Pose is an amazing show with a lot to criticize but honestly the sheer lack of transbians in the show just starts becoming hilarious at a certain point

I have to say I knew that at one point renji, ikkaku, yumichika and iba were in the same squad with kenpachi but good god you managed to paint a beautiful picture for me. I simply assumed that for them it was simply party time all the time along with a few bald jokes but this is much better. Emotionally healthy squad 11 which still love fighting more than anything. I always cringed when someone would just describe them as hooligans that do nothing but fighting. I mean they do that too but I love the idea that they are all emotionally healthy and mature, a loving and supportive family to their own - in their own wakka doodoo kind of way thats endearing - and of course they are in my opinion they single capable force against sexisim. Because they don't care about anything else - gendere, sexuality, gender performances, race, mentality or anything - other than if you fight good you respectable and if you fight good in squad 11 you family. ( like when kenpachi just became captain he made yachiru his lieutenant and no one was against it no one thought it was beneath them, sure thru nag at her sometimes but that's mostly in a banter like way because she call them stupid nicknames but no one hates her for being unrightfully their superior. One day they got a new captain and a new lieutenant that's a child and they just went with it.) I admit their disdain and disrespect to squad 4 is still frowned upon but I do believe some squad 4s can handle their own, it's just that we saw the really peaceful ones. Anyways sorry for ranting. Just wanted to say that yeah, I really like how the past squad 11 with iba and renji in it was a great place in general. I think if they found out some one was being sexist - for whatever reason - they would be there right next to nanao - or iba's mom protesting. Kenpachi and yachiru as well. And that makes me want to be squad 11 ,despite not being much for fighting, so bad.

So, for starters, thanks! I try to have fun whenever I write Squad 11, and I’m glad you enjoy my take on them.

My Squad 11 is just... really not very canon, though. Canon Squad 11 is actually pretty gross and sexist. Yumichika is transphobic, Kenpachi makes homophobic remarks about Yumichika, they bully Squad 4, there’s a filler episode devoted to a guy that Ikkaku bullied for, like 100 years because the guy lost his reiatsu saving Ikkaku’s dumb ass.

When you write fanfic, you occasionally run into these more problematic aspects of the source media, and you can choose to dig in and analyze them, or just... remake them in your own way. Take for example, Gin. If you read fanfic about Gin, there are some people who will peel away the layers of him and his fears and insecurities and still make him be a horrible gremlin, and it’s really stellar writing. Other people prefer to write him in an AU where maybe less bad stuff happened to him, and he’s more mischievous than sociopathic, and this is a less meaty interpretation, but it’s also more fun. Sometimes fanfic is a meal and sometimes it’s candy. It fulfills different needs and different fantasies and all of it is welcome.

Yumichika, who for me is the fulcrum of Squad 11, presents this problem. I really don’t like the way his “appreciation for beauty” plays out in canon. He doesn’t actually appreciate beauty, he just likes telling other people they’re ugly. I don’t think he’s ever pointed out beauty in anyone else aside from himself or his zanpakutou. I remember the first time I watched his fight with Charlotte and it struck me as so off -- why wouldn’t he find her beautiful? I mean, I know it’s a transmysogynistic joke, that’s why, men dressed as women is funny, hurr hurr, but Yumichika is gender nonconforming himself. This was an opportunity to make a cool character point, and Kubo took the cheap laughs road instead. Going back to what I said last paragraph, a skilled writer could, in theory, write about his insecurities and his brittleness and meanness and write a pretty compelling story, but a) Kubo certainly doesn’t, and I have never actually found a Yumichika-centric fanfic of this nature, and b) this doesn’t fit the role I need him to play in my stories. I am rarely really interested in writing about Squad 11 for its own sake. I like to write them as a backdrop for the period of Renji’s afterlife where he hit absolute rock bottom and bounced back up again. We already know the role Ikkaku played in this, except that Ikkaku is a complete moron in terms of mental health, and I really, really felt like this is where Yumichika needed to come in.

I like to massage Yumichika’s character a bit, but I do want to keep the flavor of some of his character flaws-- he’s still shallow and mean and judgy, and I love that for him, but I like to add in a positive side to his appreciation for beauty. Having Yumichika make fun of Izuru’s pores is funny but it’s even funnier if he’s just given Renji a compliment on his hair first. The idea that a Yumichika compliment is attainable makes all his drags the more vicious. Yumichika also judged people by their beauty instead of their moral character, which is humorous to me. He dislikes Byakuya as a person, but is obsessed with his haircare regime. I like to have him treat Rangiku as an equal, beauty-wise, and a person whose opinion he respects based on her aesthetic. Rangiku is actually a pretty savvy and very emotionally intelligent person whom many people write off because she likes to present herself as a lazy airhead, so in an extremely convoluted way, this all works out. I like to think that Yumichika’s ideas of beauty are also caught up in boldness and risk-taking and having one’s outward presentation ring true to their inner self. To me, this is the core of why he loves Ikkaku. To him, Ikkaku’s devotion to doing the most Ikkaku thing at all times, no matter how stupid, is irresistibly sexy. 

Aside: At some point, I decided that the fact that a lot of people in Bleach have colorful marks on their faces and elaborate hairstyle and accessory games implied that make-up in Soul Society is gender neutral. I like to think there is actually more of a divide between the nobility, who like their make-up to follow rules and be classy, and, well, Squad 11, who like to get make-up ideas from Jem and the Holograms. I don’t even wear makeup (I don’t know how and it’s expensive and I am ashamed of myself, we can talk about my own gender presentation later) but I like to write about both my male and female characters wearing make-up. I don’t actually know how my readers feel about it, but it just falls under the “Is that what people want?”/“It’s what we do” philosophy of all my writing.

I think one of the theses of my writing is that middle management is more important to the character of a squad than the person at the top. Captains sort of act as ideals to strive for, but they are generally unapproachable for one reason or another. Yachiru is more like her captain in this respect (which makes sense, since she is, in fact part of her captain). Ikkaku and Yumichika present this dual idea that 1) strength is awesome, fighting and being the best is awesome, and 2) part of strength is presenting yourself to the world in a bold and confrontational way. (The fact that both of them are hiding huge parts of themselves is laughably ironic). Kenpachi and Yachiru are shining examples of Do Whatever You Want and Be So Strong That No One Can Stop You. 

What really makes this work is that you need someone one layer down-- does anyone actually subscribe to this nonsense, and that’s why Iba - Abarai Squad 11 is Best Squad 11. I really, really enjoy the genre of Reddit posts where a total bro will find out that his girlfriend is trans and react by becoming a vehement advocate for trans rights. I love the bodybuilders typing encouragement to each other meme. Our world is flooded with disingenuous messages from concern trolls trying to tell us why being kind and inclusive to one another is bad or that you should reject help because struggle makes you stronger and the idea of a Himbo looking at something like that and saying “that seems dumb" is delightful to me.

I actually feel like there are a lot of awful people with bad ideas in Squad 11, it’s just that Renji and Iba don’t put up with their shit, and over time, that becomes the culture of Squad 11. I think that Squad 11 has incredibly turnover, but the ones who stay are the ones who subscribe to the ideas you mentioned-- fighting is what matters, if you wanna go argue about shit, go join Squad 5. In the IkkaYumi story I wrote, which happens shortly after Zaraki takes over, a ton of people leave. The Bount Arc (which I know a lot of people skipped) features a dude who was extremely pissed off because he had liked the old Kenpachi and thought Zaraki sucked and was so mad about it that he betrayed Soul Society. You might think that this arc would feature Zaraki caring about this in some way shape or form, but he really didn’t. So, I think there are a lot of Soul Reapers that took issue with serving under a little girl as a vice captain, they just aren’t in Squad 11 anymore.

Oh, one last note on Iba’s mom. I am of an age where a number of my friends have mothers who were Second Wave Feminists. The moms in question are a real mixed bag, because they Came From a Different Time, and on one hand, you have to respect what they went through, and on the other hand, they are very difficult to get along with. I liked the idea that Iba has always chafed against his mom and her big personality, and then Renji comes in, and is like, “hey, your mom is strong as hell and she has a lot of ideas that I never thought of but they make sense” and Iba realizes that, even though she’s still a huge pain in his ass, his mom is the person who made him who he is. Moms are complex.

Uhhhh, I have definitely lost the thread of wherever I was going with this post. Thank you for enjoying my Squad 11, which is nothing like canon Squad 11. Hopefully maybe this year, I will actually finish my Squad 11 Self Care story, where Renji stops being a drunk disaster person after Yumichika teaches him how to fill his brows; I got stuck on a part where Rangiku gives Renji a talk on ethical sluttery.

I should probably post some info on g since I released her mix here before actually posting about her so heres a general info post on her

some concept art:

info so far: 

- lost her dad and little sister at 8 

-millie is her foster/adoptive mother (although millie is like 47)

 - been in gravity falls (far side of town) for 7 years. 

-Plays bass really well

 -music nerd kinda

 -likes sunny beach music 

- kind of likes theatre too 

- trans girl and bi. 

- is barely out to anyone and goes by "G" and says its her stage name (The g stands for genevieve) 

I also kind of have story idea and character interaction concepts too:

G and Mabel: G isn't the best at socalizing, but I think theyd be friends! G would introduce her to some obscure music genre's mabel would adore, and mabel would invite her to hang out with candy and grenda too! They would give eachother makeovers and stuff

G and Dipper: I think they actually would have been good friends for a while both kind of not the best as socalizing and dipper would be interested in the soundscapes that millie has (G tells him all about it when he gets interested) but I also had an idea that dipper kind of makes a bad comment that makes him seem like he looks down on mabel  (bc dipper is a little shit sometimes and he has done that) and G does not let that fly and kinda chews him out a little. And after she sees how he starts to treat thompson in the love god ep  Friendship kinda stops there for a while.

G and grunkle stan: Doesn't really have an opnion of him at first, the twins usually meet at her house or somewhere else. Has been at the shack a few times, and did introduce him to millie hoping they would hit it off and millie would get off her case a little more, and relax and have fun bc she deserves it. (Kinda backfires a lil bit)  maybe have had one moment where they relate to one another abt the loss of a sibling. but only a concept

G and soos: blog and chat mutuals, a lot to discuss about obscure games, music and graphics may or may not have snuck a few of millie's records to him (That resulted in a mess of cursed mayhem)

G and wendy: were friends when she was 8 but then became kind of a weird school friend relationship (Will talk to you at school, be your partner for a lab if  my first choice isn't available, ect) G assumes that wendy just doesn't like her very much anymore (and shes not ready to be out to her yet) but wendy doesn't see it that way. she just has other friends that live closer to her and isn't really able to see her much. G does not know shes part of thompsons friend group.

G and Tambri: G kinda had a crush on tambri in middle school but hasn't really given it much thought since.  Likes her status updates. She doesn’t know shes part of thompsons friend group either.

G and thompson: They are really good online friends! They both used to play one one one of those websites like poptropica/neopets/club penguin when they were in middle school and have been friends over since! 

 both out to each other ( I Hc Thompson is gay, G is Bi and Trans) G tries to get thompson to come visit her a lot when they have time. and They both will vent to each other a lot through texts about things they both relate to 

(I headcanon that thompson isn’t out to any of his friends out of fear he will be alone again if he tells them, And G also fears if anyone else were to know shed be isolated even more.) 

 After hearing about what thompsons friend's make him do G kind of wants him to ditch those guys cause they make him feel that way, and that they make him do things he doesn’t want to do (and cause one of them cut contact with her, she doesn’t want the same thing to happen to him) but she will never tell him that directly out of fear it will upset him and they won't be friends anymore

and a rewritten episode idea thingy with the love god

It would tie in with G and robbie cause Robbie and G were actually good friends for a long time. They met at a summer theater type camp thing that they were both signed up for whether they wanted it or not.  

They were even thinking of starting a band together But Robbie kind of ditched her for other people she wasn't comfortable around and their friendship kind of ended at 14 due to robbie not keeping in contact and G kind of shutting herself in afterwards. 

 Instead of like tambry and robbie meeting at the diner mabel would set up G and Robbie 

 It is Awkward. 

 They both have a lot they really want to say but its an awkward "How r you" "Good" loop for like ten mins 

Mabel sees This isn’t working, and talks to the love god, he still won’t give her the potion and suggests instead that Maybe a change of scenery will get them to talk to each other. So she gets them to tag along with her to a bunch of different places. It kind of works?

 They go to the mall and they chat a little about the music playing on the speakers, they look at and poke fun at the things on sale. But there is still a weird tension. 

Then things kind of spill out later when they meet up with the group. Thompson does kind of ditch the others after G gets overwhelmed/starts to panic and needs to go home. there would be a lot of self reflection. Im still working on it. tho these r just jumbled thoughts 

After more than eight years of shenanigans involving candy people, alternate universes, vampires, nearly 3,000 wiki pages’ worth of lore, some highly unusual exclamations (“Mathematical!”), and bacon pancakes, Cartoon Network’s beloved Adventure Time is coming to a close.

Since its debut in 2010, the series has evolved into one of the most popular and influential programs in the channel’s history. Despite being first and foremost a kids’ show, it built a sizable fan base among older audiences and gained mounting psychological and even philosophical weight over its 10-season run. The September 3 series finale marks the end of an era in imagining new storytelling possibilities, not just for cartoons but for TV in general.

Adventure Time spans nearly 300 11-minute episodes involving hundreds of distinct characters — so it’s no easy feat to describe. But in brief, it takes place 1,000 years after a nuclear apocalypse known as the “Mushroom War” warps the Earth into a fantasy landscape; its main setting, the Land of Ooo, is populated by offbeat creatures and people made of candy, fire, or “lumpy space,” among other things.

A young boy named Finn (Jeremy Shada) is apparently the last human being on the planet, and he and his foster brother/best friend — a shape-shifting dog named Jake (John DiMaggio) — have taken it upon themselves to be as helpful around Ooo as possible. They lend their treasure-hunting, monster-fighting, errand-running prowess to their many friends and neighbors, and along the way, the complex backstory of Adventure Time’s characters and their world is unspooled.

That supremely odd summary belies the fact that Adventure Time has sneakily persisted as one of the most critically acclaimed shows of the 2010s. When considering the recent “Golden Age” of TV, few would rank it alongside the likes of Breaking Bad, Mad Men, or Game of Thrones. And yet it has received high praise from sources as wide-ranging as the A.V. Club, the New Yorker, NPR, and this very site.

In addition to being aimed at kids, Adventure Time lies at the intersection of multiple artistic categories that often struggle to attract serious critical consideration — namely, animation, fantasy, and short-form episodic TV (which for a long time was mainly the playground of experimental Adult Swim shows like Aqua Teen Hunger Force). Still, it has won over many critics. And though its erratic airing schedule has led to a decline in viewership and prestige in its later years, it has maintained a consistent standard of quality nonetheless.

With its series finale now on the horizon, let’s take a look back at the brilliance of Adventure Time, both as a singular achievement and as a show that has left a lasting impact on the TV landscape.

Adventure Time began as a short film made for Nicktoons. After the short leaked online and subsequently went viral, creator Pendleton Ward was able to successfully pitch it to Cartoon Network as a series. Produced in 2006, it exemplifies the “random” style of internet humor of that time, pioneered by the likes of Homestar Runner, eBaum’s World, and Newgrounds.

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In just under seven minutes, a boy and his dog fight an ice-powered, princess-abducting king, with a brief dream excursion to Mars for a pep talk from Abraham Lincoln, before ultimately running off to confront some ninjas who have stolen an old man’s diamonds (ninjas were to internet comedy in the mid-2000s what bacon would be to it in the early 2010s). Millions of people loved it when it hit (the then-young) YouTube, and the short was eventually nominated for an Annie Award.

Once Adventure Time the show made its Cartoon Network debut, it found instant success and regularly drew millions of viewers per episode for many years. Examining the phenomenon, critics have often cited the show’s broad appeal for both kids and adults as a big reason for its popularity.

Cartoons have long embraced an anything-goes sensibility, but Adventure Time took the approach to a new level. Every single episode would pack its brief running time with strange new characters, places, and ideas: A vampire who drinks the color red. A pack of sentient balloons eager to die. An imaginative robot that “switches places” with its reflection. And to fit within the 11-minute runtime of each episode, it all came at the audience at a breathless pace.

Animated shorts are as old as television itself, but Adventure Time spurred a revival of the format, especially on Cartoon Network. The show also led the way in turning “random” humor and world-building from a niche interest into what is now practically an industry standard, not just for animated series aimed at kids but for adult-oriented ones as well. Shows like BoJack Horseman and Rick and Morty demonstrate a common willingness to indulge the strange, an instinct that Adventure Time arguably introduced to the mainstream.

It didn’t stop there. Even as Adventure Time told bizarre tales of trickster gods from Mars and penguins that turned out to be world-threatening alien abominations, it worked hard to incorporate them into its complicated backstory and world, maintaining dense continuity through multiple long-running story arcs. In the grand tradition of prestige TV, it featured overarching plots about Finn’s search for his birth parents, or the recurring threat of the fearsome undead sorcerer the Lich. And yet it also made time for many standalone episodes, sometimes ultimately folding them into the larger picture, with major characters like Marceline the Vampire Queen being introduced in apparent one-off installments.

Adventure Time’s penchant for experimentation was both admirable and skillfully executed. The show didn’t hesitate to hand over multiple episodes to guest directors simply to riff on a different animation style. It occasionally adopted an idiosyncratic airing schedule, where several new episodes would drop over the course of a single week and then months would go by with nothing new. While the inconsistency sometimes hurt Adventure Time’s ratings, the show’s creative team used the “episode bomb” approach to produce several miniseries that featured some of its most ambitious ideas and set pieces.

Despite the show’s overall comedic tone, it handled its biggest ideas with gravitas and sincere emotion. And for all the manic energy it could indulge, Adventure Time never hesitated to slow down for a scene or two, or even a whole episode. American animation sometimes has trouble simply putting breathing space into shows and movies — superfluous gestures, brief pauses, and other moments that aren’t necessarily propelling the plot forward. Hayao Miyazaki once explained this to Roger Ebert as ma, the soundless beats between claps of the hand. Adventure Time had lots of ma.

Look at this scene from the “Stakes” miniseries, in the episode “Everything Stays.” In less than a minute, the episode creates an extraordinary evocation of intimacy between a parent and child. The animators inject dozens of little gestures to establish this feeling — note the brief shot in which young Marceline strokes her mother’s arm. And then the scene is over, and it’s on to the next beat.

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This kind of formal economy, doing a lot in precious little time, is rare in television. Today, many prestige shows are running longer with each installment yet still struggle to carve out time for characters to simply be. They could learn something from Adventure Time, a show that used its 11-minute episodes to explore myriad genre ideas and flights of fancy, and to demonstrate the endless potential of simply being artistically open and flexible.

Every single character on Adventure Time, from the regulars to the one-episode guests, had a distinct voice. And I don’t mean in terms of acting (though the show’s voice acting was excellent), but in how each person spoke. The writers gave everyone a unique slang, or attitude, or cadence to work with.

Finn and Jake had their own adolescence-inflected goofy rapport and strange swears (“Aw, dingle!” “Algebraic!”). Marceline was a laid-back slacker punk rocker. Princess Bubblegum was officious and scientifically minded. Finn and Jake’s parents, who only appeared in a few episodes, had ’30s-style trans-Atlantic accents (“Make like there’s egg in your shoe and beat it!”). One episode set in an alternate universe introduced an entirely different future lingo. No character was too minor to be considered as a distinct individual.

Adventure Time frequently devoted entire episodes to fleshing out secondary characters, sometimes shining a spotlight on someone who had only existed in the background for the entire show up to that point. It drew up complex inner lives for the likes of characters with names like “Root Beer Guy” — a sentient, walking mug of soda — and “Cinnamon Bun.”

And what it could do for its main characters was even more impressive. Some of them were hundreds of years old, with a few of them predating the Mushroom War, and as we got to know them better, we came to understand a long history of regrets, which stemmed first from the act of survival and then from trying to build a new society out of the ruins. Their arcs were contrasted with the subtle but definable trajectories of Finn and Jake, who slowly matured over the course of the show from goofballs to responsible figures.

Many episodes of Adventure Time took detours to toss out different philosophical challenges, aiming them at both the characters and the audience. In one, Finn got trapped in another world and lived an entire lifetime there before returning to his own as a child again. In another, Finn and Jake confronted a population of people willingly submitting to a Matrix-like virtual reality existence. In a sequence emblematic of the series’ simultaneous whimsical tone and intellectual seriousness, one character mused: “What’s real? Your eyes think the sky is blue, but that’s just sun rays farting apart in the barf of our atmosphere. The sky is black.”

Adventure Time dared to be anything and everything, often at the same time. It was a silly, plotless kids’ show. It was an epic fantasy adventure. It was a long-term coming-of-age story. It was an experimental exercise. It was a stoner’s dream. It was a relationship drama. It was a heartbreaker.

Episodic television offers a canvas unique among the arts: time. The best shows make use of this canvas to tell their stories as creatively and ambitiously as they can; Adventure Time used it to become one of the best television series of its day.

Adventure Time’s four-part finale, “Come Along With Me,” airs Monday, September 3, on Cartoon Network.

Original Source -> An ode to Adventure Time, one of TV’s most ambitious — and, yes, most adventurous — shows

via The Conservative Brief