What is hyperfixation like?
So, I didn’t care about Sherlock Holmes at all until about six weeks ago.
I watched BBC Sherlock as my gateway drug, then read a bunch of fic, started listening to the podcast Sherlock & Co, bought a copy of the new queer anthology When the Rose Speaks Its Name, started watching the Jeremy Brett series, and now I’m reading Bending the Willow: Jeremy Brett as Sherlock Holmes while simultaneously cycling through BBC Sherlock - AO3 - Sherlock & Co - When the Rose Speaks Its Name - Jeremy Brett - misc. Sherlockian googlings on a daily basis.
I can feel dopamine coursing through my veins every second that I get to interact with Sherlock Holmes related media, which is a considerable amount of time. I draw fanart at work and scribble gay little thoughts in my journal. There is not an atom within me that isn’t vibrating for Sherlock Holmes and Sherlock Holmes byproducts.
And yet nobody in my real life wants to talk about it with me, no matter how hard I try. I tried reaching out to my brother who has always been an ACD Holmes fan and he literally hasn’t replied to me in a month. He’s got kids. All I’ve got is a new Sherlock Holmes hyperfixation.
I posted some of my new art on Instagram and received a very weak response even though I was really excited about it and still think it’s some of my better work. I deactivated my account because I was so sad.
The isolation impacts me negatively. It pushes me further and further away from “real life” and into escapismland, because that’s where all the dopamine lives. I find myself on Tumblr or making edits on TikTok where no one really knows me or cares about me but people who care about the same media I do might respond.
It would mean everything to me for someone to care both about me as a human and about my interests, especially in the first few months of a hyperfixation when I literally cannot shut the fuck up about it.
But instead I am doomed to this lonely life of soaring highs, swinging from media fixation to media fixation, telling strangers on the internet that I am desperately in love with fictional characters, and crash-and-burn lows that most people don’t even understand.
I am a 30-year-old woman technically diagnosed with both bipolar and autism spectrum disorder. I am a weird gay aunt who will never have a longterm partner or children or possibly even close friends. I am actually a really nice and cool and hot person.
And I am only in love with Sherlock Holmes.
For now.
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It's such a shame how many good brother-brother duos or sister-brother duos there are compared to sister-sister duos
I know it stems from writers always feeling the need to add a man in every woman's life
A lot of writers can only make a character who's a sister if she's a sister to a brother and it's a real shame
Honestly I think Nothing from MP is a pretty good example of that
Look at her relationship with her female siblings/cousin vs her male siblings/cousin
Fire ended up being horrible and Feather is a toxic positive "lemme make you feel bad for wanting to change your ableist name even though it literally doesnt effect me" dirtbag
But Nothing had a better relationship with vs her younger sisters/cousins
Farleap and Silentstalk bullied her and Feather's sisters thought she was weirdo though they like literally never interacted
It's just always suspicious when a writer seems to prioritize a female character's relationship with guys over her relationship with girls
Like their gender shouldn't matter but they'll always pick their male characters first
The sexism in writing still to this day is wild. Especially where so-called independent creators are concerned. Because I thought the whole point of being indie was creating stuff you wanted to see in mainstream media but didn't get, but a lot of it is just more of the same crap you get from bigger productions. So either people want more sexism, or its just baked into their brain and they don't even realize it.
A lot of better stories out there are about brothers (well, I could argue that a lot of it is lazy and that there is no point to the characters being brothers, especially when strong emotional friendships between men are practically nonexistent in media.) and anything having to do with sisters is as I said, either petty nonsense or there's no point to being sisters at all.
And then there's as you said, an inherent need by creators for women to have men be relevant in their lives when that same standard is not applied to men. You can throw a rock and hit a movie or show with a female pov where her only motivation has to do with a man. Father, son, brother, husband, boyfriend, abuser. Whatever.
That's not to say any of these are bad stories. But when its the majority of supposed woman-focused media, it loses its edge as woman-focused when the women in question are focused on men. The writers either consciously or subsconsciously don't get that women have motivations beyond men. This even happens with lesbian characters, where men should have even less relevancy? LOL And it doesn't even matter who the writers are, whether they're men/women, cis/trans, straight/gay, everyone does this. You'd expect better from queer creators but even then there's a clear preference. And they're wont to bring up that "gender shouldn't matter" but only when it pertains to asking why they're so opposed to women being the focus. Its quite interesting.
MP is in an interesting position of hating both men and women at the same time while not commenting on how the patriarchy has negative effects on both men and women. Not an easy feat but Tribble sure made it look easy. She made Feather Nothing's prime motivator for leaving the pride, and while I have my own criticisms of Nothing's "subtle" motherlyness towards Feather, that wasn't extended to the female cubs. Fire is Nothing's other motivation for leaving the pride, and then he turned out to be a wannabe dictator. Quickmane was shown to be a sympathetic and caring mate who definitely wasn't homophobic, but had no qualms about killing children. And then there's alllllll the women who are meant to be oppressed to the same extent as Nothing, but they all somehow manage to be even worse because the narrative wants us to side with them.
And even Nothing's abusive relationship with Quickmane as we've stated in our review is arguably less fucked up than the relationship she has with her own mother. Because we know what they think about each other, and Powerstrike still insists that Nothing's existence is a burden on her soul or whatever. Like what the fuck is up with that?? I'm sure they could've made Powerstrike less-bad than Quickmane, was this some sort of weird equalizer of the sexes? And you can count Nothing's relationship with Sharptongue if you're so inclined to, but even if you ignore everything else she did, Sharptongue would still be the only positive female influence in Nothing's life. But not a key motivator in Nothing's story. Like not even a little bit.
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One thing I find very ironic about Spyxfamily is the way the Desmonds are portrayed. I understand that according to the narrative, they (namely Donovan) are the antagonists of the story, but I do find it quite tepid that so many character analysis is bonded by this very dichotomy style approach to understanding the characters (if that makes any sense).
I'm having a hard time approaching my point so bare with me if it starts to get confusing or disjointed.
I always see people talking about how the Forgers (aka the fake family) are able to have a happy relationship and a genuine bond while the Desmonds (aka the real family) are distant and uncaring of one another. There's a lot of emphasis on the parallels between Damian and Anya and how the presence of their fathers impact their lives. Most of the discussion is centered around shaming Donovan for not being more involved in Damian's life but not a lot of people are acknowledging why.
The whole reason for the fake family as part of Twilight's mission is because Donovan is a closed off skeptic who avoids unnecessary social interaction. This mission is supposedly the easiest way to get to him. As the story goes on, we gain a better understanding of just how shut off Donovan is and how much he actually isolated himself, even from his own family.
But the thing is, his actions are justified. The mere existence of Operation Strix validates his fears and anxieties. The fact that Twilight a spy is trying to expoilt the relationship he has with his children in order to get closer to him is the very reason he avoids them so much. It's people like Twilight that make him such a skeptical person.
Again, people praise Twilight for being a good dad, except he isn't really a good dad. It's all a facade. He's so dedicated to his goal as a spy for the West that he's willing to fake an entire family just to find out what Donovan is planning. Everything Donovan hates and resents is embodied in Twilight.
In the end, Twilight is just as harmful to Anya as Donovan is to Damian. He grabbed a random child from an orphanage and is using her for his own personal gain with limited regard for her well-being. We are not even sure what he plans on doing with her when the mission is over. Anya is obviously able to manipulate the situation to her own advantage, but that's only because she's a telepath. Any other kid would just be playing along, assume they just got themselves a new family overnight. We do see him grow and deepen his bond with Anya, in some cases threatening the mission for her benefit, but that was never a guarantee.
In a very frustrating way, Twilight is also contributing to Damian's strained relationship with his father and family. While Donovan obviously doesn't know what Twilight is doing, he's still aware that there are people out there who might. So, he continues to be guarded and make unreasonable demands of his children. He makes Damian feel he has to earn his place in his father's life because people like Twilight push Donovan to limit the number of people that are allowed in his life. I'm not saying it's Twilight specifically who's at fault, but people like him who are very much trying to force their way into his circle.
And I'm not saying of this yo defend Donovan or put down Twilight but I would like for less black and white thinking when talking about a Manga that hinges itself on nuance and the complexity of post war society. I find it a bit tired to keep categorizing characters as good or bad because it really hinders any conversation about them.
Idk I just feel there's a lot of moral ambiguity in sxf that really is intended to make us question our own moral code so it's weird seeing people ignore the actual harm Twilight and Yor cause just to reinforce their own limited moral values.
I don't think this makes much sense honestly.
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Hi! I am an ardent fan of your writing, and I hope to be as sorted and planned as you some day in my own writing journey.
My question is: you have a keen eye when it comes to planning character personality, dynamics, and such. I've also been wading through your ask replies, and your insights into how you write people and how you make them play off of each other is so wonderful to read. If it's not too personal a q, how did you learn how to write like this? Did you go to school for writing, does it come from years of observing people, do you have reading list recs for "how to write real people and real interactions"?
Thanks! This is a really flattering question. I'll try to answer it honestly, because I wish someone had been brutally honest about this with me when I was a young writer.
I didn't go to school for writing. I started doing it when I was about nine years old. It sucked very badly. I kept writing throughout high school, and it still mostly sucked, but some of it was occasionally interesting. ("Interesting" here does not mean "good," by the way.) I took a break in college, and then came back. I've been writing ever since. Sometimes, I feel good about it. A lot of the time, I don't!
I hate giving this advice, because I remember how it feels to get it, and it's the most uninspiring, boring-ass, dog shit advice you can get, but it's also the only advice that is 100% unequivocally true: you have to write, and specifically, you have to write things that suck.
I do not mean that you should make things that suck on purpose. I mean that you have to sit down and try your absolute hardest to make something good. You have to put in the hours, the elbow grease, the blood, sweat, and tears, and then you have to read it over and accept that it just totally sucks. There is no way around this, and you should be wary of people who tell you there is. There is no trick, no rule, no book you can buy or article you can read, that will make your writing not suck. The best someone else can do is tell you what good writing looks like, and chances are, you knew that anyway — after all, you love to read. You wouldn't be trying to do this if you didn't. And anyone who says they can teach you to write so good it doesn't suck at first is either lying to you, or they have forgotten how they learned to write in the first place.
So the trick is to sit there in the miserable doldrums of Suck, write a ton, and learn to like it. Because this is the phase of your path as an artist when you find what it is you love about writing, and it cannot be the chance to make "good writing." This will be the thing that bears you through and compels you to keep going when your writing is shit, i.e., the very thing that makes you a writer in the first place. So find that, and you've got a good start.
Some people know this, but assume that perseverance as a writer is about trying to get to the point where you don't suck anymore. This is not true, and it is an actively dangerous lie to tell young writers. You are not aiming to feel like your writing doesn't suck. You are aiming to write. You are aiming to have written. Everything else is dust and rust. And of course, you'll find things you like about your pieces, you'll find things you're proud of, you'll learn to love the things you've made. But that little itch of self-criticism, in the back of your brain — the one that cringes when you read a clunky line, or thinks of a better character beat right after it's far too late to change — that's never going away. That's the Writer part of you. Read Kafka, read Dickens, read Tolstoy, you will find diary entries where they lament how absolutely fucking atrocious their writing was, and how angry they are that they can't do better. A good writer hates their sentences because they can always imagine better ones. And the ability to imagine a better sentence is what's going to make you pick up the pen again tomorrow. And the day after that. And the day after that.
Which is what I mean, and probably what all those other annoying, preachy advice-givers mean, when we say: a good writer is just someone who writes every day. It's that easy, and that hard.
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Saying this for the 100th time here but some of you are so out of touch from reality when you make your "it's okay to be straight!!! It's okay to be a man!!!" posts like I get it there can be some context or exceptions to this but most of the times it's just people thinking straight people or men are somehow being oppressed cause the people they have oppressed for an eternity are speaking their truth loudly online now
And no, you don't get to take the defense that people feel bad about themselves when they read these things because the real world still fucking favours y'all. You don't have to sob in your bathroom for hours and hide your whole life away from your family from a young age. Y'all still don't care about queer kids, especially queer girls who never find any comfort anywhere except that small family they created online. I'll take you feeling bad any day over another girl feeling trapped in this society cause no matter what she does, she will always feel inferior or another queer person having to take their secret to their deathbed
Get a grip, touch some grass. You are not oppressed because a 16yr old said they hate men or made a joke about how being straight is actually awful. Y'all have said worse shit to us for centuries now. "Learn to take a joke :)"
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