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sarasade · 7 months

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One of the most generally useful things to come out of Hbomberguy's plagiarism video and Todd in the Shadows' similar video on misinformation is how they bring transparency to the internet phenomenon of "I made up a guy to get mad at".

Seriously, I've seen people make up a lot of stupid shit on the internet over the years and it's often just a manipulative attempt to paint a group of marginalized people in a bad light.

That's the TL;DR version of this post.

ANYWAY here is the long version

Those videos are mostly about James Somerton's plagiarism of other queer people's work. However I'd like to talk about that 20-30% of Somerton's original writing- and oh boy. It's mostly about complaining about White Straight Women and misgendering well-known trans creators such as Rebecca Sugar and calling Becky Albertalli a straight woman while it's pretty common knowledge that she was forced to out herself as bi because she received so much harassment over "being a cishet woman who appropriates LGBT+ stories".

One thing that irks me especially is how in his Killing Stalking and Gay Shipping videos Somerton brings up how straight women/ teen girl shippers exploit gay men for their personal sexual fantasies. This gets brought up several times in his videos.

Being all up and arms about Somerton being a "White Cis Gay Who Hates Women and Queer People tm" is not that useful because the kind of rhetoric he's using is extremely common in fandom and LGBT+ spaces on Tumblr, TikTok and Twitter. We really don't need to bring Somerton's identity to this since he is in no way an unique example.

It's hypocritical to make this about an individual person when I've seen A TON of posts, tweets and videos where queer people talk about these Sinister Straight Women who are supposedly out there fetishizing and exploiting queer men. It's pretty clear to me that this is just an excuse to shit on women and queer people for having any sexual interests. At worst these comments are spreading misinformation about BL, a form of media that has been excessively studied by both Asian feminists and Asian queer women.

This all sounds really familiar and I think it's good that people are calling it out as what it is: misogyny and transphobia. I'd also point out the potentially racist motives behind being this hypervigilant about Asian media.

People can absolutely be misogynist regardless of gender or orientation. I really don't know why we need to create some kind of made up enemy to get mad at. I actually think it's almost sinister how "anti-fujoshi" people call Slash shippers and fujoshi misogynists or claim that they have internalised misogyny while being dismissive about women's interests and creative pursuits under Japanese obscenity laws, China's censorship, book bans in American schools and various other disadvances that are part of being a queer and/or female creator.

I think we shouldn't be naive about the bad faith actors who want to turn queer people against each other. For example Fujoshi.info mentions anti-gender (TERF, GC etc) movement using this kind of rhetoric as well.

Anyway if you want to read more:

- about the false info around BL fandom fujoshi.info

-There is the scholar Thomas Baudinette who studies gay media in Japan. Here is a podcast with him and the scholar Khursten Santos

-James Welker is a BL scholar as well. Here is a podcast interview about the new international BL article collection he edited.

-I've already talked about this Youtube channel by KrisPNatz and his great Killing Stalking video that actually engages with the themes of the manhwa

- There is also HR Coleman's thesis DO NOT FEED THE FETISHIZERS: BOYS LOVE FANS RESISTANCE AND CHALLENGE OF PERCEIVED REPUTATION where she interviews 36 BL fans and actually breaks down why fetishization has become such a huge talking point in the fandom discourse. Spoilers, it's mostly about young queer people and women being worried that they will get judged and pathologized for their interest in anything sexual.

-Great podcast about Danmei and censorship with Liang Ge

#Also I don't mean that you can always tell if someone is a transphobe or a TERF based on a couple of things they have said.#My point is that sometimes ok people can have very regressive ideas too.#This is not a call out post about how we should go around accusing anti-fujoshi people #todd in the shadows #hbomberguy #sarasade text #even I've got those “Fandom is mostly straight women fetishizing gay men” comments once and it begins to sound kind of passive-aggressive #when you're a bi woman. Lot of fandom stats at AO3 show that fandoms are montly bi women. who are these people calling straight exactly hmm #also straight women are completely ok leave them alone. I know I know Yes I'm so brave for saying this #cw: transphobia

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fairuzfan · 1 month

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I think like there's such a transparent lack of sympathy for Palestinians that you start to care about October 7th and you don't even question what life was like for Gazans before October 7th like you guys are so racist you only cared about gaza and hamas when you got affected or you FEEL like you got affected in some cases. Like you never had the same level of outrage or anger towards 'israel' that you do hamas despite the siege lasting for 15+ years and Palestinians regularly lost their lives and jobs and futures and were imprisoned on literal terrorism charges for donating to Palestinians. Online isn't everything I didn't talk about Palestine on this blog much but I'm so so exhausted after more than 6 months of being online seeing news of massacres after massacre and then zionists on here and on Twitter and Instagram and threads (???? Why is threads even relevant????) talking about how BDS sucks and how they hate hamas and how they think Palestinians are overreacting and lying about their death tolls or trying to link antisemitism to Palestinians as an intrinsic value they hold or something the Free Palestine movement is about. I even feel guilty for saying this because what's that compared to experiencing those terrible things like being starved and killed firsthand but like idk. Some of you are just so cruel. None of you willing to see you have a direct impact to how Palestinians are being treated in Gaza. Idk it's just bugging me more than usual tonight.

#old post from my drafts #palestine

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firegiftlouis · 18 days

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What pisses me off most of all about this fandom’s reaction to calling Armand “Arun” is that, stupid takes aside, there are actual reasons to be mad at Louis in this episode, but they all involve his relationship with Claudia and you guys don’t give enough of a fuck about her character and story, so instead y’all decide to make shit up about how Louis is “acting like a pimp again” and “called Armand his slave name” (y’all know damn well Arun is not his fucking slave name!!).

It’s all very transparent, disingenuous, and yes, very fucking racist.

#and this isn’t even getting into the fact that most of these people read the books #and never had anything to say about Book!Louis being an actual - literal - slave owner #or the fact that a good chunk of this fandom fucking loves Marius and won’t even hear a bad thing said about him #vampterview

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laikabu · 2 months

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I think what fundamentally tips me off abt the shuro discourses is that there's this common sentiment of "marcille should get pissed and chew shuro out for "chasing" falin/being mean to laios, give shuro what he deserves" which is just hilariously transparent on how self-righteous and projecting the ppl saying these things are bc it is so clearly not actually abt what falin and laios want. Yknow, a big theme in dunmeshi! I'd forgive ppl for not knowing abt the extra, but falin outright says she needs to make decisions and take stands for HERSELF and she amicably turns shuro's proposal down, which he accepts. She's not being preyed on or being taken advantage of and so she doesn't need some defense against what is very much an imaginary offense to make shuro look bad. And laios does the same! Laios beats shuro up and they come out with their grievances on the table and all honesty there, and they are explicitly on good terms by the end! The siblings clearly like him and see value in their relationships with him despite any conflict they had. That literally should be the end of it.

(Also, not a fan abt the way white fans want to write off the micro aggressions and "forgive" laios for something they have no room saying anything abt! Acting like it's impossible for him to be racist when there's a bonus comic of him (and falin) outright talking abt "savage" people on his hometown's mountains that were "barbarians" they killed onsight! Given this manga's emphasis on cultural disconnect you'd think we'd be smarter abt this!)

exactly LOL throughout the whole manga the touden siblings treated shuro with kindness and respect even after the big fight, so i'm really confused about the hostility towards him?💀

i noticed that in the anime, kabru doesn't actually give his name out at all, and all instances of laios saying kabru's name correctly were scrubbed, so i'm curious if this has anything to do with changing the "kapru" joke somehow since they did consult kui in changing small scenes. i guess we'll find out tomorrow.

#ask

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doberbutts · 6 months

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@quark-nova it's already a really long post because I blabbered on for a hot minute but I did want to keep talking so I seperated your tags out I hope that's ok

I have actually seen people do this about trans fems too and honestly I think it is exactly what you're saying- that people lack the idea of intersectionality and instead want to view oppression as additive or subtractive. I see people doing this the most when they are trying to frame something as progressive, when instead it is filled with a lot of bigoted language.

Like the example given of Blue Eye Samurai and a group of people claiming it's a racist and sexist problem of white trans mascs, ignoring the trans mascs of color (and even asian and *Japanese* trans mascs in their notes disagreeing with them), while the posts are filled with genuinely fairly TERF-y language. They say "no no I can't be a TERF I love and support my trans brothers and also I support trans fem Mizu headcanons" while also saying "trans men are stealing women's resources and making everything about them". They just tack "white" onto the second statement so you don't think too hard about the transphobia of that sentence.

I find this most transparent when someone asks for an explination of how a trans masc seeing themselves in Mizu is racist, because instead of an explination it's "oh my god white people always ask people of color to do the work instead of researching it themselves, why do you always want us to explain ourselves why can't you just listen to me". I understand where the frustration comes from because I've been on the receiving end of stupidass white people who refuse to actually absorb anything they've been told about racism, but also... don't start a discussion about race if you aren't willing to, you know, discuss. Because then it just becomes obvious that you're using it as weapon and shield and you're not actually interested in anything except an echo chamber that agrees with you and accepts anything you say.

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graffitibible · 2 years

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genuinely confused wdym by gerard way white saviorism

you asked me this about 3 weeks ago, and i'm sorry it took me so long to get to it. i had to think very hard about how i was going to answer this one, because i want to be transparent in just how frustrating i find this issue without drawing a lot of fire from really pissed off my chem fans who hate the idea of my daring to speak up against their perfect white fav (which has happened often, and continues to happen often. fortunately i'm pretty immune to this by now but i do find it very annoying)

i want to be very transparent in that i think that pretty much everyone can benefit from the idea that their favs are flawed. i'm very aware of the flaws and missteps that people i admire, both personally and professionally, have committed in their lives, and it is down to my own sense of morality over whether that's a dealbreaker for me. i don't like the idea of calling out bad behavior for the sake of clout or whatever. but i do care about not people being spoken over when they point out a legitimate criticism, and that is the bottom line here.

below the cut, i'm going to be discussing some very heavy topics: racism of all flavors is the most prevalent one, but i'm also going to touch (briefly) on topics such as antisemitism, incest, and abuse.

and i am also, in general, going to be saying a lot of very unkind things.

when it comes to criticisms of the scene, of narrative writing, of mistakes that people make...my chemical romance, and gerard way in particular, are consistently rendered immune. when we discuss misogyny in the scene in the early and mid aughts, my chem's name never comes up (despite the fact that bullets, their first album, most certainly has lyrics that certainly evoke the same violent misogyny present in a lot of works from that era). when we discuss racism within the scene, my chem is never really discussed at length except perhaps to point out that ray toro is a latino man who is either ignored or sexualized (or both) by a deeply racist fanbase. there is a tendency, within these spaces, to give my chem the benefit of the doubt where the same grace is not extended to others.

this is what i mean by "white saviorism." because gerard way's whiteness in particular protects them from a lot of this. and i say this because of all the things that has made it deeply uncomfortable to interact with broad swathes of my chem's fanbase, the racism has unquestionably been the number one deterrent. there is a very unique brand of racism present within my chem spaces - and i know i am not the only person of color who feels this way, because i've spoken to many who can say the same - that is particularly violent, particularly virulent, and particularly ingrained. experiences with this, along with my own growing distaste for gerard way as a writer, has soured my experience with the music so tremendously that i can no longer really interact with it at length.

i am not, however, above citing my sources. so. let’s talk about racism in gerard way’s writing, shall we?

i have always been up front about the fact that i do not find gerard way to be a particularly inspired, interesting, or good writer. i find most of their work to be aggressively mediocre and highly derivative. but my own personal opinion of their work has very little bearing on the extremely racist rhetoric that upholds a distressing amount of it. here is where i'm going to link a pretty informative twitter thread that outlines a lot of these instances in detail, but it is by no means exhaustive.

it's in the umbrella academy comics, wherein the main characters are all white despite being children taken from "all over the world." it's in the orientalist racist caricatures of the vampire viet cong group that the heroes square up against. it's in the casual instances of slurs that have cropped up several times in their works without any understanding of the impact those words have (an anti-indigenous slur in the umbrella academy comics, an anti-romani slur in the killjoys national anthem comics - which, i should state, came out in 2020). it's in the appalling writing decision to, in national anthem, make the sole black character the character with "animal powers" who rips out adversary's throats on all fours. it's in the frequent and persistent sexualization of women of color, particularly asian women. it's in the colorism involved in the interplay between mike milligram (a white man), code blue (a latina woman), and jaime ramirez (their mixed child), wherein jaime's skin tone shifts at the drop of a hat depending on which of his parental figures is in the frame (code blue is dead by the time the story picks up properly, but her sister, code red, effectively raises him...and he ends up staying with his father).

and it is unquestionably, overwhelmingly present in danger days. this is a danger days blog so this is the area in which i have the most research, so i want to be very clear when i say this:

racism is an insidious, incontrovertible, and inextricable foundation of the very conceptual underpinnings behind danger days and all its associated works.

the orientalism is baked into the very aesthetic of the album. better living industries is a japanese mega-company that takes everything over, the big bad of the franchise. the asian "aesthetic" is all over the canon in the music videos and comics: non-asian characters are seen wearing it, it's in all the marketing and even present on the album itself, wherein a woman is clearly heard speaking japanese on the "party poison" track. there was also the baffling inclusion of the "clown monk" character that was cut from the music videos back in 2010, wherein a white man is wandering around wearing buddhist robes (they inexplicably liked this concept so much that they brought it back for the national anthem comics which, again, i will reiterate: came out in 2020).

this is not surprising. danger days is deeply derivative in concept (up to and including the name itself), and because most of its influences come from cyberpunk dystopia fiction from the 80s, most obviously the 1980s film blade runner. works of fiction in that vein frequently draw from the idea of "yellow peril," and are rooted in the extremely racist and xenophobic rhetoric that western civilization will be invaded and dismantled by the evil, scary asians. the end result is a concept of a "dystopia" that is mired in the very stereotypical fears of the time: fears of an east asian surveillance state invading the west, fears of the all-powerful homogenized "other," and so on.

this did not stop gerard way from exotifying and fetishizing the fUCK out of all their asian characters though!!! the director of better living industries gets to be the primary major asian character in the killjoys california comics, and she spends a good chunk of it in dominatrix gear, with a whip to boot - both villain and sex object. the comic’s sex workers, referred to as “pornodroids,” are all asian-coded and, although we get one of the comic’s two same-sex pairings (3/4 of the characters involved in said pairings are dead by the comics’ end), the characters of red and blue spend the entirety of their screen time in the highly sexualized apparel of their occupations. there’s also the character of korse’s boyfriend, who does not get a name and spends all of his screen time lounging around shirtless in korse’s apartment. nice of gway to reduce the only asian dude to eye candy fridged for korse’s manpain. i guess.

also, i should not fail to mention - the killjoys california and danger days sections of canon are INCREDIBLY white for pieces of fiction that take place in california, which is one of the most racially diverse areas in the states. in terms of latino characters, we get jet star (by virtue of being played by ray toro in the music video, though i should point out that there is no guarantee that this is actually reflective of jet star’s true appearance, since none of the killjoy appearances are necessarily 1:1 with those of the band in the comics), and we get...POSSIBLY vaya and vamos, who are ambiguously brown and have names in spanish which implies they might be latine (but given that this is california and most of the population speaks spanish, is not necessarily a given). we also get volume, the sole black character, who gets a handful of lines before being unceremoniously killed off within moments of meeting him. the girl’s mother is definitely drawn as a woman of color, but she gets one line, no name, and the girl herself is drawn as very straightforwardly white and considered to have a “fair complexion” in the comics.

this trend unfortunately continues into national anthem, wherein there’s certainly a more diverse cast, but unfortunately, very little of that cast actually gets concrete development. mike milligram is our central protagonist, our sole white character (gerard way basically only ever commits to writing white protagonists)...and he’s also the only one of them who gets an arc of any kind. code blue (a latina woman, and his girlfriend) is fridged for his manpain. code red, blue’s sister, does not get nearly as much focus on her grief despite losing someone she knew for much longer than mike ever did. jaime, mike and blue’s child, resents red for raising him and chooses to stay with his birth father once the events of the comics are over. i’ve touched on how animax, our sole black character, is given “animal powers” and is pictured several times brutally ripping apart his enemies, but i should also point out that his big character motivation is - no joke - rosa parks. as in, rosa parks being erased from history, and he wants to stop it (these comics were weird, and also incredibly bad). everyone else has a deeply personal motivation save for animax, whose motivation is basically that he wants people to not forget that the civil rights movement like, happened.

there’s also the instance of kara jeong, or kara 100%. this is the one that really makes me grind my teeth, because she’s frequently praised as a cornerstone for trans representation. and i agree that having more trans women of color in comics is great! but this does not erase the fact that, like literally every other asian character gerard way has ever written, she is very much sexualized. her job as a model means that “it was essential that she was good looking” and it is not as egregious an example as, say, the director in the california comics...but it’s an unsettling addition to a constant pattern. there are a lot of shots of kara’s bare neck and shoulders and long legs, and all that on top of the fact that, like anyone who isn’t mike milligram, she gets very little characterization at all...well, it’s not a great look.

these are the issues in gerard’s writing that are the most frequently dismissed and ignored. this post is horribly long to begin with, so i don’t want to carry on (ha...ha....), but i want it on record that i very much could. this does not even begin to touch upon the bizarre inclusion of a constant incest undertone in almost everything gerard way writes (the umbrella academy is the most obvious here, but even in the killjoys canons...red and blue are lesbian lovers in california while being sisters in national anthem, and that’s kind of a little uncomfortable, all things considered), nor does it address gerard’s insistence on including very homogenous abusive backstories for no reason besides, i guess, character angst (and these abusive backstories all involve a physically abusive male figure, because i guess this is the only kind of abusive relationship gerard way can visualize).

[EDIT: just remembered, because i forgot to mention it (knew i was forgetting something) - there's also quite a bit of antisemitism present in the umbrella academy comics that is further exacerbated in the show. i'm not the best equipped person to talk about that (i've only watched the show up to s2, at which point i kinda got sick of that garbage enough to just tap out of it), and i also have only looked over the tua comics a few times as opposed to the show, which is not run or primarily written by gerard way. that being said, he's definitely a creative consultant on it, so...i think maybe they should've reconsidered making reginald hargreeves a baby-stealing lizard man and having the bad guys all speak to each other in yiddish, possibly.]

let me be the first to say...none of this surprises me. these are all pitfalls i’ve seen white writers (and writers of color with internalized issues) commit as well. and i also, as well, want to make it clear that i imagine very little of these appalling writing decisions were committed with active malice. i sincerely doubt that anyone involved in these writing processes steepled their fingers and cackled wickedly over what crimes they would commit to their many brown fans.

i want to be very, very clear here. i lay all of this out not to “shame” gerard way or write a “callout post” or anything to that effect. i want to be utterly transparent in that i think gerard way’s racism is as mediocre and unremarkable as their writing is: derivative, lazy, shallow, and incredibly commonplace.

and that is where the idea of “gerard way white saviorism” comes from. because these are all, individually, acts of horribly insensitive, damaging, and deeply racist rhetoric that would unquestionably be addressed if it were anyone else doing them. but because it’s gerard way, and the internet loves gerard way, and everyone has decided that gerard way is their white liberal fav who can do no wrong...like the case with everything else surrounding my chemical romance, they get a pass. they are exempt.

this is far from everything. it’s just what i can remember at the moment. i am not the first person of color to point this shit out. i imagine i will be ignored, much like every other fan of color who has made these points in the past. people don’t like to imagine that gerard way can be capable of these sorts of oversights. they don’t like to think about it. they want to persist in painting their very ordinary, centrist, white liberal fav as someone whose every word is deeply progressive and insightful and flawless. because, consistently, they get the benefit of the doubt where others, especially folks of color, do not.

so no one talks about it. no one talks about how gerard way’s writing is consistently racist in a very clear and distinct way that no one wants to address, making it more insidious. no one wants to talk about the mind-bogglingly racist conceptual underpinnings holding up the entire danger days album. no one wants to talk about how gerard, and all of my chemical romance accepted, or at the very least tolerated, bob bryer’s overt antiblack racism for years, for nearly a decade, and never said a word.

no one wants to talk about it. because that would mean they’d have to come to terms with their white savior not being so perfect.

so they don’t.

and shit like this is why i find the overwhelming majority of my chemical romance fan spaces to be deeply unwelcoming to someone like myself: a brown person who tries to call out racism when i see it. and i know i’m not the only one.

#ask #anon #z speaks #gerard way //#im...not going to maintag this. feel free to reblog it though.#posts that are the equivalent of firing a couple shots into the air to keep the rent low lol

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notaplaceofhonour · 25 days

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Just spent way too long trying to gently explain why shit like this

is deeply antisemitic, and it felt like having to explain quantum mechanics to a kindergartner (that also happens to be a brick wall)

despite the fact it’s pretty fucking self-evident that a video about the Dark Arts™️ the Elites™️ use to Puppeteer™️ and Control the Media™️ that has a thumbnail that looks like it belongs on my racist uncle’s Facebook, in which a disproportionate number of the individuals it features as examples of Media Manipulators™️ are Jews (including a reference to Zuckerberg “filling his pockets”), is extremely antisemitic.

like I’m sorry you don’t have to be Jewish or even *that* knowledgeable about antisemitic tropes to recognize how obviously & transparently antisemitic that is

#antisemitism

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thecreaturecodex · 2 years

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Monster Art History: The Wendigo

You may be wondering why the wendigo, which has become very popular in pop culture over the last 10 years or so, is usually depicted in Western sources with a deer head. This appears nowhere in Native American traditions, despite the creature having lots of folkloric variations. The association of the wendigo with deer is 100% Western, 100% modern, and has a long, weird history.

Just in case you need a primer, the windigo or witiko is a supernatural being from the Algonquin speaking nations of the eastern American continent. It appears as an emaciated figure, sometimes giant, sometimes covered in ice, sometimes both. In many stories, they have a literal heart of ice. Windigos are manifestations of cannibalism and winter, and hunt, kill and eat people. Someone who resorts to cannibalism to survive, or otherwise abandons their community for personal gain, will become one of them. A few stories tell of someone being “cured” and turned back into a human, but usually the only cure is to kill the monster. In the last several decades, native writers have associated windigos with capitalism and deforestation as an extension of their selfishness. If you would like to know more about the properly Native windigo in context, I recommend Dangerous Spirits: The Windigo in Myth and History by Shawn Smallman.

The creature first came into horror fiction with Algernon Blackwood’s “The Wendigo”. Note the spelling, which would become the standard in horror, and generally in non-academic Western sources. In that story, it is not associated with cannibalism, but instead is a more generic “evil spirit of nature”. This wendigo stalks white people in the wilderness and turns a Native character into a new wendigo by seizing them and flying with them into the sky. This definitely better fits fears about non white people, fears about nature, and how the one is closer to the other than “civilized” people. Its description in the story is vague (the most we get is that it has burned its feet away by running into the sky). But when the story appeared in Weird Tales in the 1930s, Virgil Finlay illustrated it like this, the first antlered wendigo I know of.

This story was ripped off by August Derleth, a prominent Weird author in the 1940s and the main popularizer of HP Lovecraft. In his Cthulhu Mythos stories, he introduces Ithaqua the Wind Walker, which is an alien version of Blackwood’s monster. This fits into Derleth’s vision of the gods and monsters of HP Lovecraft falling into the four classical elements, with Ithaqua being invented to represent Air. Ithaqua is usually depicted as an icy, emaciated giant, so ironically is one of the more accurate wendigos to Indigeonous beliefs in pop culture.

Image from a recent French edition of Call of Cthulhu RPG, by Loic Muzy

In Pet Sematary, Stephen King uses a wendigo as the reason for why the titular cemetery is cursed. This is an update of the classic racist trope of the “Indian Burial Ground”, except this time what gets buried there comes back animalistic and evil. The racist implications of that are pretty apparent. This wendigo is seen briefly and has ram’s horns. It does not appear in the first film adaptation, but does in the more recent one... with deer horns instead, because those are trendy right now.

A good scholarly look at the real windigo versus the 20th century horror wendigo is “The Appropriation of the Windigo Spirit in Horror Literature” by Kallie Hunchman.

In the 1980s, a movie called Frostbiter: Wrath of the Wendigo was produced, but it wasn’t released until 1995 by Troma. From what I’ve read, it’s a pretty transparent ripoff of Evil Dead 2, with the characters being picked off in a haunted cabin with a zombie in the basement. The “twist” is that the origin of the horrors is a wendigo released by breaking a Christian demonology-style sacred circle. This wendigo is realized in stop motion animation, and has the most deer-like body yet.

A number of other independent horror movies in the 90s and 2000s used wendigos as a plot element. These follow the Blackwood/King approach of having the wendigo being something evil, ancient and Native American, reflecting white anxieties about living on stolen land more than Native anxieties about cannibalism and greed. Wendigo (2001) has the creature sicced on a white family when they hit a deer with their car. The Last Winter (2006) posits that global warming and fossil fuel extraction have unleashed the ghosts of dead animals, which are wendigo apparently, to revenge themselves on mankind. Which approaches the idea that greed is wendigo sickness, but I don’t think intentionally as a reference to modern Native literature. The “wendigo” in this movie are spectral moose and caribou.

The mainstream breakthrough of the deer-headed wendigo was in, appropriately enough for this blog, Pathfinder RPG. In “Spires of Xin-Shalast”, the last volume of Rise of the Runelords published in 2008, a wendigo is a major encounter. I suspect that either the author (Greg A. Vaughn), or one of the editorial staff had seen Frostbiter, as the setup involves a cabin haunted by dwarven cannibal ghosts who all killed and ate each other due to a wendigo’s influence. This wendigo is a hybrid of the Blackwood and Cree versions in terms of its MO: it is a cannibal ice spirit that wants to make more cannibals, and does so by abducting people and running off into the sky with them. Its design is the standard for what most Western artists depict wendigos as these days: an emaciated humanoid with the head and antlers of a deer (and the burned off feet of Algernon Blackwood, which are less common):

Image by Tyler Walpole, © Paizo Publishing

This wendigo definitely made a splash at the time; it was the first time I remember seeing a deer-headed wendigo, and art of that design started to become common. It pushed away previous wendigo depictions, which were typically werewolves (as French Canadian trappers had blended the concept with their own loup-garou, and Werewolf the Apocalypse had a whole faction of racist Native American “wendigos”) or shaggy and ape like (based more on the look of the Marvel Comics villain).

What turned wendigos from “folklore/horror monster” to “fandom blorbo” was Hannibal, which first aired in 2013. In that series, the first murder is a woman’s body impaled on a stag’s head, after which protagonist Will Graham has visions of a black stag, and a man with the antlers of a stag, representing murder, evil, and of course the cannibalistic murderer Hannibal Lecter.

Since Hannibal was super popular with the shipping fandom set, wendigo themed characters became popular in its wake, creating a wholly new way to culturally appropriate the wendigo. This was magnified by Over the Garden Wall, which came out in 2014, and its villain The Beast. The Beast is never called a wendigo, but is an antlered giant associated with winter, and so is commonly head-canoned as a wendigo and associated with them in fandom circles.

Which gets us to the modern day, where teenagers have misunderstood wendigo OCs, any character with antlers can be called a wendigo on the internet, and actual First Nations people with an actual cultural connection to the legend wish that people would just knock it off.

#and now you know #wendigo #windigo #witiko #creature design #art history #pathfinder rpg #algernon blackwood #august derleth #cthulhu mythos #stephen king #b movies #stop motion #hannibal #native american #first nations #cultural appropriation #long post

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vex-verlain · 1 year

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In response to the reactions I’ve seen to #EndOTWRacism

Four things that can, actually, co-exist:

1.) being anti-censorship

2.) writing extremely kinky, fucked up idfic

3.) being a longtime lover and supporter of AO3

4.) supporting the End OTW Racism initiative

There are only four things the End OTW Racism initiative is asking for right now.

ASK ONE:

Harassment policies that can be regularly updated to address both on-site harassment and off-site coordinated harassment of AO3 users, with updated protocols for the Policy & Abuse Team to ensure consistent and informed resolutions of abuse claims

If the inclusion of “off-site coordinated harassment of AO3 users” upsets you, try one of the following:

1.) consider the idea that a person should be able to submit evidence of off-site harassment in conjunction with reports of on-site harassment, or

2.) go to the final thought at the bottom of this post.

ASK TWO:

A content policy on abusive (extremely racist and extremely bigoted) content; by abusive, we are talking about fanworks that are intentionally used to spread hate and harassment, not those that accidentally invoke racist or other bigoted stereotypes

Say it louder for the people in the back: “we are talking about fanworks that are intentionally used to spread hate and harassment, NOT those that accidentally invoke racist or other bigoted stereotypes.”

(If you believe removing works that harass actual human beings is the same thing as censorship, you’ll need to engage with someone who has far more spoons than I do.)

ASK THREE:

Hiring a Diversity Consultant within the next 3-6 months

How is this controversial? It’s been THREE YEARS.

ASK FOUR:

Committing to a policy of transparency on this topic, with quarterly updates on the progress of these projects including challenges and their plan for overcoming those challenges. These quarterly updates should be published on OTW News page and newsletters, not solely discussed in Board meetings

This is not a big ask. This is an important enough topic that one should not be forced to either attend the Board meetings or read the published Board minutes in order to receive an update.

Final thought:

Your beliefs do not have to perfectly align with a movement (nor every person within that movement) in order to support that movement.

And if you think they do, please consider how that works in real life. (It doesn’t; that’s how movements get divided.)

And perhaps also take a moment to appreciate the purity culture/purity wank implications. (“I only support things that are absolutely perfect!”)

This post is from May 18, 2023. The End OTW Racism initiative referred to here is the planned two weeks of action from May 17 through May 31, 2023.

#End OTW Racism #ao3 #otw #fandom #this is a vex original post

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end-otw-racism · 10 months

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The OTW Board Elections are over, and with that wraps up our second End OTW Racism action! Thank you to everyone who has participated over the last few months, whether by voting, attending the July 2 OTW Board Meeting, submitting questions for the candidates, sharing our posts, writing to the OTW Board, providing us critique and feedback, and more.

Now that we’ve completed two End OTW Racism actions, we wanted to take a breath and tell you a little about how we started. We began as a team of five people in May who felt spurred by renewed conversations we’d seen on twitter about racism within the OTW and wanted to do something about it. As we’ve shared in our FAQ, the core organizers are all fans and users of AO3, including both people of color and white folks, who have been in fandom for decades. We’ve added new core organizers since May, but also some organizers have rolled off, so we remain a small and diverse team.

Since the beginning, we’ve had four specific demands for the OTW:

Harassment policies that can be regularly updated to address both on-site harassment and off-site coordinated harassment of AO3 users, with updated protocols for the Policy & Abuse Committee to ensure consistent and informed resolutions of abuse claims

Hiring a Diversity Consultant within the next 3-6 months

This may be surprising, but we only began planning our first action in May five days before we announced it! And we’ve been working really hard since then on top of our other individual life obligations. We also rolled straight from our first action into our second because of the timing of the OTW Board Elections, which made things even busier.

We’re very proud of all we’ve accomplished and everything that has happened since then - not only the work we’ve done and the progress we’ve made on our specific goals, but also the way that a larger conversation has opened up publicly about many other forms of racism and dysfunction within the organization. These conversations have, of course, been going on for years, both inside and outside the OTW, and more recent efforts have built on the work of fans of color calling out racism in fandom for decades, particularly Black fans. The discussions that have happened since May included thousands of people in fandom and have become wide-ranging, and we’re thankful to everyone who has been part of them. Organizing and running this campaign has also been a learning process, and we've grown so much from the feedback we've received. We look forward to being even better as we continue on with our specific anti-racist lens.

We couldn’t have done any of this without all of you, the community that has fostered and spurred these conversations and put them into action. We’re also really excited to see that other campaigns are coming up to address aspects of racism in fandom that are outside our narrow scope. We hope our example of what you can do as a small team can be an inspiration to anyone else who wants to start their own parallel antiracist efforts too.

Since it’s been an exhausting (but thrilling!) few months, our core team is going to be taking a pause for a few months to reflect and regroup before planning another action focused on our specific goals. We also want to figure out how to engage more of the community in our planning for future actions, since we know there are lots of people who are excited about this work, and we weren’t able to do that in the quick turnaround between the first and second actions.

In the meantime, we’re excited to announce that two partner projects will be launching next month! These will not be led by our core organizers, but by other fans who have volunteered to take them on.

Anti-Racist Fanlore Project: An effort to update Fanlore, the fandom history wiki run by the OTW, with articles that flesh out the history of racism and anti-racism in fandom. This will be a collaborative project run through a new Discord server, and we welcome people of all levels of experience with Fanlore editing, including people who have never done it before! We’ll need people for a wide range of tasks: project management, research, drafting, reviewing, and posting to Fanlore.

Anti-Harassment Street Team: A group aimed at supporting people who are harassed for talking about racism in fandom, including developing de-escalation practices, creating resources on curating your own space, correcting misinformation, and more. This project will also be collaborative and run through a new Discord server.

You can sign up for these projects on our Volunteer Sign-Up Form. If you already signed up for either of these projects at any time in the last few months, you will receive an email with more information when each project kicks off.

Apart from those projects, we’ll see you again for our next action in a few months. If you need to get hold of us in the meantime, you can email us at endotwracism [at] gmail [dot] com, though we may take a little while to get back to you. Thank you again for your passion and support in fighting racism in the OTW!

- The Fandom Against Racism Team

#end otw racism #vote to end otw racim #eotwr #ao3 #archive of our own #organization for transformative works #about us

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