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leandra-winchester · 15 days

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On Oliver's social media behavior regarding Bucktommy vs. Buddie

Kind of in line with many of the good points raised by @bbbuckaroo in this ask response, but I wanted to make my own post about it.

I, too, have seen posts that prompted this ask - from more well-meaning people remarking that Oliver could/should maybe say something against the toxic Buddie shippers and promote Bucktommy more, to more critical voices saying he's essentially ship-baiting with Buddie because he keeps posting about them.

As the referenced post says, Oliver "knows how important and pivotal the Buddie FRIENDSHIP is".

So let's look at that from Oliver's (and in connection also Ryan's) point of view for a moment here.

You're an actor who's been playing one half of what is one of the most integral relationships on a very successful show. That relationship has textually always been a friendship, but with elements that make it richer and deeper than most regular friendships; it's a sort of family dynamic.

It could be read as having a potential for romance, and you're open to that, should the writers ever decide that's the direction they want to take it. You have said so multiple times, not just to appease a large group of fans, but because you genuinely mean it. You're open to it, but you don't know if it's ever going to happen, nor do you have any power over it.

You do love the way fans are celebrating this relationship though - whether they highlight the canonical platonic aspects or take it a step further. You "love the love" (as Ryan has put it). It's great, it's heartwarming, it's moving because the potential of that romance and your character figuring out he's bisexual means so much to queer fans who are looking for good queer representation (which your show already has, but there could always be a bit more, right?). You see and want to acknowledge all the creativity people pour into it.

But you're careful after a while, because, so far, that relationship has only textually been platonic, and some fans are accusing both the writers and you of queerbaiting.

So you take a step back, do less social media for a while. You don't want them to think you're confirming anything just because you see value in certain fictional interpretations of the text.

But then you are told that your character is supposed to come out as bisexual; he'll have a romance with a background character they're bringing back for a couple of episodes. While that's not exactly the relationship many of the fans hoped to get, it's still amazing. It's the right representation of bisexual characters that is very rarely done right, and it'll confirm that they always read your character correctly as bisexual. It'll be so validating to the fans to know they didn't misinterpret that, and you're very happy about that.

But you still love the family-like, platonic relationship you've built with the other character for 5 whole seasons before this. And you love the relationship your character has with his son, too. (In a way, Buck is to Christopher what Bobby is to Buck - a father figure).

You want to keep celebrating that because your new romantic relationship doesn't replace the year-long friendship with Eddie. You want to show fans that 'hey, even though this isn't exactly what you hoped for, it's still great; it's important. Eddie and Chris are still and always will be a huge part of Buck's life. Don't worry. Buck will not abandon them. I still see you and acknowledge you, but let's focus on the textual friendship and platonic love here. Which is also very, very important, and very dear to me personally."

And there isn't that much to share about a romantic relationship that's just begun yet anyway, especially with the season being so short and packed with multiple story arcs around the main characters. It's all still at the start, and while it's great, exciting and has the potential to become something lasting, nothing's set in stone yet. You probably also don't want to have people get their hopes up that Bucktommy is 'confirmed' as endgame; and you don't want to put a main character who has his own, very complex story arc going on this season on the backburner.

You've obviously 'done it wrong'. But no matter how else you could have done it, it would have been wrong as well. You probably know this by now, because no matter what you did in the past, there were always people who interpreted your actions and words in bad faith to confirm their own agenda.

So what the hell are you supposed to do other than what feels good to you while applying a little bit of caution?

---

Oliver CANNOT get it right. It's simply impossible. If he didn't post at all, some fans would be mad that he doesn't say anything. If he only or primarily promoted Bucktommy, they'd be mad that he ignores Eddie and Chris entirely. If he only promoted Buddie (platonic) and Chris, they'd be mad that he's ship baiting. And if he goes for the balance of putting his character's 6-year history with Eddie+Chris and the newly developing romance with Tommy in perspective, i.e. what he's doing right now, they're still mad.

In any potential scenario, the loud and obnoxiously entitled portion of the fandom would find a reason to criticize. It really does not matter what he does.

So, where does that leave us? Personally, I'd say leave the man alone. Let him post and say what he feels is best, and don't try to look at it under any 'bad faith' lens. He's probably given it sufficient thought and does what he thinks is best and feels right.

#Oliver Stark #bucktommy #buddie #yes I'm tagging it as that because it's about that ship too #buddie but platonic #platonic buddie #fandom discourse #911 discourse #911 #this post isn't anti buddie #and I believe Oliver isn't anti buddie either #it's ONE interpretation of the show #but it's fanon as of now #and imho indefinitely #luckily there are many buddie shippers who get that #but the obnoxious ones are sadly the loudest #as always

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queerfandomtrifecta · 7 months

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How Izzy’s Death Could’ve Made Basic Storytelling Sense

Just to be clear, Izzy is my favorite and I wanted him to live more than anything. This isn’t about that, and that is NOT why I hated his death. Had it served the narrative in a way that made even the most basic storytelling sense, while I’d admittedly have been devastated in a different way (i.e. the character whose queerness was relegated to the subtext in s1 and as soon as it’s textual and his whole arc is that he’s killed, but that’s a whole separate post…), but at least there would’ve been a correctly crafted arc from a surface level narrative standpoint that ended in the death of my favorite character. But that’s not what this is about. It’s is about how the show could’ve actually made the death actually make sense and work effectively. (Also, if you want my unasked for thoughts on how most of the existing plot of s2 (minus 7-8) could’ve easily been adjusted to fix the narrative as a whole and keep Izzy alive, I wrote this)

But. For those in the fandom insisting that Izzy HAD to die, including DJenks who has said as such in interviews (for reasons I do not understand), from an objective developmental editor standpoint, this is what I think needed to change to make Izzy’s death serve the narrative, character arcs and dynamics, pacing, structure, and thematic elements correctly.

It’s about 2K words just so you know what you’re gonna get into. Spoilers under the cut.

Issue 1. Izzy’s relationship with the crew and how they truly became his family this season totally vanished during his death scene. The same crew who he protected from Ed during the later, worse parts of the Kraken phase. The crew who banded together to save his life by hiding him from/lying to Ed about it, and amputating his leg to save him. The crew he saved by crawling up those stairs during the storm, hobbling out into the rain with one leg and shooting Ed before he could shoot a cannon ball through the mast and kill them all. The crew who called him “our dick”. The crew that then banded together with Stede’s half of the crew to him the leg and the new unicorn (aka the figurehead of the ship). That crew didn’t cry a SINGLE tear when he died. What?? Fang sobbed most of episode one and really lost it when Izzy got shot. Where was that when he died?? Izzy’s last speech to Ricky had something along the lines of: piracy is about belonging/family. We are Good. (Forgive me, I’m paraphrasing, but that’s the gist). Izzy truly did find his family in the crew outside of Ed. That was absolutely fantastic, especially in the first four episodes and episode six. It VANISHED when he was dying and dead.

The fix: To make the death impactful, effective, or even to make it make sense on a very basic acting and writing level, the crew should’ve been utterly DEVASTATED. At least heartbreaking music and like 30 seconds of everyone breaking down and holding each other. At least some of them crying and holding each other in the background when he was dying. Come on.

Issue 2. Thematically speaking, is piracy Good or Bad? Again, Izzy tells Ricky that they (the pirates/his crew) are capital G Good. Yet Ed has spent a lot of time maintaining piracy is capital B Bad. He tells the urchins as such. Here’s some money that I never had, now you don’t have to be pirates. Don’t be pirates. He doesn’t want Stede to kill Ned Low in cold blood. Ed just doesn’t want to be a pirate. Even at the end AFTER Izzy dies telling Ed he’s with his family (implied that this is the crew) and they love Ed, Ed LEAVES THAT FAMILY AND LEAVES PIRACY IMMEDIATELY. We’re left with him and Stede watching the family Izzy swore was Good and loved Ed sail away because Ed thinks piracy is Bad. Which is it?? The death served nothing in convincing Ed he could be happy with his found family on the sea as Ed, not Blackbeard, so the dying words were pointless. The thematic elements are all over the place (for the whole season but that’s another post) and that needs changing to make the death scene make sense.

The fix: Izzy should’ve told him he sees he doesn’t want to pirate anymore, he’s glad he’s found love with Stede because Izzy isn’t going to make it, go run your fokkin’ inn, you twat (affectionate).

Issue 3. Izzy died of bad planning and bad luck. Why didn’t they take the gun from Ricky? Between Spanish Jackie, Izzy, and Jim, SOMEONE would’ve thought about it. If not those three, someone else would’ve, but come one. One if not all of those three would’ve known better. Yeah, Izzy happened to be standing in front of Ed and he got shot instead of him, but you’ve gotta be REALLY looking for that to even be aware it’s what happened. It wasn’t even on purpose unless Ed strategically placed himself behind Izzy (which I doubt was the intent). Izzy didn’t position himself protectively/take the bullet for anyone on purpose. It was just happenstance and you only notice it if you’re rewatching and hyper-analyzing everything (which a lot of us, me included, in the fandom do, but casual watchers don’t. It’s totally unclear as far as the surface level narrative goes) Any sort of “heroism” is not acknowledged, it’s barely even noticeable in the shot. If that was the intent, it HAD to be clearer and acknowledged by the characters so the audience would realize the stakes and repercussions of clear choices. As it is, I don’t think it was intentional. If Izzy HAS to die, it should truly have rounded out his arc in a way that CLEARLY changed the course of the scene, leaving him to protect people he’d put in danger at the end of s1. It didn’t. It just read as terrible planning to the point of it being out of character for more than one character, and bad luck.

The fix: Izzy should’ve saved someone. I personally don’t like the idea of it being Ed. I’s have rather he save Stede (Not really, but it’s better than Ed I guess) But really Izzy should’ve died saving the crew. The crew makes the most sense to me, narratively speaking. He’s their figurehead, he’s protected the Kraken Crew for months and they should’ve been fiercely loyal to him, he blames himself for what Ed did to them (more on this later) so it makes sense for him to fiercely protect his crew. His family. Who should’ve been devastated that it happened because Izzy is the one character of the main three who’s managed to earn that status this season.

Issue 4. The death did not serve to move the plot along. There are literally zero things that would’ve been different for the end of the episode, save Izzy being alive and on the Revenge in his rightful role he earned with his crew as the captain, if he’d have lived. Ed and Stede aren’t partnering with Zheng to go after the guy who killed him in the next season. Nope. They got the offer but nah. They’re running an Inn. Which Izzy would’ve supported based on literally everything we’ve seen from him in episodes 5-8. The crew who Izzy protected fiercely and who viewed him as their leader? Not one tear during his death or the the funeral. Happily sailing away to do presumably more Muppet Treasure Island hijinks. No character development happened. No plot development happened. The season could’ve ended literally the EXACT SAME WAY with Izzy alive aboard the Revenge!!! No stakes were changed at all. No one was impacted enough for it to seem like it was even going to be a plot obstacle next season. It just happened, Izzy’s toxic situationship who maimed him multiple times over the course of months to the point of his leg needing to be amputated was sad for one (1) scene, then we moved on and did not seem sad at all at the funeral. What.

The fix: The plot should’ve been driven by the death. Ed and Stede (but especially Ed), and DEFINITELY the crew should’ve been sailing off plotting to avenge the death and defend piracy against Ricky and the British, especially with Zheng who lost her whole fleet. Ricky and the British are clearly (or so I hope, nothing’s clear here anymore tbh) the primary antagonist for the theoretical third season. No one should be running an whim-based inn for fun or sailing off happily into the sunset after the death of the most major character aside from Ed and Stede, who beyond proved himself a major part of something every character (his family) should’ve cared about this season. If he HAD to die, that death should have furthered the plot. But instead, it seems everyone shrugged it off with tears exclusively from Ed.

Issue 5. Izzy got shot in the left side. The side in which canonically NO ONE DOES FROM BEING INJURED ON IN THE OFMD UNIVERSE.

The fix: Yeah I know this is just too nit-picky but it was also just SO sloppy. Like just shoot him on the other side if he has to die, because this was a very memorable plot point more than once in s1. Like, come on y’all.

Disclaimer: Issues/fixes 1-5 would all need to happen together to truly fix it and make the death serve the narrative correctly. Issue/fix 6 is a totally separate route, which I personally hate, but at least the narrative would’ve made sense this way.

Issue 6. The idea that Izzy had to die so that Ed could be free of Blackbeard makes no sense at this point in the story. Ed already threw away his leathers and gave away his treasure to symbolically get rid of Blackbeard, and Izzy very sweetly encouraged him to follow the feeling that throwing out the leathers gave him. Izzy told Stede that he and Ed were good for each other. They balance each other out. Izzy is on good terms with both of them and their relationship, so Izzy “having to die” so Ed could flourish as Ed genuinely makes no sense and came totally out of left field.

The fix for 6: This one stands alone and is my absolute least favorite option, but if it HAD to happen without the 1-5 fixes, here’s how it could’ve made sense. If THIS is truly the way it was going to end, Izzy needed to be continuously antagonistic or avoidant to at least Ed and actually be shown holding Ed back from happiness until that last second. He wasn’t. He was so much better. Izzy clearly does blame himself (that’s for a separate post because I have lots of thoughts there) but to be fair they were both abusive in that relationship, for years it seems. Although I think by the beginning of s2, the power dynamic has clearly flipped and it was Ed who was doing most of it and Izzy was exhausted and knowingly “reaping what he’d sewed” (I don’t Blame Izzy for his abuse but I think this was his mindset) so the crew wouldn’t get the brunt of it.

If he seriously HAD to die because the writers just had to have it that way, those are the changes I think would’ve made the narrative work/make sense, served all the character arcs and dynamics correctly, and actually driven the plot as fictional deaths are supposed to, compelling things into a third season. Seriously, this season finale was a mess of baffling choices the most series finale season finale I’ve ever seen.

Anyway. There’s my unsolicited two-cents. Now back to hoping Izzy’s in the gravy basket waiting to be sea witch necromancied back by seagull Buttons in season 3. I love this show and I hate hating what I hate hating about it because it’s my absolute favorite and I can’t stand it because it’s fantastic and the worst thing I’ve ever seen. (Also, Izzy should’ve lived).

#ofmd spoilers #izzy hands #ofmd #ofmd season 2 #ofmd season 2 spoilers #ofmd meta #izzy my beloved #izzy deserved better #we deserved better #eyyyy djenks if you need a dev editor for s3 just hmu #david jenkins #ed teach #stede fucking bonnet #stede bonnet

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olderthannetfic · 1 month

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https://www.tumblr.com/olderthannetfic/749218521745145857/while-i-love-some-queergay-whatever

“Kissing on the forehead isn’t necessarily romantic” makes sense if we are talking about a work of media that is made in a time/place where that was a common thing between same gender platonic friends.

But are you, anon? Or are you talking about like, a piece of Western mass media from the past 50 years? Or are you talking about anime — because if anything, kissing is even more loaded in Japan than it is in the West, especially if there are other people around. (Lots of people in anime fandom love to use “but Japanese culture” arguments to no homo, but are banking on no one reading them actually knowing jack shit about Japanese culture — because it’s almost never true or based on any real Japanese cultural difference, there’s just making shit up. It assumes people will take for granted anything that frames Japan as “foreign and inscrutable and impossible for Westerners to understand” which is just Orientalism tbqh)

Just saying, because I almost never see this shit said about like, a novel from 1820 or something from a culture like, say, some Middle Eastern countries where men kissing other men platonically is a thing…. and almost always see it said about current media from a culture where kissing on the forehead would be seen as something you’d likely not do to a platonic friend of the same gender.

You can’t “impose your cultural norms” on something from the same culture as you lol, or something from another culture that has the same norm! And an (for example) American assuming that modern American media plays by the rules of modern American culture and seeing it through that lens, doesn’t necessarily mean that American is unaware that different norms exist in different cultures. But like… it just makes sense to analyze a current American show for American audiences set in America in the modern day through the cultural standards of 2020s America and not, say, Bangladesh or Namibia or 1850s America.

And on another note, if you were as much of a fan of “queer readings” as you claim to be, you’d know that they often have little to do with authorial intent. In fact, it’s often specifically about reclaiming media that didn’t have you in mind as the audience.

(Seriously, I really doubt you have read many of those queer readings, bc if this bothers you so much, the stuff queer studies academics and cultural critics see as “gay subtext” in old Hollywood movies — hell, the stuff that gay, bi and sympathetic-straight directors and actors and writers often very much INTENDED as gay subtext in those movies — would make your brain explode.)

Anyway, we’ve all been in fandoms where there’s a ship some people insist has a ton of subtext but it’s just two guys sharing a scene occasionally and they just WANT to believe it’s there when it isn’t, and it can be annoying sure if there are so many people insisting this that it’s inescapable and becoming fanon that affects the fic about the ships you like, or if they’re pushy and sanctimonious about it. (My current fandom has a group of people who insist the only reason other people don’t see all the “subtext” for their random rarepair is racism or something, and then ignore how much textual stuff they have to deliberately leave out or misinterpret for their reading to “work” lol. Like scenes where their starry eyed expression is directed at a different character and that’s obvious in the actual episode but not in their selectively edited gif set or meta post.) But that is not the same as doing that with KISSING ON THE FOREHEAD ffs. And also, let’s not pretend that slash (or femslash) shippers are the worst offenders, like het shippers — and the broader culture — doesn’t constantly treat “a man and a woman interact” as meaning “they could/should be a couple,”

If you’re not bothered by that, but you’re bothered by when people do it with two men or two women… yeah you gotta ask yourself why that is. I have an idea why, and it’s not bc of your greater cultural open mindedness lol

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dice-wizard · 1 year

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Hello everyone looking for a new fantasy tabletop game!

As it nears backer release, there's never been a better time to pre-order Exalted: Essence

Pre-ordering gets you access to the beta document and the early release backer pdf.

What's Exalted you ask?

Exalted is an epic fantasy TTRPG where players play the titular Exalted - humans elevated to superhuman/demigod status - in a wild and unique setting that draws inspiration from the ancient world rather than medieval Europe. Creation (the setting) draws key inspirations from the entire world. If you're used to having to make yourself visible on your own in other fantasy, there's probably some representation in Exalted.

It has explicit queer and trans themes about finding your people, creating your own identity, and having the power to punch back at the people who hate you. This isn't incidental. The writing staff is queer as hell. You can hear me break this down more here.

Curious to learn all you can? Well you can get a detailed overview of the entire game on the podcast Systematic Understanding of Everything hosted by myself, @presidentofbirds and @phillycuriosity

If I'm used to D&D 5e why should I pick this up?

Well, I presume if you're reading this post you're already interested in trying something new, so:

The entire game in one book. Exalted: Essence is self contained, character types, equipment, enemies and all!

An exciting style of fantasy that's different than classic D&D but like, textually gay, and very easy to have scenes like ballroom fights, epic galas, and touching homoerotic healing scenes - no house rules required.

But also, tactical depth and combat you can really sink your teeth into if fighting monsters and villains is your bag.

An excuse to use all your d10s at once

Character building and advancement mechanics designed to be familiar to a 5e audience. Characters "level up" based on story beats, and have Advantages, which are functionally similar to class and race features.

A world welcoming to most heroic archetypes, so it's easy to convert your favorite OC.

Extremely kissable dragons, demons, gods, elementals, ghosts, faeries, and unnamed ancient horrors

I'm a fan of a previous edition, what's Essence got for me?

Design focused on alleviating some of the previous versions' missteps

Virtues are back, baby

2e fans will find it an improvement from second edition's mechanical strengths - it's pretty easy to convert all your favorite 2e Charms to XS.

Streamlined versions of familiar rules to make it painless to introduce new friends to the game we love.

The Cliff's notes on Ex3's new Exalt types.

Did I mention it's all of Exalted in one book?

How does it play?

d10 dice pool looking for 7,8,9 as successes. 10s count as two successes, which can lead to explosive, heroic outcomes

Combat system designed to keep all players engaged the entire time - even characters who aren't focused on fighting at all.

Combat also narrows the gap between experienced and new players and players who want to win at RPGs and players who just wanna vibe so GMs aren't tearing their hair out trying to balance encounters.

Social system designed to resolve in a single roll so you can be immersed in role play and not interrupt it with constant rolling - without sacrificing a variety of social approaches

"Ventures" system for characters working on long term projects from traveling across the world to crafting magical wonders to building communities without forcing this to be "downtime" activity

Characters have access to Charms - exception-based special powers that make them extremely good at whatever they focus on.

It's easily my favorite game (and the project I developed that I'm the proudest of), so I'm excited for everyone to try it out.

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mikesbasementbeets · 2 years

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this is gonna be long, but i want to explain why i think mike wheeler is gay

we all know mike is queer, i'm not gonna try to prove that he wants to kiss boys (because duh), i want to look at the things that indicate mike is specifically gay, not bi - the relevant difference being, in mike's case, attraction to women. in my opinion, the show is full of evidence that points to mike's specific brand of queerness being not only attraction to men but also lack of attraction to women. (which is why i'm writing this, i just think there's so much textually in the show that backs it up) i'm mostly going to focus on his dynamic with el, but i want to make it really clear first that i love el, and i believe mike really does love el too, just not in the way he thinks he should. his arc is about realizing that the love he feels for el is not romantic (while the love he feels for will is).

romantic ambivalence towards el

this has been rehashed so much since the season 4 monologue, but the way mike talks about el when they first find her in the woods, about sending her back to the asylum, handing her over to mike's parents, and getting her out of the way so they could focus on will, and then later calling her a weapon and using her to find will... this is not love. obviously

he starts feeling protective over her when she confides in him that she's in real danger - mike is naturally protective, he’s the paladin of the group, and because she's under his care, he feels responsible for her safety, defending her even from dustin and lucas. he develops a bond with her. however... nothing about this is romantic. the duffers compare their relationship dynamic this season to elliot and E.T., but alongside mike, the audience is told (by everyone except mike himself... he can never seem to get the words out. more on that later) that mike likes eleven... so we start to believe it

there are so many analyses of mike being the one targeted by the homophobic bullies (and we know why - mike is queer). but more than that, the very first time the idea of mike and eleven as a romantic pair is introduced in the show, the scene is interrupted by the homophobes. while lucas is imitating mike professing his love to eleven, troy show ups and starts talking about will, using homophobic language to provoke the party, particularly mike, and then tripping mike as he tries to get away from them. it's the juxtaposition of these two ideas: mike being teased by his friends for possibly liking el vs. mike facing homophobic bullying

anyway, before the bullies show up, when Lucas starts teasing mike about the way he's been acting with el, mike doesn't get it (and he continues not to get it throughout the series... this is a theme), and lucas has to spell it out for him. it's so obvious mike, you like her.

a few episodes later though, lucas actually calls bullshit on himself -

"you like that a girl's not grossed out by you."

it's not that either of them actually like each other but, as lucas says, and as is repeated by mike and others several times, "she's like a stray dog." they're both using each other, mike to find will, and el for safety and protection (not that this is necessarily bad on either of their parts, it's just not romantic)

later, almost immediately after finding out about el, nancy asks mike if he likes her. (a boy and a girl? oh, they must like each other.) mike's response is a very adamant "ew, no, gross."

this scene is interesting to me because you could take it several ways: nancy lies about not liking jonathan, so then mike lies about not liking eleven... (which is still fine, he may think he does at this point) but i actually think it's more than that. season 3 shows us a mike that associates growing up with liking girls. and before eleven, mike hasn't ever liked a girl. at this point, he's still in the mindset that it's okay for him to not like girls "yet." and if he tells the truth so vehemently that nancy must think he's lying... he's probably ok with that (lucas is right, he likes that a girl's not grossed out by him... and he likes the idea of other people thinking that too... maybe it makes him feel like he's growing up, or like other people think he's growing up. idk though that's just speculation).

soon after this scene with nancy is the scene where mike tells el that when this is all over, she can move into his house and his parents will take care of her. genuinely... he was imagining his family adopting her... his sister would be her sister, his parents would be her parents, she could even have his old bedroom

and then she asks if that means he would be her brother... and he realizes something's not right (honestly though i don't think he even understands where it went wrong at this point).

he was feeling a protective big brother type of love for this scared, lost kid he found in the woods, but when everyone started assuming he "liked" her, it all started getting confused in his head. he assumes he must like her, because he's been conditioned his whole life to think that's just what happens (it's classic comp het!!!)

you could argue that he did really have a crush on el, but just never fell in love with her, but i think the far more logical, narrative based explanation for it is compulsory heterosexuality and internalized homophobia... he was told by all his friends and family that he must have feelings for this girl, so he believed them and tried to act accordingly.... but here's the thing. he has never ever gotten the hang of it

extreme discomfort with expressing romantic feelings toward el

mike's storyline in season 4 was entirely centered around his inability to have an open, honest conversation with his girlfriend. specifically, a conversation about their feelings toward each other. honestly, it's about time el called mike out for this. ever since their first kiss in season 1, every time he has had a moment alone with el, (except for their makeout scenes in s3 i guess... but he's kissed her to avoid using his words before. their first kiss.) mike has tried, struggled, and ultimately failed to voice his romantic intentions or inclinations toward el. (and if we know one thing about mike..... he hates lying)

it's such a pattern that it seems obvious to me that the nature of mike's feelings toward el have not changed over the course of their relationship. even the first time, when he tries to explain that he wouldn't be like her brother because..... that would be weird. why, mike?

he is talking around telling her that he likes her, which... fair enough, honestly. he's hinting at it and trying to get her to understand, and i mean, it's hard to tell someone you like them. and like, he's 12. this is fine

but it's about the context. and it's about the pattern

mike is constantly trying to explain how he feels about el, but he keeps putting it in a romantic framework, and that's his problem. it isn't romantic. it never has been. so he can never find the right words, because the ones he thinks are supposed to fit don't feel right, and mike doesn't want to lie to el. friends don't lie

this discomfort also extends to other expressions of romance, like kissing

🧍🏻 yes, he makes out with her a lot in season 3, but like... he's in way too deep at that point. this is heteronormativity and comp het at it's peak. el is his girlfriend (and they're months into their relationship atp), he's a 14yo boy with a heterosexual facade to keep up, and like, kissing is a fun way to pass the time... (it's better than spending it idk talking and finally getting to know each other, right?) and there's also that drawing of will behind her and the way he moves her hands away like he doesn't want her to touch him... idk seems kinda gay to me

......and then there's this

just like in the season 1 scene, with lucas' teasing cut short by the bullies, it's about the juxtaposition. mike's scene with will, followed by an intimate jancy moment, and then this. el kissing mike while he stands (eyes open) in front of a closet (in will's room), the light inside it lit up over his head. i really think this scene is a big moment in mike's realization of what he's feeling, and what he has been feeling. (one of many... he is just constantly being struck with how gay he is in season 4) the coding of this scene cannot just be about mike simply not having romantic feelings for el specifically, (or about it having started as a real crush that just didn't develop further or something). his absolute indifference to el, a girl (the girl he supposedly likes), kissing him is what is making him realize his queerness... which means that part of his queer revelation is disinterest in girls. they're showing us with every narrative technique in the book that mike doesn't have romantic feelings toward girls.

speaking of which

truly, what is this about if it's not mike projecting... what else could this mean (yes, sure, it could mean a lot of things, and maybe they really did mean it more like "yet," but they chose this line. it's way too on the nose to not mean this: mike doesn't like girls.)

it's about a lot more than el. she just happens to be the unfortunate one in the role of "mike wheeler's girlfriend" (she truly deserves so much more). throughout season 3 we're shown over and over again mike's romantic ineptitude with el. lucas, still assuming mike's romantic feelings toward her, spends a good amount of time this season literally walking mike through how to interact with his girlfriend. mike simply doesn't get it. still.

it doesn't feel natural to mike to have a girlfriend, he doesn't want to pursue el romantically, so he has no idea how to act.

i fully believe that lucas has been doing this for mike since the beginning of their relationship. he teased mike about being with el before the movie double date, mike presumably having confided in lucas about his relationship, and vice versa. mike has definitely been taking intensive notes from lucas.

and this isn't just mike being romantically inept in general. his relationships with el and will continuously parallel and contrast each other. (their fights and mike's reactions, for example) and in season 4, with no help from anyone, mike flirts so naturally with will. like he can't help it.

but with el, he's been forcing it since day one.

in real life, obviously things are wayyyy more complicated: relationships, gender, sexuality, all of it. but this is a fictional show that is telling a specific story, and so when i put together all of the narrative evidence from his entire relationship with el (especially when comparing it to will), it seems clear to me that the story stranger things is telling is not about a bi kid confused about his feelings between a girl he sort of likes and a boy he loves; it's about a boy realizing, through the constant juxtaposition of his relationships with a girl and a boy, both of whom he truly cares about, that he actually likes the boy and not the girl. aka, he's gay.

indifference toward other women

there's so much more in their relationship i could point to (other character/relationship parallels, heavy platonic/familial coding, etc), but i'll move on from el. honestly, i'm almost done though... mike doesn't really even interact with any other girls on the show that aren't adults and/or related to him. unless i missed something, the only other girl mike actually interacts with is max.

and istg they are the most platonic just look at them

but seriously, max's whole introduction into the show was primarily contrasting dustin and lucas' positive reaction to her with mike's negative/indifferent one. mike is a complex character with lots of little feelings, but i agree with most of the analysis i've seen about this: mike resents max's presence initially because it reminds him that he doesn't actually like girls in the way that his friends do, that what he has with el is not the same sort of first crush romance that he wants to pretend it is, the kind his friends are actually experiencing now. he sees max, and he sees the way dustin and lucas look at max and... he doesn't get it.

he doesn't like el (his love interest and girlfriend) he doesn't like max, (the only other girl his age he's even been on screen with), he's never shown interest in talking about, looking at, or pursuing any other girls. but... he is in love with his boy best friend. he did smile incredibly dreamily at eddie in the cafeteria. he does have more than one poster of a buff shirtless man on his bedroom wall.

i don't want to go on a bunch of tangents about minute details so i'll end the actual analysis here. i think those are the most important and relevant points. if you've read this far i appreciate you.

here's a couple more random things i consider gay mike subtext

the way his friends react vs the way mike reacts to a girl almost undressing in front of them

self explanatory

you're seeing this, right?

(should i make a post about all the shots of will over mike's shoulder?)

i know this isn't about mike liking boys but. look at him.

mike wheeler... i know what you are

.........gay

#byler #mike wheeler i know what you are #love and respect all headcanons but this is the canon supported truth imo #i'm not 100% satisfied with this i feel like theres so much nuance to it i can't really capture #and also there's an image limit fsdkfhb #but idk let me know your thoughts either way i'd love to hear them #mikesbasementbeets posts

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ianthe-is-a-bitch-and-i-love-her · 1 year

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Building on your response to my transfem WLW ask, you mentioned having gripes about queernorm fiction. Would you be willing to elaborate on those? I have my own, but am curious about your takes.

In the time since I started writing my response, I also received a version of this ask from @st-just, @causticgin, @theoldgodsaredisappointed, and @procyon-potor. Glad you're all interested in my ramblings.

The thing about my experience of queerness is that it is defined by not being normal. Whether people or institutions are accepting of my queerness or not, there is the awareness that it is a way of being that does not conform to societal expectations. The awareness of that, and the specific ways in which my queerness brings me into conflict with societal norms, define the queer experience for me. Queer norm fiction erases that. Oh, you kissed a girl instead of a boy? How do you feel about that? Normal? How does everyone else feel about that? Normal? Then what exactly do we have in common? What part of that experience is meaningfully queer? It's great for validation, don't get me wrong - I would've loved a bit of queer norm fiction when I was 14. But I don't read queer fiction for validation anymore; I read it to see characters and situations that are resonant, and the closest queernorm ever gets to that is "I also kiss girls", which is worth nothing if you strip away all the social and personal implications that come with that statement.

This becomes really, really obvious if you try to include trans characters in a queer norm story. I noted The Final Strife as being unusual for having a trans character, and the reason for that feels self-evident: How do you include an explicitly trans character in a setting where that is apparently so normal and unremarkable that no one would even note it? There are workarounds, but I'm trying not to get too into the weeds here. Suffice to say that in the best case scenario you get a character who textually used to identify with one gender and now identifies with another, and whose lived experience of that has basically nothing in common with my own, or any other trans person I've met.

A lot of queer norm settings are also held together by some very convenient handwaving that the inclusion of trans people stretches. In most queer norm stories I've read, no one ever gets hit on by someone of a gender they're not interested in, and no one ever gets misgendered because their preferred pronouns are apparently immediately obvious even to people who they've never met. And I get the impulse, I really do! Those things are aggravating in real life! But they also aren't always malicious - at one of my old jobs, my presentation was so respectable and normative that everyone assumed unprompted that I had a husband! And I know so many trans people of so many different stripes whose presentation just doesn't cause most people to use the right pronouns without being prompted. So what about those people? Do trans people with indeterminate or quote-unquote "mismatched" presentation not exist in these so-called queer norm settings? Doesn't feel very queer to me.

I feel like a lot of this arises from authors who don't want to sit down and do the worldbuilding for a setting where queerness as we understand it is genuinely normalized. What a lot of these authors want to do - and I don't hold this against them - is take a straight story they've seen a thousand times and drop someone like them into it instead. And they don't want any queerphobia in the story because the straight stories don't have it, and they just want a version of that with queer characters instead. I understand this impulse. I have no gripe with these stories. But they will never appeal to or represent me, because I don't think someone like me could exist in a queer norm world.

I think it's fine that people take the queer norm approach to books that are just "I want a story like this but gay", but I do take issue when people apply queer norm to a book that's meant to have teeth. In CL Clark's The Unbroken, a very well-written book exploring the way imperialist countries destroy other cultures and strip them for parts, I thought the queer norm setting was a missed opportunity. In its sequel The Faithless, a much less well-written book about... Well, let's just say the cracks caused by that decision showed through a lot more. If you want me to believe that, in a hereditary monarchy, it is completely irrelevant that one claimant is unmarried with multiple rotating partners and no children or any apparent interest in having them, while the other is settled and has a child, then I'm going to need some worldbuilding to back that up.

But again, I understand that plenty of queer people don't want to write about queer oppression. We all certainly deal with it enough in our real lives; I understand wanting a break from it in your fiction. The solution, I think, is not queer norm fiction, but speculative fiction. You want trans characters with a recognizably trans experience but no prejudice? Well, what would a society like that look like? How would their values be different from ours, what kind of governance and social structures and priorities would arise from those values, and maybe most importantly, what kind of people would be considered transgressive by that society?

That's the step that I feel like a lot of speculative fiction skips, unfortunately. Every society has an idea of what a normal life within it can look like, and that idea is never going to be all inclusive. I love the Oriati in Baru Cormorant, I love the way that their trinary, self-deterministic gender schema challenges Falcrest's very limiting and repressive expectations of gender, but what about Oriati who don't fully identify with any of the three genders? How do the Oriati view reproduction? For any society to continue, it needs to have new people to carry it on, typically people born into it. When gender and reproductive capabilities are completely decoupled, what effect does that have on birthrate, and societal feelings about children? Is there any societal preference for parings that produce children, or stigma against those that don't?

One series that I think handles this kind of worldbuilding very well is Ninefox Gambit. In many ways the society is post gender; gender is seen as something you can put on and take off as it suits you. Surgical alterations are easily accessible and reversible, with few lasting consequences. However, characters whose professed gender differs from their biological sex, who adopt a gender without going through the accepted process - in other words, people who experience gender outside of the parameters that society has decided are normal - are looked down on. In this way, authors can explore literal representations of queer experiences without writing about real world prejudice, and they can explore the experience of dealing with an equivalent societal prejudice that captures some of the feelings of the queer experience without facing identical struggles. It's something I would like to see more of.

All this to say, as much as I understand the impulse behind queer norm fiction, I find that it makes the characters feel less queer, and all but erases non-cis experiences of queerness. I don't think every queer author is obligated to include real world queerphobia in their stories, but for me to find anything to relate to, they need to explore the queer experience holistically in some way, not just emulate the trappings. If your society treats two girls kissing as completely indistinguishable from a boy and a girl kissing, then in what way are they even meaningfully queer?

#asks #not sure what else there is to tag here #hope this is coherent i guess

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alexissara · 1 year

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Play Thirsty Sword Lesbians

So on bird app I talked about how many community copies of Thirsty Sword Lesbians there was and now 100s of people have claimed community copies of the game [Note Community Copies are free copies of PDFs which are on many itch.io TTRPGs and even community made TSL playbooks]. Since a ton more people now have access to my favorite game and one I've worked on for every edition so far as well as making a fan playbook, I wanted to talk about what is special about the system, what makes me love it so much, and why you might want to give it a try.

Thirsty Sword Lesbians is a simple game to understand but it refines even the most simple parts of it's design to make a better experience. In Thirsty Sword Lesbian's there is no failure or success. You roll d26 plus your modifier then you are either given a down beat, a mixed beat, or an upbeat. None of these mean you did what you intended. You can have a down beat where you knocked out the guard you had been trying to knock out but it turns out she was your girlfriends sister and without the context she just witnessed you assaulting her family. You may get an upbeat trying to do something and trip and fall and end up landing perfectly knocking away the sacred stone that the villain needs to turn the world into skeletons, with witnesses now thinking your amazing where in truth you have never quite been good at this.

Playbooks are designed with great intentionality to them each is designed with an emotional conflict at the heart. Where classes and playbooks can often be more like picking your powerset, in TSL your picking a struggle. It's not that other things might not be also bothering you but the conflict is something internally you are dealing with that's standing above the rest of the other conflicts you might have. This is an element that just feels very queer, we all have our problems, our traumas, and we work through them together. Each playbook also has a core mechanic that makes it stand out from the others, these have a narrative weight and a textual weight. These core mechanics typically take the form as some advantageous ability but are also deeply rooted in your conflict. They encourage you as a player to roleplay just by using the most basic aspect of your character.

I have to be real though, the thing that first made me fall head over heels with Thirsty Sword Lesbians was how funny and cool the adventures were. When I was reading the playtest version of the game, before I was brought on to write Yuisa Revolution and later The Matriarch, I was just playing a one shot and thought the name sounded fun. I read Best Day Of Their Life and just knew, this game was gonna be utterly my shit. At first I was just skimming like I do with most TTRPGs at first glance, but I read the first couple lines of the setting and I decided "fuck, I have to read all of this." I read the whole thing, made a character for my one shot and right after that session signed up to run multiple one shots of the game so others could get to play it because I loved it so much.

I don't normally like to play in premade settings but each of these are simple enough to really build on with enough going on that made it easier to run if you didn't want to get super creative and make a bunch of new shit. It really made me fall in love with setting writing in a way I just didn't before. I had gotten asked to work on Mutants and Master Minds before I TSL but I thought it was so boring working on the setting I quit and left money on the table. However, when April approached me to write a setting, I said yes, right away, no hesitation and now I work in TTRPG design. I had done TTRPG design work before but I wasn't locked in after quitting comics, it was how exciting the settings were that got me so inspired to create.

While many refer to Thirsty Sword Lesbians as a Powered By The Apocalypse game and by all means it is in a lot of senses, I think Powered By Lesbians is a very distinct flavor. It cuts out everything bad about PBTA and adds so much to the table. Chiefly among them is the smitten mechanic which is a mechanic I wish like every game had. It is one of the most clever pieces of game design ever convinced of. Being smitten has you do a moment of dramatic introspection, while I am one for more bright and cheery and less drama focused stuff, it's amazingly juicy hooks for a GM to get into. It not only allows you to put out your characters personal doubts about a potential relationship but it also says to the GM and everyone playing "I like this character, I want to see more of them, I want to explore where this goes." It's also in addition a way for players to tell each other "I want to be romantic with your character" and if they chose to get smitten back it's mechanically saying without even needing an out of game chat "Let's roleplay some romance."

Thirsty Sword Lesbians is really something special, I could gush on and on but already a lot given I worked on it and am currently working on it but I just wanted to talk about why the system is special to me. I hope I got you interested and I don't make any royalties on TSL sales [yet] so like I am not really biased here outside of the pages I worked on and that I made friends with a lot of folks who worked on it over my time working on it and after. Go clash swords and cross hearts.

#TSL #thirsty sword lesbians #TTRPG #Indie TTRPG #Gay Games #Lesbian Games #Sapphic Games #Queer Games #lesbian #trans #lgbt #lgbt+#gayming

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ladyloveandjustice · 11 months

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Spring 2023 Anime Overview-Mobile Suit Gundam: The Witch from Mercury Season 2

In my review for season one of Mobile Suit Gundam: The Witch from Mercury, I praised the show for being a compelling sci-fi full or intrigue, centering a well developed queer romance between the robot-piloting protagonist and all around precious girl, Suletta Mercury, and her fierce fiancé, Miorine Rembran.

But having been burned by anime before, I said I would hold off on recommending the entire show until it finished, and crossed my fingers tight that season 2 wouldn’t drop the ball.

The great news is that I can now wholeheartedly recommend the show. The final season did not drop the ball. It remained a great watch, the romance and relationship development continued to be worthwhile and excellent, and it was consistent with the strengths of the first season. It wasn’t perfect, which I’ll get into, but it was very good. Whether you’re here for girls in love, robots wrecking each other, tense battles between opposing political factions, or morally-horrifying moms on a revenge spree, you’re in for a treat.

The shocking last moments of the first season have some great relationship fallout, and the series delves into how Suletta was truly brainwashed by her mother. Miorine’s struggles to come to terms with the bloody legacy she’s inherited and her relationship with Suletta can withstand such a thing. Suletta grapples with her mother’s deception and her own individuality. Both are compelling arcs that built upon the groundwork the first season laid and lead to some nice relationship drama.

(Also, the credit sequence was awesome.)

The parallels between the two girls really pop this season as they both have to confront their mistakes, shoulder their sins, and see if they can move forward with the other. You really see how they mirror each other, and how they need each other. The romance ball isn’t dropped and becomes even more textually explicit, with Suletta explicitly stating she's into Miorine and no one else and eagerly anticipating the wedding, while Miorine also makes her intentions with Suletta very clear.

The second season is also a lot faster paced than the first, delivering tense and heartbreaking episodes one after another and leaving you on the edge of your seat. A lot of the conflicts that had been building from the first episode came to an explosive crescendo. Those bombs dropped and the carnage was wonderful. It was exciting, we saw more sides of the conflict, spent some time on earth, and got to see some unexpected depth in several characters. And yes, there were approximately a million more Utena references, some that made me laugh out loud.

However, this season wasn’t perfect. I was already having a little trouble following all the different factions and agendas in the first season, and this season exacerbated the problem. And while some characters got great roles, there were just so many. That meant a lot of them didn’t have any space to develop or even serve a clear purpose. There were a lot of characters I was excited to see do something, who the show built up as super ominous and meaningful and...then they did nothing. As funny as it is that several characters can be summed up as "s/he did fuck all the whole show and then bounced, king shit", it's also a letdown.

And this season really threw into focus how many of the more distinctive supporting characters were barely explored. Suletta’s bond with Earth House was a major plot point, but we barely know anything about most of them so it doesn't hit as hard as it should. Even Chuchu, who was one of the more developed ones, felt under-served as fan favorite. For instance, there were several bits where she entered the battle and it was treated like a big deal…and we didn’t even get to see her fight, presumably because the show didn’t have time. And it was worse for other characters- I couldn’t even tell you the names of most of the girl squad working with Shaddiq. They all had such potential as characters, I wish we'd gotten more of them. Things that should be impactful the narrative, like Miorine's dad and the consequences to his actions and what it means for their relationship, were barely explored (not that I'm all that interested in him, but it was weird after the emphasis the first season put on it).

No major balls were dropped in the conflict between the Spacians and Earthians, but it also felt like it got lost in the shuffle at times and I felt like the show could have had a clearer ideology. The “war is bad” and “exploitative corporations are bad” came through loud and clear, but it felt like some threads could have been followed up on more.

In hindsight, I was also disappointed how much of the season Suletta and Miorine spent separated- some of that was plot relevant, but some of it was just clearly so they could learn exposition separately, and considering how important the relationship was to the show, it felt like a waste.

A good chunk of screentime was also waited Guel’s brother, Lauda. While Guel’s arc was solid and he’s the character who changed the most throughout the show, his brother and his tendency to blame any woman Guel was standing near for all their problems was not compelling (Nanami did it better). So it felt like there was a conflict involving him just to give Guel something to do during the fighting and tie a bow on things. Even the characters involved admitted what happened was kind of dumb, and I would have liked to see one of the more interesting unexplored characters get development instead.

The finale was especially rushed, and while there were cool moments, I couldn’t really describe how the battle was fought, and even one of the characters in the show admits that certain plot developments don’t make sense. I also couldn’t tell you exactly how exactly the villain’s big plan worked, which is kind of important!

You just had to be like “oh okay, well, pretty lights, stuff happened, don’t know why that was a thing, that was the power of love I guess, I’ll just soak up the vibes.” Which isn’t the end of the world, a lot of anime does that, but it stuck out because all the battles before that had their fantastical mechanics (mostly) clearly explained, There were also several reconciliations I would have been more okay with if the show had spent more time on what the messy process of repairing that broken trust looked like, but because it didn’t, it felt unearned.

And finally, the show spent a lot of time talking about a huge romantic event and in the end we…didn’t see it. It’s made clear it happened off screen, but the fact we didn’t see the event the show itself made such a big deal about felt like a let-down and even a bit of a cop-out, if I’m being honest. I get that outside forces may have been responsible, but it doesn't change my disappointment.

Basically what most of the complaints amount to is that I really enjoy this show, but I feel it needed to be longer than it was. At the very least, the events of the final episode could have used two episodes to unfold, so everything could be fully developed, and we could fully see how the characters ended up where they were. But ideally…Gundam series are typically 50 episodes, and I feel like this show might have been better served as a show of that length (or even 37 episodes/3 seasons). This show had a huge cast, a huge world, and a lot going on. I think we needed to spend a lot more time with the characters to get to know their backstories, personalities and agendas. I would have loved some “filler” episodes focusing on a minor character, or Suletta and Miorine going on a disastrous date.

However, overall I was satisfied with the ending. I came out feeling like a winner. It was fun, a lot of the characters ended up where I wanted them to be, and I liked how things turned out. There was an acknowledgement that a corrupt system of war profiteering and exploitation could not be taken down in one stroke, but that our heroes were going to keep fighting. I dearly want a slice of life following all these people at the end of the day, and my investment in the characters is a sign of a job well done.

The show also continued to treat it’s array of fat characters with respect, and it had some good disability representation as well, highlighting some disabled people leading fulfilling and joyful lives.

I really wish G-Witch could have been the absolute best version of itself. But the version we got is still pretty great. I definitely had a fantastic time with the show, was often touched by it, and I’ll carry the excellent characters with me for a long while. The textual romance between two female leads in a mainstream franchise like Gundam is a monumental achievement, and the show handled the relationship well. I hope its success opens the door for more like it. We deserve more stories like this- stories of all genres where queer people are important and get to go on grand adventures, are protagonists, are a normal part of the setting, where we see the kind of people anime usually ignores (fat people, non-Japanese people of color, queer people and disabled people...) are treated with respect, where the story embraces all even as it explores injustice. G-witch is an important step, and I’m sure it will be remembered fondly for years to come. And I sure wouldn’t say no to an OVA to fill in some of the blanks.

#mobile suit gundam #gundam the witch from mercury #gundam suisei no majo #mobile suit gundam: the witch from mercury #gundam witch from mercury #suletta mercury #miorine rembran #my reviews #anime overview #spring 2023 anime

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megafaunatic · 10 months

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Sooo, how do feel about When the Angels Left the Old Country then? I was going to check it out, but I'd love more thoughts on it.

I LOVE WHEN THE ANGELS LEFT THE OLD COUNTRY

READ WHEN THE ANGELS LEFT THE OLD COUNTRY BY SACHA LAMB

i just finished reading it for the third time and it came out in: october 2022

it's written in the tone of a classic yiddish folktale in a way that's really refreshing and fun, especially if you're used to reading books that don't have a ton going on stylistically - it's technically YA, but definitely doing something different from most other YA in terms of sheer style while remaining a very fun coming of age story for both the human and angelic characters. on a craft level it's excellent!

all the characters are super fun and interesting and well imagined - there's a pretty small core group with a larger ensemble cast, and all of the core characters are REALLY well developed - and even the minor ensemble cast each get moments of narrative insight into their lives and emotional landscapes in a really fun way. AS u May Know i am constantly writing fanned fictioneds but i actually don't really feel the need to write any for angels even tho i love it so much, simply bc i mostly just don't have anything to add!

my commentary earlier re: angels containing textual homophobia & antisemitism refers to those as intentional threats in the story, NOT like . "ohh angels is homophobic" JUST TO CLARIFY LOL!!!! it is a deeply queer and jewish book and those elements are there on purpose as part of the story being told

to try to elaborate while not totally spoiling, EYE personally really love the way in which the homophobia is present in the story - i DON'T generally want to read characters being called slurs or being violently assaulted - but i Also don't particularly like or appreciate books where homophobia just like magically isn't part of the world, esp with books like angels where it's set essentially in our universe... like, the idea of someone trying to write abt queer characters navigating the pale of settlement and ellis island and early 20th c nyc Without feeling the threat of homophobia in addition to the antisemitism and ableism and racism that are intrinsic features of those settings... would be repugnant lol

like, there's really only a couple moments where "the idea of homophobia" is specifically invoked, but its reality is BAKED into the ways the characters interact with the world and each other in a really realistic and subtle way. i think lamb does a really good job of like... making it clear what the characters have words for and what they don't. they all know exactly what antisemitism is and how it looks and functions, bc a core part of jewish tradition and celebration is literally just talking about all th times gentiles have tried to destroy jewish people. but the characters DON'T really have words and structures for how they're affected by ableism and homophobia or even really straight up misogyny - the reader is expected to do that work of identification themself in a way i really love

anyway. to anon and to anyone else who has been thinking abt reading when the angels left the old country: you should read when the angels left the old country 🫡

#when the angels left the old country #book rec

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onbearfeet · 1 month

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Queerwolf By Night: Queercoding, Media Literacy, and Werewolf By Night (part 2)

Welcome back to Media Studies And Writing Hacks With Kat! Part 1 is here if you missed it. We discussed queercoding: what it is, how it works, why it exists, and how it plays into the 1930s and 40s horror movies Werewolf By Night likes to reference.

Once again, the thesis I'm arguing here is that there is queercoding in WBN, and that it should be part of the discussion of the special (which I'm calling a movie or film because I think "special presentation" is dumb and this is my essay.) I am NOT arguing that WBN is explicitly queer, or that inferring heterosexuality where queercoding exists is morally wrong or even textually inaccurate.

TL;DR: you can totally still ship Jack and Elsa, I just wanna point at some metaphorical rainbows and say, "Look! Rainbows! Aren't they neat?" I personally think the queercoding adds a layer of richness to the story. I hope you get something out of it, too.

And now, allow me to introduce our starting point, the wolfman of the hour, everyone's beloved blorbo and queercoded icon: Jack Russell.

Look at this adorable protagonist, this absolute chewtoy of a human being.

He's queercoded as fuck. Not as much as Ted, but we will GET to Ted.

Let's begin with Jack's introduction, where he is literally revealed as the narrator speaks the phrase "the monster who finds himself among them". We join Jack as he enters an unknowingly hostile space, a building full of people who would literally mount his head on the wall if they knew who and what he really was. Jack's introduction to this world is a series of Bayeux-style tapestries showing, among other things, the gory slaughter of his kind. We see him react with a mixture of shock, queasiness, and tamped-down anxiety, which marks him as an outsider. It seems unlikely that the other hunters would be grossed out by the sight of a depiction of their literal jobs.

Now, outsider status alone isn't necessarily queercoding, but it often is, especially in monster movies. Jack's reaction is not dissimilar to that of a closeted person entering a homophobic church for some kind of socially expected ritual--and, indeed, Jack has come for a funeral.

Look at that nervous glance as he walks into the room. He's not comfortable here. He knows he doesn't fit in.

This is a good time to mention Jack's outfit and the way it intersects with what we see of hunter culture. From the leather to the weapons to the heads on the wall, the aesthetic of hunter culture in WBN is hypermasculine, almost to the point of parody. The obsession with imagery of violence and death (the paintings on the walls, the corpse animatronic, the skull bowl) and the hostility to anything perceived as feminine is marked.

Wait. Hostility to anything feminine? Yes, I said that.

There are three characters who are played by female actors: Elsa, Verussa, and ... look, the hunters HAVE names, but I'm just gonna call them Scottish Guy, Asian Guy, Black Guy, and David Bowie. So David Bowie is an adrogynous character played by a female actor who acts as our third not-exactly-a-male character, and it's interesting to me that they're taken more seriously by the other hunters than Elsa is. Elsa, by contrast, is treated with contempt by the other hunters--and the contempt is very specifically gendered. Scottish Guy calls her "lassie" when he threatens her, and Asian Guy says, "Where's the lovely lady's medallion?" with a noticeable leer. They don't take her seriously, not even after Verussa announces she's welcome to participate--and they only brighten up when Verussa reminds them that they're allowed to kill Elsa if they can. That's the response to the only unambiguously female hunter.

Now, you may point out that Verussa doesn't get nearly as much shit from the hunters, but Verussa is explicitly presenting herself as the servant (and sexual partner) of a man. She's also not competing with them for the Bloodstone, nor trying to inherit, even though presumably she has at least as good a claim as Elsa does. She's not trying to enter the hypermasculine realm of hunting, but Elsa is in it, and so Elsa is despised and Verussa is tolerated.

And then there's Jack.

Okay, time for Baby's First Queercoding Element: gender nonconformity. In general, feminine male characters and masculine female characters (something explicitly forbidden by the Hays Code, by the way) are coded as queer. A lot of gay male stereotypes are men doing "womanly" things, like cooking and wearing dresses and having sex with men. The same goes for lesbian stereotypes like short haircuts, manual labor, and having sex with women. Now, obviously ACTUAL queer expression is infinitely more complex, but stereotypes don't do infinite complexity.

So. Is Jack feminine?

Well, he's wearing a gentleman's suit, but by the standards of hunter hypermasculinity, yeah, he's pretty girly. For one thing, he's wearing that suit in a room full of people in combat gear. For another, the suit itself is full of fussy details that mark him as a man who cares a great deal about his appearance, another stereotypically feminine trait. The suit is green, a barely acceptable color in menswear, and it has glittery details like the trim on his lapels. The spinal-column tie is metal as fuck, but it's also a silk tie. He's doing the death-and-gore theme, but making it high fashion. He's even wearing makeup. Granted, it's Día de los Muertos makeup, but it's still pigment on his face for aesthetic purposes. He's also the only hunter who acknowledges, in dialogue, that he has non-white, non-USAmerican heritage--"It's to honor my ancestors." He marks himself (literally) as visibly foreign, even though denigrating foreign masculinity is a big part of American hypermasculinity. He also tries to smile at and befriend every hunter who glares at him--another stereotypically feminine trait that leads to his conversation with Scottish Guy.

Speaking of, that conversation is gay as hell. It's practically flirting, especially the part where Scottish Guy compliments Jack's makeup and then tearfully admits that hunting and living all by himself "gets lonely". And Jack makes this amazing face:

Now, this is me inferring again, but I read this face as a combination of "Aww, that's sweet of you" and "Loneliness caused by hypermasculine self-isolation? I literally have no idea what that's like, but it sounds bad, bro." Perhaps with a soupçon of "Get me out of this conversation aaaaaaa."

So the scene rolls on, and Jack continues to be Bad At Toxic Hypermasculinity. When his top kill count is mentioned, he shrugs it off rather than taking a little bow like the others do. He actually chuckles at Ulysses' joke. He seems mildly interested in Elsa rather than hostile, and amused by her snark rather than threatened by it. He shows fear and worry when he learns Ted is in peril and in pain. The guy really wears his heart on his impeccably tailored sleeve. Notably, none of these traits are bad, per se--they're just more likely to be assigned to feminine characters, and they're given to Jack.

It's important to note the impact of perspective here. Jack is our POV character. If there were to be a hunters' version of this story, Jack would be a sneaky, cowardly, vaguely effeminate villain and Elsa a traitor (or possibly a dimwitted victim seduced by Jack's charms). All of Jack's queercoding would make him a GREAT queercoded villain; it's just that here, he's the protagonist, and a deeply sympathetic one at that, so we miss some of his "unmanly" traits.

All right, let's fast-forward to the maze. We see Jack being clueless and awkward about the drawing of lots, we see some sneaking around, and then we see his first hostile encounter with Elsa, and we get this great exchange:

Jack: I suggest we just pass each other by.

Elsa: ... What?!

Jack, visibly pained by the awkwardness: I suggest we just ... pass each other by.

Jack is uncomfortable with violence. He actively avoids it, talking his way out of trouble when he can and running when he can't. Even Elsa points out how strange he is compared to other hunters, specifically because he avoids violence. He doesn't kill or even hurt anyone in his human form. He doesn't even know how his explosive works--to the point where he asks a woman if SHE knows how to work it.

I'm not saying violence is an inherently masculine trait, but the association of masculinity with a capacity for (and comfort with) violence runs deep in Western culture in general and American culture in particular. It's a huge thing in Mexican culture as well, and yet Jack is actively choosing not to participate in it. He's denying a core part of what would otherwise be his traditional gender role. He later tells Elsa that any "hunting" he does is done by "a part of me that is not me"--a part of himself that he doesn't see as himself. In his eyes, violence is not merely scary or distasteful; it's not part of him at all.

(Compare this to all the ass-kicking Elsa does.)

And then we get to Ted. Buckle up, guys.

Technically, our first introduction to Ted is a distant roar and some screaming, but the moment where we meet him is this:

A jumpscare, followed by a cuddle.

Once again, Jack wears his heart on his sleeve, but more importantly, let me draw your attention to the juxtaposition of Ted's scary grab and Jack's excited snuggling. This relationship is introduced as something scary before being revealed as something sweet--and "scary" is a good description of the portrayal of queercoded couples (who are, remember, usually villains) in classic cinema. All the cinematic language around Ted right up until the grab is telling us to be afraid of him--and then our cinnamon roll of a protagonist starts petting him and greeting him and asking if he's okay. Ted is monstrous and inhuman ... right up until we see him receive affection from another man.

We don't get clear details of Jack's relationship with Ted, but we know that it's a big deal to them--after all, Jack is risking his own life to save the big guy. Jack also describes Ted as "family" and, with a fond eyeroll, a "pain in the ass". Jack implies that he no longer has contact with his family of origin, a common experience for many queer people who are shunned for leaving the closet, but Ted slots neatly into the category of found family. Ted is also, notably, the only close relationship Jack is seen to have, just as Jack is the only close connection Ted is seen to have. The two are physically affectionate (again, cuddling) and emotionally vulnerable in their conversations.

And Elsa, the outsider to their relationship, finds the whole thing bizarre, right down to Ted's name.

Speaking of Elsa, let's talk about Jack's behavior in the crypt and the cage.

In the crypt, Jack displays compassion for someone who has largely been hostile to him (he REALLY wants to fix Elsa's leg), absolute delight when he receives the tiniest signal that she might be sympathetic to him ("It's not in your DNA, then?") and remarkable emotional intelligence (see his speech about families). He also, notably, doesn't hit on Elsa or indicate any sexual interest in her.

He also makes this terrific face when he's handed a skull:

Oh, yeah, that's a big, scary hunter there.

Now, the cage. Jack's response to being put in the cage (and stripped of his jacket, interestingly--little bit of dehumanization there, perhaps) is recognition, followed by attempts at reassuring Elsa, followed by panic. He's arguably more upset than Elsa is, and Elsa thinks she's about to be torn to shreds.

At two points in this story, Jack Russell finds himself trapped in a small space with a beautiful woman and more or less immediately freaks out. It's not the most heterosexual pattern. In fact, it's got strong thematic overtones of queer men being forced into straight relationships by their families, their work, or their society. In a culture that entwines sex and violence, the fact that he's delighted to be grabbed by a male swamp monster but begs for death rather than symbolically do a sex with a woman is noteworthy.

"Symbolically do a sex"? Yeah, the only times the film frames Elsa as anything like a sexual object are the transformation sequence, which is a visual callback to classic sexualized scream queens of yore with her literally in Jack's shadow, and the face-touching scene, where Jack straddles her, their faces almost touch, and then he flees and she sits up with her hair mussed in a dreamy, almost post-orgasmic way.

Michael Giacchino doesn't eroticize violence MUCH, but he's fairly classy about it when he does.

"But wait!" I hear you saying. "What about the sniffing scene? Isn't that eroticized? And it's between Jack and Elsa! Checkmate, liberals!"

First of all, how dare you call me a liberal when my preferred political descriptor is "chaotic good". And second of all ... well, you're HALF right. It IS eroticized...but not because of anything Laura Donnelly or Gael Garcia Bernal is directly doing.

Go watch Elsa's body language during the scene. It's awkward as fuck. She's curled in a ball, knees and elbows out, letting Jack pull on her arm and sniff her hair but not really participating. There's no indication that she wants to be doing this, or even knows what "this" is.

Gael is making a little more of an erotic show about it; in fact, the intensity of his sniffing would probably be an indicator of sexual desire--if he weren't CRYING WHILE HE DOES IT. That's why his voice breaks on "Once."

These are both excellent actors, making very intentional choices with their voices and bodies. They're playing the scene as something that COULD be sexy IF THEY WEREN'T BEING FORCED TO DO IT.

Seriously. There's enough fanfic now that we've all read Jack giving Elsa a leisurely, consensual sniff. You can't tell me Gael and Laura couldn't have made that happen. This is not sexy sniffing. This is angst sniffing. It's just angst sniffing between two beautiful, sympathetic characters who genuinely don't want to hurt each other. It could have been acted and shot in a much sexier way, but it wasn't.

It's also worth noting one last category of queercoding that WBN plays with a lot: dehumanization. A lot of those classic movies played their queercoded characters as specifically less than human, visually aligning them with disliked animals like rats or wolves and often making them literally less human as the story progressed. Even after the Hays Code, monstrous and inhuman queers became a staple of horror movies, especially in the 1980s and 90s as the AIDS crisis convinced a lot of conservative America that LGBTQ people were literal plague rats. There were proposals to tattoo HIV-positive people to identify them, to round them up into camps, to shut HIV-positive kids out of schools because those kids were implicitly queer and therefore not deserving of human rights like an education.

WBN, with its werewolf POV, pushes back on this trope in some specific ways. Jack's line about being "still a human" is an obvious one, as well as his explanation of "systems" to keep other people safe. (It was common during the AIDS crisis for queer people to be fired from their jobs if they were outed because they were considered an AIDS risk to their coworkers--even if they were, say, an office worker who didn't have any contact with other people's bodily fluids. There were conspiracy theories about AIDS spreading through shared soda cans. Those paper seat protectors in public bathrooms came about because of fears that AIDS could spread via toilet seats. So imagine a gay man trying to explain that he's not a threat to his officemates, and you'll see the parallels to Jack trying to reassure Elsa.)

Most notable, however, is how Elsa survives the wolf. She's safe because she maintains eye contact (implicitly acknowledging her and Jack's shared humanity--she literally refuses to stop seeing him) and because he remembers her scent (she becomes a part of his world as he becomes part of hers). Elsa is rewarded, both with her life and with her inheritance, for treating Jack and Ted like human beings when the world around her regards them as abominations.

Elsa is an ally. She's ally-coded. She can also be read as a love interest for Jack, but she consistently acts in support of his relationship with Ted as well.

In Part 3, we're going to talk about the crowning moment of queercoding in WBN. That's right--it's time to learn about coffee in the woods, the gay jukebox, and the Friends of Dorothy.

#werewolf by night #werewolf by night meta #queer coding #jack russell #ted sallis #elsa bloodstone #attempts at formal analysis #what am i even doing #i hope someone actually likes this #jfc this is so much longer than i planned #nobody get mad at me please #i am literally just pointing at the thing we all like and saying “look a good bit”#long post #media studies and writing hacks with kat

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riverhag2 · 8 months

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my favorite characters die in my favorite media all the damn time

my current hyper focus is a tragic opera that ends with my blorbo having his life flash before his eyes in a horrid fever dream where he's confronted for perhaps the first time with how horribly he's failed everyone he's ever loved and then he dies

death isn't the problem

pointless and hurried stuff-her-in-a-fridge death that doesn't actually even serve the narrative purpose cobbled together as an after-the-fact explanation is the problem

the idea that Izzy's arc was "over" is frankly ludicrous

he'd only just begun to rediscover the parts of himself he'd buried away or lost to piracy, to Blackbeard, to Ed

he'd only just found love with the crew

he'd only just started the arc that Stede and Ed set off on in the beginning of s1

his death does nothing for his character

it also does nothing for anyone else's

smarter people than me have spoken extensively on why the "mentor/father figure" thing is just outright non-existent in the text

even without that, the show is obviously trying to use Izzy's death to free Ed from the mantle of blackbeard and that would be a valid and interesting narrative choice if you'd set that up at any point before the last five minutes of the last episode but um

Ed had already begun the work of releasing himself from blackbeard, and even when he dons the leathers once again, it's not even the tiniest bit for Izzy's sake nor in any way at Izzy's insistence or encouragement (and in fact, Izzy had already encouraged him to step away from it)

whatever is still tying Ed to blackbeard, it is textually very much not Izzy

Izzy's dying sentiment of "they love you" holds no water because out of Ed, Stede, and Izzy, only one of them has actually connected with the crew this season and it sure as fuck isn't Ed

Izzy's dying admonition of "you're surrounded by family" is immediately followed by Ed and Stede fucking off and leaving the ship

there's nothing in Izzy's death that serves Ed narratively

there's apparently then the argument that Izzy is representative of old piracy, a dying world, and therefore he must die (which, ok, fine, but to what end?) but that's *actually insane* in the context of a show entirely about starting over in middle age

killing a character is often a good narrative choice, but if you're gonna kill him, doing it with a stray bullet in the middle of his arc in a way that does nothing to further anyone else's narrative is at best a cheap emotional punch

death also is the problem though

in a show where mortal wounds seem to pass almost unnoticed amongst our heroes, casual death by a stray bullet is bonkers

in a show where the only real villain is a cruel and corrupt state, to punish with death someone at the mercy of that cruel and corrupt state is bonkers

most importantly: in a show that presented itself as ultimately being about queer outsiders finding family in each other, there's no good reason for any of the foundlings to die

even assuming they're planning some miraculous resurrection for Izzy in s3, they work very hard to show you precisely how dead he is here

they want you to know and believe that he absolutely is dead

Lucius falls into the sea in a way that no one ever once believed actually meant he was dead

in contrast, we watch the light go out of Izzy's eyes after he tells Ed he's ready to go

we see him buried in the dirt

if this truly is meant to be impermanent, then it is even more cruel and meaningless than if they actually just killed him for nothing and no amount of "indestructible little fucker" foreshadowing redeems it

I hate everything about this ending, for everyone involved

it's such a disappointment

#ofmd izzy #izzy hands #ofmd #ofmd s2 #our flag means death season 2 #ofmd spoilers

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sophia-sol · 2 months

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Delicious in Dungeon (Dungeon Meshi), by Ryoko Kui, translated by Taylor Engel

I decided to read Dungeon Meshi because I kept seeing people on tumblr posting about the new anime adaptation, and it looked fun and cute. And although I don't watch much tv, there was an entire manga I could read instead! So I did.

The basic premise: in a world where adventuring parties going on dungeon crawls is a thing that happens, one guy has a dream: to be able to cook and eat all the different kinds of monsters in the dungeon, to be able to find out how they taste!

And because his party needs to be able to head deep into the dungeon to rescue a party member who was left behind, and they don't have the funds or the time to collect supplies, all of a sudden they have REASON to need to eat monsters. They're going to forage and hunt for all their meals as they make their way down.

So using that as the basis, the manga goes on to explore the worldbuilding, the interrelationships of the characters in the party, everyone's backstories and reasons for being there, a developing plot, and of course, the ingredients and nutritional composition and flavour of every meal they eat.

I absolutely adored every bit of this!!! The main characters are all a delight, and it's the kind of story where the author sees and shows you the inherent personness of all characters, including antagonists. And the world created to make sense of the dungeon's existence is fascinating, as are all the ways the ecosystems within the dungeon are expanded upon to make sense of the creatures living within it.

And it's a story that knows what its themes are, too, and is able to tie them all together in extremely satisfying ways in the climax of the narrative!

I had this moment leading up towards the ending where I was like:

[thematic spoilers below the cut]

ohhhh it's about….everyone being part of a balanced ecosystem of life and death where everything sustains everything else! the various human species included! and I was filled through my very soul with this feeling of connectedness myself.

Anyway it was amazing and I had a lot of feels.

And as well as enjoying all of that, I also just really loved our main characters! We start out seeing them all fairly shallowly but over the course of the story as more aspects of them are revealed they're all just…..I love every one of them.

I did struggle with a few aspects of the manga, but none of it significantly affected my ability to enjoy the read:

It kept adding more and more characters, and I got rather lost occasionally trying to keep track of them all. But ultimately it's not vital to remember every tertiary character to get a good read out of this, so it's not as bad as it could be.

In the mid to later parts, it became a lot more plot focused and actiony than I'd really been expecting, in a way that made it harder for me to follow, since fight scenes in sequential art are challenging for me. And occasionally it drew back more than I wanted from its focus on food. But it refocused eventually!

It turned out to be pro monarchy in the end, which isn't my fave, but it's not like a major theme of the manga or anything so I could overlook it.

I kept expecting it to have at least a little bit of textual queerness, and there wasn't any as far as I could see! Even various background relationships or depictions of people's attraction was m/f. But uh. Falin/Marcille, anyone? There are some powerful vibes there. (I'll also accept Laios/Kabru)

In conclusion, I highly recommend it, and if you want to read it, you can read the whole thing online for free in English translation here: https://dungeonmeshi.com/manga/dungeon-meshi-chapter-1/

#dungeon meshi #delicious in dungeon #ryoko kui #book thoughts #sophpost

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meruz · 5 months

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another ask post

i mean i also read it because a friend whos rly into queer SFF fiction circles recced it but she did kinda lead with "the writer used to write hs fanfic...tasmyn..taz...?" to which i replied

of COURSE I read the locked tomb because i heard taz had written a book. of course. ill consume most any media made by a beloved homestuck bnf. thats also why i played undertale. and read like..snotgirl. and idk... watched the new dub of neon genesis evangelion.

if u made homestuck fanwork 10 years ago and havent even made it since chances are I still remember and I love you for it.

sdlkfhsg its funny you sensed that because that drawing did in fact start kinda more........ well, I'd be lying if I said my hands never wrought a drawing toeing over the pg-13 line LOL...

NOT to say i have a secret stash of porn or anything. in general im more interested in the implication of sexuality or mature themes over any explicit depiction. like everything i draw is so softcore itd almost feel silly to make a nsfw acc for anything.

but im not rly jumping to post anything on main either bc i get the sense i have a lot of kids in my social media following. it varies from site to site and fandom to fandom but the themes in my work often circle around childhood, coming of age etc and in general i like stories about kids so the fandoms i draw for have a lot of kids in them. even stuff like IT (stephen king) which is about kids but isn't necessarily for kids.. there were a lot of kids in that fandom lol.

actually thats why ive been censoring swears in comics lately because the tmnt fandom comes across to me as a little young...IDK I've had MULTIPLE people ask me what "sodomize" means because of the joke in this post and I'm like... I Cannot be the one to explain this to you. you have to look it up on your own klfsdhsdg like i wouldn't be doing this if i were doing a comic for mgs or even homestuck wherein the characters textually swear constantly LOL but sometimes u gotta change tacks depending on the faces u see in the crowd yknow.

i HAVE been thinking abt drawing nsfw of sunspot/richard rider/kobak from x-men red just because that comic seemed to be really asking for it. who knows.. if the need rly arises maybe my separate account policy will change.

its rly more a matter of the fact that i havent read/watched much of any other iterations... im sure id like most lol. I like most things related to my interests regardless of quality. i rly like the marvel ultimate alliance games for instance. sometimes seeing my fave guy is enough he doesnt have to be well written LOL. i dont exactly have a wealth of free time tho thats the real impediment.

i did watch the 2007 movie on new years eve and found it quite charming overall. and i have read about 30-40 issues between the mirage and idw comics. still feels like im barely scratching the surface but i liked em. i rly want to read all the sophie campbell stuff bc i think her work is interesting. jason aaron will be a mixed bag i think lmao. i say as the worlds biggest Wolverine and the X-Men (2011) fan.

hmm this is kinda hard bc i feel like i naturally draw very loose and the hard part for me is tightening it up. maybe some suggestions tho...

1) hand excercises. i think its easy to forget this when many artists sit in front of the computer all day but drawing is a physical activity u do with ur actual...bodys...muscles lol. if u feel urself tightening up it might help to strech (any google search for "artist hand excercises" should yield good results) or do a page of loose practice strokes like..big circles. long lines. scribbles. that kinda thing. whatever feels good for ur hand. this is also just good to do as a general warm up before u sit down for any drawing sesh.

2) draw further away from the canvas. as a general rule...when ur painting traditionally you do the big strokes with your whole arm outstreched and a long handled brush. and when you do the details its smaller wrist movements and a shorter handled brush. so it might help to take a step back or push back from ur chair a little.. or hold ur tablet a little further away. and hold your pen further away from the nib.

3) change mediums / brush types. some brushes and mediums are more suited to loose sketching and some more inclined towards detail work. so changing ur tool could help. also! i personally have this problem where sometimes if im using a brush i feel really familiar with the pressure to make a "good" "finished" "perfect" drawing is greater... if i want to force myself to loosen up ill switch to a tool i dont use as often so it feels like the pressure is off. a lot of times for me this is switching from digital to traditional. but sometimes its switching from a small pen to a big marker. or a smooth pen to a textured one. or a nice brush to a shitty dried up marker.

but also every body is different so i dont think these tips will work for everyone. u should listen to what ur body and mind tell u and how drawing feels to you

bro just sign up and set it up i dont think theres much to it... i dont rly think too much abt my itch.io store because its digital goods so u just upload the file and let it do its thing. no distribution work needed on ur part. youll notice i barely even advertise my itch unless i have smth new on there lol.. its easy. but good luck!!!

idk if im the best person to ask this im more a comic fan than i am a comic professional... a comic hobbist.

well. scott mcclouds understanding comics and making comics are good books on the craft. i think i had to buy them for a class in art school once.

other than that idk just keep at it. comics are really laborious i think for a lot of people the hardest part is sitting down and doing it.

i think a lot of people have a very instinctive understanding of how to read comics and what they look like so whatever you think seems like good way to tell the story you have in mind, its probably right. if u get stuck, study comics that have done something similar. most people in comics are relatively self taught and actually it can be problematic bc you can tell when a lot of comic artists are all copying the same like 5 old white guys LMAO. but on the flip side if you make sure to reference and study broadly your comics will almost assuredly feel unique.

sorry im responding to this anyways. this is just a really nice ask. i like when people reference my older work bc i feel like sometimes theyre subtly implying it wasnt very good LMAOOO. but its true! at least compared to the work i make now ^^ and the fact that im still making art is whats keeping me from being embarassed abt how much of my old art just floats around online lmao im never ashamed to be growing and learning. isnt that a nice thought <3

#ask #too much art talk in this one

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jessaerys · 1 year

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hate to say it but skins is getting better on rewatch; the queer politics are batshit insane

the second half of s1 built up the tony-maxxie relationship as plot-critical: tony trying to hook up with maxxie to "try something new" is the catalyst of tony’s social and then physical+mental downfall. and it is very interesting to me that it is tony’s latent homosexual curiosity that michelle, (and by extension the narrative, which ultimately wants us to root for a michelletony endgame despite how miserable they make each other) finally considers too immoral to ignore (despite the open secret of tony’s many infidelities and plenty of unethical behaviors, as well as his subtext infatuation with sid)

like it is textually tony’s attempt to finally act upon this incorrect masculinity that becomes the straw that breaks the camel’s back and brings about plenty of narrative punishment that is a clear tool to make him a “better” person (rn i think skins gen1 is pretty straightforwardly a punitive justice narrative)

anyway, all of this said, we are obviously meant to empathize with maxxie. his s1 conflict is his best friend won’t tell his parents that he is gay; it’s a pretty basic 2007 stuff. he is the token gay character but he is written as a fully fledged human being (in some cases even more than other members of the cast) though i think this is partially very good acting carrying the character’s depth. he even goes from a secondary cast member in s1 to a primary one in s2, even being the opener of the season.

what i find interesting is that maxxie is posited as gay from the beginning; it is the challenging of the main character’s heterosexual status quo that the narrative seems to resent and punish

so we get to s2 and tune in again to see that maxxie’s & tony’s relationship has become one of ongoing intimate/tender/nurturing friendship with undeniable homoeroticism/queer subtext, which seems debatably intentional to me in a queerbait/fanservice way that is pretty standard for the 00s (with an implied: it’s never going to happen) and this newfound intimacy both heightens the subtext of tony’s queerness while simultaneously neutering it. another reason why i think this development is a response to the audience (and i’ve done zero research so im just extrapolating here) is the plotline that’s just gotten introduced about maxxie’s straight female stalker, which feels like some sort of jab, possibly, to fangirls and fandom

so we’ve got tony, punished for his sexual deviance just when he was beginning to return to the “correct” gender performance (falling in love with michelle rather than just toying with her), and now he is helpless, disabled, and most importantly desexualized, and he is being tended to by the single queer character and all the while michelle waits it out because — well im running out of steam, but something something, michelle cant tend to tony while he is disabled because there’s no eroticism in it, heterosexual intimacy does not involve vulnerability, does not involve caretaking, does not involve emotional and mental support, only the passion of conflict and empty declarations of undying love

meanwhile, hilariously enough, instead of having sid take care of tony and therefore show a distinct dynamic between michelle and the guy who pretty much says he “belongs to tony,” he is also sulking with michelle and waiting it out like a second love interest because uhhh [checks notes] we also need sid-tony passionate conflict don’t think too hard about it. i love when things are both gay and homophobic

#skins #THIS WAS SUPPOSED TO BE A SHORT POST #tony stonem #brothercrush.txt

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