#Even if the kids are fictional

[antiyourwokehomophobia2]

I got to be so real I kind of have mixed feelings about this post, and I'm not as mad rereading it as I was the first time I read it.

On one hand, I kind of agree that doing fucked up things to a fictional character doesn't necessarily mean that you're bad.

If I write a story in which a child is put to death, I'm not suddenly in favor of children dying. The person who wrote "the lottery" isn't in favor of people being stoned to death just because they wrote about it. I write stories all the time where characters are subject to homophobia or racism or general bigotry and I'm obviously not in favor of those things. However, there's a reason some stories that deal with the same subject matter are better received than others. There's a reason that even though "Avatar: the last Airbender" was written by two white men it's not called racist like some other works by white creators that handle POC.

I feel like the idea that how you approach fiction and fictional characters says absolutely nothing about you is insane.

If you watch a piece of media and then you go to write fanfiction about the media and you give all the white characters a good, happy ending but give all of the black characters sad ones where they're beaten to death, I absolutely think that says something about you! If you read/watch media with a fictional child and immediately want to write a story in which that child is raped by one of their parents, I absolutely think that says something about you and your character! The characters might be fictional, but you are not. Your choices do not exist in a vacuum. Why do you want to produce and see media where people of color end up unhappy and/or dead? Why do you want to write a lot of non-con? why do you want to see two siblings fuck?

Even though you didn't do anything to anybody in real life, I have to side eye why you're obsessed with seeing and writing that type of content. If you're writing a rape scene just because you like it (you don't comment on it or anything. In fact, it hardly ever comes up again) then yea, I do think you're probably a bit fucked up.

A white woman who writes all of her black male characters as "big" and "manly" and "dangerous" and "dominant" is absolutely revealing something about herself through her fiction! Maybe the fake black guy isn't being objectified since he's not real, but you can't seriously tell me that the white woman who wrote him has not revealed anything about how she views black men lmao. You can't tell me you'd seriously believe her when she says she's not racist.

I mean this site in particular talks all the time about the way certain groups are portrayed by certain authors. This site will be the first to cancel authors who write marginalized people in an unsavory light. If you think the fiction you consume doesn't matter, then you can never say anything about representation mattering ever again. A black child who only ever sees white characters cannot be influenced by that because fiction doesn't matter, right? You can't cancel an author for being racist. So what if all of their characters of color are portrayed as violent and evil? If what you write doesn't say anything about you, then that author is not racist at all!

I mean, seriously. How many authors have been canceled because they wrote black characters in a way that left the viewers with a bad taste in their mouths? How you choose to treat fictional characters absolutely says something about you!

I understand that fiction is how a lot of people deal with stuff. If something bad happened to you when you were a kid, you might want to see your favorite character go through that and overcome it, but the thing is: I feel like there's a line. I feel like too many of you use past trauma to justify what has honestly just become a paraphilia. Some of you don't read media about SA because you were SA'd and are trying to deal with it; you read it because you have a 'kink' for it. Too many of you hide under "healing" when you genuinely just get off on seeing fucked up things happen to characters. It's no secret that people who have experienced trauma sometimes go on to become abusive and perverse themselves.

The things that you enjoy and dedicate time to absolutely say something about you! Whether you think it says something good or bad doesn't matter, but the idea that it just exists in a vacuum and says absolutely nothing about your character and who you are as a person is quite frankly insane!

Even if you're writing it because you're trying to deal with trauma that happened to you or you're trying to create a safe space for people who have been through fucked up stuff, that says something about your character and who you are as a person. The stories you dedicate your time to reading and writing absolutely reveal who you are. We talk endlessly about the misogyny of male writers in the past and present. If posts like the one linked were true, then it wouldn't matter if a man spent all day writing stories where every single female character of his is treated like shit and assaulted. Media would be entirely unable to be criticized because the fictional characters aren't real and thus how you treat them says nothing. If a man with three daughters wrote a story where a fictional father SA'd all three of his children, that wouldn't be cause for concern at all? It'd say absolutely nothing about him? You wouldn't side eye him? You wouldn't be concerned if a primary school teacher spent all day writing stories where children are molested? You would send your child to a school with a teacher like that and be completely and utterly okay because "the fiction you write and consume says nothing"?

Of course there is nuance, but I don't like the way this post seems to absolve anyone into fucked up fictional stuff of guilt. No, reading and writing fucked up stuff does not *automatically* make you bad, but if you're doing it uncritically and because you get off on it, I'm not gonna pretend that's irrelevant to who you are as a person.

[ihhfhonao3]

heyyyyyy girlies just a reminder that ao3 is by proshitters, for proshitters and your puritanical anti rhetoric isn’t welcome there byeeeeeee ship and let ship forever 🫶

(This is from the official AO3 TOS update btw)

[bi-scottsummers]

Kenji Sato + nervous habits — finger tapping & leg bouncing

[monster-lover-pride]

With how antis have literally bullied proshippers and comshippers to suicide idk why I'm seeing some people act surprised that a girl had a hit on her because she was a proshipper.

Like if that system was a thing people would absolutely put hits on people over ship discourse lmao people literally dox and harass and get people to kts over it

[heirloommtomatoes]

the way kaladin is like. the only character who gets an arc relating to overcoming his prejudices but it’s…him overcoming his “prejudices” against lighteyes…like huh……?

[ranminfan]

This oddly attractive virus

I am absolutely loving his design, it's so simple yet it works so good. I especially love his dreads-like appendages.

[hunnyy-bunnyyy]

The dissonance between era inspiration in ACoTaR is one of the more brushed over flaws in the book series. Looking at the Inner Circle's fashion alone, we jump between "literal scraps of fabric" (Under the Mountain, Court of Nightmares) to "orientalist painter's imaginings of the Ottoman Harem" (clothing described during Feyre's first few visits to the Night Court) to "modern 'corset' dress" (Feyre's Starfall dress, majority of Mor's clothing, most of the clothes drawn in fan art) to "modern -- almost sci-fi style -- skin-tight leather armor" to "sweater and leggings combo".

Then, between courts, we have Helion wearing Spirit Halloween's take on the ancient Grecian tunic; Feyre's Spring Court wedding dress looking like an 1830s fashion plate; and Dawn heavily implied to have traditional East Asain clothing (e.g. kimono, hanfu, hanbok).

On top of all of that, some of the Dawn Court's small cities ". . . specialized in tinkering and clockwork and clever things. . ." which -- combined with Lucien's metal eye and Nuan's mechanical hand -- implies a sort of post-industrial revolution time period. However, a decent chunk of the fandom says that ACoTaR is medieval; which, yeah, it's medieval themed in the first book -- sans the "dress" Rhysand forces Feyre to wear UTM.

The wild inconsistencies in ACoTaR's inspiration leads, not to a rich and diverse world, but a world that seems ramshackle and haphazard -- like it's creator simply threw together a board on Pinterest and called it a day. This is a major part of why the world building is so abysmal, it relies on convenience to the plot and whatever pleases the aesthetic whims of the author. Cultures deemed "pretty" or "badass" are thrown together, irregardless of how far apart they actually are. This is not only disrespectful to the narrative, but to the readers and the cultures used as inspiration.

All of this to say: Sarah J Maas is a bad author, not just because of the way she handles serious topics like power dynamics and abuse, but also because she cannot put together a world that is even the slightest bit cohesive.

[hydrus101]

It’s so fascinating to me about how much of Malevolent centers around bad or misguided fathers.

We spend ample amounts of time with Arthur’s grief and his faults, his fear of fatherhood, his failings of Faroe and the ensuing spiral afterwards. We hear of Bella’s strict upbringing, of Daniel’s controlling nature, the desire to shape his daughter into what he expected her to be, and even admitting to Arthur’s face that he intended to mold him as well, into what he thought his daughter’s husband should be. We learn of Larson’s betrayals, the sacrifices of his children: the monsters he made of those he should’ve loved, all in the pursuit of power and legacy. There’s an argument to be made even, of fragments and reflections and daughter and sons, that the King - that initial version of him now dead in all respects - was a sort of father, with John and Yellow as his residuals, his sons, his heirs, in a way. Finding their own identities now, free from the shadow of a predecessor, free to chose their own destinies, wether that is to separate themselves entirely, to scream defiantly of humanity and hope and self, or to try and reshape the visage of that dead malevolent god in desperate pursuit of love that wasn’t given, driven by a hate that was shared. What other analogy so seamlessly fits with the relationship between Arthur and Yellow than that of a neglectful father? The one who was supposed to be patient, be caring, be kind, the one who was supposed to teach this new being, this new child, about what life could be like? What love and kindness it could hold? But Arthur was too unsteady then. Too unstable to give Yellow the upbringing that he deserved. His nature was shared with John, and we’ve seen the depths of love he’s embraced. Yellow was simply nurtured wrong, encouraged down that spiral by a foster father who embraced and even venerated his rage. And similarly, in the basement in New York, we are reminded of nature and nurture, of animals and babes. Briefly, quick as a glance, we learn of the Butcher’s father, both a seething livewire and a subtle undercurrent in his motivations, manifested, perhaps, in his tumultuous relationship with failure, his self inflicted violence. Roland and Amanda receive less of the spotlight, but the foundations of everything are built upon their relationship. And now, with the Unclean, we know more of Arthur’s own father—who’s fate is known and the same as his mother’s—and his envy towards his friend, his childish jealousy and vindictive actions, of which he now condemns, having learned better, having known better. Every aspect of the narrative is seeped in fatherhood, in parenting, in children. Malam says as much by the fire: “They are our betters, our futures, our learned mistakes.” Malevolent is, at its core, about parents and children and hope.

And now, Arthur and John are on the run from a mother, on a mission given to them by a father, who’s daughter is largely a mystery, or perhaps, more familiar than we might think.

[maelancoli]

i'm kind of late to this but i just finished reading the scholomance trilogy by naomi novik and i feel like it is such an underrated urban fantasy?? taking the chosen one trope and turning it on its head with a fmc who has been prophesied to bring death and destruction, who is imbued with terrible power, but cannot even properly use said power to solve any of her obstacles because it would obliterate them and her soul. it takes a tired trope and the idea of an 'overpowered mary sue' and throws it back in your face by showing how all the power and destiny in the world is useless against a system filled with corruption that has burdened you with an easy way out (evil/destructive magic) that you can't take so now you have to work twice as hard as everyone else just to do simple, constructive spells instead of flicking your wrist and being done with it.

[kittyandco]

does anyone else get so upset when you think about all the things that happened to your f/o... all the things they went through? all the things they haven't healed from? the pain that they may still be enduring? how you can do your best to help them but you can't protect them from everything. so you just love them the ways they needed before, how they deserved. and you see them happy because they finally accept, at least in some ways, that they do deserve it. they deserve love like all beings do

[nemiwont]

Behind every gay person is a gayer, more evil person

[medievalsmithy]

Of lovers burdened with glory and doomed since the beginning of time

Book mentioned: The Song of Achilles by Madeline Miller/Song used: Achilles come down by Gang of Youths/Jujutsu Kasien 0 manga/Jujutsu Kaisen light Novel 1/Jujutsu kaisen manga chapters 78 and 236 by creator Gege Akutami/Jujutsu Kaisen season 2 , director Shōta Goshozono

[tearblossom]

[steamedlotusroot]

as a native chinese, i feel like some of yall are taking the gods in lego monkie kid a bit too seriously. i understand why it feels iffy to ship / make silly content of deities that people worship irl (eg. nezha, sun wukong) but it’s a phenomenon on chinese social media too. c-netizens ship the fictionalized versions of these gods, which the gods of lego monkie kid are. they aren’t the actual gods people worship; they’re slightly tweaked versions of the book characters, just like any other chinese adaptation or retelling of jttw (and such stories like fsyy) also, no, nezha isn’t a child, in lmk or jttw or sometimes irl. just because he’s often depicted in child form doesn’t make him an immortal child. eros / cupid is often depicted as a winged baby, and he has a wife and kids. it’s basically the same thing here. nothing in lmk suggests that nezha is a child (his voice, his appearance, his personality etc. all imply he is an adult), and while he’s described as youthful in jttw, he’s already 1700+ years old by then and gods can shapeshift. people only think he’s an immortal baby because that’s a popular depiction of him, since one of his prominent myths is set during his childhood. but as long as you’re talking about the god nezha (fictionalized or the religious figure) and not the human child nezha, then that’s an adult [edit: the last sentence couldve been worded better. i would summarize it as “immortal youth nezha is a valid depiction and is popularized by mythology, but adult god nezha exists too and they are NOT mutually exclusive”]

[egophiliac]

Okay now i gotta know... As someone who only plays on English server but craves every bit of info on chapter 7....

What's the spoon scene? You mentiond it in the Sebek UM poster post.

no pressure tho, I'm just curious

oh, it's a little flashback scene to Silver and Sebek's first magic lesson (moving a spoon) -- it's one of the missable ones, so there's nothing plot-important in it, I just thought that one was really extra cute! 💚 Lilia does such a bad job of explaining how to use magic ("you go, like, SHWOO") that Malleus steps in and teaches them instead. so it's basically just Silver and Sebek staring intently (and audibly) at a spoon while Lilia flails around making noises and Malleus reminisces about how Lilia's teaching style has always been fascinatingly incomprehensible! pure sugary domestic fluff! just rubbing it in how absolutely terrible things have gotten :)

there are a bunch of cute flashbacks like that in the 7-81 and 7-83 maps; it's definitely worth getting them all if you are also fond of the diafam! I swear, this update has somehow managed to make me even more obsessed with this idiot dad and his three adopted dingbats and that should not have been possible.

[fictionadventurer]

Everything I learn about Rose Wilder Lane makes me more and more aware that she was a hilariously outrageous person who needs a movie made about her immediately.

After leaving Missouri, she moves to California and marries a real-estate guy who once tried to get her to help him con the railroad.

She gets hired at a San Francisco newspaper known for its yellow journalism, where she does things like writing a series of columns featuring the "real-life stories of a police detective" who, in real life, was a high-end jewel thief.

Her first book is a first-person "autobiography" of Charlie Chaplin that she (after a few interviews with Chaplin) completely made up, and that Charlie Chaplin immediately threatened to sue her publisher for.

Her second book is a biography of Jack London, which his wife only reluctantly allowed her to write because Rose presented herself as "someone who had never written for the newspapers before and needs a chance to break into the magazines." This book was also almost entirely fictional, and her publisher also almost got sued over it.

Third biography is the first-ever biography of Herbert Hoover, also a heavily-fictionalized account. (Doesn't seem to have been sued for this one. Steps in the right direction!)

Traveled as a reporter through Europe (to places like Albania and Poland) post-WWI. (If we want to talk about legal things that she did).

Wrote a book based on Laura's late-childhood pioneer experiences while Laura was writing the early books of the Little House series, and did not tell Laura about it. (Laura was ticked off).

Kept trying to insert a story into Laura's memoirs (and Little House on the Prairie) casting Pa as a member of a posse that hunted down the infamous (and never-caught) serial-killing Bender family (despite the fact that this was historically impossible). (It got to the point that Laura herself told this story to the public as an example of "a true story I couldn't out in my children's book." Despite the fact, I say again, that this was historically impossible).

During WWII, endured a minor incident (it involved one cop coming to her house) where the FBI investigated her as a potential communist based on a postcard she sent that was critical of the government. Turned this into a short story that presented herself as the righteously-outraged American citizen fighting against an oppressive government, and used this to whip up a nationwide media campaign against J. Edgar Hoover for spying on American citizens.

Flew to Vietnam as a war reporter when she was in her seventies.