#(but then that's just the point. we take our interesting female characters from our own imagination most of the time)

[anneapocalypse]

On Wuk Lamat, and Female Characters in FFXIV

The Thing with Wuk Lamat is you can tell me you think she had too much screentime; you can give me numbers on how many lines she had or how many scenes she's in relative to other characters or other expacs; you can prove to me "objectively" that she gets more focus than other main NPCs; you're simply not going to convince me that this is something I should be unhappy about. And not just because it's silly to think you can use numbers to prove a story is good or bad and make someone else go, "Wow, you're right, let me just throw away all the joy I experienced with this story and revise my opinion because you've scientifically proven to me that I'm wrong."

Because while I love Final Fantasy XIV and I have greatly enjoyed its story in so many ways, fundamentally one of my biggest beefs with this game has been how much female characters have been denied complex character arcs and growth and agency and interiority.

Minfilia gets treated as a sacrificial vessel who lives for everyone but herself and doesn't even get to have feelings about her own death because that entire arc is focused on a male character's angst about it instead. The game tells us in the Heavensward patches that Krile sees Minfilia as her best friend and then just forgets about that later and never follows up on what that loss must have meant to her. Ysayle is basically right about most of what she's fighting for but harboring a bit of self-delusion is apparently such a terrible sin that she has to pay for it with her life, while her male foil is deemed so worthy of salvation that there's a whole plot point about how important it is that we risk our lives and others' lives to save him. Y'shtola is a major character who's been around since the beginning, and the game keeps dropping maddeningly interesting things about her (apprenticed to a cranky old witch in a cave! saved her own life and the lives of her friends with an illegal and dangerous spell and it worked! reserved and undemonstrative yet regularly through her actions reveals herself to be deeply caring! disabled!) and then shows complete disinterest in following up on any of those things with the kind of depth and care shown to male characters with complex arcs like Urianger.

In general there is also a repeated thread of female characters being portrayed as weak or overly emotional: Minfilia is weak because she doesn't fight and needs to be eaten by a god in order to gain "a strength long sought." Krile is portrayed as not being able to pull her weight with the Scions (despite the fact that she actively keeps five of them from dying in Shadowbringers) and the only thing they could think of for her to do in Endwalker was be yet another vessel for Hydaelyn (hmm, that sounds familiar) and it's not until Dawntrail that she gets much actual character development in the main story and even that has to come alongside "Look, she can fight now so that means she's useful." (And I love Picto!Krile, I'm just saying, there's a pattern.) Alisaie, despite having very good reasons for needing to find her own path apart from her brother, is portrayed as having to prove herself when she returns, that she's "not the girl she once was," and "will not be a burden" (while Alphinaud is repeatedly given the benefit of the doubt and reassurance and affirmation from other characters even after he takes on responsibilities he isn't ready for and fucks up big time).

And if you follow me you know I adore Urianger, and I love Alphinaud and Thancred and Estinien too, so please don't misunderstand what I'm saying here! I'm not knocking those characters, or saying we shouldn't also love them. I just use them as a comparison to demonstrate how the female characters have been neglected.

Lyse has some of the stronger character development among the female Scions, and while she's still kind of portrayed as being too emotional and hotheaded in early Stormblood, I think it's actually explored in more depth in a way that I like; Lyse has good reasons for wanting to fight for her nation's freedom, but having been away from Ala Mhigo for several years now, she needs to understand the stakes for the people who've been there fighting for years, what they've lost and still have to lose. She grows as a person and rises to the challenge of leadership, and I'm even okay with the fact that she leaves the Scions afterward because it feels right for her to stay in Ala Mhigo, and at least she doesn't die.

And by all accounts she was, like Wuk Lamat, widely hated when her expansion came out.

Unironically I think the other female Scion with the strongest character arc is Tataru. She tries to take up a combat job, finds that it's not for her, and decides to focus on where her strengths are instead. In doing so, she both holds the Scions together as an organization in the absence of a leader by capably managing their finances, and also comes into her own as a businesswoman and makes international connections that benefit both the Scions and her personally. In contrast to Minfilia, she's not portrayed as weak because she doesn't fight, and is actually allowed to be an important character who's good for more than being sacrificed. Tataru is still distinctly in a supporting role for the player character, however, and her character arc happens as a side story that takes up a relatively small amount of screentime over several expansions, which I think is probably why she doesn't evoke such a negative reaction.

But there is a pattern of the game's writing showing disinterest in the interior lives of female characters generally, and in making their growth the focus of a story.

So yeah, I'm going to be happy about Wuk Lamat! I'm going to enjoy and celebrate every moment of her character arc, of her personal growth, of watching her put the lessons she's learned into action. I'm going to love and treasure every moment when she gets to be silly, embarrassing, emotional, scared, grieving, confused, upset, seasick, impulsive, and still deemed worthy of growing into a hero and a leader. I will love her with all of my soul and you simply will not convince me that it wasn't worth the screentime after such a profound imbalance for basically the entirety of the game. We've never had a major female character get such a strong arc with this much love and attention put into it and that means more to me than I can truly say. The backlash to it is disheartening, as this kind of thing always is, but I'm not going to let it ruin the wonderful experience I had playing it and how much joy it continues to bring me.

And for those of you who don't want any of that for a female character, thank goodness you have Heavensward and Shadowbringers and Endwalker and no one can take those away from you.

(And if you follow me you know that I love Shadowbringers and Endwalker and have very fond memories of Heavensward despite some issues with it, so not only can I not take that from you, I am not trying to!)

Some of us have been real hungry for a character like this with an arc like this, so, I think, y'know, maybe we can have that. As a treat.

[elumish]

If you are interested in examining, broadening, or diversifying the media that you read, write, and engage with, I think one of the most important things to recognize is that you can have legitimate feelings based in reality that are also bigoted or discriminatory.

I was talking to my parents this weekend about Republican voters, and one of the things that I was saying is that there are a lot of people whose political views reflect a social and economic insecurity based in a loss of jobs, lower purchasing power and a diminished ability to do things like buy a house or provide for a family compared to their parents' or grandparents' generation, a relative loss of political power compared to fifty or a hundred years ago, and a preference for people saying that they can bring us back to the world of a few generations ago where someone like that would have relatively more power in the world.

That relative loss of social, economic, and political power is real for some people (as a percentage of representation in state legislatures, Congress, and the White House, white people and especially white men do have objectively less say in government than 50 years ago). But it also can't be disentangled from racism and misogyny, where that loss of power is seen as an unbalancing of a previously equal (or at least preferable) scale rather than something inching closer to proportionate political representation and economic opportunities.

You see this with TERFs, too, in a different direction--it is a reality that women are more likely to be sexually assaulted by a man rather than another woman, and changes must be made to society to reduce rates of sexual assault. But it's also inextricably tied to bigotry and discrimination, both with the (incorrect) belief that trans women are actually men and with the belief that sex segregation is what will keep women safe (among other things).

What does this have to do with you?

A lot of the reasons I see people giving for not engaging with female characters or characters of color, or characters with other marginalized identities, are similarly based in some level of reality while still ultimately having racist or sexist or otherwise biased underpinnings to them.

It's true that there are social and political power disparities between men and women and that many M/F stories involve those, whether intentionally or not--but a refusal to engage with anything but M/M stories because you want to avoid those disparities indicates both an inability to picture a story where those disparities are not present/relevant and the viewpoint that M/M stories are inherently neutral (and so lacking those power issues) while F/F are inherently not neutral.

It's true that many female characters and characters of color are underdeveloped or not characterized well in canon, but the overwhelming fan engagement with underdeveloped white male characters indicates that white male characters are seen as neutral or blank canvases while female characters and/or characters of color are seen as just bad characters who it's not worth engaging with.

It's true that people often connect better with characters with similar traits to them, but a refusal to write or engage with most/all characters of color because of an inability to connect emotionally with them indicates a feeling that POC are inherently emotionally different from white people in a way that makes them impossible to relate to emotionally for white people.

My point here is not to shame anyone who holds these beliefs or says these things. We are all (including me) in the process of identifying and actively untangling and discarding our own internal biases (or at least we should be), and the first step to that is looking at your own actions and really trying to figure them out. This is hard and takes years or decades, because we are in a society where beliefs like these are pervasive.

So if you are interested in doing that, I recommend looking at reasons that you've given (if only just to yourself) for what characters and what types of stories you read/write/engage with and really sitting with them.

Identify what it is that's really the problem, and then try to find stories that do something different. Do you not like female-led romances because there might be a risk of pregnancy? Try some stories where there's no pregnancy. Are you uncomfortable reading one that describes certain body parts? Try a closed door story. Try a new genre. Try a different author. Try something you're not sure you'll like. Try something new.

You can do this with writing, too. Try writing a M/F story, or a F/F story, or a story with no romance at all. Try writing a story focused on a non-white character. Try fleshing out a female character who you think is underdeveloped in canon, if you write fanfiction. You might find that you enjoy it far more than you thought you would, once you let yourself write it the way you want.

[rachelamberprice]

i’m an amberprice before all, but chloe is one of my favorite characters of all time and i think the way they wrote the pricefield break up (and really the fact it exists at all, narratively) is ooc. chloe’s arc in lis1 shows she becomes very attached and fiercely loyal to her loved ones. to a degree most people just wouldn’t go. it would take military grade equipment to remove her from william, rachel, max and even joyce. the reason why she even offers to sacrifice herself also hinges upon that loyalty, hence how she brings up not wanting her mom to die. but she also knows the trauma max has gone through (that’s like life ruining trauma) to try and save her and she loves her for that in ways you couldn’t put into words

i agree with michel on this one

but even he conceded that it shouldn’t have happened, narratively

but anyway, to tack onto this, something about deck nine that really frustrates me is the way they sort of break life is strange down into these marketable “components”. you can see this both in the ads for the game and the game’s writing itself. they’re like “look, it’s a small town and a murder mystery! that’s what you want, right? look, some independent music! that’s the same thing, right?” and even their love interests feel phoned in/shallow that way. life is strange 1 (and even before the storm, which is theirs) didn’t have these marketable love interests that were commodified more or less. they just had organic characters that were organic to the story — max, chloe, rachel. none of them were there to be love interests specifically. they were there to tell the story that the creators had a lot of artistic passion/inspiration to tell. the indie music wasn’t chosen just to be novel and hipster, it was carefully chosen to tell the player even more things about the scene or its characters. “To All Of You” was commentary on how poorly female characters are written in american media and how they aren’t allowed their own complex emotions and portrayals because they’re dainty archetypes usually. the entire game flies in the face of that issue by showing us a cast of women who are more than just their traumas and the abuse they suffer to the men in the game. they’re allowed to be imperfect, angry, multi-faceted

then you have “Santa Monica Dream” which set the tone for what chloe had lost in her relationship with rachel. i mean, there’s so many examples

there was sooo much passion that went into crafting that game and none of it was like “oh, we’re checking boxes to please the publisher and market the game”. to be fair, the game was made first and then shopped to publishers. but even with LiS2, it had the same love and genuine care instead of just… marketable pieces forced in

and i don’t fault the devs for being forced to do some of this under square’s thumb and complying to do everything they can to keep the IP because they want to have jobs. how can i fault people just trying to feed their family and live? and even when corporate/capitalist shit has been ruining the lives of devs in the industry forever now, they’ve always asked us to keep buying and supporting games anyway because they don’t want to lose their livelihoods. they would suffer, not the higher ups at square. but the issue is complex. because at some point the product isn’t being made with a desire to make art anymore, and it’s also not being made with over 60% of the audience in mind… and a lot of us are poor or struggling too and don’t have the money to waste. so then we don’t support the game, fine. but it’s like… no one is winning here? the devs aren’t winning because they’re closer to losing the IP because fans are let down (and arguably kind of lied to in marketing), square is making less money as pre orders are canceled, fans are just getting these games without love/passion that are made under extreme stress because the workers are in awful conditions. no one is winning here. something has to give and if that means it’s voting with our wallets then…? i guess that’s what it comes to, right?

the game industry is less about art now and more about appeasing these rich people that are making demands and that sucks for everyone involved. it’s predatory on the devs and the fans. and this is without talking about the nazi the studio had employed. not even sure if he’s been let go yet. not that that’s the fault of the other people who are having to suffer working alongside him (and HR is usually corrupt in games anyway) but it’s still something to really consider when supporting a studio?

but anyway, my main point with this post was just to analyze the way deck nine’s LiS games have now turned into this “hit the check boxes, give them the murder mystery, manufactured love interest, music, etc” and to me that’s making the games worse than anything else. even the pricefield debacle aside

because at least before the storm felt like a story being told to tell the story and not like a “hey here’s a murder mystery with love interest 1 and 2”, which started happening with true colors

maybe this is like a melodramatic take though, idk. i mean, i love before the storm so it’s clear to me there’s people in D9 (or there were) that do care about the original story/world of LiS1 and want to make art. even if there are also some losers in the mix (the nazi… 😭) maybe there are some really redeemable things in double exposure that make it worth playing and also just worth more than the sum of its bad marketing and flaws. i didn’t like true colors much because it felt hollow a lot of the time (and rushed?) but yeah

[lesbian-kyoru]

something i love so dearly about yuzumako is how the lesbian coding of their relationship is so healing, rather than self-destructive?? by that i mean, so much queer coding is filtered through the lens of, here is this character whose queer identity is so fraught that it often leads them to lashing out and misery, & you always think how much happier they'd be if they could make peace with themselves..... but with yuzuki and makoto, the safety and peace they feel around each other always serves as the anecdote to their struggles, ESPECIALLY with boys.

in ch 20 yuzuki is disappointed with boys endlessly complimenting her painting w/o looking at it���seeing her as a romantic conquest rather than caring abt her as a person. the same chapter, it's makoto who actually cares about her painting & yuzuki's artistry EXACTLY how she hoped. the loneliness & resentment yuzu experiences is directly tied to heteronormativity, with boys assuming that they can disrespect her boundaries since she's a pretty girl to be "won over"—only for makoto's actions to parallel the same set up BUT she always demonstrates a truer understanding of yuzu as a person & friend throughout the process, and every time it brings yuzu such a sense of safety & comfort that she NEVERRRRR feels around boys pursuing her!!

there's such an intense lesbian coding to yuzu's avoidance of male romantic advances as opposed to how she leans into not only female friendship but specifically to makoto's own feelings for her shining through—and again, i love this because it's so positive & warm. rather than queerness being a source of anguish, makoto brings yuzu more joy than heteronormativity ever does.

next, after mako's date that she calls a battle, it's yuzu who says she looks cute & cheers her up! mako ALSO decides she doesn't care about being boyfriendless bc yuzu makes her so happy which is sooooo baby lesbian like are you serious! the same as the scene with yuzu's artwork, makoto's date with a boy that only brought her discomfort & feelings of unworthiness is followed by joy & affirmation found in yuzu's company—again, queerness & female connection shown as the anecdote to comphet/mako forcing herself to present hyperfeminine to fit what's expected.

also of note is makoto's recurring jealousy of yuzu's beauty—even though this is a negative emotion, i love how it's ultimately overpowered by her affection for yuzu. also the lesbian pipeline from i want to be her -> i want to kiss her is alive & well for makoto. so so obviously.

then finally, probably the crowning example of my point is yuzu's arc of being set up on a date w her new classmate against her will! as an aside these chapters depict such a common lesbian experience, where to avoid being socially isolated, we give into comphet & just go along with boys' feelings for us, thinking it's best if we don't cause issues & eventually we can get ourselves to reciprocate, giving them what they want at the expense of our repressed identities—yuzu is taught that her feelings don't matter; her beauty was made for male consumption.

now in high school, yuzu decides to speak up for herself & reject the role she's been placed into, again as a beautiful prize to be won—it's common for closeted lesbians to think they can convince themselves to like men back, but yuzu won't go along with this forced set up again. after she rejects this boy, her classmates make yuzu feel like SHE'S the one who has done something wrong & don't take her discomfort into account—it's hard for them to understand why, as a pretty girl, she isn't willing to just go along with men's attraction. ENTER MAKOTO!!!

sorry makoto is frankly so smooth for this. when yuzu leaves school early & makoto hears about her date, she brings yuzu pudding & tells her that she wants yuzu to be honest with her about when she's feeling down, even though their experiences are different. when reading both characters through a queer lens, it's very interesting to see how they've had different experiences w heteronormativity & gender up to now—yuzu is constantly fighting comphet demons whereas makoto feels less than for not being as feminine or gorgeous as yuzu.

but even though their experiences with lesbianism & girlhood have been different, makoto wants to hear how yuzu truly feels and comfort her. once again, after seeing the horrible pressures & pains yuzu has experienced through heteronormative dating & misogyny, it is her incredibly queer-coded friendship with makoto that makes her feel safe enough to cry openly in front of her!!!!! yuzu's peers, but particularly boys, show a disregard for her emotions, and then we see makoto fill that role of support & care so easily. like the dream boyfriend she is :)

there's a lot more i could say about yuzumako & their individual arcs, but to tie everything up, it is so common in lesbian (or queer coded) media for a character's lesbianism to be something that brings them nothing but pain and suffering, either in its repression or awareness—so i absolutely love how skip & loafer showcases (through yuzumako but also the ENTIRE cast) that embracing your queer identity can be so healing & positive. the story doesn't shy away from presenting a lot of the pain that closeted lesbians go through, like struggles with their gender & how socially ingrained heteronormativity is—but these struggles are always followed up by such intentional examples of yuzumako's connection (+ lesbian yearning) being so comfortable & happy to them! i love angst too but seeing them, time and time again, know exactly what the other needs & be able to be that for each other is soooooo rewarding!!!

happiness in queer media does not need to erase the struggles of our lives, but rather showing authentic queerness not as the problem but as the SOLUTION is unbelievably impactful. long live yuzumako

[secretsofthewilde]

Well. I did say that only one person needed to ask and I'll share. So here you go @raisedbythetv89 @richtea-biscuit

The actual academic essay I wrote and submitted is available to read here (x) for now at least, but as it was written for an assignment with a set word count and parameters, I ended up having to take out the section I had originally written about Cordelia and also there are a lot of references to the set textbook readings I was given. So it might not be the lightest of reading.

Essentially the essay poses the argument that for all the supposedly progressive feminist intentions of the show, we regularly see gender and sexual stereotypes still being reinforced within the show especially through the way that the women are treated for their relationship with sex. That is to to say that while the ‘Scooby gang’ typically seems to contest gender norms, with the male characters often appearing as submissive to Buffy and the female characters themselves each threatening gender norms in their own way, the intimate relations between the characters often undermine these initial contestations. In my essay I explore this through comparing Faith and Buffy's relationship with sex during the early seasons of the show.

Below is my section on Cordelia which unfortunately didn't make it into the essay, followed by a summary of my essay points on Faith and Buffy. I'm mainly sticking to seasons 1-3 for this essay because while I do mention season 4 at one point briefly, the introduction of Riley and Tara mark a change in the nature of sex and what it means in the show.

Part 2 (which is a look at Willow) has also now been written and can be found here (x)

Cordelia Chase

Cordelia starts out as a mild social antagonistic force to our Scooby gang, she is a bully. As the show progresses though she slowly starts to build connections with them, however she isn't allowed into their group until she is depicted as having romantic feelings for Xander, rather than just sexual. When it comes to Cordelia and Xander's relationship she is the dominant one. She has more social power than him and the Scoobys, as well as being more financially and academically stable than him. She also is the only one with a car, meaning she is the one who drives them to their dates. And while this at first seems to be challenging gender stereotypes of powerful men providing for an attractive but weaker woman, the problem is that she isn't allowed or accepted into the Scooby gang until after she sacrifices her social privilege to commit to a public relationship to him. Prior to this sacrifice any relationship or attempt at casual sex we saw Cordelia make was framed as shallow behaviour from her to be scorned or done for comedic effect. We see both her and Buffy seek intimate relationships in these early season, but only Buffy's attempts are framed as sympathetic. It was only when she expressed an emotional connection to Xander that she was presented as a sympathetic character to the audience.

Buffy Summers

Buffy and Angel are the first intimate relationship we see explored in the show and so it's the one that sets the audiences' initial expectations for intimacy. While Buffy is dominant within her social groups and her general use of violence to defeat enemies is something that we would say challenges gender norms, she rarely maintains these traits (or at least they are made much weaker) in scenes that explore her relationship with Angel. Once she's romantically interested in him she routinely takes a submissive role in their relationship; she goes to him for help and advice, places his well being over her role as a slayer, and waits for him to be the one to define and initiate their relationship.

 Unlike Cordelia’s early relationship with Xander, the audience is meant to be invested and sympathetic towards Buffy and Angel. From the get go we have it established that the two love each other, but despite their doomed fate we are meant to want to see them together and therefore we are sympathetic to Buffy's attempts at intimacy with him. When they do have sex and Angel loses his soul, these painful consequences is sometimes seen to be done as a punishment for Buffy having sex, but I think it's more to do with the tragic nature of their gothic romance rather than that - because Buffy and Angel did have the emotional and psychological connection that the show requires in order for their intimacy to be viewed as 'good'. In contrast though, once they break up we see Buffy try to have sex casually with other non-supernatural students but this only results in her getting hurt. When she and Parker have sex he dumps her the following day after using her; which is her punishment for attempting to have sex with something who she didn't really love like Angel. Buffy's also interesting in that her attempt to have a not only loving but sexual relationship also sets her apart from the other slayers - Kendra doesn't have sex, Faith doesn't do emotional intimacy, but Buffy tries to have both.

Faith Lehane

Faith gets to be the sexually free and explorative girl that Buffy is unable to. While she does struggle to do so, within the first three season Buffy does successfully create and sustain a heteronormative relationship that is both sexually and emotionally intimate. While Buffy might flirt with other guys that aren't Angel, she's still easily the "good girl" who cares more about the emotional connection with a guy than sex; in comparison Faith is someone who presents very confident in her sexuality and actively seeks casual sex without any emotional connections. If Buffy is seen to be masculine because of her traits as a slayer than Faith can be seen as hyper-masculine. So she challengers gender stereotypes in that her seeking casual sex and her dominant flirtatious behavior are traits typically reserved for a stereotypical "bad boy" type of character.

When Faith is first introduced to the show as an ally to our Scooby gang, her sexual confidence and behaviours are initially something that Buffy herself wants to replicate. The only time that we actually see her engage in sex on screen however is when she initiates sex with Xander, which coincidently also marks the last episode where she is considered to be someone trust worthy. Faith is the one to initiate sex with Xander, and she remains in a dominant position of control of the scene that we observe. The moment seems to subvert the trope of the confident male "deflowering" the inexperienced and submissive women (who in this scene would be Xander). However the scene is immediately cut with Faith kicking Xander out of her apartment after he tries to initiate an emotional connection with her, and this is framed for comedic effect. By framing their whole sexual encounter as comedic, it's undermining how Faith's sexual confidence seemed to challenge gender roles and instead framing deviations from expected heteronormative behaviours as something to laugh at.

It's also important that the very next episode (Bad Girls) is the one where we clearly see the descent of her mental stability as her reckless behaviour (both sexual and violent) in one-night results in her accidentally killing someone. What was initially seen as traits of a sexually confident woman, and therefore challenging gender roles, then becomes depicted for the rest of the season as signs of her mental instability and her eventual role as an antagonist. This is her punishment for engaging in casual sex; for not having the emotional or psychological connection that is needed for sexual actions to be accepted or approved of by the narrative.

Conclusion

Within the first three seasons of Buffy we see that the female characters are able to challenge gender roles in many ways, however this isn't extended to sex. They can enjoy and seek sex out at times, however they will suffer as a consequence if they don't fulfil certain heteronormative conventions during those times.

Buffy and Faith are allowed to be powerful slayers who are in charge, but in order for their power (and how they challenge dominant ideologies) to remain acceptable it needs to be limited to their battles in the streets rather than in the sheets.

[menaceoffandoms]

LMK analysis rant: Mei

I said I was gonna do this and I'm keeping to my word! The only thing that may stop me is my procrastinating... and the fic I'm slowly writing but uhhhhh-

ANYWAY- We're here to talk about Mei, our favourite white horse dragon pepper girl!

Mei stands out as the most different from her inspiration, something the writers perfectly portray in the yellow-robed demon episode of s4, which is likely to do with how little they had to go off of. Despite being one of the pilgrims in jttw, Ao Lie dose very little in the novel. His most notable chapters being when he's introduced and when the group faces the yellow-robed demon, which is why we met him in that memory in the scroll. Combined with my belief that Mei isn't a reincarnation of Ao Lie -- just his descendent -- means that Mei is one of the most unique characters in the entire show.

There's just less source material for her to draw from, it let's the writers have more fun and do more things. It's not that they don't make the others characters unique -- they like to play very fast and loose with things over all -- but Mei feel like her own complete and original character. She's inspired by Ao Lie in the same way Mk is inspired by Monkie King basically and she all the better for it.

Being the female lead (isn't it interesting how most of the female characters in this show are villans?), Mei is a refreshingly strong, confident girl who begins the show as the most powerful cast member. Being a descendent of the great dragon gives her amazing powers that no other cast members have, a birth right that leads to her being the most protective of her friends and the first to help out in any fight.

What she has in power, however, she lacks in experience. Mei has no mentor -- other than her parents, but I believe its safe to assume they weren't very focused on teaching her combat -- which leads her to trust her gut more, rush into things and learn through observation, like when she mimics what her great x1000 uncle did in s3.

Overall Mei is an excitable, energetic and loving person with a "You only live once" kinda attitude, for lack of a better explanation. Even still, she has her own insecurities and flaws which make her all the more interesting. Due to the shows run time, Mei and many of the other main characters don't really get explored as much as Mk, however what we do see of these struggles and fears is incredibly interesting even on a surface level.

Her tendency to rush head first into danger without first examining the situation or creating a plan, truthfully, tends to work out for her, but it can't always. It's something shown perfectly in s4, when Mei is the only member of the group to not get a star from Master Subohdi, however what a lot of people seem to miss is how Mei actually did earn that star eventually.

When they leave the temple and head to the celestial realm to try and stop Azure, Mei leads them there with no plan at all. As such, they fail and need to be saved by Mk. Faced with proof of Subohdi's criticism, Mei makes the more important amendment to Mk's plan in the s4 special. I don't think we've even seen Mei make a serious plan until this point, which feeds back in to another one of her flaws: being unable to take things seriously.

This isn't something I see said about Mei often, but when watching her character I think it's externally obvious. Don't get me wrong, Mei can be serious, but usually only in moments of vulnerability or high stress. For example: when talking with her pearents, after she gained the Samahdi fire and whilst imprisoned by the Yellow-robed demon.

I think this flaw is Mei's own version of Mk playing dumb. They both behave this way to lessen the emotional impact of serious things, to protect themselves and help those around them deal with trauma or difficult topics. Mei and Mk really are two sides of the same coin and I'd love for them to do more with that in the show.

Going back to Mei's parents, one of her biggest struggles is reconciling who she is with who she's meant to be. She is a noble dragon, a descendent of the great dragon of the West Sea and practically the successor to Ao Lie. It's a lot to live up to and -- evident in episode 3 of season 1; Welcome home -- she doesn't believe she dose.

Mei is confident in her abilities, she's sure of her strength and quick to help those around her, but in the face of her legacy she stands uncertain. It's another thing her and Mk have in common, though in vastly different flavours, and it's interesting how this legacy colours Mei as a character.

She wields the dragon blade, proving herself as a worthy part of her family and gaining the approval of her parents, however the stark difference between her and the rest of her clan is more blatant than ever. We see this perfectly in season 3 when they visit the great Dragon of the East Sea, Mei being put into fancy clothes she instantly ruins in order to have a place to hold her sword. She fights against her uncle, fights against her family, because she knows they'll never understand her. But even still, she knows she's still one of them and she's so proud to be.

Becoming the vessel of the Samahdi fire is only more proof of Mei's legacy and connection to her family. It gives her a moment of pure vulnerability where she vents her frustrations and fears before rushing away, wanting nothing more than to protect the people she cares about.

When Red Son finds her she's still serious, but even with just a basic understanding of the fire within her Mei falls back to her normal nature; a silly excitable girl not taking things seriously. We see this after Red Son attacks her with the spears and when she's eating later on, but even if her attitude doesn't show it, she's still listening and taking the training seriously. She just needs to be silly so she won't freak out again.

Since we're on the topic of the Samahdi fire, I think most people can agree that the way it was handled post s3 was very poor. With only one mention of it in s4, by Master Subohdi no less, I assumed that the fire had been resealed, this time correctly. Something that dangerous should be locked up, even if a capable wielder is around. It would also prevent power creep and stop the show from having another Wukong predicament, by which I mean a character so powerful they need to find a way to prevent them from trivialising whatever threat they have to face in the plot. Wukong will get his own post soon don't you worry...

Instead, we learn in s5 that Mei still has the fire, she just kinda forgot? She learned to fully master it when breaking out of LBDs mech, so since the fire was no longer a raging uncontrollable inferno she just didn't realise it was still there... for an entire season. Yeah it feels lazy and honestly is probably the worse written choice the show has even made. Even still, it dose lead to a very interesting and in character moment for Mei.

When attempting to seal the willow wisp with Red Son, Mei loses her confidence, believing that she lost the Samahdi fire and thinking she's lacking. Mk getting Monkie Kings powers was one thing, but the rest of her friends now having cool weapons and magic? If their all so strong and only getting stronger, then what's the point in Mei? She was the strongest but now she might be the weakest, and that terrifies her cause if she's weak she can't protect people. How can she act when she's powerless to do so?

This dilemma is quickly resolved by Red Son telling her she's had the fire the whole time, amending it's use to Mei's lightning motif she's had since s1 -- I know fire benders in ATLA use lighting but come on -- and basically saying she's been using the fire the whole time. It takes away from Mei's whole struggle to be honest, but I do think there's potential for her to relearn this now tamed Samahdi fire so she can better use it. Just depends if the show wants to do that...

Moving on from my thinly veiled complaints about season 5 (I like it I swear but it is the weakest seasons to me so far), let's talk about Mei's role in the group a bit. Aside from being the token girl, she's also Mk's best friend and the only other character his age and acts around the same age as the shows target audience. Mk's the main character and leader, Tang is the lazy historian smart guy, Sandy the loveable giant, Pigsy the cynical brute and Mei's youthful and silly power house.

I would love to go into some narrative tropes, specifically the 5 man band since jttw is one of the primary bases of the trope, but I've realised I have far too many thoughts about that to fit here. This is the 21sh paragraph and I'm sure at least some of this is a mess, but I hope I'm getting my point across! Overall, Mei is an extremely compelling character how often gets side-lined due to run time and other stuff, but is honestly one of my favourite characters in the show.

[tossawary]

A handful of random thoughts about the "Ultraman: Rising", with some vague, marked spoilers here and there:

I like the fact that they didn't explain kaijus or where Ultraman came from. After so many superhero origin stories where we have to be slowly introduced to the existence of the supernatural, it's refreshing to get dropped in the middle of a "second-gen" (unclear how many generations of Ultramen exist in this universe so far) superhero's story. The movie isn't apologizing for its genre or its premise. It just goes, "Yeah, you know what a superhero is and what a kaiju is, so let's go already. No, we're not even really going to explain how Ultraman's powers work. That's not what this is about!!! It it about our protagonist's daddy issues!!! Keep up!!!"

If I think about the world building, I do have some questions, like who built the protagonist's fancy tech house that's also a superhero base, but it's not too important. I assume his dad built it and then moved out to give his kid space? OR: "Why do the kaijus seem to attack this place specifically?" This movie works mostly because it's like "this is classic superhero stuff and we're just not dwelling on the logistical setup too much"! It leaves you to fill in some blanks on your own or just suspend your disbelief, which works.

The pacing was a little weird in places and the movie does get a little ridiculous in parts, I'm never quite sure of what the capabilities of these characters are, but it's a superhero vs. kaiju animated movie and that's to be expected. I still enjoyed myself well enough.

A few of the character designs didn't super work for me, like the big-headed kid characters. The kaiju baby is maybe a little too cutesy, but she was very cute and I've forgiven them because they didn't shy away from babies being gross. (There is... A LOT of baby kaiju vomitting.)

I did really like some of the other character designs. I liked the protagonist's big nose and pierced ears and bangs falling in front of his sharp face; he looks like such a dirtbag pretty boy. I like the lean in the industry right now towards more stylized and geometric 3D character designs in general, because I think that the shapes are fun and they'll age better this way.

Dirtbag guy to single dad is a winning story formula, huh.

They did a lot of 2D-style effects in this movie that I thought looked fun. I dig that trend in the industry right now as well. Some of the scenes were a little clean, almost bare, in terms of environmental design, but the colors generally looked great. Some of the scenes were really bright and vibrant and pretty.

(Mild vague spoiler?) There's no romance in this movie, which was surprising when they definitely set up a female journalist in the position for a love interest. No, it's a "strangers to friendly acquaintances" relationship for them. The female journalist is also a single mother, which was interesting, because you don't get a whole lot of career-minded single mother love interests in animated movies.

(Unimportant spoiler:) She told the protagonist to his face that she thinks he has daddy issues. Not stated quite like that, of course, but it was pretty funny. She was also right about that.

The emotional focus in this film was instead about the protagonist, Kenji, repairing his relationship with his father and also taking care of the kaiju baby. Kenji's only friend and co-parent for a chunk of the movie is an AI assistant (Mina) his parents made.

(Unimportant spoiler:) Stumped by an issue, Kenji makes a frustrated comment about how maybe he should ask Siri instead. Shortly after, in response to a different statement, the AI assistant Mina makes a passive-aggressive comment about how maybe he should ask Siri instead. I found that pretty funny.

(Mild spoiler:) Ultraman in this universe is a known and popular superhero and has been for decades. At one point, the baby kaiju gets out into the city, and Kenji has to go get her before she gets hurt or hurts someone else, and he publicly tells her to "Come to Daddy." And this is overheard by a bunch of nearby civilians, who gasp loudly. It is quite funny. It doesn't really come up again, but even if that wasn't recorded, you just KNOW that the news and the internet went wild over that revelation. "Ultraman had a baby with Gigantron???!!!"

(Another mild spoiler:) At one point, Kenji asks the female journalist for some parenting advice, and she IMMEDIATELY asks him if he has a secret love child. (No one is quite sure why this baseball star suddenly came back to Japan from the U.S., as they don't know he's Ultraman.) Kenji denies it, but I'm pretty sure that she must still think that he does.

(Continuing:) Kenji's baby kaiju parenting struggles (along with his ego) are fucking up his baseball career, due to stress and lack of sleep and conflicting commitments. We aren't shown a lot of interactions with his team, but I desperately hope that he also asked a couple of his teammates for parenting advice or something, so that his team could also immediately assume that he has a secret love child.

Like, "Yeah, yeah, Kenji Sato's secret love child, we all know about it. The poor kid is really bad at hiding it. We're trying to keep it hidden from journalists for him, but the whole team knows he's a new dad, for sure." (They do not know that Kenji is Ultraman and the baby is a kaiju.)

All in all: this movie was fun! Very silly, but cute! I think that I might try to pick some other "Ultraman" shows or films out of the dozens that exist, and try some of those ones out. The property seems to exist in a similar vein as "Transformers" where Rule of Cool rules world building and canon is whatever the newest iteration wants it to be.

[arandomnerd810]

personal TADC character analysis

uh warning this is long lol

autism time let’s go (/not in a negative way i have autism) stretches hands * I’ll go in order of the character episodes cause why not we have it (see below) i’ll put periods but it will just be to make it more readable not to be intimidating lolll

btw im completely open to interpretations of characters changing throughout the series this is just for fun

Gooseworx has said this series is mostly focused on characters rather than lore, and from what we know, i truly believe it. I don’t think any of the current characters will abstract because of this.

(I put a version of this in the glitch inn discord theory thing so if you recognize it that’s why)

Pomni: we already know her deal pretty well, as we’ve already had her episode. uuuh if anyone’s going to do something important lore wise it will probably be her as she’s the main character but can’t rlly tell what that may be. to review ep 2 though she’s an outcast who has felt like she was nothing and is a logical thinker.

(Kinger and Zooble will there their focus episode but i put it in order of who was revealed to be the ep 3 focus first)

Zooble: From their design (the entire motif is it can be changed at any time) and the fact she doesn’t know his gender, we’re dealing with some pretty clear identity issues. Friends with Gangle seems cool excited for next episode to learn more about them!

Kinger: One of the most interesting characters so far. I feel like we will get to learn more about abstraction though Queenie, the X-ed out door that looks like a female version of him. If i had to guess, since Gooseworx said they were not siblings, they were a couple. (Also judging by his age and the fact he could have been married, he may have been a father yeowch imagine that) I can see the common theory of the insect collection implying he was a coder before getting trapped, but i could also see him being some random guy who just likes bugs lol. He seems like really sweet guy behind his constant anxiety and disassociating.

 Gangle: (My faveorite human rn) Her mask design can be interpreted in a lot of ways but it’s clear that the happy mask isn’t her real personality. My take on it rn is she doesn’t wana bother people with her stuff so she pretends she’s happy? She seems easily embarrassed and def has self esteem lower than the last circle of hell. What’s interesting though is she’s willing to stand up for herself from time to time, even though she’s easily shot down after.

Ragatha: Waaaay too nice for her own good. Also probably has self esteem lower than the last circle of hell and bases her self worth of others approval.  Though she’s been here the second longest, she seems a lot more normal than Kinger. Makes me question how long apart their introductions have been. Probably copes via escapism.

Jax: I can see why everyone is very interested in him cause me too. He seems like the only fourth wall breaky guy (unless you count Caine cause of his intro at the pilot)which is rlly interesting how did he figure out more than everyone else? what’s with the keys? i have no clue lmao. He’s an asshole who makes the best of his situation by torturing everyone else. At the end of the day though, he’s a human and was sad at kaufmo’s abstraction but he probably isolates himself so it would probably be the same for anyone

but waAitTt a moment

that’s 6 humans but Gooseworx said we would look into 7 (cause of the “other” part) in her twitter post talking about the character focus timeline so we know our fav character won’t be left behind ⁉️⁉️⁉️ I hear you not asking well my dear hypothetical person, who better to fill the 7th character than Caine?

Why you did not ask? Too bad i’m info dumping. First, he’s the main antagonist and alongside Pomni, the commercial face (or lack their of haha teeth and eye joke) of the series. he’s an important character and loved by many. (and hated equally if not more aside the point lmaooo)

Yes, gooseworx can lie about stuff but I think she’s smarter than to lead this heavy into Caine depth/ angst territory if there wasn’t going to be anything On top of that, the entire purpose of the timeline post was so we know our faveorite characters weren’t getting treated poorly. It’s unlike for a character based show to suddenly drop such a major character for some random other guy were introduced to later or smth. i mean cmon there’s three episodes after all the humans at least one of them has to be focused on my boy.

Caine: I believe he really does have good intentions and wants to help but just does not understand people at all. This means he’s like an anxiety disorder; it wants to help, solves some issues but creates 500 more. Judging by the Tumblr post, loneliness may play a big part in what’s to come? I’ve always had a feeling his front was extremely fake and his VA saying “breaks keyfable” (an act that pretends it’s true) supports that theory. Episode two gives some insecurity vibes when Zooble didn’t want to go on the adventure. I find that pretty interesting cause he didn’t care at all if people went on the gloink adventure or not. Maybe he puts some adventures over others and he could have been proud of the candy adventure cause more time and care was put into it and he made a new AI. Why did he blue screen? i feel like he could have some blockages on what he can say built in though im not sure why he was blocked then if he even was. one of the biggest questions i have ab him currently tbh. what’s with him grabbing his cane like that in ep 2? if i had to guess simply be nervous = that? His VA also knows some depth to him even though his focus episode is likely going to be at least one of the last 3 episodes, which they have not gotten to recording yet. You know what this means Caine angst solidarity club? Sad Caine so more fan angst appetizers before the main cannon feast let’s friccin go‼️‼️⁉️⁉️

(try to guess my fav impossible /j)

[all-mirth-no-matter]

Time After Time | Chapter Twelve

Pairing: Tommy Shelby x Reader, Tommy Shelby x Original Female Character

Summary: You suffer through the repercussions of Christmas morning, a new year begins, and Polly provides some interesting insight.

Warning: language, smoking, ethnic slur, yelling

ao3 link | catch up on tumblr here

Chapter 12: Nobody Knows

So help me find my way, the way I came from. ‘Cause I’m feeling lost and afraid, you better not be too far gone. Oh, have I been so wrong? Missed the song? Still I don’t know where I belong. No I don’t know. Because no one really knows me, at all.  — Nobody Knows, Autograft, WYNNE

You ran through the garden toward the temple, sure the sacred grounds would bring you some solace. “You betrayed me!” You shouted behind you, tears pouring down your face. 

Closing your eyes, you once again saw the shower of arrows fall from the sky, then a plague of sickness run through your lands. You saw death on the sands of your beaches, fires raging through the cities. You felt the whips and thrashes of pain across your body, the screams surrounding you until you fell to the floor with your hands over your ears. 

“Cassandra.” The beautiful voice of your love boomed from behind you. On your knees, you opened your eyes and you were back in your palace, the peaceful night continuing as it had before. You turned, peering up at the figure, the moonlight illuminating his features.

Weak, your voice came out in a whisper. “What did you do to me?” 

He smiled. “I blessed you with a gift of my own rarity.”

You shook your head, the tears still falling down your cheeks until you could taste the salt. “I’ve seen your arrows — how could you?”

“Cassandra—“

“Back!” You voice stronger now as your fear fueled your adrenaline. “I didn’t want this! How could you do this to me?” 

He reached out to you, “Our future is together—“

A sob left your lungs as the images wouldn’t stop from behind your eyes. “All I see is destruction. Demise. Death. How could I love someone who allows such things to happen?” 

Patience turned into anger. Your god stood to his full height as the rage froze his eyes. “If you don’t want our future together, then you’ll have no future at all. I curse you, Cassandra!”

——

“You in there love?” 

You gasped awake, eyes searching around you as you tried to determine where exactly you were. Slowly, your brain began to recognize your surroundings. 

Tommy’s room felt different than it had before. You looked down at the bed, evidence in the tussled sheets of where you’d finally fallen asleep — but the bed and room was otherwise empty. 

A soft tapping brought you back, the door opening slowly as Polly poked her head in. 

“They’ve just gotten back,” she said, taking in your obviously confused expression as you finally sat up on the bed fully. 

You looked to see the open bottle on the nightstand accompanied by two empty glasses and the cigarette case you’d given him. That’s when you began to recall the events of the night. 

“I need you,” Tommy had whispered with his forehead pressed against yours, your legs in his lap as he held you against him. 

For a moment your brain tried to determine how exactly he meant that — was it business, pleasure, or something more. The way his lips pushed against yours swept the thought away, and an involuntary “I’m yours” came out as a breathy reply. 

His grip tightened in response, soft touches turned needy as your fingers worked on the buttons of his vest, his on your dress. You were in just your slip, him in his trousers, when you fell to your back against the mattress, pulling his body with you. 

“Tommy!” A shout from the other side of the door accompanied by an urgent knock caused you both to gasp away from each other. “We got trouble!”

Tommy jumped off the bed as your head fell back against the pillow, a huff leaving your lungs. “This has to be a cosmic joke at this point, I swear—“ 

He hushed you as he grabbed his gun from the holster on the hook before cracking open the door. 

“It’s Russel. We’ve been fuckin’ had,” you could hear Arthur from the other side of the door, Tommy standing in the way of the crack to keep you hidden, though you were sure his disheveled state was evident. “Put ‘our cock away and get dressed.” 

Tommy shut the door, running his hand through his hair as he turned back toward you, already offering him his discarded shirt. “Fuck,” he swore, pulling you into him for another searing kiss before he finally pushed away and took the shirt. You smirked as you watched the material cover the red smear from your lipstick on his neck and collarbone, internally groaning that he had to leave now, just when things were finally getting somewhere. 

You shook your head, trying to get it out of your vagina and back into the realities that something bad must be happening. 

“I was worried this would happen,” Tommy muttered as he pulled his shoes on. “Fuckin’ coppers.”

Standing up, you reached for your dress that’d pooled on the floor next to your shoes. 

“What are you doing?”

Your brow creased, “Getting dressed, I should go home—” 

“No,” he cut you off, grabbing the dress from your hands and throwing it over the arm of the chair. “I’ll walk you home when I get back, but you’re safer here.” 

“You think I’m in danger?” This copper wouldn’t know your involvement in the situation, you couldn’t reason why tonight would be any less safe than any other night you’d walked home from the Garrison. 

“Don’t know, but I’ll think straighter knowin’ you’re here with Pol and the family than out there,” he answered, securing his shoulder holster and checking the round of his revolver. “Sleep,” he added as he threw on his jacket. “I’ll wake you up when I get back.” 

And with that, he left. You’d tried to stay awake as long as you could, your neediness for him slowly turning into worry the later it got. Eventually, you’d fallen asleep. 

Finally catching up to what Polly had said, you looked out the window to fully recognize the beginnings of sunlight. “They just got back?” 

“Aye, they’re in the kitchen. They’re alright, just beat a bit.” 

Your eyes widened at her words, prompting you to scramble out from the covers and hustle toward the door. 

“Oi, get dressed first!” she snapped, stopping you as she gestured toward your discarded dress still on the chair. “You go down there in this slip of a thing and you’ll give ‘em all heart attacks. There,” she added, helping you finish the buttons and manage your hair. 

She turned back toward the door and reached for the handle. You took a step, ready to follow her, but stopped when she paused before turning the knob. Your brow furrowed as she turned back toward you, her eyes doing a quick scan of your face. 

Suddenly worried that the situation was more dire than she’d let on, your heart began to race faster. “What are you—“

“You care for him, truly?” she asked you, this time her eyes not leaving yours as she waited for your reply.

You opened your mouth to answer, but closed it when your throat felt suddenly thick, and you swallowed instead. 

“I pity you then,” she said when you didn’t answer, then turned back toward the door. “Come on, now. Let’s go figure out what the bloody hell happened.” 

Polly lead down the stairs, your brain ping ponging between what state Tommy and his brothers might be in after being out the whole night, and why the older woman would pity you. 

Your over analysis came to a halt when you both finally breached the kitchen doorway, your eyes immediately finding Tommy. 

The first thing you noticed was the bright red splattering against his white collar and shirt. You followed the trail from his neck to his collarbone, bright red blood replacing where your dark red lipstick had been just a few hours before. Swallowing, you examined the rest of him — his knuckles were beaten, the sleeves of his shirt a mixture of smeared blood and dirt stains. But other than a deep cut on the hood of his cheek bone and the early signs of bruising along the jaw, he seemed to be okay. 

You let out a relieved breath as your eyes finally met with his, knowing he’d been watching you as you took him in. The white of his eyes were red, causing his usual brilliant blues to appear icier than ever. They were wild, feral even, like nothing you’d yet seen. 

“Fuckin’ hell, Ada!” Arthur shouted, causing you to finally break your stare and address the room fully. 

“Shut up, you’ll make it bleed again!” Ada shouted back, shoving a soaked cloth to the piece of Arthur’s lip that was split pretty badly. 

Next to them, John held another cloth to his nose to stop the bleeding, a similar sign of a bruise against the edge of his eye that’d birth a nasty shinner by the end of the day. 

“What the bloody hell happened?” Polly asked, throwing Tommy a wet cloth as he began to clean off his knuckles. 

“Russel was sellin’ information to the sloggers in Digbeth,” Tommy replied, throwing the cloth aside and reaching for the box of cigarettes in the middle of the table. 

“Fuckin’ double dealin’ on the both of us,” Arthur added, hissing when his lip began to bleed again. Ada smacked his arm and pushed the cloth against him. 

Tommy took a long drag, “They found out first, tried to use him to lure us into a trap. When our men went after him last night, they were waitin’.” 

“Any dead?” Polly asked, starting the kettle — acting as if she’d asked a perfectly normal question. 

“Not any of ours,” John answered proudly. “They held ‘em off ‘til we got there.” 

“Got a few ‘fore the rest went runnin’ with their cocks ‘tween their legs—“

“Shut up, Arthur!” Ada shouted when his lip began to bleed again. 

Polly handed you a cup and you realized you hadn’t moved, still standing just on the perimeter of the kitchen. Tommy was still watching you as the family talked. 

“And Russel?” Polly asked, pulling out one of the family books. 

“Dead,” John answered, “Charlie already took care of him and the others. Left some of the boys to man the territory ‘til we can clean ‘em out for good.” 

“We’ll need lodgings for our men in the area to establish a stronghold. And you’ll need to get to the other coppers on our payroll,” Polly added, scribbling in the book. 

The conversation faded into the background as you met Tommy’s eyes again. Expecting the wildness of when you first walked in, you were surprised to see his expression softer now. You’d always been so good at reading people, but Tommy had been an enigma to you since the moment you laid eyes on him. 

He stood, and the motion snapped your brain back to the company of the room. “Come on,” he said, walking toward you and reaching for your back, only to clasp his hand and pull it back to himself. His jaw clenched as he instead moved toward the door, “I’ll walk you home.” 

You looked around, everyone sort of half watching as you and Tommy left the room. You hadn’t said a word since you left Tommy’s bedroom, and truthfully you’d have no clue what to say anyway. 

Your mind was still trying to come up with something when you and your escort made it to your apartment, faster than you expected. Because it was still so early, the streets were as quiet and bare as they’d ever be. You were about to invite Tommy up to your apartment, not ready for your time together to end, when he finally spoke up, cigarette still between his teeth. 

“Best to stay away from the shop for a while. Polly or Ada can bring you the books to audit here.”

Your brow furrowed as you crossed your arms. “Why?”

He took a puff before pulling the stick from his lips, his eyes looking everywhere but to you. “Because I say.”

“Tommy—“

“Because I fuckin’ say, alright?” Tommy’s eyes snapped to yours, the harsh tone in his voice forcing your back to straighten. “I pay you for a job and you’re gonna fuckin’ do it the way I tell ya, eh?”

The verbal assault had you stunned, but you quickly recognized his words for what they truly were. He was speaking to you the same as he had in the wagon knowing it’d upset you, but this time there was no sign of an apology, or something vaguely adjacent. He was purposely pushing you away, and the thought turned your confusion into anger. 

Where had the vulnerable man who’d held you not more than five hours ago gone?

Throwing his cigarette butt to the ground, Tommy turned to leave. 

“What the hell happened to you last night?” you asked softly, mostly to yourself. 

He rounded back on you, his eyes wild once again as he raised his voice. “This is me, Y/N! This is who I fuckin’ am. Now you’ve seen me, and you’ll stay away when I tell ya to.”

Your mouth snapped shut as you held eye contact for a moment longer, despite the burn you felt behind your own. His turned from wild, to remorseful, to cold once more before he turned to leave again, this time not looking back. 

Now you’ve seen me, you repeated his words in your head as you watched him walk down the lane. He thought you disapproved, or you were disgusted, with the surlier side of the Shelby business. 

Was he wrong? 

It wasn’t like you were sensitive or anything to violence. With the way it was woven into most forms of entertainment in your day, it was hard to avoid — whether it was in video games, tv shows, movies, or even sports, you were no stranger to both real and fake injuries. But there was something different about seeing the Shelby brothers in person all cut, bruised, and bloody, knowing how they’d gotten that way that made you realize how different this was from anything you’d been exposed to before. 

And honestly, you weren’t sure how you felt about it. Of course part of you was scared, for both yourself and the people you’d come to care for here. Meanwhile, the other part of you tried to rationalize that this was the way of the world, or at least the Shelby’s world. You’d learned a long time ago that the world wasn’t black and white — that there were shades of grey that were circumstantial and layered in intent and values and point of views. 

While you didn’t know yet the full backstory of how the Shelbys came to be where they were now, the little information you did know painted an understanding that part of the circumstances with Tommy was grounded in some way with survival against poverty, racism, classism. There was a road the Shelbys had traveled to get where they were now, and you knew that part of it was paved in violence. 

You watched as Tommy finally disappeared from sight, swallowing thickly as you retreated with a shaky hand into the building. 

——

The next week went by quietly. You’d followed Tommy’s instructions of not coming by the shop, throwing yourself instead into the pub. You found yourself reverting back to the habits you’d made prior to meeting Tommy — though this time you had one more thing to obsessively overthink about during the quieter parts of the day. 

Luckily, the pub was busier than ever. Factory worker strikes were growing more rampant, and a common group seemed to find base in the Garrison booths right after the whistles blew. After a few days, you overheard one of the men call another “Freddie” and turned in time to see the greeting and identity of Ada’s mystery man and Tommy’s former best friend. 

You didn’t let yourself linger, not yet sure what information Ada had told him about you, so you continued on with your business as usual. But you still allowed yourself a few stolen glances and discrete eavesdropping out of pure curiosity. 

Aside from that, the holidays also played a role in the Garrison’s popularity as you geared up for New Years Eve, a night Harry anticipated would be three-times busier than it had the year previously. 

The work was good though — not only did it keep your mind busy, but it kept your body tired, which made sleep come easier. That, and the fact that your dreams seemed to stop — something you didn’t necessarily notice right away. 

And yet, even with all your work and distractions, you still found yourself every night expecting to see Tommy walk through the pub doors. 

New Years Eve night was the first instance where you caught a glimpse of any Shelby family member since Christmas morning. The crowd was so thick both you and Harry found yourselves working behind the bar. You heard rather than saw Arthur barrel through the door, shouting something about needing a drink to wash away the shit show of a year. You tried to listen closely to the voices to see who was with him, but the crowd volume was too overwhelming to zero in on. Harry had jumped at serving the snug himself, none the wiser to your inner turmoil. 

You were trying really hard not to act as pathetic as you felt when a body pushed through the wall of people against the bar. For a moment your heart leapt, thinking it was Tommy, but deflated when they fully turned to face you. 

“Hey beautiful,” Benji greeted, wide smile on his face as he leaned against the counter. 

“Harry’s already over there to serve you boys,” you answered, giving him the server-smile you’d been dawning all night and gestured toward the snug in between pouring glasses and trying to retain shouts of orders from the others at the bar competing for your attention. 

He shook his head, “I just wanted to come say hi. Busy night, huh?” 

The poor boy was trying to small talk while you were running back and forth behind the bar. You swallowed your annoyance with a mirthless laugh and shrugged your shoulders, “Whatever gave you that idea?”

He laughed, and you were sure he was saying something else, but the sound of John’s laugh through the snug window caused your attention to shift. You glanced in time for Harry to move out of the way of the window, eyes landing on Tommy, who was sitting between his brothers with a set of cards in his hands. When his eyes shifted, possibly to look through the window himself, you turned back toward the crowd of people. You didn’t want him to catch you staring at him, your pride still wounded from your last encounter. 

Benji’s voice calling your name brought your attention back, nearly forgetting he’d been there. “Did you hear me?” 

“Um, no, sorry Benji,” you apologized while waving an acknowledgment to the man who shouted for rum on the other end of the bar top. 

He chuckled, “I’ll try again when the crowd lessens.” 

Doubt that, you said to yourself as Harry fell back behind the bar with you. You chanced a glance toward the window, but the door was properly closed now, causing you to both sigh in relief and disappointment. 

The night ended with the crowd shouting with the sound of the church bells signaling midnight and the beginnings of the new year. Last call came an hour after that. Without you realizing, the Shelby and Peaky Boys had slipped out of the pub some time before closing, and you felt your heart break pathetically at the realization. 

Not that you had any expectations, but you’d come to enjoy the feeling of being a part of something recently. And to not even get a hello from any of them made you feel even lonelier than ever. 

Well, not counting Benji. Who also hadn’t come back like he said he would. 

And now you were officially living in the year 1919. For a brief moment when the realization hit you while cleaning up for the night, you nearly expected something monumental to happen space-time-continuum-wise. 

But the rest of the week went by just the same as it had before New Years. You were five days into the new year when you got to talk to your first Shelby since Christmas. 

Ada arrived at your front door Sunday morning with two company books concealed discreetly in a bag. You didn’t bother asking how she knew it was your day off and instead embraced her warmly. 

“Tommy said to not let you and the book out of my sight, but d’ya mind if I sneak out here to see Freddie while you work?” 

Your brow creased at her question, slightly surprised at the vote of no confidence from Tommy — as if you needed a chaperone to do the job you’d been doing for months now. “Oh, uh, no, that’s fine. I finally saw him at the pub last week, been meaning to tell you.” 

Ada’s eyes widened as she grinned, pulling you to sit with her on your bed. “What’d you think? You didn’t say anything, did you?” 

“Of course not, I didn’t even talk to him. Just overheard him in a booth with some other guys. He seemed nice though.” 

“He is,” she sighed, almost dreamily, and you shook your head at your friend despite the smile on your own face. “I just wish he and Tommy weren’t still at odds. He still won’t even tell me what they fell off about.” 

You hummed in consideration, “Would them being close again make it easier for Tommy to accept you being together?” 

Ada shrugged, “Dunno. Possibly.”  

“Well, don’t waste any more valuable time with me,” you gave her a friendly shove off the bed, causing her to smile again. 

“Thanks, I’ll be back in a few hours!”

After she left, you settled at your small dining table and dove in. 

The books were telling. The holidays seemed to be a very good time for the betting shop, which made sense you supposed with people trying their luck to make as much money as they could before the year end. 

The family books, however, were even more telling. New contacts had made an appearance, both as payers and payees, most of which seemed to be located in Digbeth. By the books, it seemed the Peaky Blinders had officially expanded into the new territory and there was no sign of slowing down. 

You finished the audit just as Ada returned, leaving again promptly and promising to see you later. 

——

Another week went by, the pub crowd slightly smaller but still lively enough to keep you busy. Benji showed up again about half way through the week. 

“I was hopin’ to take you to dinner sometime,” he finally said once you served him his drink. 

You blinked, “Like, a date?”

Immediately you panicked — did people use the word date nowadays? It was the boyfriend conundrum all over again and you were kicking yourself for not having learned more about historical slang or word use. 

Benji didn’t seem bothered by your use of phrase, instead shrugging. “Or we can go see a new picture.”

“Oh—”

“Or both,” he said with a chuckle and friendly smile. “What’ya say?”

“Um, I’m— I’m not sure,” you found yourself answering, surprising yourself. 

Since your first meeting with Benji, you thought you’d be in this position at some point, and at the time knew firmly that you’d have to kindly turn him down or express your disinterest in anything romantic with this guy. 

But now, you found yourself reconsidering. Benji hadn’t been anything but nice and friendly to you since meeting. Sure, the conversations had been flat, but that wasn’t necessarily his fault — you hadn’t really given him much to work with due to your own reservations. 

And maybe you’d been too quick to judge with the whole stealing from the company thing. The optimistic (and pathetically lonely) part of you could convince yourself that his math really had just improved over the months, and he didn’t actually have any nefarious intent. 

It didn’t hurt that he was quite handsome. You were surprised he didn’t have someone already. 

And yet, you couldn’t bring yourself to actually agree to go out with him nor turn him down completely. “It’s just I’ve — I’ve got a lot going on right now.”

Benji nodded, still offering you a smile as he set down a coin for his drink. “Maybe another time?”

“Yeah,” you said noncommittally, finally giving him a genuine smile of appreciation. 

He smiled back before leaving, giving you a wave as he walked out the door. 

At his absence, you found yourself feeling guilty, thinking of what Tommy would think if he found out you were going on a date. 

You shook your head — to hell with what Tommy thought. You couldn’t keep up with what may or may not have been going on between the two of you. 

It was astonishing when you realized exactly how little time you and Tommy had actually spent together. The time span between that first night at the Garrison and Christmas morning accounted for less than five days. And yet within that time, you’d made out with the man four times and nearly slept with him twice. You felt more connected with him than you’d ever felt with anyone before. And not to mention you’d been tempted to tell him your big secret — hell, Christmas Eve night you’d basically shared the majority of it, just without the time travel aspect. 

All that to say that the total time you’d spent with the man had been tiny in relation to the bigger picture, and yet you could not get him out of your mind. The longer you went without seeing him, the heavier your heart grew and the antsier you became. 

What the hell was the matter with you anyway? The last time you’d been this strung out over a guy had been in high school when your hormones were running rampant and you had absolutely no self-awareness or all the finely honed self-respect you’d built up over the last decade. You weren’t a teenager — you were too old for these flighty and fruitless games. If the man didn’t want to be with you, (or if all he’d wanted was to sleep with you) he should just tell you. 

And now he’d all but banned you from his presence it felt, and your feelings of hurt had officially transitioned into anger. 

Why the hell shouldn’t you go on a date? If you were going to be stuck here, why not have a little fun?

“Benji?” You called, just as the door was starting to close. It opened, and he popped his head back into the pub, his brow up in question. “Dinner might be nice. How’s next week?”

 ——

That Sunday, you were surprised to see it was Polly at your doorstep with the books.

“Morning, love.” She greeted you, shoving the two books into your chest as she walked past you into your apartment. She took a seat at your dining table and began to take off her gloves with a huff, “Ada’s run off again, leaving the book transport to me. Not sure why I’ve got to stay here with you the whole bloody time, but when Thomas insists—“ 

“Did I do something, Polly?” You asked finally, unable to hold it in any longer as you sat down across from her and set the books on the table top. “It’s like Tommy doesn’t trust me anymore.” 

Polly shook her head. “It’s just been chaos with the Digbeth move, that’s all. Half our men are split, leaving the betting shop more vulnerable than we’d all like. It’s nothing you did. Got any tea?” 

Her words were encouraging, but the way she dodged her eyes and reached for her paper half way through still gave you that unsettled feeling. She lifted the paper to begin reading, a silent end to your conversation. Taking the hint, you silently poured you both some tea and began your work. 

But the back of your mind still churned as you went through the monotonous steps of math and pattern checking. Despite Polly’s reasoning, you still felt like you were being punished for something. You felt a level of guilt beneath your mountain of other emotions because despite all the secrets you had shared with Tommy, there was a pretty big one that you still hadn’t shared. Perhaps he’d finally grown tired of waiting, or had officially decided against trusting you after all. 

You physically shook your head as you moved on to the second book, shaking the thought away before you tailspun into a hole that you weren’t prepared to dig yourself out of while company was here. 

The thought made you look up at Polly for a moment, who was still reading through her newspaper meticulously. 

“Polly, can I ask you something?” 

She didn’t look up from her newspaper, “If it’s about Thomas, I can’t help you. That boy’s as unpredictable as ever nowadays.”

“It’s not that. It’s—“ you hesitated, unsure exactly how to approach the situation. Polly lowered her paper and rose an eyebrow. “You told Tommy you thought I was born gypsy.”

She folded up her paper and set it on the table. “I did.” 

“Why didn’t you just ask me yourself?” 

“It wasn’t my place.”

Your brow creased, “But you told Tommy.”

“I made a calculated decision at the time.”

You hummed, nodding as you looked down, then back up. “I’m not related to the Delphi,” you said tentatively, watching her face as you went on. “At least I don’t think so. To be honest, I’m not even positive if I have any Romani blood in me. I don’t really know anything, still.”

Polly didn’t respond, instead sat there in silence as she waited for you to continue. 

“You told Tommy that I had a gift. All because of my tattoo and because I guessed the date of the end of the war—“ 

“That’s not the only reasons,” Polly added, your eyes shooting up to meet hers. “I read your leaves.” 

Your brow creased, “My, what?” 

She nodded to the cup in front of you. “Your tea leaves. It’s always been one of my gifts to read tea leaves.”

“Perhaps you should talk to Pol,” Tommy’s voice from the other night triggered your memory. “She’s always been more in tune with that side of things, she could offer you some guidance.” 

Your eyes drifted to the nightstand, where you knew the small box Madam Despoina had given you was buried beneath your clothes in the drawer. You hadn’t touched it since you put it there, but the square lump was the first things your eyes snapped to whenever you opened the drawer. 

“Wait, isn’t there like an official process to reading leaves?” You countered. Teas and tarot cards were some of the maneuvers your mother had tried to learn herself — but of course when she couldn’t come up with the outcomes she’d wanted, she’d go out and pay ‘experts’ to do her readings for her. Still, she never found what she was looking for. 

The years of built up distrust for anything divination relation was causing you to tense at the conversation, but you forced yourself to really listen to Polly. 

“You always swirl your tea before you finish it, haven’t you noticed?” 

You hadn’t — but now that you thought about it, you realized that you did. You hated the taste of the grains of leaves at the end of your cups, so you always absentmindedly swirled to try and get them to stick to the edges. 

“What did you see?”

Polly began to explain a few of her early readings, how every sign pointed to heavy seer powers and a deep concentration to the far future, though something was always just off about every reading. “They began to change after the war ended, once you’d met Thomas. His changed too.” 

You swallowed. “Tommy didn’t mention that.” 

“I didn’t tell him.” 

You asked why. 

She chuckled, “It wouldn’t have meant anything to him. He doesn’t believe anymore. Deep down he might, but not enough to have convinced him to let you continue working for the company. That your time with us, with him, weren’t over yet.” 

Despite yourself, you scoffed, “You sound like Madam Despoina.” 

Polly smirked. “Did you find what you were looking for with the Delphi?”

“Sort of,” your eyes moved down to your hands. “Madam Despoina believes that speaking to my mother will help.” 

“I thought your family—“

“Dead,” you answered. “Yeah. She gave me something she said can help me talk to her one last time. I haven’t — I can’t bring myself to do it.” 

Polly hummed as she sat back in her seat. “We do believe that those who have left us can visit. Some have the gift to see them, even speak to them. But it can be dangerous. Once you let the spirits in, any spirits, it can be difficult to get rid of them.” 

You nodded, taking her words to heart as you absorbed the information. “I— I’m not a fortune teller. But I do have some knowledge of the future. It’s— it’s complicated.” 

Polly’s chin and brow rose. “Have you told Thomas?”

“Yes. Everything that I can tell.” 

Polly nodded. “Then you’ve got nothing to worry about, love.” 

You took a deep breath. “Then what’s with the freeze out?”

“It’s his way of protecting you, I assume.” Polly picked up her paper again. “You did react quite poorly Christmas morning — and the boys weren’t even that banged up. Still surprised none of them were shot. You’re going to need tougher skin if you choose to continue with this life. And I wasn’t lying before, the boys have been nonstop since the holidays. Poor Martha can hardly handle it.” 

She lifted the paper between the two of you and you took the signal again to mean the conversation had ended. 

You ended the final book audit having only run through what Polly had said twice. She rose to leave and collected her things. You were curious if she was going to grab your cup, but didn’t give it another glance as she walked toward the door. 

She turned, “Part of tougher skin means defying Tommy’s orders every now and then. It’ll be just Martha and I tomorrow at the house with the kids. We miss you.” 

With that, she gave you a pointed rise of her brow and left. 

You smiled as the door closed, feeling rejuvenated. Fuck Tommy and his orders, you thought, lifting your chin up the same way Polly had. You had your pride, you had your own agency, and you could go visit your friends if you damn well wanted to. Two and a half weeks had been enough of a freeze out, you decided. 

Tomorrow, you’d go back to the Shelby household. And if he showed up, you’d confront Tommy and tell him exactly how you felt. 

>> next chapter

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[celaenaeiln]

Absolutely agree with your post. My friend once told me something like “it’s interesting to see how there are a lot of narratives within dick grayson’s stories that can be read as metaphors of rejection of someone’s autonomy—which is many times it happens towards/explored in female characters, e.g the robin mantle being ‘ripped away’ from him without his consent, his should have been ‘fate’ as talon, a tool for CoO” and when you add it with his canonical SA and the many times he gets objectified, another thing that media throughout the times write happened to/explored in female characters, it further cements the point of him occupying the (traditional) female character role.

OG post in reference

Thank you!!! Those are all excellent points to bring up!

You guys did a fantastic job of identifying core examples of where Dick is written for the female role. Every time I read him, I'm amazed time and time again how beautifully DC has written him. He's undeniably written as a man but he's unique in the way his characteristics overwhelmingly reflect typical female personality traits and his entire life story is written as if he were a woman. The relationships he has with people, he always subtly ends up in the female role.

Take the scene of him being objectified -

JLA/Titans Issue #3

This is exactly what it's like to be catcalled.

It's humiliating, uncomfortable, and scary. It needs to be addressed.

But here's where I oppose fandom's view on this. Fandom basically blames DC for scenarios like this where Dick is being harassed by other characters for his beauty or suggesting that Dick somehow encourages this behavior, but I think we should restructure our outlook.

Dick being objectified should be considered as one of his trauma's like his SA is. Like the way Jason death affected him, Stephanie's death affected her, or the way Tim's depression did him, Dick's constant sexual objectification should be analyzed as part of canon problem because it's relates to once again to how women feel in these exact situations. Note the way he is uncomfortable - the writers know what they're doing. They know it's wrong and if they're bringing up his reluctance time and time again, then this should be explored not as a fault of DC but as a problem he's forced to face.

DC uses Dick as a soundboard to broadcast the issues women face in a way that wouldn't be as problematic as if they did with other major female characters. Because doing such things to female characters is a little too political for a comic book and a corporate company so they take liberties through Dick instead. Some of the times they've written him seem intentional and other times it seems unintentional, but even with the way the later is written, it's because they're following Dick's standard characterization which was written to be the balance between men and women.

Another major, MAJOR point you bring up is autonomy.

Autonomy is the essence of his character.

Quick definition: autonomy is the right to self-govern. This means you're in control of your own actions, beliefs, and HERE IT IS - Freedom to do what you wish to.

From the moment Dick and Bruce started fighting, the problem with their relationship boiled down to one thing and one thing only. Freedom.

Given my other Bruce and Dick posts, I've mentioned how Bruce felt an increasing need for control over Dick while Dick felt increasingly furious at his freedom being taken away.

Even Azrael when he lost it for a moment. Batman!Dick

Batman (1940) Issue #709

Another point: For Bruce, all his enemies want him to break. They want him to turn evil but for Dick's, his enemies always want to him to follow them.

Yet the fact that Dick faces all this and continually fights this - he's girlbossing so hard.

That's why I like Dick so much. He breaks the gender roles. Because breaking gender roles isn't just painting your nails pink and saying you respect women. No. It means playing the traditional role of men and women both.

A man's typical role is strength, power, and competitiveness.

A woman's typical role is vulnerability, empathy, and intutition.

But Dick? Dick is one of the strongest fighters in all of DC, he's considered the best leader, and he's so brilliant he always wins his fights. But at the same time, he cries when he's heartbroken. He cares for children that aren't his own and citizens he doesn't know. He anticipates the emotions of his family and friends and loves them for who they are.

That's also a core difference between Bruce's treatment of the batfamily vs Dick's. Where Bruce rages at their disobedience and differences, Dick accepts them and encourages them. Another why Bruce is viewed as the father role of the family while Dick is viewed in the mother context. Evidence of this is pretty clear in Red Robin Issues #23 - 26 with the way Dick treats Tim vs the way Bruce treats him.

DC made Dick pretty on purpose and they wrote him like a woman on purpose while building him up as a man.

I'll iterate agin, he was built to fight male toxic masculinity and we should be looking at him through those lens. He's a complex, deep character that was meant to break gender roles by embodying both male and female characteristics and that's beauty of him.

[booksandabeer]

Ramblings on Fandom: Peggy Carter, Steve Rogers, Delusional Shippers, and Alleged Misogyny

So with the release of Season 2 of What If…? emotions are once again running high, the outrage is outraging, and people are up in arms about the whole Captain Carter situation. While I do think that some reactions are a little overblown, even needlessly aggressive in tone to the unfortunate detriment of their otherwise convincing arguments, I share the confusion and frustration about the sudden centering of a long-dead & never excessively popular character, the sidelining of the Steve-Bucky friendship, and the as-inexplicable-as-it-is-total exclusion of Sam Wilson as Captain America. However, I’m not here to talk about the show because (1) I haven’t watched this season and have no plans to (why waste time torturing myself with something I know I’ll hate?) and (2) other people have already written dozens of metas about it, so what could I possibly add at this point.

What I do want need to talk about (lest I explode) is something that has irritated me for a long time and that is now happening again: Every time someone even mildly criticizes Peggy Carter, expresses doubts about her suitability as a heroine, or even just questions her disproportionate importance to the franchise post-EG, inevitably a certain section of fans will come out of the woodwork to immediately throw around accusations of misogyny and yell about how we’re all just a bunch of delusional Stuckies who are mad that she got "in the way" of our ship. Sigh.

This is gonna be a long one, so I’ll put it under a cut. Rant incoming. You've been warned. If you don't want to read, simply keep scrolling.

First of all, let me state very clearly that I’m not debating the existence of misogyny and sexism in fandom spaces—or in the media from which these fandoms originate. At all. It exists, it’s a thing, I’m not denying that. Which is exactly why it frustrates me endlessly to see these accusations thrown around as a gotcha! argument to shut down any and all critical debate around a female character. All it does in the end is escalate rhetoric and radicalize attitudes.  

In the case of Peggy Carter, specifically her treatment by Stucky shippers, I’ve always found 'misogyny as a motive' to be a largely unsubstantiated accusation.¹ Now, I neither presume nor do I want to speak for the entirety of Stuckynation, so I will not claim that there aren't corners of the fandom where people discuss her in ways that I find off-putting and deeply unserious, but I will say this: If you genuinely believe that disliking one (1) fictional female character equals “hating all women” and wanting to suppress and marginalize their presence in fiction and real life alike—then I think we need to take that word away from you until you’ve learned its true meaning.

You might also want to ask yourself how exactly reducing a female character to a mute trophy wife or a heroine who has to act out her love interest’s recycled storylines helps your feminist fight.

As for the “getting in the way of your ship” part of the argument. Very simply put: No character can get in the way of something if there never ever was “a way” to that something to begin with. “Being mad” implies that there was a reasonable expectation that wasn’t met, a substantive hope that was crushed. Now, I’ve said this before and I’ll gladly say it again a million more times: No Stucky shipper in their right mind ever truly thought that there was even the slightest chance that Marvel Studios owned by the Walt Disney Company would allow Steve “Captain America” Rogers and Bucky “Winter Soldier” Barnes to be canonized as an explicitly romantic pairing in their billion dollar franchise. Be serious. That was never in the cards. I wish we all lived in a world where it was, but we don’t, and it wasn’t. The best we could ever hope for was for Steve and Bucky to get a good, satisfying, in-character ending. And if, in Steve’s case, that would’ve included hints (or more) about a possible rekindling of his, uh, aborted romance with Sharon—then so be it. But we never got any of that. The characters never got any of that. Instead they sent Steve into 1950s suburban hell, literally trapped him behind a white picket fence, and condemned him to a life of passivity and lies, all so he could be married to a woman he barely knew a long time ago in a completely different world; who built and ran a top-to-bottom Hydra-infested organization, but apparently never noticed that there was anything wrong with her life's work. For decades. Great. As for Bucky—well, we’ve all seen the devastatingly grim-faced, utterly lonely, and deeply sad version of him that was presented to us in TFATWS. Happy endings all around, I guess.

So. Am I mad that Steve didn’t get to ride into the rainbow-colored sunset with Bucky at the end of EG? No. Because that was never going to happen anyway. Would I have been mad had he ended up with Sharon or another female character in the 21st century? Also no. Granted, I wouldn’t have been ecstatic about it, but mad? No. But am I mad that Steve ended up with this specific female character under these specific circumstances as presented in canon? Fuck yeah, I am.

The thing is: I personally believe Steve and Peggy to be fundamentally incompatible when it comes to the way they view the world and their respective places in it; their morals and values; their capacity for compassion and empathy; their ability and willingness to compartmentalize, compromise, and collaborate with people and institutions whose ethics and/or politics do not align with their own. I have a real hard time believing that a relationship between these two (or worse, a hasty marriage) could be either happy or long-lasting.

I don’t believe Peggy to be inherently evil, I don’t hate her, I simply think she operates within a different moral framework than Steve (and even genuinely believes it to be a righteous one).² Your mileage may vary, but I personally happen to find that framework reprehensible, even indecent, and ultimately dangerous. After all, over the course of the 20th century, we have seen exactly where that kind of “the ends justify the means” brand of pragmatism leads—over and over again. Not to mention that the people who use this line of argument to defend characters like Peggy (or real-life politicians for that matter) never seem to want to look too closely at who gets to define what "the ends" are in the first place and who decides when they've finally been met.

(Never. The answer is never.)

And to be clear, there is absolutely nothing wrong with depicting, and even centering a narrative around a morally (dark)gray character—oftentimes it’s actually the more interesting option—but you cannot at the same time claim that they are purely good and should be only admired as such when their actions literally tell an entirely different story.

So, no. I will not accept Peggy Carter as the shining aspirational heroine that the MCU so badly wants to sell her to me as—while simultaneously continuing to reveal things that paint an increasingly darker picture of her character. And I will certainly not celebrate seeing one of my favorite characters of all time—whose defining trait was that he couldn't ignore "a situation pointed south"; who used to fight for the little guy and against the establishment; who once said about the very organization that Peggy Carter helped build that it was so corrupt, it all needed to go—rendered morally inert for some hollow happy ending that may as well be a conservative’s wet dream full of false nostalgia for an America that never really existed. I cannot find it in me to be anything less but mad about that.

But that does not make me a misogynist. It does not make me a delusional shipper. It makes me someone who looks at what the MCU has been telling me about Peggy Carter for years now—over and over again—and takes it at its own word.

--------

¹ If you’ve actually read a a fair number of Stucky(!) fanfics you will have noticed that the reverence afforded to and "page time" devoted to her character and her relationship with Steve is somewhat disproportionate to anything that's backed up by canon—well, up until EG, where she was suddenly reanimated as The Great Love of Steve’s Life—and in my experience, it's highly unusual for any fandom to put so much (mostly) positive attention on another character, let alone a potential love interest that is not part of the endgame ship.

² I also want to emphasize that if you love Peggy and she's your fave: good for you! I genuinely have no beef with you. People can agree to disagree. All I ask for is that we maybe stop willfully ignoring the less savory aspects of her character. You don't need to pretend she's perfect to justify your affection for her. I LOVE Steve, and yet I have no problem conceding that he is FAR from perfect.

[kajaono]

A+ Writing: Character growth done right

AKA: How the Netflix show "The Law According to Lidia Poët" wrote one of the best character growth-arcs I ever witnessed on screen

AKA: The long promised: Enrico Poët character meta

I think many shows centering around feminism - and especially period pieces - struggle to write feminism and the situation women lived - and still live in - a realisitic and relatable way. You either have male character saying stuff like: "Women belong in the kitchen" or male character being absolutly pro-women. Nothing in between. And even when sexism is addressed... a real character arc where a male person grows into realizing what women suffer from... often in silence... is hardly anywhere to be found. In a way thats not staged, but just human. Flawed and raw and relatable

And then Enrico Poet walzed in and just delievered. Its insane.

Short summary: The Law according to Lidia Poet is a show about the first female italian lawyer who had to fight against alot of prejudice, as well as a occupational ban. Enrico is her brother.

When we meet Enrico he is a mirror of the society surrounding him.

Whats really interesting about the way he is written is: He is more nuanced then your typical period piece sexist: "Go and bear babies." Instead he respects her intelligence and her intellect. He respects her wish to work... but not as a lawyer. If his sister really wants to work and earn her own money why not in a traditional female job?

Interestingly, and very telling for his character, is what he says next

He hesitates before he says that. And he doesn't look at Lidia. He looks at his daughter. So yes... he considers marrying a valid option for a woman. But not for Lidia, because Lidia is not "normal". Nowhere in the whole show he tells Lidia to marry. He maybe not agrees with her, but he always shows a certian kind of respect for her wishes.

Later he says:

So does he says all those things because he truely believes them... or because his father - a higher male authority - used to say the same things and he just repeats them?

But Lidia insists on being a lawyer so Enrico eventually agrees that she can be his assistent (he is a lawyer himself) and help with cases, but only if:

So already here the show overcomes the boring cliché trope of: "Women belong in the kitchen"-sexist. No, Enrico is much more nuanced then this. Already in the short conversation we see that there two sides: What Enrico was taught to say and what he really believes.

When we enter episode 2 Lidia starts working for Enrico. The power dynamic is clear. He is in the leading position. Nevertheless Lidia is taking every opportunity she gets to keep on working as a lawyer, independet from her brother. When Enrico finds out about her "side business" he is angry. But interestingly he doesn't try to stop her.

After Lidia solved the ep1 case really sucessfully a certain kind of trust grew between these two. Enrico doesn't want to get involved in trouble, but he trust his sisters abilitiy to solve the case.

But then - from one moment to the next - the really real danger occurrs that the public might find out that he is working with his sister, his sister who is not allowed to work in law anymore. And he snaps:

Here he only thinks about himself. Every trust between them is lost. In this moment Enrico only thinks about his career. This moment Lidias professional success is not to him... because she will not have any anyway.

But you don't think the show lets him get away with that, right? Oh our boy will learn his lesson.

He and Lidia meet a lesbian who had to hide her relationship with another woman. The following conversation takes place.

THIS! This is the first time he has to look into a mirror and realize he is part of the problem. Until this point he probably thought that he is a good guy. He lets his sister work with him, he lets her solve her own cases. But now he is forced to realize that he also judged his sister, every day. He has to realize that his sister suffers and he is one of many reasons. He is not one of the good guys. We see him being ashamed and he starts to think.

The show ends with Lidia not being allowed to ever work as a lawyer or lawyer assistent ever again.

When Enrico and Lidia are called to court, Enrico says this to Lidia:

But his tone has changed. He doesn't try to muzzle her anymore. He tries to protect her. Because he knows that whatever she will say, it will become worse... for him, but also for her.

And when the judge announce the sentence, Enrico shortly looks to her sister. Checking how this sentence will effect her. He starts caring. Because the conversation with the lesbian character - him being forced to look in the mirror - slowly starts changing him.

Episode 3 marks a turning point in Enricos character development

In epsiode 3 Lidia is solving a murder. The victim is the father of a guy she was supposed to marry when she was younger. The engagement was arranged and Lidia ran away because she didn't wanted to marry him. While she is solving the murder Lidia finds a letter from her own father to the father of her arranged-ex-fiancé.

It turns out that Lidia was only supposed to marry so that her father gets his debts canceled. Lidia shows Enrico the letter. He is horrified.

While he is reading the letter he is so ashamed he can not even look into Lidias eyes.

His voice breaks while he keeps on reading, he panics and is still not able to lock eyes with Lidia.

And now comes the quote that - imo - shows his character growth: "Thats a cattle market".

In this moment he realizes that the life of his sister, a woman, is worth nothing. That she can be easily auctioned off like a cow. That she is at the mercy of her own family... men... who can drop her any moment and cause harm to her. Because legally she has no protection and can not speak for herself. A cattle market indeed.

When Enrico hears how calm Lidia is... sad, broken... but super calm like she isn't surprised, Enrico is horrified. Because he realizes that this is what Lidia is confronted with every day. For him thats shocking, for her? thats the reality of her every day life. And being confronted with that, changes Enrico. He realizes that he can not longer close his eyes and pretend that his sister is some kind of "freak" for wanting to make her own voice heard

Its time for him to step up, to do something. To fix all the injustice that happened to Lidia, just because she is woman. Not standing in her way, but standing alongside her.

And Lidia smiles, with hope in her eyes, because it is the first time a man stood up for her and fights for her rights alongside her.

Because Enrico now knows what it means to be a woman. He saw the injustice and he can not be quiet anymore.

He grew so much. We came from Enrico telling Lidia that she shouldn't work in law to him seeing them as equal.

To him eventually waiting outside her house, neither saying goodbye to her nor trying to stop her from leaving to America. Just respecting whatever choice she will make.

This is character growth doen right!

TL:DR

This show takes a really raw and human approach to Enrico character growth: want to work along side a woman? Then you have to face the reality women are suffering from. And eventually this reality will change also your perception of the reality surrounding you. Is this character growth idealized? Sure but that’s not the point.

The point is too show how the reality of women can effect and change a male character, in a positive way, that’s also human and relatable. And they just nailed it

[tabithatwo]

it's yellowjackets / jennifer's body parallels time!

hi hello keep reading if you would like to hear about shauna/jennifer and jackie/needy, here's my totally noncomprehensive, very much off the cuff thoughts on this very complex and interesting dynamic!!

(i'm not getting into the basic parallels, i'm gonna assume you know the karyn kusama of it all, the heart necklace, the homoerotic female friendship, the death)

yellowjackets is so brilliant because it feeds you stereotypes and absolutely does not deliver on them. there could be an entire paper on each girl and how this is true for them specifically, but walk quickly with me because i want to get into the nitty gritty gory fun stuff! a brief oversimplified example: nat is referred to as a burnout, some would assume she's a loner based on that, but she cares about the team as a unit more than arguably anyone else. (this is common in real life too, our stereotypes often don't hold water in reality and yj reflects that beautifully!)

now to the jackie/shauna of it all. it would be oh so incredibly easy to look at jackie and think she's the jennifer of the duo. we are set up to see her as prettier, more popular, more demanding. but that illusion falls apart QUICKLY if you pay attention to the things that jackie actually says and does. she's not a mean girl. she's actually one of the kindest on the team. she doesn't pick on shauna, she clings. there are plenty of takes on this on tumblr so i won't exhaust it, my adhd loves to digress and meander but i'm forcing myself back onto the trodden path to this point: people look at the first few minutes of the pilot and they immediately decide that they know who these girls are. the audience typecasts jackie as a jennifer and shauna as a needy. the popular, bubbly girl and her shy, bookworm best friend.

a lot of people, especially casual viewers who don't study this show like its their job (god, wonder what that would be like lol) understandably stop here. but to me the BRILLIANCE of yj is that they don't actually make it HARD for you to undo your initial impressions. the material is there. it isn't hidden. it isn't some deeper self of each character that is unraveled throughout seasons. they push, push, push to see just how far they can carry our deeply held stereotypes/expectations. how forward and violent can shauna be, with viewers still clinging to a shy and sweet girl, who was really their own creation? how kind and honestly pathetic kicked-puppy can jackie be, with viewers still clinging to a mean girl, who was really their own creation? how far will we go to warp the characters intentions, so that we can keep them in the box we understand them in? they ask this of the viewer and of other characters, but AGAIN i digress.

so, while this might sit strangely with some, yes i think that jackie is very much aligned with needy if you peel back just one layer. but far above and beyond that, shauna is so very fucking jennifer.

the overall veneer is thinned immediately in yj. there isn't one girl in the stands and one on center stage. jackie and shauna are both on the team. they go to the same parties, they play the same sport, i would argue that shauna isn't even coded as "less pretty" (please note the word coded, because i'm not saying needy is literally less pretty than jennifer, i am simply saying that we have hair, makeup, clothing, glasses trends that we use to stereotype characters, are you with me?)

so now what? now these girls are both and neither. shauna thinks that she is the needy to jackie's jennifer. jackie wears the necklace and the introductory shots frame her as important. but we're already diverting from that set-up.

our absolute clearest common denominator here is one that i rarely see people mention funnily enough: JENNIFER IS A SUCCUBUS. she CONSUMES. she KILLS. she WANTS and she TAKES.

now before you get TOO EXCITED!!! i see some of you getting ready to say i'm a shauna shipman hater, put the pitchforks down!! shauna is one of my favorite characters of all time. i love her crazy ass so deeply that it's alarming. (i don't hate jennifer, either, for the record.) i love her largely for WHAT she is. i think sanitizing or sweetening her is a disservice. she's amazing and complex and wounded and capable of deep love. but she also, quite LITERALLY, consumes.

her character is sex and desire and violence and obsession and consumption. and it's AMAZING. she's POWERFUL. she's our main framing character (in this dynamic), rather than needy. the scripts are switched. jennifer dies and needy lives, and that's one story. that's clearer cut, simpler, made for a horror film. but here, jackie dies and shauna lives, and that story is deep and rich and goes on to include a whole lot more death and destruction and chaos.

shauna tells us herself that it excites her. she likes it. she is this girl. this woman. she reminisces and she recreates and she covets.

jennifer tries to consume needy, shauna literally consumes jackie.

there's more to this story, obviously. you could deep dive and mine for the intricacies of the set up and fall of stereotype and expectation, or collect all of the exact parallels. but i'll stick with a few, because this is a quick outburst of thought.

a huge one, who is taking whose boyfriend?

here's another personal favorite of mine, just for kicks

is it too complex to neatly tuck away? absolutely. they're different stories with different themes. shauna isn't simply a teenager possessed by a demon. it runs far deeper. as is the essence of this show.

but if you want to look at parallels, look at the one who has been holding the knife the whole time.

[cancerian-woman]

Hi! I would love to hear why you think Klaus and Bonnie would be a compatible or at least fascinating match :) I can tell you're going to turn me into a Klonnie shipper even though the last thing I need in my life is another doomed OTP!!

Hey :D I love a good doomed ship it makes the fandom more interesting especially in terms of creativity tbh.

Bonnie had proven herself to be just as morally corrupt as other characters as needed. Sure, it wasn’t to the extreme of others but it existed especially if her friends were threatened. That type of loyalty and strength would be what Klaus would like because of how possessive and selfish he is.

There’s Bennett-Mikaelson connections through the lore of TVD. Ayana was Esther’s mentor. Abby entombed Mikael. Then in present there’s Esther prasing Bonnie for being the one to fight Klaus. Elijah recruited Bonnie to do it. Both Bonnie and Klaus have parental struggles on both sides. Klaus is more forefront than Bonnie’s but it exists. Tagging my friends content here :).

Klaus was introduced with an affinity for witches (Gloria, Maddox, Greta..)it was just dropped after well you know ;). But in a sibling light I could see both Rebekah and Kol taking a liking to Bonnie. Rebekah wanted that normal highschool experience and Kol was formerly a witch. We got a little bit of Kennett moments in s4 but that was dropped. Bonnie is the only TVD character to never have her own side friend out the group.

Narratively TVD would’ve just had to work with their few key points to make Klonnie a slow burn ship from s2-4 tbh. Bonnie kept getting the short-stick. Season 3 she got cheated on, her mother abandoned again, she had all the reasons to distant herself from her friends and end up in someone’s darker arms. The Mikaelson Ball ep Esther is leeching off Bonnie and her bloodline yet Bonnie is no where to be found… huh… Bonnie doesn’t get enough in universe credit for her actions because she has not only nearly killed Klaus she has saved his life(and everyone else’s.)

Season 4 Bonnie was dipping into a darker side with Expression and she blindly trusted Shane just to learn magic. It would be another moment for Klaus to try and get in her good graces. Klaus would have to open up emotionally for Bonnie to sympathize with him. I think they would challenge each other. Bonnie is one of the female characters who can fight back to people who are trying to harm her in a way Elena or Caroline can’t tbh.

Bonnie wasn’t just any witch either she was a Bennett which her family is responsible for nearly everything in TVD. I don’t think Klaus would’ve suddenly became a “Disney prince” type of BF by any means but I could see the relationship working. Klaus is still an elitist bastard with years of knowledge Bonnie would want. Bonnie is willing to give that loyalty to anyone who is good to her. Cami is seen as good and she even falls for Klaus lmao.

Last point people only play morality clauses with Bonnie because the series does. By the end of TVD Bonnie considers Damon not Elena or Caroline or Matt her bestfriend. That should say enough about what Bonnie would allow but….The writers and fans will argue that Bonnie doesn’t deserve to be paired up with toxic men or women but TVD never introduced anyone that was “morally good” by our world standards. Even Enzo physically harmed Bonnie pre-relationship. The other leads are white and never held to the same standards. Elena said it was Stefan until it wasn’t. Caroline said no to Klaus until she didn’t. Hayley’s arc includes with her fucking Klaus and dating Elijah… the list could continue.

Hope I made it all clear 😁.

Tagging some of my friends accounts who love Klonnie too: @klonnieshippersclub @melmedardasworld @mythorhuman @24kmagiic @bennettmaximoff

[moonbyulsstuff]

hello! if you want me to break this up for you I will!!

anyway, I want to request two sets of headcanons, if that's okay?

we have two YanSim fictives in our system, we have Osana (hiii!!!!) and Ayano... we are dating in our system

I know you said no character x character and I totally get it so stick with me I have a point

Ayano x fem reader who loves Yan-chan very much and supports her in every way possible and likes to play games with her (as in if Ayano kidnaps her, she breaks out but leaves a note saying "come catch me (:" with a bunch of hearts and Reader's just like... under the bed or something) and is in general genuinely just happy to be with Ayano even if she's... Not Mentally Well

Osana x fem reader who struggles with feeling any emotions at all around anyone but Osana, and, while being obsessed with her sure, does her level best to keep within Osana's boundaries and not really hurt her or make her uncomfortable in any serious way

if this isn't okay that's totally fine

don't worry about us being disappointed, we know no one can write us perfectly accurately and we don't expect you to write Osana and Ayano the Alters in the Spice Collective, we expect you to write Osana and Ayano from YanSim

please add your headcanons we LOVE headcanons

if there's not enough info, none of it's helpful, or there's too much lmk and I'll do what I can to fix it <33

all in all if you do this have fun with it bestiieee!!!!

Dating Osana Najimi and Ayano Aishi Headcanons.

Female Reader.

Requested by: @chilipowder9

Request Rules.

Masterlist.

Mostly used "you" in headcanons. Sorry if this is short.

Ayano Aishi:

The two of you... were not normal per say.

Ayano who's unable to feel emotions at all and will do anything to be with her love one and you...

Who's completely fine with Ayano's behavior, who doesn't see anything wrong with Ayano killing other people.

In fact, you encourage it. you indulge in it.

When you find out before you two got together, that she used many ways to get rid of her rivals just so she can be with you.

Instead of being afraid of your own being, disgusted and be in fear of Ayano.

You smiled, you congratulated her. You smiled and kissed her in the cheeks when you found out.

Ayano was shock per say, this wasn't the reaction she was expecting but she wasn't complaining.

After all, her girlfriend was happy on what she did just to get her love.

You two were happy and had fun in your relationship.

And what I mean by fun, is that you two have fun in ways a couple wouldn't.

Sometimes, Ayano would "kidnap" you just after school ends and act out a roleplay.

Sometimes you "break" free and leave a note, telling her to come and find you.

Whenever Ayano hears that someone else has taken an interest in you, she takes precautious measures to make sure you won't get stolen away from her.

Whenever it's blackmailing, murder, bullying, expelling etc.

And you would help her with it, whenever you found what she was doing.

It was kinda like a bonding moment between you two, strengthening your relationship together.

Since she knows what you like, waaayyy before you two started dating.

Ayano didn't have to ask nor figure out. She already knows, whatever you want. She'll get it for you.

Even if it's means murdering another person just for you.

Osana Najimi:

You were different, you couldn't feel any emotions at all.

It was hard to act like a normal person 'till you met her, Osana Najimi.

You did everything for her, you got rid of the other people that had took a liking to her.

You only wanted her to be the one with you.

And it worked.

After all the things you did, you confessed and she accepted your feelings.

She doesn't know of the devious things you had to do in order to get rid of the rivals.

You tried to act normal around her, let her know of the obsessive feelings you had for her.

You don't want to scare your beloved away.

Whenever you got jealous, you had to keep it a minimum to make sure, Osana doesn't get scared.

Your jealousy was a scary thing and it was something you didn't want Osana to ever find out.

You respected Osana's boundaries, you didn't want to over cross it and make her uncomfortable and hate you for it.

Gods know what you'll do if she ever hates you.

Its something you ever don't want to happen, ever.

Whatever Osana wants, you'll make sure she'll get.

You know everything about her after all, what kind of girlfriend you were if you didn't know what your precious girlfriend likes and wants?

You'll make sure no one come across you two, even if you murder a few people in the background.

[pinkyjulien]

I really, really hate the "Female V is canon" vs "Male V is canon" debate that been popping here and here in the tags those past weeks

Cyberpunk 2077 is a Role Playing Game, there is no "canon" protagonist, that's the whole point. We all have a different playstyles, different stories and headcanons, our custom V is The Canon V of Our Own playthroughs!

After Phantom Liberty dropped, I've seen a lot of players, on Tumblr or Twitter, voicing their concerne and disappointment in how much more Female V focused the official promo, videos and even in-game credits became

I was one of them too, expressing my feelings multiple times, sometimes awkwardly, frustrated that Male V players were once again brushed to the side, because that's how it feels like, right?

Well, it might feels like it, but this isn't the case AT ALL, far from it. This is only what I would call a "Fandom Phenomenon" and I want to talk more about it a bit

I had a great conversation with a friend of mine who works in the game industry and it opened my eyes on the matter, and I've since been really interested in seeing RPGs statistics!

Because it's really, really important to make the difference between the Casual Player Base (majority of players) and the Fans / Fandom Base (minority of players)

━━━━━━━━━━━━━━━━━━━━━━━━━━━━

I always been lurking in fandoms here on Tumblr, since Mass Effect, Dragon Age, and now with Cyberpunk 2077 and Baldur's Gate 3

First I want to drop some stats- might be completly wrong, but I'm only sharing my point of view here, in an attempt to explain why some people are frustrated with Female V being the focus (and why we shouldn't be!)

I think it's not wrong to say that fandoms are mostly occupied by women and fem-identifying individuals; fandoms are a safe place for players and fans to share their passions. Women are STILL HEAVILY harassed and hated in the gaming industry as a whole, it doesn't take a lot of digging to catch a vile comment on Twitter or on Twitch for example, you cannot go far without seeing someone either attacking or sexualizing them

This is a huge problem in the industry still, every games that release with a female protagonist get trashed- just look at the bullshit surrounding GTA 6 just because players will be able to play as a woman as an option

Fandoms are also safe for non-gender conforming people, non-binaries, trans people and queer men, but I think fem individuals and women are a clear majority, at least on Tumblr (only talking about genders identity here and not about being queer or not, not talking about sexualities or attraction) (not an official stat at all and only my point of view and experience from being on Tumblr since ~2012)

Now let's talk about Cyberpunk 2077- because this is my main fandom since 2020, and what prompted me to write this post in the first place

CDPR didn't share any stats recently, but it's REALLY SAFE to assume the MAJORITY of players are playing a straight Male V romancing Panam, followed by a lesbian Female V romancing Judy, but the player pools for both options are still majoritarly cis hetero men (and they are still the focus for AAA studios to sell their games, this is sadly just how it is)

However on the fandom side, Fem V was always the focus; virtual photography, mods, ships, OCs... She was always more popular than Male V, getting more interactions and notes and why trends like "Male V monday" were created and why there is still a lack of male V focused mods (non-binaries and trans fem folks and characters are also sadly under-represented in all type of content and art)

So, being yourself as a non-fem player, playing as a Masc V, seeing CDPR officially make the switch from Male V to Female V, when the space you've been in for the past 3 years has been overwhelmingly Female V focused on all front, was a bit of a punch in the guts; like I said earlier, I was reaaally frustrated with this too!

And I'd say it's "normal"? or at least "ok" to feel this way, it makes sense considering how little attention Male V in general get in the fans community

BUT. BUT... It's REALLY important here to realize how we sound and how we look like when we voice our frustrations on the matter; we sound and look just like all the misogynistic people over on Twitter who screams about "woke games" everytime there is a female protagonist in their "non political games". We have to remember that fandoms are suuuch a small part of the game industry

Baldur's Gate 3 recently shared their stats and this interesting tweet got into my dash

▶ tweet

Astarion is nowhere to be seen in the official most romanced companions statistic, but I'm sure a lot of people will agree that he's probably the most popular one in the fandom side!

Another stat here from Mass Effect and really interesting info coming from David Gaider about how the hardcore fanbase aka fandom's choices were WILDLY different from the casual / main player pool

▶ tweet

Getting my head out of the fandom bubbles and seeing the bigger picture, how much under-represented women still are in official medias (not talking about fan content) and how insanly misoginistic the game industry still is, both on the player and devs sides, helped me handle my own frustration on the matter, accept and even celebrate Female V being the focus for the Phantom Liberty campaign

With all that said tho, we all should be able to vent about the lack of Male, Masc and Non-Binary content in the fandom side, while still being aware of the industry state, it CAN co-exist! It doesn't make anyone a bad or misogynist person!

We are all humans and can be awkward and make mistakes, especially when voicing frustration or talking while in a negative mood. Let's educate one another in good-faithed manners when we slip instead of jumping to conclusion and throw accusations

Not gonna lie I kind of lost my train of thoughts and not sure how to finish this post, but I hope this can enlight some people on why CDPR made this choice!

Repeating this as a finale note; this doesn't mean that Female V is the "main" V or "canon" V . It's simply her time to shine, and it's well deserved! The industry needs it