How did SJ's mother fight to get married 😮

With stubborness and persistance that her son will be infamous for.

Seriously, it's a cool anecdote. The story of SJ mother Marie Anne Robinot getting married is awesome. Prob the best thing we know about her. It also tells us a lot about shit that women had to go through in that age.

So, the year is 1766 and Marie Anne receives a marriage offer from a distinguished soldier Louis-Jean de Saint-Just de Richebourg. She is 32 years old, so it is even more significant, because it might be her last shot at married life, which she obviously desired. Now, Louis-Jean is around 50, so much older, but he is not only respectable but also has a status and a bit of, if not wealth, then money to live comfortably. By all parameters, he's a good opportunity for Marie Anne.

But! Her father doesn't want to let her get married. It is not 100% confirmed why, but it is likely because he was a widower and she was the only daughter and he wanted her to continue to run his household and help him.

Marie Anne asks him politely, and Louis-Jean asks for her hand in marriage, but the answer is no.

So Marie Anne decides to fight for it.

She is over 30, so of age, and there is a law that says a daughter of age can get married even against her father's wishes, IF she asks the father 3 times in front of witnesses, and 3 times is refused. Marie Anne wants to seek legal help, but her father is a big shot in the town so no local notary wants to help her. She then writes to a local noble, explains her situation, and the noble orders notaries to help her, whether they like it or not.

So, they try 3 times. The first time, her father leaves the room without a word. The second time, he leaves the house before they arrived. Idk what happened the third time (he was there but ignored the request?) but he very much did not give his consent.

It is important to note what kind of arguments Marie Anne used. She talked about a good opportunity in terms of status and a secured financial future, both of which would also benefit her father. She did NOT talk of love at all (even though she could have been in love) - she built her arguments in very rational, objective and socially acceptable terms; no emotions whatsoever. She correctly concluded that such an approach would be more effective, if not to her father, then to witnesses.

During all of this, some men in the family supported the father (notably, one of the unmarried brothers who lived in the same household and benefitted from her services), but some relatives supported Marie Anne. Her uncle Jean-Antoine, a parish priest in Verneuil, was one of them, but also at least one other uncle. I assume they tried to talk to her father and make him change his mind, but to no avail. (Like seriously, everyone is so stubborn in this family, almost to the Robespierre family levels stubborn).

But it doesn't matter in the end, because after being refused three times, Marie Anne was allowed to get married. She does this, on 30 May 1766, in the village of Verneuil, with local working class people as witnesses (at least one who was illiterate). Her uncle, the parish priest, was the one who married them. She would give her first born name "Antoine" after him.

Interesting to read yer response to that last ask about yer history exploring gender + transitioning. I guess it’s p relatable to me even tho I think we feel somewhat differently about our own gender. I’ve always felt a very strong internal sense of gender, it’s quite clear to me and it’s definitely not neutral, it’s quite intense. I’ve identified as nonbinary for a long time. But I’ve found the closer I’ve gotten to being in touch with it, the more confused and unwelcoming the rest of the world has become. So I spend all this time thinking about how im perceived and how to navigate that and balancing what I internally want vs trying to manage reactions to me. This is where I see our similarities. It’s gotten especially bad recently as I’ve felt a new connection to manhood and I’ve wanted to explore that but I’ve felt the backlash way stronger cause I feel like people feel much more confident to tell me that I’m failing being a man than being nonbinary. So it’s getting to the point of like, what even is being a man. (Feels like failure is a pretty core aspect of it lol) Like you talk about making these choices to join queer men’s space, which is where I’d feel the most connected to manhood, but I feel like I’d have to make pretty big changes to how I move through the world gender wise to be even allowed or welcomed there. I don’t feel an apathy like you describe, but I can totally see how this constant weighing of expressing yerself vs being seen how you want would end up in apathy

I don't know your situation, but I'd give those queer men's spaces a shot. A lot of them are far less transphobic than you've been conditioned to think. There are trans men in the queer men's spaces around you, there are people who are read as cis gay men who are themselves very much not so, everybody's fucking pansexual and nonbinary these days it's fucking crazy dog. besides, what transphobic bias does exist against trans mascs in men's spaces is so fuckin mild compared to what trans women typically confront in wlw spaces. the worst i've ever had happen to me was someone befriend me on the dancefloor and then helpfully recommend that we all head to a lesbian bar. and he wasn't even being insincere, he just didnt know what kind of person he was talking to. beyond that it's been like a total nonissue even long before i passed. so you should give it a shot, you will learn more about yourself and other people from it. and it has generally for me been pretty positive!

the problem is. finding acceptance into the little gendered club meant there was still a whole lot of Gender there. and i'm so sick of it. this is also an asexuality thing for me too. im so fed up of people being into my body or my appearance. im so sick of the obsession with bodies and appearances and the gendered projections made onto those things. it grosses me out so much. i just feel like putty that everybody's hands have been all over. im so sick of people trying to leave their mark on me.

LMAO i love it

you're 100% not the only ones, i'm sure. i came out as a lesbian at 14 and the label always kinda. stuck inside me? even when i got into my later teens and had boyfriends it always felt i was doing it bc i was supposed to. not that anyone around me specifically gave me that impression. i think the label of "gay" stuck when i transitioned, like i CERTAINLY could not call myself STRAIGHT right????

so for several years following i just considered myself a gay guy point blank, ignoring my dreams abt, and my longing to be with, women, it wasn't all that hard like it didn't chew at me or anything, after all i was having plenty of fun with my male obsessions (and still do, obviously!) and never thought about it. there was so much else happening i only happened to even revisit the subject fairly recently when my mom complained abt me always confusing her lmao and (jokingly) to "just pick a fucking side already oh my god", which DID stir up some personal questions. for a while i figured i must be bisexual, until i stripped it down and realized that, truly, i would only EVER want to be in a relationship with a man. i don't want to touch a man irl.

my attraction is purely surface level/pure sexualization, and built solely on fantasies abt characters and such. sure i put them in Sex Situations mentally, but i am p much never in the fantasies myself, unless i'm in a position of control and authority over them; taking on the role of protector. "man of the house" kinda thing, but 99% of the time i'm not being touched back sexually. just kissed :) i dropped the bisexual label bc of this realization, i don't want to imply through it, to any degree, that i'm as interested in relationships with men as i am interested in having the REAL thing- attraction, trust, intimacy, love, etc- i know some folks use it on a spectrum that works for them, but it's not a label that jibes with me. plus i have SUCH NARROW ACCEPTABLE STANDARDS when it comes to guys, like..certain heights, hairstyle/quality/physique etc. don't get my started on acceptable vs unacceptable body hair....meanwhile my attraction towards ladies has a near infinite range of beauty to me, esp physique and height!! and i do not at all feel the need for a sense of control either. and oh my god, the times i've kissed girls will stay in my mind forever it's BLISS but meanwhile i've forgotten all the (many more) guys already 😭

it's also important that women don't see me as entirely male either..i want to be able to use the lesbian label without offense or confusion, but "lesbian" is the only thing that really stirs up a feeling of gender identity for me? some would call me nonbinary, genderfluid, agender, whatever- i ID with zero of those. butch or stone butch rings a gender bell to me. i'm a lesbian at my core, i just happen to do an injection weekly, no different than taking my dozen other prescriptions twice a day. my name happens to be dennis because it was funny to me. and it is. but i want to provide my parter with that deep understanding, the kind only experience develops, of i know what it's like. tell me. forget my 5'o clock shadow. my broad shoulders, my voice. and think of me like i WAS for this moment.

Match up, No. 9

@starlightbydaybright hat gefragt:

Hello! Saw you were taking match-ups and I was wondering if I could request one. Only done one before for another fandom, and I was wondering who I’d align with for One Piece ^^

I'm an INFP and generally an introvert, finding it difficult to express myself when I'm around people I'm unfamiliar with or just not close to. I can be both quiet and shy; quiet when I have no interest in making good impression on that person (a stranger I'll see once and never again) and shy when I'm genuinely trying to make myself acceptable to them. But, I do trust easily, so it's not hard to get close enough with me that I'll open up about almost everything, so long as they understand have my boundaries (that'll shift depending on how close). I'm also very affectionate with people I'm close with, particularly through physical touch, since I've been pretty touch starved. If you're close friends with me, you can find me constantly looking for a hug, but I can respect boundaries since not everyone enjoys contact.

The situation would be a bit different romance wise, since I’d revert a bit back to my introverted side, but also very affection-seeking at the same time. I say affection seeking as in I’d crave time and activities spent together with them, but I’d be afraid to ask/initiate, at least during the early beginnings of the relationship. I’d be constantly seeking affirmation of their love, and since I’ve never been in a relationship before (but desperately wanted one), they’d be constantly receiving my love too ❤️

While being an introvert in reality, I find it much easier to speak with confidence online. as I actually have time to contemplate what I can say. It's when I'm either with close friends or on the internet, that I can go on passionate endless rants or show my passive aggressive side. I'm usually pacifist, but if something irks me enough, I can and will pitch in snide/sarcastic remark or two, or if it's more serious; I will write out whole sophisticated and well worded paragraph that'd sound all polite with a hidden snarky tone.

I'm pretty much a hopeless romantic, so there's lot of couple things I want to try when I find someone. Back hugs, bridal carry, tickle fights, you name it. While I do enjoy these displays of affection (comes with the happy kind of embarrassment aka. I feel embarrassed that others sees it but I’m happy because I know they’re not doing it out of maliciousness and because they truly love me), small gestures are appreciated too; a gentle squeeze of the hand, a passing smile, etc.

As for hobbies, I enjoy reading, writing, (occasionally) drawing, but most of all; probably singing. I enjoy a wide variety of songs, depending on what mood I'm in, but I particularly like songs about love. Looking for someone to sing the duet love songs with me, doesn't matter how good or bad they are at singing. They can be tone deaf for all I care, it's the thought that matters 😊

I'm very emotionally sensitive, and can both laugh and cry easily. A random stranger online wished me good day? I'll be in good mood for awhile. Watched a 'mildly' sad movie? (Extra emphasis on mildly) I better have new box of tissue on the side just in case. It'd be nice to have someone that can either comfort me or at least tolerate my emotions, so I wouldn't be irking them 😞

I don't really have a type when looking for significant other but being an INFP does make the romance thing complicated. It'd be nice to have someone that's far along on the extroverted side (just not happy go lucky and can be serious) since, despite being introverted, I like to experience new things. I'm just too afraid to try alone and prefer it if someone else recommends it first. Someone to prompt me and nudge me to do something, but won’t take it too far if I really looked uncomfortable. (I’m also a procrastinator so they gotta find out the right ratio between pushing vs. taking it too far 😅) In relationship, I'd value trust and loyalty the most, since both are important in keeping the healthy relationship. If both sides could equally trust and be trusted, then there wouldn't be place for insecurity or fear. This ties in with another part of me being an INFP; I want a relationship that lasts forever. While it's weird to decide how long lasting the love will be early in the relationship, I don't think I can fully commit myself to someone, knowing that it'll end (through the other side falling out of love with me, finding interest in someone else, etc.) (natural causes like death are fine, even though I will still be sad 🥲)

As for appearance, I’m a 5”4 female with slightly wavy black hair that reach nearly to my waist. I don’t think I’m particularly short, but then again, every anime character seems to be straight up giants XD (Man, I was born with the wrong genes) I’m overall very plain, with black hair, brown eyes, but I’ve always been told I had pretty long eyelashes and big bright eyes. Average weight for my height, and flat chested :’)

As for the preference for gender, I’m mainly attracted to guys. I had some (very few) crushes on a small selection of female anime characters, but that were very rare, like 3, compared to my (insert large number) male crushes

Thank you in advance and sorry for how long this is 😔

P.s. I feel like I need to emphasize I’m still an introvert, since the personality I described is only limited to my very small friend group

a/n:

Hey there? How are you doing? Thank you so much for requesting. First off I should be apologizing for making you wait so long. I hope you´re not mad at me but lately there is a lot happening in my life. In my private life but also in my college life. But let´s put that aside and get to your request.

I have to thank you for the detailed info about you because that helped me to choose a match up for you so much. Like I instantly could think of someone. Not only did it help me to match you up with someone but also to come up with a plot. So I came up with this little imagine/hedcanon… I really don´t know what to call my work for the imaginies so I go with work. XD Anyways I really don´t know what to do at this point. Your request and your personality gave me such a good idea for a plot that I tried my best to keep it short because I decided to turn this request and my ideas and thoughts that are flying around in my mind to an actual FANFICTION! AHHHHHHHH. I can´t stop thinking about it. The idea sounds so damn good in my head that it makes me smile like an idiot right now! Uff I can´t wait to find time writing it down. AHAHH, but I fear that I already gave aways so much with this!!!! *pouts Doesn´t matter I´ll do it anyways. AHHHHHHHHHHH Thank you so damn much for requesting!

Anyways! Back to my work now. If there is anything that bothers you or you simply hate please make sure to tell me so I can change it and give you whatever you´d like. Other than that happy reading my dear!

Match up rules can be found HERE.

Warning(s): Maybe grammatical or spelling mistakes since English is my third language and I´m still improving in every aspect (Please have mercy on that.)

!!! Please do not steal my idea or work. Credit me if this is shared or published in any other platform or any other way. Please respect me as the writer and my work. Picture is not mine. Credits to: I sadly don't know. Please tell me of you know so I can give credits. Thank you in advance. !!!

· I decided to pair you up with KILLER

· Like am I the only person that thinks that he is not getting the screen time and appreciation he deserves? Because that is the damn case! ODA GIVE THIS MAN THE LOVE AND APPRECIATION HE DESERVES. And while we´re at it I wouldn´t mind if I would get a bit more of Eustass Kid too… Thank you in advance. <3

· But that’s not the point. Please dear requesting beautiful human being give this man and me, your hopelessly dreamy author a chance. Thank you, I really appreciate. <3

· aNyWaYssssS.

+

· “y/n? Are you still awake?”, asked the blond man softly. “No worries I won´t make you carry me to bed again.”, you said with a giggle. You couldn´t see his face but you knew that he was smiling. “I don´t mind that you know? I like having you close to me without having to fear to see you hid under the blanket for who knows how long.”, you rolled you eyes and hit his arms. “That only happened because that idiot captain of yours annoyed the hell out of me. That was embarrassing Killer.”, you slowly put one leg over the railing and then the next one. Making sure you don´t fall down the ship. “What happened? Didn´t you drag me out our cabin to watch the stars?”, asked the muscular man who held you close to him while making sure you didn´t fell. “I did but now I´d like to look at something different. Something even more beautiful. Something that gives me warmth and happiness. Something that keeps me alive and always makes sure I am doing fine.”, talking to the blond pirate while sitting at the railing was one of the rare moments you were close to an eye level with him. “You mean my mask?”, asked the man with a tiled head that got you to roll your eyes and hit his chest. “Great you destroyed the sweet moment. I hate you. Make a step back so I can get down. I want to go back to bed and drown in regret of dating you.”, you tried to push him away but he was obviously stronger and threw you over his shoulder. “Of course you hate me. That was also the exact same thing you were moaning a while ago. Let´s go back to bed nerd.”

· As sweet and loving your relationship was now with the pirate it also started like that. Wanna know how? Alright let me get comfortable in my bed and get started. Story TIIMMMEEEE!!!

· An island well known for their universities and scientist. An island full of top ranked doctors.

· Physics, chemistry, biology, astrology was well thaught in the schools of the island. An island well known around the world. An island ruled by a powerful devil fruit user.

· An island in which every civilian had a talent in another field. And you? You sadly had an impressive talent for languages.

· Why sadly you wonder? Well the amount of times you had to run for your dear life because some pirates could come and kidnap you and make you read the poneglyphs is immense.

· Once even the infamous Red haired Shanks came and asked you with the hope to have someone who could read them. But sadly you couldn´t. You told him that you were done with pirates coming for you or your best friends. You regretted learning all of that and hated yourself for that. Shanks and Beckman to whom your were talking to really felt bad for you and claimed the island as their territory after they had a chat with ruler and made a deal.

· That was that saved you and your friends for years and made you happy. You were thankful to the red hair pirates and always treated them with meals and drinks when they came visiting the island. You were happy for 5 years. 5 years until these stupid reckless pirates came.

· And now? Now you hated yourself all over again

· You knew that not every pirate was like the red hair pirates. Nice and respectful. They didn´t kill innocent people and destroyed civilizations only to get some gold and diamonds. But these? These were horrible. Cold and cruel.

· “Someone make this btch talk otherwise I´ll do it by cutting her into pieces only stropping when IT actually starts to answer my god damn questions!”, screamed a tall and guy with red hair.

· You were scared. Tied on a mast on their ship, you feared for your life. Screaming for help was not an option since you were already on the sea since a while now.

· The man that was yelling at you none stop was now holding a blond man with a mask at his collar and growling at him. The man might have a mask on but you somehow had the feeling that he was talking to the man with the red fur coat. “Clear the deck! NOW!!”; yelled the man before he left inside the ship. Slowly every man on deck was leaving you alone. You wanted to ask them were or why the left but you knew that they wouldn´t give you an answer. You were a prisoner. A captive. A pathetic human they took on board. With the last pirate leaving you behind, a door that was located behind the mast you were tied on closed while the need to cry grew inside of you. How long am I here by now? One hour? Two or three? Was anyone missing me back at home? Were they already looking for me? Thoughts that occupied your mind were blurring your vision. You were looking right in front of you but also not. Your eyes were wide open but your vision was back at home. Home were you belonged.

· “Hey. Hey can you hear me? Hey you alright, woman? Hello?”, a man was squatting in front of you and waving with his hands in front of your face. You were deeply lost in your thoughts that you neither heard him coming nor saw him sitting right in front of you.

· But the moment he touched you tight you screamed and got back to reality. “Please don´t touch me. Please don´t hurt me. Please I beg you. Please.”, fear was written all over your face. You saw yourself death with a huge puddle of your blood. “Alright I won´t touch you. It´s just that I´ve been sitting in front of you for 5 minutes now and the only thing you did was breath and say no. Anyways here is something to drink. You´ve been her for four hours now. Half of the time unconscious and the other one either basically mute or in a trance.”, the guy in front of you was the same one who got the mad man to leave and clear the deck. It made you wonder who he was that he had such a power but you didn´t dare to ask. “Here I hold it for you and you drink.”, the glass was put on your lips and you drank. You didn´t knew how thirsty you were until your lungs were wetted by the water. Finished drinking he put a blanket over your legs since the position your were in didn´t allow you to cover yourself properly. And the fact that you were wearing a dress wasn´t helping at all.

· “Alright. You had something to drink I got you a blanket now tell me are you able to talk to me and answer my questions?”, you nodded. “Good. Now listen to me. There is this language that is called Krisanasy. As far as I know there is a tiny amount of people who are able to speak that and you are one of these. Am I right?”, you nodded. “How well are you in it?”, you gulped and looked at the man with the mask “I know the most important basics. I remember basic grammar rules and a good amount of vocabulary but I´m not that good in it. I didn´t worked with anything that included this language since years now.”, the masked man nodded and fully sat down now. “Would you be able to get back in it if you had some books and scripts to work with?”, slowly you understood where this was supposed to lead. You knew that if you said yes they would keep you as their prisoner and make your work for them. And if they had everything they would kill you because there would be no more use for you. But if you said no now and refused to talk to him he would probably also kill you. You were in a dilemma. You didn´t wanted to die but also didn´t wanted to die after you helped them. They were criminals. Feared and hated by the government and any human around the world. You looked down on your lap and let your head fall forward so your long black hair covered your face. “Hey I asked you something. Would you be able to do that?”, his voice was deep and rough but in the same time soft and gentle. That irritated you. it make you realize that him being nice to you now was just a way to get under your skin and make you do whatever they wanted. And then they simply would kill you in the most brutal and cruel way. “Hey, woman. Are you listening?”, you felt helpless. “I don´t want to die. Please let me go. Please. I beg you. Please.”, tears were streaming down you cheeks you couldn´t hold back anymore. He came closer and lifted you face. “Listen here you are a smart woman. Stop crying for fcks sake. If I would be you I would have made these pirates work for me. Use your damn brain and stop crying. Do you really think anyone in here would kill you? Heck no! They need your help. They need your brain because all of them are basically stupid. Like damn I need you to answer all of my questions before my captain with anger issues comes and beats the sht out of me. Now answer me woman. Are you able to get back in it if we got you some scripts to work on?”, you nodded while more tears streamed down you cheeks. You felt pathetic. You felt worthless and used. Helping them would turn you into a criminal too and ruin everything you worked on. Everything the emperor did for you and the island would be wasted. “See wasn’t that hard to answer.”

· The questioning went on for a while you didn´t know for how long but you knew that a long time passed since the sun stared to set. “Alright. Now I give you two options. One, stay here. Tied up on the mast no matter what kind of weather we face. Two you swear to obey me no matter what kind of order I give you and you will be able to sleep on a bed. You will get food and tomorrow you will start working on the scripts we give you. You choose.”, with your head hung lowly you said number two and instantly got released from the chains and handcuffs. He helped you stand up and covered you in the blanket before he led you into his cabin. “Wait here. Sit there and don´t do anything stupid as long as I´m not here. If you do anything stupid I won´t be able to help you. Got it?”, he didn´t even wait until you answered or gave any reaction he simply left and closed the door after him. So you waited while sitting with a lowly hung head. Minutes passed and he came back. “Your clothes are dirty. The bathroom is empty so you can take a bath or shower. Anything you want but I´ll be in the room with you. Because of one I have to make sure no one is coming in and secondly to watch over you and make sure you don´t do anything stupid. Got it. Fine. Take this towel and these clothes. We don´t have any female crewmates so you have to be wearing with my clothes until we dock on another island and you get to buy clothes.”

· The man with the mask took care of you for the rest of the day. He took you to shower and gave you fresh clothes. You had dinner with him alone in the kitchen when no one was around and got back to sleep. And no matter what you did he made sure to keep a respectful distance towards you. Whenever he had to come closer or touch you to take care of your wounds he would warn you. The day kept going like that. Nothing else was said about the following days and the thing they wanted you for. Only necessary things were said that were needed at the moment. And you only gave short replays or only answered with a head movement.

· Slowly the day passed by and the night took over with the moon putting the world alight. You were back in his cabin with him sitting on an armchair and you lying in bed sleeping with one hand tied up on the bed.

TerraMythos 2021 Reading Challenge - Book 15 of 26

Title: Tehanu (Earthsea Cycle #4) (1990)

Author: Ursula K. Le Guin

Genre/Tags: Fantasy, Fiction, Third-Person, Female Protagonist 

Rating: 8/10

Date Began: 6/24/2021

Date Finished: 6/30/2021

Decades after The Tombs of Atuan, Tenar decided to settle down and live an ordinary life on the shepherding Isle of Gont. Now a farmer’s widow, she adopts a disfigured and horrifically abused child, who she names Therru. When a giant dragon deposits a grief-stricken Ged at her doorstep, Tenar finds herself in a strange situation as she cares for her old friend and her adopted daughter. But threats from Therru’s past and a malevolent force on the island soon threaten Tenar’s small family. 

Despair speaks evenly, in a quiet voice.

Content warnings and spoilers below the cut.

Content warnings for the book: Violence and death. Mentioned murder. Severe child abuse. Descriptions of traumatic injury and disfigurement. Mentions of r*pe, including of children. Trauma, sexism, and ableism are explored in depth. 

Tehanu is a much different book than the trilogy that precedes it. Perhaps this is unsurprising, considering the 17-year gap between this book and The Farthest Shore. I’d describe the Earthsea series as “grounded fantasy”. While all of them take place in a magical world, the thesis of each book is universal; the fantasy always comes second. Tehanu takes this idea to an extreme. The story is about everyday life as a common woman in the Earthsea world, with fantasy barely factoring in. The pacing is intentionally slow and introspective, which is something I normally don’t like, but Le Guin is a consistent exception. 

Key characters from the previous books make an appearance. Obviously Tenar is the biggest return, absent since The Tombs of Atuan. The Tenar in this book is older and much more mature, having decided to live a simple life in spite of her adventures and accomplishments. Ged returns, but he’s a shell of his former self, as he mourns the loss of his magic and the man he used to be. Even King Lebannen (formerly Arren, the main character of The Farthest Shore) makes a brief appearance, and is quite a palate cleanser after the horrible men throughout the rest of the book.  

Probably my favorite aspect of the novel is the fact that these characters stand well on their own without magic to prop them up. Tenar explored the terrifying freedom she won in The Tombs of Atuan; got married, settled down, had kids — but still finds herself at a loss on what to do with her life after her husband dies. Ged is in a similar boat; he’s gone from an almost mythic character to an ordinary man, and like Tenar finds himself at a crossroads in life. Other characters embody this idea of transformation and uncertainty; Therru’s escaped her abusers and now has a loving mother, but what does the future hold for someone with her appearance? Stuff like that. 

The idea of metamorphosis and new beginnings is well-trodden. But what makes Tehanu interesting is Le Guin primarily examines this with the middle-aged characters. Tenar and Ged are legendary figures in the world of Earthsea, but life has taken them to an uncertain future. The thrust of the novel lies in finding a purpose and becoming someone new. I also like that Tenar/Ged is endgame; I got Vibes from The Tombs of Atuan, but neither character was in a position where it would work. Seeing them form a romantic relationship much later in life is touching and cute. But it’s not the reason that either of them grow as people; finding one’s purpose is something one has to do on their own. Their relationship only develops once both parties have done so.   

My main complaint about A Wizard of Earthsea, the first book, is the sexism inherent in the setting, which is never examined below the surface level. Perhaps Le Guin’s outlook changed, or perhaps the publishing environment did, because often Tehanu reads like a response to this criticism. The central theme of the book is misogyny, the patriarchy, and its debilitating effects on women. Le Guin examines everything from micro-aggressions (“common wisdom” that happens to paint women as inferior) to domestic issues (“women’s work” and how much that actually is) to outright sexual assault (both in threats and actual acts; it is heavily implied this is part of the abuse Therru endured). She even goes into how powerful women are only considered as such because a man gave them that power. 

While I appreciate the fact she addresses these issues in such a frank, blatant way, at times reading Tehanu felt like reading a basic feminism primer. These subjects are all things I’m familiar with, and I feel like anyone who’s studied key feminist ideas would be aware of them also. Maybe 1990 was different? Le Guin doesn’t add any insights to the bleak reality of patriarchy and sexism, which is a little disappointing compared to previous books. That being said, this book is aimed at young adults despite its dark subject matter. Tehanu could be the first exposure to these ideas that many children receive; looking at it that way, it makes sense that the analysis comes off as basic. 

I also found the book’s examination of gender to be very cishet-normative. That’s definitely not surprising, considering the book was published in 1990, but to a 2021 reader this hasn’t aged super well. There’s a lot of discussion about the relationships and differences between men and women--whether there are any or not, how magic differs between them, the ability to bear children, and so on. There’s a weird sexual component to this, like how wizards (who are exclusively men) have to remain celibate in order to… keep being wizards? But women who are witches don’t have to do that, and that’s an advantage women have? (There’s mentions of male witches too, iirc, but it’s not expanded upon— do they have to remain celibate? Who knows.). I found this whole bit pretty odd and unnecessary, although I realize a lot of my perspective on the matter comes from a modern view of sex and gender (and, y’know, being trans). Not all the gender takes in the book are bad, but they are limited. 

I found Le Guin’s exploration of trauma and ableism through Therru to be more interesting. There’s a lot of examination about how society treats Therru, a survivor of unspeakable abuse. Her trauma is visible due to severe burns along part of her body, leaving her with a missing eye and disfigured hand. Tenar spends much of the novel wondering what future Therru has; no matter how capable she is and how much she acts like any other little girl, strangers gawk at her, or assume she “deserved” what happened to her. Therru becomes happier and more independent over the course of the novel, but relapses into a traumatized state when she encounters one of her abusers. As a survivor, it’s heartbreaking and distressingly realistic. As much as I like Tenar, I almost wish the novel was from Therru’s perspective (other than the brief jump at the end), but I realize it would spoil the ending.  

I’m torn on the ending because, while I thought it was cool and had some interesting revelations, it’s a jarring tonal shift. As I mentioned, Tehanu is a slow novel with a heavy focus on everyday life, and the trials and tribulations both Tenar and Therru experience. There’s even a climactic event a few chapters before the end; the only thing left is a persistent loose thread from earlier in the novel. That subplot explodes to the forefront a bare chapter and a half before the end of the book, and a lot of action-y fantasy stuff happens. It doesn’t come out of nowhere; it’s set up throughout the novel, but it is sudden. 

That being said, I do like that the subplot with dragons vs humans is hinted at as early as The Tombs of Atuan. When Tenar tells the legend about the origin of dragons early in the story, my mind immediately went to that one room from the Labyrinth with the sad winged humanoids painted on its walls. I’m curious if there are hints elsewhere in the series. I also figured out Therru’s true name and how she relates to that subplot based on context clues. While it’s not a shocking twist, it is a satisfying one. Though parts of it gave me a “magical destiny” vibe which is counter to much of the series so far; I do wonder how the last two books will address this. (Also… did Le Guin imply Kalessin is Segoy? AKA God? What did she mean by this. So Ged literally like… hitched a ride from God, who promptly yeeted out of the story until the end? That’s kind of funny. Maybe I misinterpreted something.) 

I probably sound critical of this book, but I did genuinely enjoy it. It just didn’t speak to me the way the previous two did. The next book is a short story collection before the conclusion to the series, so we’ll see where it goes! Tehanu set some stuff up that I expect will be expanded upon in these volumes.

Airy Thoughts about Heirs and Gender

That kind of always has been John’s modus operandi when it comes to dealing with problems though hasn’t it?

Eveen waaaaay back in the beginning when John totally pushed it out of his mind that his dad was actually just a normal business man and not obsessed with clowns, that it was actually John who was obsessed with clowns, and jokes and pranking, thats always been how he deals with stuff he doesn’t like

Ignore it, make it not real, don’t acknowledge it, compartmentalize it, heck, joke about it, do pranks, make it silly, make it lighter, try to lessen the seriousness of it all

John has ZERO skill when it comes to actually dealing with perceived negativity in any sense, always been very reliant on basically his Aspect’s traits to solve problems for him

and now its becomes so bad, thats hes on the edge of having a full blown dissociation disorder about it

(I wonder actually if being too reliant on what’s been given to you on your plate already is a trait overall for Heirs or Those Who Inherit? It fits well with my previous idea of Heirs notable for being stuck in ruts, but it seems the true train of thought here, is that Heirs basically are caught in a pre-determined state, the lines have been drawn around them, their plates have been served, and they have to deal with what’s given to them, and as a result, have ZERO ability to handle situations that their pre-equipped toolset cannot deal with)

definitely an area where Heirs are prone to overembracing, when they become so, reliant on their pre-existing toolset, that they become unable to change things ups, see things differently, handle different problems

There’s an element of priveledged behavior here that clearer to me now, people who Inherit their wealth have no idea what it’s like to work for it or earn it themselves

and now isn’t THAT a connection to Maid and Heir?

this is where you could spin Heir as someone who starts out having no idea how to create something new and having to forcibly learn that

I could see someone creating a Maid/Heir argument for this

but then the problems arise of “how is that different from the Maid’s arc of also having to learn to take what was given them and start making anew what they want”

and the biggest hurdle to Creation Heir: Heir is not a feminine associated class

and the reason this matters, is if creation doesn’t have to be feminine associated, then masculinity gets the lion’s share of creation and destruction in Homestuck overall, and that feels like favoring masculinity too much, especially with how much Creation and Destruction as concepts are overvalued over the other aspects by far, it’s tilting it too far in one direction, when these Red and Green concept should spiral Equal (theoretically)

its out of step with how Creation and Destruction have been shown to be thus far

BUT

All of this was how things went down for me, back before June Egbert became a thing

So, in reading this, and with having the knowledge June might actually be a girl (maybe, Hussie said so, but thus far have yet to see anything from John in canon)

is that enough to make “Heir” feminine associated overall? moreso than other feminine associated classes like Maid/Sylph/Witch? Enough to be a strong enough pair to the Maid over Sylph? Two words that can literally mean “Girl”

Equius and Mituna still exist, what does that say about them? Is the background joke of Equius in a Maid outfit starting to actually become relevant?

who knows, but, It’s bringing up interesting questions I think, for me at least

John is the Main of Main Characters, versus Equius being background and Void aspected and Mituna being essentially non-existant, is that enough to balance out importance wise of who really gets to define what being an Heir means?

is it distateful to call being Spoiled an essentially feminine associated trait, if it’s balanced out by Maids being hardworking (or Servile..?) as opposed to a royally spoiled Prince and silly clown Bard?

better question, are these questions about gender things that Hussie never actually thought that deep enough about, so theres threads of things that could work, but end up falling apart in practice, revealing biases unfortunately baked into the system itself

cuz its like this: if Sylph/Maid is the females creation classes, its making sure girls vs boys in the grand scheme of things is equal, but that’s kind of going with the quid pro quo of masculine destruction/female creation thats baked into homestuck from the start, which is likely just the result in the authors inherent bias. Is that a net good? or a net bad? kind of unsure

if creation doesn’t have to be female, the idea that we should just be able to do away with the idea of gendered classes entirely is a thing, which is good in its own context, unfortunately leaves things with a different unfortunate gendered bias, where masculinity gets all the good shit and importance and feminine associations get sidelined and its unequal again, is this a better or worse way of seeing things? if male just happens to get the lions share of cool stuff, does it mean we can ignore gendered classes altogether, or is that exacerbating the problem with gendered classes to begin with

if a class that so far, hasnt had any traits associated with either masculinity or femininity (kind of a lie with Heirs being unusually good at the “mangrit” stat) gets strongly associated with femininity via one main character, is that enough to tip the scales and make things balanced again?

(is the above perhaps just a beautiful metaphor for the question of said characters eventual transition?)

(yknow, if that actually happens in canon, and gets explored by John/June at some point, and doesnt just die as an author word of god background fun fact..)

basically, Ive been wondering exactly how much the who gendered association of classes in homestuck should matter, but more importantly, how much it’s already affecting

would it be a good step to make Heir/Maid a creation pair? or is that just making a small problem bigger

tl;dr basically if Hussie makes it clear in canon that June Egbert has been a girl/dealing with a gender struggle all along in the way that they always have done by trying to downplay/ignore/compartmentalize it then yeah, Heir Maid gets a lot stronger legs to me, purely for the character symbolism of it all and the great message that would say about the gender construct of homestuck overall

but

if John Egbert remains the status quo, if Hussie never actually intended John to transition, if it never gets brought up in any way other than the authors saying out of the workd “I said so” Heir Maid as creation just doesn’t work without that Transition metaphor, so it fallbacks to the traditionally neutral Sylph/Maid as creation oriented

though, there’s also the fun question of what if through change of the characters themselves, their classes change with them? So through the power of Main Character June changes the associated traits Heir has overall OR stops being an Heir and gets a different class, both would be equally cool transition metaphors (which ironically would just reinforce Heir as a class of Change/Transmutation overall but lol)

Misaeng review

Ok, it's been almost a week, so I feel like I can get my thoughts (somewhat) in order. As usual, I'm late to the party, given that Misaeng aired 6 years ago, and is already considered a kdrama classic. Still: thoughts!

(under the cut)

I came to this drama with quite a lot of expectations, both because I'd seen it on a lot of rec lists, and also because I'd watched director Kim Won-seok's Signal and My Mister, which are justifiably as beloved as Misaeng. I'm happy to report that Misaeng mostly lived up to those expectations!

The writing & direction work together to make Misaeng a very immersive experience, which is good, considering the entire run time is over 20 hrs. The level of seemingly mundane detail of the operational aspects of running a trading firm that they delve into (and other dramas might have avoided for sake of pacing) seemed odd to me at first, but eventually result in a world building that's incredibly well fleshed out. The (formerly unlikely!) high stakes of a misplaced piece of paper or octopuses in a shipment of squid end up being parts of an emotionally wrenching narrative whole fairly seamlessly. Still, at 20+ hours, Misaeng also does get into the kind of pacing issues that most of the slice of life kdramas I've watched so far have. And it didn't need to! I think it had a wonderful ensemble of characters, and if they'd maybe given a little more time and space to characters other than Jang Geu-Rae (Im Si wan) and Oh Sang-sik (Lee Sung-min), the mid portions may not have felt quite so, well, stuck.

But more than the strong writing and direction, it was really the actors who delivered. They made what could have easily been a dull-ish office drama into a heart warming story about human connection and the joys and troubles of leading an "incomplete life". I'd never watched Lee Sung-min in anything before, and about half way through the series I was like, HOW IS HE MAKING A SHORT TEMPERED, ALCHOHOLIC MIDDLE MANAGER SO SEXY? Like, serious props, dude. Lee Sung-min is by turns annoying and brash and too shout-y and stubborn and funny and so incredibly vulnerable as a man trying his best to live by his principles in a world that thinks they are an impediment to "success", that you forget that he's playing a fictional character-- he's someone you know, he's someone you've seen in the mirror.

His performance as Oh Sang-sik is very ably matched by Im Si Wan's Jang Geu-Rae. This series would not have worked if these two actors didn't have the chemistry they do, and play off each other in every scene. I had watched Im Si Wan recently- in JTBC's "Run On", in which I liked his performance quite a lot, but I absolutely loved him as the naive and endearing Jang Geu-rae. Misaeng, is in part, a bildungsroman narrative centered around Jang Geu Rae. Im Si wan brought a kind of vulnerability to the role that might have felt cloying and emotionally manipulative in the hands of other actors, but Im Si-wan manages to do it with a light touch. I feel he's one of those actors that uses his whole body in a scene, not just relying on facial or verbal expression, and it's a joy to watch.

Each of the other actors in the ensemble also bring that dedication and talent to their roles, even if it's in a single scene. There are lots of one-off characters that we meet during the course of the series, and every single one of them leaves an impact.

But! I'm going to pick a fave from the supporting cast and that's Byun Yo-han, whom I'd last watched as the broody, troubled (and very sexy) swordsman Lee Bang-ji in Six Flying Dragons. I can't imagine a character more in opposition to that one than Han Seok-yul in Misaeng, but Byun Yo-han just knocks it out of the park as the scheming, cheerful and mostly inappropriate clown with a heart of gold; Han Seok-yul is the definition of Chaotic Good, and you're equal parts horrified by his antics- which include sexual harassment dont @ me -- and yet charmed by him. I wish they'd given him a few more scenes and a larger plotline to work with, but I also suspect that he might have just walked away with the entire series if they did that. (Am I plotting that series in my head as I write this? MAYBE.)

Alright, this is getting a bit too long, so I'm going to get to the bits that disappointed me. That's really one major thing: the gender politics. I don't know how different the show is from the web toon it's based on, so I can't tell whether they made significant changes to the basic plot and characters. As in- I have no idea if the webtoon was as male dominated in every way as the show is, so I'm not sure how much of the show's treatment of women as a class, and its female characters in particular, I should lay at the door of the original writer vs the screenwriter and director. I'm also lacking the Korean context in which this was written and made and aired, so you may take my criticism with a pinch of salt, if you please!

That the show features mainly male characters is perhaps unsurprising and realistic, since we know that the kind of corporate life it depicts is very male dominated, top to bottom. The show also portrays the very real and horrific overt and subtle misogyny that women face in the workplace and out of it; mainly in the character of Ahn Young-yi, played with steely determination and quiet suffering by the lovely Kang so-ra. There are only 3 other female characters that have any sort of real speaking role- Sun Ji Young (played by Shin Eun jung), a senior manager at the company, Jang Geu-rae's unnamed(!) mother (played by the amazing Sung Byoung-Sook) and Oh Sang-sik's unnamed (!) wife (played by Oh Yoon-Hong, who's a delight in every tiny scene she has). There are other women who appear but in very minor roles, and often in "comedy" moments that often rely on sexist tropes to start with.

Anyway, right there you can see one of the problems- 4 women characters that have any kind of real screen time, and only 2 of them are named. Aigoo! Screenwriter Jung Yoon-jung is a woman, and like, I don't like putting the burden on any one woman to y'know fix structural misogyny, but I can't also help feeling disappointed that she overlooked even this "small" thing among the larger things.

But that apart, the main issue for me was that while the show doesn't shy away from depicting egregious sexism in the form of sexual harrassment, verbal and physical and certainly emotional abuse, in a manner that's clear that we are meant to be horrified by it--it falls short of depicting how women deal and work with it. It just doesn't give enough space to women or their worldview.

It's very comfortable depicting victimhood, but doesn't put work into depicting the ways in which women survive by finding solidarity with other women. We have a scene or two where Ahn Young-yi who is this show's poster child for female victimhood interacts with the older women who offer sympathy and understanding, but no real strategy or support. And yes, we see men also being targeted by their seniors for the grossest verbal and physical abuse; and it's men who help Ahn Young-yi strategise on how to deal with her situation. Real life experience tells me that it's the women who do this work for other women. I have certainly been on both sides of this equation, for one, and so has every woman that I know in corporate life. And yes, one of the show's core philosophies is that those who endure, survive--but it is none the less extremely painful to watch Ahn Young yi "endure" the kind of abuse she does as a coping strategy and a survival strategy.

At the end of it, when she slowly manages to gain the support of her sexist team, it's shown as a victory-- though naturally imperfect, because this show takes its Realism very seriously (right until the end where it makes a tonal shift into quirky that I was a little ?? about)-- and y'know, sure, it is a victory. And I absolutely understand the choices she makes and why she does it-- I guess I just got annoyed by the fact that other antagonistic figures in the narrative get a more straightforward comeuppance for their egregious behavior, but Ahn Young-yi doesn't even get a goddamned apology from her abusers. Instead, we have a half humourous, half serious moment where she comments on how she's working at turning herself into "someone cute"- because she understands now that sometimes the right strategy is to "go with the flow". Be the water that slowly wears away at the rock. It's an interesting moment- the men she tells this to are taken aback by her bluntness, but also a little clueless about what she means. It's the kind of nuance that I would and do enjoy. Unfortunately, it also closely follows one of the show's most annoying scenes at the tail end of the series- where it tries to play off workplace sexism and misogyny as comedy- boys being boys-Reader, when I tell you that I had to WORK to unclench my jaw--!

I'm not saying we should have a single and obvious narrative of female emancipation. I'm not against realism in fiction, but god, sometimes, please do remember that when we look for escapism, we are actually imagining a better world. The first step toward liberation is allowing yourself to imagine it.

And the show does allow other characters its moments of unfettered fantasy- Im Si Wan parkour-ing all over the rooftops of Amman- and having a semi mystical + Indiana Jones moment in the deserts of Jordan--so why, I ask, are the women not given that gift?

*looks into the camera *

Tl;dr: I enjoyed it, it made me cry every episode, and I cared about all the characters, and if you haven't watched it yet, treat yourselves.

PS. Yes, Han Seok-yul is a disaster bi, sorry, I don't make the rules. Yes, hotties Oh Min Seok and Kang Ha-neul are canonically naked in a hot tub six feet apart because they are bros. Yes, I will be writing the fix it in which they fuck like angry bunnies. Yes, I am going to put my shipper cooties all over this gen slice of life show, deal with it.

amy, cj, donna, and andy!!!

them!!! they!!! the girls!!!

okay. so. this is gonna be another one where i do some sets of 2 first, and because of that it's going under a cut haha

amy & cj!! okay, i know we've talked about them, but... god they're everything. i touched on them in this post basically to say that like. in canon they are set up as friends (and, in fact, close friends) without really giving us much of that. i see them basically as having met at some women in politics function with cj at emily's list and amy at now, and making jokes and hitting it off easily and eventually through running into each other again and again actually talking. the other thing is that... amy and cj are really similar, actually. funny and smart as hell and confident on the surface, kind of a mess beneath that. it's the humor as a defense that josh calls cj out on, the confidence masking insecurities (specifically the fear of letting people down), down to one of my favorite parallels between them of "he thinks of you like a daughter, cj" "that's not a good enough reason to keep me around" vs anything when amy thinks abbeys gonna fire her or when jed kind of does. the difference with them is... cj's focused on public image and conforming to that, on loyalty, etc, and amy's really, really not, and is terrible at working for people.

donna & andy, oh how i wish we'd seen them more! in canon they've got a few lines in gaza, and they seem familiar, plus earlier on during sam's campaign in california there's scenes with the two of them even if they don't actually talk to each other. i... don't think they really know each other well, but i think they could find some common ground, especially after gaza and i really want to write about them dealing with their trauma from it together some, because i think they'd both have a certain level of survivor's guilt, and to an extent i also think that andy would feel really bad talking about it with donna because she wasn't in the car and didn't get hurt and donna did. i also think... i'm not at all an expert, but i assume donna would be knocked unconscious pretty immediately, and so i kind of headcanon that they have a really... careful? conversation where donna's sort of just asking andy what happened, if she's comfortable talking about it?

cj & donna are everything! they (and occasionally others? but mostly them) are like. the emotional, compassionate, optimistic centers of the show, really, which is... something i could talk about more considering they're the only two consistently present female characters really but yk... but it means that you get this thing of kind of reminding everyone else to be like. human, and i like this for them a lot as characters (even if from a gender perspective i don't necessarily). they also both do the quiet loyalty thing without such a complex about it oh my god. and one of the things i really do like about later seasons donna doing press is that she does it in a very cj way at times and that's kind of beautiful. and then... at some point i will put down coherent thoughts about no exit but i love how much they care about each other and calmly call each other out but get really defensive because the other thing about them is that they're both insanely perceptive and sort of evasive, and they're fighting but it's kind of each of them being like "let yourself be happy!!!" anyways. this post. yeah.

amy & andy!! so. amy & andy are really really similar. are y'all noticing a pattern yet? anyways, i mean, it's by nature of being love interest to a main man, and she's angry and funny and yells at him and makes fun of him and he's a little hapless and... yeah. but... any of these characters i can say "oh theyre smart and funny" thats any west wing character. amy and andy also just really want to fight, and don't want to give up or in ever. i don't think of them as super close, but i can't imagine a world in which amy hasn't fundraised for andy's campaigns, or where they haven't worked together trying to get some legislation to pass. in the same way that cj and donna (and abbey and helen) have the quiet loyalty to contrast, say, toby and josh's (and leo's) very blatant, always talked about loyalty, they... just don't have that. i'm not saying they aren't loyal, they just aren't insanely committed to it. they prioritize themselves and their agendas rather than others, which i don't think we're really supposed to like them for? but i find it refreshing. also. the energies they have in process stories? unparalleled. i love thinking about them working together.

oh does this mean it's time for amy & donna? okay. well. i think the thing about them is that people assume they don't like each other when they really actually do. i mean, like, yeah, we rarely see them together, but i also talk about them in the post i linked for cj & amy, and here. I think they make fun of josh together a lot. i think that donna is bothered by amy being antagonistic and frankly hypocritical towards josh but also recognized that it's a two way street, and it makes her frustrated with both of them. i think amy is (knowingly a little irrationally) hurt by josh's loyalty and care for donna over her (i... actually mean this platonically), and donna's seemingly blind loyalty to josh. but i think... amy validates donna's political abilities multiple times, and donna seems to admire amy. i think they become friends and trust each other a lot and make each other better. i can't write this answer and pretend i haven't written a 176k wip about them falling and being in love with each other.

and cj and andy!! i also can't pretend i don't have an outline + some snippets of a fic for them! we don't see much of them in canon, either, but like. there's that scene where they're both kind of yelling at toby that's pretty iconic. when that couple is harassing andy in that hotel bar in the california 47th, cj technically steps in before toby (very differently and i could write a whole thing on that too). andy at one point points out how cj is feeling to toby which is a lot. (that whole scene is a lot), and then in s7 the scene where andy is trying to get cj to get the president to pardon toby makes me crazy. i don't know that i can explain why i ship them, but i really really do, and i think that there's a lot of history in their relationship because of their jobs and because of toby. this is also a thing with amy and andy, but there's this interesting contrast because while i'm sure andy has insecurities, she also seems genuinely self assured. oh also there's... andy is kind of abrasive and accidentally hurtful on top of charismatic, and cj is very quiet with her (negative) emotions, and doesn't often lash out and instead internalizes a lot of stuff? it's an interesting thing about guilt and anger with them.

so... the four of them is fun! like, amy and andy just getting set off about something political, and cj and donna just like quietly agreeing/being amused and bringing up their own points maybe but the two of them are just going on. amy and/or andy being frustrated over something that josh and/or toby did, and bonding over it, and donna and cj being incredibly uncomfortable. i mean, i also just see this really clearly because i parallel their relationships a lot so like, cj and donna talking about... being sort of awkward/guilty/reluctant about being in a relationship with andy and amy respectively bc they don't want to hurt toby and josh, and andy and amy bonding over being really frustrated by this outwardly bc they're there own damn people, but deep down kind of understanding and relating to that guilt... i mean like, i think actually putting the four of them in a room together would be just deeply funny if a little stilted depending on the context, but none of them are the most "let's talk about my feelings" so i don't think a lot would come out between them in casual conversation. you get them in a situation where either donna or cj is doing the thing their very good at about calmly calling people out, or where either andy or amy is angry enough to not be thinking about if they're being hurtful? that's interesting, and because you can see the different ways that all of the sets of two have different ways they can relate or are the same, or even groups of three, and so depending on the specifics you'd get really different dynamics of who is agreeing with/supporting who and how.

I wonder what would have happened if casca and guts swapped places?

oh oh oh  . . .   firstly the thought of casca,  though strong as she is,  trying to lead this giant looming bastard of a man thru endless nights and attacks from demons is killing me,  but i do think she’d find a way to manage it in her own way  (i’m taking them swapping spots mostly as swapping fates in the eclipse,  so hopefully i’m understanding right –– and i could also look at this from more of a casca coming in as the outside in the hawks vs guts... let’s split this up hehe i like this question!)

1.  simply swapping fates during the eclipse  ––   i.e.  guts wakes up with his mind essentially locked off from him  &  casca wakes alone.

in this scenario, i think there’s two potential ways this might have played out  ––  for casca, she’s very much the type to focus on the external world. she often avoids introspection and instead relies on the steadiness of others (namely griffith’s leadership and the tangible/simultaneously intangible nature of being with him, which she didn’t have to analyze because at the very least she was useful to him and therefore there was always a reason to be beside him that she could cling to – even if she wasn’t with him “as a woman” as she puts it, she was irreplaceable to his goals).

upon the betrayal by griffith + in this case guts’ loss of memory/selfhood, i think she’d hold a similar rage as guts does canonically.  however, historically, her experience with rage and hurt has her responding by rallying behind someone. even in the year prior to the eclipse when she herself is leading the hawks in griffith’s absence, she’s still actively working to rescue him and subsequently be close to him. this isn’t to speak to her ability to split off  ––  when it comes down to it, and this is also something we do see with her as acting leader of the hawks, casca can and will survive above all.  she can rally behind herself in moments,  but a lot of times we see her relying on others when it comes to emotions / even her own understanding of self.

so, all that said, i think more than guts might’ve, casca would be tempted to stay with guts in the cave.  i think she would have a hard time leaving him because her rage and hurt would be placed differently than his is.  so my first answer is that she would stay with him,  and eventually they’d probably leave the cave and much of the conviction arc would play out in terms of what is “fated”.

alternatively, let’s say first and foremost she’s just angry, rageful, and wants to get back at griffith for what he did (essentially all in the same way as guts).  if she were to leave, i think similarly to guts she would leave him behind.  which i say only because i think if she were to go on the same sort of crusade against demonkind that guts does canonically, she would have a similar line of thought in terms of bringing someone defenseless / who makes her ache w regret every time she looks at him would make for a harder journey. 

2.  still following the above,  but focusing in on what casca as “the black swordsman” would look like.

so assuming she follows the latter theory from above,  casca on her own would be so interesting ... i’m going along, still, with the idea that the ‘demonified’ child of guts & casca’s was born. in her more full aware state, she’d have a similar reaction as guts did in canon, and wouldn’t trust it completely to begin with, but following the sort of innate connection they have in that arc, if it were to carry over, i think she wouldn’t necessarily try to kill it or anything. which leads me to the view of the black swordsman.

in her travels, looking so small and less threatening than guts might, i think her reputation would be different. perhaps even she wouldn’t garner the title he does  ––  alternatively, like we see in the conviction arc in casca’s own storyline, she might better suit “the black witch” title she temporarily holds. if the child is following her like it does in canon as opposed to focusing its attention moreso on guts, then i think similar events as in conviction would occur where we see evil spirits literally dispelled by her / avoiding her, because of the child’s protection. so all in all it would be a different experience  ––  she would still be fighting and killing every demon she came into contact with to fight her way to griffith himself, but i think the perspective of her and some of her fighting styles would be different. she relies on agility & strategy more than guts does, mostly.  

regarding her journey itself, though her motives would be similar to guts’ they certainly wouldn’t be exact. the brunt of her anger towards griffith would be the fact he used her (guts has the right to be angry on this count as well, but i think a lot of his anger centers around both the personal betrayal and what griffith does to casca in front of him  ––  so in casca’s case, assuming the eclipse functions similarly to canon, she’d be furious that she was considered a “pawn” in terms of griffith’s plan but also in terms of griffith’s torturing of guts, that he assaults her to spite guts particularly, i don’t think that would go unnoticed entirely by her) and the fact that she was never anything more to him than a tool, with even less merit than guts (re: i’ve never heard him say “i want you” until he said it to you, etc.)

SO, long words all to say i think following her as the black swordsman post-eclipse would be so wildly interesting because she would hold also that sort of eternal frustration of “i ought to be _____ as a woman”, so there’s the added idea that if she were to leave guts behind, her guilt would be a lot around shouldn’t she have been the one to nurse him back to normalcy? shouldn’t she be playing maternal & kind & loving? but then she’s spurred on by her anger, the rage she feels towards griffith and his lack of care towards her. she had based her entire life on him needing her, and at least holding platonic affection for her. when that crumbles ... she’s pissed! she’s hurt, certainly, but she’s absolutely enraged.

3.  swapping moreso their origin stories, or at least their initial entrance into the band of the hawk.

i won’t go into the eclipse as much here, but just the dynamics and how they’d shift were the trio shuffled emotionally. say guts is griffith’s right hand prior to casca showing up out of the blue and besting some of griffith’s best men  ––  griffith ultimately engaging her in battle and generating his little obsession that he has for guts for casca instead. i think... well, number one, the dynamic between guts and casca would be interesting. i think the idea of a man being threatened by the sudden appearance of a woman who is skillfully better than him is fundamentally different and more aggressively charged than vice versa. guts’ frustration with casca would likely show itself differently than hers with his,  but i would imagine it would still end similarly with a slow burn romance should she be the one to save him on multiple occasions on the field. 

(minor cw for manipulation of a sexual nature in this paragraph) regarding her position with griffith, i can’t think of too much else to say because it would be essentially the same as what his relationship with guts is. i was going to say possibly more manipulative but i think that’s mostly because i think griffith has a tendency in canon to utilize sexual situations as power plays (i.e. with charlotte, and then nearly with casca first in the cart right before the eclipse). and i don’t think that path was necessarily closed with guts, but with casca & the assumption that the struggles she holds with her identity as a “woman” and what determines “usefulness” in that position carry over, it could be more prevalent. plus guts actively rejects griffith even jokingly in terms of flirtatious advances, whereas i think there’s a possibility casca would be swayed by that and ultimately be manipulated into perceiving her and griffith’s relationship to go far past friends or comrades, making his eventual betrayal cruel. in this case, i think casca would most assuredly take on the same route of black swordsman as guts does and leave guts behind initially to get revenge on griffith.

further than that, i think if this particular swap happened, griffith might have, instead of doing what he did during the eclipse to casca in order to spite guts, killed him in front of casca to garner the same reaction. or would have found another route to break the pair of them, which could mean that casca would be journeying on her own as opposed to with guts by her side after the fact. though i’m not sure frankly, it could go either way!

anywho, those are my thoughts, apologies for how long this got... i think it’s such an interesting question because the implications in terms of gender especially would be entirely shaken up. it would be interesting also to see the way in which she carried herself afterwards and if she would have a similar resolute persona, so to speak. thank you so much for asking this it was fun to try and work through :-]

ladies and gents, this is the moment you’ve waited for

a shy “hi” and welcome to my first blog post on this side blog!  my name is rosie, its a pleasure to meet you all and i will be honest, i dreaded my first post into this community for quite some time, but I just saw this answer-reply by psycho-sybil that made me pull out my literary resources and decide, it’s time to throw in my dime (please ignore this stupid joke). i’m sorry by the way, this is terribly random but i never really managed a blog before so…trial-by-error? (please be kind, i have a glass heart under my analysts hat)

anyways, my first idea was to unravel the character that is Arata Shindo (since many people seem to kind of misunderstand this fella), but that post is, uh, gonna be very very very long and i’m kinda trying to figure out if i should put it elsewhere? Or how to post it? if you guys got any ideas, let me know. 

for today’s dish, i will humbly offer a very watered down and shortened take on psycho pass’ possible ending(s) from a more literary theory-point of view, and hopefully inspire some fella writer out here. for this, i could go on a rant of literary theory and criticism but our medium does not fully fit in there as well as too little people would know what I’m going on about, and likely have life’s to care about unlike me. but if you guys wanna know what books i read to get a grasp of the theories and criticism for like, your own free time, i can link you the uni books i got. with so much blubber done beforehand, lets get to this under the cut, since this will contain some spoilers from season 3. 

the full circle idea is a very classic and satisfying theory in both film and literature. i suppose it circles back to the human brain’s need for completion, and to bring something full circle is the easiest and most ideal way to mentally rest a case and finish things. its can be possible for psycho pass to finish that way. however, i believe there are some different aspects that don’t get emphasised as much as they should when trying to imagine the future of the world in psycho pass. for once, its a so-so chance for a piece of work from the genre of cyberpunk to end on a simple type of full circle. if we take the “father of cyberpunk”, william gibson’s neuromancer trilogy, as an example we will see something that is quite similar and that came up within season 3: the introduction of AI’s, and specifically, sybil’s interest in them. i don’t know if it was just me who was confused at the end of the season why the AI aspect was suddenly so important, literally obliterating interest in an entire character that seemed kind of important to some extent at least (r.i.p. karina komiya at this point) but looking in retrospect and after rewatching it, there is a whole lot of sense to it. the story of psycho pass more or less started with us meeting the world and its limitations, heavily focusing on the bad sides as we follow akane’s point of view for most of the story to the point where figures like mika shimotsuki feel outright wrong to us (disclaimer: i am personally not a big fan of her, but i have to say that 70% of the slander on her are missing some pretty important points regarding her, but that’s for another day). akane stated that one day, sybil will not be needed anymore, which is - let’s say it as it is - a very romantic and ideal way of thinking. but we’re all very morally correct idealists, this idea just speaks most to us. however, over the course of the three seasons (i shall exclude the movies for this) i think it became pretty clear that society with the established politics and functions cannot really return i.e. function without a system like sybil anymore. think of this as an evolutionary type of thing: people are so used to buy food that practically nobody will just willingly agree to stop all that and go hunting like in the “good” ol’ days. mental evolution has finally let us come to understand that for example, gender is nothing but a social construct and we all are just humans. we could not imagine going back to times like 1600s, where race and gender were categorised by some b*llshit f*cking idea like “god-given privilege” (pardon my language at this point). hence it lays rather logically close for people to just give up the comforts of a society which we see in psycho pass is very unlikely. the comforts of that world goes as far as pulling in immigrants from all over there world, which does underline this statement- even if we strictly assume that the entire world is in chaos and war, that just makes japan with its sybil system as something desirable. naturally, we could flip this coin in different ways for various argumentations, but it will all boil down to people should reject living like that but they likely won’t. and I think i do not point out something outrageous or illogical when i say that humans are willing to silently accept a lot of things, even when they really shouldn’t. and that is not just some theory, in episode 4 ma-karina’s existence is shown on broadcast, and yet still karina komiya ends up voted as the new governor. the society knows that she herself has an holographic AI doing work for her, yet they still accepted her, and subsequently, sybil accepted ma-karina as a “citizen” with voting right and hence, right to be nominated (which, if you remember, was this thing that unraveled at the end of first inspector). now, sybil’s motives in accepting an AI likely could be different, namely because it could bring the acceptance of society about the system’s true facade closer, but that is a mini-theory for another day if i’m honest. taking these points in consideration, the first likely option that might occur in psycho pass’ future could be similar to real world situations: more people will start to reject the idea (of AI ruling, especially if the truth about the system ever gets publicised) which then results in bringing forth change and evolution through humans, a very classic scenario. hence it would not finish with our main cast, (which mainly serve as our story teller’s) as triumphant in this battle of man vs machine, but rather with their testimonies of society, and how the begin of change can look like. 

here i shall will finish my already long post here, but i will hint that i personally do a have another theory about how this series could go towards the end. but i will save that up for when the community actually wants to hear it. 

thanks for reading, i hope it wasn’t too messy? i'd appreciate some feedback c:

Avatar and Korra and gender roles, Part 2 of 2

 So, that brings us to Legend of Korra, which continues and fulfills the trajectory Avatar: The Last Airbender was on in terms of how female characters are integrated into the story. Summary of Part 1: Avatar: the Last Airbender started out with an imbalance towards male characters, and in general only had female characters when there was some “reason” for the character to be female, such as showing a conventionally female role or so that the character could be a love interest for a (more significant to the story) male character. Often the female characters were powerful and nuanced and well-written anyways -- I’m definitely not saying that any of the characters are in there just as a love interest. What I’m saying is that, there’s a noticeable difference between female characters in Season 1 vs 2 and 3, and that difference is the writers stopped writing all characters as male by default, and only female if they couldn’t more easily be written as male. Which is how we got Toph and Azula and a wider range of female minor characters. In Legend of Korra, we’ve gone from “women can fight as well as men, sometimes better” to a fighter’s gender not even being relevant. They could have had some big story about how Lin Beifong had to fight against sexism to become the chief of police, or keep fighting against subordinates who wouldn’t respect her authority later, and...didn’t happen. Her gender was a non-issue. When Tenzin’s family is escaping from the Equalists towards the end of Season 1, and Lin risks her life to protect him, there’s no weirdness about a woman protecting a man who’s capable of fighting himself. It’s just the logical choice. And you don’t see that in action movies often: a woman risking her life to protect a group of people that includes a man who can fight but isn’t. He’s a dad, his kids need him; in the moment, that’s more important than gender. And it’s not just fighting, for instance Asami races cars and runs a major business. Lin’s sister is the head of a city; she’s a metalbender, but as far as I know she’s not a fighter at all. We get a bit of Mako and Bolin’s grandmother: a frail old woman who’s nothing special in the wider world but who definitely wields authority as the beloved matriarch of the family. We get an Earth Queen who’s a terrible and self-indulgent leader, and Kuvira the conquering dictator.

And it’s also not just that all women are tough and bad-ass; women get to be tough in different ways; women get to be tough in some ways and vulnerable in others; women get to be just ordinary people and have interesting lives (like Caia) or to be in conventional supportive roles (like Pema.) Women can be uncomfortable with children (Lin) or feel fulfilled with motherhood (again, Pema.) We get relationships between sisters (Lin and Suyin, Jinora and Ikki), which I don’t think we have at all in ATLA. And men can be athletes, artists, movie stars, non-action guys who are into fashion, devoted and protective brothers, fathers and sons. We have an arc with one of the central male characters falling into a relationship with an abusive girlfriend (although ymmv on how well that was handled -- the dynamic isn’t explicitly named as abusive in the show, although it is shown as being pretty unambiguously bad for the boyfriend.) In the first season, Mako is in an awkward position where dating Asami is financially advantageous to him and breaking up would leave him and Bolin in a difficult position, but he’s not entirely sure he does want to be dating her -- a storyline you see more often given to women, when that sort of power and relationships situation is addressed at all. It’d be easy to dismiss a lot of the interpersonal dynamics as “just love triangle stuff”, but it goes a lot deeper than “which of these two wonderful people do I want to be with.” There’s power and vulnerability and what healthy and unhealthy relationships look like. Legend of Korra’s central characters are a little older than Avatar’s characters, and they have different problems, ones that are more focused on romantic relationships. But they’re not badly done or just-for-cheap-drama. They’re saying things. And with the older characters, there is so much family drama: difficult parent-child dynamics and difficult sibling dynamics and Tenzin having trouble acknowledging he was the favored child because he was the airbender and Lin still not being ready to forgive Suyin. And the dynamic between responsible Mako and impulsive Bolin. (Incidentally, not my main point here but that’s another thing the show does well: writes characters of dramatically different ages well. The protagonist is a teenager, but younger characters (Tenzin’s children) get significant roles, and older characters aren’t just parents and authority figures, they get their own drama as well.) The plots kind of waver between classic bad guys and something more complex, and the more complex stuff...I’m not sure it always works. The overarching theme in Legend of Korra is balance, in the same way that the overarching theme in Avatar: The Lost Airbender was saving the world from the Fire Nation. There’s still, power can be corrupt and bad, but mostly the bad guys are not the ones in power (or with Kuvira, weren’t initially in power), they’re extremists trying to change the (admittedly far from perfect) status quo. Which can be frustrating if your politics run more anarchist/revolutionary/anti-colonialism. But I don’t think it’s actually a change from ATLA: ATLA actually was pro-status quo, or at least pro the status quo from before the fire nation started its take-over-the-world war. And basically pro-authority/pro-good-government. You *can* read anti-Western-colonialism messages into ATLA, but it’s a relatively indirect read; the Fire Nation is modeled on Japan and if anything the war is modeled on WWII, not on hundreds of years of Western colonialism. If ATLA was meant to be about Western colonialism, there’s a lot more they could have gone into and didn’t. It...kind of “works” better (the interpretations are more consistent) if you see it as a really simple anti-war/anti-aggression theme, rather than an anti-colonialism theme.

Atla, Zukka and Sokka :)

ATLA

Favorite character: Zuko, 100%. He’s a character I relate to a lot, eg the whole “hard work vs natural talent” thing... I even have a costume, although I didn’t get a chance to use it when I meant to so I haven’t really done so yet OTL

Least Favorite character: Hmm, god, I don’t know.... Bumi, maybe? As a comedic character he feels a bit too “haha crazy” and he doesn’t really (imo) work well as a dramatic one... 

5 Favorite ships (canon or non-canon):

Zukka

Hakoda/Bato

Roku/Sozin

Tyzula

Jetko

Character I find most attractive: Zuko. Particularly s3 ofc lol

putting the rest under a cut for length

Character I would marry: idk. not big on marriage really

Character I would be best friends with: Sokka

a random thought: The true hero of ATLA is Iroh and I feel ashamed of not having mentioned his name yet in this

An unpopular opinion: The age difference between Kataang is 2 years which is the exact same age difference between Zutara and neither are particularly weird regardless of the fact that I don’t care about either ship

My Canon OTP: Don’t have one. Sokka/Suki is cute I guess is the closest I come to having strong feelings on a canon ship

My Non-canon OTP: Zukka

Most Badass Character: Toph but also low key Sokka bc he’s a non-bender

Most Epic Villain: That old blood bending woman who gave us all nightmares

Pairing I am not a fan of: Zutara, but that’as as much about fandom behavior back in the day as anything else

Character I feel the writers screwed up (in one way or another): Korra, all of LoK 

They gave Toph too little to do in s3 and she SHOULD have had her Zuko outing like all the others >:( Actually Zuko and Toph have a lot in common in certain ways and that was never fully explored

Also obviously SOOOO many characters in this series who were written as straight when they shouldn’t be lol. We get it, it was a kid’s cartoon in the 00s, but they didn’t have to agressively pair off everyone in neat m/f couples by the end of the series

Favourite Friendship: Aang & Zuko

Character I most identify with: Zuko, as mentioned above. He’s also the same MBTI type as me haha (INFP). Also, Sokka mix of being simoultaneously really clever and extremely stupid is a gigantic mood.

Character I wish I could be: Idk... Iroh, in some ways, certainly. Honestly, by the end of the series all the main kids are pretty admirable people. Who wouldn’t want Aang’s kindness, Katara’s righteousness, Zuko’s determination, Sokka’s cleverness, Toph’s independence, Suki’s leadership, etc? Hell, Mai’s bravery and Ty Lee’s loyalty? I love all the main kids.

Zukka

When I started shipping them: Only a year or two ago, actually! I think last time I rewatched The Boiling Rock I was like 👀

Originally when I was an ATLA fan I was still in the “we must adheer to canon” phase of my existence in fandom and then for a good while I was still affected by my... hesitance to look like a, idk, stereotypical slash fan, in the sense that back in the day people were REALLY hostile to slash ships that seemed, idk, contrived. Zukka also just wasn’t a big ship back in the day I don’t think, Jetko has always been more popular. 

My thoughts: The cammaraderie that developes between them over their stay at The Boiling Rock is incredibly compelling to me and I think that... the ways in which Sokka holds Zuko accountable through “jokes” but still allows him the space to prove himself is really interesting and probably... something that is actually better for Zuko than either Katara’s rage or Aang’s kindness? Idk. 

Also they both have pretty complicated relationships to masculinity and what it means to be a man in their respective cultures and their sort of struggles with that and how those struggles look different due to circumstances like their parental situations and different cultural expectations... Zuko’s is less directly about masculinity per se because the Fire Nation has less strict gender roles, or at least ones that don’t code certain activities as purely masculine endeavours (eg warfare) but certainly there are shades of Ozai’s treatment of Zuko and Azula that are gendered as well as about birth order and it’s interesting how Zuko and Sokka both impose restrictions on themselves about how they should behave and what they should live up to culturally.

What makes me happy about them: I think they complement each other really well. They have a lot in common but are pretty different about their approach to things... I also just really like battle couples lol 

What makes me sad about them: Their respective trauma is part of what makes them compelling but it’s certainly also sad, so in that sense...

Things done in fanfic that annoys me: So much of it is modern AU and i don’t care for it lol. Completely ignoring any sense that the Avatar world must have some elements of homophobia bothers me to exist in the ways it does, but as does completely overplaying it, idk. It’s a balance not everyone strikes well. Also obviously when people demonise Suki or Mai to account for them not being in the picture that’s bad.

Things I look for in fanfic: Honestly, more than anything? Good characterisation. This is a ship that lives and dies by good characterisation. I also really like when they’re set during the time at the Western Air Temple.  

My wishlist:

Swordfighting duels!! Practicing swordfighting together!! Bonding over swords like the dumb teenage boys they are!! Yes I know about the innuendo that only makes it better!! 

Hakoda not just being cool with it but realising about Zuko’s abuse and being like Actually I Am Your Dad Now

I always want fic where the gaang find out about how Zuko got his scar and that with Zukka is even more *chef’s kiss*

Who I’d be comfortable them ending up with, if not each other: Hmm ending up with, huh? I like Jetko for the drama but not necessarily as endgame. Sukka is pretty cute so I’m down for that but Maiko is.... look, it made sense for the time that Zuko was back in the Fire Nation because but I 100% don’t think it’s something either of them benefits from afterwards. They’re better off as friends imo also Zuko’s gay

My happily ever after for them: I want them to travel the world together tbh? I never quite know how to account for Zuko becoming Fire Lord in my thoughts about him post-canon because... well obviously I hate monarchy and I don’t actually think Zuko would be particularly comfortable being the leader of a nation, so... I don’t know. Maybe after some years, maybe a decade, of guiding the nation back towards stability Zuko starts reforming the country towards something more democratic and becomes less personally involved in the affairs of running the country? I don’t see them as people who would or really could be tied down by each other because they each have responsibilities to their respective communities and I don’t necessarily find “and then they lived in the Fire Nation palace together for the rest of their lives” compelling... 

Sokka

How I feel about this character: I love him so much. His character developement is so compelling and as one of the very few prominent non-bending characters he is also compelling in the ways that situate him within the world and forces him to look for other things to contribute with. Again, the ways in which he is undeniably very clever but simoultaneously kind of dumb is also just... Very Good and Relatable lol. He was someone I overlooked a bit for a while but I think Sokka’s Master really awakened me to how great he is and on rewatches he became one of my faves. Also, you just gotta love any character that uses sarcasm as a shield lol. 

Any/all the people I ship romantically with this character: Zuko, primarily, as discussed above. I’m fine with both Yue and Suki as canon ships but I’m not really invested in it. When I was younger I liked Sokka/Toph somewhat but actually Toph is a lesbian so ¯\_(ツ)_/¯ You could always do Suki/Toph, kill two birds with one stone you know

My favorite non-romantic relationship for this character: Gotta love a good father-son relationship <3

My unpopular opinion about this character: I don’t know what the popular opinions about him are tbh. I’ll use this to say I think ADHD!Sokka makes sense though

One thing I wish would happen / had happened with this character in canon: Hmm, idk... the episodes he had that were focused on him were very good and did a good job of exploring his inner life in the face of how often he’s a comedic character, so it would have to be more in terms of his relationships with other characters. More interactions with Zuko would have been good ofc ! :3c

Favorite friendship for this character: Hm, probably Aang. Protective Older Brother Mode for a character that isn’t even technically his sibling is Very Good.

My crossover ship: I don’t really have crossover ships

Fabulous Olicity Fanfic Friday - May 10th, 2019

Happy Friday! So this is my attempt to both thank awesome fanfic writers for their amazing work and offer my recommendations to anyone who is interested. Here are the fantastic fanfic stories I read this week! They are posted in the order I read them. This and all previous Fabulous Olicity Fanfic posts can be found on my blog.

With the Speed of an Arrow multi-chapter Complete by @academyofshipping - Oliver Queen’s elite and silver-spoon life has taken some blows in the past few years, but he is still the carefree billionaire everyone knows of and loves. When his role in the family business is in jeopardy and he is introduced to a motley of new people, his status quo is threatened. With a changed perspective, Oliver realizes his feeling for his best friend and anchor-in-life, Felicity Smoak, may be more than just platonic. OR A modern adaption of Jane Austen’s Emma with a gender swap* and no island. *Knowing that gender is not binary https://archiveofourown.org/works/16559846/chapters/38799857

Tick Tick Boom multi-chapter WIP by @nodecaff4me - This story is loosely based on S02, starting with the appearance of the Clock King. Only this time, Tockman is not just after the money, but also after Felicity. Someone hired him to go after her. How will she and her team handle this new threat? And the even bigger question; who is after her and why? https://archiveofourown.org/works/5365172/chapters/12390371

Time for a Story multi-chapter WIP by @smkkbert - This fic shows Olicity and their life as a (married) couple with family. Although Olicity (and their kids) are the protagonists, other characters of Arrow and Flash make appearances. YOU NEED THIS STORY IN YOUR LIFE. https://archiveofourown.org/works/3912157/chapters/8757172

Let it Out by @laxit21 - Let’s pretend that Arrow ended after Oliver was acquitted in 6x21. The Lizard and everyone connected to him all died or were erased from existence, including Black Siren. This is sad. You’ve been warned. After an unexpected tragedy, Oliver and Felicity say goodbye to someone important to both of them. https://laxit21.tumblr.com/post/184626020474/let-it-out

Conspiracy by @felicityollies - (prompt) Slade conspires with Thea of all people to get Oliver and Felicity to break their "let's take it one step at a time rule" by putting them in a situation for Oliver to propose to her again. https://archiveofourown.org/works/11915487

Blast from the Past by @felicityollies - Set in season two - Oliver’s ex comes to visit him, but has to stop by executive assistant Felicity first. https://archiveofourown.org/works/11921649

Unasked Questions by @laurabelle2930 - This one takes place during 3x20. It’s my take on what happened before we see Oliver staring out over the moon lit sands of Nanda Parbat. Warning: It’s smutty... https://archiveofourown.org/works/11927979

Want vs Need by @felicityollies - Felicity knows the difference between want versus need, but she can’t seem to let go of a beautiful jacket she saw in a department store window. She goes as far as to steal it right off the rack. A kind stranger, that happens to be the city’s mayor, steps in when she gets caught. (prompt) https://archiveofourown.org/works/11940456

Every Piece of You multi-chapter WIP by @bowsmoakandarrow - If anyone had told Felicity Smoak that she'd be a single mother right out of MIT, she would have laughed in your face. https://archiveofourown.org/works/11554779/chapters/25950957

I Do Believe In Magic by @smoakmonster - AU 5x09 flashback, in which present day Oliver Queen actually time-travels back for a short visit to see Felicity in 2012, before she became his partner, before he’s supposed to be in love with her. https://archiveofourown.org/works/2588447/chapters/20369764

Is it Too Much to Ask? (It Probably is) by @laureningall - Written for the Olicity Hiatus Fic-A-Thon prompt "Ask" Felicity knows that Oliver would do just about anything she asked of him. But what about something that was pretty silly. It was silly really, what was bothering her. Felicity works to track down a long lost team mate for some help with her unusual request. https://archiveofourown.org/works/11921043

Something Old and Someone New by CaptainBrieOnToast - Felicity decides to make a pretty drastic lifestyle change her Senior Year of high school, at first no one notices, but then some does. https://archiveofourown.org/works/11944593

You're thinking too LOUD by sssssssim - Once upon a time, metaphoricalanchor posted this thing: AU prompt: Person A is thinking sexually graphic or generally odd thoughts and suddenly panics and thinks “If you’re a mind reader, cough right now.” Person B coughs. Then, wittyfelicity had a party in the tags: #IMAGINE THIS ABOUT OLIVER AND FELICITY#LIKE FELICITY IS HAVING A DAYDREAM AND THEN HER THOUGHTS START TO GET REALLY GRAPHIC AND OLIVER PRACTICALLY CHOKES WHEN SHE SUDDENLY THINKS#THAT#CAN YOU IMAGINE THIS THOUGH#SOMEONE NEEDS TO WRITE IT ... I took it upon myself to write the thing. Smut. THING. https://archiveofourown.org/works/1414105/chapters/5204288

The Only Way to Know is to Ask by @cruzrogue - Felicity and Oliver have been living in their new home for roughly a month and after Oliver's run he meets one person that Felicity has conversed with during his outing. But they aren't the new neighbors... https://archiveofourown.org/works/11951745

Olicity One-Shot: The Rage Phase by @entersomethingcleverhere - Newsroom AU — Felicity might have been the face of Atlantic Cable News’ financial analysis, but when an ex-boyfriend takes revenge on her for breaking up with him, he tries to ruin it all for her. Oliver’s the only one she can turn to to help her get off the floor and fight back. https://entersomethingcleverhere.tumblr.com/post/164841890517/olicity-one-shot-the-rage-phase

The Fan multi-chapter WIP by @leuska - For the past couple of months, Felicity Smoak, previous child star known to the world through her alter ego Lisy the Tech Whiz, who ended her career and her growing popularity at the age of thirteen rather abruptly, has sporadically received disturbing notes and gifts in her mail. Police believe the notes to be just little tokens of appreciation by a former fan. Despite having left the spotlight over a decade ago and living in anonymity since, the fan mail keeps coming, increasing in frequency as well as intensity. Thelast drop is when Felicity receives another letter with a love note. A scary, ominous note. A note written in human blood.FBI director Amanda Waller tasks her best Agent to the case. Oliver Queen, a criminal profiler, is currently working on a special task force formed between SCPD and FBI to catch a man dubbed the Start City Slasher, who has murdered at least three young women in the past nine months. Agent Queen is not thrilled with the prospect of holding a former princess’ hand through her problem with a simple stalker while a serial killer is still at large. However, once meeting her, Oliver finds there is nothing easy or simple about Felicity Smoak as their worlds start to intertwine. https://archiveofourown.org/works/17726573/chapters/41820368

Did You Pack Enough? by @christinabeggs - Felicity preparing for trip with the two most important men in her life. https://archiveofourown.org/works/11955036

Ghost by @felicityollies - Olicity + "I'm sorry I didn't say it sooner. I love you Felicity. " post 3x09 angst https://archiveofourown.org/works/6610375/chapters/27070692

Mission Impossible by @felicityollies - Felicity gets kidnapped during an undercover OTA mission https://archiveofourown.org/works/6610375/chapters/27072189

Choose Me by @felicityollies - prompt: choose - Felicity begs Oliver not to continue his daredevil lifestyle. She wishes he would give up his street racing and choose her, but he’s adamant that his racing is for her. https://archiveofourown.org/works/11034534/chapters/27176745

Choose by @wetsuiton - dialogue fic, prompt choose https://archiveofourown.org/works/11084547/chapters/27178335#main

Our Once Barren World Now Brims with Life by @overwatchandarrow - Felicity is worried Willaim won't like her. Oliver wholeheartedly disagrees. https://archiveofourown.org/works/12018810

Five Times Felicity Finds the Ring multi-chapter Complete by @anthfan - Five part series. Each chapter shows a different way Felicity finds out about the ring in the bowl. Chapters are standalone. https://archiveofourown.org/works/5184392/chapters/11944589

The Voyage to You multi-chapter WIP by @obibalwin - Felicity Smoak didn’t want a complicated life. She enjoyed helping people as a nurse at Starling City General Hospital and spending time with her best friend Sara. When a John Doe arrives on the fifth floor of thehospital, she finds herself being dragged into a world of mysterious oaths and visions. The only thing she can hope is to stay strong enough to resist the man who has traveled to find her. https://archiveofourown.org/works/16596788/chapters/38895977

I Can't Let Her Die multi-chapter WIP by @originalhybridloverfics - Future Oliver seeks present day Oliver help to save Felicity. Chapter 1 https://originalhybridloverfics.tumblr.com/post/183625037894/i-cant-let-her-die Chapter 2 https://originalhybridloverfics.tumblr.com/post/184191980224/i-cant-let-her-die-ch2 Chapter 3 https://originalhybridloverfics.tumblr.com/post/184665869079/i-cant-let-her-die-ch3

Forget Me Not multi-chapter WIP by @mindramblingsfics - Felicity was presumed dead after The Gambit was shipwrecked and she went missing. As the one year anniversary of her death approaches, a miracle happens and she is found. Just when Oliver thinks the universe has given them a second chance, he learns Felicity barely remembers him and the memories of their love together are gone entirely. Oliver and Felicity’s journey after they reunite prove to be a tough road ahead, and then they learn that Felicity’s accident may have had a more sinister motive behind it. https://archiveofourown.org/works/18392291/chapters/43556987

Providence multi-chapter WIP by @so-caffeinated - Will Queen has struggled in silence in the year since he was shot. But when a shadowy crime lord known as Domino targets the only woman Will’s ever truly loved, fate forces him to confront his demons in ways he never could have imagined… Whether he wants to or not. Amelia Prescott has fought to take control of her life since learning two years ago that her personal and professional worlds were manipulated by others. But nothing can prepare her for just how hard she'll have to fight to set her own course, especially when her heart belongs to a damaged man and a crime lord threatens her every professional move... And her life. Destiny brings them together, but as chaos reigns and personal demons haunt Will and Amelia both, it may also threaten to tear them apart. https://archiveofourown.org/works/17919056/chapters/42308753

Hard To Find Love multi-chapter WIP by Mellowyellowdiamonds - Through a tragic twist of fate Felicity finds herself left with an orphaned young William Clayton. Keeping her promise to her friend, Felicity raises William diligently, loving him as if he were her own child, only to have Moira Queen storm into their lives several years later demanding custody of her grandson. Locked in a war with Moira Queen, things get complicated when Felicity finds herself developing unwanted feelings for William's biological father, Oliver Queen. At the same time she must try to manage her meddling 13 year old son, who has it in his head that if Felicity would just cooperate and fall for his father, everything would be right in the world. https://archiveofourown.org/works/15941786/chapters/37173917

Ivy Town to Star City by @geneshaven - Oliver's thoughts as he and Felicity take the limo from Ivy Town to Star City https://geneshaven.tumblr.com/post/184709636599/ivy-town-to-star-city

Pieces of Always multi-chapter WIP by @so-caffeinated and @dust2dust34 - Life continues after Forever is Composed of Nows. Ongoing non-linear collection of family moments for the Queens. http://archiveofourown.org/works/8220479/chapters/18840356

Our Version of Events multi-chapter WIP by @machawicket and @geneeste - Action star Ollie Queen is trying to clean up his image and land parts that require him to do more than appear shirtless while fighting stuntmen. Pop star Felicity Smoak wants to be seen as an adult in time for the release of her new, grittier album. And talent manager John Diggle’s got an idea about what coverage of Oliver and Felicity’s brand new (and totally fake) romance could do for them both. http://archiveofourown.org/works/8025382/chapters/18375349

Thank God You're Alive by @alexiablackbriar13 - that olicity reunion scene in 7x21, slightly re-vamped with more hugs and kisses and concern because c'mon arrow... https://archiveofourown.org/works/18749404

P.S. Hong Kong: Was it Real?!? multi-chapter WIP by @cruzrogue for Olicity trope-tastic award: Fake Marriage - This is off season 3 Flashbacks. When Tommy goes to Hong Kong he doesn’t go alone he takes his friend Felicity as the best information system being to help him locate Oliver Queen. Tommy may leave empty handed but Felicity gets to be a bride… https://archiveofourown.org/works/15025697/chapters/34832747

// @emmaamelia95 // @mel-loves-all // @oliverfel4 // @green-arrows-of-karamel // @coal000 // @miriam1779 // @memcjo// @captainolicitysbedroom // @tdgal1 // @spaztronautwriter // @lalawo1// @quiveringbunny // @wrongshipper // @thebookjumper // @vaelisamaza // @myhauntedblacksoul // @lovelycssefan // @laurabelle2930 // @laxit21 //

How to Write Romance by Someone Who Has No Idea What They’re Doing

Hi. I’m Lilly, and I run this garbage heap of a blog. I’ve decided to start a series of tips on tropes I’ve come across in books and movies, and I would appreciate it if you could send requests on what you want to hear about. There is a slight mention of rape and abuse, as some people still think these are valid romantic tropes, but that should be all for warnings. Thank you!

Reminder that tumblr doesn’t like the word f*ck, so it’s censored. No funny business in the comments.

ALL THESE TROPES, REGARDLESS OF WHAT THEY ARE REFERRED TO, ARE MEANT TO APPLY TO ALL GENDERS AND SEXUALITIES. ANYBODY CAN BE A GOOD PERSON, AND ANYONE CAN BE A PIECE OF SHIT.

(Trigger warning) Abuse/Rape

Note: I do not condone abuse or rape in any situation. I do not excuse it whether it was done by a man or a woman. However, I recognize that this is a thing that happens to real people and is also used in fictional works. This is not a proper resource for writing abuse/rape victims, and I encourage you to do further research on this topic if you wish to write about it.

Do Not: Have the character afflicted give their abuser “a chance to change their ways”. Not one single chance. Chances lead to abuse happening more than once, letting the cycle repeat. Stop it. Don’t use rape as shock value. Don’t have the rape victim fall in love with their rapist. It’s disgusting and demeaning to those who are actual rape victims.

Do: Have your character afflicted identify that they’re being abused - whether physically, emotionally, or mentally. Have them get out of the situation as soon as they can. Let your character deal with the trauma. Have them flinch, get panic attacks, be afraid to enter a relationship. Use their past abuse as a motive for them to work for a better life for themselves.

Stockholm Syndrome (aka “abductor/abductee” or “master/slave”)

Do Not: There are mainly don’ts for this, and do I really need to say why? Denying someone human rights is not okay. Treating someone as an object is not okay. Forcing someone to love you is not okay. I would usually just advise to ignore this trope altogether, but I actually have two ways of this trope done correctly (so read the do’s before commenting)

Do: Two examples of how to do this right are “Beauty and the Beast” and “The Ancient Magus’ Bride”. Neither woman in these stories is treated like an object, abused, or had their freedom taken away. Belle from BatB is allowed to roam the castle, use its library, and request food and drink whenever she wants. Chise from TAMB sold herself into slavery and was bought by someone who not only treated her as an equal, but used every resource at his disposal to help prolong her life. Both of these women are treated with equality, respect, and their feelings developed naturally and not by force.

Amnesia

Do Not: Have someone manipulate the amnesiac’s memories/feelings. This is forcing romantic opinions on someone who has probably just gone through something traumatic. If you do choose to have someone manipulate the amnesiac, make it clear that they are the antagonist and not the love interest. Do not have someone pretend to be in a romantic relationship with them prior to their accident. This is emotional manipulation.

Do: If the amnesiac had a relationship prior to this accident, have them go slow. Have them be aware of the situation and attempt to be helpful. Have them realize the protagonist might be uncomfortable if they were to start acting as a couple right away.

Blackmail (“Date me or else”)

Just don’t. It’s creepy and weird and legitamtely terrifying. Feel free to use it for drama, but not for romance.

Enemies to Lovers (or hero/villain)

Do Not: Have them be abusive. Abuse is not cute. It is not justified in any situation, no matter how much you hate someone. Even if you claim to love them, that doesn’t justify hurting them in any way, shape, or form.

Do: Have them realize that they might not hate each other. Slowly construct a healthy relationship. Start with having three tentatively work together. Have them harmlessly tease each other until they realize the other isn’t as bad as they thought.

Boy Hates Girl (“He’s mean to you because he loves you”/“Boys will be boys”)

Do Not: Let the bully have romantic attention. Something like this is a gateway to abusive relationships. If you allow someone to show their “love” by hurting someone, then you are failing at showing them how to deal with feelings in a healthy way. The bully doesn’t learn how to express their feelings properly and the victim doesn’t learn that this kind of relationship is toxic and wrong.

Do: Have the victim fall for someone that treats them write. Make sure this new person is genuinely kind and helpful, and that they are someone who doesn’t use the bully’s actions as a fear tactic.

Celibate (“I choose not to fall in love.....except with that one person”)

Do Not: Have someone pressure the celibate into being in a relationship. They made a vow, they chose what they want to do with their life. Respect that choice and move on.

Do: Have the celibate develop close platonic relationships with those around them. Use this trope to focus on character development rather than romance.

Long Distance Relationship

Do Not: Use this for drama. Do not have one partner accuse the other of cheating while they are away. Do not have them actually cheat while their partner is away. I suggest to avoid this trope unless you have a valid, well-written reason for keeping the characters apart. Alternatively, you could use the long distance aspect as a reason for two characters to break up, due to the idea that they’re drifting apart over the distance, but stay away from unfaithfulness as it’s tired and overdone.

Do: Have them be lovey-dovey despite not having seen each other in ages. Have them still be engaged in their relationship no matter how little time they spent together. Have them dote on each other because they won’t be able to stay for long. Have them book a flight only to see the other for a few hours before heading back to where they came from.

Love at First Sight/True Love/Soulmates

Do Not: Have them fall in love immediately. Sounds weird, but relationships take time. Mirror real life. You wouldn’t marry someone you just met (eat your heart out Disney). Even people in arranged marriages take time to know the other person and make sure they actually like them and they’re not a piece of shit.

Do: Have them spend time with each other. Have them learn each other’s interests and likes. Have them become friends before starting a romance.

Cheating (just read before commenting)

Do Not: Have the protagonist find their “true love” by cheating on their partner. It’s not dangerous and sexy, it’s immoral and wrong.

Do: Have the protagonist be cheated on. Want to reveal that a side character is a piece of shit? Now you know how to do that. If your protagonist falls in love with someone else, have them let down their current partner easily. At least have them think things through before breaking it off, or even have them realize it’s just a stupid crush and that they should stay with their current partner.

Love Triangle

Do Not: Just don’t. It’s been done to death. Let it die. It’s also weird. “Hey I like two people and I can’t choose. Fight over me.” Like wtf? If someone did that to me, I’d be out of there in an instance. Have fun with the other person, because I’m never talking to you again.

Do: Write a healthy poly relationship instead. Don’t like it, I don’t care. This is my list.

Fridge (“My partner is dead and I’m on a mission to avenge them”)

Do Not: Have them fall in love after being immediately introduced to the love interest. They just lost someone they loved - they don’t need a replacement. Don’t have your live interest try to seduce them or pressure them.

Do: Have them fall in love.....later. Much later. Like “Book Two” later. Let them grieve. Let them mourn. Give them time to heal.

The Nice Guy

This is the person that is absolutely terrible, but still believes they’re entitled to date people because they’re “such a nice guy”. Someone literally juust died because of this, so please stop using it as a romantic thing.

Do Not: Make this person the love interest.

Do: Make this person an antagonist/villain/random annoyance. An example of this done right is the movie Megamind.

The Age Gap

There are different variations of this trope, so I’m going to list all the versions I can think of:

Do Not: ⁃ Pedophile: Have an adult character date someone who is a minor. This includes minors who “look/act mature for their age”. It’s still illegal you sickos. This also included teenagers putting advances on people older than them. ⁃ Immortal/mortal: 300+ monster dating an eighteen year old (I’m looking at you Twilight)

Do: ⁃ They’re both young, but consenting, legal, and a few years apart (ex. 18 + 19/20) ⁃ Both are consenting, legal, but are older adults with a larger gap (ex. someone in their 30s and someone in their 40s)

Opposites Attract

Do Not: Have one person invested in the relationship and one person doing f*ck all. An example of this would be two roommates. You wouldn’t want one doing all the housework while the other sits on their ass and does absolutely nothing. “Opposites attract” means personality traits, not willingness to be in a relationship. It also means don’t do “ugly vs pretty”, “plain vs interesting”, etc.

Do: Have their personality traits vary. Have one be organized and the other scatterbrained. Have one like chocolate and the other vanilla. Have them argue over what type of music is better. Have them differ on little things.

Please send me requests on what you want me to do next!

I just realized it’s Fandom First Friday and the topic is meta!

For months, I’ve been slowly working my way through How To Be Gay by David Halperin, which talks about drag queens and how certain aspects of gay male culture appropriate from women to empower gay men. (Halperin uses the word ‘appropriate’ extensively, not necessarily in a negative context.) He brought up some points I thought were highly relevant for thinking about slash.

Last February, I went to Escapade and chatted with a bunch of acafans. To my total lack of surprise, they too love Halperin’s book and had the same reaction I did. I thought when I finish the book, I’ll write up some meta. But I got busy, and it’s a long, dense book. So then in August, I went to the final Vividcon. There, I ran into Francesca Coppa and mentioned this idea. Her response? “Oh, I just wrote a journal article about that.”

…

AHAHAHAHA! Oh god, we are the same person.

(NB: We are not actually the same person.We just have similar first names, similar fandoms, and similar flists back on LJ, have done similar fandom history oral history projects, go to the same cons, and have both been on the OTW board. Laura Hale once went so far as to “out” me as her. And now we like the same academic books too. Heh.)

So, obviously, now I have to write meta about this, and Fandom First Friday is the perfect time to take a stab at it. I have so much more to say and I want to go back through How to be Gay and pull out many more amazing quotes, but better to write something than wait for perfection.

What I found the most interesting about Halperin’s analysis was that he points out that women may find these funhouse mirror versions of femaleness upsetting, and those feelings are completely understandable and valid, but they don’t make drag any less empowering or significant for gay men. He neither thinks that we need to get rid of drag nor that women should stop having those reactions.

He also talks about how subtext is often more appealing than text: when he first started teaching his college course ‘How to be Gay’, on which the book is based, he assumed that students would connect more with literal representation of their identities. That’s the narrative we push: now that we have literal X on TV or in a Broadway show, we don’t need subtextual old Y anymore! Instead, many of his students loved things like The Golden Girls and failed to connect with current gay representation.

It’s a long book, but what many of his ideas boil down to is that a Broadway show that is massively subtextually queer allows the viewer to identify with any of the characters or with all of them simultaneously or with the situation in general. It’s highly fluid. Gay representation often means a couple of specific gay characters with a rigid identity. Emotionally, that can be harder to connect to.

Sometimes, allegory gets closer to one’s own internal experiences than literal depiction does.

Coppa’s article (book chapter?) is about exactly that. It’s titled: Slash/Drag: Appropriation and Visibility in the Age of Hamilton. She uses Halperin’s book but extends the idea further. I particularly liked her example of how female fans use Bucky to tell stories that are essentially (and often literally) about rape. His story is about a loss of bodily autonomy and about having one’s boundaries violated in a way that is familiar to female fans, but he’s a male action hero, so those stories don’t have the same visceral ick factor as writing about literal rape of literal women.

Partly, that’s due to how society treats men vs. women, but it’s also about which fans are writing these stories and which fans are the target audience of them. Just as a cis gay man appropriating Joan Crawford to talk about his experience of gayness isn’t really for or about women, most slash fanfic about Bucky being victimized isn’t really for or about cis gay men.

It was on the dancefloor at Vividcon that I realized that, as a woman, I have this unconscious feeling like I am appropriating gay men’s culture when I’m into Joan Crawford and other over-the-top female performers. It’s ridiculous! How can I be appropriating a female celebrity from gay men? But it’s an experience I share with lots of other women. Telling women we have no right to things is the bedrock of our culture.

That feature film Slash, which featured a bunch of cis male slash writers was inspired partly by the male director going on Reddit and finding a bunch of gay guys saying that slash squicks them. He felt that he was being progressive by erasing women.

On Tumblr, the fujocourse gets reblogged not just by toxic pits of misogynist, delusional bullshit like thewoesofyaoi, but also by seemingly reasonable fans. Hell, I’m pretty sure I used to suffer from this problem myself: I remember a time when I felt like I, as a bisexual woman, liked slash better, differently, and more correctly than straight women did.

I no longer feel this way.

There are lots of reasons for caring about slash, some of which are just about the pretty, some of which are more about gender, and some of which are more about sexual orientation, but after seeing decades of arguments about who is allowed to like slash, I have come to the conclusion that none of them are valid. All of them are “Not like the other girls!” and hating on femaleness. Some of the fans who do this are female and some are not, but it all boils down to not feeling like women have a right to a voice.

And then there’s Halperin calmly asserting gay men’s right to self-expression!

It struck me like a bolt of lightning because it was so self-assured. He never doubts that there’s something valid and important about giving gay men space to explore their own emotional landscapes. Literal representation is important, sure, but so is the ability to make art that speaks to your insides, not just your outside, and that sometimes means allegorical, subtextual art played out in bodies unlike your own.

“Fetishization” a la Tumblr often means writing stories with explicit sex or liking ships because they’re hot. Sometimes, it means writing kinks that are seen as dark or unusual. Frankly, this sort of fujocourse boils down to thinking that sex and desire are dirty and that m/m sex is the dirtiest of all. I do write some ~dark~ kinks in my fic because, for one thing, I’m a kinky person in real life, and for another, I often use fic to explore the experience of having dark thoughts and wondering what that says about me.

A lot of slash writers are exploring feelings of victimization. Another big chunk of us explore things like rape fantasies from the bottom: maybe we have and maybe we haven’t experienced assault in real life, but for all of us, having that kind of rape fantasy brings up questions of whether we’re asking for it, whether it’s okay to be into that kind of thing, whether it means something. Another chunk of us are exploring a different kind of “bad” thoughts: feelings of aggression, violence, dominance. In my own work, I’m interested in sadists and how they come to terms with their desires, but I think slash is also often a way to explore any sort of violent, dark feeling, not just rape fantasies from the top. Society tells us women aren’t allowed to have dark thoughts–hell, that we’re not capable of impulses that dark. Sometimes, it’s easier to write even a relatively banal action story about a male action hero because he, in canon, is allowed to have the feelings and impulses that interest the writer.

The fujocourse is all about saying that women aren’t allowed to have dark impulses ever. That we’re not allowed to be horny. That we’re not allowed to enjoy art for the sake of an orgasm. When we depict people not precisely like ourselves, we’re overstepping. When we make art for our own pleasure instead of devoting our lives to service, we are toxic and bad. Any time. Every time.

It’s just another round of saying that women’s pleasure is not valid and women’s personal space should not be respected. No hobbies for you: only motherhood.

And yet that’s not actually what most slash fans think. I was heartened to read Lucy Neville’s Girls Who Like Boys Who Like Boys: Women and Gay Male Pornography and Erotica. A friend read it recently and was trying to guess which quotes were from me. I have to admit, I was playing that game too! I honestly couldn’t tell, until I looked at demographic info, that some could not have been mine. They sounded so familiar. On Tumblr, I tend to wade into meta discussions, so I see a lot of loud, divisive views. I especially see a lot of views that, over time, make me start to wonder if I’m a crazy outlier. Intellectually, I know that this is all down to bad curation of my dash and a love of browsing the meta tags. I didn’t realize how much it had crept up on me unconsciously–how much I had started to feel like I had to justify and explain the most basic and common experiences of being a slash fan.

What was interesting about Neville’s book is how alike many of the women sounded. Now, no one book represents everybody, and she makes no claims to have figured out the exact size or demographic breakdown of fandom. Her focus is on women who like m/m material, whether slash or porno movies or anything else. At the same time, though, she surveyed heaps of women, and the responses were amazingly similar. Nearly every quote in that book strikes a chord with me. Nearly all of them, with a few minor variations, could be something I’ve written. Gay, straight, bi, asexual: we all had many of the same things to say about slash and what it means to us.

So, some brief, and more digestible thoughts:

Slash is “overrepresented” in meta and scholarly literature because people still ask us to justify ourselves constantly.

People ask us to justify ourselves because they assume that “good representation” is literal representation.

There are key emotional, psychological aspects of our experiences that are often better expressed allegorically, whether we’re gay men doing drag or women writing slash or any other sort of artist.

Here are some choice quotes from Coppa. (I will restrain myself and not just try to quote the entire thing. Heh.)

“There are endless transmedia adaptations of characters like Sherlock Holmes or Batman, so it is clearly not appropriation that’s the issue: it is the appropriation by the other—by women, in this case.

One could argue then that it is our awareness of this appropriative doubleness—of the familiar characters acting in an unfamiliar script, of the female storyteller animating the male characters— that boots slash out of “literature,” with its illusions of psychological coherence (see Edwards’s Chapter 3 in this volume), and puts it instead into the category of performance, itself so often associated with the fake, the female, the forged, the queer. My argument in this chapter is that it might be useful to compare slash to other forms of appropriative performance; drag comes powerfully to mind and, more recently, the musical Hamilton. These are forms where it’s important to see the bothness, the overlaid and blurred realities: male body/Liza Minnelli; person of color/George Washington.”

“In his book How to Be Gay, David Halperin (2012) discusses the ongoing centrality of certain female characters to the gay male cultural experience and takes as his project an explanation of why gay men choose those particular avatars and what they make of them. Halperin argues that gay men use these female characters to articulate a gay male subjectivity which precedes and may in important ways be separate from a gay male sexual identity (or to put it another way, a boy may love show tunes before he loves men, or without ever loving men). The gay male appropriation of and perfor- mance of femininity effectively mirror—in the sense both of “reflect” and “reverse”—slash fiction’s preoccupations with and appropriations of certain (often hyper‐performatively) male characters in service of a female sensibility; in both cases, appropriation becomes a way of saying something that could not otherwise easily be said.”

“A character like Tony Stark or Bruce Wayne speaks, obviously, to boys who are getting mixed messages about what successful manhood looks like in the twenty‐first century—it was hard enough in the old days to be Charles Atlas, but today you have to be Charles Atlas and Steve Jobs at the same time, which is a problem of time commitment just for a start. But these characters speak to women, too: differently. The doubled nature of the paired male characters taken up by slash fandom—these aliens, these costumed heroes, these men wearing man suits, men in male drag—make them appealing sites of identification for women, or proxy identities, to use Halperin’s (2012) term; that is, they provide “a metaphor, an image, a role” (185). They are sites of complex feeling.

But what these characters are metaphors for, what they make us feel, is not simple, singular, or easily reducible. Halperin takes hundreds of pages even to begin to excavate the complicated web of meanings around Joan Crawford; I am not going to be able to unpack any of these iconic male characters in a few paragraphs, and it is also the nature of fandom to build multiple and contradictory meanings around fan favorites (and to get into heated arguments over them).”

[In Halperin’s class] “Works that allowed gay men to be invisible were preferred to those where they were explicitly represented. “Non‐gay cultural forms offer gay men a way of escaping from their particular, personal queerness into total, global queerness,” Halperin (2012) writes. “In the place of an identity, they promise a world” (112). I would argue that slash offers something similar—that queer female space, as well as the ability to escape the outline of the identity that you are forced to carry every day—and that for gay men and slash fans both, the suggestion that you would restrict your identification to those characters with whom you share an identity feels limiting.”

“Visibility is a trap,” Phelan (2003) concludes, referencing Lacan (1978) (93): “it summons surveillance and the law, it provokes voyeurism, fetishism, the colonialist/imperial appetite for possession”—and fans on the ground know this and talk about it in very nearly this language. Again, this is not to say that fans—or gay men, for that matter—do not want or deserve good representations: female fandom, slash fandom included, championed Mad Max: Fury Road, Marvel’s Jessica Jones, and the new, gender‐swapped Ghostbusters, all of which have multiple and complex female characters. Rather, I am arguing that representation does not substitute for the pleasure or power of invisibility; for, as even the most famously visible actors say, “But what I really want is to direct.”

Hercules VS Xena: Striking differences

If you want the defining difference between Xena and Hercules… it’s actually not so much to do with feminism or gender representation. Those are the finer details, sure. But from a first-look standpoint, it’s that Xena is made for audiences that can understand and relate to its depth in production and writing of the emotional and mental kind, and Hercules is made for audiences who enjoy the writing and production of the physical kind. The action and the excitement. Of course, you get both with both shows, but you can tell one is more geared to one side than the other side. And I think the shows grew with the audience rather than the other way around. The stories got deeper and darker and much more complicated the more the audience tuned in and asked for what they wanted to see and hear of more. Therefore, I have to bring up the striking differences between both shows. If you want a show with good characters that only do good, watch Hercules. If you want a show with good characters that fluctuate, watch Xena. Redemption is a huge part of ‘Xena: Warrior Princess’. There are many episodes that deal with the themes of redemption and reconciliation that are very powerful. The main character, Xena, never quite is of one side or the other side. She’s both and she comes to reconcile with both. As does those that love her and believe in her. She comes to be in balance with light and with dark, with good and with evil, with peace and with war. And it’s not just her that does either. Many of the characters in Xena deal with these themes in very different ways. From the few episodes I’ve bothered to watch, ‘Hercules: The Legendary Journeys’ doesn’t have that. It’s because the characters are innately good that there’s no depth, no complication, and no moral standing of which to learn from. I’m not saying it’s not an entertaining show. I mean, it’s action-packed, there’s lots of fight scenes and there are interesting characters that do deal with important issues. However, it doesn’t seem convincing because it lacks the negative sides of those issues. Avoids telling the darker stories and therefore, you can’t take it seriously enough. I’m not being hater; I’m just being honest. In my personal opinion, the better show is Xena because it’s just got so much more to it. It’s a lot more mature and intelligent. It’s catered to an older audience than Hercules is. Requiring a broader and expanded consciousness so that the serious and important matters can be understood. Children can watch it, but it is more for the adults I’d say, or at least young adults. However, many of its fans did watch it as a child. Shaping their world view and philosophy as they grew into an adult, and eventually coming to understand what they were watching. I’m no different to that. That is very much my background with the show as well. As I watch it as an adult, I acknowledge, consider and understand its themes and lessons so much so more than I ever did as a child. That’s why I’m saying Xena is meant for an older audience and Hercules is meant for a younger audience.

I remember reading this interview segment in a Tumblr post awhile back where Kevin Sorbo talked about Xena and what he believed was wrong with it. Two themes were mentioned, seemingly “issues” to him. He said that the violence and the lesbianism were the aspects of the show that were “issues”. I think the word he was really looking for is “controversial”. Xena is a more complex and sophisticated show and it used violence to make the point clear that goodness, righteousness and peace is not black and white. It’s very difficult to not result to violence in dire situations. They were not encouraging violence. They were using it to teach a lesson, as well as explaining that just because you do result to violence in certain circumstances, you’re not inherently a violent person. You just did what you believed you should do in the moment and that that’s okay. The violence and the darker themes to the show made those lessons all the more powerful and inspiring. As for the lesbianism… I can see why that would have been an actual “issue”. Consider that at that time, even multi-cultural and interracial heterosexual couplings was still very new to mainstream TV. They were pushing boundaries with that alone, never mind homosexual couplings. I think the producers and writers did the best they could with it. Overall, Sorbo’s views are very one-sided and he wasn’t thinking about the bigger picture. Which is that you can’t have the positive themes without the negative themes if you are to understand the importance of them. That’s what he didn’t realize and failed to mention in that interview. The point to this post is not to compare or judge or criticize. It’s to explain to people that if they want to understand the way life works and learn how to handle it, they’re better off watching the more mature, intelligent and darker show than the one that avoids those themes altogether. Furthermore, all the really interesting characters in ‘Xena: Warrior Princess’ are the ones that are “searching”. This showcases that it’s human conditions and conflicts that make for really great TV entertainment. People love characters they can relate to for their flaws and mistakes rather than their heroism. It’s definitely a huge factor as to why Xena stands the test of time and became more successful and popular than its predecessor, Hercules. That within this action/fantasy show, there were these themes and lessons that make it far more than just “the hero that saves the innocent”. That there is strong and substantial material that goes far deeper than the surface. So much so that you actually start to enjoy the show for its comedy and lighter episodes; such as ‘A Day In The Life’ and ‘Been There, Done That’. You begin to crave them when you realize just how dramatic and intense this show can be sometimes. It really adds to its vibe. The camp is something both Xena and Hercules is well known for. The exaggeration, the subtext, the homoerotic nature of the characters etc… However, I personally think for Xena, it propelled the show, but with Hercules, it degraded it. And that’s mainly because in Hercules, there wasn’t enough balance. The scales tipped more towards the silly and the satirical. Because of this, the drama and the tenser sides to the show didn’t feel honest or serious. Whereas in Xena, it did because it was not afraid to go in-depth with the darker side to the show. It made the audience question the characters and the storylines.

Okay, so getting on to the finer details of having gender representation, I’d like to explain another reason why I believe Xena was more popular and successful than Hercules was. They always tried to make Hercules “the man”. Had to consistently point out his masculinity and physical strength and ability to catch the female eye. They wrote the character as if he had to be a certain way to be the good person or the right person. Whereas with Xena, there wasn’t any of that. Xena was a woman who had all those so-called “masculine” traits while still being female. A female that could do anything a male could do… or in some cases… better than a male could do them. She had the physical strength of ten men combined. She wasn’t written to look or be like “the man” in particular. But because the traits and skills she had were more known for a man to be capable of than a woman in those times… she was stereotyped as a more of a masculine character than a feminine one. At least to me it seemed she was viewed that way. In my personal opinion (I’m not saying they were trying to make it look this way), Xena was the one that carried more feminine energy and Gabrielle was the one that carried more masculine energy. But that’s just my personal perspective. I have my reasons to think and believe that and to interpret those characters’ energies like that.

Before you get me wrong, I’m not saying that it’s just about female representation. It’s not just about showing these fluid traits in females. It’s not all about feminism! I’ll point out that in an episode of Xena, there is a female character that hated men. That blamed men for all their problems. That was always making them at fault for everything… just because they were men. But the show producers/writers gave the very clear message that it’s not always men at all. That sometimes a woman can be just as cruel and selfish and hard. That it could go both ways and women can abuse and misuse men just as much as men can abuse and misuse women. That there’s no “more or less than” between them. It depended on the situation that the characters were in than on the individual character’s gender or type. That very much stood out for me when watching Xena. From what I’ve seen of Hercules, (which isn’t very much, I’ll admit) it seemed to be that the women were always depicted as the dainty, soft and sweet little things that were always falling all over the men and didn’t have a bad bone in their body. And that the men were always the strong, capable, physical and abusive ones. Again, don’t get me wrong! I’m very aware it can be like that. But it’s not always like that. It’s just a stereotype. A stereotype is where if you see a certain characteristic or behaviour in one or two people, you immediately assume or interpret everyone to be in that same mentally constructed category that just doesn’t exist. It’s just not a realistic picture to paint of either gender or type of person because humans are very fluid in their energies. Xena showed the times when men could be the soft, compassionate and kind type of person. It also showed when women could be the cruel, selfish and hard type of person. There was no “she’s masculine” or “he’s feminine”. They weren’t trying to give the depiction that you’re either one or the other and it has to be that way. They were saying that it was both. That females have what is considered “masculine” traits and males have what is considered “feminine” traits and none of it was wrong or inappropriate. It made the statement that whether male or female… they were still the same species. They were still human. In fact, they didn’t only show it with humans. They showed it with the Olympian gods too. With immortals. Not necessarily considered human but shown in the human image. From my perspective, at least, I would say that’s a very strong and substantial reason to watch the show; Xena, over the show; Hercules, or to judge on what show was better produced/written, even if it was the same people that created and worked on both shows. Because it seems to me that one was definitely much more thought out than the other in producing and writing. Xena has definitely shown me what it is that I look for in TV shows/movies/books/games or other forms of entertainment and art. Good producing/writing and dynamic characters that are not stereotyped. That do not belong to any particular category or labelled in any solid or permanent way. Characters that are fluid and interchangeable and versatile. Characters like Xena and Gabrielle and Callisto, that can make you see the individual person in both positive and negative ways, enough to realize that they are completely human and real. Enough to be relatable and so you can resonate with their mindsets. I don’t understand how or why there is such striking differences between these shows. Because given the fact Kevin Sorbo didn’t play Hercules and the show was at the same level of producing/writing as Xena, I probably would have loved to watch it just as much, if not more. There were some potentially great characters (both male and female) from Hercules that weren’t introduced in Xena that could have done with a better or longer arc, so you could get to know them more and could see that they weren’t produced/written in a stereotypical way. Maybe I’m wrong. Perhaps both shows have dynamic characters and give the same messages and I just haven’t done enough research or watched enough of the other show to judge accurately. But this is only my personal perspective and opinion on both shows regardless. I’m not saying it is fact because both shows are left to interpretation anyway. Take out of it what you will. I think I’ve made a satisfactory analysis to draw from to create your own. I’d very much like to read or hear yours.

"Hercules is the hero we hope is out there. Xena is the hero we hope is in all of us." - Liz Friedman, executive producer for 'Xena: Warrior Princess'.