#not from any fandom

[starleska]

as a cringe selfshipper who's been in fandom for decades and draws nothing but blushy ship art, i feel so seen and so attacked right now 😂💖💖💖

[cora-illus]

tlt oil studies

[exhausted-undead]

ah, young love (they will hate eachother at some point, pinkie promise)

[derangedfujoshi]

Stalking is a crime, yes that includes your yandere boyfriend

Assault is a crime, yes that includes your whumper/whumpee scenarios

Being part of a mob is a crime, yes that includes your sexy son of a mafia boss

Killing is a crime, yes that includes your blorbo

Zoophilia is a crime, yes that includes you liking Nick Wilde

All your "exceptions" from what is and isn't condemnable in fiction are, in real life, a crime as well. Every dark trope falls in the "it would be a crime to commit this irl" category, it's not just the big age gaps with adult/minor ships and the incest, it's ALL of them. All of them are crimes in the real world, by law. The sentence may vary but you'd still be sent to prison. "But I only like it in fiction!"

So do we.

So do we, so can you get off your high horse and just admit that liking dark themes in fiction, ANY dark theme, does not reflect your moral compass in real life and for the love of everything STOP pretending fake murder is better than fake incest? You sound preposterous.

[hailsatanacab]

A Persuasive Argument - dpxdc

"Great!" Danny says, clapping his hands together to get everyone's attention. The dinner table falls silent as everyone looks towards him. It's a full house today and, honestly, Danny's a little nervous. "I'm sure you're all wondering why I gathered you here today."

"It's dinnertime. In our house." Duke mutters, while doing a very bad job of concealing his yawn. He holds his fork poised over the braised beef, but, just like everyone else, still looks towards Danny before tucking in. It's intriguing enough to wait.

"Yeah, no one misses Alfie's dinner." Dick says, with a brilliant smile that Danny can't help but return.

"Precisely! What better time to talk to you all than when you're all actually here!"

"Wait, I thought you came round to work on our English essays?" Tim asks, blinking owlishly.

"I'm afraid I've lured you here under false pretences, Tim."

"This is where I live."

"I would still really appreciate help on that essay though, I mean, what the hell is Hamlet even about? I just don't get that old time-y language, like 'Hark! A ghost hath killed me!' - absolute rubbish, what does that even mean?"

"The ghost never kills anyone in Hamlet, he's there to tell Hamlet that he was murdered. Have you actually read it?"

"No, but it sounds like you have. Tim, I want this guy to help me with my essay instead. I know for a fact that you haven't read Hamlet, either."

"So? We don't need Jason, I've read the Sparknotes."

"Hi Jason, I'm Danny, pleasure to meet you, summarise Hamlet in three sentences or less."

"Am I auditioning to help you write your essays? I can't believe you’ve gone through your whole school life without reading it, it’s good!"

"Hamlet, along with a number of other classics, was banned in our house because it portrayed ghosts as intelligent and sympathetic beings rather than evil, animalistic beasts. I didn’t even get to see The Muppet's Christmas Carol until last year with Tim! It was surprisingly good, and I hate Christmas because everyone always argued and it sucked. But we're getting off topic. I—"

"No, no, please go back to that, because what the fu—"

"Boys, please." Bruce interrupts, looking to the world as if he wants to hang his head in his hands. "Danny, you were about to say something?"

"Oh, yeah, Mr. Wayne! Thanks!"

"Please, call me Bruce."

"Well, that very succinctly brings me to my point, because I'd actually really like to call you dad."

Nobody says a word. Nobody even blinks, all as shocked as the other, watching open-mouthed as Danny pulls his laptop out from beside his chair. Bruce can definitely feel a headache coming on.

"Before you say anything, I've prepared a 69 slide PowerPoint presentation on why you, Bruce Wayne, should adopt me, Danny Last-Name-Pending. Please save your questions, comments, and verdict until the end, thank you."

[transboyhalo]

The feds propoganda trying to paint the islanders as the bad guys for pressing the island destroying button... girl why was there an island destroying button in the first place!!!

Guys please this post is about a fictional minecraft roleplay server. Hawaii has not been bombed. I am a mere fandom blog. This post has no relevance to real life events.

[buggachat]

honestly just in general it's very exhausting to try to analyze media that is literally meant to be analyzed, only for the replies to be filled with people arguing not against your analysis, but against the premise that the media can be analyzed at all.

i don't even know what to say about it without starting to really betray my frustration, so i'll just settle with— just don't engage with analysis posts? I'm serious. if you're typing a response to a media analysis post, reread what you've written and ask yourself "is this comment/response against the very concept of analyzing the media at all?" and if the answer is yes then delete it all and go sit in the shame corner. throw your curtains away if you want to so bad and stop telling me that I'm not allowed to hum and haw at the fact mine are blue

[latehere]

consider this: sun prototype that is specifically designed to take care of really young kids, and as a result he's coated with all kinds of soft fluffy materials so as not to hurt anyone

[darkxsoulzyx]

So, back around 2022-2023, I had to explain to a BUNCH of friends what exactly is/was the Undertale/UTMV fandom. It was hard to explain AUs of AUs… of multiverses… to people which weren’t there to personally experience the transition?

A lot of these stories and ideas just stems from people getting inspired off of other people, and kind of building up from there. However, if you weren’t really there for the natural progression of that… the fandom will kind of seem like… a lot (even though it kind of is ^^ the rabbit hole runs deep…).

So, I tried my hand at semi-making a “comprehensive” guide to how I see the layers of the fandom ^^” (in a silly, not-so-serious way).

The deeper you go into this fandom, the harder it sometimes gets to even leave 💀

Anyways, tag yourself, I’m stuck in Hell 7 🕺

(note: please don’t take this entirely too seriously! I just used this as a way to make the entirety of the fandom slightly more digestible, instead of me yapping for hours in a pseudo lecture about the history of the fandom).

[aestheticallynotdeerlightful]

Style swap- Invader Zim and Psychonauts

Cause I thought it would be fun and practice

.

(Please do not use or repost my works anywhere without explicit permission from me first thank you <3)

[hauntingofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[leclerity]

stupid gets you killed

Charles Leclerc x Girlfriend!Reader count: 1.1k words summary: Charles and you have an emotional conversation after his reckless driving at a race. a/n: a short but angsty one, with a happy ending!

It could’ve been the end.

The way it felt, it almost was.

You watch as the red of the Ferrari and the green of the Aston Martin come close, inches apart, with Stroll nearly putting it in the back of your boyfriend’s car. Everyone around you gasps and for a split second, you see them touch and Charles’s car fly off into the grandstands – but that doesn’t happen. They don’t touch. Charles drives away unscathed, though you know that won’t be the end of it.

“That was too close,” says Arthur, shaking his head at the screen.

“He won’t like this too much,” you say and grab a pair of headphones lying around, listening in.

Everything is okay with the car, Bryan Bozzi says.

That was not okay! Charles screams. Who does he think he is?! Driving like an idiot… He should know better!

Keep your head calm, you’ve got forty laps to go.

You take off the headphones and tell Arthur what you just overheard. He shakes his head again, but you both know there’s nothing the two of you can do about it. Charles has been under pressure, ready to burst at any given moment, running second in the championship with maybe—maybe—a chance at something more. Anything that threatens it… Well, it throws him off.

You’re just waiting for the moment it happens.

The race keeps running, you listen in to the radio every so often, and his complaints and agitation are getting more obvious. He’s driving riskier, not caring enough about tyre management, and there’s a few moments when his car gets a little too close to another car.

He finishes in fourth. It’s not where he wanted to be but it’s better than out of the race, you tell yourself. There was a few moments where you held your breath, waiting to see if the anger is going to slip into careless mistakes, and it made you angry. Your boyfriend is better than this.

When he finishes the race, you run straight into his arms. “You did so well! I’m proud of you.”

“I could’ve done better,” he says.

“I know,” you say, and kiss him again. “Next time.”

Charles kisses you, too, before going to speak to others in the garage, keeping one eye on you at all times. You know he’s being hard on himself, but you see his clenched jaw, sunken shoulders, and you know this is going to be a tougher one than usual.

He’s in your orbit the most of the evening, glancing at you even when he’s in the media pen. You can hear some of the questions he’s being asked and a lot of them are about the incident and about his dangerous driving he nearly got a penalty for, and you can already hear the regret in his voice. He looks at you every time it comes up, as if he already knows how much it upset you.

At your side, Arthur gives you a nudge. “Are you going to talk some sense into him when you’re back at the hotel?”

“Maybe. I haven’t decided yet.”

“That was scary.”

You nod. “Too scary. I get the pressure and all, but…”

“Yeah,” Arthur says, “I don’t want to feel like I might lose my brother because he’s being angry and stupid.”

When you get home, you get dinner – he does the perfunctory celebrations and goes back to the hotel, where you’re waiting with him with your guys’ favourite takeaway. He had some time to hang out with the other drivers and now it’s time to hang out with you… But not before you give him a piece of mind.

He knows something’s wrong the moment he enters the hotel room.

“Did I do something wrong?”

“No,” you say.

He frowns. “Okay. You sure?”

You give him a long look.

Charles sits down next to you, looking exhausted but ready to devour the food – but he doesn’t. Instead, he sits with his elbows on his knees, hands held together. “It’s the race.”

“Mhm.”

“That’s why you’re giving me attitude.”

“Mhm.”

“Is it because of the Stroll incident?”

You shake your head. He should know better and he does, it will just take him a moment.

He sighs and leans into the couch, a defeated look on his face. “I should’ve handled it better, right?”

“Yeah.” You put a hand on his thigh. “Driving like that, Charles… You could’ve gotten hurt.”

“I would’ve been fine.”

“You don’t know that!”

“Babe—”

“Don’t babe me,” you say, shaking your head. “You got angry and…. Anger makes you stupid. Stupid gets you killed.”

Charles opens his mouth and closes it, knowing fair well that there’s nothing he could say in his defence that would make you change your mind. He sees it all on your face, you know it – the terror you’d gone through waiting to see if his anger will make him slip up, make a mistake; the threat of losing him.

He takes your hand in his and kisses the back of it, before placing it on his chest, right where his heart is. “Y/N,” he says, gently. “You’re right. I’m sorry. I shouldn’t have let my anger get the best of me.”

“I just… I don’t want you to get hurt.”

“I know.”

“It frightens me.”

“I know. I’m sorry.”

“I just—The thought of you—”

“I know. C’mere.”

Charles gives your hand a gentle tug and then your head is on his chest and his arms are wrapped around you, keeping you warm and safe. “I’m sorry for scaring you. My job is scary, but I shouldn’t make it any more difficult than it already is.”

He kisses the top of your head and you feel a few tears escaping down your cheeks, and he holds you even tighter.

“I’ll be less angry next time, I promise,” he whispers. “Less stupid. For you. Okay?”

You nod instead of answering, and he pulls your chin up with a gentle finger, and then he’s wiping your tears and kissing you gently, promising over and over again to never make you feel like that again – and he doesn’t.

[paintpanic]

CONCEPT: fucked up evil dimension not unlike the mirror world in which every character is the bizarre fandom-ized version of themselves.

[lucky-fy]

made it gayer

[copia]

"And there's nothing you can do!" ⛧ Ghost - Rats for WORLD RAT DAY 04/04/2024

[svsss-fanon-exposed]

Exposing SVSSS Fanon: 25/∞

VIOLENCE AS COURTSHIP IS A PART OF DEMON CULTURE

Rating: CANON

A nearly universal trope, especially in Moshang fics, is the fact that courtship is performed through violence in demon culture, and that the misunderstandings between the pair are because of cultural differences. The fact that demons mistreat the targets of their affection is canon, however, it is important for fans to note that this sort of characterization and worldbuilding is rooted in racial and ethnic stereotypes.

This is one of the most-requested topics I've ever written on this blog, and I took a long time to think about how best to approach the subject in a way that both keeps to the intention of this blog (referencing canon & providing quotes) as well as raising awareness to the very real problematic aspects of what is a well-loved and often-used trope in fanon that I don't think most western fans are aware of.

First, the canon analysis:

“If you hold unique feelings for a certain person, how can you make them understand your intentions?” Luo Binghe asked. Obviously, no one dared to tear down Luo Binghe’s facade and expose him directly, but this question was really very…unsuited to the demonic approach. After a long moment, not a single person had answered. In fact, the answer was so simple that any normal human could have given it to you. If you liked someone, you should just tell them. Unfortunately, there was not a single “normal” person on the scene—and aside from Shang Qinghua, there also were no “humans” either. Mobei-Jun thought about it. With the paths his mind was given to take, there was no telling how he had interpreted “unique” feelings. “Beat them up three times a day?” (7 Seas, Ch. 26)

Most of the fandom remembers this passage, and some may think that this is where the interpretation of violence as courtship comes from-- however, that is not the case. This passage might actually not refer to courtship at all-- while that is one possible interpretation, Mobei-jun could also be interpreting "unique feelings" to mean something different than "romantic feelings," since Luo Binghe didn't specify romance directly.

The "violent demonic courtship" idea actually originates much earlier in the novel, just after the invasion of Qiong Ding Peak:

In truth, Shen Qingqiu didn’t intend to tease; he thought himself very straightforward. The one who’d tampered with Luo Binghe’s dream realm was Sha Hualing. Though she did have some harmful intentions, her underlying motive was obvious. Naturally, she was driven by a young girl’s secret yearning for love. Otherwise, she would have directed her aggressions toward others, not specifically Luo Binghe. Demons were compelled to viciously bully the person they liked. Only if the object of their affections failed to die would the demon accept them. If their target died, that meant they were useless and not worth nursing any lingering affections for. (7 Seas, Ch. 3)

This, in fact, has somewhat more serious connotations than the way I have often seen it interpreted in fanworks-- it is not merely beating up a potential partner, but pushing them to their limits, nearly driving them to death, and it is certainly implied that it is not uncommon for the object of a demon's affections to actually die.

Now that the canonical basis of the idea has been established, let us move on to the second, and arguably more important part of this post: the racism.

I would like to add a disclaimer here-- I am going to discuss this in hopes of raising more awareness in the fandom, but I am not North/West/Central Asian myself, so I will only mention things in brief and somewhat generally-- if anyone who belongs to the affected cultures would like to make corrections, or more detailed explanations, or any other additions to this post on this topic, I greatly welcome that, as I feel it is an important issue that should be addressed.

In Chinese fiction, particularly fantasy genres like xianxia/xuanhuan/xiuzhen, but also in historical and wuxia fiction, there is a pervasive, prevalent tendency for authors to use racial and ethnic stereotypes against Central, Northern, and Western Asian cultures such as Mongolian & Arab cultures in their worldbuilding regarding the North, while stereotypes against Southeast Asian cultures are used in worldbuilding regarding the South. These stereotypes are most typically applied to villains and villainous groups, and are so widespread as to be ubiquitous within the genre. MXTX has used these tropes before-- notably with the Banyue people in TGCF, with adaptations of both TGCF and MDZS including design stereotypes, such as CQL's portrayal of the Qinghe Nie (combining their tendency toward violence and 'unnatural' cultivation method, with design traits typically associated with Northern/Central Asian cultures).

It is worth noting, though, that most authors do not intentionally use these traits as racist stereotypes in their worldbuilding, especially when regarding a non-human species-- in the same way that western fantasy authors use goblin and orc characters and tropes without realizing or acknowledging their racist origins and connotiations, these stereotypes have simply become genre tropes without that direct connection to their origins. Nonetheless, it is still worth noting-- and worth trying not to fall into the trap of leaning into stereotypical traits in fanworks' character portrayals.

Stereotypes include but are not limited to barbaric and brutish cultural traits, association with animals/having animal features, dark or corrupt magical/spiritual practices, certain types of braided hairstyles & other fashion choices, and originating from the far north or south.

Some of the prejudice and stereotyping of Northern Asian cultures likely originates from the fact that in the past, China was invaded and subjugated by peoples from the north (under Mongolian rule during the Yuan dynasty, and under Manchurian rule during the Qing dynasty) as well as having many conflicts with these peoples throughout history. In fact, the Qing dynasty only ended in the early 1900s, so some of this oppression is still in recent memory-- nonetheless, people belonging to ethnic minorities in China are still affected by this negative stereotyping today, so regardless of the origin, racism is still racism and should be addressed, and China today is a majority Han Chinese nation-- even if Han Chinese are considered a minority and affected by systemic racism in other places in the world.

Additionally, many tropes specifically applied to the southern demons, but also used for demon culture as a whole, are tied to stereotypical portrayals of Southeast Asian culture, which is rooted in a long history of Imperial China's invasion and oppression.

All of those stereotypes listed above apply to SVSSS' demon culture. Even in Mobei-jun's name-- 漠北 meaning "northern desert," which is the real-world name for a region in the north of the Gobi desert in Mongolia.

Therefore, it is important to remember that though violence-as-courtship in demon culture is canonical within SVSSS' setting, it nonetheless originates from harmful racial and ethnic stereotypes. It would be a good idea for fans to keep this in mind when creating their fanworks, and to treat the topic with sensitivity-- but I will leave any direct suggestions on how to handle this to those who are actually part of the affected groups.

--

(thanks to @flidgetjerome for additional notes regarding SEAsian stereotyping and author intent!)

Also, to be absolutely clear: I am not saying that svsss’ demons are specifically coded as any real ethnic group— it’s only that in many ways the portrayal is similar to the common portrayal of various ethnic groups in cmedia. I don’t believe they are specifically meant to parallel a real life group, unlike for example TGCF’s Banyue— but it’s worth questioning why these traits, why these characters.