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meirmakesstuff · 3 years

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1/2 Hi Meir! I saw your answer on WWC, and since you mentioned you're professionals, I figured I'd ask directly: I'm writing a second world fantasy with a jewish coded people. I want to be clear in the coding but avoid the "if there's no egypt, how can there be passover?" so I called them Canaanites. I thought I was being clever by hinting in the naming that the whole region does exist, but I've since read that it might've been a slur in fact? Do you have any advice on this?

2/2 I did consider calling the group in question Jewish, but aside from how deeply Judaism is connected to the history of the Israelites, I haven't used any present-day real-world names for any other group, (I did use some historic names like Nubia). I feel like calling only one group of people by their currently used name would be othering rather than inclusive? Or am I overthinking this?

Okay so I want to start out with some disclaimers, first that although WWC recently reblogged an addition of mine to one of their posts, I am not affiliated with @writingwithcolor, and second that the nature of trying to answer a question like this is “two Jews, three opinions,” so what I have to say about this is my own opinion(s) only. Last disclaimer: this is a hard question to address, so this answer is going to be long. Buckle up.

First, I would say that you’re right to not label the group in question “Jewish” (I’ll get to the exception eventually), and you’re also right in realizing that you should not call them “Canaanites.” In Jewish scripture, Canaanites are the people we fought against, not ourselves, so that wouldn’t feel like representation but like assigning our identity to someone else, which is a particular kind of historical violence Jews continue to experience today. I’ll get back to the specific question of naming in a moment, but because this is my blog and not WWC, and you asked me to speak to this as an educator, we’re going to take a detour into Jewish history and literary structure before we get back to the question you actually asked.

To my mind there are three main ways to have Jews in second-world fantasy and they are:

People who practice in ways similar to modern real-world Jews, despite having developed in a different universe,

People who practice in ways similar to ancient Hebrews, because the things that changed us to modern Jewish practice didn’t occur, and

People who practice in a way that shows how your world would influence the development of a people who started out practicing like ancient Hebrews and have developed according to the world they’re in.

The first one is what we see in @shiraglassman‘s Mangoverse series: there is no Egypt yet her characters hold a seder; the country coded Persian seems to bear no relation to their observance of Purim, and there is no indication of exile or diaspora in the fact that Jews exist in multiple countries and cultures, and speak multiple languages including Yiddish, a language that developed through a mixture of Hebrew and German. Her characters’ observance lines up approximately with contemporary Reform Jewish expectations, without the indication of there ever having been a different practice to branch off from. She ignores the entire question of how Jews in her universe became what they are, and her books are lyrical and sweet and allow us to imagine the confidence that could belong to a Jewish people who weren’t always afraid.

Shira is able to pull this off, frankly, because her books are not lore-heavy. I say this without disrespect--Shira often refers to them as “fluffy”--but because the deeper you get into the background of your world and its development, the trickier this is going to be to justify, unless you’re just going to just parallel every historical development in Jewish History, including exile and diaspora across the various nations of your world, including occasional near-equal treatment and frequent persecution, infused with a longing for a homeland lost, or a homeland recently re-established in the absolutely most disappointing of ways.

Without that loss of homeland or a Mangoverse-style handwaving, we have the second and third options. In the second option, you could show your Jewish-coded culture having never been exiled from its homeland, living divided into tribes each with their own territory, still practicing animal, grain, and oil sacrifice at a single central Temple at the center of their nation, overseen by a tribe that lacks territory of their own and being supported by the sacrifices offered by the populace.

If you’re going to do that, research it very carefully. A lot of information about this period is drawn from scriptural and post-scriptural sources or from archaeological record, but there’s also a lot of Christian nonsense out there assigning weird meanings and motivations to it, because the Christian Bible takes place during this period and they chose to cast our practices from this time as evil and corrupt in order to magnify the goodness of their main character. In any portrayal of a Jewish-coded people it’s important to avoid making them corrupt, greedy, bigoted, bloodthirsty, or stubbornly unwilling to see some kind of greater or kinder truth about the world, but especially if you go with this version.

The last option, my favorite but possibly the hardest to do, is to imagine how the people in the second option would develop given the influences of the world they’re in. Do you know why Chanukah is referred to as a “minor” holiday? The major holidays are the ones for which the Torah specifies that we “do not work:” Rosh Hashannah, Yom Kippur, and the pilgrimage holidays of Sukkot, Passover, and Shavuot. Chanukah developed as a holiday because the central temple, the one we made those pilgrimages to, was desecrated by the invading Assyrian Greeks and we drove them out and were able to re-establish the temple. That time. Eventually, the Temple was razed and we were scattered across the Roman Empire, developing the distinct Jewish cultures we see today. The Greeks and Romans aren’t a semi-mythologized ancient people, the way the Canaanites have been (though there’s increasing amounts of archaeology shedding light on what they actually might have been like), we have historical records about them, from them. The majority of modern Jewish practice developed from the ruins of our ancient practices later than the first century CE. In the timeline of Jewish identity, that’s modern.

The rabbinic period and the Temple period overlap somewhat, but we’re not getting into a full-scale history lesson here. Suffice it to say that it was following the loss of the sacrificial system at the central Temple that Judaism coalesced an identity around verbal prayer services offered at the times of day when we would previously have offered sacrifices, led each community by its own learned individual who became known as a rabbi. We continued to develop in relationship with the rest of the world, making steps toward gender equality in the 1970s and LGBT equality in the 2000s, shifting the meaning of holidays like Tu Bishvat to address climate change, debating rulings on whether one may drive a car on Shabbat for the sake of being with one’s community, and then pivoting to holding prayer services daily via Zoom.

The history of the Jews is the history of the world. Our iconic Kol Nidrei prayer, the centerpiece of the holiest day of the year, that reduces us to tears every year at its first words, was composed in response to the Spanish Inquisition. The two commentators who inform our understanding of scripture--the ones we couldn’t discuss Torah without referencing even if we tried--wrote in the 11th and 12th centuries in France and Spain/Egypt. Jewish theology and practice schismed into Orthodox and Reform (and later many others) because that’s the kind of discussion people were into in the 19th century. Sephardim light Chanukah candles in an outdoor lamp while Ashkenazim light Chanukah candles in an indoor candelabrum because Sephardim developed their traditions in the Middle East and North Africa and the Ashkenazim developed our traditions in freezing Europe. There are works currently becoming codified into liturgy whose writers died in 2000 and 2011.

So what are the historical events that would change how your Jewish-coded culture practices, if they don’t involve loss of homeland and cultural unity? What major events have affected your world? If there was an exile that precipitated an abandonment of the sacrificial system, was there a return to their land, or are they still scattered? Priority one for us historically has been maintaining our identity and priority two maintaining our practices, so what have they had to shift or create in order to keep being a distinct group? Is there a major worldwide event in your world? If so, how did this people cope?

If you do go this route, be careful not to fall into tropes of modern or historical antisemitism: don’t have your culture adopt a worldview that has their deity split into mlutiple identities (especially not three). Don’t have an oppressive government that doesn’t represent its people rise up to oppress outsiders within its borders (this is not the first time this has occurred in reality, but because the outside world reacts differently to this political phenomenon when it’s us than when it’s anyone else, it’s a portrayal that makes real-life Jews more vulnerable). And don’t portray the people as having developed into a dark and mysterious cult of ugly, law-citing men and beautiful tearstreaked women, but it doesn’t sound as if you were planning to go there.

So with all that said, it’s time to get back to the question of names. All the above information builds to this: how you name this culture depends on how you’ve handled their practice and identity.

Part of why Shira Glassman’s handwaving of the question of how modern Jewish practice ended up in Perach works is that she never gives a name to the religion of her characters. Instead, she names the regions they come from. Perach, in particular, the country where most of the action takes place, translates to “Flower.” In this case, her Jewish-coded characters who come from Perach are Perachis, and characters from other places who are also Jewish are described as “they worship as Perachis do despite their different language” or something along those lines (forgive me, Shira, for half-remembering).

So that’s method one: find an attribute of your country that you’d like to highlight, translate it into actual Hebrew, and use that as your name.

Method two is the opposite: find a name that’s been used to identify our people or places (we’ve had a bunch), find out what it means or might mean in English, and then jiggle that around until it sounds right for your setting. You could end up with the nation of the Godfighters, or Children of Praise, The Wanderers (if they’re not localized in a homeland), The Passed-Over, Those From Across The River, or perhaps the people of the City of Peace.

Last, and possibly easiest, pick a physical attribute of their territory and just call them that in English. Are they from a mountainous region? Now they’re the Mountain People. Does their land have a big magical crater in the middle? Craterfolk. Ethereal floating forests of twinkling lights? It’s your world.

The second option is the only one that uses the name to overtly establish Jewish coding. The first option is something Jews might pick up on, especially if they speak Hebrew, but non-Jews would miss. The third avoids the question and puts the weight of conveying that you’re trying to code them as Jewish on their habits and actions.

There’s one other option that can work in certain types of second-world fantasy, and that’s a world that has developed from real-world individuals who went through some kind of portal. That seems to me the only situation in which using a real-world name like Jews, Hebrews, or Israelites would make sense. Jim Butcher does this with the Romans in the Codex Alera series, and Katharine Kerr does it with Celts in the Deverry cycle. That kind of thing has to be baked into the world-building, though, so it probably doesn’t help with this particular situation.

This is a roundabout route to what I imagine you were hoping would be an easier answer. The tension you identified about how to incorporate Jewishness into a world that doesn’t have the same history is real, and was the topic of a discussion I recently held with a high school age group around issues of Jewish representation in the media they consume and hope to create. Good luck in your work of adding to the discussion.

#Ask #kermab #Meir Makes Stuff #Writing #jewish representation #Fantasy Writing #fantasy fiction #Mangoverse #Meir Makes Long Posts

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themollyjay · 3 years

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The Myths of Forced Diversity and Virtue Signaling.

In my novel Mail Order Bride, the three main characters are a lesbian and two agendered aliens. In my novel Scatter, the main character is a lesbian, the love interest is a pansexual alien, and the major side characters include a half Cuban, half black Dominican lesbian, a Chinese Dragon, a New York born Jewish Dragon, and a Transgender Welsh Dragon. In my novel The Master of Puppets, the Main Characters are a lesbian shapeshifting reptilian alien cyborg and a half black, half Japanese lesbian. The major side characters include three gender fluid shapeshifting reptilian alien cyborgs, and a pansexual human. In my novel Transistor, the main character is a Trans Lesbian, the love interest is a Half human/Half Angel non-observant Ethiopian Jew, and the major side characters include a Transgender Welsh Dragon (the same one from Scatter), a Transgender woman, a Latino Lesbian, an autistic man, three Middle Eastern Arch Angels, and a hive mind AI with literally hundreds of genders. In my novel The Inevitable singularity, one of the main characters is a lesbian, another has a less clearly defined sexuality but she is definitely in love with the lesbian, and the third is functionally asexual due to a vow of chastity she takes very seriously. The major side characters include a straight guy from a social class similar to the Dalit (commonly known as untouchables) in India, a bisexual woman, a man who is from a race of genetically modified human/frog hybrids, and a woman from a race of genetically modified humans who are bred and sold as indentured sex workers.

Why am I bringing all of this up? Well, first, because it’s kind of cool to look at the list of different characters I’ve created, but mostly because it connects to what I want to talk about today, which should be obvious from the title of the essay. The concepts of ‘forced diversity’ and ‘virtue signaling’.

For those who aren’t familiar with these terms, they’re very closely related concepts. ‘Forced Diversity’ is the idea that characters who aren’t neurotypical cisgendered heterosexual white males are only ever included in a story because of outside pressure from some group (usually called Social Justice Warriors, or The Woke Brigade or something similar) to meet some nebulous political agenda. The caveat to this is, of course, that you can have a women/women present as long as they are hot, don’t make any major contributions to the resolution of the plot, and the hero/heroes get to fuck them before the end of the story. ‘Virtue Signaling’, according to Wikipedia, is a pejorative neologism for the expression of a disingenuous moral viewpoint with the intent of communicating good character.

The basic argument is that Forced Diversity is a form of virtue signaling. That no one would ever write characters who aren’t neurotypical cisgendered heterosexual white males because they want to. They only do it to please the evil SJW’s who are somehow both so powerful that they force everybody to conform to their desires, yet so irrelevant that catering to them dooms any creative project to financial failure via the infamous ‘go woke, go broke’ rule.

What the people who push this idea of Forced Diversity tend to forget is that we exist at a point in time when creators actually have more creative freedom than are any other people in history. Comic writers can throw up a website and publish their work as a webcomic without having to go through Marvel, DC or one of the other big names, or get a place in the dying realm of the news paper comics page. Novelists can self-publish with fairly little upfront costs, musicians can use places like YouTube and Soundcloud to get their work out without having to worry about music publishers. Artists can hock their work on twitter and tumblr and a dozen other places. Podcasts are relatively cheap to make, which has opened up a resurgence in audio dramas. Even the barrier to entry for live action drama is ridiculously low.

So, in a world where creators have more freedom than ever before, why would they choose to people their stories with characters they don’t want there? The answer, of course, is that they wouldn’t. Authors, comic creators, indie film creators and so on aren’t putting diverse characters into their stories because they are being forced to. They’re putting diverse characters into their stories because they want to. Creators want to tell stories about someone other than the generically handsome hypermasculine cisgendered heterosexual white males that have been the protagonists of so many stories over the years that we’ve choking on it. A lot of times, creators want to tell stories about people like themselves. Black creators want to tell stories about the black experience. Queer creators want to tell stories about the queer experience.

I’m an autistic, mentally ill trans feminine abuse survivor. Every day, I get up and I struggle with PTSD, with an eating disorder, with severe body dysmorphia, with anxiety and depression and just the reality of being autistic and transgender. I deal with the fact that the religious community I grew up in views me as an abomination, and genuinely believes I’m going to spend eternity burning in hell. I deal with the fact that people I’ve known for decades, even members of my own family, regularly vote for politician who publicly state that they want to strip me of my civil rights because I’m queer. I’m part of a community that experiences a disproportionately high murder and suicide rate. I’ve spent multiple years of my life deep in suicidal depression, and to this day, I still don’t trust myself around guns.

As a creator, I want to talk about those issues. I want to deal with my life experiences. I want to create characters that embody and express aspects of my lived experience and my day-to-day reality. No one is forcing me to put diversity into my books. I try to include Jewish characters as often as I can because there have been a number of important Jewish people in my life. I include queer people because I’m queer and the vast majority of friends I interact with on a regular basis are queer. I include people with mental illnesses and trauma because I am mentally ill and have trauma, and I know a lot of people with mental illnesses and trauma. My work may be full of fantastical elements, aliens and dragons and angels and superheroes and magic and ultra-high technology and AI’s and talking cats and robot dogs and shape shifters and telepaths and all sorts of other things, but at the core of the stories is my own lived experience, and neurotypical cisgendered heterosexual white males are vanishingly rare in that experience.

Now, I can hear the comments already. The ‘okay, maybe that’s true for individual creators, but what about corporate artwork?’. Maybe not in those exact words, but you get the idea.

The thought here is that corporations are bowing to social pressure to include characters who aren’t neurotypical cisgendered heterosexual white males, and that is somehow bad. But here’s the thing. Corporations are going to chase the dollars. They aren’t bowing to social pressure. There’s no one holding a gun to some executive’s head saying, “You must have this many diversity tokens in every script.” What is happening is that corporations are starting to clue into the fact that people who aren’t neurotypical cisgendered heterosexual white males have money. They are putting black characters in their shows and movies because black people watch shows and spend money on movies. They are putting queer people in shows and movies because queer people watch shows and spend money on movies. They are putting women in shows and movies because women watch shows and spend money on movies.

No one is forcing these companies to do this. They are choosing to do it, the same way individual creators are choosing to do it. In the companies’ cases the choices are made for different reasons. It’s not because they are necessarily passionate about telling stories about a particular experience, but because they want to create art to be consumed by the largest audience possible, which means that they have to expand their audience beyond the neurotypical cisgendered heterosexual white male by including characters from outside of that demographic.

And the reality is, the cries of ‘forced diversity’ and ‘virtue signaling’ almost always come from within that demographic. Note the almost. There are a scattering of individuals from outside that demographic which do subscribe to the ‘forced diversity’ and ‘virtue signaling’ myths, but that is a whole other essay. However, within that demographic, lot of the people who cry about ‘forced diversity’ see media and content as a Zero-Sum game. The more that’s created for other people, the less that is created for them.

In a way, they’re right. There are only so many slots for TV shows each week, there are only so many theaters, only so much space on comic bookshelves and so on. But at the end of the day, its literally impossible for them to consume all the content that’s being produced anyway. So, while there is, theoretically less content for them to consume, as a practical matter it’s a bit like someone who is a meat eater going to a buffet with two hundred items, and then throwing a tantrum because five of the items happen to be vegan.

The worst part is, if they could let go of how wound up they are about the ‘forced diversity’ and ‘virtue signaling’ they could probably enjoy the content that’s produced for people other than them. I mean, I’m a pasty ass white girl, and I loved Black Panther.

So, to wrap out, creators, make what you want to make, and ignore anyone who cries about forced diversity or virtue signaling. And to people who are complaining about forced diversity and virtue signaling, I want to go back to the buffet metaphor. You need to relax. Even if there are a few vegan options on the buffet, you can still get your medium rare steak, or your chicken teriyaki or whatever it is you want. Or, maybe, just maybe, you could give the falafel a try. That shit is delicious.

#writing #original fiction #media #representation #diversity #the war of souls #the hearts of heroes #The Master of Puppets #scatter #transistor #the inevitable singularity #mail order bride

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jostenneil · 3 years

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I'm honestly okay with abusive Bruce, or a Bruce that isn't the best parent period, because at this point it's not like it doesn't have basis from the source material. And even in the parallel universe it doesn't...good dads don't rope their tenth grade kids into fighting crime at night. I just get annoyed with the consensus that Batman should be this super dad simply because he's a superhero. But I also get annoyed with the idea that the Batfamily should be this Brady Bunch in spite of the grievances or even apathy they should in some cases have with each other.

(cont.) And yeah one can argue that "it's comics you aren't supposed to take it too seriously" in regards to Batman bringing in a kid to help him out, but...the second Robin was beaten with a crowbar and locked in an exploding warehouse. The fourth was beaten to death. The third was stabbed with a sword taller than his whole body. And even without them, Batman goes up against serial murderers regularly. The silver age is over, one can't just pick and choose what and what not to take seriously at this point

i mean i get what you're saying esp with the second ask but i think you have to take into account that jason was killed so brutally to begin with bc starlin hated the concept of robin and wanted to defy the super and sidekick conventions of the genre by killing him. like on the most literal level, yes, it's unrealistic for kids to be sent out to fight crime, but this is what the superhero genre is and how it has been for decades, along with a whole list of unrealistic things about how it operates and how crime is mitigated in-universe. to me the superhero genre isn't really supposed to be about providing a narrative realistic to our world; ideally it's more focused on elevating certain morals and ideals in the face of evil and oppression. that's why so much of superhero comics has its origins in jewish writers around the world war ii era. and while i agree that tones and environments within comics have definitely changed over time from one age to the next, i think that core is still worth maintaining bc, again, it's a genre convention. subversion of genre certainly isn't unheard of and there are ways it can be done well but i think there's subversion and then there's. . . overkill. tom king is a good example of overkill to me bc with nearly every character he writes he tries to inherently reason that one of their core traits is inherently flawed and in need of fixing. the purpose of subversion to me shouldn't be to "fix" a genre convention. it should be to analyze it, approach it in a new light, allow for the introduction of new questions, etc. i think mike w. barr and alan grant are writers who toed that line really well, and i think they were able to eloquently illustrate that balance between the dangers of bruce having a sidekick and bruce's compassionate intentions with taking on sidekicks simultaneously. ntm this doesn't even get into the fact that almost all of bruce's sidekicks are people who enter into the profession against his wishes. jason is the rarity and that's why his death is particularly significant and poses some striking questions for bruce, and that's also why i personally think he should have been the only one to die. i completely agree with you that multiple sidekicks dying over time puts bruce in a bad light and i think if anything it cheapens the original analysis and also kinda disrespects genre conventions bc it's like, how many times are writers going to do this song and dance before they just admit they don't like that he has sidekicks? that's another example of the overkill to me and also reflects on the problem with the new 52 proponents at large, bc they were so obsessed with going back to the old days that they didn't realize how much of the genre and its expectations they were destroying in the process

also realized i forgot to address the first part of this ask but yeah i'm not opposed to exploring a bruce who is a flawed parent, like i very much think he is one and that his issues with confronting his own trauma spell bad issues for his relationships, regardless of his best intentions, but at the same time, i think being a flawed parent is different from being an outright abusive one, and to me at least, the abusive portrayals don't make much sense. the core of bruce's character is compassion and we see consistently that he's concerned for his sidekicks' well being not just as heroes but as humans. i don't quite understand what the point is in portraying him as an abusive parent who resents his kids when his origins with all of them are directly antithetical to that

#this is so long. and goes in so many circles. i apologize jfkdsjglhfd #asks

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astridthevalkyrie · 3 years

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Do you think AOT is better than FMAB?

sorry not sorry for the blunt answer but no, never, not in a million years, not even close, not for a number of reasons.

few reasons under the cut, because apparently I’m doing this instead of focusing in class. obviously there will be spoilers for both shows, and obviously some of this will be based on personal preference.

1. Genocide/Oppression

so both shows have some vivid imagery of nazi germany. bradley is addressed as the fuhrer in fmab, and the eldians wear stars on their sleeves in aot. and even if the aot writer wasn’t pretty much confirmed to be a nationalist and raging anti-semite, it’s rather painfully obvious which show handles it better.

in aot, the eldians are oppressed because they can turn into titans and were originally trying to take over the world or something, which is so blatantly anti-semitic that it’s terrible. shows are allowed to tackle these kinds of topics, but they should handle them well, not be a stand in for nazi propaganda. this is something so many fucking shows do wrong whenever they make an oppressed group of people - there’s always somehow a reason for having them be oppressed. take bbc merlin. wizards are oppressed because they can do magic and so they’re dangerous, just like how eldians can turn into titans and so they’re dangerous, and that’s a bad thing to imply, because it implies that jewish people somehow deserved what happened to them and that’s a fucking dangerous idea to put into an already anti-semitic world.

and that’s exactly why i was so relieved and appreciative of how fmab did the battle of ishval. it is clear who the bad guys are in that scenario, and it’s clear that it was never deserved and that the soldiers who carried it out are war criminals and deserve to be put into jail. riza says as much herself. while i think scar shouldn’t have been as guilted as he was (sure, he shouldn’t go after innocent people, but him killing winry’s parents is not comparable to what happened to him and doesn’t put all of them on equal footing), i was pleasantly surprised that he lived and wasn’t killed off in some stupid form of “redemption.” if roy deserved to live, so did scar, a hundred times over.

2. Characters

characters in fmab are done ridiculously better than in aot. let’s compare similar characters!

edward and eren - the protagonists

up until the third season onwards, eren is very one dimensional and uninteresting. he’s entertaining, but his one and only goal is killing the titans and it’s super frustrating because they lay down the groundwork for more, but it’s never really addressed. show more how he cares about his friends, show him dealing with his trauma through anger and how it’s unhealthy. (actually, a lot of problems could be fixed if they showed more of the cadets’ training days. i feel like i wasn’t feeling as betrayed by annie and reiner and bertholdt because i never really felt they were that close to eren.)

ed is a delightful main character. he too is angry and doesn’t mind talking with his fists, but at the same time, he’s starchly against killing anyone and has multiple goals. ofc his primary one is getting their bodies back, but when he finds himself in the conspiracy about amestris, he doesn’t hesitate before making that his problem as well. every relationship he has is wonderful. i could get bored with eren on the screen, i wasn’t bored with ed.

armin and alphonse - the deuteragonists

i’m sorry but armin is literally just “the smart one.” that’s it. he’s also the dreamer but it only comes up when they’re about to do something dangerous.

i feel like i don’t even need to go into how good of a character al is? he’s very obviously multifaceted and the epitome of sweet and badass at the same time.

winry and mikasa - the love intests-ish

i don’t like referring to either of them like that, but while mikasa is the tritagonist (or deuteragonist, her and armin can interchange there), winry is not.

and surprise, surprise, this is actually where i’m not so sure winry comes out on top. mikasa is, in my opinion, the most interesting out of the trio. she also has a very single-minded goal, but seeing her interact with other characters (armin, jean, levi) who either fall in line or disagree with that goal is fun to watch. she’s also obviously super competent and i have a thing for competent characters.

winry is a good character and i love her, but it’s always bothered me how out of place her scenes feel in relation to the entire show. and as much as i know it doesn’t deter her agency, there’s just something off about ed telling her to have an apple pie waiting for them. it actually brings in one of my few problems with fmab. while its female are pretty good, they’re far from perfect, and that’s because nearly all of them exist because of their relation to the more important male character. winry is ed’s mechanic and the elrics’ family friend. riza is roy’s lieutenant. lan fan is ling’s bodyguard. izumi is the elrics’ teacher. i’m not saying that’s all they are, but this is a major part of their role in the story (olivier and mei stand out as female characters with goals relating to themselves and not a guy around them.)

so who’s the better character? mikasa is more fierce and winry has better lines that aren’t just calling out the protag’s name. i’m gonna give it to winry, but by a short shot.

roy and levi - the op fan favorites

this one’s much easier. roy is not just a badass who’s also the hero’s direct superior like levi is, he’s a person with clearcut goals and weaknesses and he has to make sacrifices and work for what he wants. levi has all the makings for a great character, a tragic backstory and a chill personality, but he doesn’t have a reason to stay in the scouts, he just...does. out of loyalty to erwin, i guess? it’s not clear and it’s even worse if you don’t watch the ova. roy’s reasons are clear and relatable. he also has a dorky and endearing side, plus the political side of things he brings to fmab is interesting and an equally important part of the story. his fight with envy is satisfying and thrilling. levi’s fight with the beast titan, while it is super well animated and cool, kiiiinda falls flat because there was no set-up for him being the one to take the beast titan down (should have been connie). it also ends a bit too fast, honestly.

but hey, you say, aren’t you the one writing 15k worth of fanfiction for levi within two weeks? didn’t see you writing that much for roy. yeah, well, unfortunately, my attraction doesn’t determine the better character and i never said i was proud of this, please leave me alone.

there’s more comparisons i could make - carla and trisha, hohenheim and grisha (ha, trisha and grisha rhyme), roy can also be compared to erwin, there’s multple side characters, but fmab wins, you guys get it.

3. The Story, Plot, Deaths

listen, i get it. aot is a bloody, brutal show and you’re not supposed to get attached to characters. i’m not gonna complain about pointless deaths, because that in itself is the point. it’s like twd or got, it’s gonna have lots of death. but the deaths don’t have to be so stupid. i’m specifically thnking of levi’s squad, because the way they die is so dumb. gunther should not be taken down by a cadet, petra shouldn’t be flying so close to the ground, oluo should know not to engage the female titan alone. these were elite titan killers, they knew not to be stupid. there were ways to kill them off without making them look so stupid. and if there’s not, consider not killing them off just for shock value.

fmab’s deaths mean something, especially since one of its central messages is that life is precious, no matter whose it is. everyone’s life means something and no one dies in vain.

there’s more i could go into, but i just spent my entire classtime doing this and now my second one for the day is about to start, sooo i think i’ll stop here. thanks for the ask!

#fmab #anti aot #anti fmab #at some parts #aot is anti-semitic please be careful when watching it and think about the media you're consuming

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amateurfilmopinions · 3 years

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Cabaret (1972)

"Life is a Cabaret, old chum..."

On Saturday night, I was in the mood to watch a musical. I could have watch Funny Girl for the fifth time or finally take the plunge and watch Cabaret, something I have been trying to do for two years ever since I saw Fosse/Verdon. I decided to step out of my comfort zone and for once not let my anxiety dictate what I watch on TV. I turned on Cabaret and watched it over the course of two days.

My expectations for the movie were pretty high. I knew it was not going to be a conventional musical given the plot and Bob Fosse's direction. However, the movie is almost four decades old and we have a tendency to underestimate stories and forms of media in general when it is not from our generation. However, I must say that this movie is pretty unforgettable and even pretty modern for the era.

We have Brian, played subtly and beautifully by Michael York. He has the glow of an innocent out-of-towner who is then taken under the wing of the eccentric Sally Bowels, played by Liza Minelli, whose performance I will discuss later. From the get-go, there is a notable spark between them and you actually feel like you are going to be taken on an adventure. They both live in a boarding house, which is pretty stable and calming compared to the other dominant setting, The Kit Kat Klub.

The Kit Kit Klub. What can I say about this establishment other than it is Cabaret. The whole movie is dependent on this environment and it is a testament to the set design of how it turned out. The movie would have been nothing without it because the hedonism just jumps out at you. I felt as if I could smell the tobacco smoke of the club patrons. The performers made me want to dance on stage with them. All of this was led by the Masters of Ceremonies, played by Joel Grey as his finest. Prior to watching the film, I thought I was going to be annoyed by this man whose makeup frightened me. By then end of the viewing, I was enraptured by his presence. He helps us navigate the film by being its one constant. Even in the rise of Nazism both outside and inside the club, he is still on his feet performing for the patrons and being as brazen as in the start of the film. What adds to his fascinating persona is the mystique behind it. There is no background to this person. Does he have a home, a family, a conscience? The only thing we do know is that life is a Cabaret and he is managing it. Rightfully so.

What contributes to the beauty of the film are the relationships. The chemistry between Sally and Brian is electric and even a third participant cannot eclipse it. In all seriousness, the movie surprised me with how modern it was. The scene where the Baron, Sally and Brian are dancing in a circle, you really feel the tension and the heat within one another. In my opinion, the movie served as an example, maybe a flawed one, of multiple party relationships. These people had chemistry and they embraced it. Also, Brian, while quiet and introverted, was never trying to be someone else in the film. His possible bisexuality was cited multiple times and never in a way that felt like he was chastised and or discriminated. He was who he was, but that did not make him love Sally any less. This movie, while it could have done better in terms of LGBTQ+ representation, did go farther than a lot of films at the time. I should put in as a disclaimer that I am not a member of the LGBT+ community and cannot speak for them. I am just an ally and any comments on this topic are encouraged.

I would be remiss if I did not mention the side love story of Natalia and Fritz. They served to characterize the innocence of love and the struggle of the Jewish community in 1930s Germany. This is when we get to the hardest part of the movie: the rise of the Nazis. The movie did such a good job of never letting us forget what was going on. While we were enjoying learning about these characters, Nazism was in the background until it could not be ignored. We went from seeing a lone Nazi soldier getting kicked out of the club to the audience being filled with them at the end. Don't even get me started on the "Tomorrow Belongs to Me" scene. The Baron's cavalier attitude about the Nazis serves as the perfect mirror to how they were underestimated in real life. Bob Fosse succeeds in balancing the rise of Nazism and the story of Sally and Brian until they are unfortunately mixed together.

While I have you, we need to talk about Liza. Prior to the movie I only knew a few things. She is the daughter of Liza Minelli, guest-starred in Arrested Development, and has an Oscar. Tell you the truth, I did not have enough experience with her to understand the hype. Now I see everything in a different light. Ms. Minelli shined in this movie. She made Sally lovable and relatable, even in all her eccentricity. She had me mesmerized for in every performance at the club. The movie feels like it was tailor-made for her. This makes me sad, because we never got to see another film like that in her career. She ended being used for tabloids and offered roles that quite frankly did not do her justice. Recently, I had watched the film, Arthur, and now that I think about it, it was a thankless role. She did not get to showcase her true talents which I think is a real waste.

My verdict: Cabaret is a must-watch film that will have you humming the songs days later.

The movie won 8 Oscars and lost Best Picture to The Godfather. You know how good you have to be competition to that film? This film needs to be talked about more. It is the perfect movie musical in that it can attract even those who abhor the genre. It would be pretty hard to do a reboot of it. DO NOT GET ANY IDEAS HOLLYWOOD!

What do you guys think? Sound off in the comments. Should there be reboot? Who should star/direct?

#cabaret #musicals #1970s cinema #bob fosse #liza minnelli #michael york #sally bowles #hollywood icons #gwen verdon #joel grey #marisa berenson #master of ceremonies #commentbelow #20th century #turner classic movies #movies #movie blog

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snickertoodles · 4 years

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Megalist of Tropes and Themes to Tag Your Story With

If you’re prone to staring at your tags on AO3 wondering “what the hell do I put here?”, knowing you want to add a tag like “friends to lovers” or “found family” but not remembering all the popular tropes and themes everyone is into, this is for you. I basically spent an entire night on this so I hope it helps.

Notes:

I tried to keep it general and avoid really obscure tags no one would ever use.

This is made for AO3 and thus there’s a lot of fandom or fannish stuff in here.

I didn’t include any “inappropriate” tags. Feel free to make your own list.

Romance tropes and themes at the bottom. (Not all of them have to be romantic, but if they’re generally associated with romance and there are very few gen fics with that tag, it went there.)

Under cut because I’m probably going to edit this often and I’d like reblogs to be up to date. Please suggest any ideas you have.

Genre: Action, Adventure, Apocalypse/Post-Apocalypse, Contemporary, Comedy/Humor/Parody/Satire, Coming of Age, Crime, Cyberpunk/Steampunk, Drama, Dystopian/Utopia, Fairy Tale, Fantasy/High Fantasy/Low Fantasy/Urban Fantasy/Isekai, Family, Friendship, Gothic, Historical Fiction/Alternate History/Period Piece, Horror/Slasher, Mystery/Murder Mystery, Paranormal, Philosophical, Poetry, Romance, Slice of Life, Supernatural, Surreal, Suspense, Sci-Fi/Science Fiction/Space Opera, Spiritual, Thriller/Psychological Thriller, Tragedy, Urban, Western

Genre (Fandom): Angst/Light Angst, Case Fic, Crack Fic, Crossover/Fusion, Dark Fic, Fix Fic/Fix-It/Deconstruction, Fluff/Tooth-Rotting Fluff, Hurt/Comfort, Kid Fic, Podfic, Missing Scene/Gap Filler, Self-Insert, Shipping, Sickfic, Songfic, Whump

Length: Drabble, Ficlet, Flash Fiction, Short Story, Novella, Novel, Epic, One-Shot/Two-Shot/etc, Series/Duology/Trilogy/Saga/etc, Long, Short

Pairing: M/F - F/M - M/M - F/F - F/F/M - You get the idea. Also [Character] x [Character], Slash, Yaoi/Yuri (if people still use those...)

POV: POV Alternating, POV Multiple, POV First Person, POV Second Person, POV Third Person, POV Outsider

Ending: Happy Ending, Sad Ending, Bittersweet Ending, Ambiguous Ending

Diverse Characters: Gay Character/Nonbinary Character/Asian Character/Disabled Character/Autistic Character/Jewish Character/etc.

AU/Alternate Universe: (I do not have the time to list out Coffee Shop AU/High School AU/Canon Divergence/What-If/etc, I assume if you’re writing one then you already know to tag it lol)

Abuse

Adoption

Afterlife

Aftermath

Aged Up

Alcohol

Aliens

Amnesia

Androids

Angels

Animal Transformation

Anti-Hero

Awkwardness

Babysitting

Backstory/Origin Story

Band of Misfits

Best Friends

Betrayal

Blood

Bodyswap

Bodyguard

Bonding

Bounty Hunters

Bromance

Bullying

Canon Compliant

Character Development

Character Study

Childhood Friends

Children

Chosen One

College/University/Higher Education

Corruption

Criminals

Crying

Curses

Cute

Death

Delinquents

Demons

Depression

Destiny/Fate

Disability

Domestic/Curtainfic

Dragons

Dreams/Dreamscape

Drugs

Education

Ensemble Cast

Epilogue

Fanon/Headcanon

Father Figure/Mother Figure

Feelings

Feels

Fights

Flashbacks

Forgiveness

Found Family

Freedom Fighters

Frenemies

Future

Genderswap/Gender Change

Ghosts

Gods

Good Versus Evil

Gore

Grief/Mourning

Growing Up

Healing

Heartwarming

Heroes to Villains/Villains to Heroes

Holidays

Homesickness

Hospital

Hurt

I Wrote This Instead of Sleeping (A very legitimate tag.)

Imprisonment

Injury

Introspection

Illness/Sick Character

Immortality

Isolation

Jealousy

Kidnapping

LGBTQ/LGBTQ Character/LGBTQ Themes

Light-Hearted

Locked In

Loss

Love

Mafia

Magic

Magical Girl(s)

Major Character Death/Minor Character Death

Manipulation

Medieval

Medical

Melancholy

Mental Health Issues

Mentors

Merpeople

Mind Control

Military

Misunderstandings

Modern

Monsters

Morally Grey/Ambiguous Characters

Murder

Mythical Beings & Creatures

Mythology

Neighbors

Next Gen/Next Generation

Nightmares

Original Character/OC/OCs

Orphans/Orphanage

Out of Character/OOC

Parenthood

Past Lives

Peggy Sue

Pen Pals

Pirates

Platonic Relationships/No Romance

Platonic Soulmates

Plot Twists

Politics

Possession

Post-Canon/Pre-Canon/Mid-Canon/Bad Ending/etc.

Prompt Fill/Prompt Fic

Protectiveness

Rags to Riches

Rebels

Recovery

Redemption/Redemption Arc

Regret

Reincarnation/Resurrection/Rebirth

Rejection

Relationships

Religion

Rescue/Rescue Missions

Restaurants

Reunion

Revenge

Revolution

Rivalry

Road Trip

Robots

Roommates

Royalty

Sad

School

Secrets

Secret Identity

Self-Discovery

Self-Harm

Shapeshifting

Siblings

Single Parents

Slow Build

Soft

Spies

Spoilers

Substance Abuse

Suicide

Superheroes

Sweet

Sympathetic Villain

Teamwork

Team as Family

Team Bonding

Team Dynamics

Teenagers

Tension

Time Loop

Time Travel

Training

Trapped

Trauma

Travel

Undercover

Unreliable Narrator

Vampires

Villains

Violence

War

Weapons

Wedding

Wilderness

Witchcraft

Worldbuilding

xxx to Friends (Rivals to Friends/Enemies to Friends/etc.)

Zombies

ROMANCE TROPES

Battle Couple

Blind Date

Breakup

Confessions

Dating

Divorce

Dorks in Love

Drunken Confessions

Established Relationship

Eventual Romance

Falling in Love

Fake Relationship/Fake Dating/Pretend Relationship/Pretend Couple

First Kiss

First Love

Forbidden Love

Heartbreak

Idiots in Love

Long-Distance Relationship

Long-Term Relationship

Love/Hate

Love at First Sight

Love Confessions

Love Potion/Love Spell

Love Triangle

Marriage/Accidental Marriage/Arranged Marriage/Marriage of Convenience

Marriage Proposal

Mutual Pining/Pining

OTP

Pregnancy

Rarepair

Secret Relationship

Sharing a Bed

Slow Burn/Slow Romance

Soulmate/Soulmate AU

Tsundere/all of the other -deres

Unrequited Love/One-Sided Attraction

xxx to Lovers (Enemies to Lovers/Friends to Lovers/etc.)

#tagging #archive of our own #ao3 #tumblr #tropes #trope list #tag list #tag ideas #writing #writing resources #toodles talks

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qwertyfingers · 3 years

Note

we know that bobby only watched ds9 and dean watched the tos movies for sure which implies he's seen tos as well (plus he calls jack spock). so what do you think everyone's favorite trek is? sam is without a doubt a tng fan first and foremost. i think out of all tos movies cas prefers the wrath of khan because he Feels Things when kirk and spock do the ta'al through the glass. charlie has definitely seen some trek (we've seen her llap), do you think she's into tos first and foremost? anyway let's talk about star trek nights in the bunker.

OKAY SO I HAVE. MANY MANY THOUGHTS ABOUT THIS. SORRY THIS IS SO LONG.

like. like of COURSE bobby only likes ds9 of course he does i could have told you this without the show becuase like. bobby is That Bitch. i think rufus will have watched TOS at least because leonard nimoy worked hard on linking jewish faith and practices into the vulcan lore and i think that would mean something to him. bobby will catch rufus smiling at him sometimes while they’re watching ds9 and ask him what all gruffly and rufus will smirk at him and say something about sisko with jake and bobby with dean and bobby will just cough and take a swig of whiskey and rufus will raise his eyebrows but let it slide. rufus definitely makes a comment once about dean&cas being like jake&nog that totally flies over dean’s head but bobby is all knowing eyebrow raise about.

i think cas and jack would really like discovery. while it has some issues with inconsistency, pacing, being a little dark, it also does better than the other TV treks at utilising the nature of film as a medium to instill a sense of wonder, at space and the world, and that’s something they’d really appreciate. i have my own issues with disco, but an obol for charon is as close to the central core of trek that disco ever gets. cas and jack also like that one in particular because they like listening to all the different languages being spoken. they all love michael (everyone loves michael). cas’ faves are stamets and reno because they’re mean and gay, jack’s fave is tilly because she’s excitable and bright and he latches onto that. dean likes reno because she’s got spunk. sam’s fave is airiam and he will never forgive them for killing her off. sam, cas and dean all feel an uncomfortable kinship with both ash and culber - they’ve both been the one with monster teeming under the surface, controleld by something not themself, but they’ve also all spent that time in hell/purgatory, separated from everyone they love.

thinking about episodes that would really get to them all, darmok is. THE ONE. i have a whole unfinished essay about darmok as the platonic ideal of star trek; the perfect distillation of everything trek is SUPPOSED to be about. it doens’t always get there but by god it tries! that speech michael gives in the disco s2 finale - “There's a whole galaxy of people out there who will reach for you. You have to let them. Find that person who seems farthest from you and reach for them.” - that’s what darmok is about!!! it’s all about a situation where real communication seems impossible, where everything we know about talking and learning has broken down. and picard says, okay, i will find another way. i can’t relate to you, you can’t relate to me, but by god i’m going to try. we all meet people we have trouble communicating with in our lives, and often, those people will not care about changing their own ways to accommodate us. for people with autism, adhd, psychosis, the list goes on, this is a very common occurrence. it’s exhausting and frustrating and alienating. darmok is all about crossing that barrier. about reaching for someone through a world of difficulty and learning how to talk. learning how to share something with someone who seems out of our reach. it’s beautiful, it’s heartwrenching, it means more to me than i can easily put into words!

anyway i think the bunker fam would experience a lot of emotions watching it together. there’s defintiely a lot of hugging eachother, sam cries a lot and won’t look at anyone until after the episode ends. jack just asks a lot of questions and talks about his progress learning sign language with cas. dean snakes his hand into cas’ halfway through and doesn’t let go. doesn’t show the emotion on his face, but he clutches harder at the emotional beats. cas runs his fingers through jack’s hair and thinks a lot, and decides not to say anything unless dean talks first. its just a Lot for everyone.

dean def makes them marathon all the TOS and TNG movies. it’s an experience everyone needs at least once. i think you’re right about cas and TWOK with the ta’al through the glass, but also ‘this simple feeling’ and the hand hold would make him feel crazy. bones being the one that spock entrusts with his katra DEF makes dean feel some type of way because as much as destiel is kirkspock-coded, dean IS bones, and seeing spock trust bones so completely despite how at odds they were when they first knew eachother would dig deep into dean’s psyche and make him more than a little bit nutso. the movies are way too long for jack so he mostly sits and plays animal crossing while they watch and looks at the screen when everyone else gasps or when something exciting is happening that holds his attention for a while. sam’s fave is nemesis precisely because it’s terrible and he loves how camp it is.

dean has definitely seen all of trek. i refuse to believe someone who watches as much tv and films as dean wouldn’t sit and watch the whole shebang. i think he’s probably seen TOS and the TOS movies more than the others because its easier than sitting through 7 seasons, but i think rather than that being his favourite he’d just have really strong opinions about the best episodes of each one? like if you asked him what his favourite is he’d say you can’t answer that because they’re all so different from eachother

VOY - bride of chaotica, non seqitur, macrocosm for the favourite episodes. seven, janeway and tuvok would be his favourite characters. he think toms a bit of a knob but also feels a kinship with him for the similar brand of bab dad-ism but he wouldn’t be able to put that into words. he’s also a fierce defender of threshold being a good episode (he’s right for that)

DS9 - our man bashir it’s our man bashir. he doesn’t dislike ds9 but its very plot heavy and he didn’t care for it when he was younger. rewatching it after living through multiple supernatural wars he’d probably appreciate it more. i know for a fact he cries every time there’s an episode about sisko being a good dad. jadzia and garak are his faves

TNG - he LOVES q. he also absolutely will not be caught dead referencing how much loves q after cas comes into his life because sam will do the little brotherly knowing eyebrow raise at him and he will die of embarrassment. he regularly references ‘there are four lights’ because he’s a fucking nerd. he has made cas watch elementary my dear data and fistful of datas a half dozen times each at LEAST. cas KNEW how dean was going to be about the cowboy hat he’s defintiely got into full cowboy getup at home just for watching movies and in cas’ head star trek is fully to blame.

TOS - oh there are so many good TOS eps to choose from. obv he loves most of the series becuase TOS has MANY banger eps, his favourites are probably like. mirror mirror, amok time (baby dean defintiely had some kind of crisis watching it for the first time; i know the rituals are intricate). i know deep in my bones that dean watched the conscience of the king (introduction of the tarsus iv massacre) once and then spent his entire teenage years writing fic about that in his head, whether he posted it or not. dean related too much to those experiences of shared hunger. city on the edge of forever is one of everyone’s faves for a reason (and i’m STILL mad we never got a closer take on that episode in spn it could have been so fun).

ENT - he definitely thinks enterprise is stupid and he’s not wrong but he has also definitely watched it and been very repressed about the whole thing. mans was like oh i feel a kinship with malcolm reed the obviously repressed queer man. i will never examine this feeling ever again thank you <3 he also makes fun of archer for being obsessed with, of all sports, water polo. shran is his favourite character because he’s a little shit and makes him laugh, and t’pol, because t’pol is a badass and he’d appreciate that. i can’t remember the title of a single episode off the top of my head though lol.

i can see what you’re saying about sam being a TNG stan. i’m conflicted though, I feel like TNG’s generally the favourite of 1) obnoxious nerds who think knowing trivia facts makes them smart, 2) men desperately trying to seem masculine and 3) people who’ve watched it three times and have extremely complex thoughts on the personhood and rights of robots. i could see sam fitting into the third group, but people who are in it for the robot feelings are a coin flip between voyager and tng being the fave, and i just have a feeling that voyager would be his favourite. i know kid sam is getting gender envy watching voyager in shitty motels while dad and dean are out, trying to find the words for it. his first semester at stanford he talks a friend into giving him the janeway haircut and rides that high for months. sam’s favourite characters are seven and EMH.

sam and dean have definitely had dozens of long drawn out debates about philosophical topics in star trek. do the holograms deserve rights and if so which ones. are the romulans and vulcans still meaningfully the same people. was spock right for trying to foment reunification by going undercover on romulus. can the borg be redeemed. etc etc.

i haven’t seen any of picard at all so i can’t comment. i also think sam and dean probably read a lot of the trek books? they’re pretty common to find in secondhand bookstores and cheap, would have been even cheaper back in the day. sam probably doesn’t care for them much, dean has a few solid faves though. i’ve only read the disco books so i can’t comment anything specifically (besides the fact that i think dean read dead endless and cried like a baby), but some of the TOS and DS9 books are gay as hell and i know dean was eyes emoji-ing that shit.

#spn #spn fic #tfw 2.0 #treknatural

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starsgivemehp · 3 years

Text

The Argument Against and Defense of Hetalia

Let me preface this by saying that I have not watched the show or read the manga in a few years now, and thus I am working mostly off of memory and what fan content I see these days, which is not a lot. Also, I am a gentile, and I don’t claim to know a lot about the Jewish community or traditions. I am, however, a writer and I have plenty of practice analyzing and criticizing works of fiction from multiple angles. With that in mind, this essay is an attempt to explain everything that is wrong and not wrong with the show, the comic strips, and the fandom.

I’m putting this under a read more for sheer length, this was 11 pages on Google docs.

Let us start with the list of grievances assembled largely from one post, the majority of which I had to go digging for as the original person in this post who mentioned Hetalia said, and I quote, “i dont feel the need to link a source for [hetalia] because…” and then listed two things, one of which is incorrect entirely. But I digress, I will address each one at a time. The list of grievances is as follows:

It is called ‘Axis Powers’ Hetalia

One of the main characters is a personification of Nazi Germany

The entire point of the series is:

Advocating for eugenics

Racial fetishization

Advocating for fascism

Nazi sympathizing/propaganda

The entire franchise is terrible due to rape jokes, racism, and Holocaust jokes

Hetalia fans are all terrible due to rape jokes and other issues

Death of the author cannot apply to this fandom

There may be more that are in other reblogs of the post in question, and I may add addendums further in this essay, but for the time being, I will address each of these grievances and explain the validity or non-validity of each, from a position understanding of both fans and of non-fans. Thus, in order:

‘Axis Powers’ Hetalia

When people talk about Hetalia, they usually are referring to the anime due to its widespread popularity. However, Hetalia began as a series of strip comics posted on a forum by Hidekaz Himaruya (and I spent a while trying to actually find the original comics, but I can’t, there are links to his blogs there in what I’ve provided). It later was formatted into a manga, and then later became an anime. While it was originally titled Axis Powers: Hetalia and the first two seasons of the show are named as such, it usually is only referred to as Hetalia. The anime seasons after said first two seasons have all been ‘world’ focused: Seasons three and four were titled World Series, season five was titled Beautiful World, season six was titled World Twinkle, and the upcoming season seven is titled World Stars.

For the purposes of tagging everything, I tend to see the tags ‘hetalia’ and ‘hws,’ which is short for Hetalia: World Series. This name of the third and fourth anime seasons is the most widely accepted and used name for the series as a whole. While it is true that, years ago, people referred to it as ‘aph’ for Axis Powers Hetalia, the fans and the series have put that behind them, for good reason. It is understandable, even righteous, to not accept the title ‘Axis Powers.’ It does draw focus to the WW2 era, and place the fascists and nazis as the ‘main characters,’ or even, ‘the good guys,’ which is not the case. Obviously, the Nazis were terrible and the entirety of the Axis Powers did horrible, unspeakable things during the war.

It must be noted, to anybody who has not seen the show or read the manga, that the first one to two seasons do have a ‘focus’ on the WW2 era, per se, but it largely talks about interactions between countries, as they are the personified party, and makes extremely few allusions to the war itself, and none to the Holocaust. I will address that in a later section. For now, the point to make is that after these original two seasons, Hetalia branches out into a much wider worldview, adds several more characters, and focuses more on said characters in individual arcs and offerings of historical facts - as generalized as they may be. Nobody claimed that Hetalia was correct in everything it said, but it aims to play out some historical information in a simplified and humorous way. This is due to the fact that the characters are all singular people meant to personify entire countries, which leads us to point two.

The Personification of Nazi Germany

This is the second complaint of the strand of the post in question that I was presented with, quoted as “one of the main characters is a personification of nazi germany.” This is an entirely incorrect statement. ‘Nazi Germany,’ as people call it, is the state of Germany during the era leading up to and of World War 2. The country is still Germany, the people were still German, the Nazi part comes from the political regime in power, a real world nightmare. In the Hetalia series, the characters are called by their country names, because that is who they personify. This may change at times. For example, the character now known as Turkey was previously called Ottoman Empire. They come to be when civilization starts or a colony is introduced to a place. This can be seen in the strip or episode where China ‘finds’ Japan as a small boy and begins to teach him reading and writing - and Japan thereafter invents hiragana. It can also be seen in the comic where a young child, Iceland, questions who he is and why he knows his people are “different beings” than him. The country that speaks to him (I only have the comic here in my likes in that list, the name isn’t mentioned and it’s been a while, but it might be another of the Scandinavian countries) explains that he is Mr. Iceland, they don’t know why he is Mr. Iceland, but they know he is.

What I am attempting to explain with all of these other examples is that there is no ‘Nazi Germany’ character. There is a character called Germany (or Mr. Germany), and all of his adult life, he has been called Germany. He is never addressed by anything else. He does, however, look remarkably similar to a childhood friend of Italy’s, Holy Roman Empire (or just Holy Rome), but as far as it has been explained in canon, Holy Rome went off somewhere and, later on Germany and Italy met as strangers. The general consensus is, due to the area where the Holy Roman Empire used to be is around-ish Germany, the characters are the same. But never, in any of the comics, anime, or movie, is Germany referred to as Nazi Germany. I don’t believe the word ‘Nazi’ appears at any point in time, even, though I cannot claim I have seen every shred of content, so I may be wrong. But I doubt that very much, as it is not in the nature of the series to do such a thing. Moving on.

Advocating for Eugenics

I will start and end this section by saying that Hetalia was, in the original post, roped in with Attack on Titan, of which (as far as I know) the author advocates for eugenics - or the idea that certain people should not be allowed to produce offspring due to their race or other factors. There is no example of Hetalia content wherein this disgusting opinion is ever mentioned or supported in any way. This is at worst a flat-out lie, and at best lumping Hetalia in with a much worse show that does do this (but I won’t get into that, I have never seen more than a few episodes of Attack on Titan and I don’t care to see any more of it. Throw your opinions or defenses elsewhere, I care 0% about it entirely). I have no more need to prepare a more detailed response to this accusation. It simply is not true.

Racial Fetishization

This particular accusation is a difficult one. Fetishization may be a strong word, as the series is largely a comedy. Everyone gets their turn in the spotlight, so to speak, so I find it hard to plainly state that any one character is fetishized or displayed as the most powerful. There is, of course, Rome, who only appears in small segments as Italy’s grandfather and is, in the series, touted as an amazing empire who had it all. I do not believe this is what the accusation is referring to. This accusation seems to be some sort of insistence that the show and creator believe that white people (or possibly just Germans/Nazis/the Aryan race?) are touted as the most powerful and nobody else can compare. I can confidently say that while that is never said anywhere, there are a few issues. Hetalia, particularly the animated series, had (and may still have) a longstanding issue of whitewashing countries that should not be white. This includes Egypt and Seychelles (who both later got a darker skin tone, probably still not dark enough though) as the worst offenders, and even Spain, Turkey, Greece, and Romano (southern Italy), and so on. Yes, this is a big problem. There is no defense against that. It should not be the case. These characters obviously should have darker skin. I will note, however, that many fans are already completely aware of this, have been complaining about it since the beginning, and tend to draw these characters with more correct skin tones in their fanart. This is a case where yes, the original content is not good, but the fans make their own fixes. If you are angry at Hetalia for whitewashing, good. You should be. But I do not believe this should reflect on the entirety of the content and the fandom (And note that I am not linking any particular fanart here, because I want nobody to go attack any fans).

It is also important to note that yes, a large majority of the series builds upon stereotypes. No, stereotypes are not good. No, you should not assume that the personifications of the countries encompass all citizens of said countries. The entire premise of the show is one person = the embodiment of a country, and that person changes and adapts with the times in terms of uniform and personality. It is extremely hard to do this without stereotyping. Most serious fans are aware of this, and do not in any way believe that these characters represent everyone from these countries. It may be true that much younger fans used to, and it may be true that people do not want to watch the show because stereotypes are, arguably, bad. But do remember that this is a comedy, and every character is picked on. Every one. And it is understandable if this branch of humor is not for you. I, personally, don’t like Family Guy or South Park or any shows like that for their humor. I also don’t attack the people who do. I ignore it.

Advocating for Fascism

This is another area wherein I believe the accuser is simply lumping Hetalia in with the original poster’s subject, Attack on Titan. Again, I will not defend or attack that show, as I do not care about it at all. However, regarding Hetalia, I can confidently say that it does not advocate for fascism. While the first two seasons are (sort of) set in WW2 era, as previously mentioned, the fighting is not really a big part, and nobody is touted as correct - only struggling in the conflict. For example, there is a scene where Germany, post WW1, is shown making cuckoo clocks by hand and lamenting the fact that he has to make so many thousands in order to pay back France. This is by no means painting fascism as a good thing, or explaining anything about how poverty and other struggles lead to the formation and rise of the Nazi party. It is simply a scene where we see a man frustratedly making cuckoo clocks and complaining while France’s big head jeers at him in his imagination. The surrounding scenes and the end of this one are making note of how Italy keeps coming over to his house to try and be friends and Germany keeps kicking him out because Italy is annoying and whiny. The episode further goes on to mention that Germany is attacking France again, and Italy has suddenly become his ally, and he is not happy about it for the aforementioned reasons. Again, this does not in any way paint Germany as being ‘right.’ The purpose of the segment(s) is/are to show him disliking the annoying Italy (whom the show is named for) and trying to get him out of his house before eventually giving up and accepting that they can be friends. Is it all 100% historically accurate? No, not by a long shot. Does it paint him as sympathetic? Sort of, you feel bad for the guy making a thousand cuckoo clocks, but only in the sense that he is one person doing a lot of work, a completely fictional situation. But Italy - and the audience - obviously know that attacking France again is not a good thing, so does it advocate the Nazis or fascism? Also no.

Nazi Sympathizing/Propaganda

I pretty well covered this in the previous section, but I will expand. I have alluded to the first two seasons as “focusing” on WW2, in a way, and also mentioned that this is a generalization of sorts, so here I will attempt to clarify. The first few episodes do, indeed, touch on ‘the way they all met’ in a sense; Germany is starting a war and he reluctantly becomes allies with Italy, and less reluctantly becomes allies with Japan, who examines both of them and decides he is content with this situation. However, none of it is very serious, and these ‘formalities’ give way easily to more humorous personable interactions, such as Italy hugging Japan without warning and the touch-anxious Japan pushing him off and getting flustered, Italy petting a cat and then freaking out when he is licked because a cat’s tongue is rough, the two of them ‘training’ by doing your regular old exercising and jogging and Italy being late, etc etc. Stupid, personable jokes.

On the flip side, the show covers the Allied Powers quite a bit too. A lot of this is the five big ones - America, Britain (/England/UK), France, Russia, and China - all meeting around one table and squabbling about various things. I fondly recall one scene where China arrives late and has a bunch of workers suddenly building a Chinatown in the meeting room because he was hungry and wanted his own food, and the others protesting. They are then offered food and become okay with it, because food. Other such nonsense plays out in other, similar meetings. There is also a segment where the Axis powers are all stranded on an island for… some unknown reason… and they set about attempting to survive via campfire and fishing and such. Twice (three times?) the Allied powers ‘attack’ them on this island via China whacking them each with a wok and, as the three of them are in a sad heap, something interrupts the scene to make the Allies retreat. One time, it is Rome’s sudden and also unexplained entrance across the sky singing a song, and another time, it is England’s preoccupation with a cursed chair. Also, at one point, Austria is playing a piano. Does any of this magic logical, real life sense? No. It’s stupid and funny and has nothing to do with war. These are just personable characters thrown into weird situations so they can be funny, with some extremely mild historical context along the way.

I will note again that WW2 is pretty much completely dropped after these two seasons, with the war hardly addressed at all, and future seasons focus more on other characters. The Scandinavians get to all have fun together, the Baltic trio is mentioned, there is a lot about Switzerland taking care of Liechtenstein (wow I spelled it right after all these years, go me) and being stiff and formal with Austria. There is also plenty about people mistaking Canada for America, and England and France squabbling throughout the years, and Spain finding Romano cute but also very grumpy, etc etc… This series is largely Eurasia-focused, yes, and it can be criticized for not being as diverse as it should be. But boiling it down to ‘Nazi propaganda’ is outright, obliviously false.

I don’t know if this is the best place to put this particular note, but I couldn’t think of anywhere else to place it, so here it will go. I would like to mention that in the series, some characters, like Germany and Russia, express outright fear of their ‘bosses’ in certain points in history. It is important to realize that Germany, Japan, America, etc… these characters are not the actual, real-life humans in charge of these countries, but people of a fictional, separate species than humans who grow up as the nation grows and have lives that are affected by these world leaders (we even watch in the show America shooting up from child to young adult as the colonies expand, and England comments on how quickly he grew up - but not as quickly as his people, of course. We’ll get to Davie later). The president of the United States is America’s ‘boss,’ and naturally, that boss changes every time the president changes. The emperor of China is China’s ‘boss.’ It follows, thusly, that at one point, Hitler was Germany’s ‘boss.’ The terrible person himself was alluded to, as far as I know, exactly one time, not by name, and no face was shown. In a very brief scene, Germany laments that his new boss is scary and he was just ordered to go force Austria to come live with him. Said boss is shown as, I believe, an evilly laughing shadowy figure. That’s it. That’s the scene. There is no other mention of Hitler, nor is there any mention of the Holocaust anywhere. One could argue that the show is then trying to say that the Holocaust didn’t happen, but I think such an accusation is frankly absurd. It’s a comedy, it was always a comedy, and what in the fuck would be comedic about a mass genocide in any way? Nothing. None of it is funny. Of course it is not brought up in a comedy.

Rape Jokes, Racism, and Holocaust Jokes

While I did somewhat address racism already in the section about whitewashing and racial fetishization, I have another clarification to make, especially regarding the jokes. A lot of people complain that there are rape jokes throughout the series, and that there are two Holocaust jokes. I will begin by saying yes, this is all true, those things did happen during the course of the show. However, it is important to note that all of those things happened in the English dub of the animated show, and none of these terrible jokes exist in the Japanese/subbed version, or the original comic strips.

The English dub is, on all accounts, pretty terrible. Everyone has an over exaggerated accent, there are the aforementioned jokes, there are name changes (England referred to as Britain, among them, very confusing), and the voice actors themselves make mention in commentaries that their goal in this job was, to paraphrase because I haven’t listened in a while, ‘to be as offensive as possible to absolutely everyone’ (and one of the English dub voice actors is even a convicted sex offender, but that’s it’s own mess). Not the most glamorous or noble of goals. One could say ‘at least if it’s everyone, it’s not really racism, is it? Just humor?’ There is a case for that. Many comedians will say that they poke fun at everyone to avoid singling anybody out as inherently superior. It cannot be said to be the best way to make humor, but it cannot be said to be the worst way, also. Overall, I don’t like the English dub, I don’t watch it, I prefer the subs. And yes, the subbed version has a few issues of its own, but I can say that at least, no, it does not make any Holocaust or rape jokes. Are those kinds of jokes excusable? Fuck no. They’re completely inappropriate. Should you judge the whole series and fandom based on the grossness of the English dubs? Also no, the people who did the English dubs have zero to do with the original creator, the animators, and the fans. Screw them.

The Fandom Being Terrible

I must again preface by saying I was never super active in the fandom at large. I had my own little niche of friends and I stuck to them and I didn’t often branch out. I did, however, go to cons back in those days, and saw plenty of cosplayers. The main complaint I see regarding the fandom is that most of the fans are completely rabid, make a bunch of rape jokes, and even dress up as ‘Nazi Germany’ (iron cross and red armband and all) and pretend to shoot up synagogues. Now, I have not seen cosplayers do the nazi solute or do such photoshoots, but I can believe that people have done it. I have seen plenty of rabid fans, and some of the OCs created for Hetalia, especially many interpretations of individual states (or Antarctica), were extremely cringey, racist, and overall just not good. And yes, these things are undeniably bad. They are very bad things! Those people should be ashamed. They should know better, regardless of their ages or anything, for fuck’s sake. The nazi salute is not a thing you do jokingly, pretending to shoot people is not a joke. Everyone is aware of this. The people who did, or maybe even still do, those things need a serious sit-down and to be woken the fuck up, because they are acting terrible.

However, it is extremely unfair to paint all Hetalia fans in the same light. That is a very stereotypical thing to do, no? As I mentioned earlier, I stuck to my little niche friend group of fans, and while we all had our own flaws and were younger and kinda dumber, we never did things like that. I never did things like that. Rape jokes were never funny, I never liked them, I never accepted them. I have people I still know who still like Hetalia and they never made those kinds of jokes either. I think, as the years have gone by, a lot of the more rabid fans have died out of the fandom. They’ve either grown the fuck up or they’ve went off to pollute some other fandom. Recognize that, especially in the beginning, the anime was low-budget and had a lot of that old and gross queerbaiting and stuff like that, so it was undeniably a magnet for crazy yaoi fans. But the majority of fanart, fanfics, and just overall fan stuff that I see these days are nothing like that. Overall, the fandom has seriously calmed down. A lot of the focus is much more on taking these characters and applying them to other historical events with more accuracy than the show might give. The history in these fanfics and fanarts may also be of questionable accuracy at times. I personally once wrote a fic where I made allusions to the death of Joan d’Arc and, later, the death of Elizabeth I, but did I add much historic fact? No, do I look like a history major spilling all this? The point of the fic was England - the character - maturing through starting to love one of his rulers and recognizing a terrible thing that he did before. It’s not the best piece of work out there, and maybe someone could point out a few things I did wrong with it, but for what it’s meant to be, it’s harmless. Takes on characters not actually in the series, like Ireland, Scotland, etc etc are generally pretty mature from what I see, fanart tends to just be the characters in various poses and styles. The overall love the fandom has, I think, is in the better character designs and in the very concept of the countries as people who laugh and cry and live through war and peace for thousands of years. And here is where I address the final grievance that I personally saw in the notes of the post which started this whole thought process and essay.

The Death of the Author

A lot of people might not fully understand what ‘The Death of the Author’ means. The death of the author is a belief rooted in the 20th century that the personal intentions, beliefs, and prejudices of the authors of certain works can have no bearing on their produced content, because once it is out in the public, every reader may then have their own interpretation and belief system. By publicizing the content, the author ‘dies’ and the reader is born.

There are some scenarios where this cannot apply. One example is JK Rowling, a very special case of a very problematic woman who happens to be so powerful, and so rich, that consuming any type of official (or even unofficial) Harry Potter anything can and will give her that much more power to spread her TERF bullshit. Let me be frank: Any time that consuming a product is allowing a bigoted or problematic person to gain extra money or extra power that they then use for evil, the death of the author cannot apply. You cannot use it as a moral justification. You might perhaps use it as the reason why you struggle to let go of a fandom near and dear to you, as Harry Potter is to so many people, but you absolutely must recognize that purchasing the books, the movies, or any other official content is outright supporting a TERF.

That in mind, there are dozens of other cases where the death of the author absolutely can apply. The easiest, of course, is with authors who are actually dead, such as Lovecraft. Lovecraft was a complete bigot and racist, an overall terrible person, and his works are saturated in that racism. But he is dead, and his work is very popular, and there are ways to take and use his work that do not contribute further to racism and bigotry. All you have to do is slap a non-racist cthulhu on a page. Make that cthulhu eat everyone equally. That’s a good cthulhu right there, a nice, safe cthulhu.

So where does Hetalia fall in this spectrum of can or cannot have death of the author? I believe it leans more to the side of yes, you can apply it. For one thing, you can definitely find the show for free in some places, and watch it without giving Himaruya a single cent. The comics are also available online for free, and while you might be giving your ‘support’ by being a viewer, I think overall, that’s not only negligible, but does not contribute anything bad? The author of Attack on Titan has many charges levied against him in the post which prompted this, and arguably, giving him any money is bad. But as far as I have seen, while Himaruya might have started out with a flawed premise and may have some whitewashing issues, I have seen nowhere that he funds any kind of racist, nationalistic, fascist, etc anything of any kind. This is not like Chick-Fil-A, where offering any kind of patronage is (or maybe used to be) sinking funds into terrible organizations. This is not supporting literal Nazis, as the complaints claim. This is a largely mediocre series with good parts and bad parts and zero ties to horrific organizations or ideals. Consuming good fan content does not make someone a racist or a bigot or a nazi sympathizer. Even rewatching some old favorite scenes or checking out the new season doesn’t make someone that. By all accounts, the show is flawed but not a means to fund nazis.

The Bad Anything Else

I will now take some time to talk about some other problems Hetalia has, because no, it is by no means flawless. I already discussed the whitewashing and stereotypes and the mess of the English dub, but there is more. I made mention of the fact that battles and seriously bad events such as the Holocaust are not mentioned, and this holds true throughout pretty much all of the series. There are certain points where ‘battles’ of a sort are seen, but only flash moments. One scene in particular that I really enjoyed as a tween and can now see the problems with is the whole revolutionary war scene. This was a scene split into two episodes (for some weird reason, even an unrelated episode in between, like, what? Why??) about a particular (unnamed) battle in the American Revolution where England faced down America, they each had a gun with a bayonet, and England charged America and his bayonet deeply scratched America’s gun, and America declared he was no longer England’s little brother, and the whole thing was played out as an extremely emotional scene. England is lost in the past of seeing America as a cute little kid he took care of, who has now grown up and is being reckless and stupid, and America is all righteous and independent and proving he’s a grown up, it’s all very emotional, I cried, other fans cried, there was much fanart.

This scene is problematic in a way. Boiling down an extremely nasty conflict following lots of really bad laws and protests to this one scene doesn’t do history any justice. It says nothing about the struggles of the American colonists, the struggles of the British empire, the awful things the colonists did to the natives, etc etc. It is one small scene and it focuses on these characters as humanoid, with feelings, and completely ignores the complexities of history. And yes, in a way, that is bad. But it is bad in the sense that nobody can - or at least should - take this show to be the end-all be-all of history. It is not. It is not often entirely correct, and it picks and chooses what points in the past several thousand years to play with, and trying to use it as a map for history is a bad idea. However, this focus on the countries as human-like and struggling can also be a good thing.

It is also important to note that there have been other problems. The portrayal of South Korea, for example, is extremely controversial, and while I do not know all of the specifics, I believe that it was banned in Korea due to this, and the character was entirely removed from the anime, among other things. Obviously, a bad take, a bad character. There are also just straight up not great characterizations in certain cases. I don’t, for example, like anything about how Belarus is portrayed as a crazy psycho constantly begging Russia (her big brother) to marry her? I think that that is ridiculous, and I know nothing about Belarus as a country but I am pretty darn sure that that is not how one ought to go about portraying the country. There are a few other examples, but my purpose here was not to pull up a list of every country and explain what is correct or incorrect about each characterization. It is enough to say that some characters were not portrayed perfectly. But with that in mind...

The Good Anything Else

It is the most important to remember that this, all of this, is fiction. This is a silly, silly fantasy series. The countries are not humans, they are some weird semi-immortal species that share a universal language and know they are not human and are referenced by humans as ‘those people.’ They are fictional constructs. But the good out of all of this is that they explore human emotions. The American Revolution scene should not be taken as how the revolution was, and who might have been right or wrong. But it is a very emotional story of a big brother unable to accept that his little brother has grown up and wants to make his own choices. That, right there, is a heartfelt scene that I’m sure plenty of real people can feel something about. And there are plenty of other scenes that really grab you by the heartstrings, especially given how crazy, stupid, and humor-oriented the rest of the show is. And I will take a moment and enthuse about some of the more popular scenes that I think are, in fact, pretty good.

There is one episode in season 5, Beautiful World, where an American woman visits France (the place). This woman, Lisa, is blond and bears a striking resemblance to Joan d’Arc. While visiting some historical place somewhere or another in Paris, France (the person) spots her and rushes up with an odd look. When she questions him, he apologizes and offers to give her a tour of the area, which she accepts. He then proceeds to lead her around and explain some history and show off some beautiful sights, and he mentions some stuff about Joan d’Arc. She butts in and lists off some stuff she knows, he beams and looks proud and says yes, she’s right. The end of the scene has the two of them standing alone somewhere and him commenting how young Joan was when she was killed, and that he always wished she could have had a better, nicer life. He then states that he is very happy that she got it, while giving this American tourist a gentle smile. She looks away for a moment, distracted by something perhaps, and when she looks back to ask just who the heck he really is, talking about a historical figure like he knew her, he is gone. It’s a very emotional scene in a quiet sort of way, because the watcher/reader understands that he took one look at this woman and instantly believed that she was, in fact, Joan d’Arc reincarnated into a totally different and totally average life, and he is so genuinely happy that a woman he saw as a hero gets this chance to live normally. Whether or not you may personally believe in reincarnation, and regardless of how often other times in the show France is shown as an obnoxious sexaholic, this is an extremely tender scene that lots of fans seriously love. It is very ‘human.’ And I feel like this is what the series as a whole strives to offer. These human moments. They may be peppered in a sort of lackadaisical style in the anime, but they are far more prominent in the comic strips, so it is important to realize that that kind of scene is more of what the creator likes to focus on.

Another very popular and touted scene is the Davie scene. I don’t remember if it was put in the anime or not, I read it as a comic. It was a scene set in colonial America, where the man himself was just a very small child. Little baby America was hanging out in a field with a rabbit and sees this boy, who introduces himself as Davie. Davie brings America to his house and opens up a botany book and points out a blue flower (possibly a forget-me-not) that he wants to see but that isn’t in the New World. America assures Davie that he will find him one of those flowers, and goes off to do so. He fails his search and goes back to Davie, who is older now, but Davie looks embarrassed and turns and walks away. Distressed, America runs to England and explains about the flower, and England says the flower is not there, but they do grow at home, and he will bring some the next time he leaves and comes back. America happily waits, and when England returns with a bouquet of the blue flowers, America takes them and runs off to Davie’s house. He is let in by a boy who looks just like Davie and presents the flowers, and the boy then puts them on (or maybe in) a coffin of an elderly man. America, smiling, does not seem to understand what is going on, and hopefully calls the boy Davie.

This entire scene, in the comic, has very few words. Davie’s name is repeated a few times, but most of the rest of the ‘dialogue’ is in images. The flower, England saying it is not there, etc. This makes the scene extremely poignant, and when we reach the end, we, the audience, realize suddenly that while baby America was fixated on finding a special flower for his new friend, years and years went by, and that friend grew up and got married and had children and eventually died, all while America remained looking the exact same age and understanding the exact same things. Look, folks, I don’t know about you, but that is some angsty stuff right there. I cried. We all cried. We all miss Davie. Mention the name to fans and you will get sobs. We love you, Davie.

Which brings me to my penultimate point, that this series is heartfelt and, while it avoids a lot of the bad of history, can be very poignant about what human nature is like. Human lives are long, very long, but also so very short, they fly by. Some lives end in tragedy, others are mostly peaceful, and maybe we get second chances if you believe in reincarnation, maybe not. Maybe it’s good that our lives are so short, maybe the fate of living forever and watching people you connect with die is tragic. Or maybe it would actually be really fun, having friends for thousands of years that you may squabble with at times but ultimately care for. Maybe nothing is simple and life is about finding joy where you can, and everyone needs to sometimes take a step back and realize that everyone is flawed, and there might be good and evil but the vast majority of people are in a grey area, trying to live their own lives and do what good they can for whatever reason they might give. I want to end with one last topic, one I have not yet addressed this whole time. The big white alien in the room, if you will.

Paint it: White!

There is a Hetalia movie, folks, if you didn’t know it, and it’s called Paint It White. This movie has just as many silly parts as any other Hetalia thing, but it also has a plot! In this movie, strange, all-white aliens are starting to invade the Earth. They arrive and anything they touch, they turn into completely identical white humanoid blobs, even the country personifications. With this scary and seemingly-unstoppable threat, the main eight - America, England, Russia, China, France, Japan, Germany, and Italy - all try to infiltrate the alien spaceship in frankly hideous uniforms to find out more and figure out a way to defeat them. Hijinks and disaster ensues, and at the end, each of them is fighting a mob and gradually being defeated. Italy is the last one standing, and as Germany is slowly being transformed into a blob along with the others, he tells Italy to smile. Italy then finds (or has? the plot isn’t great, it’s just there) a black marker and he suddenly starts going around drawing ridiculous faces on everyone. He draws fitting faces on each of his friend blobs, like a stern face on Germany-blob, a deadpan face on Japan-blob, etc etc. The invaders suddenly stop. They look at each other, marker-faced, and start to laugh. Then their leader of sorts comes out and is basically like “wow, we thought you were all stupid and you have wars and stuff, but this? This is beautiful. Wow. We all look exactly identical on our world, and these faces are cool and new and unique. We’ll turn everyone on your planet back if we can have this magical thingie you’re holding.” And of course Italy hands the marker right over, and everyone is put back to normal, and crybaby, scaredy-cat, useless Italy saves the world.

The plot is, obviously, not super great. It’s not going to win anybody any awards. But it has a very poetic premise. The strength of humans is that they are all unique. Every human has a different face, a different body, a different life. Our differences may cause conflict, but they are also something to celebrate. At the end of the day, Hetalia is an okay show that can get you hooked on history and tries its best to teach you that we’re all only human and there might be war and conflict and bad things, but you have to reach for the good things and find yourself good friends and have stupid laughs and enjoy life, however long or short it may be. I think that that’s a pretty decent message to send out to people.

The Bottom Line

In the end, this is a fandom like many others. Hetalia has its flaws and its cringe moments, and it certainly had its fair share of awful fans. But I truly believe that painting it overall as nazi propoganda and one of the most problematic and harmful shows out there is a blatant lie and disregards… just about everything of the actual content. I think it is difficult for someone to concretely say anything is super good or super bad without seeing at least some of it, or doing some research, and this business of blithely going along with what everyone else says just because they use big danger words does not do anybody any favors. Spreading misinformation is, I’m sure, the exact opposite of what most people want to do. And make no mistake, I am definitely not saying that everyone needs to like, or even watch, the show. If you never ever want to watch this show in your life, that is absolutely fine. Go forth and never watch it. But mindlessly following the herd and yelling overgeneralized, unsupported opinions about it is not a good thing. I beg of you, do research on the things you want to form or share an opinion on, think critically, and for the love of God, do not swipe a giant paintbrush to forsake every single individual fan of a show as a terrible, awful person. By all means, hate nazis, they are pieces of shit. Boycott things that support genocide and fascism, yes, fight for equality, yes. But do not go accusing without thinking, and do not overgeneralize. I leave you with the words of my old laptop bag that I bought years ago at a convention:

Make pasta, not war.

Thank you for reading.

#I wrote an essay #I could probably source this way more #but I've been working on it for hours #Just take it

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theradioghost · 4 years

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I don't know if you're still doing podcast recs, but if you are, I really like dramas, horror, sci-fi, honestly anything that gives you the feels (especially if it has lgbtq+ rep). I am not much of a comedy person though unfortunately. The only podcast I finished was tma and I really loved it.

The recommendations are always on tap here, whenever my askbox is open! You might wanna check out:

Archive 81, for a found-footage horror about mysterious archives of tapes full of encounters with otherworldly horror, dark rituals, cults, and a long-suffering archivist with the same name as the show creator who plays him, which despite all that could not possibly be more different from TMA and yet easily matches it as one of the best horror stories I have ever enjoyed. The sound design on this show is basically unparalleled – where TMA has fairly minimalist sound design, A81 goes all out. Quite a few lgbtqa+ folk also.

I Am In Eskew, for a surreal, Lynchian horror about the city of Eskew, where it’s always raining and the streets are never the same twice, as narrated by a man who is trapped there and the woman hired to find him. Take the most viscerally disturbing episodes of TMA as a baseline for how intense this show is, then imagine the Spiral built a city and invited all the other fears over for a party. Also right up there as one of my favorite horror things ever, and recently ended, so you can listen to the whole thing right now.

Within The Wires, for a found-footage scifi dystopia, telling stories from an alternate-history world. Three of the four seasons focus on lgbtqa+ leads, and the first season, a set of instructional meditation tapes provided to a prisoner in a shadowy government institution, is still some of my absolute favorite creative use of medium and framing device ever.

Kane and Feels, for a surreal noir-flavored urban fantasy/horror hybrid, about a magically-inclined academic (and sarcastic little bastard man) named Lucifer Kane and his demon-punching partner with a heart of gold, Brutus Feels. They share a flat in London, they bicker like an old married couple, and they fight supernatural evil. This show WILL confuse the hell out of you and you will enjoy every second of it.

Alice Isn’t Dead, for a weird Americana horror story about a long-distance truck driver, criss-crossing the US in search of her missing wife. Along the way she discovers that both of them have been drawn into a dangerous secret war that seethes in the empty and abandoned expanses of America, and that inhuman hunters have begun to follow her. Also finished! And as the title kind of gives away, the lesbians do not die!

Janus Descending, for a sci-fi horror miniseries about two scientists sent to survey the remains of a dead alien civilization on a distant planet, only to learn all too well why the original inhabitants have disappeared. You hear one character’s story in chronological order and the other in reverse, with their perspectives alternating, which is done in an incredibly clever way so that even technically knowing what will happen it still holds you in suspense right to the end. Also, it made me cry, a lot.

SAYER, for a sci-fi horror with a touch of dark comedy, and probably the single best use of the “evil AI” trope I have ever seen. Tells the story of employees of tech corporation Aerolith Dynamics living on Earth’s artificial second moon, Typhon, in the form of messages from their AI overseer SAYER. The first season is great, the second season is okay, and the third and fourth seasons are fucking amazing.

Tides, for a really interesting sci-fi about a lone biologist trapped on an alien world shaped by deadly tidal forces. It’s different from just about any other sci-fi I know, focusing more on the main character’s interactions with and observations of this strange new world, where she’s very aware that she is the alien invader. (Also I don’t think any of the characters are straight.)

Station to Station, for a thrilling sci-fi mystery where a group of scientists and spies on a research ship (the ocean kind) discover that the time-warping anomaly they’re studying might be causing people to vanish from existence. Corporate espionage and high-stakes heartbreak abound. (And once again I’m not sure anyone is straight.)

The Strange Case of Starship Iris, for Being Gay And Doing Crime IN SPACE! Or, decades after a war with an alien species leaves humanity decimated and under the control of totalitarian leaders, the lone survivor of a research mission joins up with a ragtag crew of rebels and smugglers to figure out why the very government she worked for tried to kill her, and to stop them from inciting a second war. 100% lgbtqa+ found family in space heist action and it’s glorious in every way.

Unwell, for the horror-ish Midwestern gothic story of a young woman who returns to her hometown to help her estranged mother after an injury, and discovers that there is something just a little bit wrong, not just with her mother, but with her mother’s house, and with the whole town. Subtle and creepy. The protagonist is a biracial lesbian, one of the other major characters is nonbinary, the cast in general is super diverse.

The Blood Crow Stories, for an lgbtqa+ focused horror anthology! The four seasons so far have been the stories of an ancient evil stalking the passengers of a WWI-era utopian cruise ship, a dark Western mystery about a group of allies trying to stop the mysterious killer known only as the Savior, a 911 operator in a cyberpunk dystopia who starts getting terrifying phone calls from demons, and strange and deadly goings-on at a film studio in the golden age of Hollywood. Everyone is Very Gay and anyone can die, especially in season 1.

The Tower, for a melancholy experimental miniseries about a young woman who decides she’s going to climb the mysterious Tower, from which no one has ever returned. Quite short and very, very good.

Palimpsest, for a creepy, heartbreakingly sad and yet incredibly beautiful anthology series. Season one is the story of a woman who suspects her new home is haunted, season two is a turn-of-the-century urban fantasy about a girl who falls in love with the imprisoned fae princess she’s been hired to care for, and season three is about a WWII codebreaker who begins seeing ghosts on the streets of London during the Blitz.

Mabel, for a part-horror, part-love story, the kind of faerie tale where you feel obliged to spell it with an E because these are the kind of faeries that are utterly inhuman, and beautiful, and dangerous. Anna, the new caretaker for an elderly woman, leaves messages for her client’s mysteriously absent granddaughter Mabel. An old house in Ireland has a life and desires of its own, few of them friendly. Two women fall in love and set out for vengeance against the King Under The Hill. Creepy, strange, and gorgeously poetic.

Ars Paradoxica, for a sci-fi time travel Cold War espionage thriller. Physicist Dr. Sally Grissom accidentally invents time travel, landing herself – and her invention – in the middle of a classified government experiment during WWII. As the course of history utterly changes around them, she and what friends she can find in this new time must struggle with the ethics of what they’ve done, and the choices they’ll have to make. An aroace protagonist, Black secret agents, time-traveling Latina assassins, Jewish lesbian mathematicians, two men of color whose love changes the course of time itself, this show says a big fuck you to the idea that there’s anything hard about having a diverse cast in a period piece and it will break your heart, multiple times. Also finished!

The Far Meridian, for a genre-bending, poetic, at-times-heartwarming-at-times-heartbreaking story about an agoraphobic woman named Peri who decides to begin a search for her long-missing brother Ace after the lighthouse in which she lives begins mysteriously transporting to different places every day. I can never forget an early review that described this show as “the audio equivalent of a Van Gogh painting.” Suffice to say it is beautiful, and fantastically written and put together.

What’s the Frequency?, for a Surrealist noir horror mystery set in mid-20th-century LA. I’ll be honest, I’m not sure I can really explain what goes on in this show, but it features a detective named Walter “Troubles” Mix and his partner Whitney searching for a missing writer. Meanwhile, the only thing that seems to be playing on the radio is that writer’s show Love, Honor, and Decay, which also seems to be driving people to murder. Fantastically weird, deliciously creepy.

Directive, for a short sci-fi miniseries about a man hired to spend a very, very long trip through space alone, which doesn’t seem all that sad until suddenly it hits you with Every Feel You’ve Ever Had, seriously I don’t want to spoil it so I won’t say anything more but listen to this and then never feel the same way about Tuesdays again.

Wolf 359, for honestly one of the best podcasts out there, containing all of the drama and feels, seriously this show ended over two years ago and I still cry literal tears thinking about it sometimes. It has definite comedic leanings, especially in the first season which reads a bit more like a wacky office comedy set in space, but it takes a sharp turn towards high stakes, action, and feelings and that roller coaster never stops. Take four clashing personalities alone on a constantly-malfunctioning space station eight light years from earth, add some mysterious transmissions from the depths of space, toss in some seriously Jonah-Magnus-level manipulative evil bosses, and get ready to cry.

or, may I suggest Midnight Radio? It’s a lesbian-romance-slash-ghost-story completed miniseries about a late-night 1950s radio host in a small town who begins receiving mysterious letters from one of her listeners, and I have been assured by many people and occasionally their all-caps tweets that it provides ample Feelings! (also I wrote it.)

#holy fuck when did this answer get that long?#anyway I uh. hope at least one of these sounds good to you!#podcast recs #bobbie recommends things #Anonymous #asks #my posts

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moghedien · 4 years

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Could you recommend some adult sff? Love your blog btw!

Thank you!

And ok, I could give you better personalized recs if you give me some idea of what you’re looking for or what you like, but I’m gonna give you some general recommendations. Also I only really feel comfortable recommending books that I have personally read, and there are tons more out there than what I have read. If you want to find more, looking at recent Hugo nominations over the past few years might be helpful. Also one of the reasons why I know anything at all about the SFF world is that I’ve been listening to the Sword and Laser podcast for like, a decade. I never really mention that podcast, but its literally why I started reading at all and also they have a pretty active goodreads group as well.

So recommendations:

Ancillary Justice by Ann Leckie:

This is one of my favorite books period. This is a far future space opera about an artificial intelligence who used to be a spaceship and now is only one human body, and she is ANGRY ABOUT that. I don’t really want to say more than that, but if you like AI shenanigans and being sorta confused as to what is going on the entire time, then this is the book for you! It’s the first book in a completed trilogy.

The Eye of the World by Robert Jordan:

Obviously I’m gonna recommend the Wheel of Time. This is the first book in a 14 (actually 15) book series and if you need something to do with the next 1-5 years of your life *motions toward EoTW*.

So the Eye of the World, I think is uniquely good as a book if you kinda want to get into adult fantasy for a few reasons. For one thing, its kinda considered to be one of those “classics” of the genre but its not too old to be offputting to some readers. It’s a 30 year old book, so its not reflective of the genre now, but you can definitely see its influence all the place, even outside of just books. The Eye of the World specifically, also goes out of its way to make readers comfortable. It leans heavy on Tolkien references and tropes at first without being a straight up copy of Lord of the Rings like some classic fantasy books are. Its done very purposefully, in my opinion, to make the reader feel like they have some idea of what’s going on, and the series quickly drops the Tolkien references as soon as its established itself enough.

Also the Gandalf parallel for the series is a smol bi lady and there is 24 year old rage healer who wants to fight everyone with her own two fists.So many women to stan.

Leviathan Wakes by James S.A. Corey

This is the first book of the Expanse, which is a nearish future space opera that takes place in our solar system. Mars has long ago been colonized and is a completely separate government entity than Earth, and conflict between the two planets has been stirring. The Asteroid Belt has also been colonized and have long been little more than tools of corporations that run their colonies. A group of ice haulers working in the outer planets get in the middle of one of the biggest secrets in the solar system and find themselves in all kinds of trouble.

I don’t really want to say more than this, but this is probably the only SF series that I actively keep up on when a new book comes out. There are 8 books our currently, and the 9th and final book will be out sometime in the near future. There are also several short stories and novellas set in the world, and there’s a TV show that I really like though I need to catch up on it.

The Fifth Season by N.K. Jemisin

Hello, this book comes with content warnings for literally everything, but it is such a good book/trilogy. This is book about a woman trying to find her daughter again in the middle of the apocalypse. Definitely a heavy read but absolutely brilliant. The world has a magic system based on geology and the people that can use that magic....saying they’re discriminated against is an understatement. I don’t want to say much more about it, but if you have any kind of content you can’t read for whatever reason, I’d check before picking this up. This is the first book in a completed trilogy

Station Eleven by Emily St. John Mandel

So this isn’t really super SF heavy and is actually sold as a literary book, but it takes place after a flu pandemic has wiped out a large portion of the population...so maybe this is a bad time to read this book, OR its the best time to read it. Depends on how you’re dealing with *motions at the world*

The book flashes back to before and during the pandemic a lot, but is largely about art’s importance and is actually quite optimistic in its messaging, and this is another of my favorite books ever. But yeah, might be a bad time for you to read it of you can’t deal with the content now.

The Priory of the Orange Tree by Samantha Shannon

I just remembered that this book also has a plague, but its a subplot and not the major thing. So this is a big ol’ chonky standalone book that is high fantasy, deals with multiple cultures having to interact and work together, and has dragons. Also there’s a genunine slow burn f/f romance and *chef’s kiss*. I can’t really say much else, mostly because I struggle to explain this book, but its very good and probably my favorite book from last year.

The Calculating Stars by Mary Robinette Kowal

In this house we stan Mary Robinette Kowal, ok?

So this is a science fiction that is more an alternate history that poses the question, hey, what would have happened if an asteroid slammed into the east coast in 1952 and the world had to scramble to colonize Mars so that everyone didn’t die on earth when the climate got catastrophic, because that’s the inciting action of the book. The main character is a Jewish woman who was a WASP pilot in WW2 and is a computer for the space program when all this happens. The book deals with sexism, and racism, and xenophobia, and all the social issues that are gonna come up with it being set in 1952, but Mary Robinette doesn’t flinch away from addressing social issues in any of her books, even when it makes her main characters look bad. (Also if you like Pride and Prejudice, she has a series that is just Pride and Prejudice with magic and like, yeah, its good).

A Natural History of Dragons by Marie Brennan

This is a book which poses a question, what if dragons were like weird animals that were real and an eccentric woman spent her entire life traveling the world to study them and then told the stories of that in her memoirs when she was too old to care about the consequences of publishing all her scandals. That’s what the book is about. This one is probably actually the weakest in the series, just because it deals with so much set up. It’s a great series to get on audio because Kate Reading is a fantastic narrator, and the prose works so well as audio, because it’s just someone telling you her life story. There are five books in the series.

All Systems Red by Martha Wells

So this is a novella and is the first in the murderbot series. Basically a killer robot gets addicted to television shows and accidentally became sentient. I haven’t read the others in the series, but I really need to reread this one and get to the others.

Jade City by Fonda Lee

This is a fantasy set in world sorta inspired by the early 1900s but is in a fantasy world. It’s like a mafia movie and kung fu movie had a baby and it was this book. The sequel is out currently, but the third book is set to release next year.

An Unkindness of Ghosts by Rivers Solomon

This is another heavy read. This is a SF story set on a generation ship that has a society very heavily inspired by the antebellum south. There’s class issues, race issues, gender issues, mental health issues. All kinds of things intersecting here. Its fantastic, but a heavy read.

Assassin’s Apprentice by Robin Hobb

This is another fantasy classic, and is the first of the Farseer Trilogy. The title is sort of also a description of the book, so like. I’m not sure what else I can say. I haven’t read further into the series, but people I trust love it, and honestly I need to reread this and read more of the books.

Doomsday Book by Connie Willis

So if you think that Station Eleven might be a bad book to read at the time, then this is THE WORST POSSIBLE BOOK TO READ RIGHT NOW. Or, maybe the best. Depends on how you cope. This is a book about time travelers based in Oxford and the main character accidentally gets stranded in the past right as the Black Plague is about to hit. And it hits. The book is horrific. The second book in the series is much funnier. This one ain’t funny, but is good. Just, oof.

Mistborn or Warbreaker by Brandon Sanderson

So if you want to get into the Cosmere, which is a series of series that interconnect and will ruin your life, then then my personal opinion is to either start with Mistborn or Warbreaker. People might not agree with me, but that’s my personal opinion.

Warbreaker is currently a standalone (a sequel will come out eventually but its not set up for a sequel so you can 100% read it as a standalone). The magic in this world is based on colors, and the story revolves around two sisters. One of them is betrothed to the horrific God King of their neighboring kingdom. The other sister ends up being sent in her place because their dad hates her. I adore Warbreaker so much. It has it all. Two women discovering their true places on the prep/goth spectrum. Talking swords. Vivenna. Everything you can need right there.

Mistborn is a trilogy that is very emo and will ruin you. Its about people who swallow metal to get magic powers and live in world where the dark lord won already, so they’re all emo. And that was the worst description of Mistborn I ever could have written, but I find it too funny to change.

So if you’re interested in the Cosmere, but are afraid to commit long term, pick up Warbreaker. If you want to get into a series right away, pick up Mistborn.

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jewish-privilege · 5 years

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One of Wenzel Michalski’s early recollections of growing up in southern Germany in the 1970s was of his father, Franz, giving him some advice: “Don’t tell anyone that you’re Jewish.” Franz and his mother and his little brother had survived the Holocaust by traveling across swaths of Eastern and Central Europe to hide from the Gestapo, and after the war, his experiences back in Germany suggested that, though the Nazis had been defeated, the anti-Semitism that was intrinsic to their ideology had not. This became clear to Franz when his teachers in Berlin cast stealthily malicious glances at him when Jewish characters — such as Shylock in “The Merchant of Venice” — came up in literature. “Eh, Michalski, this exactly pertains to you,” he recalls one teacher telling him through a clenched smile. Many years later, when he worked as an animal-feed trader in Hamburg, he didn’t tell friends that he was Jewish and held his tongue when he heard them make anti-Semitic comments. And so Franz told his son Wenzel that things would go easier for him if he remained quiet about being Jewish. “The moment you say it, things will become very awkward.”

As a teenager, Wenzel defied his father’s advice and told a close friend. That friend quickly told his mother, and the next time Wenzel saw her, she reacted quite strongly, hugging him and kissing his face: “Wenzel! Oh, my Wenzel!” Now a stocky, bearded 56-year-old, Wenzel recalled the moment to me on a recent Saturday afternoon. He raised the pitch of his voice as he continued to mimic her: “You people! You are the most intelligent! The most sensitive! You are the best pianists in the world! And the best poets!” In his normal voice again, he added, “Then I understood what my father meant.”

Wenzel Michalski is now the director of Human Rights Watch for Germany. He and his wife, Gemma, an outgoing British expat, live in a cavernous apartment building in the west of Berlin. In their kitchen, Gemma told me that after arriving in Germany in 1989, she often got a strangely defensive reaction when she told people she was Jewish; they would tell her they didn’t feel responsible for the Holocaust or would defend their grandparents as not having perpetrated it. And so, to avoid conversations like these, she, too, stayed quiet about being Jewish.

Recently, the Michalskis’ youngest son became the third generation of the family to learn that telling people he is Jewish could cause problems. The boy — whose parents asked that he be called by one of his middle names, Solomon, to protect his privacy — had attended a Jewish primary school in Berlin. But he didn’t want to stay in such a homogeneous school for good, so just before he turned 14, he transferred to a public school that was representative of Germany’s new diversity — a place, as Gemma described it, where he “could have friends with names like Hassan and Ahmed.”

The first few days there seemed to go well. Solomon, an affable kid with an easy smile, bonded with one classmate over their common affection for rap music. That classmate introduced him to a German-Turkish rapper who would rap about “Allah and stuff,” Solomon told me. In return, he introduced the classmate to American and British rap. Solomon had a feeling they would end up being best friends. On the fourth day, when Solomon was in ethics class, the teachers asked the students what houses of worship they had been to. One student mentioned a mosque. Another mentioned a church. Solomon raised his hand and said he’d been to a synagogue. There was a strange silence, Solomon later recalled. One teacher asked how he had encountered a synagogue.

“I’m Jewish,” Solomon said.

“Everyone was shocked, especially the teachers,” Solomon later told me about this moment. After class, a teacher told Solomon that he was “very brave.” Solomon was perplexed. As Gemma explained: “He didn’t know that you’re not meant to tell anyone.”

The following day, Solomon brought brownies to school for his birthday. He was giving them out during lunch when the boy he had hoped would be his best friend informed him that there were a lot of Muslim students at the school who used the word “Jew” as an insult. Solomon wondered whether his friend included himself in this category, and so after school, he asked for clarification. The boy put his arm around Solomon’s shoulders and told him that, though he was a “real babo” — Kurdish slang for “boss” — they couldn’t be friends, because Jews and Muslims could not be friends. The classmate then rattled off a series of anti-Semitic comments, according to Solomon: that Jews were murderers, only interested in money.

Over the next few months, Solomon was bullied in an increasingly aggressive fashion. One day, he returned home with a large bruise from a punch on the back. On another occasion, Solomon was walking home and stopped into a bakery. When he emerged, he found one of his tormentors pointing what looked like a handgun at him. Solomon’s heart raced. The boy pulled the trigger. Click. The gun turned out to be a fake. But it gave Solomon the scare of his life.

When Solomon first told his parents about the bullying, they resolved to turn it into a teaching moment. They arranged to have Wenzel’s father visit the school to share his story about escaping the Gestapo. But the bullying worsened, Gemma told me, and they felt the school did not do nearly enough to confront the problem. The Michalskis went public with their story in 2017, sharing it with media outlets in order to spark what they viewed as a much-needed discussion about anti-Semitism in German schools. Since then, dozens of cases of anti-Semitic bullying in schools have come to light, including one case last year at the German-American school where my own son attends first grade, in which, according to local news reports, students tormented a ninth grader, for months, chanting things like “Off to Auschwitz in a freight train.” Under criticism for its handling of the case, the administration released a statement saying it regretted the school’s initial response but was taking action and having “intensive talks” with the educational staff.

...For the Michalskis, all this was evidence that German society never truly reckoned with anti-Semitism after the war. Germany had restored synagogues and built memorials to the victims of the Holocaust, Wenzel said: “So for a lot of mainstream, middle-class people, that means: ‘We’ve done it. We dealt with anti-Semitism.’ But nobody really dealt with it within the families. The big, the hard, the painful questions were never asked.” In Wenzel’s view, the Muslim students who tormented his child were acting in an environment that was already suffused with native anti-Semitism. “A lot of conservative politicians now say, ‘Oh, the Muslims are importing their anti-Semitism to our wonderful, anti-anti-Semitic culture,’ ” he said. “That’s bull. They’re trying to politicize this.”

Jewish life in Germany was never fully extinguished. After the Nazi genocide of six million Jews, some 20,000 Jewish displaced persons from Eastern Europe ended up settling permanently in West Germany, joining an unknown number of the roughly 15,000 surviving German Jews who still remained in the country after the war. The new German political class rejected, in speeches and in the law, the rabid anti-Semitism that had been foundational to Nazism — measures considered not only to be morally imperative but necessary to re-establish German legitimacy on the international stage. This change, however, did not necessarily reflect an immediate conversion in longstanding anti-Semitic attitudes on the ground. In the decades that followed, a desire among many Germans to deflect or repress guilt for the Holocaust led to a new form of antipathy toward Jews — a phenomenon that came to be known as “secondary anti-Semitism,” in which Germans resent Jews for reminding them of their guilt, reversing the victim and perpetrator roles. “It seems the Germans will never forgive us Auschwitz,” Hilde Walter, a German-Jewish journalist, was quoted as saying in 1968.

Holocaust commemoration in West Germany increasingly became an affair of the state and civic groups, giving rise to a prevailing erinnerungskultur, or “culture of remembrance,” that today is most prominently illustrated by the Memorial to the Murdered Jews of Europe, a funereal 4.7-acre site near the Brandenburg Gate in Berlin, inaugurated in 2005. But even as Germany’s remembrance culture has been held up as an international model of how to confront the horrors of the past, it has not been universally supported at home. According to a 2015 Anti-Defamation League survey, 51 percent of Germans believe that it is “probably true” that “Jews still talk too much about what happened to them in the Holocaust”; 30 percent agreed with the statement “People hate Jews because of the way Jews behave.”

...The exact nature of the anti-Semitic threat — and indeed, whether it rises to the level of an existential threat at all — is intensely debated within Germany’s Jewish community. Many see the greatest peril as coming from an emboldened extreme right that is hostile to both Muslims and Jews, as the recent shootings by white supremacists in synagogues in Pittsburgh and Poway, Calif., and mosques in Christchurch, New Zealand, horrifically illustrated. Multiple surveys suggest that anti-Muslim attitudes in Germany and other European countries are more widespread than anti-Semitism. At the same time, a number of surveys show that Muslims in Germany and other European countries are more likely to hold anti-Semitic views than the overall population. The 2015 Anti-Defamation League survey, for instance, found that 56 percent of Muslims in Germany harbored anti-Semitic attitudes, compared with 16 percent for the overall population. Conservative Jews see the political left as unwilling to name this problem out of reluctance to further marginalize an already marginalized group or because of leftist anti-Zionism. The far right, anti-Islam A.f.D. — the very political party that, for its relativizing of Nazi crimes, many Jews find most noxious — has sought to exploit these divisions and now portrays itself as a defender of Germany’s Jews against what it depicts as the Muslim threat.

...The early signs are mixed. Sigmount Königsberg is the anti-Semitism commissioner for Berlin’s Jewish Community, the organization that oversees synagogues and other aspects of local Jewish life. At a cafe next to the domed New Synagogue, which was spared destruction during the pogroms of November 1938, Königsberg, an affable 58-year-old, told me his mother had been liberated from the Bergen-Belsen concentration camp and had intended to move to Paris. Instead, she became stranded in the German border town of Saarbrücken, and she soon met Königsberg’s father, also a Holocaust survivor. Like other Jewish families, they were ambivalent about remaining in Germany. Königsberg employed an often-used metaphor to describe this unsettledness: Until the 1980s, he said, German Jews “sat on a packed suitcase.” After East and West Germany reunified, many Jews feared a nationalist revival. Despite a wave of racist attacks on immigrants, that revival did not seem to materialize. In fact, the European Union, which was created to temper those impulses, was ascendant. Jews felt more secure, Königsberg told me: “We unpacked the suitcase and stored it in the cellar.”

Now, he believed, that sense of security has eroded. People aren’t heading for the exits yet, he said, but they are starting to think, Where did I put that suitcase?

...[Felix Klein, Germany’s first federal Commissioner for Jewish Life in Germany and the Fight Against Anti-Semitism] listed several things the German government should be doing at the federal and state levels to fight anti-Semitism; chief among them was training teachers and the police simply to recognize it. He also said school books should include more lessons about Jewish contributions to Germany. “We only started to talk about Jews when the Nazi period came up in our history lesson,” he said. “We didn’t speak about Jewish life before that, and we didn’t speak about Jewish life after.”

The rise of anti-Semitic acts, Klein told me, was not just a matter of rising hate but a rising willingness to express it. This was because of social media, he said, as well as the A.f.D. and its “brutalization” of the political discourse. There are also the challenges that are caused by anti-Semitism from Muslims, he said, though, he added, according to criminal statistics, this was not the main problem...

He added that the existing statistics should not be used as a pretext “to avoid a discussion regarding anti-Semitism from Muslims.” I asked him if there was any fear that such a conversation would raise tensions between minority groups instead of protecting them. “I think there is a fear,” he said. “This is why I think the right strategy is to denounce any form of anti-Semitism, regardless of the numbers. I don’t want to start a discussion about which one is more problematic or more dangerous than the other.”

He leaned in to underscore this point. “You should not start this discussion, because then you start using one political group against the other. We should not do that.”

...Last year, two-dozen Jewish A.f.D. supporters founded a group called “Jews in the A.f.D.,” or J.A.f.D., asserting, in a “statement of principles,” that it is the only party willing to “thematize Muslim hatred of Jews without trivializing it.” In response, the Central Council of Jews in Germany and 41 other Jewish organizations released a joint statement condemning the A.f.D. as racist and anti-Semitic and warned Jews not to fall for its “apparent concern” for their safety. “We won’t allow ourselves to be instrumentalized by the A.f.D.,” the statement read. “No, the A.f.D. is a danger to Jewish life in Germany.”

On a Sunday afternoon last October, J.A.f.D. held its inaugural event in a gymnasium on the outskirts of the Hessian city of Wiesbaden. A J.A.f.D. supporter in the crowd of attendees, who wore a yarmulke and a Star of David necklace that dangled outside his shirt next to an A.f.D. pin, told me, in a strong Russian accent, that he had emigrated from Moscow in the early 1990s. As reporters gathered around him, he rattled off a series of claims often recited at far-right political gatherings: Muslim immigrants come from an “absolutely alien” culture. They would “bring Shariah law” and “rape” to Germany. When a reporter from the Frankfurter Allgemeine Zeitung tried to get his name, the man refused to give it. He didn’t trust the lügenpresse — “the lying press” — he said, using a phrase that, long preceding “fake news,” had been deployed by propagandists in Nazi Germany to spread conspiracy theories about newspapers controlled by “world Jewry.”

...The Fraenkelufer Synagogue sits on Berlin’s Landwehr Canal, a snaking, several-mile-long waterway that meets the city’s major river, the Spree, on each end. In September 1945, according to a Chicago Sun reporter, the canal still stank of decayed corpses when 400 Jewish survivors and about 30 American Jewish soldiers gathered for the first postwar synagogue service in Berlin. The main neo-Classical sanctuary that had once stood at the site sat in ruins, but a Jewish-American lieutenant stationed in Berlin named Harry Nowalsky, who could see the synagogue from his bedroom window, had made it a personal mission to restore a smaller, still-intact sanctuary in time for Rosh Hashana, the Jewish New Year. On the cool holiday evening, the congregants, as one reporter wrote, “sang songs of Israel with tear-stained faces.”

...Fraenkelufer Synagogue would not exist today without immigration. After the war, Jews from Eastern Europe formed a small congregation. After 1989, Jews from the former Soviet Union joined, but by the turn of the millennium, the congregation had dwindled. That began to change several years ago, with the immigration of young Jews from around the world to the neighborhood, including some of the thousands of Israelis who have migrated to Berlin in recent years — many of whom lean to the political left and are troubled by Israel’s rightward political shift...

One evening last summer, three generations of the Michalski family — Wenzel and Gemma, Wenzel’s father, Franz, and his mother, Petra, as well as Solomon’s siblings — sat in a row at an English-language theater in Berlin to watch Solomon, now 16 and enrolled in a new private school, perform in a play inspired by his experience with anti-Semitic bullying.

The play began with a scene in a classroom where an assignment was written on the board: “Tribalism Divides Communities — Elucidate.” The teenagers portrayed two tribes, the Whoozis and the Whatzits, who, because of ancient rivalries, fight. Eventually, everyone falls to the floor and perishes in a final battle. But then everyone slowly rises.

“So that’s it?” one tribe member said. “Everyone dies in the end?”

“That sucks,” another said.

“Yes, but it’s realistic,” another said.

Solomon had the last line.

“Well, I don’t know about the rest of you, but I’m not leaving until we get this right.”

After the play, Gemma told me that she didn’t hold grudges against the kids who bullied her son. “I didn’t give up on those kids,” she said. “The school gave up on those kids.” The attitude from many of the teachers, she said, was: “You can’t talk to them; they’re just Muslims.” This revealed a troubling unwillingness to stand up for, as she put it, “life in a liberal, tolerant democracy for everyone, beyond racism.”

I asked Solomon if he had thought much about anti-Semitism before the bullying episodes. He told me about a trip he took with his grandparents just before the bullying began. They visited the places in Poland, the Czech Republic and eastern Germany where his grandfather had hidden from the Gestapo. “That really opened my mind,” he told me. “I knew about my grandpa’s experiences, but I just, you know, felt really proud to be Jewish after that trip. Then after this whole thing happened, it makes me even more proud to be Jewish. I wouldn’t say I feel more religious. But it’s just the identity, the ethnic background of being Jewish and walking in Berlin as a Jewish boy.” His mother later told me that she found it sad that her son had formed a stronger sense of tribal identity based on the experience of mistreatment. She had not wanted him to forge his identity in fear. “I wanted him to be free,” she said.

Solomon told me that he was happy at his new school. He had made new friends of diverse backgrounds, and they had formed a band called the Minorities. Still, he added, he did not feel free to express his newfound Jewish identity in public. He had wanted to wear a Star of David necklace, he told me, but he and his parents had decided that this was not a good idea. The necklace could be exposed if someone were to pull his shirt back. “The thing is,” he said, “it’s still really dangerous. I mean, it’s not like, ‘O.K., everything is fine now.’ ”

[Read James Angelos’s excellent piece in The New York Times Magazine.]

#long post #germany #antisemitism #islamophobia

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hipsofsteel · 5 years

Note

Can we hear more about Jan?

Of course, anon! I’d be glad to yell a lot of information about the man who lists yelling as one of his hobbies.

And, without further ado, an introduction and character summary below.

Jan Kees Jones, personification of New York State

All art credited to @zapphi, 2017, 2018, 2019

Physical Description

Jan Kees is 5′11, with semi-styled sandy blonde hair, and blue-green eyes. He is of a medium build, and decently fit. He has been referred to as a shorter version of his father, Lars. Neither can deny relationship to the other. He identifies as Dutch-American. His birth year was 1614, and he celebrates his birthday on July 26th.

Jan Kee’s face claim is model Andrej Halasa, his voice claim is Gregg Taylor of Decoder Ring Theatre fame, and as of this moment, he has no singing voice claim.

Personality

Money makes the world go around, the world go around… (Me, starting this section).

Jan is a loud, somewhat egotistical bastard, whose got just enough of a hidden golden heart to be worth knowing, somehow. He’s really good with kids, passionate, and driven to do whatever he decides to do. His passion and drive can play against him at times when he comes off as stubborn and resistant to outside ideas, and aides in many negative perceptions of him. He can also be very indifferent at times to various situations, unless he has a direct stake in it, and pride is a very definite and major downfall he has.

At the same time, he believes strongly in family. While he probably fights with his two brothers more than anyone else, he’ll be right at their side the moment anyone else goes after them. And as for his family back in Europe, he considers himself still very close to his father, and visits him often. He’s also a little bit of a prankster, and he and Seth (@zapphi’s Massachusetts) have gotten into multiple prank wars.

Sexuality and Gender

Jan Kees is queer and cisgender. He has tried ascribing other names to his sexuality over the years, but it has been very fluid at times, so he prefers the overall term of queer. The closest he’s come to using any other name for his sexual orientation was bisexual, but he remained somewhat uncomfortable with the term before switching back to queer.

Jan can additionally be very open with his sexuality at times, and has historically been quite the womanizer and been willing to sleep with about anyone who lets him. When other states joke about the “Promiscusquad”, they count Jan Kees in as a founding member. However, if you’re in a serious relationship with him, he’s a one-person man.

Religion

Jan was raised as a Dutch protestant, and while he remains culturally Christian, indetifies as an agnostic or atheist nowadays. He is very aware of other cultures and religious practices, and tries to be very respectful of them, and has spent a lot of time studying Judaism in particular, as both his brothers are Jewish.

Employment

Jan has two fields in which he’s incredibly passionate and focused in, law and finance. Following World War Two, he has predominantly focused in law, although he continues to invest his money. He used to mainly making a living in finance, but after the Great Depression, felt that law was a more stable career.

Pets

Jan has three pets, all gifts from Lars to celebrate another century of age. In order, he recieved:

Niagara

A Friesian mare Jan recieved on his 100th birthday, Niagara was a very practical gift. He was a growing colony, and although he was now a British colony, Lars felt he needed his own transportation and Arthur was failing to provide him it. Jan and Niagara were pretty inseperable until the age of the automobile. Nowadays, Niagara lives on Jan’s property in upstate New York and enjoys her well-deserved retirement.

Hamilton

A blue and white British Shorthair was given to Jan as his 200th birthday present, and named in honor of Alexander Hamilton. Jan is definitely more of a cat person than a dog person, and Hamilton can about get away with murder. He sleeps on Jan’s chest (which is bad when he weighs as much as he does), loves all of Jan’s “enemies” more than he loves Jan, and loves the smell of mint gum which Jan is sometimes forcefed so he won’t smoke.

Hamilton, you traitor, stop adoring Massachusetts.

When life gives you mint gum, Hamilton glues himself to your face.

Rembrandt

Rembrandt exists pretty much solely because of this picture of Jan’s faceclaim. Rembrandt was a gift for Jan’s 300th birthday, and Rembrandt the hedgehog is living the ideal life in Jan’s apartment. He crawls around on the floor as a walking pincushion, Hamilton is terrified of him and Jan’s terrified of stepping on him, he gets taken out for fun photoshoots by literally anyone who’s ever housesat for Jan so they can spam Jan with pics. His life is amazing.

After reiceiving Rembrandt, Jan has made it clear he has as many pets as he wants, so he didn’t recieve another pet for his 400th birthday in 2014.

Relationships with other States

We’ll start with family.

New Jersey

Elijah, only ten years younger than Jan, has never been someone whose content to be in the shadows OR bossed around by his older brother. Fiercely independent from the start, he resisted assimilation into a Dutch way of life, clinging to his native roots and converting to Judaism very early on. Half the time, they’re at the other’s throats over the smallest things. The other half of the time, they’re about the only person watching each other’s back. They’re a formidable team when cooperating, and Elijah admits he’d miss arguing with him if something happened to the asshole, but don’t you dare tell Jan that!

Delaware

No art for Aaron, so imagine Elijah, but approximately one inch shorter.

Aaron always felt a bit like the third wheel of the family, and he isn’t entirely wrong (Jan and Elijah can be rather self-centered at times). At the same time, Aaron serves as a peacekeeper between the two and he and Elijah bond over their shared faith.

Yet, some doubts about his place in the family were destroyed when Aaron came out of the closet as trans. Jan Kees and Elijah immediately stopped using Aaron’s deadname, Miriam, and bookended his seat for several meetings, ready to throw down with anyone who challenged Aaron. Jan Kees has even helped financially with some of Aaron’s surgeries and made sure his brother has all the expensive male fashion that he will probably never wear because “I never wore this sort of stuff before, Jan, why would I start now?”

Okay, family section over onto other states

Massachusetts

He’s only around eight inches taller than Seth, but this is what Seth thinks their height difference is. And honestly, Jan gloats over it, so he does too.

Seth Adams Jones and Jan Kees’ relationship with him is one of the most complicated things in Jan’s life. He can’t decide if he loves or hates the guy.

I’d like to thank Talia and also Talia for my life. -Jess

Jan Kees came into the original thirteen colonies in a lot of turmoil, and Seth didn’t help. Jan Kees had lost his only parental figure at the time, couldn’t speak much English, was a Dutch Protestant rather than a Puritan, and had Jewish younger siblings.

Needless to say, when one of the first memories you have of someone is getting into a fistfight with them for stealing your brother’s Magen David, you have gotten off on the wrong foot.

They eventually figured out some sort of antagonistic truce, and half-cooperated long enough to see themselves through the French-Indian War, and during the lead-up to the Revolution, Jan had a horrible realization, that he had a lot of feelings towards Seth. So in classic Protestant fashion, aka conceal, don’t feel, don’t let them know, he pretended those feelings didn’t exist. He went through the revolution as a spy for George Washington wishing that he was literally anywhere else doing anything else like maybe fighting with his crush by his side but also no I don’t have a crush on him God I’m a mess, help me.

Also, kinda awkward when your crush mistakes you for an actual redcoat and shoots you at one point when you’re trying to bring in your spy reports.

Jan’s crush remained pretty steady until after the Civil War, when it slowly began to fade over the next fifty years (in canon, Jan ends up dating @bottot‘s Florida, Marco). However, in many AUs, it just keeps simmering in this idiot forever until eventually, somehow, it slips out.

They continue to have a semi-antagonistic friendship, because really to Jan, is it worth knowing someone if they aren’t at least a bit of a fucking bastard? (He says, crawling out of the Boston Harbor for the sixteenth time this year after Seth threw him in.)

And, when times are tough, they can set aside the bullshit and be there for each other. Because you’re my oldest frenemy, damn it, I need you to help get me through this.

Michigan

Ever end up as the primary mentor of a kid who thankfully ends up nothing like you? That’s Jan Kees and Fatima in a nutshell. Fatima had been around for a while as a very small and sometimes struggling personification, but when the Erie Canal opened, so did a whole new world of settlement from the northeastern states, and trade, with New York being the center of it.

Jan served as a primary contact between Fatima and the world for a while, and even bought her her first translation of the Quran when she admitted to being curious about Islam. But in some ways, most importantly to her, he introduced her to Elijah. She and New Jersey somehow hit it off, even with totally opposite personalities, and now she’s practically his sister-in-law, so at least she tolerates his bullshit really well.

Florida

This just in: The moment Elijah realizes Jan Kees liked Marco, he had Jan’s type in men pegged to a T.

Marco is a bitter old salt whose approach to life is “Fuck it, if it doesn’t kill me, it’ll be something I can tell stories about later”. Full of salt, short, and ready to argue with anyone who will let him, he and Jan have interactions eeirly similar to some of Jan and Seth’s interactions.

But Marco also has a way of bringing out the kid in Jan again, making him do ridiculous things and actually having him enjoy it. Finally having their first proper meeting right after the Civil War, they were pretty wary of each other at first, but over time, a begrudging respect formed, followed by begruding affection.

They might not admit it, but they’d literally cross a war zone for each other.

At the same time, they have some things in their relationship that are a little explosive and tense. Marco is jealous of several other states who had short-term relationships with Jan since he used to be very promicious, and can hover a little too much in Jan’s space at times because of that. Meanwhile, Jan can be overprotective and stifle Marco with good intentions and concerns. But they’ll eventually set aside the argument, talk it out, and then go to bed together that night, with Hamilton and Pink treating them as their own private heating pads installed on the mattress.

In the end, they’ll never get used to the other’s weather, but they’ll never stop enduring the heat/cold to see each other either. They’ve both waited long enough to have something good like this, and they’re both too stubborn to let go.

Other States-Brief Thoughts

Vermont- Jackass. Rarely calls Ethan by name, since he fought so damn hard to be Vermont.

Rest of the NE besides Vermont and Massachusetts- Eh, assholes, but I’ll live.

Pennslyvania- Is this actually food or are you poisoning me?

Virginia- Oh, fuck off, you got the capital, but I’ve got the banks.

California- Stealing your money, power, glory, and fame since 1849.

Oregon- Feral tree child.

Washington State- Attractive. Slept with her a few times after WW2. Got threatened by Roberto for it. In retrospect, California was probably right but still. Ouch.

Kansas- Yeah, the appropriate way to get over your crush on Massachusetts probably isn’t to sleep with the girl he considers his daughter. Funnily enough, she ends up dating Washington State later, so that happened.

RANDOM FACTS

-In the Statetalia Canon I’ve created, Jan Kees is the Original Yankee because England misheard his name as Yankee. He referred to Jan as this until Jan knew enough English to correct him.

-He ran away to Canada in 1940 and joined the Canadian Army in response to the invasion of the Netherlands and continued US inaction. Alfred didn’t know until Matthew sent him a telegram that basically said “Yeah, I have custody of New York until the war’s over, bye!”

-Sports team rivalries are his life. I, Jess, know nothing about sports.

-Speaks Dutch, Iriquios, Yiddish, Spanish, Italian, Quebecios French, Mandarin, and English.

-Major insomniac, has no really well established circadian rhythm.

-A really good cook, actually! Too bad he prefers to order take-out.

#Anonymous #aph new york #hws new york #oc jan #ask hipsofsteel #you ask for ze boy and i deliver (eventually) ze boy

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mszegedy · 5 years

Text

Speaking a non-lectal idiolect for fun and profit: an essay

This is an essay on what’s in it for you if you make the way you talk unique. It’s very long, because first you need to understand the social implications, which requires a lot of background knowledge. Think of this as a technical introduction to something that’s hard to do right, but written without assuming you already know anything about sociolinguistics. In my opinion, it’s worth it to know all of this, because then you can think about the way you speak on a new level, where you’re aware of what it’s doing for you socially.

What is an idiolect?

It’s the way a single person talks in a single language. Most people’s idiolects belong to a dialect or regiolect (a regional variety), a sociolect (a variety associated with a social group), and some amount of registers (varieties used in different social contexts). Some examples of dialects of English, with varying scope, include General American, North San Francisco Bay English, Older Southern American English, and Scottish English. Some examples of sociolects of English include African American English, surfer slang, the “gay lisp”, and Received Pronunciation. (All sociolects are somewhat regional in nature, too.) Some examples of registers of English are the way you’re asked to write in essays in grade school, the way you talk with your family, the way you talk with your friends, and the way you talk on the internet. (Prescribed registers like Grade-School Essay English are usually plagiarized off of old high-prestige sociolects, so they can feel sociolectal. But the way you write grade-school essays is your grade-school essay register, and that’s a register, not a sociolect.)

These categories can collectively be called “language varieties” or “lects”. The boundaries between lects are fuzzy. The way you tell whether an idiolect belongs to a lect is whether it has some features that are part of that lect: pronouncing a vowel a certain way, using certain words instead of other ones, that sort of thing. But these features never cluster together cleanly into lects where everybody has all the features of that lect. Each feature has a slightly different geographic and social distribution. Here’s a bit of Rick Aschmann’s wonderful map of American English phonological features:

This isn’t even all of them. You can see him picking out dialects, but it’s hard to do with so many intersecting features.

Regardless, you don’t have to have all features of a lect to have that lect, since no feature even “belongs” to a lect in the first place. But there are some features that aren’t even on the radars of any of these lects, and would be out of place in the idiolect of one of their speakers. For example, pronouncing “new” as “nyoo” would be weird anywhere on this map. The people who do that learned English on a different continent entirely.

If the language you’re speaking is your second language, your idiolect might be pretty unique, and contain features from your parent language, with the most apparent ones being phonological ones. There isn’t a good word for this as far as I know; I just hear it discussed as “foreign pronunciation of X” or “X as a second language”, which makes it sound like a collection of speech errors instead of an idiolect. It’s not. Your idiolect is always valid. It might cause problems, though, especially if you’re a second language speaker, when people can’t understand you. It might also cause problems if people stereotype you based on it (see below). Finally, it will cause problems if your idiolect contains slurs, and I have no sympathy for you in that case. But no matter how many problems your idiolect causes, it’s not worse than anyone else’s on some universal scale. It’s just different.

What your idiolect says about you (to laypeople)

People are better at identifying lects than they give themselves credit for. They might not be able to narrow it down to a single city and social group every time, but at the very least they can tell the country you come from, and can pick out major sociolects like African American English (AAE). They use your idiolect to infer a lot of things about you, based on how they feel about the groups that use those lects. They often go so far as to say that the language features they notice in these lects inherently produce these feelings. When people say that, they are almost always terribly wrong.

A common example of this is racism towards black people. If you speak a version of AAE, people are reminded that you come from a black community. They will then apply their assumptions about black communities to you. White people will imagine you growing up in a ghetto, and not having a good education. They imagine you dressing and acting a certain way. Their assumptions are built on the AAE speakers they’ve seen in the media, and in real life. Black people have gotten to the point in mainstream media where now there are multiple black person character archetypes. But most real people don’t fit those.

(Meanwhile, a black person who speaks a white sociolect will get called “articulate”, because people have better stereotypes about black people who speak that way.)

Another common example is the image of upper-class British people that Americans have. If you are a Received Pronunciation (RP) speaker, Americans will describe you as “posh”. They will imagine you having lots of money and strong opinions. They will, again, imagine you dressing and acting a certain way. This is again because of the contexts in which they’ve been exposed to RP in. In media, its speakers are educators, acclaimed writers, royalty, and historical figures. As an RP speaker, you might not be any of those, but you will still get the credit for it.

This effect intersects with sexism as well. Valley Girl English is a heavily-stereotyped sociolect. If you have features of Valley Girl English, people might call you “superficial”, and think that you are dumb and that you sleep with many people. They will imagine you dressing and acting a certain way. (I’m repeating myself for the third time because with all of these examples, you can probably imagine what way I’m talking about without me telling you. Everybody knows Valley Girl English speakers, for example, wear revealing clothing and have expressive body language.) They will imagine sexist things about you because the Valley Girl stereotype is in general a sexist stereotype.

One interesting example I don’t see brought up very often is features associated with bigots. One such feature is using the substantive for certain groups of people. People get offended if you say “blacks” and “Jews” instead of “black people” and “Jewish people”, because they know that that’s what bigots say. If you have this feature, people will imagine that you are dismissive towards the problems that minorities face.

What (lay)people say about your idiolect

People who think they know things about language will say that their stereotypes about your lects come directly from the language features themselves. They will say that the AAE sentence fragment “did’n do nofin” sounds “lazy” and “uneducated”, and when asked why, they will say that it’s lazy to not have a “t” in “did’n”, it’s lazy to have “f” and “n” instead of “th” and “ng” in “nofin”, and most of all, it’s bad grammar to have two negatives. They will say that Valley Girls use “like” as a filler word so much because they don’t actually have anything to say. And they will say that the reason that words like “blacks” are offensive is because it is dehumanizing to not include the word “people”.

All of these things are wrong. The truth is that these features occur more or less randomly regardless of social attitudes. Sound changes occur all the time to every language and every lect; the “posh” RP is just as much of a pile of sound changes as the “lazy” AAE. There are many languages and lects where flipping all the negatives in a sentence negates it, like in AAE, instead of just flipping one negative. My first language, Hungarian, is one of them. AAE isn’t any worse for having it. It’s just a way that it’s different from most other English lects. “Like” isn’t used more than any other filler word, and filler words are in every language. There is nothing empty-headed about using filler words. Everybody does it. Saying “<adjective>s” instead of “<adjective> people” is far more common than not, over all languages. In many languages it’s the only way to do it. Even in English, it’s the preferred way to do it for nationalities, e.g. “Americans” instead of “American people”, or things that sound like nationalities, e.g. “lesbians” instead of “lesbian women” (although you do hear the two-word forms in some narrow contexts).

The best way to figure out whether your feeling about a feature is an inherent thing about it or just a bias of yours is to ask, “Does this feature also occur somewhere where I don’t feel about it this way?” The answer is almost always yes. It’s a big world out there.

Rigging the system

Getting stereotyped isn’t fun. Nobody can opt out of stereotypes. People will take every little facet of you, from your clothes to your height to your gender to your skin color and infer a whole bunch of things about you no matter what you do. But you can stop people from including your idiolect in the information they use to construct their stereotypes. Or at least, you can discourage them. Or instead of opting out of stereotypes altogether, you can try to control them instead, and use them to express things about yourself. You can do this by being aware of which language features form which lects, and which lects invoke which stereotypes. After that it’s just a matter of adopting the language features you want, which is still easier said than done.

One way to use this power is to adopt an idiolect that runs counter to the stereotypes that people might construct about you for other reasons. You can often do this just by changing register, without retraining yourself to a different lect. For example, as a child, I got stereotyped as “smart” and “gifted”. I did not feel very smart or gifted, but I did know that I wanted to erase stereotypes. So I tried to speak very informally all the time. My hope was that my actions would speak louder than my words, and people would think I’m smart for real reasons, and feel less like the register I was using was only for dumb people. It’s hard to estimate the amount of success I had, but I never stopped wanting to speak in ways that people don’t stereotype as “technical” and “too complicated for normal folk". People still think of me as “technical”, so I guess I’m a failure.

Another way to use this power is to adopt a non-lectal idiolect. This is the main point of the post. “Non-lectal” is a term I made up to refer to something that has a collection of features that make it impossible to classify into a lect. Having a non-lectal idiolect will make it difficult, but not impossible, for people to form stereotypes about you based on your idiolect. It might also give you more freedom of self-expression, because each language feature can say something different, instead of all of them together saying that you belong to a stereotype.

Non-lectal idiolects

Having a non-lectal idiolect is harder than it sounds. You can’t just make a grocery list of language features you want, because that list is endless and you will always forget something. Maybe one day, somebody will write a complete guide to all English language features, telling you who uses them, and how people feel about that. Then, in a year or two, that guide will be useless, because attitudes towards certain language features have changed, and new, interesting language features have sprung up that should really be in your guide. But then, that’s the almanac model. If people cared about that sort of thing, you could make a lot of money re-releasing an updated version of your book every year.

A good way to make a non-lectal idiolect is slowly. Think of yourself as a language feature collector, like somewhere between a postcard collector and a Pokémon trainer. Whenever you notice a cool language feature you would like, think about what groups it would associate you with. If you’re comfortable with that, add it to your idiolect. Maybe read up on how it works, if you’re lucky enough to have literature on that. If not, do your best to figure it out on your own, or come up with your own version of it.

There’s a couple of pragmatic considerations to keep in mind:

Borrowing features from lects that are closely associated with minority groups you aren’t part of is not a good idea. People will think that you are pretending to be a member of this minority. The people who will be the most offended are the minority members themselves.

A classic case of this is that it’s not a good idea to borrow distinctive features from AAE if you are white. I have personally wanted to do so many times, as a sign of respect and as a way of normalizing a sociolect that people look down on. But I’ve ended up borrowing only innocuous things where I have the plausible deniability of having taken it from somewhere else. I feel justified in using multiple negatives, for example, because my first language also does it. But really, I do it because of AAE.

Trying to use language that people consider offensive in a way where you feel like you’re removing the offensiveness is not a good idea. You will never make anything but enemies if you try to bleach or reclaim a slur, for example, especially if you’re not part of the group that the slur applies to. You have to get an army of people to do the same thing with you before you can do that and not be taken for a bigot.

Trying to use the substantive, which, as noted above, is associated with bigotry but isn’t inherently insulting the way slurs are, is a project that maybe has more merit, but consider this. You will, eventually, use the substantive around a minority member and make them feel unsafe. This is a somewhat different dynamic than when, say, a white person feels unsafe around an AAE speaker because they associate AAE with crime. In the first scenario, the minority member is guaranteed to have already experienced bigotry, and has every right to be wary of bigots. In the second scenario, the white person is just racist, precisely because they haven’t interacted with AAE speakers enough. Is it a positive thing to give a minority member experiences where a substantive user turned out not to be a bigot? Well, sure, but in the meantime you’re making their life worse. I would err on the side of not making people’s lives worse.

Is a non-lectal idiolect right for me?

Think about what you want your idiolect to mean. It matters more what your idiolect’s features mean to you than what they mean to other people. You’re the one who has to listen to it all the time, after all.

Sometimes what a feature expresses to you can be so different from what it expresses to other people that you start to feel bad about it. And sometimes this is a feature you’ve acquired naturally, not by planning your idiolect. For example, the thing that affects the way I speak and write the most is that I have central auditory processing disorder. I absorb language and information through text far better than through speech. It about balances out; it’s like the text and speech capabilities of a neurotypical person got switched. I hardly ever remember things from lectures, but once I read something in a textbook, I’ll remember it for a long time. In my dreams, I can read text, but I can’t understand speech. And, most importantly, I naturally acquire language through text, not through speech. This means that, while most people end up writing the way they talk until they are trained to use a unique register for writing, I would end up talking the way I write if I didn’t put every ounce of my effort into not doing that.

I would love to naturally express to people through my idiolect that I have more of a connection to written things than spoken things. And in theory just letting the acquisition take its natural course would be a good way to do that. But the problem is that the most common written register of English is basically an anachronistic pastiche of formal English sociolects from the 20th century. People don’t just think that I sound like a book. People think that I sound “smart” and “educated” and “technical”. This is what I’ve wanted to avoid all of my life.

I would like to express other things than just my connection to text. There are many lovely dialects that I have respect for and a personal connection to that I would like to give a shout-out to in my idiolect. For example, in the Hungarian lect my family speaks, the word for “New York” is Nyujork instead of Nujork, because it was borrowed from British English and not American English. I think this is really cool and cute, so as a way of paying tribute to it, I pronounce words like “new” and “nude” as “nyoo” and “nyood”. I could have just changed how I pronounce “New York”, but I already have other features competing for New York-related real estate, and having the sound change be universal is easier anyway.

The biggest reason to worry about which language features to have is that you ultimately know yourself better than your language acquisition engine does. Your language acquisition engine will take features from your environment and dump them into your lap. Your job is to vet these features and see if you like what they tell people. If you just let it do its thing, your idiolect will probably tell people where you lived, and maybe what communities you’ve been part of. But probably not as well as if you’d put some thought into it.

Putting thought into your idiolect doesn’t have to mean making it non-lectal. Making it non-lectal is the nuclear option where you don’t want people to immediately associate you with certain places and cultures. If you are okay with being associated with a place and/or a culture, consider its distinctive lect something to build around. There is no hard boundary on being a non-lectal speaker. You can have a lot of features that point towards one thing and several other features that point towards other things. Experiment.

Conclusion

Language is the most versatile tool for expressing yourself. The semantics of any language are already a powerful engine of communication that you’ve been training yourself your entire life to use. Make the pragmatics, the metatext, work for you too. Don’t worry about every feature; there’s too many of them to do that. But if you single out features you care about, you can turn your idiolect into a beloved work of art that you can carry with you everywhere. Whether the art that you make will be non-lectal, I cannot say. But know that the option is there, and it’s a goldmine of untapped self-expression potential.

#linguistics #conlanging #english #self-expression #language #language art #sociolinguistics

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takaraphoenix · 5 years

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35,18,3,7 (on the original Charmed)

Thanks for playing! ^-^

3. rant. just do it

Okay, here goes nothing.

Americans annoy me with their high hourse TV plot writing these days. Like, yeah, just as any other sane person, I know that your guys’ government putting human beings into cages and separating children from their parents and basically Third Reiching it up in there is really terrifyingly bad - as a German, I might even get that a little bit more than some others.

But I’m... I’m really tired of them doing this “what is happening right now is Really Very Bad and we will whack you over the head with that in your fun escapism TV show”.

Because look. If I’d... If I’d want to engage with this terrifying shit going on, I’d be right now watching the news. Not Supergirl. Not Legends of Tomorrow.

I, like many others, watch TV as a means of escapism. Especially shows about idiot timetravelers and aliens who are unrecognizable when they put on glasses.

That a show like Orange is the New Black that is set and grounded in this reality and actually deals with prison conditions and has tackled these type of injustices from the get-go addresses it makes a whole lot of sense and fits the theme.

But every single show turning into “we shouldn’t treat other beings who are just like us but have slight differences and may come from a different place like they are below us!!!” is... it’s exhausting.

Not everybody watching this is American. It’s not like we can do anything to help. And, let’s be really really clear: A show that is so damn heavy on feminism and LGBT themes has long since lost any of the viewers whose hearts and minds these kind of plotlines are meant to change. No Straight White Male Republican Racist is still watching a show with half the cast being POC and LGBT and female. The only people you’re reaching are the people who absolutely know that what is happening is wrong and terrifying.

And what makes it more frustrating was that Supergirl in particular was always very out of this world; quite literally. They opted, after Trump was elected, to put a female president onto that Earth. A reasonable, wise woman who works for the rights of others. And that made this show all the more wonderful and all the more escapism from this reality because it was literally presented as a better alternate Earth to ours. That they had to get her impeached to replace her with a Straight White Male Racist so you can hammer the metaphor of aliens = immigrants in was... not necessary, not on that world.

And especially not with the exact same message running course on three different shows that share one universe - because yeah, the whole “metahumans are different than us and are being murdered” thing is the same tune, you just exchanged alien/magical creature with metahuman there.

I just... It’s too much. I get tight-chested every single time I have to face another horrible, inhumane, Hitleresque thing that Trump said or did. I don’t need you to whack me over the head with thinly veiled metaphors.

Especially since you’re not even doing it in a creative way. The bad guy is the Old White Man, while most of the aliens and magical creatures that are prominently features are played by actors of color, just in case anyone was still missing the metaphor. It’s... It’s not even clever writing.

And I don’t... I just... Honestly, I actually find it kind of offensive that writers think we need a metaphor where the immigrants are literal aliens. Like, humans do this shit to other humans. That you’re pretending that “oh no they are doing this to aliens while all humans hold together” is... even more unrealistic than the whole premise of Supergirl to begin with, to be quite frank.

It’d even be... fine. Durable. If it were one show only but to be whacked over the head with the exact same message on multiple shows running parallel is really tiresome actually.

I get it. I know what you’re saying. I agree. And so does the whole entire damn rest of the audience. Because if they didn’t get the whole point of Superman and Supergirl literally being refugees on Earth and them LITERALLY being created by Jewish men during WWII and if they weren’t racist enough to stop watching when two black men became superheroes and if they weren’t homophobic enough when one of the main characters came out as a lesbian and started very explicitely to have a relationship with another woman and if they weren’t transphobic enough to quit when you introduced a trans character to the main cast and if they weren’t misogynistic enough to just straight up quit this majorly female-led feminist show on season one, then honestly you’re barking up the wrong tree there.

7. opinion on… Charmed

THIS WAS MY FIRST BIG OBSESSION! *^*

Oh, I loved Charmed - literally all of my walls, including my ceiling, were plastered with posters of the show! I did the puppy-dog eyes at anyone who bought teen magazines back then, I got cut-out articles about it every time it was somewhere, I still have self-recorded VHS tapes with the entire show in my closet.

I even wrote my very first fanfiction for this show, back then ink on paper in a journal because we’re talking pre-Phoe-is-allowed-on-the-internet-age, I had my first next gen OC line-up for that show.

And it was, to date, the only ever where I actually also got invested in the actors. Particularly Alyssa Milano. And if I saw anything where Alyssa Milano or Julian McMahon were in, I watched it, not even caring what it was, because I loved them so much.

I mean, I’ve always loved witches, you know? But this show just hit everything for me. Back then I really related to Phoebe the most, because she was the youngest and thus most relatable for pre-teen me, she was kind of a screw-up who didn’t really know what she was doing. I always wanted big sisters like Piper and Prue.

Many of my favorite tropes were first introduced to me there. Seriously, this show is why I love a good “everybody lives together”. A team as a family, by blood and also beyond that.

Them killing off Prue killed me. I cried so hard so long back then.

And also this is like the only show ever where I got incredibly invested in the canon ships. Leo/Piper, Cole/Phoebe, Andy/Prue. All. The. Way. Obviously, canon broke my heart twice but that doesn’t mean I can’t live in eternal denial.

It’s also the first time I encountered a TV show overstaying its welcome, because that last season was absolutely unnecessary, start to finish. The season before that had the perfect finale - the sisters, getting to live a normal life, then that little wink by the door closing just like Prue’s powers used to close it, it put tears in my eyes and had me incredibly content. Then they had to add a blonde Mary-Sue to the mix and go on for another season and just nope.

And yes, you notice my focus on Prue. I love her. She still remains my second favorite after Phoebe and I will admit I never quite warmed up to Paige and would have preferred if the whole... actor fall out hadn’t happened and Prue could have continued on in the show. So, that’s my favorite part of it; back when Prue was alive and Cole was also still alive.

18. rant about your favorite musician

...At this point, I am thinking that maybe you should have asked each number in a separate ask because this thing is long.

But okay, I actually do have something to rant about there!

HOW DOES THE YOUTH TODAY NOT UNDERSTAND PUNK. URGH.

A few weeks back, my favorite musician was on TV. There was a music event, I think it was a benefit and also a peaceful protest, led by him, among others, and before it, he stepped up to the mic to say a few words and I was watching that with my grandparents and my brother and he just went “Urgh, that guy again. Why does he have to be everywhere? And why is he talking about this? It’s none of his business, he should just do music”.

Like.

No.

Campino is a punk. Die Toten Hosen is a punk rock band.

Protesting the government and what is wrong with society is literally what punk does. Punk is only secondarily a music genre. First and foremost, it is a means to be loud and vocal about politics. So to organize a peaceful protest and to speak up about the mistreatment of immigrants in our country is literally what punk should be.

The fact that there’s younger people who don’t know that is terrifying. The fact that younger people in Germany just know Campino as an old musician and not as a punk is also terrifying. Go listen to DTH and study up on punk, please.

35. what does home mean to you?

Ah, finally a short one! xD (Just kidding, I do love ranting!)

Home is where I feel at ease, where I can be myself, where I’m happy. These requirements can be fulfilled outside of my own four walls - it’s like, when I am in London, this incredible sense of home fills me too, surprisingly enough. Gods, I wanna go back to London...

Unusual Ask Game

#About Me #Random Rants #lots of ranting #Unusual Ask Game #send me asks #shadowruned

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