#most of the characters are poc and queer as well

[blackwldcw]

@headlessbutnothopeless asked: ♚ ((Mentioned it in DMs, but I really like the short drabbles of RP events - do you write/post fanfiction at all?))

{Hey! Thank you for sending one of these in <3 I very much enjoy your blog, too, based on what I’ve seen.

And I used to. Unfortunately, not anymore. I’ve been working on a novel unaffiliated with any fandom in my free time, as well as this blog.}

[kafkaesquedyke]

The new Velma show seems to neatly fall into this trend of tv shows (paramount heathers, leaked powerpuff girls script) that want to seem progressive by having a diverse cast, while simultaneously wanting to preserve that same edgy, punch-down comedy style found in 'centrist' or conservative media. They want the praise for having female, queer, and characters of colour while still retaining an audience made up of mainly edgy white men laughing at how ridiculous ‘the minorities’ are behaving. It’s a punch-down comedy wolf in progressive sheep clothing.

The fundamental flaw in this logic is that show runners assume the audience that would enjoy this humour will see past that supposedly progressive façade… and that often doesn’t happen. A lot of these specific edgy types see diversity as a red flag and immediately presume some type of agenda. It’s almost like seeing a minority participate in the joke (even though they’re still very much the punchline) zaps all the humour out of it or they can’t understand that the joke is still for them if it isn’t said by someone that looks exactly like them. And because they (especially, but not only, cishet white men) recognise all the jokes from things they like, but don’t find them funny anymore, the only reasonable explanation they have is that diversity is bad and makes it unfunny, instead of realising their inherent inability to recognise and relate to any character that isn’t a white man.

Meanwhile, an audience that would appreciate a diverse cast does recognise the comedy for what it is: cheap jokes made at their expense. At most there are occasional jabs thrown in at the white and/or male characters which often don’t relate to these identities in any fundamental or even realistic way. So you have this show that constantly uses it’s minority characters as punchlines and only includes vaguely progressive, but ultimately pretty universally accepted, messaging hoping progressive audiences will be enamoured with the occasional ‘girlboss moment™️’, while not noticing that vast amounts of regressive ideals.

In the end neither audience feels appealed to and the show is a massive failure. While it might be satisfying to see that these conservative audiences are too blinded by, let’s be honest here, identity politics to recognise something that is clearly made for them, ultimately all that is remembered is that ‘the comedy show featuring a lot of diversity’ failed. And it becomes harder for people who actually want to make media with, and especially for, minorities have a harder time getting any funding. Shows like these are a lose lose situation when it comes to furthering diversity in the media landscape and it’s increasingly frustrating to see this happen again and again.

[theghostofashton]

.

[splatoonpolls]

a really long analysis about fanon Marina and the flanderization by fandom she has gotten

fanon marina (the version created by the fans) mainly focuses on two things, her being autistic coded and her being basically confirmed to be a lesbian. And I do think this has to do with her being VERY much like a typical splatoon fan in many people’s eyes. Her being a nerdy queer neurodivergent person. This is also why other parts, especially her relationship with her being an octoling gets often locked away. Subconsciously at least

if Marina was a book, several chapters would focus on her identity as a dome octoling. Her being autistic would probably pop up here and there, but it wouldn’t be a whole chapter. But her very much gay relationship with Pearl would definitely have a few chapters. But with people focusing on those few lines and chapters rather than the whole book. People would slowly ignore the other chapters, get shocked like Adam Sandler learning Pac-Man was the bad guy in the hit movie pixels.

the splatoon fandom’s western side is mainly white Americans and Europeans. Which is one reason why the fanon Marina doesn’t focus on her identity as an octoling, but also on how many details are not really told to the player. Marina barely shows her ears, which can both be read as her having sensory issues (which is a super valid headcanon(, but also her not feeling super comfortable with her body. With her ears being a reminder of her “you are with people who still think you are only going to steal stuff”. Her tentacles may be weird, she may lack the eyeliner an inkling has. But those things can simply be a stylistic choice. Her ears can’t be one. They are too different. I also know the DLCS focuses more on her identity as a dome octoling. However many can understand how her arc as a whole can be paralleled to the real life experiences of people belonging to marginalized ethnic communities. I also want to point, while writing this. I realized (which many people probably already did). Dome octolings you see outside of the domes (splatoon 2 octolings, Marina, Acht, Paul), are all refugees. They are all characters who grew up in a society that had been shunned for decades, even centuries. That society ended up being oppressive both due to external and internal issues. They know the society they’re living in is no longer a good place to live in. So they escape. Hoping to find a place that will take them on. For agent 8, Marina, and Paul. They found a safe place. Acht wasn’t super lucky however. They were told they could find a “promised land” only to be left in even more ruin before. So not only does Marina’s character arc focus on her being a part of an ethnic minority, but a refugee at that. so why does fanon marina usually avoid that part of her? Well as a mentioned before. Marina has three things that makes her very relatable. While the more backstory focused things are less relatable to a way smaller margin of the splatoon fandom. A way smaller part of the fandom are poc in a very white country. And a very small percentage are refugees.

if we removed Marina’s backstory. We would still be left with the fanon version. A nerdy autistic lesbian who deeply loves Pearl. I love how Nintendo got a game that also isn’t afraid to show a society that cares about queer people if not is queer centric itself. Which is probably why many people cling to that part of Marina. But if we removed that part. What would we be left with? Well, we would have an octoling refugee who is a trained soldier and can create weapons of destructions (and she would still be in love with Pearl, it is an important part of her backstory). im not saying the splatoon fandom’s openness to lgbtq and neurodivergent people is a bad thing just because they boil down one of the most plot heavy characters down to those things. It is actually a really great thing to have a fandom that is open to these marginalized groups.

i just want to say, due to this love for Marina being a character you can relate to. It feels like certain parts of Marina’s character (which can also be very relatable to some) is being drifted away to the more lore centric side of the fandom. Which will lead to a sort of fandom flandarization which is very unintentional and just done due to a love of Marina as a character.

If you’ve read this an disagreed, that is fine. Character writing is a very subjective thing

[quasi-normalcy]

Which Star Trek series should you start with?

The Original Series: Advantages: + The one that started it all + Has some sophisticated and socially conscious science fiction that has held up exceptionally well + The lead characters all have really good chemistry and fun to see play off of one another + It's what most people probably think of when you say Star Trek (together with TNG) Disadvantages: - It can feel very dated and kind of sexist, particularly in its treatment of women - The sci-fi and social commentary may have held up, but damn it, the special effects really haven't - When TOS is bad, it's really, really bad.

The Animated Series: Advantages: + Basically just more TOS. Disadvantages: - Basically just more TOS, but substituting extremely cheap animation for bad special effects

The Next Generation: Advantages: + Probably the most popular one at this point + The crew is full of interesting characters and they're fun to spend time with + Just really smart people solving Space Mysteries + Socialist space utopia + Geordi-And-Data! + Lots of cool sci-fi concepts and social commentary + It's what most people probably think of when you say Star Trek (together with TOS) Disadvantages: - Although not in the same way as TOS, it can feel dated at times, particularly in terms of its treatment of women and it's near complete refusal to acknowledge queerness - Without wanting to bias viewer opinion, the first season is widely considered to be pretty bad - The series makes no bones about the fact that the socialist space utopia is better than every other society that has ever existed and will reiterate this point over and over again

Deep Space Nine: Advantages: + The most popular Trek series on Tumblr + Has a complete story arc, as well as arcs for all of its characters, including the extremely minor ones + Plain, simple, Garak. The humble tailor. + Garashir, if you're into that + Seriously has a really sophisticated treatment of things like post-colonial politics, anthropology, worldbuilding, and the horrors of warfare + Just the characters in general + Is the only Star Trek prior to the 2010s to even look meaningfully at queer representation Disadvantages: - Has an absolutely massive inferiority complex with respect to TNG and this drives a few poor writing decisions that seemingly exist just to poke the Socialist Space Utopia in its eye - Introduces a space religion and then just slowly turns it into Christianity with the numbers filed off - Seems to think that sexual harassment is just a quirky eccentricity - There's no women in its writers' room, and frankly it shows

Voyager: Advantages: + Probably the clearest instance of found family in space + Lots of really good episodes + Lots of fun new characters + Strong female role models + "Set a course...for home." Disadvantages: - Continuity? I never knew her! - Probably about 90% of Trek's reputation for technobabble comes from this one series - Even less queerness than TNG. - Only like...3 characters actually get arcs. - The first few seasons lean very hard into bullshit fake "Native American" spiritualism with one of the characters - How do these guys have warp drive but can't find any water?

Enterprise: Advantages: + Chronologically the first series + 90% less technobabble + The only series to plausibly frame our heroes as astronauts...on some kind of...star trek. + Still has probably the best production values of any series + Makes alien cultures of the week feel somehow richer and deeper than other series + Faith of the Heart is good, fuck you. Disadvantages: - Oh my god, the decon scenes - Seriously, if you've ever wondered what a "sexy" series written by a 14 year old boy who's only ever seen a bit of scrambled softcore porn on late-night cable would be like, this is the show for you - Somehow feels more sexist and racist than the show from the '60s - Seriously, the POC characters mostly exist to fill seats on the bridge; the women constantly have to undress themselves - Hellooooo, Bush II-era political analogies - Scott Bakula is a good actor but you wouldn't know it from this series - In season 3, they add a tambourine beat to Faith of the Heart and ruin it

Discovery: Advantages: + Noticed the lack of queer characters in the first 50 years of Star Trek canon and decided to make up for lost time + Seriously, the "Bury Your Gays" tally for this series is like...negative two + Just incredible representation in general + Some really good science fiction plots, particularly in later series + Some really fun, memorable characters + It's still running, so it has an active fandom on Tumblr Disadvantages: - Makes Elon Musk out to be one of the great visionary geniuses of history - Not really representative of Star Trek as a whole - The series swerves wildly in tone because of constant, behind-the-scenes churn in the writers' room - Offputtingly grimdark first season - Let's be honest, none of the season-long arcs have actually had satisfying conclusions - Half the cast feels like it's just there for exposition and to be killed for cheap drama

Picard: Advantages: + Has the best dramatic acting of any Star Trek series by a fair margin + Has the best musical score of any Star Trek series + Introduces a whole crew of fascinating new characters + Introduces all kinds of fascinating transhumanist concepts + AGNES. JURATI. Disadvantages: - You know all of those fascinating new characters that I mentioned? Yeah, it unceremoniously gets rid of all of them to bring back the old TNG gang. - You know that all of those fascinating transhumanist concepts that I mentioned? Yeah, it gets rid of those too so that to give us some generic action - Oh my god, someone teach the set designers to operate a fucking light switch - Grimdark - Nossssstalgia - Each season is basically unrelated to every other season - Depends so heavily on TNG that its final season is basically unwatchable if you haven't already seen a 30-year-old TV series

Lower Decks: Advantages: + It has probably the most efficient storytelling that I've ever seen; seriously, it's incredible how much it can fit into a half hour episode + It has a bunch of delightful, archetypical characters you get to know and love + You like hanging out with these people + The ship is kind of crap and you will learn to love it that way. + Basically a sitcom version of TNG. + Has a big fandom on Tumblr Disadvantages: - The art style is pretty Rick & Morty-ish - It takes most of its first season to really strike a good balance between being a sitcom and being a Star Trek series - The main character, Mariner, is kind of unlikable for the first season or so (she gets better) - Lots of callbacks to other series (though always either incidental or clearly explained) - Given that it's the first Star Trek sitcom, the comedy is honestly kinda the weakest part? Subjective I know.

Prodigy: Advantages: + Absolutely gorgeous to look at; the most visually stunning Star Trek by quite a ways + Lots of fun new characters on a cool ship + Gives you clear on-boarding notes to the Star Trek franchise if you're watching it for the first time + Can be watched on its own, but also works as a direct sequel to Voyager and a prequel to Picard (making both of them retoractively better, in fact) + Kind of like the Clone Wars or Rebels of the Star Trek universe, I guess? + Found family in space! The next generation! + Soon to be running on Netflix, so if you already have a Netflix subscription, you don't need to pay for another service + Written for a younger audience. Not necessarily an advantage, but nice if you happen to like family friendly animation or YA. Disadvantages: - *sigh* You basically need to pirate it. Thanks, Paramount. - Has a second season that we may or may not ever actually get to see even through piracy. Thanks, Paramount. - Isn't airing on the same streaming service as all of the other ones. Thanks, Paramount

Strange New Worlds: Advantages: + Basically what the original series would be if it were released today, rather than 57 years ago; all of the cool, socially consciousness sci-fi adventure, none of the weird 60s sexism + Fun, awesome characters you get to like spending time with right away + Incredible visuals + Nifty sci-fi concepts, mostly without the 90s-style technobabble Disadvantages: - A huge cast with only ten episodes a season, so many of them feel underdeveloped - Unfortunately, a bunch of its characters are younger versions of the characters from The Original Series, and they hog most of the spotlight; and the characters whose futures aren't locked in stone are kind of treated as disposable - In general, it needs to spend less time being a prequel, and more time being its own thing - "What if Starfleet ran into the Xenomorphs from Alien?" "Well, they'd probably kill them." "Okay, let's spend several episodes on this."

[dimplyowl]

😩 one of the main things I see about Izzy and why he’s an innocent little lamb who has done nothing wrong is that he’s got a lot of internalized homophobia going on, as well as issues with toxic masculinity. And yeah, OFMD is all about taking those toxic societal expectations and telling them to shove themselves up their asses. And I think having a character who has those internalized feelings and who holds onto them until being proven that they’re wrong is an interesting character arc. Growth is a great thing! We love to see it!

The problem comes when people use those characteristics as excuses for any of izzys bad behaviors, as if they give him a free pass to do whatever he wants to do. But that’s not how these things work. The problem I have with Izzy’s character arc in s2 is that he doesn’t do anything to make reparations until his deathbed apology to Ed. He just kind of…continues to be there, ignoring Ed, letting the crew extend kindness to him and still not really engaging until Calypso’s Birthday.

You know who has done some really shitty things and does actually work toward making reparations? Ed. And that’s another thing I see a lot of Izzy fans say: that gb people give Ed a free pass for everything he did because of his childhood and his trauma and his self hatred and broken heart. But babes, when we talk about these issues, you’re misunderstanding why we’re talking about them. I obviously can’t speak for all Ed fans, but the majority of us aren’t listing these issues as excuses, we’re naming them as reasons for his behavior. So we can understand why he feels the way he feels and did the things he did.

I am fully aware that he did some really shitty things to people who care about him and who he cares about. I acknowledge that. I also know why he did them. And knowing why doesn’t make it okay. It helps me understand him more, and to know that he wasn’t doing them because he enjoyed them and, most importantly, that they’re things he regrets doing. That’s obvious throughout the entirety of eps4-6, in his hesitance to return to the ship, in agreeing to wear a burlap sack and allowing Lucius to push him over the ship, in taking time to actually listen to fang about his own experiences during the kraken era. It’s part of the entire reason they have a party, it’s part of turning poison into positivity. Ed doesn’t have great apology skills. His “apology” speech was definitely lacking as far as our modern standards are concerned. That’s fine. Those aren’t natural skills to have, they’re learned, and he never really had the opportunity to learn them. But you can see that he wants to, and he’s trying and he’s learning, and that’s the most important thing.

Izzy doesn’t do that shit. In season 1 he uses his position of power to bully the crew, to go against Ed’s orders (his captains orders; that’s essentially mutiny right there); he loses and turns his captain and a ship full of queer and poc to the cops; he then becomes captain and it takes less than a day for the crew to mutiny on him because he’s a fucking asshole and no one wants to work for him; and to top it all off, he tells his boss—his friend, supposedly, his depressed and already established to be suicidal friend—that he would be better off dead than be like he is.

Where are his attempts at reparation? Where does he turn around and say “yeah calling the cops on you was fucking horrible and I shouldn’t have done it” or “I shouldn’t have said those things when you were already struggling” or “I’m sorry for taking advantage of my power and using it to bully and abuse my employees and another captain’s crew.”? He doesn’t do any of that. He doesn’t even try.

Internalized homophobia doesn’t make intimidating your gay subordinate or calling your friend a “namby pamby in a silk dressing gown” okay. Toxic masculinity doesn’t make repeatedly insulting someone for having traditionally feminine traits and interests okay. Doing those kinds of things can never be okay. But recognizing these as faults and actively working to improve yourself and grow and apologize to the people you’ve hurt and try to make things better does make it more likely for the people who care about you to forgive you.

[demigodpolls]

Why do you think Frank gets so little attention from the fandom at large?

although I don't fault anyone individually for not having interest in a given character, I do think it's pretty sad that not much mind is paid to frank. it's not the best metric to measure things by, but on AO3, frank has the fewest fanfics of the prophecy 7 by a pretty wide margin.

there's no point in comparing him to the likes of percy, annabeth, and nico, who have existed for way longer, but the lost hero trio have well over 10k works for all three individually, while hazel has 8.7k (her popularity is surely bolstered by her relation to nico, the second most popular pjo character on ao3) and frank has about 7k. interestingly, will solace has over 15k fics--and that of course has to do with the popularity of solangelo (the second most popular pjo ship on ao3, as you see above), but considering how recently tsats came out (and how little material/information about him existed before that), I still think that number is pretty remarkable.

with all of this in mind, here are some of the reasons why I think frank doesn't get a ton of attention from the fandom below the cut.

- part of it probably has to do with shipping. while frazel is a well-accepted canon ship, I don't think it actually garners a ton of real interest. when a pairing is very popular, its individual parties will inevitably share that popularity; i.e., will solace, as observed previously. furthermore, frank doesn't really have any popular non-canon ships. online fandoms heavily favor mlm pairings over any other kind of pairing (this is just a very neutral, well-observed fact, so I hope no one is bothered by this acknowledgement), but if a male character is not popularly shipped with other men, they tend to fall to the wayside. to be honest, I think it's a little surprising that frank/leo doesn't get more favor; maybe it's because people just don't like to acknowledge the love triangle they were in, but the enemies-to-lovers material that people usually enjoy is right there, you know? jason/leo is fairly popular on tumblr at least, but no one really ships its SoN counterpart percy/frank either, which is interesting.

- part of it probably has to do with the fact that, compared to others, frank does not appear to be a very angsty character. fandoms tend to prefer characters who have tragic backstories and/or highly-animated personalities, and while frank undeniably has his individual struggles, they probably seem quite small compared to the bulk of the principal cast. for reasons like this, a lot of people will likely tell you that they don't find frank (or his powers) very interesting, and prefer to devote their attention to other characters.

- part of it probably has to do with frank (in my opinion) being neglected by HoO books. I wish he had gotten to do so much more! but of the things that he did do, I don't think many people consider them to be very memorable.

- I think there's also no point in ignoring the fact that frank is a chubby POC, and well, these types just aren't often so beloved by fandoms. that his only popular ship is with another POC probably doesn't help matters, to be honest...! it's just a well-documented phenomenon that, unless they're anime characters, POC characters and POC x POC ships tend to be much less popular in online fandoms than their white counterparts (i.e., 2010s star wars comes to mind). of all 10 percy jackson POV characters on ao3 (I'm including will in this figure and excluding apollo, who I consider an outlier), piper, leo, hazel, frank, and reyna make up the bottom 5 in that order in terms of popularity. this page is a great resource for more data on race, queerness, gender, etc on ao3. (unrelated - fascinatingly, percabeth is the 8th most popular m/f ship on ao3 of all time, and jiper is 96th!)

that's just my two cents as to why I think frank doesn't get a ton of attention. I hope no one is upset by my observations, I mean all of them in a pretty neutral, analytical way. to anyone else reading this, here is a reminder that character hate and ship hate is not tolerated on this blog. if you post unkind things, your comments will be deleted and your account will be blocked. we don't need to bash other characters or ships in order to uplift others. save it for your own blogs, please!

thank you for asking and engaging with this blog!

-demigodpolls

[televised-uhhh-nerdistry]

Cartoon rec of the week:

Craig of the Creek

I haven't seen enough people talking about the show, so I'm mentioning it here. Absolute 10/10 cartoon. Just three kids, running 'round, making friends, running their own semi-sustainable community in the forest (there are some concerns about how much trash they leave there but ultimately they're better than most adults). Literally such a dream. they encourage each other to be emotionally healthy and they protect each other from "danger". Like they'll help each other achieve their dreams as they come (and new dreams show up pretty often because they're young kids).

And they're so funny! Like genuinely these kids are so earnest and intelligent and incredibly humorous and full of heart! They have full lives and they live them to the fullest out in nature after school, on the weekends, and in the summer. It's one of the best representations of found family I have ever seen in a cartoon, and I absolutely love it.

Also several of the writers behind the show are POC and queer (I think the head writers are all Black but I could be wrong), so you know that it was written well and the representation is awesome like I know that it should absolutely go without saying, but representation is much more than just showing BIPOC people on screen, and in terms of cartoons I haven't seen that many shows understanding that fact except maybe the Proud Family, Fat Albert, and a few others whose names will return to me once I've taken my ADHD meds. But the point is that Craig of the Creek gets it right. Most of the characters throughout the show (from what I've seen) are BIPOC, and you can tell that there are caring nods to BIPOC communities (primarily Black American communities), and more than that, that the writers know what they're talking about and are deeply familiar with and are a part of those communities. Craig, the titular character, is a young Black boy, and his family are middle class and ultimately very successful Black people. Kelsey (one of the main characters) is Jewish and Polish, and written with more complexity than having a one and done Hanukah celebration. The Creek's main business, a trading post, is run by Kit, a young Black girl with a love for economy and business. And many other characters are racial or ethnic minorities as well, and it warms my heart to see these characters done justice time and time again.

There's great subtle queer rep too, and you can tell it wasn't written just for the sake of representation, like it was thought out and intentional, and it worked beautifully. There are queer witches, and there are no labels applied to them, they're just allowed to exist with no explanations, happily in love with one another. There's a non-binary character later in the series (I'm only like 10 episodes in so I haven't met them yet but I've read amazing things about them). Kelsey also apparently identifies as a lesbian later in the series (I say "apparently" because I haven't done much reading so as to avoid spoilers, not because I am discounting her identity). On top of that, JP (one of the main characters) has a sister who is dating another girl.

There's also a significant amount of body positivity in the show, at least far than I've seen elsewhere. Not only do they openly say "all bodies are beautiful" and follow up on that by defending one another, there's also very little need to defend one another, because there's a very unspoken and deep respect in the Creek for things like body type, skin colour, disabilities, and so on. The kids of the creek, and their grown ups, are all different body types, and given their penchant for community and uplifting one another, it's no wonder they all seem confident in their bodies.

Not to mention the disability representation. There is a character later on in the series who is Black and deaf, and he not only speaks in Sign Language, but in Black American Sign Language. In addition, though unconfirmed, many of the kids in the creek embody aspects of various neurotypes. For example, the three main characters, Craig, Kelsey, and JP all come across as neurodivergent, with special interests, neurodivergent ways of thinking, and so on. Some have speculated that JP has Ehlers Danlos Syndrome, which is a disability often comorbid with ADHD. Not to mention that all the kids in the creek embody different special interests, most of which would be considered weird or frowned upon in everyday society, but that are given the opportunity to shine and flourish in the Creek's accepting culture.

Take the Horse Girls for example, a small clique of girls who roleplay as horses in a pasture near the Creek, and of course many of their behaviours are played as jokes, but ultimately they are accepted and involved in many adventures because of their unique interests and abilities which are ultimately how they aid the rest of the Creek. Every kid is a useful and accepted part of the Creek, with the exception of the ranger scout kids, who are essentially the same as cops, who are often exploitative, rude, and disruptive to the community as a whole.

Ultimately, the show is one of love, friendship, community, and acknowledging differences as a natural and helpful part of life. On top of that, it's not copaganda! What more could you want?

[beepmeowiskarkat]

A note to the Sanders Sides fandom

Hey so like if you're a fander who supports Israel, no the fuck you are not <3 I have been in this fandom for six goddamn years and I am revoking your fander license. You lost the privilege of enjoying this show the second you decided to support actual fucking genocide :3

Thomas is pro Palestine! Most of the fandom is pro Palestine! The characters are very obviously NOT PRO GENOCIDE!

I am a fandom veteran and I have seen some absolutely insane shit come out of this fandom, but this is the final fucking straw :)

I could handle the out of character fan fiction of 2018, the absolutely abysmal shipping wars, the lowkey blatent trans phobia and queer fetishisation which we have mostly gotten past (thank fuck) but good fucking Lord, if you support Israel then you are not a fander. Plain and simple. Get the fuck out. I refuse to deal with you.

If i could I would revoke your internet privileges all together. Touch some fucking grass. Think for two seconds about what the hell Israel is doing and reconsider how you fit into this fandom. You are surrounded by an entire fandom made up of minorities. We are a community of disabled, queer, and POC individuals. The Sanders fandom has ALWAYS been that. We have ALWAYS tried our best to be an open minded and inclusive fandom, even in our rough patches. And you have the fucking AUDACITY to call yourself a fander when you support genocide?

Not only that, but a genocide which is so well documented, that if you spend even a second looking for them you'll find pictures of malnourished and dead children, excessive gore, torture, rape, and other tragedies?

You look at the death or Aaron Bushnell and you think Israel is in the right? That Hamas is "just as bad"?

It was never about the hostages and you should fucking know that by now.

How are you in this fandom. You do not follow our values, you do not follow our code, you do not follow our morals. How can you find love and comfort in this series when you so obviously go against what it stands for.

Leave and don't come back until you've re educated yourself. Or die. Either works.

From the hatred in my heart,

Nikki </3

[portsandstars]

Revisiting Red Spring Studio's Interview with Blerdy Otome - Select Quotes

It's been almost a year since RSS had this interview, but I think that many people have not listened to it, or recently revisited it. I thought I'd highlight some quotes from it, though the entire interview is worth watching! Some of these quotes I have lightly modified for clarity or succinctness but the majority are direct transcripts.

23:30: "Touchstarved is a horror romance visual novel where the entire cast is made up of characters where you're like, "I can fix them!" but you actually can't. I think that Touchstarved is a very complex and mature story with really really complex themes and interwoven routes and obviously it's very sexy at the same it's a romance - and I think it's one of those games that I've always wanted to see exist and I think that a lot of the team has always wanted to see this game exist as far as being this kind of like dark, broody, moody, but also very deep, right, and authentic and honest exploration - Monsters, and the feeling of being a monster - feeling of being an "other", right, whether you're queer or POC or anything like that… we've created a game that's not only really fun and action-packed and bloody and all that kind of stuff… but very heartfelt in a way that I hope readers can pick up on.

Imo, this line of reasoning ("you can't fix them", and the cast's monstrous nature and how it intrinsically ties to/is an analogy for being queer, or POC) - makes me think that even in the good endings for the game, your character won't be minimizing the character's monstrousness. For example, even if your character has the Power of True Love, it's not going to make Vere nonviolent or absolve Kuras's guilt.

25:35: "These themes are pretty complicated in a way that's messy and honestly bloody and I think for that reason is why we're looking at a mature rating - that said, when we set out to make the game our goal wasn't really to be explicit, it was much more to focus on sexiness . . ."

Just clarifying that there won't be explicit sex scenes in the game.

28:55: "What are some aspects of the story that you are most excited to showcase?" "I'm so excited that people get to die terribly, that just gets me so pumped up. Like in previous jobs I have not been allowed to brutally murder . . . main characters permanently and it's very important to me that I now have the power to write really just messed up awful endings…Don't worry, there's also good endings there too, they just get as much passion and all that stuff as the bad endings… but the bad endings, oh my gosh, those are some of my favorites."

This line makes me curious about whether the main characters are just MC, or if the other characters will brutally die as well!

30:50 "A little while ago we posted Kuras's character reveal and people really like the fact that he can't cook so for me it's really cute and innocent seeing people obsess over that fact and I really just want them to see the contrast between that version of Kuras in their head and what he's actually like in his route. Like I just really want to see them react to like the terrible things he's going to do. . . They're all awful in different ways that I'm really excited for people to see it - it's very funny to see everyone be like _Literally name any of the characters of the cast and be like "they're my little meow meow" and it's like, oh. good. I hope this continues once they learn more about the characters. Obviously they're all wonderful - right, the characters are all awful but they're also all wonderful".

32:26 : "the theme of monstrousness and how each character kind of approaches it differently . . . because they're all monsters, even if they're not literally monsters . . .it also plays into each character's brand of horror in their own way as well that ties into their monstrous nature."

This line especially (to me) hints at how Leander is likely not SPECIFICALLY a monster, but a human with a monstrous nature.

34:30: - Ais was the first character they made and each of the other characters build upon him, so they spent a lot of time getting him right. Vere was the easiest to create and they made him in a weekend. Kuras was the hardest to create (especially visually).

38:00 "This is a romance game and a big draw of the game is making a love connection with these characters - do you all plan on including platonic friendship routes in addition to romance routes, or is it strictly romance?" The way that we planned out this game is that we wanted to focus on the intimacy of these individual relationships between the main character and the love interest and the route that they're on, right, so this is the way we had planned the game from the beginning. We really like poly romances, for example, and friendships, but we think that it wouldn't have made much sense for the characters in the story that we had written for them because this entire story - with who the main character is and why they're having to turn to these mysterious monstrous strangers - there's a level of intimacy involved in the themes and stories that we really focused on for how we're writing…

It's almost like a narrative design intentionality we did early on because each route that you'll be able to play from the main five cast is very driven and each character is like a ticking time bomb in their own way. So if you choose to romance Vere, Kuras's route still continues and you can see the effects of what not choosing Kuras is in Vere's route when you're playing Vere's route. So the world is meant to be very interwoven and interconnected where you can see the ripples of everyone's choices even when you're not romancing them and in that way we've designed this cast that's woven together. So if we did want to do a poly route, we would probably have to do entirely new characters . ."

43:30: "One of the fundamental goals of this game was to have, as you've been saying, a living world - a world that's evolving, and one of the ways that we wanted to communicate that was with the idea that these characters are not doing great… um, they're all in very very bad situations, uh, they're all essentially doomed if you do not go with them and it's seeing that carried out in each route that I hope will be really interesting for people.. it will be very sad, in a good way".

ARGHHH this is the WORST. This means that if you choose a character, you're essentially dooming the others. Though this will undoubtedly manufacture delicious angst, I'm soooo sad at imagining each of the other characters faltering and ultimately failing on their paths because you didn't chose them. Though, I wonder if there are some routes where multiple characters turn out ok, or if the entire cast is doomed as soon as you don't select them (in different ways depending on the route)?

54:30: "I also want to clarify too that even though we've been talking about blood a lot and all that kind of stuff and death and we love those parts of the story, um, if you get those endings there's a reason why, you know what I'm saying - you have to actively try to get those endings - poke the bear with a stick."

Definitely referencing Vere's bad ending in the demo. Personally I am too curious to avoid them, but it's encouraging that some of the MC deaths appear to be because you deliberately make dangerous choices, rather than simply "tricking" the player and surprising them.

Let me know what you think of these quotes, and the whole interview is definitely worth a watch if you haven't seen it!

[olderthannetfic]

Hi I'm sorry for the incoming rant but I'm so frustrated and I need somewhere safe to yell. This is insanely long so I 100% understand if no one wants to read all this.

It’s so fucking ironic that people are trying to make publishing more friendly towards queers/women/POC/disabled people/etc. but at the same time they’re turning publishing into a fucking minefield of discourse.

I'm an autistic, bisexual woman with multiple mental illnesses and a learning disability and I'm absolutely terrified to publish anything.

Everyone keeps going “We love books by minorities! Hashtag own voices! We love to support minorities and their stories! Even if you’re not a minority, we love to see authors making characters that are! :)”

But they certainly don't act like it.

They see people like Amélie Wen Zhao or Tess Sharpe or Isabel Fall get harassed relentlessly and they go, “Well if people dogpile someone over something it was obviously because that person did something Bad And Wrong™ so if you’re a Good Person™ the twitter masses won’t have to punish you :)” except in reality that’s not at all what happens.

If your experience is not generic enough to fit every single person in a group, you’re obviously writing an unrealistic stereotype! How dare you write about your personal experiences as a mixed race Indian if not everyone can relate to it? What about the Indians who grew up in India!? You’re erasing their experiences!

You have to out yourself to prove that you’re one of the Correct People™ who’s allowed to write that experience. Oh, you’re writing a trans character? Please describe your gender, in detail, so we can know whether or not you’re Allowed or if you’re an Outsider who we need to punish. Oh, you can’t come out, because you might be killed or disowned? Well, no #OwnVoices clout for you, we don’t want your book.

Your character needs to be a Good Minority™. They cannot be angry or violent or rude. If they are, you’re clearly saying that all of those minorities are angry and violent and rude and not just that one character.

There are four additional rules you absolutely must follow at all times to prevent harassment, and all of them contradict each other:

If you’re not [minority], you need to have [minority] in your stories, because they exist and it’s bad if all your characters are [not minority].

If you’re not [minority], you cannot have [minority] in your stories, because you’re not [minority] and clearly, you’ll never be able to understand how [minority] thinks and acts because you’re not them.

If you’re not [minority] you can still have them in your stories, but they can’t experience any discrimination at all, or talk about their culture or experiences with being [minority] because that’s not your story to tell and you’re profiting off of their trauma. No, you’re not allowed to do this even if you hire ten sensitivity readers that confirm these experiences are realistic and correct.

If you’re not [minority] you can still have them in your stories, but you need to show their experience with discrimination, and have them talk about their culture or experiences with being [minority] because if you don’t, then you’re basically just taking [non minority] and pretending they’re [minority].

Also, there’s an additional surprise bonus rule: Sometimes people will just want to destroy you for no reason, so watch out!

They’ll take things from your story, remove them from their context and then present them as the most horrific, problematic thing possible in order to create a hate mob.

Sometimes, though, they don’t even know what they’re talking about. People who are not part of a minority group (or not the one relevant) will see something, go, “Omg? Problematic?” and post it on Twitter so they can say, “Um guys wtf is this shit? Are you fr? Can we talk about this?”

And the worst and most horrifying part, people will blame YOU for the harassment campaign!

I’ve literally seen people say, “Well if someone calls you out on Twitter you should admit you did something wrong, apologize, and tell them you’ll do better :)” as if that’s not the most insane, victim blamey shit.

Like, I cannot fathom seeing a marginalized author get torn apart by a mob, get sent horrific death threats, and have their career and life ruined, only to say, “Okay but they must have done something Problematic. Have they tried publicly flagellating themselves to appease the people who are threatening to break into their house and kill them?”

People just sweep it under the rug and pretend that it’s not a big deal, and say, “Twitter’s not real, it doesn’t matter!” as if thousands of people harassing you and sending you threats isn’t massively damaging to someone’s mental health. Like, this is the kind of shit people kill themselves over, and it's apparently no big deal because "Twitter's not real"? What?

Writing is supposed to be fucking fun! Showing your beloved story and characters and work to the world is supposed to be enjoyable!

But instead of writing my story and just enjoying the process and adoring my characters, I’m sitting here, absolutely terrified, trying to make sure I give people the least amount of ammunition to destroy my life as possible.

One of the main characters in my story is vaguely based on me. I love her with all my heart, I think about her all the time, I want people to love her just as much as I do.

But instead of having fun writing about her, I’m waking up in the middle of the night, heart pounding, thinking to myself, what if she’s too problematic?

Will people get upset with her saying the word “cunt” or bathing naked with men (and thus having her tatas out) and accuse me of being sexist or catering to the male gaze or not being a Good Amazing Feminist™? Will people call her a pick me?

Will people get upset with her being bisexual, but ending up in a “straight” relationship with the male character? They have a five year age gap, is that too much? Will people think he’s a predator or abusive? Is their relationship toxic?

Will people think he’s a creep for flirting with her and getting into her personal space and telling sexual jokes, even though that’s how I want someone to flirt with me?

What if people think she’s not autistic enough? Will people get mad that she’s ~glorifying violence~ for not becoming a pacifist and admitting that violence is bad and yucky at the end of the story?

I need to make sure she spends ten paragraphs explaining exactly why she works as an assassin. I need to sit cross-legged and whip my head around like Dr. Strange in that Avenger’s movie so I can imagine Every Possible Discourse Outcome™ and make sure she debunks everything people could call problematic.

I need to change that. I need to remove that. I need to make her sanitized and good enough so that I'll be safe.

And then repeat this thought process, with every other minority character in my story (and there are a lot).

--

Things are bad, but if you stay off of book twitter and do not write YA, you're a lot less likely to face this level of drama. There are always exceptions though, like Fall.

[humanoidluv]

being so serious i love how (in atleast the batfam & dbda & sandman communities, since those are my main communities atm) the dc fandom is so casually accepting of queer and disabled and poc characters. sure there's obviously some people who arent accepting of these things, and there are some odd people, but for the most part ever since i've been a kid there was always at least one or two or three casual poc characters and atleast one casual disabled character in the shows i used to watch. in the fandom, now that ive officially entered it, its extremely casual from where i'm interacting as well. i havent seen anyone berate tim and question how tim could be a hero without a spleen, being immunocompromised, and sure its not really brought up aside from jokes, its still.. wonderful.

it makes me happy because i'm disabled and have a blood disease that would make me need to be extremely careful if i were a hero.. so people just beinf casually accepting of shit like timothy drake who's at a far worse risk than i would be, its really fucking cool. it gives me the belief that (pushing my other issues aside) if i became a writer for dc or something and put in a hero with a blood disease then i would have 0 (or very little) qualms fandom wise. i had a lot more words in my brain while i was at yoga but i unfortunately forgot half of them so have.. whatever this is.

[jesncin]

Hi! I'm sorry if this an inappropriate question to ask, but I was wondering if you had any advice on how to accurately portray characters of color? I'm White and my creative fiction includes a lot of diverse characters, and I don't want to just ignore how their races impact their stories but at the same time being a racial/ethnic minority isn't something I've personally experienced and I don't know how to walk the line between good representation and some White dude telling stories that aren't his place to tell. Do you have any advice on how to accurately present characters of color without appropriating?

Luckily I have time today so I'll give my 2 cents! For one: there is no such thing as "accurate" portrayals of POC. Our experiences aren't a monolith. Something personal I would write and pull from my lived experience might not be relatable to, say, another queer Indonesian. And characters I write that are outside of my identity (Black, disabled, etc.) are inevitably going to be less authentic compared to someone of those identities tackling those characters. That's just something to make peace with- we can only do the best we can with the perspective we have.

With that: the usual platitudes are "do your research" and "listen to POC", I dislike both of these sayings! I get what they mean, but I don't love the insinuation of "doing research and listening" as a means of personal creative benefit. So instead I encourage different mindsets:

Instead of "do your research" (where identities can be treated as subjects to be learned and not people) I prefer "expand your perspective". Art is so cool because it's self expression. Stories are awesome because it's a shortcut to a person's deepest feelings. They get you fascinated and invested in a life so unlike your own. I can't stand "I only read queer books" people because it's an admission that they refuse to engage with identities they can't relate or project onto. There are so many important stories out there outside of your bubble. Get into the habit of earnestly learning about perspectives outside of your own. And not with the mindset of "this'll make me a better writer if I consume the identity and can become them" but with the mindset of getting to learn about a new friend. I think people take "stay in your lane" too literally sometimes where they focus so much on writing about their own experiences that they miss out on empathizing with other people.

Instead of "listen to POC" (I hate this one. Because our opinions aren't a monolith, it essentializes all of us to being media critic savvy experts, and white people tend to cherry pick the POC opinions they like instead of looking at the wider conversation) I prefer "improve your media criticism skills, and supplement with different perspectives". Not only should you "expand your perspective" as my last point said, but you should also be critical of things you read and learn! Learning about how ableism, racism, classism, etc. operates in life helps inform your opinion of how an identity was portrayed in a story. Recognize that earnest, and well intended attempts at representation can still be flawed or performative (the amount of times I'm told "I'm sure they weren't intending to be racist" like I truly believe the writer is a mustache twirling racist villain is too much). It's important to be opinionated! Do the work to find different perspectives to inform your own.

Lastly, don't ask for labor from marginalized people haha. I know that's what you're doing now (and this always happens to me whenever I voice a critical opinion of race representation) but I happen to have time (I'm still waiting on my editors to get back to me, such is the life of publishing). Most people don't, and are exhausted with explaining themselves. I don't bother my other marginalized friends whenever I write perspectives outside of my own. I do as much of the work reading articles, history, criticism, art etc. first. Especially if it's going to be a published work, then find Authenticity Readers and pay them for their labor. Avoid asking general, easy to google answers y'know? A lot of people have done the work writing thought pieces in their own time about a variety of perspectives.

[eddiediazismyhusband]

you know it really speaks volumes when you see people on here who are afraid to post opinions/theories about a certain ship bc they don’t want an influx of hate and vitriol in their inbox from people who up intil a couple months ago were super on board with that ship themselves

like there is so much hate and violent behavior coming from some of these people and it’s concerning how we can’t enjoy characters/a ship that have been developed over six years just because they think their plot device character is the most important thing to to the show and that he plays this integral role despite having less than 30 minutes of screentime, and not having appeared in almost 6 years (his first appearances where he was only important as sn antagonistic plot device for two poc)

every fandom has drama, and there is no such thing as a perfect fan… we are all human beings, we all have flaws

but the fact that the fandom is being policed so hard by these people to the point where cast and crew are being harassed over this random character, screeners are being sent death threats for talking about what was literally shown the show, queer people are being called slurs and/or having their queerness invalidated for having valid qualms with the way this storyline has been handled

this is worrying behavior and it’s not acceptable from anyone regardless of who they ship/don’t ship…. and the fact of the matter is most of this behavior is stemming from that half of the fandom

i personally as a queer person don’t wanna see a relationship on tv in which a long-term main character is throws together with a poorly written character who has zero chemistry with him, as well as treating him with disdain and disrespect at every turn. that’s not the representation i want to see on my screen. i don’t want a queer character who has had no signs of change from when he was making casual racist and misogynistic comments in the workplace; whose only “growth” are two throwaway lines that don’t even acknowledge his involvement and complacency in the bigotry. i don’t want s character whose blatant racism is blamed on the fact that he was closeted. to me that is not good representation- that’s weaponizing queerness to say that it’s okay for queer people to be problematic because they’re queer which is NOT true at all…

your queerness does not erase your bad behavior

your queerness is not a get out of jail free card

and seeing it portrayed as such in a huge network tv show while simultaneously dragging queer women of color through the depth of despair, and completely destroying the development of another heavily queer-coded poc character by having his son taken away in one if the most egregiously poorly written and out of character plotlines of the series is such a massive disservice to queer fans- whether they accept to see it or not- bc when this is how we are portrayed in media, this is how people begin to view us

and especially in the US, this is not something i want to see going into the 2024 election when queer rights are actually being threatened by one side while the other is actively supporting genocide

[mynqzo]

Hey heard you like vampires what are your thoughts on Twilight

it gets an unprecedented amount of hate mostly for being a show with an audience of young women and girls (so therefore people think oh girls like this so ew). its also undeniable that twilight very much shows the progression of how vampires are depicted in media and is an important facet in the history of vampire mythology especially in books/movies. it being a romance movie with cliche and maybe cringe scenes doesn't take away people's right to enjoy it and by extent its version of vampires (id argue that twilight vampires are just a spiritual successor to vampires like lestate or 'romantic vamps' in general)

with that being said, it is the straightest and most mormon vampire depiction which therefore makes it less enjoyable for me! vampires, historically, existed to represent minorities and people who were considered outcasts to 'normal' society and were first and foremost used as caricatures for racist, lgbtq-phobic and sexist stereotypes, so i feel like their reclamation by queers, poc and minorities in general is the only good way to depict them. bram stoker's dracula represented the english man's fear of jewish immigrants (and immigrants in general, the visual description of dracula in that book plays into popular caricatures of jews during those times), eastern europeans, and queer people (dracula and jonathan yada yada as well as the wives of dracula initiating a saucy moment with jonathan which was a man' job because the man was the pursuer and the woman was pursued, but the roles were reversed. also, i don't think i need to tell you how fangs, blood and the extension of dracula through his wives were used as a gay metaphor). and carmilla by sheridan le fanu, depicting the imagery of a predatory lesbian hunting for innocent upper-class women. during these times vampires were not yet characters with complex personalities and values, but folklore monsters in a way, a way to show an enemy and defeat it rather than learn to understand them, which was a product of its time.

fast forward to the vampire chronicles and especially interview with the vampire by anne rice, vampires became complex people, who's oddities were considered alluring, beautiful, queer and unabashedly proud of it. descriptions of androgynous men, womens love of each other, several nods to gay culture throughout the books with the characters themselves having more to them than just being monsters (with that being said there are several critiques of an interview with the vampire, esp the original book, it is by no means the creme de la creme of queer rep in vampire literature!)

so, circling back, twilight vampires were in themselves like that, kind of. edward wasn't exactly the most macho man as was popular to faun over in media, he was, kind of, more androgenous and sensitive and a character with complex values and thoughts - but that doesn't take away from the fact that the book is lacking a lot of soul and seemingly doesn't show the true reasons why vampires became so popular (amongst young queers especially who found themselves relating to this sense of otherness because of who they were. it is a very sanitized version of a vampire romance, which doesn't mean its bad or that people shouldn't like it! but i'm just saying.

huff

[pearwaldorf]

I have been trying to write this on and off for a while. I figure the second anniversary of the show is as fine an occasion as any to shove it out into the world. It is not everything I want to say about it, but I think the important bits are there.

It is a human impulse to be seen. To be told, through art, you are not alone. It is universal, but of special importance to people who are not well-represented in media (i.e. everybody who isn’t cis, white, able-bodied, skinny, and conventionally attractive).   

This show speaks to me as a queer person who figured things out later than most of my peers. (Not quite as late as Ed and Stede but not terribly far off either.) It’s not super common to see queer media address this, and I didn’t realize how much I needed that reassurance until I got it. That it’s okay to find these things any time in your life. To be told “A queer is never late, they’re always fashionably on-time.” 

They’re not my first canon queer ship. But they are the first ones where I knew it was true from the get-go. Multiple people assured me this was the case. And yet, I still didn’t believe it until I saw it with my own two eyes. This experience is not unusual for fans around my age.  

After I finished up season one, I laid in bed and cried. It’s not something I thought would affect me so much, but it feels like a weight I’d carried so long I didn’t realize it wasn’t supposed to be part of me is gone.

One of the reasons people unfamiliar with the fandom seem to think it’s absolutely crazy (which some of it is, to be fair, but every fandom has that) is the way fans of the show get extremely super intense about it. It took me a few weeks to realize this is a trauma response. I’m not even sure “trauma” is the right word. It doesn’t interfere with my day to day function, but it lasted for years. Decades. So it was definitely something that fucked me up. And in the way you can only start to see something as you’re moving past it, I’ve spent a lot of time trying to get my head around this. (I don’t know if I have anything to say about it yet. Maybe I need more time to sit with it.)

I know this sounds contrary, but I’m really glad David Jenkins does not come from fandom. Sometimes it’s good to know where a line is, and others it’s better to not know there’s a line at all. And this is, sad to say, remarkable to somebody who has had to deal with this for so long. With so many writers and showrunners aware of the line, and getting right up next to it, but never crossing it.

Imagine doing a show with a queer romance and not understanding why this was received with such emotion and fervor, because it’s just two people in love right? What blissful ignorance that this needed to be explained to him! And then he listened to people’s experiences with queerbaiting, and went “Oh my god you thought I was going to do WHAT?” And then you go “Huh. That is really fucked up.” 

The problem with being told something enough, even though you know it’s wrong, is you start to believe it regardless. All the excuses and hedging. It’s so very difficult to do they tell us, when we hear from queer creators how they had fight tooth and nail to make it as gay as it already was. 

And then comes Jenks, just yeeting it out there: majority queer and (not and/or. and) POC cast, an openly non-binary person playing an openly non-binary character. The ability to not have to make one queer (and/or) POC character speak for everybody, so you can inject a tiny bit of nuance into the conversation. The way you can tell more kinds of stories, like the one where the smol angry internalized homophobe comes into his own with the support of a queer community, even though he was a giant fucking asshole to them before.

So many people were like “You can just DO that? It’s really that easy?” And wasn’t that a fucking Situation, to have that curtain pulled aside. What next? Majority POC casts with stories about POC written by POC? Absolute madness. (Please please watch The Brothers Sun on Netflix. It’s so fucking good.) 

And people will scoff and say “Of course a cishet(?) white man would be able to get this pushed through.” But do they usually? The thing I don’t think people understand about allies is they use their privilege to wedge the door open. You still have to do the work to get through, but at least you have a place to start. And it really fucking matters.

The press keeps trying to tell me The Completely Made-Up Adventures of Dick Turpin is the OFMD substitute we need while we float in the gravy basket. I’m sure it’s a perfectly fine show, but I don’t know who has watched OFMD and decided the itch we needed scratched was anachronistic historical comedy.

I want stories written by people that reflect their lived experiences, with actors and crew committed to bringing that to life. And I would like streamers and studios to commit to giving them a chance, and marketing them properly so people know they exist. 

You can keep people satisficed with scraps for only so long. At some point, somebody is going to give them a whole seven course dinner and people will wonder why they’ve been putting up with starving this entire time.