you said Adams lore has changed in the lab world…instantly curious-

okay so.

Back when the au was first made and before it went on its long hiatus, I said Adam was taken as a child and used as the first test subject for MBT, being the child of Lynn and Jude Murray, who worked at MBT.

Now, he still is. technically the child of Lynn and Jude, but. he was never born. he was grown.

Using DNA from Lynn, Jude, some from Gabriel, and whatever other DNA could fill in the gaps, Gabriel grew a human (mostly) specimen in a tube. being Adam. Took a few months for him to grow to a point where he could be let out of the tube (and sense his growing was accelerated while in the tube, he was aged to like. young toddler at this point.) However, after another few years, Lynn had grown attached to her "son", and wanted him to leave the facility, so she sabotaged the equipment, and let Adam out of the facility to flee into town. Due to this, she was killed, and Jude, who was meant to be looking after Adam, was. met with a worse fate.

So TLDR: Adam was grown in a lab tube and escaped a few years later, meaning he was never fully human in the first place and never knew he wasn't until he was recaptured in 2007.

You said: '...their grand theme of "women-good-men-bad" plot (as in violence vs nonviolence).'

Not the same anon but I've been thinking a lot this week on that line of thinking.

On my first viewing I liked the show in general even if I didn't agree with several things but the more and more I thought about it the worse it became and now I feel that the show is MORE sexist and misogynistic than the original material.

It took me a while to realize that not only are women not allowed to gain any kind of power or have active decisions, but they purposely exchanged and eliminated things to create the dichotomy of man=violent and woman=pacifist.

Alicent is not only no longer the mastermind behind the entire movement but she is not even included in the plans, her only moments of power are when she exercises it in the meanest way and it really doesn't have much impact.

She actually just wants her children to be saved! She never wanted to govern! And she thinks Rhaenyra could be a good ruler (until 5 minutes pass and she changes her mind).

Her gloating line about Visenya dying and wishing Rhaenyra died in childbirth? Eliminated and even with all the anti-bastard prejudices that left her I doubt they would let her tell Rhaenyra that the death of their children doesn't matter as much because they were bastard blood.

Rhaenyra cries for a damn page instead of being allowed to be upset that the usurpation led to her having Visenya early. Revenge? Oh no, there is a prophecy and I must think about it. She also doesn't want power or rule, not even because it is a position that her father assured her was hers and she feels entitled to have it. Show!Rhaenyra has moments where she seems ready to quit or the weight of responsibility would crush her.

Rhaenys who fought to be recognized, campaigned for her son and then made sure it was ride or die with Rhaenyra? Well, she's allergic to any kind of female friendship, she's resentful of what she could never have forever, but she'll abandon ir in a heartbeat because her only ambition is to support her (biological) family in la la la, nothing happens here Land.

I don't see this Rhaenys dying believing it's for the best and will be defiant to the end and I certainly don't see her stopping Joff (who I don't think he likes that scene either) goes on a suicide mission.

Baela is the only one who remains more or less the same and yet she looked askance because... She and Rhaena miraculously appear.

On the other hand: Otto who was fired by Aegon for not being bloodthirsty enough? Yeah, I don't see that happening.

Daemon? A psychopath who will jump at the opportunity to kill in a heartbeat, even his wife who was too far away to commit the crime. Redeeming traits? Nope, there isn't. We also have child neglect and domestic violence, good change no?

Corlys is supposed to be the one to advocate for pardons later, here he doesn't see the big picture but instead becomes blinded by his own greed and goes to war because he is unable to talk to his wife.

They are not nuanced characters, they are tell me that the ambition is bad and we must not allow it to contaminate women and men are inherently violent.

Anon talks about this post.

I realized why I really couldn't totally like any of the characters beyond their looks (and only sometimes not even then, I'd say 25% of the looks in season 1 were good) when I read this one reblog by @rhaenyragendereuphoria HERE. They mentioned Robin Morgan and the terfness of the idea of women being the peacekeeping managers of male natural violence and it clicked for me. Goes to show how we can't exclude transphobia against trans women when talking about gender studies, violence, and anything to do with cis women bc as we realize that gender itself is a social creation and not dependent on genitals alone, the better we understand how the traits assigned to women (all but in different ways) are meant to be twisted according to the masculinized male's interests of control and domination. Homophobia also can't be totally discussed or fought against without understanding that it is about rejecting the "feminine" or anything coded as "of women". Such things require a sense of fixedness of gender and sexuality for masculinized male control.

This post by xenonwitch showing what others wrote about the male gaze can also help you out to understand how the HotD writers are writing in the male gaze--yes, even Sara Hess one of the women.

The show just feels too shallow BECAUSE they seek to reduce the idea and sense that this conflict is in feminist interest AND they do not invest or follow through with many proposed themes or potential motifs that they brought bc they don't really understand what they have to change nor its consequential implications in-world for the sake of bothsideism and checking boxes.

Plus, if you look carefully, even the most active persons in canon lose their activeness for the sake of the "theory of accident"--as Seth Abramson kinda calls it--where a major or critical character does not intentionally cause harm or prepare for the worst and the point is that we are supposed to see how they react to things happening to them.

Instead of making critical plot points happen through willful action! the "nuance" and intrigue of say, Aemond's killing Luke, is that he didn't mean to kill him, but it also wasn't an accident but also he was so mad about his eye and followed him for more than 5 mins in anger on a giant dragon in his big age of 19 versus a 14-year-old. Aemond has all the control until the very last minute when Vhagar goes ham and munches on Arrax and Luke; Alicent has no real control and "accidentally" takes Viserys' words the wrong way instead of her just ordering the castle shut down for the green council and actively trying to bring them to her side, being the spearhead of that anti-black function. Rather, it vacuums out all real stakes because the people feel like paper to write on.

The show makes a lot of their characters not have to make them confront some risks, build the right tension, or cross certain boundaries--example Alicent, doesn't have to confront her own long fears about her kids dying and the question of a woman ruling because she heard Viserys say that Aegon should rule. In other words, no accountability.

Finally, the characters also seem stupid as to how: Alicent thinks a page is going to stave off any threat of violence from Rhaenyra or herself, and Rhaenyra for reasons goes along with it!--she has been harassing Rhaenyra for years, and said page is of Nymeria (the woman who made her destiny and conquered regions...while Alicent is usurping Rhaenyra); when she accepts Rhaenyra's apology at the feast after the stain of her slicing her and almost causes the blacks/Luke to lose Driftmark but wouldn't listen to her before in episode 4 about not sleeping with Dameon AND again, sh's been trying to get Rhaenyra and her sons killed for 10 years from the belief that Rhaenyra would cause her oen kids deaths indirectly or directly!, basically just bc she now feels Rhaenyra respected her status as Queen and Viserys presented himself as a victim of their infighting...that he is actually largely responsible for...so she isn't protective of her kids and does have an severe inferirority complex or her main motivation is social power over protecting her kids, but the show would ahve us think that she hated Rhaenyra bc she was trying to prptect her kids.....her problems--as she saw it--remained the same after Rhaenyra's apology, wtf?!; Rhaenyra suddenly does not want to act at all against the greens, even give up -> based on violence and the prophecy, but said prophecy is actually all the more reason to stamp out the green usurpation bc her father couldn't have given Aegon that information and if he did he would have told her his plans long before he died...so why is she thinking of just giving it up if she were responsible?!!!!

no repercussions for Laenor's beau getting his face smashed in under the king's roof during a wedding feast (makes more sense during a journey, not a feast) --> lack of empathy towards Joffrey there, he couldn't die doing something considered honorable in his society, no he has to die like a dog [wanted to complain]

Because of this nonsense that one has to unpack while whatever episode is playing, I couldn't enjoy the characters and dialogue apart from the most superficial things. Apart from some scandalous behvior and Rhaenyra being savvy (episode 4 & daemyra in episode 5). Rooting and intrigued by the fashion of the wedding. I'm not even excited for Rhaenyra's maybe-bloodthirsty reaction to her son's death bc I know they will somehow ruin it, esp since they are only putting in 8 episodes for this coming season. They already didn't do enough for the first!

They also have a chance and when asked to explain take it to the most discriminatory level that turns you off if you have a modicum of respect for people. An example of this if claiming the Velaeryons being black is useful to make it "more obvious" that Rhaenyra's first sons were not Laenor's as if that means we should look at Rhaenyra's situation as being just her fault, that she should have just rolled over and "done her duty" when in fact the circumstances were almost set up against her...why? BC she is a woman! And why are we making the Velaryon's blackness or PoCness just a tool for denigrating another character instead of something for themselves?!

Week 10 - Just One of the Guys + Butler

Just One of the Guys is an interesting exploration of the masculine/feminine binary through the coming of age/teen movie lens. While we’re used to seeing the boy-chase-girl or girl-chase-boy dynamic, this movie instead showcases a male-presenting individual falling in love with another male-presenting individual, all the while trying to maintain a traditionally masculine appearance. 

The film is a proponent of Judith Butler’s notion from her book, Gender Trouble, that “there is no gender identity behind the expressions of gender; that identity is performatively constituted by the very ‘expressions’ that are said to be its results.” Butler is essentially saying that there is no truth to being “feminine” or “masculine.” Just One proves this, as a biologically female character convincingly adopts masculine traits when otherwise not expected (or accepted) to do so. 

Also according to Butler, “the cultural matrix through which gender identity has become intelligible requires that certain kinds of ‘identities’ cannot ‘exist’--that is, those in which gender does not follow from sex and those in which practices of desire do not ‘follow’ from either sex or gender.” Societally, neither non-straight nor non-binary relationships are allowed to exist (be accepted). 

Evidence of this, everyone thinks that Terri is gay on account of being in her Terry guise at the time that her boyfriend, Kevin, confronts her. Rick then is angered when Terri reveals that she’s actually a woman. Feeling betrayed, Rick walks away. This reads like Rick being angry with himself about his attraction to Terri (in male garb). That or it can be read as homophobic disgust at Terry’s confession of “his” love and a “perverted” choice to have breasts. 

In a bid to not appear gay in front of the prom crowd after kissing Terri, Rick proclaims that Terry “has tits,” eliciting some confusion. Rick then storms off with his date (a cis woman) in a bid to save the image of his straightness.

In a strange but interesting moment, Terri talks about her relationship issues while her younger brother and his date have sex in front of her. The moment represents a further unacceptance of the masculine/feminine binary. Terri is comfortable enough with her brother to share her feelings when it’d otherwise not be expected for him to understand her boy troubles.  

In the film’s final scene, Rick overcomes his insecurities about his attraction to Terri/y and asks Terri out, claiming that he’s “the guy here,” asking Terri out after she had already asked him on a date. Rick then insists on driving the two, to which Terri seems happy to oblige. The exchange essentially returns things to the status quo, how they “ought to be,” with Rick the controlling masculine boyfriend and Terri the willingly submissive and feminine girlfriend. The moment is played for laughs and meant to be lighthearted, but undoes a lot of the interesting exploration the movie had done up to that point. Luckily, the movie conjures further confusion by having Buddy be swooned by a masculinely-dressed, tough-looking woman biker.

【 Biography 】

»»————-　♔　————-««

- ̥۪͙۪˚┊Table of Contents┊˚ ̥۪͙۪◌

╰┈➤ general

╰┈➤ appearance

╰┈➤ personality

╰┈➤ biography

╰┈➤ abilities

╰┈➤ trivia

╭┈──── ◌ೄ◌ྀ ˊˎ general

➤ full name || real name || alias/nicknames

gwen viazzani. neither their first nor last name holds any real definition, but it is a name they chose for themselves. ‘gwen’ being a spin on the last syllable of ‘penguin.’ whilst viazzani is actually his grandmother’s maiden name— a common italian name shared by gwen’s extended family. this is the alias they’ve decided to go under after their time in Eden Castle ended. and, whilst the last name is similar, only richter and karl can pinpoint them as the king’s former advisor; no one else fully recognises them.

adalfieri exicor. their real name, and one they’ve chosen to abandon. adalfieri means ‘noble oath,’ and was given to them by their grandfather. though thanks to karl and richter recognising a tie with their late childhood friend, gwen has grown to resent that name. exicor takes laters from the latin words ‘excisus’ and ‘corruptus’. Excisus meaning ‘cut off’ or ‘exterminated,’ while Corruptus means ‘corrupted’ or ‘depraved.’ Gwen doesn’t resent the last name, actually it’s quite the opposite. Their proud of their lineage and name, though at the moment feel undeserving of it. If found out though, they certain won’t deny it, but rather embrace it.

Viazzani. Whilst working for Karl, Gwen never gave themselves a first name when introducing themselves. Instead they only went by a last name. Because of this, when they seemingly hopped off the face of the Earth, this is all people had to go on, and since have not been able to identify them again— even if the same person they used to work with is still walking around under their noses.

various other aliases. depending on the job, they’ll likely choose a new, temporary, name.

⸻⸻⸻⸻⸻⸻⸻

➤ age || biological sex || gender

18. [beginning] || 22 [end]

Female.

Agender. Gwen prefers they/he pronouns, and masculine terms.

⸻⸻⸻⸻⸻⸻⸻

➤ birthday || sign

January 1st

Capricorn

⸻⸻⸻⸻⸻⸻⸻

➤ height || weight || blood type

165 cm. [5’5]

70 kg [ 154 lbs ]

AB

⸻⸻⸻⸻⸻⸻⸻

➤ race || ethnicity || known languages

human [?]

italian

English | Italian | French [proficient] | Japanese [semi-proficient]

⸻⸻⸻⸻⸻⸻⸻

➤ occupation || hobby || favourite food

Assassin || Third Year High School Student || King’s Advisor [former]

Painting

Grapes and Strawberries

⸻⸻⸻⸻⸻⸻⸻

➤ relatives

Desiderius ‘Riollo’ Exicor [grandfather, living]

Cyrus Exicor [grandparent, living]

Ginevra Exicor [grandmother, living]

Cieran Exicor [older brother, living]

Alimony Exicor [younger sister, deceased]

╰┈──── ◌ೄ◌ྀ ˊˎ

╭┈──── ◌ೄ◌ྀ ˊˎ appearance

➤ tba!

╰┈──── ◌ೄ◌ྀ ˊˎ

╭┈──── ◌ೄ◌ྀ ˊˎ personality

➤ Gwen, as viewed by Karlheinz, is ‘a broken vessel’ and according to him, ‘is not as powerful as they once were.’ While they don’t hold nearly as much magic power as he does at the moment, given his influence they share in his pursuit for knowledge.

➤ Gwen took some traits from Karlheinz , given that he was the prominent ‘parental figure’ in their life. But that doesn’t mean they necessarily act like him, even though most people who meet them might think that way.

➤ Whilst at first, Gwen seems to incredibly intelligent and manipulative, often manipulating others to do their bidding, or at the very least taking the fall for them. They often poke and prod at the weakest points of others, if only to drag out their ‘full potential.’ This is still the case, but doesn’t really scratch the surface. They’re actually very adventurous, and reckless. They’ll acknowledge the consequences of certain actions, but will often dive into the situation anyway, if only for the experience.

➤ As an artist, and assassin, they’re constantly looking for new inspiration. Be it through someone strong, who can prove to be their ‘muse’ in battle… Or someone who they feel they can paint one day.

➤ While Karlheinz is crueler to others, namely his sons, Gwen directs the same kind of harshness and punishment towards themselves. They view themselves as an anomaly, convincing themselves that there is no place in the Human or Demon worlds for them to belong. Thanks to this, they hold themselves to standards too high for even Karlheinz to reach, and believe that any mishap, no matter how big or small, is their fault. They are constantly thinking over and ‘revising’ their own actions, almost always giving themselves harsh punishments if they didn’t preform perfectly.

➤ One of their most prominent features is how full of life they seem to be— despite their actual views on living, and the childhood they had to endure. They’re quite sociable, even though they rarely give out information on themselves. They seem to blend into crowds easily, and are good at reading others.

╰┈──── ◌ೄ◌ྀ ˊˎ

╭┈──── ◌ೄ◌ྀ ˊˎ biography

|| Kid Years ||

➤ Gwen was taken in by Karlheinz at age six, with the man requesting the kid specifically. Given the nature of the Exicor family, Gwen couldn’t refuse, and thus their contract was formed; with Karlheinz’s sigil branding itself in Gwen’s left eye.

➤ Gwen was taken to Eden Castle, where they were to assimilate into Karl’s way of life. As soon as they entered the castle, they were subjected to the harshest treatments the man could think of, with his one excuse being ‘your full potential is most important.’

➤ Given their age, they were still learning to read, write, and speak properly, though Karl paid this no mind. Instead forcibly speeding up their developmental processes. This will effect their learning and self image later in life.

➤ Karl instills fear into Gwen like no one else before. Creating such genuine fear of such basic aspects of life. The most prominent is the fear of sleep. Karl, along with some other test subjects in Eden Castle created a such nightmarish environment for Gwen, that now they forgo sleep entirely.

➤ The man took extra precaution to make Gwen’s developmental years as hellish as possible, so they’ll develop a dependence and fear for him. Believing they can’t survive without him, but also can’t survive with him.

|| Teen Years ||

➤ at age twelve, gwen was ‘presented’ to the political scene as Karl’s right hand. His own wave of controlled chaos as they weaved their way around politics. they had met Richter soon after, the man choosing to train Gwen for similar reasons as his brother—though the methods may have been different, Gwen would argue that Richter was more brutish than his brother. Richter may have also had a bit of outside influence, when choosing to train the kid.

➤ Richter was rigorous with his training, and while he didn’t voice his wishes, Gwen could tell that he was training them this way for a reason. It irked them, being put through such regiments with little to no chance to ask questions. It was like they were a weapon instead of a person.

➤ alongside training them, richter and gwen worked together as colleagues— with gwen’s position technically being above his. if asked to do paperwork for him though, they oblige simply because he’s older; as a thank you for training them.

➤ At some point during this time, nobles began becoming interested in the paintings scattered around Karl’s castle— since they were Gwen’s, he decided to exploit their talents for his own enjoyment, and an opportunity to add more people to his collection of pawns. thus, Gwen’s actually lost their love for the activity, and even the thought of painting is enough to make them shut down if someone isn’t there to distract them.

|| Present ||

➤ while to almost everyone else, gwen appears to have ‘disappeared’, they’re still expected to complete all of their necessary paperwork. others find it strange, how their presence seems to be so prominent, yet not there at all.

➤ their main goal now though, is to make the most out of their last few years— whether they complete their contract or die. there’s still so many questions they have unanswered, and still so much room for them to grow. for now, they need to focus on tying up loose ends. they’ll end up encountering and people who will have a lasting impact on their life during this final stretch… be that for better or worse, they aren’t sure.

╰┈──── ◌ೄ◌ྀ ˊˎ

╭┈──── ◌ೄ◌ྀ ˊˎ abilites

Ink Manipulation

Given their unique heritage, each member of the Exicor family was ‘blessed’ with a specific kind of ability. It reflects their interests and greatly influences their fighting style and personality.

Gwen’s reflects their insane passion for the arts, thus with enough training they’ve learned to wield ink in battle the same way they do paint on a canvas. On the downside though, they become weirdly… artistic, with their missions and jobs. An artistic mindset mixing with that of a killer isn’t exactly a great situation for the person on the receiving end.

Enhanced Senses and Reflexes, as well as Superhuman Strength

Swordplay and Tahtib

╰┈──── ◌ೄ◌ྀ ˊˎ

╭┈──── ◌ೄ◌ྀ ˊˎ trivia

➤ they pole dance! they found it a great way to work on their overall strength, and upper body strength specifically. as well as help them develop necessary skills for manoeuvring in mid air. gwen also just finds in to be a great pass time.

➤ Their favourite drink is tea with honey, despite how it messes with their stomach.

➤ Gwen is actually extremely self conscious about their Japanese, since they have an inherent southern accent. They suppress it for the most part, though they have let it slip once when yelling at Ayato.

➤ Gwen has trained in Antartica before! They even managed to befriend a penguin, whom they’ve since named ‘Pen.’ Unfortunately for Richter though, Pen didn’t take too kindly to him trying to take Gwen back to the castle.

(image description: eight sketchbook drawings of characters holding a variety of pride flags, all nude and posed in ways that match some old fine art pieces. The nudity has been censored with cute digital flower stickers. end description.)

Characters:

Dalmar, intersex man. Kouto, nonbinary. Chacha, agender. Parva, nonbinary. Xulic and Kidron, genderqueer. Obeli (or Abuela) Moruga, genderqeer. Olli, demiguy. Sajak, genderqueer.

Genderqueer is kind of my default for "well, biologically and culturally, they already don't have binary sex or gender, so they kinda default to genderqueer." And I know maybe some people will be bothered by that, but it's just part of the worldbuilding I've written around all these non-human and frequently non-mammalian species of people.

The uncensored version is on my Patreon page. I do have one more drawing to add to this series, but since it's four child characters I will not need to worry about adding any censors and keeping the original image only on my patreon, as they will simply be wearing their pride flags as whole outfits.

The previous part of this, my binary trans characters, can be found over here.

detailed character descriptions and explanations of the pose references under the cut

Dalmar Ubora, a black intersex elf man with short black hair. He is holding his arms up as he holds the intersex flag, mimicking the pose of Virgin Mary from Titian's painting "The Assumption of the Virgin". The shading was washed out by the photo, but his belly is still clearly round from pregnancy. Dalmar is an interesting case, in that he was assigned male at birth based on his outward appearance, continues to identify as male throughout his life, but finds during puberty that what was believed to be an undeveloped penis was actually just a non functional body part. Instead, what actually developed to full functionality was his uterus. He still identifies as a straight cis man, and has come to terms with his body. He is married to a medically transitioned trans woman, and he could undergo operations to change his body if he wanted to. Instead, he has embraced his body and even birthed some children who were conceived via sperm donations. This is why I wanted a Mary pose for him, and this painting in particular is about Mary being welcomed into heaven as a blessed holy woman. Dalmar may not be a miraculous holy figure, but there is a reverence in the way he has come to love his body and chosen to bear children, including the surrogate birth of his brother's child.

Kouto Hayashi-Loryck, a slender nonbinary elf with black hair tied into a bun. They are holding the nonbinary flag and standing in the pose of a statue known as "Apollo Belvedere", which is so old no one knows the artist's name. One arm raised, one lowered, legs in the relaxed contrapposto pose. Kouto is an artist and an art model. Apollo is a god of the arts, and regarded as a beautiful and sexual figure. Kouto is bisexual and admittedly a very sexual and flirtatious person. They did settle into a happy marriage though (actually they are Dalmar's in-law and the sperm donor for the aforementioned surrogate birth.) Marriage has not stopped Kouto's flirtations, merely limited their targets to a singular person. It felt right to give him this pose, from a pretty well known portrayal of Apollo. Beauty, art, and sex, all defining traits of Apollo and Kouto alike, all present in a pose where the figure seems to be reaching for something above them.

Chacha Faraji, an agender black elf with short hair. They are facing away from the viewer, seated on a stool that is covered by the draped agender flag. No physical traits that could betray their agab are visible. Chacha is sitting in the pose of Reubens' painting "Venus at the Mirror". The arm closest to the viewer ends at the elbow, while they hold a mirror in front of their face with their one whole arm. Their face is seen reflected, smiling, little wrinkles visible by their eyes. I chose this painting in part because it did allow me to obscure Chacha's agab. They were my first nonbinary character, and I never really settled on an agab. But also, I enjoy putting characters who have unconventional bodies into poses associated with Venus or Aphrodite, the goddess of beauty. Chacha is missing half an arm, they are getting older and it shows in the wrinkles on their face. Chacha is also Aromantic and Asexual, the full queer triple A battery. The mirror pose has become an independence of beauty. "Look but don't touch." Chacha is beautiful, and they do not need to be beautiful for anyone but themself.

Parva Turbatus, a white nonbinary elf with shoulder length curly hair that has been shaved down on the far side of their head. They are holding the nonbinary flag, standing in the slightly closed off pose found in Paul Gariot's painting "Pandora's Box". One hand on their chest, one hand held out to hold the flag. They have top surgery scars on their chest and a c-section scar on their navel, though all of these have unfortunately been hidden by the flower censors. I chose a pandora pose for Parva because they have one of the most intense tragic backstories of any of my characters. Like Pandora opening the box, they have suffered through many things but came out the other side with Hope, and healing.

Xulic Vos and Kidron Engedi, a drow and a lizard person. They are sharing the genderqueer flag. Xulic has long ears and white hair in a braid, with a white monkey-like tail barely visible behind their legs. Kidron looks like a leopard gecko, and their tail is acting as a visual block in fron of Xulic's groin. They are standing together in the central pose of Raphael's "School of Athens" fresco. Xulic is pointing one hand up to the sky, while Kidron holds one hand palm down towards the earth. Xulic's chest is visibly flat, however I have rewritten the drow as a eusocial people, who's biology has made most of the common population infertile and visibly near identical above the waist. Xulic's agab is unknown to anyone but them, and perhaps their reptilian lover Kidron. Both drow and lizard folk have biology and cultures that do not really support a gender binary, so genderqueer suits them both quite well. I chose the School of Athens pose because these characters are scientists in fields that overlap, and they often get into deep discussions on the matter. Xulic is a paleontologist while Kidron is a geologist, and they have another friend (my protagonist) who studies archaeology.

Obeli (or Abuela) Moruga, an elderly goblin with sagging skin and axolotl-like frills on the sides of her head. She grins as she holds the gender queer flag, partly draped over the tall stool she is seated on. Her pose matches that of John Collier's "Priestess of Delphi" painting, which depicts a woman hunched over herself on a stool. Old Obeli Moruga, whose title best translates to "grandmother" is a significant figure in her community, both because of her more practical role as a leader and wise woman, but also because she has gained immortality and become an incarnation of Life Itself, after she was given the offer of such power when she nearly died in the goblin revolution. There are many figures that would suit her. Poses from statues of goddesses, like Athena or Gaia. Perhaps turning away from the theme of greek and roman figures I ended up with for my nonbinary group (dalmar is his own thing) and using the famous painting of Liberty on a battlefield. But now in her old age, all those poses of figures in more active poses, tall and imposing, simply didn't feel right. A wise old woman, hunched on a stool in a pose associated with the idea of an oracle, a priestess, a prophetess, felt much more fitting. (goblin culture does have specific pronouns for leadership, and in the common speech they have decided this translates best to the feminine "she/her")

Olli Moruga, also a goblin with axolotl-like frills, standing with the demiguy flag in his hands. He is in the pose of Michaelangelo's statue of Bacchus, god of wine, merriment, and madness. One hand up as if to salute with a cup, body leaning and perhaps a little unstable. Olli is a gay demiguy, stepping away from the naturally ungendered state of his people to embrace masculinity instead. He is extroverted, loves a good party, and has definitely been a little over his depth with alcohol on many occasions. He knows this is a problem. He used to act rebellious because of it, trying to be cool and aloof, but he has since admitted the truth to himself and now openly seeks help. His trans lover, Zaire (seen in a previous post) has become a great support to him. Even though it may seem odd to use the pose of a god of wine for a character that is trying to overcome an alcohol issue, I still feel like the vibe of Bacchus or Dionysus fits Olli well. He is not only a god of wine, but also of pleasure in general, a concept Olli embraces. Wild joy, perhaps to the point of becoming a little feral, abandoning tradition for personal fulfillment. It is unusual for goblins to embrace a binary gender, even partially. Gendered pronouns do not exist in their tongue, only being used in cases where common speech needs to be used to refer to certain significant figures, such as a leader. It is also unusual for a goblin to take a lover outside their species, since most goblins live in fairly isolated places and all mate together seasonally, depositing their eggs in a communal nursery pool. Olli stands out on purpose.

Lastly, Sajak, an amphibious person with some fish-like features such as their finned ears and a barely visible dorsal fin. They are holding the genderqueer flag as they stand in a commanding pose, one foot on a rock, one arm held out as if pointing to something below them. This pose is taken from the central Poseidon statue in the fountain of Trevi. Their head, arms, and torso are covered in dark tattoos in abstract designs, and they also have a few natural dark stripes along their arms and legs. The obvious connection between Sajak and this statue of Poseidon is that Sajak is a fish person and Poseidon is an ocean god. If I could have thought of a more medical figure, I may have made a different choice in the art reference. Sajak is primarily a doctor, a healer. They are fairly well known and they were an important figure on their home island, though they did leave eventually. Even so, there is a certain vibe to Sajak that suits the image of a powerful and unpredictable oceanic god. They are steady, intelligent, and careful, but they can become fierce when their loved ones are under threat, and the intense focus they show in their work as a doctor can be intimidating to see. There is a feeling of hidden power within Sajak, just as there is in the ocean when it seems calm. Fish folk, whether bipedal and amphibious or fully aquatic, also fit under my category of "non-mammalian people who are just kind of genderqueer by default due to their biology not fitting into a binary".

Another thing I would like to speak about this is my opinion I don’t want to talk over other trans people or the community I’m not speaking for the community as a whole this is just my personal opinion and I would like to state that I respect you and please respect my opinion and the opinions of others. Thank you. Here are some topics brought up that I’ve seen and I want to jsut state and voice my opinion if I offend you in any ways your are free to scroll. I value your opinions your thoughts but please be mindful and respectful of others.

THIS IS HELLA LONG BTW SORRY IN ADVANCE

(But please read the whole thing you don’t have to if you don’t want to)

1. "The vast majority of the individuals who have been examining this are cis, which is an issue first thing"

It truly isn't, there is no issue with this. There's nothing amiss with cishets imparting their insight, since anyone can have an assessment on anything. I see what your saying in some cases the don’t but as you saw on my other post they do in some events and cases the have a freedom to voice there opinions though.

2. I still can't seem to see a 'genderbent' rendition of a male character who needed bosoms and a dfab body. This is the first and most clear motivation behind why 'genderbending' is innately transphobic - it accepts that actual characteristics and sex are something very similar, and that you can't be female without additionally being dfab. (I will say AFAB)

Indeed, more often than not genderbent characters are not given characteristics and such generalizations. In any case, what's the issue with that? There's no issue playing into generalizations. You presently can't seem to see a genderbent adaptation of a male character who needed bosoms and is AFAB. That is narrative, and individual stories can't be acknowledged as obvious proof. Regarding why, the banner appears to introduce their conviction of actuality, when it clearly isn't. There's a lot of male genderbend characters (genderbent to be female) who do need bosoms, yet for what reason would it be advisable for it to significantly matter? Generalizations or not, there ought to be no issue here.

"It expects that actual attributes and sex are something very similar, and that you can't be female without likewise being AFAB." This is indeed another supposition, not a reality. Actual characteristics in sexual orientation are not something very similar, but rather it plays into the reality and generalization that actual attributes in sex jobs/sex generalizations are something very similar, to which they (as a rule) can be. You can be female without likewise being afab, and (expressed by and by) there are numerous characters out there that are trans and were being genderbent (tragically, however we shouldn't actually genderbend trans characters since it eradicates their sexual orientation except if when they're genderbent they're as yet trans, the exact inverse way.) and you could discover numerous trans characters being genderbent or such in games, manga, and media by and large.

3. "This is cissexism, and this is transphobic. The message that 'genderbending' says is that you should have bosoms and a v/gina to be female, and you should have a penis and a level chest to be male. I ought not need to clarify why that message is transphobic."

This isn't cissexism. The genuine meaning of cissexism: "Cis-sex-ism. Noun. Prejudice or discrimination against transgender people.” Stop twisting word’s definitions to fit your appeal and opinion. Stop believing threads such as this when they can’t even use the original definition properly. Genderbending is as simple as twisting someone’s gender so they fit into the stereotype. (a majority of the time, at least.) Biological genitalia are biological genitalia. Gender is defined by your brain, but we obviously cannot show that fact if there was a genderbend, because humans brains quite obviously do not show outside of the skull.

4. “The way 'genderbends' are completed likewise has unmistakably transphobic suggestions by they way it changes out the actual attributes of characters to make them 'the contrary sex' (The notion of there being ‘opposite genders’ is some fresh bullshit that I’ll cover later in this post) For instance, by giving a male character curves and breast’s while 'genderbending' him, the message is evident that this character was cis regardless."

This is being made way deeper than the notion actually is. Switching out physical traits to play into gender roles and gender stereotypes is not bullshit whatsoever. Giving a male character breasts and curves is as simple as what the action actually is. Genderbending, nothing more, nothing less. Nobody is actually reading into how detailed this is besides the original poster. But my issue is, what’s wrong with the message that the character is cis? Is there something wrong with cis people or there being cis characters? Trans people can still fit into these categories, and assuming trans people look different from cis people (whether in fiction or not) is transphobic, not characters fitting into the ‘cis’ category in your opinion. Once again, there is the assumption that the character was cis to begin with (unless the character has been stated on their wiki or in canon to be cis, to which most aren’t usually.

5. "'Genderbending' naturally infers that all characters are cisgender of course, and deletes any chance of these characters being trans. this isn't as plainly transphobic as the main point, yet it is hurtful to trans individuals inside being a fan spaces, as the presumption that all characters are cis until unequivocally expressed in any case pushes us out of media and eliminates whatever portrayal we may attempt to make for ourselves. "

Genderbending doesn't suggest anything, the first banner (and rebloggers) are indeed assuming. This obliges the hurried suspicion false notion, which is a coherent error that shows when a argument I’dbadly made. Genderbending doesn't suggest that all characters are cisgender as a matter, however it infers that the individual who composed this accepts so. There are cis looking trans individuals, and there are so to state, "trans looking" cis individuals. It doesn't eradicate any chance, in light of the fact that there can even now be trans individuals with genderbends, just as the way that there is trans genderbends out there. (despite the fact that it's avoided upon, obviously) It isn't unsafe to anybody at all, considering genderbends are quite often for no particular reason or investigation, there is no supposition that all characters are cis until expressed something else. (also, regardless of whether there is, the thing that's the mischief in that. there's no damage in having cis individuals not be expressed and trans individuals being expressed, on the grounds that cis individuals are the greater part.) It doesn't eliminate any portrayal at all, and I'd prefer to check whether operation really had any sources identifying with that, considering this has no sources at all and explicitly lies on striking allegations and suspicions.

6. "The third issue with 'genderbending' is that it is reliably cis male and cis female, and that is it. I have never seen people 'genderbend' characters by making them nonbinary or intersex. I have never seen a genderbend of a female character which made her a trans male in light of everything. 'Genderbending' proposes that there are only two choices concerning sex: cis male and cis female. There is nothing of the sort as nonbinary individuals inside this philosophy. Intersex individuals are bizarre, best case scenario. Agender individuals are minimal better than a far off fantasy."

Prior to anything: Agender doesn't exist. Non binary isn't actually viewed as a gender what I am saying is Non-binary is not technically considered a gender Non-binary (also spelled nonbinary) or genderqueer is a spectrum of gender identities that are not exclusively masculine or feminine‍—‌identities that are outside the gender binary and there is no “opposite” to genderbend a non-binary person there is no "inverse" to genderbend a non-paired individual. In the event that somebody endeavored to "genderbend" a non-binary individual to a male or female, individuals would get vexed regardless of what they wanted. There is indeed, nothing amiss with male and female genderbends. YOU (conversing with operation and the individuals who concur) continue expecting that they're cis, which is more transphobic than what you guarantee is transphobic. You can't "genderbend" a non-binary nor intersex character, or it would be designated "transphobic" or "eradicating their personality" to which it's definitely not. You could ensure that something contrary to non-parallel is intersex (since individuals who are intersex are hermaphrodites, brought into the world with both genetalia logically) however that would likewise recieve more disdain. It doesn't infer anything, and without fail, you expect that a character is cis. For all you know, they could be stealth trans, or openly trans but you never looked at their wiki; or they could not have their gender specified on the wiki or in canon. Agender does exist what I am saying is the gender your trying to portray or the norms when you look it up Some people's gender changes over time. People whose gender is not male or female use many different terms to describe themselves, with non-binary being one of the most common. Other terms include genderqueer, agender, bigender, and more this is. That is what I am saying in that area that people don’t identify as any gender as he/she or some are fluid. yes you could do “opposite” to genderbend a non-binary person. But if someone attempted to “genderbend” a non-binary person to a male or female, people would get upset despite it being what they wanted. But that would be transphobic and defeating the purpose of there identity as a whole. Sorry some of my Japanese was switched out and there are some words do not exist in English I apologize if anyone got offended. Yes you can genderbending a cis male/female to a non-binary individual but that wouldn’t be called genderbending would it?

7. “‘Genderbending’ ignores that it is impossible to make a character ‘the opposite gender’, because there is no such thing as an ‘opposite gender’. Gender is a spectrum, not a binary, but you wouldn’t know that from the way fandom spaces treat it.”

Gender is binary, however binary doesn't mean two. Gender is chosen in the brain. It IS difficult to make a character that is non-binary or intersex the contrary sex on the grounds that there is no opposite gender of non-binarynor intersex, at any rate in the event that you would prefer not to be called transphobic or more. You can make a cis individual a non-binary person but that wouldn’t be called genderbending?? The frigidity of genderbending is when a character's gender is changed. Usually in fanfictions or fanart. The name should be changed since it is heavily confusing since genderbending also means in other definitions gender bending is sometimes a form of social activism undertaken to destroy rigid gender roles and defy sex-role stereotypes, notably in cases where the gender-nonconforming person finds these roles oppressive.

8. “Of course, there are some reasons for ‘genderbending’ cis male characters into cis females that will always get brought up in discussions on the politics of ‘genderbending.’ The most frequent is that cis girls, who only see themselves as one-dimensional characters in media, want to have characters like them who are just as multifaceted and developed as the male characters that we are given, so they make their male faves female to give themselves the representation they desire. This is a decent reason for ‘genderbending’, but it does not excuse the fact that the way in which ‘genderbending’ is done is inherently transphobic, and it gives fans yet another excuse to ignore female characters in favor of focusing on their male faves.” This whole spot I shouldn’t even have to explain. This is once again being read into way too much, there is no ‘politics’ of genderbending. There is just genderbending, plain and simple. Cis girls can want to see stuff in genderbending, as can cis guys when they genderbend a female character male to see how they’d react and such. Genderbending has no politics, besides that it’s “transphobic” to some.

9. “Another reason for ‘genderbending’ that I’ve heard is ‘it’s for the sake of character exploration - like, what if this character had been born as male/female instead?’ This excuse is cissexist and transphobic from first blush. The idea behind it is that someone ‘born as female’, aka with breasts/vagina will automatically be a cis female, allowing fans to explore what that character’s life would have been like if they were female. Why not explore the possibility of a character being designated female at birth, but still identifying as male? Why do you need a character to be cis for you to find their personality and life interesting to explore? Why do you automatically reject the notion of your fave being trans? If you want to explore what it would have been like for your male fave to have struggled with sexism, consider them being a trans woman, or a closeted afab trans person.”

Yes, character exploration. It’s not cissexist nor transphobic. Whether the character was genderbent cis or trans, it’s not about their genetalia to ‘explore’ the character, but that’s just what you thought it was. Character exploration in this case as in “How will people treat them differently due to possible sexist/misogynist laws and/or character behavior that’s normally in males inside a female, or vice versa? How would people and the law treat this female character who’s shy, if she was a male? How would people and the law treat this male character who’s obnoxious and loud and determined, if he was a female?” Not “How different will this character’s life be because they have a penis or v/g?” You reducing character exploration down to genitalia is blatantly transphobic more so than you think, as well as just downright rude.

10. ‘Genderbending’ does harm trans people. It perpetuates dangerous cissexist notions and the idea of a gender binary being a valid construct, erases nonbinary and intersex people, and others trans people. These are what we call microaggressions - they are not as dangerous as outright harassment and assault, but they enforce and support a system and ideology in which we are other, and we are worthy of hate and violence because we do not fit in.

Genderbending does not harm all trans people inherently i am talking to a group of people which is moderately huge but I am not speaking for all of the community whatsoever, considering trans people also like to genderbend characters. It plays into stereotypes and you thinking gender is a spectrum is more harmful that getting upset that someone thinking “How would people treat this character if he/she was the opposite gender?”. It does not erase non-binary nor intersex people, because you could throw them in if you really wanted to, but you’d also be the person who would call that act transphobic or ‘erasing their identity’. This is not a microaggression whatsoever, but rather a personal grudge based on assumptions you think are true, and treating your opinion as fact. That is all.

I don’t see or think why genderbending as a whole is transphobic the name should be changed though but genderbending as a whole is not bad sure they’re are issues but It is not transphobic.

“In February 1924, Illustreret Fagblad for danske Damefrisorer, one of the leading trade journals for Danish women's hairdressers, reported that short haircuts for women were becoming increasingly common throughout most of Europe. Although the trend had not yet reached Denmark, it was likely to do so, the journal predicted, since "we have seen within the last couple of months the first signs of .. . shorn hair here in Copenhagen." The prediction proved correct. In July 1925, Ugens Spejl, another trade journal, reported that the new fashion was spreading "like fire in old houses." That same year, the president of the Ladies' Hairdressers Association estimated that 25 percent of Copenhagen's female population had their hair cut short.

The following year, one Copenhagen barber claimed that no less than 75 percent of women under the age of 30 had adopted the new styles, leading the editor of yet another trade journal, Danmarks Barber-og Frisortidende to conclude that "there is something almost epidemically contagious about the advancing shingling. Each and everyone who lets her locks fall for the scissors immediately draws four or five others with her." Although contemporaries may have exaggerated the numbers, contemporary street photography and surviving photo albums suggest that a significant number of young women did in fact dispose of their long hair in the second half of the 1920s. 

It is also telling that no fewer than 48 of the 59 women interviewed for this project recalled having their hair cut short before 1930. As Anne Bruun explained many years later, "That was just what you did. If you were young and wanted to be in style, that was definitely the look. Anybody who wanted to be up-to-date did that." Helene Berg agreed. "Short hair made you look chic, made you look modern," she claimed. Besides, as Louise Ege pointed out, short hair "kind of fit with the other things that were fashionable. Short dresses and all that." But despite their enthusiasm for the new hairstyles, actually acquiring one of the fashionable bobs was not always easy. While the number of beauty salons had been growing since the turn of the century, women's hairdressers generally shied away from providing their female customers with the short haircuts they desired.

For decades women's hairdressers had worked hard to create a respectable female profession by promoting themselves as specialists in hygiene and conventional feminine beauty, an accomplishment they were not willing to sacrifice by embracing the controversial new styles. Moreover, since most hairdressers were only used to working with combs, brushes, and curlers, few were actually competent to cut hair. As a result, many women had to enter male barbershops to have their hair cut, a step many took with considerable trepidation. The difficulties of finding a stylist both willing and able to cut a woman's hair was not the only obstacle to a fashionable appearance. Many fathers and husbands explicitly prohibited the new styles. Others let their disapproval be known more indirectly.

As Magda Gammelgaard Jensen recalled, "I really wanted to get my hair [cut] short, but I didn't know how to go about it. It wasn't so easy when there was a man around." According to Mr. H. M. Christensen, the president of the Danish Grooming, Toilet and Sanitary Workers' Union, many women therefore chose to "have their hair cut at a time when their husbands and fathers [were] not at home." Outside the private sphere, other forces also strove to contain "that unfortunate tendency among young ladies to shear their hair." Some workplaces openly discriminated against women who adhered to the new fashion. Several prominent department stores did not hire women who sported the new hairstyles. Others fired employees after a visit to the hairdresser. 

In 1924, the personnel director at Crome & Goldschmidt, one of the leading clothing stores in Copenhagen, flatly declared that he "would absolutely not engage or employ any young woman with bobbed hair." Other businesses had similar policies. The president of Salomon David Jr. Inc., Inger Diemer, explained that she had "banned bobbed hair." "I demand," she continued, "that the women who work with us, sign [a contract] that they will not wear short hair. In my mind, that is not proper in an old, highly esteemed firm." The director of Bispebjerg Hospital, Charlotte Munck, also banned short hair for all nurses under her supervision.

Even women in less publicly visible occupations faced ostracism if they chose to adopt the modern styles. Inger Mangart, for example, who worked as a part-time cleaning assistant in a private home in the late 1920s, recalled being dismissed the first day she arrived with short hair. The press was equally adamant in its stance against the new styles. To discourage young women from following fashion, newspapers and popular magazines delighted in sensationalist stories about domestic turmoil caused by short hair. Divorces, physical abuse, family disintegration, and even murders were described as tragic, but predictable, outcomes of women's changed appearances.

Assuming, however, that young women were more likely to follow fashion prescription than sensible guidance, journalists and other commentators figured that the most efficient way to combat the modern styles was simply to declare them unfashionable. "Bobbed hair is no longer in style," one beauty advice columnist thus warned as early as 1922, several years before the new styles hit Denmark. "We hardly have to repeat that bobbed hair has already received the death sentence abroad," another fashion expert claimed that same year. "There is no doubt that this fad, the short hair, is coming to an end," Ugebladet asserted a couple of years later, and in 1925, B.T. was pleased to report that "all countries now agree that the fashion of short hair is finally on the retreat."

Yet despite these elaborate efforts to suppress the new haircuts, women's enthusiasm did not wane. Many critics therefore felt compelled to explain the dangers of the new styles in the hope that young women would be swayed by their arguments. Some journalists and beauty advice columnists sought to discourage young women from having their hair cut through use of the kind of racist imagery that permeated early twentieth century European culture. By labeling the new styles "Hottentot hair" or "Apache cuts," they strove to impress upon young women the incompatibility of short hair with refined Western womanhood. "Surely, no young lady wants to look like a monkey," one reporter thus argued, apparently hoping that young women would recognize the similarity between women's short hair and animal fur. 

Other observers claimed that short hair simply made women look ugly and unattractive. Cutting one's hair was therefore inevitably at the risk of losing "the man's admiration and desire." Although some men admitted that a short-haired woman might serve "as a drinking buddy," those who participated in the public debate all insisted that the new styles did not mix with marriage and motherhood, implying that short-haired women could expect to live out their lives as spinsters and old maids— an argument that presumably would dissuade any young woman from such reckless behavior. While most female critics tended to focus on the aesthetic aspects of the new styles, it was quite different considerations that fueled much of the vehement male opposition. 

Like many other people in the early twentieth century, these commentators believed there was a direct correlation between external appearance and internal self. When a woman cut her hair, she was not only defying conventional standards of femininity but was also prone to develop some of those mental traits that usually characterized people with short hair—namely, men. As Ludvig Brandt-Meller, a male hairdresser who opposed the new styles, explained, "Short hair tends to emancipate the woman. It is as if it affects her psychologically." Others found that short-haired women became "like men in character and gestures," insisting that "that 99 out of 100 women with short hair have simultaneously acquired boyish or mannish manners."'

A few alarmists saw even greater dangers ahead. The very act of cutting a woman's hair, they argued, would eventually alter a woman's biological constitution and turn her into a man. Believing that the mass of hair on a human body was constant, some argued that short hair would necessarily cause women to grow beards. Others predicted the advent of female baldness. "The evidence is right there, since 60 percent of all men over forty [who presumably had cut their hair since childhood] are bald, while less than 0.1 percent of all women [who had never previously cut their hair] suffer from this weakness," another critic of the new styles explained. 

While men had tended to object to short dresses because they rendered women too attractive, their reactions to short hair were therefore quite different. According to male critics, short hair "emancipated" women and made then unwomanly, even masculine, and not attractive enough, a violation of gender norms that seemed to them much graver and ultimately more unpleasant than women being overly sexy and seductive. Even those who did not necessarily believe that short hair would actually turn women into men found this quite disturbing because, as one correspondent wrote to the editor of the newspaper B.T. in 1925, "If there is something we men cannot stand, it is precisely women void of femininity. "

Young women's seeming disregard of men's opinions about the new styles only made matters worse. Apparently, young women were no longer pursuing physical beauty and style for the purposes of male pleasure and admiration. How, then, were men to understand women's enthusiasm for short hair as anything but a sign that women cared less about male approval than about their own "emancipation"? Some even feared that the popularity of the new styles might indicate an explicit sexual and emotional detachment from men. In comparison with those who defended short dresses when they first appeared, supporters of the new hairstyles were therefore faced with a much more difficult task. 

The opposition to women's short hair was much fiercer than the opposition to short dresses had ever been, as short hair connoted emancipation, female defiance, and rebellion against men's judgment in a way that short skirts never had. During this entire controversy, the voices of women who cut their hair were rarely heard in public. Under heavy fire, most young women seemingly preferred to avoid the discursive battles that raged around them. On the few occasions that any of these women did speak up, they generally adopted a very cautious stance, seeking to diffuse the opposition by reassuring critics of their whole-hearted commitment to femininity and respectable womanhood. 

In 1925, one young woman who described herself as "old-fashioned" despite her short hair thus sought to counter criticisms of the new styles by denying that there was any link between appearance and identity. "Why in the world should a young girl not be equally feminine and good whether she has bobbed hair or long hair?," she wondered. "It does, after all, not change the nature of the young girl to have her hair cut off." More often, young women simply tried to skirt criticisms by emphasizing the very pragmatic concerns that allegedly had led them to the barbershop. "Much can be said both for and against the bobbed hair, but the fact that it is a practical way of wearing one's hair, nobody can deny," one woman argued.

Nonetheless, the relative silence on the part of the women who wore the new hairstyles did not mean that no voices were raised in their defense. Complicating the picture of vocal male opponents and a largely silent group of female supporters, the chief public advocates of short hair for women in the 1920s were in fact male barbers. Not that barbers were a particularly fashion-conscious bunch or especially committed to young women's right to determine their own appearance. These men simply saw the new styles as a means to propel their profession out of the crisis in which it had lingered for decades. 

The rise of the medical and dental professions had dealt the first blow to the former surgeon-barbers, eliminating what had been the most profitable areas of their occupation. Later, when men began to shave themselves rather than frequenting the barber twice or three times weekly, the financial base of most barbershops had been further undercut, and scattered attempts at cultivating new areas of business expertise such as facial massage and manicure had contributed only little to their economy. 

In this context, the fashionable new styles for women seemed a god-send for barbers eager to cultivate both a new clientele and new sources of income, and since women's hairdressers generally opposed the short hairstyles and most often refused to cut women's hair, barbers were left with the uncontested responsibility for providing young women with the look they desired. Of course, barbers were not oblivious to the offense women's short hair provoked or the wrath they might incur by accommodating female customers. 

It was therefore in their own best interest to counter the opposition, and toward that end they adopted the same strategy that fashion advocates had successfully used a few years earlier, namely, to attempt to disassociate short hair from any kind of subversive intentions on the part of women. Short hair, they insisted, had nothing to do with defiance of feminine conventions or even modern fashions. It was a style adopted for reasons of comfort, ease, and practicality only. "It is not the senseless mimicking of fashion follies that has led women to allow their hair to be cut off," one barber thus insisted in 1926. "Rather, it is the natural development in all social strata that has forced the women to choose a practical hairstyle."

To give credibility to this claim, barbers traced the origins of women's short hair not to feminist rebels or decadent fashions, but to that highly respectable, self-sacrificing female heroine, Florence Nightingale. "When a war begins," one writer explained, "masses of younger and older women who wish to be nurses in the army immediately sign up. The healthiest among them are selected, and the first step on the road to their new vocation is to cut their hair as short as men's, first, because the daily care takes too long time, and secondly, because a nurse cannot run around with a zoo of carnivores [sicl] in her long hair." Upon their return, the reasoning continued, admirers adopted similar hair styles. 

Although there was little historical evidence to support such an explanation—after all, Florence Nightingale's reputation had been established during the Crimean War almost three quarters of a century earlier, and few women had followed her example in the intervening years —this argument had several advantages. First, it disassociated short hair from any kind of female defiance. Second, it sought to ground the popularity of the new hairstyles in admirable, patriotic concerns. And third, it tied short hair to notions of health and hygiene. From the mid-1920s, particularly the latter, combined with arguments about the practical requirements of the labor market, formed the core in the defense of women's short hair. 

In addition, barbers also sought to address anxieties over the seeming dissipation of gender differences by calling attention to the cultural and historical versatility of hair styles. In an article entitled "Masculine Girl Hair and Feminine Boy Hair," the author set out to prove that "women have not been 'the long-haired sex' for as long as we believe." A sampling of Greek, Roman, and Persian traditions led him to conclude that "long hair appears just as frequently on men as on women when one examines history, which is why hair has nothing whatsoever to do with sexual character." 

Just as long hair did not make men less masculine, short hair would not eradicate women's femininity. In fact, some argued, it held the potential of actually heightening it by drawing attention to women's fine facial features. "The shape of the face, the beauty of the skin, as well as the soft lines of the neck" were accentuated by short hair, one barber wrote, poetically comparing a woman's face to a "painting [that] is also seen more clearly in a simple frame." In the case of modern dresses, fashion advocates had gradually managed to convince most critics of their compatibility with conventional womanhood. Short hair fared differently. 

Short, simple haircuts for women never gained acceptance in the 1920s, at least not among the men and women who publicly expressed their opinions. The controversy over women's hair only died down at the end of the decade, when a new, modified style of short hair became popular. Ironically, this new short style, which eventually appeased critics, emerged from the beauty salon run by women's hairdressers. Having been entirely unsuccessful in their attempts to coax women into preserving their long hair and eager to regain some of the professional territory lost to barbers, women's hairdressers found themselves forced to dispense with their rejection of the short fashions. 

Still unwilling, however, to embrace the bobbed look, they devised a new strategy. Arguing that short hair unfortunately had been "carried to extremes... by the less cultivated segments of the female population" and was sported by "each and every factory and shop-girl," (middle-class) women were offered a chance to distinguish themselves as "finer ladies" through "feminine and graceful styles with curls and waves" while they were waiting for their hair to grow out again. By fashioning themselves as aides to women concerned with the reestablishment of their femininity and by presenting their care for short hair as a form of damage control, hairdressers were able to legitimize their growing interest in women's new hairstyles. 

With relatively few ideological scruples they were therefore able to plunge into this profitable market during the last years of the 1920s, gradually recapturing the patronage of most women. However, that women left the barbershop and (re)turned to the beauty salon did not indicate that long hair was regaining its popularity. Fashionable hairstyles for women remained short for the rest of the decade. What did change was the way short hair actually looked. Female hairdressers, one fashion columnist noted with applause, did "everything to give the short style a more feminine air than earlier." 

Permanent waves and curls, artificial hair pieces, decorative combs, ribbons, and barrettes all contributed to this goal. This new, feminized version of short hair quickly gained popularity among women interested in variation and possibly weary of public hostility. Within just a few years the original simple, straight styles had virtually been abandoned. Customers, one hairdresser noted with pleasure in 1927, now wanted "to become more feminine, not with completely long hair, but with longer short hair, enough to be curly in the back and around the face .. . so that the repulsive boyish head becomes beautified and more feminine."

Thus, after a brief but troubling intermission where women's adoption of short hair seemed to be blurring gender differences, new curlier versions of bobbed hair marked the reestablishment of gender distinctions in fashionable self-presentation. Even though women continued to cut their hair, the clear stylistic differences between short hair for men and short hair for women soothed critics, and gradually their opposition faded. With their confidence in the stability of sexual difference restored, some of the harshest opponents were even able to admit a few years later that they actually found short hair quite charming and attractive—if not on their wives, then at least on their daughters.”

- Birgitte Soland, “The Emergence of the Modern Look.” in Becoming Modern: Young Women and the Reconstruction of Womanhood in the 1920s

Welcome to the Castelli Legacy! 

This is my random Sims legacy challenge which will be (hopefully) running for 10 generations. I’ll be following the whims and autonomy of my sims as much as possible, and using randomized rolls to create my sims and generate random gameplay events. To start with, here’s my founder: Leone Castelli! (randomized using my generators here and here)

Leone Castelli

Appearance: Tan skin, medium brown hair, hazel eyes, fit build, blue colour scheme, and a scar above their eyebrow. 

Traits: Neat, foodie, loner (...for now)

Gender: Genderqueer & AFAB (mostly uses they/them pronouns, but is fine with close friends and partners using he/him pronouns)

Sexuality: Pansexual and polyamorous (attracted to all genders and wants to form committed romantic relationships with multiple people)

Aspiration: Part-time student (wants to maintain their grades whilst working a part-time or full-time job)

Job: Career hopper. Will be switching between three full-time careers - a mixologist, conservationist, and doctor - and two unconventional freelance careers - an alchemist (producing potions) and a fizzer (producing fizzy drinks).

Hobby: Video games (must spend at least 3 hours per week on activities relating to the video gaming skill)

Legacy Type

I’ll be rerolling these every generation (using my generator here) because I think it makes sense for each heir to have their own criteria for who they want to be the next heir (plus it shakes things up a bit, which is the whole point of me doing a random legacy challenge).

Strict Equality - The next heir must be a different gender to Leone (either a woman, woman-aligned or feminine-of-center).

Foster - Only adopted children are eligible to be heirs unless there are no adopted children, at which point naturally born children become eligible.

Tolerant - The species of a child doesn’t affect their eligibility as heir.

Living Will - The eligible child with the highest friendly relationship score with the Leone will be named heir.

Throuple With Help - Leone must have two romantic live-in partners and a non-romantic helper sim living in their house.

Three children - Leone must have a total of 3 children.

Also here are some additional facts about Leone Castelli under the cut, for anyone who’s interested.

Leone describes themself as masculine-of-center. They previously identified as a butch lesbian before coming out as genderqueer and realising they’re pansexual. They still feel an affinity to the lesbian community though, and they often have a lot of lesbian friends.

They had top surgery about four years ago and are super pleased with the results, but they don’t intent to start taking testosterone.

Leone had to have a hysterectomy due to medical issues, so they’re unable to have biological children. They aren’t too upset about this as they had always planned to adopt children anyway. 

Leone left school early at 15 to be a full-time carer for their terminally ill mother, who sadly died when Leone was 20. Leone misses her a lot.

Their father passed away a few months ago after struggling for years with depression and alcoholism. Leone feels ambivalent about this because their father was emotionally distant and an all-round awful guy, but they also feel guilty about moving out whilst seeing him spiral downwards after their mother’s death.

Leone’s maternal grandparents were originally from Veronaville and moved to Windenburg when Leone’s mother was a toddler. Leone’s father is also from Veronaville, but moved to Windenburg as an adult.

Leone has been homeless and living in their van for a couple of years now. They’ve managed to scrape enough money together to buy some land and they’re excited to finally create a place of their own.

They’ve had a series of different low-paid jobs but have never actually enjoyed the work they’ve done. They want to get back into education and do a biology degree, but have to save up before they can afford that. 

Leone enjoys both cooking for themself (even though they’re not that good at it) and eating out at restaurants, particularly diners.

Leone isn't really shy, but is naturally introverted and only enjoys being around people for a short while. This and their tough appearance makes people think Leone is cold and emotionally distant, but they can be very loyal and dedicated to their friends.

Leone loves doing housework and organising things. This goes back to when they were a carer for their ill mother, when doing the household chores was one of the only things that gave them a sense of control and achievement in their life.

Meet the Muse | Eve Gabriel

**partial credit to @miami-blanke -we made this OC together

Name: Eve Gabriel

Age: Unknown

Height: 6'2

Birthplace: Salt Lake City, Utah///Banished to Atlanta, Georgia

Birthday: June 24th

Zodiac: Cancer

Sexuality: Open to whoever

Top/bottom/switch: General switch with anyone-dom leaning w/ men(or masculine muses), sub leaning w/ women(or feminine muses)

FC: Samuel Larsen

Likes/Interests/Hobbies: Night scenery, punk music(but secretly loves classical), anything beauty related, being alone most of the time, long in depth conversations, anything black or red, old books, old paintings, dark academia, vintage aesthetic, Polaroids

Dislikes: Rudeness, cockiness, being yelled at, being talked down to, people who don't accept them, early mornings, bright lights, loud noises, strong smells, uncleanliness, people who are passive aggressive

Family History: Eve was born into a highly Christian, very wealthy, and highly Mormon family where their parents were both doctors. They have many, many siblings, all of who they never really knew. A few months after Eve was born, both of their parents were in a fatal car accident that resulted in their death. Eve was sent to an orphanage, but their stay there didn't last long. Not even a couple hours later, God came down and brought them back to an orphanage in the heavens, where they stayed until the age of about 11. The rest of the siblings however, Eve never met most of them. They remember a very foggy memory of one, who was sent away not long after

Description: Eve spent most of their time staying inside the orphanage, not wanting to socialize much and was quite lost. When Eve questioned where they were and why, God told them that they had a gift. They were born an angel, one that was meant to protect others from harm. Being born into a rich and well known family, God saw their newest child as a very special one. He saw Eve as a protector, one that would never get caught up in any harmful situation. Little did God know, that would end up being a little more twisted in Eve's mind than he thought. The Tree of Knowledge still existed, lived, and was something Eve was sent to first protect. God knew that Eve didn't know their name, and wanted to almost redeem the story of Genesis. Giving Eve a new last name was also part of God's plan, knowing that Eve didn't have much family at all. Gabriel came about because of that reason, wanting Eve to make families for others even if they couldn't have one of their own. They became the "Seer of Fertility," where they could tell families what the fate was of their unborn child would be, and what that looked like for the rest of them. Protecting The Tree of Life was a simple task, watching over the tree and paying attention to the serpent that still roamed. God told Eve to never listen to the serpent, and told them about the original story of Adam and Eve; one that was meant to caution them. But Eve was so desperate to know the answers, why they were alone, why they were ripped from family, and what was their true purpose living up in Heaven. Eventually, they became frustrated and the unanswered questions became too much to bear. Being the protector of The Tree of Life and knowing the true story behind it, it was a two way battle for them. Without being persuaded by the serpent, Eve ate from the tree anyway; something God worried about. They could've asked God themselves, but they were told that too much knowledge was power and could do more harm than anything else. But they were desperate, they needed to know. Eve, now 11 years old, was facing the harsh reality against God's word. God cursed the forever dull pain of carrying wings, one that made even emerging them uncomfortable. Eve got used to this pain eventually, and accepted it. However, God wasn't finished. Eve was pushed from Heaven and was told to never return. Eve was sent down into the criminal crowd on purpose, something they didn't know or discovered. God hoped it would teach them respect, loyalty to what really means something to you, empathy, and what it means to take accountability. Eve felt betrayed and sickened, knowing that all they wanted was answers. It hurt deep down inside of them, leaving them asking more questions about how could God not love his children, and why he would punish them for wanting answers to their past. Eve was alone for a couple weeks, wandering the streets in search for something to live for. The pain of carrying wings, even if they weren't there, was made a rather normal feeling due to how much they would simply fly around for hours on end. They had nothing, and didn't even know where they were banished to. That is until one day, a group of criminals took him in. They were not the kind to rob local shops or murder for fun, but rather a group who wanted to kill off people who did more harm than good. Being raised by criminals confused the idea of a God born child in their mind, unsure of what their purpose really was now. They were taught the ways of criminal life, how to spot people who were the real bad guys, and how to use their abilities to their advantage. They adjusted to this new life and saw it as a new family, new home they could come to, and rebuilding trust with the mortal world that they weren't able to obtain at a young age. However, growing into a teenager was not a pleasant experience for Eve. In fact, it was a very horrid one. They knew something was wrong, and was scared to talk about it to the new family. They wanted to wear makeup and dresses while still maintaining that masculine appearance. They wanted to wear nail polish, lipstick, foundation, all while still dressing up as a male. They even noticed changes in who they had interest in, finding people of all genders and sexualities as something they were attracted to. One day, they opened up about this, expecting to be kicked out or be the one who was considered the bad one. Instead, it only made things stronger between Eve and the group. They accepted them, not wanting them to feel like they were trapped and betrayed again. They were able to express themselves under the protection of the group, where they made sure Eve was safe. All this time, Eve didn't think about where they were or paid any attention to detail. It was all about what the group and building a family. They asked one day, being told that they were in Atlanta, Georgia. Eve was okay with this, especially since they have now lived here for so long. God watched it all unfold, and knew that Eve would never return back to the Heavens. Though this was something Eve never knew about, God basically wanted to test them and see if the plan worked. Instead, God was left with his questions answered. As Eve got older, they were introduced into the drug scene. They looked at it as a sense of protecting others, giving them at least a little income, and having a job of sorts. Eve is a person of color, which many people in Georgia are also. They understood the low income to their families, the struggle to get jobs, to keep jobs, and to stay off the streets. So selling drugs was the one way they saw as helping those people earn a little more money and keep people "working." In Eve's mind, killing off true bad people and selling drugs was a way of protecting others; something he was born to do. It's a little backwards in their mind, even if in some ways it does serve as a good thing. Eventually, Eve started working in safe injection sites as a further reason to protect the community. They were trained by many medical professionals, and due to their religious upbringing and great sense of care for people, they were made a nurse practitioner after many years of working under their supervision. Still to this day, that has been their job and they have no plans on leaving anytime soon. Also to this day, Eve is still very close to the group and has even convinced them to work alongside them. At this point, Eve no longer lives with them, but is only a few houses down incase of emergencies. However, Eve does still resent God and what he did, and they carry that pain with them on a day to day basis

Abilities: 

Healer

Great strength

Speed

Durability

Stamina

Invisibility

Energy manipulation

Telekinesis

Telepathy

Teleportation

Lie detection

Conversion

Shape shifting

Resurrection

Protective charm (protecting another person from harm)

Smiting(kill someone by touch)

Biokinesis(change someones biological makeup)

Holy white light (blasts of energy from their palms)

Memory manipulation

Pyrokinesis (manipulate/create fire)

Electrokinesis(create electricity)

Reality warping

Sedation

Hypnotism

Vessel locking(trapping someone through smoke/light)

Conjuration(make things or remove them from nothing)

Personality traits: 

They're very loving and sweet, though it takes them a while to get there

They're very protective and care easily

Very sarcastic and playful, even too much so

Sometimes doesn't know boundaries, but that's only if they like someone

They're quite witty and hard headed

They can be very stubborn

They have a tendency to close off and distance themselves

They have a short temper from time to time

They can get quite sensitive

They don't like going into their past or talking about what they've done, though they can get carried away and end up talking about it anyway

They get defensive rather quickly

They're very blunt and have no problem telling people how it is

They come off as intimidating at times, though they're actually quite sweet

They're actually very smart and intelligent

They're respecting of other peoples viewpoints, so long as the other person isn't an asshole about it

They don't like being touched often unless it's by someone they like/have interests in

They're quite confident and a little cocky at times

They like attention from small crowds, not big ones

They can be a little selfish from time to time

They can be quite the flirt

They can be insecure at times, mostly when they really think about the choices they've made

Additional information/miscellaneous facts: 

Even though they sell drugs, they actually don't do them often. In the very beginning yes, but as years went by it's more about protecting people than the high

They haven't been with many people, mostly because they were focused on other things

They've gotten into a couple fights over drug deals before

They don't like the idea of the path they've taken, but isn't sure how to change it

They're not proud of selling drugs either

They have quite a few scars over their body

They don't wear makeup and such as much anymore, at least not publicly-in private, yes. But going back to being a little restricted, they'd rather keep it more secret again

As a teen, they resented most forms of authority-kind of an anarchist but not fully

As an adult, they respect authority more. However, they do see the misunderstanding of some cases and the advantages some authorities have on others

They've broken their knuckles many...many times

Their wings make them feel a little more feminine in a way, so they're always glad to show them off when given the chance

Their wings don't hurt all that much anymore, but if they stay out for long periods of time it does become uncomfortable

Being an angel isn't a secret for them, they've actually embraced it through the years

Though they don't like the whole idea of being a Christian most of the time, they still wear a cross or have a rosary as a symbol of taking back their past

General tags: 

🕯our waking life's just a living dream | aesthetic

🕯look into the spanish moss let your mind conjure up old ghosts | home

🕯the life you've always wanted could be yours | desires

🕯even if your love was unconditional it still wouldn't be enough to save me | nurse practitioner

🕯what god doesn't give to you you've got to go and get for yourself | musings

🕯i've got no judgement for you come on and ache with me | roleplay

🕯you want me to surrender my identity | self

Ship tag: 

🕯i see your face when i close my eyes | lovers

(New)Other (side)blogs:

Zeus: @xking-of-the-godsx

Hera: @xqueen-of-the-godsx

Alessandra Galanis: @xi-dont-know-what-i-amx

Jaysen Gerasimos: @xking-of-the-overcloudsx

Griffin Saffi: @xthe-fortune-tellerx

**Rules/notes from the mun apply just as they do on @xking-of-the-cloudsx

**NOTE: This OC is not meant to bash religion, POC, and to glorify the drug scene. It's meant to explain the story of a Christan raised child gone a bit off, and understanding the harsh reality POC go through at times(Mun of @xking-of-the-cloudsx is a POC, has experienced religious differences, and grew up with cousins who were also forced into the drug/crime scene. It's not my intention to offend people with Eve's story, but rather explain the not so wonderful side of a child growing up in a world with somewhat switched morals and unacceptance through opposing beliefs)

LFRP   Swath Lodestone - Mateus

The Basics ––– – Mateus, Crystal 

Age: 42

Birthday: [unsure of exact day]

Race: Keeper of the Moon, Miqote (With Raen in him)

Gender: Male

Sexuality: Bisexual / Demisexual

Marital Status: In a poly relationship with Jacques and P’shali

Alignment: Chaotic Neutral

Physical Appearance ––– –

Hair: White/Grey highlights 

Eyes: One is gold, the other is white and scared.

Height: 5′10

Build: Lithe / lean muscle

Distinguishing Features: Dark blue/grey skin, scared up right eye, two different color eyes - his left gold and his right white, his skin is littered with various scars and crystals. He has scales on his hips from his Au Ra heritage. 

Common Accessories: Always has a eye covered.

Personal ––– –

Profession: Wanderer / Healer / At one point Priest

Hobbies: Resting, crafting, spending time with his significant others, communing with the goddess in his body Sophia

Languages: Common, Mercaydian

Residence: Wherever ‘Shali / Jac is.

Birthplace: The mountains of Garlemald - a unnamed village of Mercaydian. (Although he was truly born on the road) 

Religion: Swath worships the goddess of Balance Sophia

Fears: Sophia being forcibly taken from him. His enemies hurting his loved ones. People bothering him about his habits. Being asked about anything Miqote because he knows nothing about his peoples culture.

Relationships ––– -

Spouse: ‘Shali and Jac

Children: None

Parents: Biological Parents - Deceased, Adoptive Father - Deceased

Siblings: None

Traits ––– -

Physical Traits: Female ⦾⦾⦾ ⦿ ⦾ Male Scrawny ⦾⦾ ⦿ ⦾⦾ Bulky Short ⦾⦾⦾ ⦿ ⦾ Tall Weak ⦾⦾⦾⦾⦿ Strong Clumsy ⦾⦾ ⦿ ⦾⦾ Agile Slow ⦾⦾⦾⦿⦾ Fast

Personality Traits: Lawful ⦾⦾⦾ ⦿ ⦾ Chaotic Good ⦾ ⦿ ⦾⦾⦾ Evil Feminine ⦾⦾ ⦿ ⦾⦾ Masculine Chaste ⦾⦾⦿⦾⦾ Lustful Heterosexual ⦾⦾⦿⦾⦾ Homosexual Romantic ⦿⦾⦾⦾⦾ Aromantic Oblivious ⦾⦾⦾ ⦿ ⦾   Perceptive Ignorant ⦾⦾⦾⦿⦾ Knowledgeable Pious ⦾⦾ ⦿ ⦾⦾ Worldly

Forgiving ⦿ ⦾⦾⦾⦾ Vengeful Honest ⦾⦿⦾⦾⦾ Deceitful Generous ⦾⦾⦿⦾⦾ Selfish Just ⦾⦾⦿⦾⦾ Arbitrary Temperate ⦾⦾⦿⦾⦾ Indulgent Merciful ⦾⦾⦿⦾⦾ Cruel

Introverted ⦾⦾⦿⦾⦾ Extroverted Kind ⦾⦾⦾ ⦿ ⦾ Stern Modest ⦾⦿⦾⦾⦾ Proud Pushover ⦾⦾⦾ ⦿ ⦾ Stubborn

Coward ⦾⦾⦾⦾⦿ Valorous Prudent ⦾⦾⦾⦿⦾ Reckless Opportunistic ⦾⦾⦾⦾⦿ Loyal Optimistic ⦾ ⦿ ⦾⦾⦾ Pessimistic

Additional information ––– –

Smoking Habit: Yes, frequently. But he takes care not to smoke around people. Important note: The build up of Aether and the fact he houses Sophia in his body keep the smoking habit from actually harming him.  Drugs: No Alcohol: Yes also frequently. Although he likes to drink more than smoke. Same thing as his Smoking Habit, it takes a lot to affect him for any length of time. 

RP Hooks ––– –

Your OC a wanderer, and has been many places to research ways of healing and the movements of aether.

Your OC is one who absorbs Aether, and will get sick because of it. 

Your OC sells herbs, and heals those in need. 

Your OC is a bar hopper. Is often seen in the Quick Sand relaxing with a drink.

Honestly open for any idea, feel free to throw them out at me!

Contact Information  ––– –

Discord: Usually only gives out to those who keep in frequent contact :D but feel free to ask! Tumblr: Always welcome! Feel free to message me anytime. May take a lil bit to respond but I always will! In Game: /Tell me, if I dont respond I am away from the computer and will try to get back to you!

TransTRENDERS

I am completely fed up by this point. So I am going to lay this down hard and cold. I will not hold back.

I don’t hate many people, I’m not the kind of person to hold a grudge. This doesn’t mean that I can’t find people unbarably irritating. It doesn’t mean that there are people in this world that don’t cause me internal anguish. The people that cause me more distress than any other type of human beings are goddamned transtrenders.

What is a transtrender?

It is someone who says that they are transgender as a fashion statement. They don’t think they’re trending but they’re easy to spot. They usually ask for a they/he or they/she pronoun picks (or maybe even made up bullshit). They also feel like gender is a social construct, and feel like we shouldn’t have gender because it is just some kind of government controlling scheme or perhaps damaging to society. Because of this, they tend to not dress as the selected gender- because fuck normative thinking. Their last symptom is that they believe that you don’t need to have dysphoria to be transgender.

Let me rephrase that, using the medical terms regarding gender reassignment desires.

They believe that you do not have to have dysphoria to suffer from gender dysphoria.

—————————-

I can hear them grinding their teeth already. If you feel like you might be called out by the above paragraph, sweethart, you’re a transtrender. I’m calling you out on your bullshit today.

I suffer from gender dysphoria. I am not about to tell you all my symptoms because it would be like handing you the blueprints to something and risking you calling them your own. I’m not telling you these facts because I think less of you, or want to belittle you. You should feel happy that you aren’t suffering with an illness! Celebrate. REJOYCE.

I’m going to lay down some ground rules here, and the first one is going to be a very clear point.

-it IS okay to explore your comfort zones with your body may it be your gender, appearance or otherwise.

-it IS okay to go ‘back’ on your gender decision. Have you learned that you might actually be happy with yourself? THATS OK.

-it IS okay to wear whatever you want regardless of the ‘clothes’ assigned gender.

With all that said, let’s continue.

I see it way too much lately. Someone presenting, living as female with a gender neutral name, going out dressed effeminatly doing feminine things, born female.... telling everyone they’re a man.

You have no goddamn idea what dysphoria is, do you???

Do you know how it fucking feels to have these features highlighted and put on display?

Do you actually think that because you feel comfortable in a mans shirt- that you can sometimes occasionally do masculine makeup and think it would be better if you were a man, so that it’s easier to cosplay guys—- do you actually think that classes you as transgender????

You’re fucking wrong.

That’s not being transgender. You just lack the creativity to find methods of changing your appearance without desiring some kind of cheat sheet.

Especially if you cosplay girls

“It’s CROSSDRESSING”

I think you miss the goddamn point here. That just proves that you aren’t transgender.

Not because you’re cosplaying your bio gender- oh no. It’s because you’re clearly comfortable presenting that body shape. You clearly have no issues with stereotypically effeminate things being emphasised on show for all to see-

“Guess I’ll stop cosplaying girls then” was that your thought just now? Adjusting your habits to try and force the symptom?

Maybe you’re thinking

“Genders a social construct!”

No, it’s not. Gender- your biological sex is a fact.

The way people dress, walk, talk and act- these a stereotypes BASED on gender.

Stereotypes are grown and based on facts that take to the majority of a group of individuals who all have a trait (out of their control) in common.

I.e race or gender.

Just two examples there.

When you- by biological fella, wear girls hot pants because they hug your ass sweetly- you’re breaking stereotype.

You know heels were made for men, right? A break in stereotype means women now typically wear heels- but some men do too- does this make them transgender? It does not. Do you think these guys would rather identify as female? Absolutely not.

Does it mean a biological girl who identifies as a man should have the right to wear heels? Oh theybhave a right. Absolutely. What kind of heels? Pink fluffy stilettos? Okay but just so you know, you’re going to be swaying that booty, walking like a queen. If you’re comfortable with those parts of your body being enhanced then you’re not suffering with body dysphoria.

That’s what dysphoria is. These body parts are so alien to you, like every morning you wake up in someone else’s body. Every single day what you feel like you look like and what you see don’t align. Somethings wrong, this shirt doesn’t fit me like it fits the other girls. I’ve tried all shapes sizes and body types yet when I look all I feel is sick. I look like a man in drag- maybe I am a man in drag.

Want to get your tits out? I’m happy for you. I’m happy you can stand the public staring at them. Thinking about how weird you look- I’m glad you can stand the thought of people believing you’ve got something wrong with you- or don’t you have those thoughts...?

Because if you really don’t find the issue of showing your feminine exclusive parts as much as possible a difficult task, then I fail to see the utter detachment and abandonment of the idea that certain appendeges existed.

————-

On the topic of tits.

Binding.

Oh my god. This is a fucking laugh. I was binding even before I came out to anyone as Male. I’ve been binding for a very long time. That doesn’t mean I didn’t flash the boobs, but tucking them away ended up being so much better. I tried to get them out and I tried to be pretty and flaunt the amazing tits I have.

But still I looked in the mirror and felt like... I was wearing someone else’s shirt or something. Like I was wearing shoes that didn’t belong to me.

Hiding them was better.

I love boobs. My girlfriend has an amazing body- I desire to touch it and hold it. But I feel so off of i were to picture myself in her body.

I don’t think it would fix anything, looking as beautiful as her.

But I digress- boobs, binding. A transtrenders obsession and need to remind people how long they’ve been binding. Like it’s some extreme danger, an extreme health risk.

“I have been binding for like 20 hours man”

Some kind of desire to get someone to tell you to take it off? What is it? I don’t get that.

Fuck, I don’t want people to know I have a binder on.

I hate the thing!!!! Get it off me- I can’t stand the sight of me. Let me wear it again.

This binders like a bad drug and I don’t want people to hear it. No please don’t tell me to take it off, please.

My girlfriend said I needed to wash it- I cried,

Wtf

That means going without it!!

I’m asthmatic, too. Restriction on the chest are bad right? Not if you’re wearing the right size. If you’re not breathing right, the binder you wearnis too tight, get a new one- it’s not that fucking complicated.

I don’t care how long you’ve been wearing it, this is not a competition. If you shouldn’t be wearing it take it the fuck off and shut up.

“I binded today. It felt good uwu”

Fuck off. Binding feels aweful. I hate this crutch.

—————-

I am very tired right now. So I’m Going to stop. I might make a part 2. I’m basically sick of seeing girls post this cute boi soft aesthetic like its some pretty bracelet, yet still finding so much comfort in their shells- and I’m sat here feeling pathetic and unable to do so. Not even in the slightest.

The Princess Knight Anime, Gender and Disappointment

The 1967 Princess Knight anime is an adaptation of Osamu Tezuka’s second rendition of the manga Princess Knight. While the anime’s plot diverges from its source material, the premise remains the same: To inherit the throne of Silverland, the princess has been raised and presented to the public as a prince. Only her close family and servants know she is really a girl. However, the evil Duke Duralumin seeks to reveal the secret of the “prince”, so that his son can claim the throne instead.

Princess Knight is falsely acclaimed by many as the first shoujo manga. As academic Deborah Shamoon puts it, “to single out Tezuka alone is to ignore the work of many other artists in the 1950s and 1960s who created manga for girls such as Takahashi Makoto whose visual style is much closer to subsequent trends in shoujo manga than Tezuka’s.”

Indeed, the original Princess Knight manga shares little resemblance to modern shoujo manga, beyond the fact that it features a female lead in a fairytale setting. To solely credit Tezuka with the beginnings of shoujo manga is to commit an injustice to Junichi Nakahara, Rune Naito, the aforementioned Takahashi Makoto and many other artists whose influence on the modern shoujo genre is more direct than that of Tezuka’s. Thus, it is much more practical to examine Princess Knight as a work from the God of Manga, rather than as a precursor to any modern genres.

Another common misconception about the Princess Knight franchise is that the anime is actually about the titular character. True enough the story follows Prince(ss) Knight, as she is referred to in the English dub of the anime. (From here forth, I will be referring to her as Sapphire, name she is given in the manga.)  However, Sapphire isn’t always the focus of what’s going on and, as I will address later, her character lacks the depth one might expect. Her limelight is frequently stolen by various villains as well as her cherubic sidekick, referred to as Choppy in the English dub.

Choppy, a genital-less angel in Robin Hood attire, stars in both the opening and the ending theme of the series and has entire episodes dedicated to his antics. He serves as the child companion character, found throughout many of Tezuka’s works. (And he is just as annoying and creepy as his fellow munchkins.) Believe it or not, Choppy is crucial to the plot of Princess Knight.

The real reason behind Sapphire’s boyish mannerisms is due to Choppy causing a mix up when the princess was born. Instead of receiving a red heart meant for girls, Sapphire received an additional blue heart meant for boys. Thus, implying her masculine behavior isn’t solely a matter of nurture, but an accident on the part of heaven. Tezuka’s attempt at explaining gender with a color-coded binary, bestowed by a divine patriarch, fails to address the complexities of gender in any meaningful way.

Gender refers to the internalized social expectations for appearance and behavior that align with the societal roles associated with a person’s perceived sex. Sex is meant to dictate gender and gender is meant to portray sex. But by virtue of being comprised of two-dimensional lines, the characters of Princess Knight have no biological sex from which to derive their gender. Anime characters are described by scholar Susan Napier as “stateless” and while Napier uses this word to describe characters’ lack of national identity, I believe the same idea can be applied to describe characters’ lack of biological sex.

It is through suspension of disbelief that we believe drawings represent human beings and all the biological fanfare that comes with being human, when in reality anime characters are effectively “stateless” in regards to sex and all other genetic states. Anime characters must be portrayed performing a gender that implies their sex or have their canonical sex outright stated, else the audience is left to speculate. With no state to tether to the concept of gender, the anime characters of Princess Knight dismiss human biology almost entirely. Princess Knight makes no real attempt to suspend the audience’s disbelief that its characters have realistic biological qualities to begin with.

Aside from Sapphire being born from her mother, there are no allusions to biological sex in the series. Keeping in mind that this is a program made for television in the 1960s, Duke Duralumin cannot publicly strip Sapphire to reveal her secret to all of Silverland and the families watching at home. By extension, he cannot use the sound of her voice, her measurements, or her theoretical period as evidence against her claim to the throne. (After all this wouldn’t be a very long anime if all it took for Duralumin’s plans to succeed was a single pair of bloody tights.)

So instead of the more obvious routes for determining if Sapphire is a girl or boy, the villains of the series use more roundabout methods such as asking the opinions of ghosts and magic mirrors. There’s also things like magic pens that would make Sapphire write down that she is really a girl as well as a topical cream that turns blue when it touches a boy. Through these creative methods, Tezuka consistently portrays gender as something supernatural rather than something sociological.

If we step away from Tezuka’s interpretation of gender and instead use a more contemporary understanding of gender such as that popularized by feminist philosophers like Judith Butler, we can gain a better understanding of Sapphire’s character.

Our genders are not innate. They are the result of how we have learned to habitually react to our social environments. The gender we develop over time then informs our identities which serve to reinforce our habitual behavior. When gender is “performed” it is not a conscious act where everyone within proximity is aware of the façade. Gender is a constant series of small behaviors that are meant to go unnoticed and if ever noticed, be dismissed as inherent qualities inseparable from our sense of self, rather than the result of the rigorous teachings we absorb from birth through socialization.

Due to her circumstances Sapphire learned to present herself as either a boy or a girl depending on who she is around. She has developed two behavioral personas of conflicting gender: the Princess whom is known within the walls of the palace, and the Prince whom is shown to the outside world. When interacting with anyone outside of her private circle, Sapphire wears tights, a large brimmed hat, carries a sword and is read as masculine. (It’s important to recognize that attributes associated with any gender are highly dependent on societal context. Silverland’s setting is inspired by Medieval Europe and so within that context it’s understood that Sapphire’s daily attire is to be read as masculine within her society, even though her lack of pants and flamboyant hat would be read as feminine in a modern American context.)

While presenting her persona of the Prince to the outside world, sapphire is never unsure of her true status as a girl. She simply portrays a boy as necessity dictates, like many real-life women have had to do throughout history. It is because of her identity as a girl that Sapphire is so desperately committed to convincing others of the Prince’s masculinity. As the Prince she cannot brush off accusations of being unmanly, for they could raise suspicions and endanger her secret and by extension her kingdom. When fearful her secret could be discovered, and her country’s future could be at risk, she consciously attempts to act manlier. She competes in sports, challenges adult men to duels, and even starts bar fights in order to prove that she can perform feats that girls cannot. (Because obviously girls aren’t capable of any of those things, or at least those are things girls are not expected to do in Sapphire’s society.) It’s Sapphire’s ambition and rowdiness that successfully keep suspicion of her girlhood at bay. But by repeatedly performing the act of the Prince, Sapphire internalizes the masculine behaviors she puts on and they become a part of personality.

Ironically, Sapphire’s feats of toughness only prove to the audience that a girl can indeed do all the things she claims to others are proof that she must be a boy to her fellow countrymen. However, Sapphire’s accomplishments do nothing to challenge perceptions of women as it’s made clear to the audience that Sapphire is a very special exception and not the rule.

All the other women portrayed in the series fall neatly into the categories of: wicked witches, wise mothers, or daddy’s girls. For example, the characters of Queen Icicle, Sapphire’s mother and Zenda embody each of these categories respectively. These stereotype-based character’s do nothing to convince the audience that femininity has the capacity for competence. This unfortunate lack of depth to Princess Knight’s female characters even extends to Sapphire when she embodies her private persona of the Princess known within the palace walls as Princess Knight in the English dub.

In a hidden chamber connected to her bedroom is a wardrobe of wigs and dresses that Sapphire dresses up in when no one is around. In the anime, this hidden wardrobe is treated as an infatuation of Sapphire’s. Her servants grieve for Sapphire’s situation, wishing she could be a princess all the time, implying that Sapphire’s performance of femininity in the secret chamber is somehow a persona closer to her true self. It’s apparent that the servant’s view on Sapphire’s inner desires is shared by Tezuka himself. Tezuka wants the audience to pity a girl that has responsibilities beyond playing dress up, and that a girl who cannot be a princess destined to marry a prince is one allotted a cruel fate.

When Sapphire takes on her persona of the Princess all her personality traits fade to emphasize her beauty. As a Prince Sapphire doesn’t qualify as beautiful, but after quickly changing into a dress and a wig, she is suddenly beautiful enough to make a foreign prince, by the name of Prince Frank in the English dub, fall in love with her during a Cinderella-esque night of dancing.

Prince Frank only falls for Sapphire once he perceives her as a girl. When he initially meets her as the Prince of Silverland the two share a rivalry where they compete with one another as equals. When Frank perceives Sapphire as a boy he fights alongside her or tries to outdo her, but once he perceives Sapphire as a girl he becomes smitten and goes out of his way to discourage Sapphire from attending the battlefield, even when her own country in on the line. As her love interest, Prince Frank compliments Sapphire’s good looks above any other quality.

In a Snow White inspired episode, the mirror on the wall deems Sapphire’s Princess Persona the fairest of them all, emphasizing that Sapphire’s sole accomplishment as the Princess is her beauty. A shallow and stereotypical beauty, which is dependent on her state of dress and the opinion of those around her. What’s more, Sapphire’s beauty is purely due to her status as the heroine. Being a character on the side of good, Sapphire is spared of any imperfections that are found on the faces of the series’ various villainesses. Sapphire’s Princess persona is defined as a character solely by her looks, despite her literally being the same person and having the same face as Silverland’s Prince.

The audience is meant to sympathize more with Sapphire because she has the two traits deemed most desirable in women by patriarchal society, young and attractive. (Unfortunately, ugly female protagonists in anime are all too rare.) One of the most common mistakes made by men writing female characters is that they can forget women have their own perspective from which they look at things, as opposed to their existence revolving around being looked at.

At the halfway point of the series, Silverland’s sexist laws regarding the inheritance of the throne are changed and Sapphire’s secret is revealed to the public with no consequence. Once her secret is out, the show drops the surrounding conflict, and Sapphire finally represents a non-traditional take on gender within her own society, at least in appearances. Sapphire no longer must pretend to be a boy and begins to go by the title Princess full time, yet she doesn’t change her daily attire. When venturing into foreign countries where her reputation doesn’t precede her, she is still referred to as a boy. She doesn’t correct those around her, perhaps out of habit. But as for Sapphire’s masculine behavior, particularly her acts of heroism in combat, she finds a new persona to replace the Prince.

The Phantom Knight is a masked swordsman Sapphire developed in order to outwit a villain’s scheme. But even after the Phantom Knight is no longer needed, Sapphire continues to dress up and fight as him. Instead of consistently defying the sexism she encounters Princess Knight will humbly obey her orders to leave the battlefield on account of the fact that she is a girl and the Phantom Knight will miraculously appear to fight in her place. Indeed, Sapphire finds a type of individual freedom in seamlessly slipping from one persona to another to best fit her purposes without causing upset, but this does nothing to actually liberate Sapphire from her obligation to keep parts of herself a secret from everyone around her.

It’s no longer her country’s throne on the line but her reputation as a girl who upholds the role given to her. Sapphire’s clandestine heroism as the Phantom Knight is an outlet for when she doesn’t want to accept the social constraints of being perceived as a girl, but it’s not a remedy for the narrowminded people around her responsible for those constraints.

Sapphire continues to masquerade as a boy with the only real difference being that her two genders have traded spaces. She now presents her girl persona to the public and keeps her boy persona to herself. The Phantom Knight takes on the burdens of adventure, combat, justice and heroism so that Princess Knight can tend to her romance with Prince Frank, which she can freely pursue now that she’s perceived as a girl in the public eye. And as Sapphire displayed so adamantly in the first half of the series, girls are incapable of feats performed by a man such as the Phantom Knight.

With her new secret identity, Sapphire’s gendered personas are more cleanly split than before, and traditional depictions of gender are never really challenged by Sapphire or the series as a whole. After all, what Tezuka wants for Sapphire is not for her to have a secret identity or to lead the life of a prince/knight, but for her to ultimately take on the traditional goal of womanhood, marriage.

At the end of the series the final fight for Silverland’s future becomes dependent on a magic axe. Even during the most critical point of saving Silverland, when Sapphire is to use the axe to save her country, Prince Frank tries to take the weapon away from her as he deems it unfit for a girl to handle. Sapphire must take it back by force before she can run off and save her kingdom. Once the conflict is over, Choppy takes Sapphire’s blue boy heart with him as he returns to heaven. With her canonical source of masculine behavior gone, Sapphire marries Prince Frank. It’s heavily implied that she never takes on the persona of the Phantom Knight now that her country is at peace.

While the audience is supposed to be happy for Sapphire who has found love and can finally live the fantasy once confined to a secret chamber in the palace, it feels more like Tezuka has only made Sapphire finally submit to a traditional female gender role he always intended her for. Sapphire’s conservative ending is actually the second of the anime. It closely follows the solution to Zenda’s character.

Zenda is the daughter of Satan who after daring to show kindness toward a human boy, Zenda is punished and placed in an irreversible situation where she has lost all magical powers, cannot return to her family nor live on her own. The last we see of Zenda is her walking off in to the distance with a boy she barely knows. Sapphire’s and Zenda’s fates where they must trade power for a male partner parallel each other and make for a dissatisfying, if not depressing, ending to series.

Again, Princess Knight ultimately exemplifies a very simple view of gender, where once Sapphire trades her sword for a bouquet, all her stereotypical qualities of masculinity are discarded and the act of doing so is easy and magical.

It feels odd to compare Princess Knight, with its cliché fairytale wedding as its finale and ultimate lack of commentary on gender, to other manga and anime that properly tackle the complexities of crossdressing and gender. One such series that delves into gender as one of its main themes and is frequently brought up in conversations about Princess Knight is Rose of Versailles. The comparisons between these two specific series often feel misguided since Prince Knight is much less a story about crossdressing and gender performance as it is a story that happens to include those things. And yet many people not only compare Princess Knight to Rose of Versailles but even go as far to claim Princess Knight to be Rose of Versailles’ spiritual predecessor. This claim is most likely due to the similarities these two works share in their premises. In Rose of Versailles, the Commander of the Royal Guards fails to produce a male heir, so he decides to give his daughter the name Oscar and raise her as a boy.

Beyond their initial setups, the two series have little else in common. Oscar’s sex is not kept a secret. She was raised as a man, acts as a man, but is still indeed a woman. So all of Oscar’s accomplishments are as a woman, thus bending the gender expectations assigned to women, and ultimately defying the limitations placed on women by their social role in 18th century France. When it comes to Oscar’s masculine behaviors, Rose of Versailles argues nurture as the source while Princess Knight canonically argues nature.

Sapphire does not take on adventures and face danger because she was raised as a prince but because she was mistakenly given the heart of a boy. Tezuka’s simplistic approach to Sapphire’s identity means that her gender, despite being the crux of the story, it isn’t very crucial to Sapphire’s character. In a story like Rose of Versailles, swapping the protagonist’s gender would change the story entirely. But in Princess Knight, you could change the storyline to be about a male prince who happens to like dressing as a girl, but the secret could shame him out of the throne and the plot would play virtually the same. Sapphire doesn’t defy gender roles the way Oscar does. Sapphire is merely trying to uphold two roles at the same time.

As previously mentioned there is a distinct lack of sex and by extension sexuality in Princess Knight. Sapphire’s struggle with gender is never sexual. Where as in Rose of Versailles Oscar’s troubled relationships are dripping with sexual tension. Part of this is because Oscar’s struggle with gender is an internal one. She must struggle with her own self-image and how that image will affect the relationships she wants and the duties she must uphold. But Sapphire’s struggles in the Princess Knight anime are almost completely external. She only fears her secret being outed because of the threat of external backlash that’s presumed to follow. Sapphire is never unsure of who she is and what she wants, she just has to wait for the right time to reveal such things. Much like crediting Princess Knight as the first shoujo, crediting it as the spiritual predecessor to Rose a Versailles is a stretch at best.

Overall, I believe Princess Knight’s reputation over-hypes the anime series. I don’t think Princess Knight is a good introduction to Tezuka’s work, it’s certainly not his best, and I don’t think its aged very well to boot. (I think Black Jack in any of its iterations is a better place to start for those uninitiated to the God of Manga.)

The Princess Knight anime covers little new ground in its storytelling, especially when it comes to depictions of gender. Almost every episode’s premise is directed lifted from a classic fairytale and its conservation ending does nothing to challenge to audience’s nor society’s expectation for Sapphire as a female character conceived in the 1950s. Thankfully the decades that followed produced better anime with more to bite into when it comes to gender such as Rose of Versailles, Revolutionary Girl Utena, Ouran High School Host Club to name a few. Rather than looking backwards to Princess Knight’s depictions of gender and women, we should look forwards to the improved representations that have and will continue to be created as the landscape around such topics expands and deepens.

On 13 March I received by email details of an investigation into complaints made against me to the Labour Party  here follows the complains and my response which was emailed the week after  as at today’s date, 7 April, I have had no response. There was a piece published on this in The Times today.

I was asked what I thought about the prospect of expulsion from the Labour Party. My response was:

It would tell me that the Labour Party has moved away from identifying and fighting material class-based oppression to championing the rights of the individual and their personal identity. This would position the Labour Party both socially and economically as neoliberal. It would also demonstrate that as well as being incapable of listening to women and taking their concerns seriously, the Party does not care for transsexuals.

I have redacted superfluous and personal information, to that the latter makes any difference as a bunch of transgender men’s sexual rights activists have plastered my home address and other personal details all over the internet anyway  anyway, on with the show…I can confirm the account @TerrorizerMir is my Twitter account;

I can confirm I posted all of the above statements;

I would respond to each as follows:

“Peak transing” is when someone supportive of the ideological transgender movement, realizes their claims and demands are unreasonable, divorced from reality or unjust. This is often because of the way transgender culture defines men and women by sexist stereotypes; justifies physical or sexual violence, particularly against women; and shows unbelievable levels of misogyny. Other incidences provoking that “peak trans” moment would be, for example, “transgender women” (by biological definition, males) occupying political positions set aside to champion the rights of women, who are disadvantaged because they are female.

In the context of the Labour Party this would include such self-described transgender males taking places as Women’s Office in CLPs, taking advantage of all-women shortlists and occupying places on the Jo Cox Leadership program. Apropos Lily Madigan, it should be obvious the presence of a twenty year old misogynist male as women’s officer is inflammatory. I have attached several pages of tweets from Madigan where he described women as ‘TERF’; this is a homophobic, misogynistic and dehumanising slur against women, which has been already used to incite violence against women – as in the Speaker’s Corner assault and the recent picket-line threats against BECTU senior executive committee member Paula Lamont.

Madigan’s claim to womanhood is based upon the unprovable quasi-religious claim he ‘feels he is a woman’. In contrast, he has no material or even social claim to womanhood: his sexed body is male, and he has never experienced the material oppression from being born a member of the female class (see Engels’ ‘The Origin of the Family, Private Property and the State’).

I am a transsexual who disagrees with the racist, sexist and homophobic ideology known as ‘transgenderism’, as it threatens to mandate my distinctive identity out of existence. Transgender activists want to obliterate laws which recognize gender reassignment as a protected class. For example, see 2016’s ‘Transgender Equality Enquiry Report’ or the recent leaked NEC statement which seeks to erase the word ‘transsexual’. I encourage everyone to see how toxic this ideology actually is.

The word ‘misogyny’ has been appropriated by transgender activists to claim ‘transmisogyny’ as ‘the intersection of transphobia and misogyny’. However, ‘trans women’ are male and not subject to misogyny. Ironically, some of the most obvious perpetrators of misogyny today are transgender activists themselves, who seek to redefine women into nonexistence and claim womanhood by the appropriation of cultural signifiers. Likewise, these activists have appropriated violence carried out against a high-risk population of minority-ethnic transsexuals in order to falsely claim victimhood and push a political agenda that cannot stand honest scrutiny. It is violent homophobic men who threaten transsexuals, not women and certainly not feminists. A more appropriate definition of transmisogyny would centre on it being used to identify the cultural misogyny of transgender males, like the individual identified in this tweet and the tweet above. The quotes here show Madigan using the misogynistic slur ‘TERF’, and more generally, demonstrate Madigan’s full participation in the misogynist online trans activist community.

As for the play on Madigan’s name, satire is a predictable outcome of one being involved in public life.

Biological sex is an immutable bodily fact, determined at conception. Mammals do not change sex. Madigan identifies himself as a ‘trans woman’ thus is by definition male; he is also over 18 years of age, thus an adult human male, which is the dictionary definition of a man. Further, s212 Equality Act 2010 defines ‘man’ as ‘a male of any age’, thus Madigan is both biologically and legally a man. If saying a male person is ‘a man’ is offensive, the corollary is that there’s something wrong with being a man. This is sexism.

Human beings are sexually dimorphic mammals. We have two sexes, female and male, whose bodies evolved to produce ova and sperm respectively. One definition of “gender” is taken to be sex-coded cultural stereotypes. In a reactionary and conservative way, some on the Left have decided that sexist stereotypes of men and women are important after all, so important that they supplant sex. They have decided to define men and women by those stereotypes. They then defined themselves as “non-binary” to escape the categories they’ve reified with their own ideology of gender. Any reasonable person would say none of us are walking stereotypes of masculinity or femininity; we are all “non-binary”. Adherence to this ‘identity’ is thus a kind of fashion statement:

The individual is neither male nor female, which is unscientific as we do not have a third sex and there is no third gamete after sperm and ova; or

The individual ‘identifies’ as being neither male nor female, which is runs counter to reality as we are all either male or female; or

The individual’s character traits are neither exclusively male nor female. This is clearly absurd as none of us are one-dimensional behavioural stereotypes..

I stand by my words.

Please explain in what way you believe my tweets contravene rule 2.1.8 of the Party’s rulebook.

Moreover, I note this rule mentions both sex and gender reassignment as protected classes. Recognition of “gender identity” beliefs, obliterates both categories.

I regret nothing.

As a transsexual who stands with women, who has a critical analysis of gender as a power hierarchy and who believes passionately in the core values of fighting class oppression, I guarantee I shall be sharing more content like the above.

Within this reply I enclosed a number of screen captures showing Madigan’s use of the misogynistic, homophobic and dehumanising pejorative ‘TERF’.

POSTSCRIPT: RULE 2.1.8

It is worth noting the dramatic change in the Labour Party rules between 2017 and 2018. The new expanded rules appear to make someone’s claims based on the thoughts and feelings of ‘gender identity’ immune from question or criticism. The claim of innate gender identity by genderists is unsupported by science and a rule that makes this claim unassailable is akin to having a rule that others have to share someone’s faith or religions belief, as the statement by a male that’s they are female because of their ‘gender identity’ is itself a statement of blind faith. So much for progress and the material analysis of class oppression.

How Transgender Ideology Is Destroying The Labour Party On 13 March I received by email details of an investigation into complaints made against me to the Labour Party  here follows the complains and my response which was emailed the week after  as at today’s date, 7 April, I have had no response.

I’m finally done, but this is my fatesona, Jerelyn!! or Jere, for short. I’m still working on her story and other details so her story may change over time but here’s some info about her that I currently have under the cut:

HER BIO HAS BEEN UPDATED AS OF 3/31/18 !!!

So some of her info, including age, birthday, height, appearance, and some personality traits are all based on me, so yes it is a coincidence that she shares her birthday with Siegbert lol

Name: Jerelyn (ジェレリン, Jererin)

Alias: Jeremy (before recruiting) (ジェレミー, Jeremii)

Age: 18

Gender: female, but disguises herself as male first

Pronouns: she/her (he/him when disguised)

Birthday: May 28th

Orientation: Bi/Pansexual

Class: Troubadour

Generation: First

Appearance: Jerelyn has fair skin, dark brown (almost black eyes), and has glasses. Her hair is black with red streaks (it’s not too out there considering Peri has blue/pink hair) and is a little on the short side. Her body type is short and slightly curvy, but due to her small bust, is able to easily disguise as a male. She is female, both biologically and her gender. Her outfit is the basic male troubadour outfit with different shades of red and black, and she wears glasses. Her left boot is a darker red than her right boot. (explained below)

Personality: Jerelyn is an introverted person and likes to keep to herself, and is assumed to be someone shy and quiet. It’s hard for her to open up people; and instead likes to insult, be mean, be rude, and push people away when someone shows an interest to her. Before joining Corrin’s army, Jerelyn was very close to someone, eventually dating them. Said person became abusive and toxic towards Jerelyn, completely destroying her confidence and self esteem, among many other issues. After said event happened, Jerelyn swore that she’d never get close to someone again and, having a low self esteem and a (now) raging inferiority complex, became someone she hates: someone rude with no respect for others, which in turn, caused her to not make any friends in Corrin’s army. Jerelyn has a short temper and gets irritated easily, which makes her snarky and sarcastic when she’s in a bad mood. She loves to play pranks on others for laughs, mostly to cheer herself up. She also swears. Like a lot. Her favorite hobby is drawing, she’ll draw landscapes, her horse, even people in Corrin’s army just to pass the time between battles. Jerelyn seems to focus on her tasks too much, such as her chores, her duties, her drawings, etc., which causes her to not be self aware of her surroundings and a generally clumsy person (not as bad as Felicia though), which explains why she’s always wearing a different colored boot (She explains how in her defense, one is barely darker than the other and no one would really notice it anyways). She’s practically blind without her glasses, so once she loses them or they break she can’t go out and battle or else she’ll get herself killed.

Relationships: Father: Mother: Siblings: Levi (younger brother) Relatives: Happy (family cat), Titania (horse), Rin and Emiko (children if she achieves an S Support)

Family Line Of Work: Her parents are teachers Family Background: Nohrian Best Friends: Fatesona Supports Friends: A+ Supports Love Interests: Corrin lmao, also she’s had a crush on every fatesona mentioned below

Extra Information:

>The reason why Jerelyn joined Corrin’s army in the first place was because Corrin wouldn’t stop pestering her to join, so Jerelyn reluctantly joined (but secretly was glad that she joined, as she’s always alone and thought a change of environment would help her overcome her heartbreak/broken trust). Corrin’s reasoning was because they saw the good in Jerelyn, how caring she is and how much she seemed to enjoy helping others. ((M!Corrin also just thinks she’s cute))

>Even though Jerelyn has a large distrust of others, her reasoning for joining the army is her want of helping others, which overrides her want to distrust others. Corrin reminded her of someone she was close to…

>Her reasoning for disguising as a male is she wanted to reinvent herself. After the heartbreak, she cut herself off from her ex and decided; she’s going to totally reinvent herself. She cuts her hair really short (her hair previously was a similar length to female!Corrin’s default hair) to symbolize a new beginning. She also dyes her hair red, to stand out and not be recognizable from her previous image. She chooses to crossdress specifically because she doesn’t like the female troubadour outfit; and decided to go the whole way with being male by also faking having a deeper voice, trying to seem taller (and failing), and trying to act “manly” and traditionally masculine. This act is put to a stop once she joins Corrin’s army, after they discover that she isn’t actually male.

>With the whole idea of reinventing herself; Jerelyn also vows from that day that she will never, ever, ever become close to someone again. She will refuse to trust any new person she encounters, thinking that they will take advantage of her when she’s most vulnerable and hurt her again. She insists that “they aren’t really being nice to me, they’re just pitying me. They’re just trying to be nice. They’re planning on taking advantage of me.” etc. She becomes less trusting, less optimistic, less nice. She instead turns into someone pessimistic, with a bleak outcome on life. She pushes people away (as shown when Corrin tries to recruit her), she becomes rude and insults others to get them away from her. She fears that she’ll be hurt again by someone she loves.

>Jerelyn has a scar on her right breast (two scratches) that come from the person who betrayed her (exact cause of scar is unknown). Aside from that, she has some scratches and scars due to her brother’s cat biting and attacking her.

>She’s really really picky and if the mess hall makes something she doesn't like, she probably won't eat that day. Her least favorite foods of all time are vegetables and tends to eat preferably sweets.

>A (main) reason for Jerelyn being a healer is because (metaphorically), she didn’t have anyone to heal her own wounds when she was going through a toxic/abusive relationship. She acts this way in the hopes that others will treat her the same.

>Jerelyn is NOT a morning person at all, she hates rising early and is a Night Owl. If she could she would stay in bed/sleep till 3 pm. It also explains why she’s always grumpy on early missions, she just wants to catch up on sleep.

>Jerelyn actually hates bathing in front of others and will often try to bathe when everyone is asleep (so ranging from anywhere between 11 pm and 3 am). She will sometimes sneak around the mess hall around these hours to eat or look for a snack. Because of these habits, Jerelyn has bags under her eyes and doesn’t have a proper sleeping schedule.

>Her horse’s name is Titania, she’s had her since Jerelyn was 11 years old.

>Jerelyn’s family consist of her parents and her younger brother, Levi (15 years old), as well as Titania and her brother’s cat, Happy.

>Jerelyn will sometimes have nightmares about her past relationship and the abuse, or of her family being disappointed in her/disappear when she arrives back home. Due to these nightmares she is unable to sleep most of the time, which is why she’s always napping on her free time.

>She has a short temper as mentioned before, and Jerelyn is the type of person to cry when she’s angry. She hates people seeing her in that kind of state so she either isolates herself in her tent or rides Titania to a “secret” spot where she cries and eventually tires herself out onto a nap or calms down and draws something (( cough cough Corrin cough cough ))

>In said “secret” spot, apart from crying Jerelyn goes there to draw, to just ride Titania, or to nap. There's an amazing view of mountains and skies and it helps her focus on her drawings.

Good Habits: She likes to help people and is one of the reasons she became a healer, she wants to help others and can’t stand seeing a person who is hurt or without help, despite how mean she acts. She is actually really caring for others in Corrin’s army despite her though exterior.

Bad Habits: She (was) a bit too trusting and the feeling still lingers on, gets irritated easily/has a bad temper (and thus begins to make snarky and sarcastic comments), her clumsiness can lead to bad situations sometimes, she swears a lot, she pushes everyone away, she has a inferiority complex and believes to be inferior to the other healers in her army, and just inferior to everyone in general. Jerelyn is also someone who gets jealous easily.

Likes: drawing, sweets (such as cakes, teas, and candies), playing pranks, the rain, cold weather

Dislikes: the heat, her height, rude people, coffee Hobbies: drawing/painting/art in general, watching the clouds, napping, playing pranks Fears: heights, insects/bugs, abandonment/loneliness, broken trust, heartbreak, being found by him again, death Favorite Food: Meat, Cakes (would love to try Hoshidan dishes given the chance), SWEETS!!!! Favorite Drink: Tea Favorite Animal: Cat Favorite Color: Red

Favorite Season: Autumn

Dreams:

>She honestly wishes she could spend the rest of her life with someone she loves, and that they’ll treasure her and won’t betray her

>If not a Significant Other, at the very least she’d like a best friend she can trust and tell anything to without them backstabbing her in the future.

>One day she wants to give up being this mean person and be back to someone more positive

>To be remembered as someone caring, someone who is extraordinary at healing/art, not someone who was rude/mean/uncaring

>Not necessarily a dream; but after the war if she ends up with a SO or a Best Friend, her distrust instinct slowly goes away and is able to willingly trust others now. She also grows out her hair the way it used to be and is much happier with who she is and the people she surrounds herself with. Origin: Jerelyn comes from a pretty normal family, nothing really wrong with it. Despite her very rocky relationship with her parents, her family has never had any problems. She had always been curious about healing and medicines, and decided from an early age that she was gonna be a healer, since she felt like she wasn’t a strong enough fighter. Jerelyn has always had an inferiority complex growing up, always feeling like she was never enough and that her best efforts weren’t good enough, which slightly skewed her perception of herself. Upon meeting a boy when she was around 16-17, she fell in love with him and they soon began dating. Their relationship however turned abusive and toxic, with her boyfriend abusing her mostly emotionally and mentally, sometimes physically (note her scars on her right breast). He made her feel worthless about herself, he made her feel as if no one would want her, he made her feel like he was the best she was ever gonna get. The relationship eventually made Jerelyn somewhat dependant on him, and was a very unhealthy relationship overall. This relationship, her first relationship, left her with an unbelievably low self esteem and no self confidence whatsoever, as well as boosted her inferiority complex and made her believe that she will never be good enough. By the time she was 18, after one instance where he attacked her physically (gaining her scars on her breast), she had decided that enough was enough, she wasn’t gonna take any more from him. She felt robbed of her first relationship, this isn’t what a normal and healthy relationship should look like. She ran away in hopes of cutting him off of her life for good, leaving her past behind her. She never told her family where she was heading, and the thought about her family’s reaction to her disappearance, and thoughts of her family in general still lingers on and keeps her up at night sometimes. Once she ran away, she reinvented herself as a brand new person, chopping off her long hair into a short boy-like hairstyle and dying red in her hair in hopes of never being found. She disguises herself as a male, going as far as crossdressing (male troubadour outfit) and deepening her voice to try and fool others. She even went as far as to give herself a new name for the time being, Jeremy, instead of Jerelyn. Something something about Corrin finding her and shit and then she joins the army.

Reason for joining Corrin’s Army: Corrin would not stop pestering her Husband/Wife/Significant Other: M!Corrin ((solely for indulgence purposes)) A+ Supports: Felicia, Peri, Beruka Setsuna, Kagero, Camilla, Elise S Supports: All Nohrian/Neutral Guys, Kaden, Hinata, Takumi Neutral Girls, Peri, Charlotte, Beruka, Selena, Camilla Setsuna, Kagero

Other Supports:

Alexei (@iavenjqasdf) (A+) Friendship Seal: Mercenary

Clarke ( @hexlockspear) (A+) Friendship Seal: Wyvern Rider

Felix Friendship Seal: n/a

Rosamund ( @news14 ) (A+ / S Support)

Friendship/Partner Seal: Knight

Mika Friendship Seal: Kinshi Knight

Nero ( @utsuges ) Friendship Seal: Spear Fighter Personal Skill: --- “Canon” Promotion: Strategist Master Seal: Strategist, Maid Heart Seal: Outlaw Route: Conquest/Revelations Child(ren): Rin and Emiko, Depends on Father

(( Kana + Rin and Emiko ))

Rin: Jerelyn’s son, younger twin brother of Emiko. An anxious and introverted troubadour who prefers to keep to himself. He’s awkward and has trouble making friends due to his shyness and anxiety. The complete opposite of his sister.

Emiko: Jerelyn’s daughter, older twin sister of Rin. A loud, extroverted dark mage who loves to prank people. She’s much more outgoing than her brother and has no problem making friends with the other kids of the army. The complete opposite of her brother.

Quotes

Critical Hit

"Don’t underestimate me!" "Let’s see what I can do!" "You're so annoying!" "I'm sorry to do this...!"

Jere crit quote: (muffled giggling as she places their hand in a bowl of warm water) - terk

Dual Support:

"Don't die on me" "I can heal you after this!" probably a sigh/annoyed sigh "Let's finish this"

And others to come

Classic Mode Death Quote:

“I’m… useless…”

Retreat Quote: “I gotta pull back… there’s enough healers [[Avatar]], just go on without me.”

Enemy Defeated:

"Weak" "That went better than expected" “Sorry…” “Hah!”

Bad level up: "What was I supposed to expect?" Okay level up: "I'll take what I can" Good level up: "Who's the weak one now?"

Class Change:

“I could pull this off.

Alternatively, when reclassed to maid: "WHO'S IDEA WAS THIS???"

Confession:

“I… I love you. I’d never thought I’d ever say those words again. Promise me you’ll hold me tight and never let go… Please?”

A REALLY LONG  CHARACTER  SURVEY.

BASICS. 

FULL NAME :  hisakawa naoki. while it is japanese, his mother chose his given name due to its relation to the scottish name naomhan, meaning little saint. after his resurrection he takes on the name linus macaslan, as homage to his father.

NICKNAME :  lin. he finds it sweeter than linus and prefers it when with friends ; nao , a retired nickname. he remembers how it fell from his past family and lovers lips fondly, but it doesn’t feel like him anymore.

AGE :  claims to be nineteen ( actual age is nearing one hundred twenty five. ) due to his immortality, he hasn’t aged past the state he was in at his death. though he did die at twenty, if one were to guess they would place him between eighteen to twenty two due to his physical appearance. mentally, despite the many years he has spent on the earth and the experiences he has gone through, he still displays the behavior one of think typical of someone in that age group.

BIRTHDAY : march twentieth. because of his immortality, it feels more like an anniversary than a milestone. but, he still celebrates the day, and when he does so he prefers a small get together of his closest friends to a large party.

ETHNIC GROUP : japanese / european. his biological mother was japanese and his biological father was scottish.

NATIONALITY : scottish, though he now resides in america with his adoptive mother.

LANGUAGE / S : japanese , scottish gaelic, english,  spanish. the first three he spoke prior to his death, though his english was not as developed. over time through hearing others speak and communicate, he became fluent in english and spanish.

SEXUAL ORIENTATION : pansexual, sex neutral. he doesn’t have a particularly low sex drive, but he rarely partakes in any sexual acts because he finds them extremely intimate and reserved for people who he has such relationships with.

ROMANTIC ORIENTATION : homoromantic. while he can find someone of any gender sexually appealing, most of his romantic relationships have been with men and masculine presenting people. though, it is not a steadfast rule.

CLASS : upper middle class. his adoptive mother can afford to give him any kind of lifestyle he desires, and linus has the luxury of living modestly ( though, with a few impulse shopping sprees here and there ). really, he doesn’t like to spend a lot of money because he understands that that is something that should be earned himself and he has remaining sentiments from his childhood when he could not afford to spend money on non-necessities.

HOME TOWN / AREA :  lochcarron, highlands. he lived in a small home with his mother that had enough space to have a small garden and livestock. they dealt mainly with chickens, but they also had goats and a cow. they primarily bartered for whatever supplies they needed.  

CURRENT HOME : san francisco, california. lives in the lower pacific heights area, in a small studio apartment atop a bakery. he lives comfortably there and is in a good walking distance of his favorite stores and restaurants.

PROFESSION :  unemployed. he briefly worked as a yoga instructor, but found that while he loves the discipline, making a career out of it did not bring him joy. now, he focuses his energy into his schoolwork at a local community college. he majors in chemical engineering and hopes to transfer to a university after his second year.

PHYSICAL.

HAIR : brown hair that is currently long enough that when he towel dries it he can produce a slight wave / curl. he doesn’t let it get any longer than a messy few inches, because then he finds it too heavy on his head and he will give himself a poor haircut to remedy that.

EYES : he has monolid and downturned eyes. due to the combination of his features, they are kind and give him an almost puppy - like look. his irises are a dark brown.

FACE : his face is oval shaped, his jawline is not overly defined. he has straight eyebrows ( usually combed and feathery ).

LIPS : pouty with a natural pink / red tint. usually well moisturized with lip balm or lip stick ( he prefers things that are ‘ his lips but better ‘ or just similar to his natural lip shade overall, and it’s not too thick or heavy so he usually sticks with sheer / satin formulas )  

COMPLEXION : his skin is a medium / olive tone. he doesn’t tan easily and takes care of his skin by generously applying spf, despite that he does slightly freckle in the summertime along the high points of his face. sometimes, he wears light concealer.

BLEMISHES : he has now fading acne scars on his lower cheek / jawline, and he gets mild acne every so often from stress or sleeping with makeup on.

SCARS :  from prior to his death he he has faint scars on his knees from falls. from the time of his death on the sides of his wrists he has deep scars from being scratched. as an immortal being, he does scar but they fade quickly ( though, they will last longer if from repeated trauma). currently, he has self harm scars on his forearms and upper arm / shoulders.

TATTOOS : he does not have any tattoos. there are no symbols or sayings that he finds so appealing that he would want them on his body for all of eternity. though, because of how his body regenerates a tattoo would also fade quickly.

HEIGHT : he is six feet three inches with his slight slouch, he is trying to work on his posture which would only put him vaguely above that height.

WEIGHT :  approximately two hundred ten pounds. prior to his death he had a large growth spurt and felt self conscious about the weight he put on. yet after spending over a hundred years without a physical body , or mass , he’s no longer as interested, and refuses to weigh himself out of fear over fixating on it again.

BUILD : in his attempt to life a healthy lifestyle, he does go to the gym. he’s a larger type of person, and while he is muscular he still has a softness to him ( and isn’t overly defined ).

FEATURES : his most notable features are his eyes and his hands. his eyes are captivating, naturally conveying a sense of kindness and understanding. his hands are incredible soft and well manicured, and he touches things with care and tenderness.

ALLERGIES : none that he knows of.

USUAL HAIR STYLE : messy hair that looks similar to bedhead, though he swears he at least ran his fingers through it. usually, most strands of his fringe are swept to the sides ( he has a side part ) and tucked behind his ears. on days when his hair doesn’t cooperate or he wants to focus without distraction, he will bobby pin strands out of his face.

USUAL FACE LOOK : his resting face is almost serene, as his features aren’t contorted in any way that would show emotion ( whether that be positive or negative ), however it is easier, through his gaze, to appear sad. he blushes easily , but despite that he is usually non reactive to everyday stimuli.

USUAL CLOTHING : his wardrobe consists primarily of the colors black, white, and beige browns. he has a vintage type of style, loose rolled up pants and linen shirts. when it gets colder he’ll wear knit cardigans and  cashmere sweaters, and on especially chilled evenings he’ll wear wool or trench coats. 

PSYCHOLOGY.

FEAR / S : the loss of a loved one, in all regards. for them to go in death is just as painful for him as parting due to natural causes or ‘ life ‘ ; open water, anything larger than a nice bathtub. with his past history of drowning, despite once knowing to swim ( or at least, how to stay afloat ) he doesn’t trust himself and even to be in the situation gives him awful flashbacks. ; ice skating, similar to his fear of open water, even on artificial rinks he finds that even the idea of it causes him relives his death, so he avoids it altogether.

ASPIRATION / S : to make a career out of his greatest hobby and have his own skincare line, and hopefully help others feel more confident in their own skin; to be able to pay for his own home, either the one he currently lives in or possibly a larger one with a view of the water, when his needs change and he requires more space ; to be able to provide for himself and another, as he wants to be able to function by himself first, and then find someone that he can support wholly and who will do the same for him; to figure out his purpose, as something about dying and being given the opportunity to live an immortal life makes him feel as if he is destined for more than an average life.

POSITIVE TRAITS :  amiable, appreciative, compassionate, easy-going, forgiving, idealistic, modest, reliable, self-sacrificing, soft-hearted, spiritual

NEGATIVE TRAITS : absent-minded, gloomy, gullible, impractical, indecisive, passive, self-indulging, submissive, uncoordinated, weak

ZODIAC : pisces.  they are characterized by empathy and expressed emotional capacity., and are more intuitive than others and have an artistic talent. they are also known to be most tolerant of all the zodiac signs. they are selfless, they are always willing to help others, without hoping to get anything back. however, they are extremely trusting, naive,  and thus easily lied to. as an emotional idealist,a pessimistic nature comes out.

TEMPERAMENT : melancholic. melancholic people often were perceived as very (or overly) pondering and considerate, getting rather worried when they could not be on time for events. they have high standards for themselves, which can lead them to be self deprecating.

SOUL TYPE / S :  caregiver:  you have tendency to put others’ needs ahead of your own. this trait makes it essential that you go out of your way to take care of yourself as well as those around you. you are loyal to the extreme, and you guard those who are entrusted to your care with your life. your empathy allows you to understand nonverbal emotional signals. it is common for caregiver types to intuitively know what someone needs at any given time.

VICE HABIT / S :  his frequent bad habits is his lack of consistent self care, forgetting to take off his makeup before he goes to bed, biting his lip often - in times and stress and casually, disordered ‘ binge ‘ eating , overspending and impulsive unnecessary purchases, and rambling without realizing his audience.

VIRTUES / VICES: at his core he is a benevolent being, he is extremely compassionate, and he is tolerant in all regards. yet also suffers from meekness, an excessive amount of doubt, and complacency.

FAITH : he himself is of an unnamed faith, though as sage is a practicing wiccan he has found himself a tentative member of that faith and is trying to learn more about it before claiming himself to be such.  individually, he believes in something akin to karma and is well aware of a cosmic presence he refers to as ‘ the universe ‘ .

GHOSTS ? : yes. he spent a long time as someone who was in the ‘ in between ‘ phase and while there he interacted with a lot of individuals in similar situations. he has learned that it truly is a place for people with unfinished business, an unenviable state, and hopes that the friends he made there will gain the clarity they need to move on soon.

AFTERLIFE ? : yes. as someone who has lost a lot of loved ones he hopes that they have found peace in some way and have hopefully moved on to better things. he hopes that one day, when he has found his fulfilled his purpose, he can join them.

REINCARNATION ? : yes, this is something he contemplates often. he believes that this could be an alternative to the afterlife, almost like a soul recycling. however he isn’t sure of the concept of an entire soul coming back to life. it seems more practical that traits would be passed on, or the new soul and the old soul would merge together. or, even, it is possible the old soul could contribute memories in the form of dreams or conscious ‘ deja vu ‘ moments.

ALIENS ? : why not? he believes in, and has encountered, most otherworldly entities so a different type of being from what he is used to isn’t much of a stretch. he doesn’t fall for the movie tropes, and he thinks they would be obviously wary but friendly.

POLITICAL ALIGNMENT : —

EDUCATION LEVEL : prior to his death he was home schooled by his mother. while she did not provide him with anywhere near the knowledge school could have, he supplemented her lessons with books his father would bring him from the city. now, after getting a ged he attends community college classes and studies chemical engineering.  

FAMILY.

FATHER :  duncan macaslan, son of a whiskey maker. he lived in the edinburgh, a long ways away from naoki and his mother, so he wasn’t an active participant in his sons life. he visited a few times a year, usually on naoki and yoshiko’s birthday. when he was there, he tried his best to be a father figure and ‘ bond ‘ with his child.   

MOTHER : hisakawa yoshiko, daughter of a businessman. she practically raised naoki on her on, and was a wonderful mother. she was tolerant, loving, but firm when naoki needed to be taught moral lessons. the loss of her son was crippling; she died of sadness /  sage de leon, daughter of a businessman. she assisted with linus’ resurrection, and thought that he was a gift as he came into her life short after losing a child of her own. she adopted him as a formality, and provides for him.

SIBLINGS :  none.

EXTENDED FAMILY :  adoptive uncles / aunts. sage has three older brothers and two sisters, who at first treated him unkindly because of his abrupt entrance into the family ( especially, because of how odd it was for their sister to adopt someone who was nearly an adult ) but over time they have grown to love him and treat him like one of their own, to the point of babying and coddling him when he is around.

NAME MEANING / S :  hisakawa naoki: naoki meaning honesty and tree, also named due to its relation to the scottish name naomhan meaning saint. his family name means long time ago, and river / linus macaslan: in mythology, linus is the name of two of apollo’s sons. linus of thrace was the personification of a lamentation and wrote poetry and apocryphal works; linus of argos was raised by shepherds and killed upon reaching adulthood. macaslan is derived from a word which translates to “my father is peace”.

HISTORICAL CONNECTION ? : none.

FAVORITES.

BOOK : ‘ flowers for algernon ‘ is his all time favorite. he found the story captivating and sweet, and was deeply saddened by the ending. another favorite of his is ‘ for the time being ‘, which he thought was extremely introspective and insightful. his copy of the book is heavily annotated, with his favorite subsections bookmarked.

MOVIE :  ponyo ! he thinks it’s an incredibly cute story, and he always leans towards fantasy movies that involve the protagonist learning / getting to live a normal life ( because it reminds him of himself and is thus inspiring )

5 SONGS :  rachel’s lullaby by dandelion hands; studio 6 by matt maltese; its ok by i like you; picture frames by rei brown; holding yr hand by atlas and yung bae; intertwined by dodie . all these songs have soft melodies, and most have a romantic theme. his favorite genre of music is lo - fi / chillhop / chill electronica .

HOLIDAY : valentine’s day. to him it’s a celebration of all love, not just the romantic kind. it’s happy and promotes kindness to others. and he loves the colors associated with the holiday ( pink and white ) and the abundance of roses markets carry.

MONTH : march. his favorite month as as the weather begins to get warmer, but it still rainy. he also likes it because its the beginning of spring and so plants begin to bloom again. however he is biased because it is also the month of his birthday.

SEASON : spring. after a long winter, he truly appreciates the sight of budding flowers and green leaves again. its a mix of rainy and sunny days, and ideally chill but not frigid weather. 

PLACE : there was a spot in the forest that he frequented, where the towering trees were spaced far enough away that sunlight would shine straight through. he enjoyed laying there, hidden from the world and having the sun’s rays warm him.

WEATHER : just after it rains, when everything is still damp and the scent of wet earth is heavy. the clouds are a lighter grey, and the sun is peeking through in small intervals so its not completely somber out.  

SOUND : rain pattering on a surface, naturally rhythmic and incredibly soothing. if the weather isn’t providing and he has to get work done he will watch one of those one hour videos on youtube to aid his focus.

SCENT / S : vanilla because of its associations with sweet foods ;  the smell of baked goods in the oven, or freshly made and cooling on the counter ; the smell of the earth after it has rained

TASTE / S : sweet and sugary, especially if its coffee ( he likes having it, with a few espresso shots, but he hates the taste of bitter things ) ; creamy for regular dishes ; ‘ light ‘ like plain rice noodles or plain salads with cucumbers.

FEEL / S : on his body he enjoys things that are soft and lightweight, ; to touch with his fingertips he enjoys things that are soft, silky, or smooth.

ANIMAL / S :  dogs ! he loves dogs because of how cute, smart, and loyal they are. he doesn’t have one himself now, but he remembers his old family dog ( named arana - bread ) fondly.

NUMBER : infinity. to him it’s an interesting concept that there is a number that is ‘ infinite ‘ and no one can really pinpoint where it starts or ends.

COLORS : his favorite colors are peaches, soft oranges, pinks, and white. he likes those colors because they are easy on the eyes. they also happen to be the colors of a sunrise / sunset.

EXTRA.

TALENTS :  excels in providing comfort, either through his words or actions, though it is a skill he is trying to improve constantly ; he is good at applying winged eyeliner of any formulation on himself and others; good at curating different scents using essential oils; good at doing multiplication in his head , up to two digits by two digits or three digits by two digits is a maybe , good at finding deals online and in stores.

BAD AT : linus is awful at communicating his thoughts / desires / needs to others, as he isn’t particularly well at coherently figuring those things out himself, he’s not good at cooking though he tries his best to follow recipes and youtube videos so his end products aren’t completely inedible.

TURN ONS :  he’s interested in people who express some sort of leadership qualities, who know what they are doing in their field and are intelligent at least in that regard. he also finds it attractive when people are sure of themselves and put together.

TURN OFFS :  meekness, as he hates the quality in himself so there’s no way he would find it attractive in another; excessive swearing in his mind makes a person seem too crass ( or even angry ) to be pleasant company ;  

HOBBIES :  after purchasing a few face masks at the market, he became obsessed with skincare. he’s thoroughly researched and well versed in skincare now. he maintains a near 10 step morning and night routine, which he finds relaxing to perform.

TROPES : deity of human origin, disabled deity, god in human form , our angels are different, psychic powers, cuteness proximity, abstract apotheosis , experienced protagonist , an astral projection not a ghost

AESTHETIC TAGS : indie / love / sunshine / poetry / ghosts / supernatural / horror / isfj / soft

GPOY QUOTES :  ❝ what is a ghost? something dead that seems to be alive. something dead that doesn’t know its dead. ❞  / ❝ if love could have saved you, you would have lived forever. ❞ / ❝ his cheeks are dusted with gold from the kisses of gods / he was always apollo’s favorite.❞ / ❝ everyday since that bad thing happened, i’ve been practicing a spell: how to disappear from yourself,within yourself. i’ve noticed each time i leave, something in me keeps going. sometimes in me turns its back on me – someone else reflected in the mirror, someone else answering to my name.❞

FC INFO.

MAIN FC / S : mafuyu from given.

ALT FC / S : any similar male by kizu natsuki

OLDER FC / S : —

YOUNGER FC / S : —

VOICE CLAIM / S : —

GENDERBENT  FC / S : — i dont believe in ‘ genderbending ‘

MUN QUESTIONS.

Q1 :   if  you  could  write  your  character  your  way  in  their  own  movie ,   what  would  it  be  called ,  what  style  would  it  be  filmed  in ,  and  what  would  it  be  about ?          

A1 :  it would be called ‘ a life after death ‘ and be a simple indie - esque film. the kind of movie that you can tell didn’t have the biggest budget, was probably filmed in the same style as a youtube vlog, but they did their best with it and created an interesting little story that was filled with warmth because of the interactions between the few characters. it wouldn’t be anything fancy, maybe a short film about him going about his day and beginning to fall in love.

Q2 :   what  would  their  soundtrack / score  sound  like ?          

A2 : his soundtrack would be like something made by idealism. soothing beats, a bit of a piano melody, and overlaid with the sound of rainfall. there wouldn’t be any lyrics to any of the songs, but maybe a sample of a quote from an old movie.

Q3 :   why  did  you  start  writing  this  character ?         

A3 :  i started writing linus in april 2017 , so he’s my newest original character on tumblr. i was originally interested in writing a ghost oc because of the song naruto themed texting and the lyric “ i’m a ghost in training and my heart is waning “ and eventually he turned into an astral projection, not a ghost, and a sort of deity, which is kind of different form any of the other ocs i have roleplayed in the past ( though i have had a godly oc before, he was just different ).

Q4 :   what  first  attracted  you  to  this  character ?          

A4 :  i kind of answered this above but he was different from my previous oc’s. also i like the idea of someone who has the ability to hurt others but instead chooses to be healing, and thinking about the thought processes behind that choice and developing him into that kind of person.

Q5 :   describe  the  biggest  thing  you  dislike  about  your  muse.          

A5 : i hate that he’s so soft. really,  i have a love hate relationship with that trait of his because i think its great that after what he has been through he can still be kindhearted and a genuinely nice soul, but i also think that it makes him extremely passive and spineless.

Q6 :   what  do  you  have  in  common  with  your  muse ?          

A6 :  we both wear socks and sandals ! i do it less because i live somewhere wear it snows and i like my toes, but since lin lives in an area where the weather is usually nice he gets away with it more often than i do. i also like to think that we are both nice people.

Q7 :   how  does  your  muse  feel  about  you ?          

A7 : i would like to think that we would be friends, we would get along well. however, linus with his worrying would think that i’m too stressed

Q8 :   what  characters  does  your  muse  have  interesting  interactions  with ?        

A8 : he has interesting interactions with characters who are strong willed and extroverted. they inspire him and bring out a side of him thats a little less timid, as he begins to feel accustomed to speaking his mind and eventually even comfortable with it.

Q9 :   what  gives  you  inspiration  to  write  your  muse ?         

A9 :  listening to lo-fi music / chill hop, or sufjan stevens songs. i also have a pinterest board with linus like things ( quotes about being ethereal / a modern ghost / aesthetic images of light through windows and scenery mostly ) which i look through when i feel his muse is a little weak.

Q10 :   how  long  did  this  take  you  to  complete ?          

A10 :  forever