#Essay examples

[education-badger]

Top 12 Harvard Admissions Essay Samples to Inspire You - #HarvardEssays #CollegeAdmissions #AdmissionsEssays #HarvardBound #EssaySamples #GetIntoHarvard #HighSchoolLife #CollegePrep #FutureCrimson

[boycritter]

"you shouldnt use ai for schoolwork because its not actually helpful" this is true "and anyways if you cant even write a 600 word essay then you're stupid and an idiot" well now i think we've gone too far in the wrong direction.

[inkskinned]

i have chronic pain. i am neurodivergent. i understand - deeply - the allure of a "quick fix" like AI. i also just grew up in a different time. we have been warned about this.

15 entire years ago i heard about this. in my forensics class in high school, we watched a documentary about how AI-based "crime solving" software was inevitably biased against people of color.

my teacher stressed that AI is like a book: when someone writes it, some part of the author will remain within the result. the internet existed but not as loudly at that point - we didn't know that AI would be able to teach itself off already-biased Reddit threads. i googled it: yes, this bias is still happening. yes, it's just as bad if not worse.

i can't actually stop you. if you wanna use ChatGPT to slide through your classes, that's on you. it's your money and it's your time. you will spend none of it thinking, you will learn nothing, and, in college, you will piss away hundreds of thousands of dollars. you will stand at the podium having done nothing, accomplished nothing. a cold and bitter pyrrhic victory.

i'm not even sure students actually read the essays or summaries or emails they have ChatGPT pump out. i think it just flows over them and they use the first answer they get. my brother teaches engineering - he recently got fifty-three copies of almost-the-exact-same lab reports. no one had even changed the wording.

and yes: AI itself (as a concept and practice) isn't always evil. there's AI that can help detect cancer, for example. and yet: when i ask my students if they'd be okay with a doctor that learned from AI, many of them balk. it is one thing if they don't read their engineering textbook or if they don't write the critical-thinking essay. it's another when it starts to affect them. they know it's wrong for AI to broad-spectrum deny insurance claims, but they swear their use of AI is different.

there's a strange desire to sort of divorce real-world AI malpractice over "personal use". for example, is it moral to use AI to write your cover letters? cover letters are essentially only templates, and besides: AI is going to be reading your job app, so isn't it kind of fair?

i recently found out that people use AI as a romantic or sexual partner. it seems like teenagers particularly enjoy this connection, and this is one of those "sticky" moments as a teacher. honestly - you can roast me for this - but if it was an actually-safe AI, i think teenagers exploring their sexuality with a fake partner is amazing. it prevents them from making permanent mistakes, it can teach them about their bodies and their desires, and it can help their confidence. but the problem is that it's not safe. there isn't a well-educated, sensitive AI specifically to help teens explore their hormones. it's just internet-fed cycle. who knows what they're learning. who knows what misinformation they're getting.

the most common pushback i get involves therapy. none of us have access to the therapist of our dreams - it's expensive, elusive, and involves an annoying amount of insurance claims. someone once asked me: are you going to be mad when AI saves someone's life?

therapists are not just trained on the book, they're trained on patient management and helping you see things you don't see yourself. part of it will involve discomfort. i don't know that AI is ever going to be able to analyze the words you feed it and answer with a mind towards the "whole person" writing those words. but also - if it keeps/kept you alive, i'm not a purist. i've done terrible things to myself when i was at rock bottom. in an emergency, we kind of forgive the seatbelt for leaving bruises. it's just that chat shouldn't be your only form of self-care and recovery.

and i worry that the influence chat has is expanding. more and more i see people use chat for the smallest, most easily-navigated situations. and i can't like, make you worry about that in your own life. i often think about how easy it was for social media to take over all my time - how i can't have a tiktok because i spend hours on it. i don't want that to happen with chat. i want to enjoy thinking. i want to enjoy writing. i want to be here. i've already really been struggling to put the phone down. this feels like another way to get you to pick the phone up.

the other day, i was frustrated by a book i was reading. it's far in the series and is about a character i resent. i googled if i had to read it, or if it was one of those "in between" books that don't actually affect the plot (you know, one of those ".5" books). someone said something that really stuck with me - theoretically you're reading this series for enjoyment, so while you don't actually have to read it, one would assume you want to read it.

i am watching a generation of people learn they don't have to read the thing in their hand. and it is kind of a strange sort of doom that comes over me: i read because it's genuinely fun. i learn because even though it's hard, it feels good. i try because it makes me happy to try. and i'm watching a generation of people all lay down and say: but i don't want to try.

[essayedu]

Helping essays are resources designed to assist students in the essay writing process. These resources can take various forms, including: Essay Examples: Samples of well-written essays on various topics that serve as a reference for students. Writing Guides: Comprehensive guides that provide step-by-step instructions on how to write different types of essays. Editing Services: Professional services that review and improve the quality of a student’s essay. Online Tutorials: Video or text tutorials that cover various aspects of essay writing, from research to final proofreading.

[henryscapon]

like, okay, i'm sure this scene has been talked about and dissected to pieces already in this fandom but. BUT. i need to put my two cents in or i will explode.

so, your lord and best friend has just admitted to you that if you die, he will be so beside himself with grief that he might just die too.

the game then gives you THIS option in response.

and you, the player, know how video games work. you know this is the press x for romance button. you expect henry to admit his feelings—a culmination of all the hints he's dropped from the heart options we've chosen before—and kiss him as soon as the button's been pressed.

except henry doesn't kiss hans.

instead, henry places his hand on hans' hand. it's the first moment of physical contact between them in the whole scene...but it's not a kiss. it's gentle. it's intimate. it's tiptoeing the line between comforting a friend and something more...

...but henry leaves it at that. and he gets up and goes to leave.

and in that moment of panic. in that split second of 'this might be the last time i'll ever see you again, please don't go' — it's hans that kisses henry.

and it's henry who pushes hans away.

this is—for all intents and purposes—the opposite of what we, the player, chose.

and to add insult to injury, henry looks conflicted.

he looks SO conflicted that hans believes he's fucked up royally.

that he has completely tarnished their final moments together by acting on impulse—by giving into temptation and desperation and feelings he can't even put into his own words—and henry must be disgusted by him.

and hans believes this because he watches henry turn his back to him. refusing to look at him. and head for the door.

but henry stops before he opens it. and i keep thinking back to the heart option we chose.

the player is not making the choice for henry to kiss hans. we are not forcing his hand.

the player is reminding henry what he's been telling himself throughout the entire game.

don't run away, henry.

kiss him. kiss him back.

so henry does.

[studyzoomerau]

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[aceissomunster]

discowing + jaybin ! press for quality

txtless + ref under the cut

ignore my horrible art please i drew this on ibis paint x with my finger and the soft felt tip pen brush. and my crappy penmanship.

[goldscoyne]

[miraculan-draws]

Ok so. You aren't gonna get Activism Bonus Points as a knight in shining armor for condemning the intersection of horror/and romance. People did it with Hannibal, Interview, Killing Eve, you can go as far back as Wuthering Heights and see the same shallow and lukewarm takes. Which is what Gothic Romance is—its horror and romance. It's not like. An aesthetic. It's not Romance but with black lace. Decrying it with every new story doesn't make you look righteous. it makes you look illiterate.

We have BEEN discussing. The psychology behind this sort of romance since FOREVER. Women and queer men (really the whole queer umbrella) are known to gravitate towards these kinds of love stories because culturally and historically that desire is "something to be ashamed of." So how do you justify wanting, when your kind of wanting is condemning? Worth shunning? A secret?

Take YOUR want out of the equation. Make the story about someone wanting YOU so badly that they don't take no for an answer, a "no/never/I won't give in to you" that can be given for propriety's sake as a verbal alibi. But it takes agency to toss ASIDE ones agency in the first place.

It's the same people clutching their pearls about pulp monster stories. With "bodice ripper" stories. (Same basic principle behind CNC in kink spaces honestly) And REALLY it's fitting that the centennial reproduction of Nosferatu is what started it back up because above ALL OF THESE—is the mack daddy of them all, vampire literature.

There is a line in Nosferatu 2024: "I am an appetite. Nothing more." And it took my breath away because THAT'S WHAT IT'S ALL ABOUT BABY. Vampire stories are never JUST a creature feature. They are never face value. They represent something, and it's mercurial—I believe Rolin Jones referred to vampires as "a dark mirror" to human wants and appetites, and how if you repress something hard enough it'll always rot and turn ugly and cruel.

"I am an appetite." You can read between the lines better when you're not shaking your head no for the imaginary social media jury.

And if this is something you routinely cannot catch on to, can't relate to, makes you uncomfortable beyond what you can tolerate, then there's no shame in just avoiding the genre altogether. (Fantasy/Adventure with romance as a side plot will probably be closer to something for you. Even Dark Fantasy will probably scratch the itch if you keep finding yourself starting and quitting gothic romances)

[pencilofawesomeness]

How Fairy Tail could have had a really cool thematic parallel if they Committed to the Bit:

I often joke about my constant urge to spew essays on characters and topics I have thought too much about, but I refrain because translating all the thoughts in my head to words takes time and effort, and sometimes I am speaking to the void. However. I am spinning in my chair, gnawing at the bars of my enclosure, and frankly thinking way too much right now so I must scream.

It would have been so impactful if Fairy Tail emphasized Jellal being brainwashed.

Jellal is my boy, of course, but I’m not even just talking about the impact to his character: I mean the impact of the entire plot. This, of course, if we went the whole mile with the theming. The machination of being controlled, emotionally or magically influenced, or even unable to fulfill a desire due to an insurmountable obstacle, comes up numerous times throughout the plot, to both primary characters, supporting characters, and antagonists. While Fairy Tail is absolutely a series about friendship, it is also about choosing your path, with a large recurring theme of, regardless of connotation, about being selfish, and what that means on both ends of the spectrum. It’s a matter of free will, and the antithesis to this is all manner of external control. So really, it makes sense that this should be a thoroughly explored theme.

I could talk all day about all the different examples and aspects of this but I came here to talk about Jellal. First, the slavery aspect really hits the nail on the head, so we’re off to a great start—this, of course, applicable to multiple characters, which I really enjoy. Things go wild, however, when Jellal effectively chooses to trade himself for Erza in the punishment game and gets the ever-living shit beat out of him at the ripe age of eleven or twelve years old. He is, understandably, not in a good place, and he comes to the stunning conclusion that… he hates the slavers. Yeah. Checks out. Then, he hears the voice of ‘Zeref’ spewing rhetoric about hate, and it overwhelms; this, we know in hindsight especially, to be Ultear casting a mind-fuck spell in order to manipulate him, under the guise of pretending to be a figure young Jellal believed to be a god. 

When I first saw this flashback, watching the anime, I was unbelievably hyped. For all of Fairy Tail’s odd relationship with foreshadowing, I got the gist of it as soon as the magic went into his right eye and overwhelmed him. In Japanese media especially (largely due to the prevailing symbolism of the daruma doll), the right eye is a huge indicator of free will and the future—namely one’s goals. Creepy magic ghost entering the right eye with magic-bind looking things and immediately warping Jellal’s goal? A+ delivery. Of course, at the time Zeref—an unrevealed ‘evil’ entity—seemed a likely culprit, but Ultear being the puppeteer changes little of the result. In fact, it actually creates a super interesting parallel, but more on that later.

First, there are the consequences of Jellal being an antagonist who is not in control of his actions. I see people lament that it “cheapens” the severity of the arc and provides a cop-out redemption for Jellal, and while the execution of the latter certainly could have been different, I don’t think the premise of mind alteration cheapens the overall plot and theme of Fairy Tail at all; on the contrary, it could have been used to further emphasize intra- and inter- character conflict as well as provide a super engaging parallel for the end of the series. The theme of nakama, family, and friendship is huge, so what better way to emphasize that than to show a twisted example of it?

Jellal goes from ride-or-die loyal and ‘good’ to circumstantially loyal to an ideal (and the people attached to it) and ‘evil’ with the flip of a magic switch. Erza gets the immediate short of the stick when she is the first victim (aside from Jellal himself) to this meddling, and the caring friend she had seen days or weeks before is now cruel, insane, and full of threats—threats she takes heed to as she is cast from the island. Now, Erza is also a child, and one full of trauma, so I am not trying to invalidate her fear or blame her for any outcome. This also does not dive into the intricacies of saving friends at cost to oneself, and all of the conflict thereof; if anything, the complication of the matter bolsters the drama and impact. And then, we have the rest of the squad. Sho, Wally, and Milliana buy into the idea without any trouble, and they continue to buy into it as they get older. Beyond morality, it’s a power fantasy, and those are easy for formerly powerless people to latch onto. However, Simon is the only one who realizes that something is fundamentally wrong and twisted with Jellal… and his ultimate goal, developed over the course of roughly seven to eight years, is to wait it out until he finds the opportunity to kill him, or get somebody else to do it. Ultear, even after integrating herself into the group out of nowhere, gets away with her plan, because ultimately nobody questions that Jellal’s sudden change was anything but a result of trauma and his own will—even in a world with magic, where the very first arc revolves around the use and mistreatment of charm magic.

(Now, as an aside, I unfortunately have some experience in friends suddenly changing. In real life, it is rarely so sudden and obvious, of course, and the culprit is usually those horrible little signals and hormones within the mind, and nothing so fanciful or external as magic. I had a friend take a nosedive into some truly batshit ideas—cult-starting worthy—and exhibit wild mood swings and displays of unprecedented behavior. It admittedly took me a moment to ascertain it among the known issues, but once the pieces clicked, it clicked. I wished I had noticed sooner, and even though she was more culpable of her choices than a person supernaturally influenced by an outside force, I still can’t hate her for all the harm done. This is all just to say that I have, especially in recent years, a personal perspective on this trope and an appreciation for the painful nuance.) 

Refusing to reveal this mindfuckery in the arc diminishes the severity of it a great deal, I fear. We, along with the characters, spend time believing he died an insane villain… and then when he comes back amnesiac, it softens his character but does nothing to contradict how awful he had been. It’s not until years later, arcs later, that we get this random instance of the long overdue reveal to tell us that the manipulation has been discovered off screen. Not only is this utterly underwhelming, but Jellal is now actively working with Ultear and is fine with it! He’s still (understandably, after all this damn time thinking otherwise) blaming himself and lighting his own pyre to atone for things started by a factor completely outside of his control, and every character lets him. The discussion of autonomy is wasted. So, too, is all the juicy emotional fallout. We don’t see Jellal grapple with the horrifying reality that he has not been himself, that years of his life were wasted as a mental slave instead of a physical one; we don’t see Erza beat herself up (likely unnecessarily) because she could have potentially protected him but she hadn’t out of fear, and then she condemned him unknowingly; we don’t see the others truly come to terms with the fact that Jellal had been stolen from under their noses and they never noticed; we don’t even get more than a glimpse in Ultear’s head, who committed the deed because she thought her means wouldn’t matter and then they did. 

It’s horrifying. It’s tragic. It was, perhaps, preventable—in that the problem was a punchable one, to a degree—except the people involved were just children, just human, and it wasn’t enough. Friendship and flashy magic power could not trump trauma and entrapment, not this time. No matter how I think the series could have and should have handled it (and I have several ideas, of course), Jellal’s story provides a haunting case of failure regarding the themes of friendship/community and freedom that our protagonists embody. 

Which brings me to the perfect opportunity to follow up this occurrence of stripped autonomy and loss of freedom with a culmination of the affected themes, plot points, and more: the books of Zeref. 

Namely, the idea that the etherious—sapient, cognizant, and fully capable of autonomy via every depiction given of them, from Tartaros to even Lullaby to especially Natsu—can be and have been resolutely manipulated and controlled via the books by Zeref. Now Zeref, infamously hands-off up until the finale, barely utilized this. The most we ever see is instilling a directive and supernatural need to kill Zeref in the texts, which serves as an externally imposed goal. (Sound familiar, yet?) Provided Larcade clearly doesn’t have these instincts, it is not a guaranteed addition either, which further adds to the sense of deliberation. Natsu experiences this only in the last arc, in what I assume is supposed to be a very tense and jarring plot of a friend and protagonist suddenly losing himself, but it does not get expounded on for long enough to hammer the point home. The plot point of reclaiming the book becomes about saving his life only, and not his autonomy. Not only could this have been emphasized to be properly horrifying and devastating, but the effect—and the suspense—would be doubled with the prior establishment of Jellal’s arc and the tragedy therein. 

To back up for a moment, this parallel is further accentuated by the fact that Ultear and Zeref are clear mirrors of each other. Ultear was afflicted by a magic condition outside of her control and she was enslaved as a lab rat for it. When she broke free, she perceived her mother to have abandoned her, so Ultear, in her unresolved anger and grief, aims her entire goal to rectifying it, which culminated in planning to undo the entire timeline in order to make the one she wanted all along. Any casualties, any cruelties—including the mental enslavement of a slave child—are means to an end, and will ultimately be forgotten. Zeref lost his entire family to tragedy, and in his grief, he refused to forfeit the idea of regaining what was lost, namely his brother. He became afflicted with a curse—a magic condition outside of his control—and experienced cognitive dissonance for it. Ultimately, this miserable existence culminated in the idea of erasing the timeline entirely and forging his own. Any casualties, any cruelties—including subjecting his creations to the same lack of complete cognitive control—are means to an end, and will not matter. 

I mentioned that selfishness is also a recurring theme and this is a prime example of the dark side of it. For Lucy, claiming her independence and following her own path against the wishes of her estate, it is a wondrous thing. Freedom cannot be achieved without some selfishness, and this is a wonderfully handled theme in Fairy Tail, where our protagonists unabashedly put their friends above concrete morals and follow a creed to live their life to the fullest—the eternal adventure. For characters like Ultear and Zeref, their personal desires—born of horrible tragedy and frankly understandable things to want—come at the cost of the autonomy of everyone else, especially the pawns they use to further their goal. This, in true fictional hyperbole, begs the question of where the line in the sand is to be drawn, of what is acceptable on a moral standard and what is not. It is, of course, colored by the protagonist’s point of view as clear antagonism, but as a viewer of the media it provides to us to question when protecting one’s ideal becomes irrevocably an attack on the sanctity of others. 

Which brings us back to the matter of the books. The intended horror of Natsu losing control of himself, I think, could have been really emphasized in order to highlight these aforementioned themes. Imagine if, instead of a complete menagerie of new characters as the final invading force, Zeref’s key piece of his invasion was Natsu. With the intended goal of undoing time, having Natsu kill him is no longer necessary, so it would be more pragmatic to use Natsu instead as a weapon of mass destruction for his goal. Not only is he inside of Fairy Tail, but Zeref is, theoretically, doing this for Natsu too, and he won’t remember this upon success—nevermind that the Natsu we know, that presently exists, that we have watched develop over the entirety of the series, would be forever erased regardless. 

Armed with the knowledge of what happened to Jellal, and how he ultimately had no one to intervene for him, this increases the urgency within the characters and will likely expedite their discovery of why Natsu turned against them out of nowhere. This time, a resistance is launched, and characters have the chance to intervene on the behalf of a friend. Gray couldn’t save Ur, Lucy spent years ensnared by the will of a family member, Erza didn’t recognize Jellal’s plight until it was too late, but they can save Natsu, and save him quickly. Fairy Tail, Team Natsu especially, can rewrite the book of E.N.D. solely for the great cause of freeing their friend and handing him back his free will, and in the process, Fairy Tail saves their own future as well. This doesn’t preclude the ability to free Zeref from his curse, but with or without that we have a beautiful culmination of fighting for the sake of a friend, for the individual and for the whole group. This time, friendship wins. 

I just think it could have been really cool.

[axolartandfics]

TRANSFORMERS PRIME RANT

content warning: discussions of physical/psychological abuse

I’m going to try to write a rant but we’ll see how good I am at stringing my words together.

I love Transformers Prime with my whole heart, particularly Starscream, and despite and because of this, I don’t like the way his character plays out in season three.

After Starscream rejoins the decepticons at the end of season two, the abuse he receives from Megatron gets way worse. Megatron physically beat Starscream quite often in season one, and as season three progresses, this treatment is on full display and gets so much worse. And these abuse scenes are genuinely horrible and upsetting. Megatron physically dominates Starscream, who is much smaller and thinner, and the show spends a lot of time emphasizing his fear and screams as Megatron beats him.

Alongside Starscream’s abuse getting worse, he also gets significant Stockholm syndrome in season three, which makes the whole situation one thousand times ickier. While in season one Starscream tried to usurp and fight back against Megatron, now he looks up to the person who is actively and regularly beating him half to death.

But there’s nothing wrong with depicting a toxic character dynamic, it’s how the narrative frames it that matters.

Starscream gets treated worse by Megatron while thinking better of him as the show goes on. And the only people we get to see this ugly situation through the eyes of are Starscream and Megatron, who both think this is fine in one way or another.

We never get to see any other character acknowledge the abusive relationship. The autobots are totally oblivious or totally uncaring that it’s happening, and you can bet the other Decepticons aren’t going to do anything about it. Even after Megatron leaves behind his goal of oppression, he shows no regret of how he’d treated Starscream, the person who he had arguably made suffer the most. He just shouts at him and makes him flinch one last time then abandons him. He continues to mistreat him then leaves him behind. Leaves behind the person who he had physically and psychologically destroyed for thousands if not millions of years. Although I don’t expect Megatron to show sympathy for Starscream, since his ‘redemption’ was just him retiring and leaving everyone else to clean up the mess he made. (I have good and bad feelings on Megatron’s ending, but I don’t want to get too sidetracked)

What matters is, without Megatron acknowledging the horribleness of the situation, and without the autobots being aware of it, the only person who can acknowledge how toxic the situation was is Starscream.

But he doesn’t get this chance. His arc ends when the Predacons beat him up for revenge.

Starscream is an abuse victim, and he is never given a chance to heal. No character, himself included, ever fully acknowledges how problematic the situation is. He is never given a chance to be powerful. Over and over again he is forced to be weak and without agency. From the start of season three to the end of the movie, his character is a slow trickle into suffering more and more, being beaten down again and again until he doesn’t get back up.

When watching the show, I was fine with the amount of frightening abuse they were depicting on screen because I thought they would have some amount of healing from it. But it just gets worse and worse until the show ends and that’s it. It just feels like abuse for the sake of abuse at this point.

But the thing is, I’m not even opposed to Starscream having a bad ending. Let me explain.

I think it makes sense after him being conniving and evil and power hungry and cruel for his actions to catch up for him, and for him to be humbled in one way or another.

The thing is, they depicted Starscream’s fall to shame without ever giving him a moment of power. There’s no climax in season three where he takes control of his life again. There’s no moment where he gets to be more than humiliated and shamed.

Starscream is a victim, and he’s an abuser as well. He treats everyone around him horribly. He is a perpetuator of the cycle of abuse, where, after being abused by Megatron and others, he started to replicate their cruelty in order to have power.

The story needed to recognize him as both an abuser and a victim. It seemed to think these cancel out. That Starscream being beat by the Predacons in the end is the consequence of his abusive actions towards others coming back to haunt him. But just as a middle school bully doesn’t deserve to go home and be bullied by their sibling, an abuser does not deserve to be abused by another person. No one deserves to be abused.

Starscream being abused doesn’t pay for his crimes. And he isn’t just being humbled for treating the predacons badly; he’s being tortured.

As an abuser, Starscream deserved to see the consequences of his actions in some way, but as a victim, Starscream deserved any kind of moment of victory.

All this to say, this isn’t about wether or not Starscream deserved to be beat by the predacons (although I maintain that we should have better mindsets about paying for our crimes than “abusers deserve abuse”). This is about the fact that he deserved to see a shred of honor before his fall as well.

This is about the fact that as an abuse victim, he is given not a shred of dignity or an acknowledgment of his pain. His descent in season three isn’t even a character arc. There’s no growth, no resolution, no rising or falling climax. Like I said before, it’s just him suffering over and over, until the series ends.

Starscream is perhaps a good, although tragic, depiction of an abuser: a character who treats others poorly until it finally catches up to him. But he is a bad and problematic depiction of a victim: someone who never gets to be seen, even by himself.

[recent-rose]

yknowwww there is something... deeply uncomfortable about the way mel never speaks directly to viktor in the 'build hextech weapons' scene. she really only speaks to jayce. plenty of people have pointed this out already but like the one scene they actually share a meaningful interaction and she treats him like he's beneath her. all this after jayce has emphasized how important viktor is, that hextech is theirs, together. she unequivocally ices him out, there's no other way to interpret this scene. the way it's shot too - from viktor's perspective, looking up at her, as though to reinforce the same belief in him. like he doesn't even bother expecting respect from her - or anyone from the upper echelon of piltover. he's fully accustomed to being dehumanized by everyone around him at this point. sometimes even by jayce, despite the trust they clearly have in each other.

then of course after this scene is viktor experimenting on himself. it's pretty clear that he has internalized his own dehumanization. crazy.

[lycandrophile]

Songs sung in T voices? You mean just regular male voices because trans men are men

imagine being so miserable that you see a post about trans joy and pride in transmasculinity and the first thing you think is “i’m going to find a way to see this as transphobia instead”.

i have a t voice. my voice is distinctly different from most cis men’s voices in a way that a lot of other trans people’s voices are distinctly different after being on t. a lot of us have voices with a unique quality to them. the claim that me, a trans man with a t voice, talking about voices like mine somehow implies that my own gender isn’t real…is just fucking wild, honestly.

i think t voices are BEAUTIFUL. i love them so much, having my own voice sound like that was genuinely one of the things i was the most excited about when i started t because to me, that voice is the kind i heard when i watched videos made by other trans guys that taught me about what was possible for me and met other trans guys irl for the first time and got advice on transitioning or just life from them. it’s such a comforting sound and so important to me.

nothing about recognizing that distinctive quality implies that trans men aren’t real men. i have a t voice just like i have a deep voice, a quiet voice, a tonally expressive voice — it’s just a descriptor for one of many things that can make a voice unique. my voice is a “male voice” and it’s also a t voice because i’m a man whose voice has been affected by going on t in a distinctive way. the two aren’t in any way at odds with each other.

if i described my chest as a post-op chest, would you come into my inbox saying “you mean just a regular male chest?” i have a feeling you probably wouldn’t because on some level, even you get that talking about unique parts of living in a trans body doesn’t invalidate who we are. it’s fine if you personally wouldn’t want to describe your voice that way because it makes you dysphoric or isn’t applicable to your voice or isn’t as meaningful to you, but that doesn’t mean it’s morally incorrect for me to do so.

trans bodies are wonderful. visible (or in this case, audible) transness is wonderful. it’s not a bad thing to have features that are distinctively trans, and having those features doesn’t make you less of a man. we don’t have to reject our transness or be exactly like cis men to be real men because cis manhood isn’t the gold standard, it’s just one of many ways to be a man.

(also, not everyone who goes on t is a trans man, so not every t voice is a male voice. it’s funny how the people who get mad at me for being proud of my t voice are always the same ones who have really gender essentialist and binaristic views on transitioning.)

so no, i don’t mean “regular male voices”, i mean fucking t voices because that was a post about unashamed in-your-face proud transmasculinity, not transmasculinity that tries to make itself indistinguishable from cis manhood. please keep your assimilationist bullshit away from my trans joy, thank you very much.

[wilting-fl0wer]

The only correct form of caltam, as far as i am concerned

[fluffydice]

The biggest tragedy of Teruhashi is the fact that she could be up there among the best examples of a complex female character that guides the audience through an understanding that characters don't have to be all-or-nothing when it comes to their moral alignment to be considered 'good' or 'bad' or something else--and then isn't because this is both a gag anime and she wasn't written by a woman

[centrally-unplanned]

We have another entry in one of my favourite genres, "people showing their whole ass trying to claim East Asians Are A Conformist People", and this part absolutely sent me:

"Compare the doll-like uniformity of a K-Pop star to the striking uniqueness of David Bowie" or don't do that?? Why would you do that very dumb thing?? The "Individualist West" has pop bands; hell, these K-pop groups are incredibly successful in the west. Korea/China/etc have avant-garde artists like David Bowie; they just aren't a controlled corporate product for export so you, dear author, haven't heard of them, because you don't know anything about China or Korea.

As revealed by that last line "the lone outlaw type that originates in Odysseus" no it originates in all storytelling in every society. You are writing an essay about culture in China, there are literally four books you just have to know the name of to even apply for that post and this is one of them:

The book even has a Bowie-style hefty dose of homoeroticism! Precious, irreplaceable levels of swinging-and-missing going on here.

And yes this is a lead-in for an essay about how AI will invalidate China's cultural model because people will use it to cheat on homework, because when it rains it pours.

(H/T Richard Hanania for the reblog, who continues to be highest value-add "shit you can find on the internet" follow around for me, variance is a quality all its own)