their website and support them. They all do beautiful things.

3d realistic tongue Redheadsims

iPhone 13 Pro Max [Left x Right] by MURPHY

Cig acc unburned(left x right hand stigmata) by MUSAE

a3ru_yuAcc_Cigarette2.0 by Slums

DOWNLODE

TOU:

Don't claim as your own.

Don't re-upload.

Don't re-edit.

Social Media:

𝘽𝙪𝙩 𝙮𝙤𝙪 can 𝙘𝙤𝙢𝙢𝙚𝙣𝙩 𝙖𝙣𝙙 𝙛𝙚𝙚𝙡 𝙛𝙧𝙚𝙚 𝙩𝙤 𝙪𝙨𝙚 𝙩𝙝𝙚𝙢

Instagram KD89_3Dstudios

[reveriememory]

⌜(๑´³`๑)♡*.+⌟

Only Hotaru could catch a photo of Natsume smiling lolol

I think the gems around the heart were a nice deco touch!

[dkettchen]

My most male trait is the "ye I can do that" attitude abt stuff I have no means of actually knowing whether I can do

[seoafin]

the fact is that I have so little patience for fanservice in anime/manga nowadays it's an immediate turn off the second I see anything incriminating

[pedalfanyt]

[kobabeach]

in an ideal world i'd work more in gay, fetish and porn art to expand my "fanbase" or whatever but sadly i have trauma and social anxiety and autism

[communistkenobi]

I believe it was the work of legal scholar Florence Ashley where I first encountered this term (it might have also been Serano), but I’m becoming more and more committed to saying “degender” as opposed to “misgender.” like I think the term ‘misgender’ fails to properly identify the mechanism behind the process it describes: misgendering is not an act of attributing the wrong gender characteristics to a trans person, it is an act of dehumanisation. I think the term ‘misgender’ especially gives people much easier rhetorical cover to argue that trans women are hurt by misandry by being ‘mislabeled as men,’ or that they are in fact ‘actually men’ and benefit from male privilege, because the (incorrect) assumption underlying this is that when trans women are ‘misgendered’ they are being treated like men - to follow this line of thinking to its natural conclusion, this denies the existence of transmisogyny altogether, because any ‘misgendering’ of trans women is done only with the intent, conscious or otherwise, to inscribe the social position (and the privileges this position affords) of men onto them, as opposed to stripping them of their womanhood (and thus, their humanity).

The term degendering, however, I think more accurately describes this dehumanising process. Pulling from the work of both Judith Butler and Maria Lugones, gender mediates access to personhood - Lugones says in the Coloniality of Gender that in the colonial imaginary, animals have no gender, they only have (a) sex, and so who gets ‘sexed’ and who gets ‘gendered’ is a matter of who counts as human. She describes this gendering process as fundamentally colonial and emerging as a colonial technology of power - who is gendered is who gets to be considered human, and so the construction of binary sex is a way of ‘speciating’ or rendering non-human the Indigenous and African people of colonized America, justifying and systematising the brutal use of their land and/or their labour until their death by equating them to animals. Sylvia Wynter likewise describes in 1492: A New World View that a popular term used by Spanish colonizers to describe the indigenous people was “heads of Indian men and women,” as in heads of cattle. By the same token, white men are granted the high status of human, worthy of governance, wealth, and knowledge production, and white women are afforded the subordinate though still very high responsibility of reproducing these men by raising and educating children. Appeals to a person’s sex as something more real, more obvious, or ‘poorly concealed’ by their gender is to deny them their gender outright, and therefore is a mechanism to render them non-human. Likewise, for Butler, gender produces the human subject - to be outside gender is to be considered “unthinkable” as a human being, a being in “unliveable” space.

Therefore the process of trans women going from women -> “male” is not “being gendered as a man,” it is being positioned as non-human. when people deny the gender of trans women, most especially trans women of colour, they invariably do this through reference to their genitals, to their ‘sex,’ as something inescapable, incapable of being concealed - again, this is not a process of rendering them as men, it is the exact opposite: it is a process of rendering them as non-human. there is not a misidentification process happening, they are not being “misgendered as men,” there is a de-identification of them as human beings. Hence, they are not misgendered, they are degendered, stripped of gender, stripped of their humanity

[maroonless]

practiced a little painting thingy with my vamp-hybrid monster boy hehe

[torchwood-99]

Eowyn and Gothic Horror

I've ranted about the interpretation that Eowyn's rejection of gender roles was a symptom of her sickness, caused only by Grima's manipulations. An interpretation that doesn't hold to either Gandalf's speech in the Houses of Healing, when he specifies how the liberties denied to Eowyn and allowed to Eomer and her male peers played a crucial role in her depression, or when we see how Eowyn was really vindicated in her decision to ride to battle by her victory over the Witch King. A victory that wins her incredible renown and respect.

I think this reading comes about because people see the significance of Grima's contribution to Eowyn's despair, and think he is the sole source of it.

But Eowyn was not dissatisfied with her role and her enforced position in the house because of Grima's manipulations. She didn't rail against sexism because Grima played with her head and "poisoned" her traditionally feminine role for her.

Grima was able to prey on Eowyn, manipulate her and drive her to despair, because of the sexism that forced Eowyn to remain stuck in the house.

Look at the speech Gandalf gives Eomer about Eowyn's sufferings. The very first thing he mentions is the fact that Eowyn was denied the freedoms and opportunities Eomer had. The suffering that follows stems from that first initial injustice.

Because of that first injustice, Eowyn was rendered vulnerable, and Grima was able to exploit that. That isolation, that limited freedom, that unhappiness about her lack of choices, left her free game for Grima to take an already bad situation, and make it far worse.

Thinking about Eowyn's experience in Meduseld, what the impact of being confined to the domestic sphere did to her, and what is left her vulnerable to, makes me think of Gothic horror, and the role of sexism and domesticity in that genre too.

Eowyn's situation before the novels is that of a classic Gothic heroine. A fair, beautiful woman, trapped inside a decaying house, and preyed on by an awful monster, who hungers after her beauty and longs to possess her. Or else, destroy her.

Domestic settings and isolation are pretty crucial themes in the gothic genre, and for that reason it has historically been seen as a woman's genre. It taps into a pretty universal fear of what happens when home ceases to be a safe space, a fear that historically, has a particularly great resonance for women.

Whereas traditionally home is a refuge and respite for men from the world, the home is the woman's only true acceptable sphere. And yet even there she is subordinate. Therefore, she is vulnerable. With no place in the outside world, she has no escape, no respite, no refuge. If home becomes an evil, she is trapped. And because she has no place in the social sphere, she has no voice either. She is invisible, she is overlooked, her sufferings and her contributions are passed over,

Eowyn is isolated. Eowyn is vulnerable. Eowyn is overlooked. And because Eowyn is isolated and vulnerable and overlooked, Grima is able to get his hooks into her and drive her to despair. She is a wild animal, trammelled and caught in a hutch, a predator's helpless prey. But Grima didn't put Eowyn in the hutch. Eowyn was already there. Grima just took advantage of that.

Even after Grima is gone, Meduseld is still a place Eowyn longs to escape, and while its evil is purged and she does return, it is only for a short while. Grima's defeat is not enough to make Meduseld a place where Eowyn can find real happiness or fulfilment. On its own, it still represents a role for Eowyn that she wishes to move beyond.

The healing counterpoint to Eowyn's gothic castle of horrors, the hutch she was caught in, is in escape, and in a return to nature.

Eowyn's entire romance with Faramir takes place within the gardens of the Houses of Healing, where we see Eowyn start to recover from her ordeal. It takes place on the open, in the garden, on the ramparts, with much notice given to the sky and the sun and the elements around them.

(Also, the Houses of Healing themselves are not a domestic setting, but a public one, and there we see women working alongside men and holding authority.)

Eowyn's happy ending, her great escape, climaxes with her decision to go with Faramir to Ithilien.

Ithilien is the exact opposite of a hutch. It's descriptions are filled with natural imagery, and is known as the Garden of Gondor. It is a place for growth and fresh starts. A place of freedom. A place for a wild thing.

When Faramir suggests that he and Eowyn live in Ithilien, he reasserts again and again that they will go there if it is Eowyn's will. Both Tolkien and Faramir put emphasis on the importance of Eowyn's will, and Eowyn's right to freedom of movement.

In his plans for their future, Faramir talks of "us" and "we", removing the separation between men (belonging to the social sphere) and women (belonging to the domestic), and speaks of Ithilien as a shared dwelling place for both of them. Faramir only distinguishes between himself and Eowyn when he puts importance on Eowyn's will, and at the end, on Eowyn's influence.

At the close of his speech, Faramir says all things will grow with joy in Ithilien, if Eowyn is there. Returning Ithilien to its former glory, allowing it to bloom once more, is to become Faramir's life's work, and still it is Eowyn's influence he puts centre stage. Far from being kept confined to the domestic sphere, relegated to being Faramir's home support while he dominates the rehabilitation of Ithilien, Faramir places Eowyn's work and Eowyn's significance at the heart of their future together.

Eowyn goes from being shut in the house, where everything around her was decaying and falling to ruin, to being freed to stand in the heart of nature, where there is a chance for influence, growth, and fresh starts.

[prof-kenny]

[reveriememory]

⌜Gakuen Alice: Break Time⌟

Imagined Natsume being too focused on the game, while Mikan is too amazed to be cautious about annoying Natsume. Unless he actually doesn’t mind? Hm…

[gacha-incels]

“Arknights/Limbus Company/etc is obviously very political, why are these incels playing it?” Here’s a longer answer if you’re interested.

If you haven’t been watching gacha communities for the past decade this might be confusing to you, but these guys see the games as just apolitical stories with a majority or all-female cast being there to titillate the male viewer. They are for his consumption. It’s why in both eastern and western “gacha game” communities you can see them talking about how these games are better for having “beautiful” anime women versus the hideous hags of western media. I’ve seen so many people asking “how are incels playing a game with so many strong female characters?” They see them not as “strong female” characters but rather “eyecandy made for me”. tbh when it comes down to it I wouldn’t call any of the designs in these games absolutely groundbreaking for the anime genre they’re aiming for. Arknights even follows the standard “fully animal faced-guy” and the female equivalent “small featured anime animal girl with some fur”. This doesn’t mean the designs are bad or you’re foolish for enjoying them of course, there are a lot of fun ones. Anyway, you can see the same sentiment in the majority of anime communities as well. Like do you think that stereotype of an anime nerd who “loves 2D women but hates 3D women” means he’s a feminist because the 2D girl is still female?

To be frank, after some of the actions taken by these companies (ex. the firing of women for posting anything vaguely feminist) can you honestly say an “apolitical game with anime babes” is not the way the games are often enjoyed? The company Yostar who publishes Arknights in Korea literally wrote a statement saying the game is apolitical and calling feminism a dividing force. If the publisher can say something so flippantly like this just to appease their incel fanbase, how can the game be making any meaningful, hardline progressive political statements? I am of course not saying this renders any positive message you get from these games moot nor am I saying it’s impossible for the writers to be passionate about their work, I’m just relaying the thoughts of the incels/“gacha gamers” playing them because there seems to be confusion. What I’m writing here doesn’t mean the worst interpretation of these games are their defining interpretations. I’m trying to explain how the games that many people see as being antithetical to incel beliefs can have these same men as high-spending fans.

Gacha games are unique in the world of consumer media in their extremely close and constant relationship with the consumer. You have to not only love each character’s design (and sometimes story) but also be willing to drop serious gambling money to “buy” them every single month. It’s like merchandizing on steroids. I think the term “whale” has been watered down since younger kids have started playing, but these people spend thousands per patch. Over the years I’ve heard about multiple games like this being sustained by just a couple of high spenders. In 2018 there was even a western news article about a man who had spent $70k+ on FGO. The publisher can’t rock the boat too much to displease the consumer too many times without risking EoS. Every character design and story of a gacha game is affected by this FIRST while any artistic intent comes second.

A Korean woman who had lost her job due to similar “feminist hunting” tactics wrote an article describing the way these incel men think. I posted it here and part of it summarized: the men that play these games see themselves as buying and “owning” the female characters in gacha games, who are often dressed and presented to them in a highly sexualized manner and will obey their commands. In the same way they “own” these 2D women, they also want to own the thoughts of the real live female illustrators who work on the games. Therefore, if these women have expressed ideas that the male gamers find upsetting, they will be angry she doesn’t conform to what they want like the servile 2D girl and do everything to get her fired (this is where she mentions Limbus Company as the most recent example of this happening).

You can argue for some of these games, maybe the girls aren’t dressed super provocatively and give (you) shit instead of being a simpering doll, but in the end it’s not like they can physically walk away or stop speaking to you. For the “waifu” hunter guy it’s just a different type of anime girl to collect.

The stories in these games are generally not what gets targeted as much by incels. In gacha “gamer” communities, especially the Korean incel ones, their main concerns are: how revealing are the summer swimsuits? How many women work for the company designing characters? and related, Are the male characters designed for women or for men and do they “look gay”? If you search through this blog, you can see them directly speaking about these things in regards to their hatred of Genshin Impact and Star Rail. All of these have also been encapsulated in the original Limbus Company incel attack: they hated that the summer female character looked more “clothed” (wearing a skintight suit instead of a bikini) than the male summer character. They thought the collar necklace and open shirt on the male summer character meant he was “a slave” for the female viewers, so obviously it was designed by a woman. When they learned a man designed and illustrated those characters, they searched to find a female illustrator who worked in the game and went after her instead. These guys WERE FANS that played the game beforehand and didn’t think anything in the story was upsetting enough to attack the company about. They were familiar enough with the works of Project Moon to name their little group after an antagonizing force in one of PM’s previous (non-gacha) videogames. And Project Moon saw them as such a significant part of their gacha fanbase that they wrote an immediate apology and fired the artist. How do these actions in reality inform their fiction and the interpretation of it? Getting this out of the way, they were NOT in any danger, the “fans” were not clamoring to get in their offices or camping outside, they were let in and calmly had a meeting with some employees at the office. You can still find photos of them goofing around, the ridiculous write up they brought with them and a transcript of the conversation. This was not a “guy shows up at Mihoyo’s offices with a knife” situation. In the end it was a financial and moral loss for the studio with many new and longtime fans completely dropping the games and Limbus Company taking one of the biggest financial and D/MAU drops for a gacha I’ve ever seen. You can read more regarding the ramifications of this here, this post is already pretty long for this website anyway.

Again I’m not writing this to shame anyone who plays these games, loves their characters or enjoys their stories. I don’t really care either way, and I obviously find the genre interesting or else I wouldn’t have been monitoring it and the fans for a decade. I just want to shine a light on the thoughts of the more “incel” gamers that play some of these games since I have seen a lot of genuine confusion as to why they would play them. In the future my aim is to write a more in-depth post about these issues, their history and the way antifeminists think.

[happysharkintensifies]

Booktok makes me sick, not just because of all the shitty books. It's the prevalence, no, the celebration, of toxic masculinity. Every single booktok book features some variation on the same man. And without fail, against all sensible reason, these characters are portrayed as handsome and charismatic and desirable.

It makes me sick when these authors hold up these toxic, predatory traits and put them on a pedestal as some kind of Ideal Man.

It makes me sick when their aggressiveness and possessiveness is treated as romantic. It makes me sick when these shitty men forcibly grab women, invade their personal spaces, and render them helpless by 'purring' in their ears, every. single. fucking. time.

It makes me sick that these misogynistic, heteronormative, and hypermasculine social conventions keep appearing in so-called feminist literature.

Strip away the idealized elements and you have what is basically the rich, white, cishet, alpha-male archetype. He's tall, usually six feet, physically fit and muscular with obligatory six pack abs, and conventionally handsome, with a chiseled jawline. He's usually clean-shaven, and any hair he may have on his body is minimal. He maintains composure at all times and rarely shows anxiety or uncertainty. He exudes raw charisma and charm and navigates social spaces effortlessly.

His hobbies, if he has any, are stereotypically masculine. When it comes to sex, he's confident, skilled, exclusively dominant, and always knows what to do without communicating with his partner. The sex he enjoys is usually rough, animalistic and overpowering. He may have been with several women in the past, and he may be regarded as a sex god, both in-universe and out.

His toxic traits are rarely portrayed as negative. But when they are, they're usually held up as some edgy, anti-hero persona and the reader is inevitably manipulated into sympathizing with him. He'll be portrayed as a tortured, wounded animal, and his female love interest (and, by proxy, the reader) will decide on some variation of 'I can fix him'.

He is essentially the unrealistic standard the ideal Proper Man; the one that men are expected to emulate, and that women are expected to swoon over.

But what really irks me is the lost potential.

If there are men who don't fit into this mold, they are depicted as pathetic, ineffectual, or any number of negative traits.

The narrative quietly and passive-aggressively mocks them and portray them as boring and un-sexy.

After all, is this the kind of man who will bravely swoop in and sweep a helpless woman off her feet? Of course not. Such men are boys. Wimps. Cowards.

These books are supposed to be fantasy: a genre in which easily anything can be explored. If faeries, magic, and contrived mating bonds can exist, then why can't we also have male characters who exist outside the stereotypical, hypermasculine mold?

Why is it that we can have so many fantastical, impossible, and wondrous magical forces, creatures, and peoples, but we can't have men who aren't possessive, abusive, or controlling?

Why is it that male characters, have to be so innately dominant, abusive, and violent? Why do they have to be so fit and muscular and strong?

Even worse, why is it treated as something that is so natural, so inescapable, even in the realm of fiction?

Where are the men who aren't tall and fit? Where are the men who don't have sculpted abs or chiseled jawlines? Where are the men who aren't lean and muscular?

Why can’t we have men who are skinny or overweight? Why can't we have men who aren't handsome or attractive, but just average looking? Why can't we have men who are shorter or just average height?

Why can't we have men with non-stereotypical hobbies? Why can't we have men who love to read, or paint, or write, or sing, or dance, or build model kits?

Why can’t we have men who are timid and shy? Why can't we have men who feel anxiety, fear, and sadness? Why can't we have men who aren't afraid of crying openly?

Why can't we have men who aren't sex gods? Why can't we have men who aren't confident in bed? Who are anxious, or even scared, at the prospect of sex? Who are passive instead of dominant? Who want to experience intimacy and affection?

Why can’t we have men be kind and gentle and sweet for once?

I'll tell you why we can't. Because booktok says men like these are not 'man' enough. Booktok says men like these are the 'boring' option, and completely devoid of interesting quirks, traits or personality. Booktok says men like these are underserving of attention, and only fit to be background noise.

As far as booktok is concerned, men like these can't exist.

[delcakoo]

hi ! can i req jungwon as the big spoon?

hihi ofcc <3 writing this def cheered me up, thank u for the cute req anonnie! (soft hours closed)

9:41PM — “jagi, are you sleepy yet?” jungwon whispers, head against your chest as the promised neverland plays softly on your tv in front of you.

you tap your phone curiously at his question, brows furrowing at the early time displayed on your screen. “it’s only like, 10pm, wonnie.”

your boyfriend peers up at you grumpily, large cat eyes nearly impossible to refuse. “i know, but i’m really really getting sleepy, y/n,” he continues to complain, wiggling around like a toddler.

snickering at his tired antics, you reach for the remote to turn off the anime, watching from your peripheral vision as jungwon grins happily at your inability to tell him ‘no’.

only a minute or two later, you find yourself hopping into bed, jungwon following close behind from his side of the mattress while eliciting a silent yawn. once you’re both securely settled in the sheets, you quickly lift an arm to turn off your lamp, embracing the pitch black darkness that follows suit.

at this point, normally you’d wrap your arms around the boy, leave a few gentle pecks down the back of his head and neck before murmuring out a ‘goodnight’ and ‘sleep well’. but you’re shocked to say the least when you feel jungwon push you over to face away from him, a lazy arm pulling your back right up against his chest while the other lays above your head on the pillow protectively.

“what- what are you doing?” you inquire, rendered speechless. his heart beat is surprisingly calm and relaxed, opposing your unsteady one at the close yet unusual contact of the male. it was practically an unspoken rule that you were supposed to hold him in bed, not the other way around!

jungwon giggles, dragging you impossibly closer and snuggling his face into your hair. “i felt like trying out big spoon tonight,” he explains cutely.

“oh? and what’s your opinion thus far?”

“i get the appeal,” he instantly admits. “i have so much power! i can change positions and cuddle you however i want and there’s nothing you can do about it~” you can nearly envision the cat boy’s snarky, teasing expression at that moment, sighing as a larger leg raises on top of yours, effectively trapping you in place like a snake to its prey.

your boyfriend may look weak and small compared to some of his weightlifting bandmates, but there was no doubt in his strength at times like these. “ah, this is seriously perfect,” jungwon groans in satisfaction.

you fake a dramatic huff, “yeah, for you, idiot. i’m practically immobile over here.” little did he know you that you were busy smiling like an idiot, thanking the overwhelming darkness for hiding your ears and cheeks growing warmer by the minute.

“yoi, don’t pretend you aren’t loving this.”

perhaps you’d allow jungwon to take charge of cuddling more often.

the ‘yoi’ is supposed to be that thing wonnie always does irl 😭 i just didn’t know how i should spell it jshsj

[coolancientstuff]

Ancient Maya painting in the Temple of the Murals, Bonampak, Mexico. Dating to around 790 CE.

This precisely and elegantly rendered scene depicts a ritual costumed dance.

A masked group of gods and aquatic animals reenact a myth with themes of fertility and transformation. Water lilies sprout from their headdresses and limbs. Two deities exchange an ear of maize, representing the act of creation and the seed of future rebirth. To the left, court musicians play large wooden trumpets to heighten the drama of the scene.

The moment of transfiguration from human to crocodile is suggested by the two sitting male figures, the first of which wears an elaborate, theriomorphic white headdress. He is also adorned with a bulbous jade necklace whose form is echoed in the scales of the crocodile mask to which he points.

To the right, a dancer representing a crayfish raises his arms in a dramatic gesture. The final figure, likely a deity, wears a skull-like mask and water-lily headdress with a fish. He holds a white tunkul , a wooden slit drum still played today in many areas of Central America.