#and find out she was queer herself!!

[zillyblog]

bitches will really scream "representation matters!!" then actively shit on anyone who was changed for the better by said representation

i do not care if someone learned compassion from a cartoon or a comic or an anime im just glad they're here with us now a better person fighting the good fight. should it have taken something so trivial? maybe not- but it's in the past! and this is the now! and if they're objectively better for it who cares

[bixels]

So I l’ve been getting into your ko crisis story lately (it all sounds rlly awesome btw) and i was curious - you’ve said in the tags in a previous ask that ash is comphet, so is that gonna play a major role in her character arc/journey in any way?

Yeah, the story basically covers her journey of redefining her identity as a queer Asian-American disabled woman in a sports-entertainment industry, which is a media landscape that specifically targets, exploits, and fetishizes people like her.

[mykashg]

I could fill seats you know, but they all thought it was because of my sitcom or the fire. I was never seen as legit by guys like them.

HACKS Season 3, Episode 4 "Join the Club"

[drbtinglecannon]

The plot of Scott Pilgrim Takes Off is actually better than original plot, by a large margin

[mizumuu]

>Laughs Out Loud

I thought that piece was just about people focusing too hard on labelling Mizuki instead of letting them be themselves like they ask, not that it was transphobia ._ .

its ok to have ur own interpretation of that piece but its very clear to me that that wasnt ame's intention

[duckuwu]

has anyone talked about the whole yin/yang thing imogen and laudna have going on? imogen's physically bright and light (hair and clothes) where laudna is dark and scary. but personality wise laudna is more light and friendly to (nearly) everyone she meets, generally positive minded / looking for a bright side of things. meanwhile imogen is wary and cautious, a bit intimidating, and definitely prone to being quiet when meeting new people (assessing the situation / figuring out if the person could be trusted or not).

they don't just tether each other, they balance each other.

obviously it kept them alive when they were on their own, but I wonder if they fell into place like two puzzle pieces when they met. just like 'oh, you're meant to help me through all this'

so, like, when they were separated, they weren't out of sorts just because their tether, nor their love, was gone and they didn't know if the other was alive. they'd lost their balance, their sense of true north was suddenly gone...and it was so much worse than what it was like before they'd ever met.

[variousqueerthings]

A striking demonstration comes from research investigating the risks people perceive from technological, lifestyle, and environmental hazards (like nuclear power, smoking, and ozone depletion). These studies routinely find that women perceive higher risks to themselves, family, and society from such hazards.

[...] Flynn and colleagues then subdivided the sample by ethnicity as well as sex, and discovered that one subgroup stood out from all the rest. Society seemed a significantly safer place to white males than it did to all other groups, including nonwhite men. 

[...] Flynn and colleagues then established that it was a particular subset of white males who were particularly cavalier about risks: those who, in response to the social justice movement’s currently fashionable suggestion to “check your privilege,” would take significantly longer than others to complete the task. These men were well educated, rich, and politically conservative, as well as more trusting of institutions and authorities, and opposed to a “power to the people” view of the world. A number of studies have now replicated this socalled “white male effect” with other large U.S. samples, and the research points to it being “not so much a ‘white male effect’ as a ‘white hierarchical and individualistic male effect.’” 

[...]

Interestingly, a recent study conducted in the more socially egalitarian and gender-equal Sweden failed to find the “white male effect.” This national survey of nearly fifteen hundred households found that, all else being equal—and in stark contrast with the U.S. data—Swedish men and women had very similar perceptions of lifestyle, environmental, technological, health, and social risks. 36 The survey found instead just a “white effect,” with people from foreign backgrounds, who are subject to social disenfranchisement and discrimination, perceiving risks as higher than did native Swedes

- Testosterone Rex, Cordelia Fine

(bolded by me)

[ravencromwell]

I have to add Archivist Wasp and its sequel Latchkey by Nicole Kornher-Stace. (Both those links lead to Weightless Books, an arm of the incomparable Small Beer Press that sells drm-free versions of numerous small presses' books for ease of reading and to avoid the amazon monster; to tout the awesome of Small Beer and Mythic Delirium, both primarily responsbiel for publishing Kornher-Stace would be a post of its own, but look them up if you're unfamiliar because they've provided some of the most envelope-pushing, queer-heavy scifi of the last decade.) Archivist Wasp is in the "destroyed earth" rather than the space category of scifi and...well, Amal El Mohtar can sell it better than I ever could:

An Archivist has two jobs. The first is to hunt and catch ghosts in order to learn about the precataclysm past from them; the second is to defend her life and position against “upstarts” — the other girls marked by the goddess Catchkeep’s claw-shaped scars at birth — once a year. Wasp has been Archivist for three years, and wants nothing more than to escape a dismal life of killing her sisters and obeying the Catchkeep-priest — so when an unusually powerful ghost asks her to help find his former partner in the underworld, she agrees. But, as is so often the case with the underworld, she finds both more and less than she bargained for. More than anything else, this book is sharp. You could cut yourself on the prose — Wasp’s world is one of thorns, knives, edges of thick, broken glass, a constant background-hum of pain that sometimes swells into a shout. Wasp’s perspective absolutely thrums with tension and violence, but also aches with a fierce, hollow loneliness to break the heart. The longing and gratitude for the smallest beginnings of true friendship make the betrayals more vicious, and the stakes just keep rising. I burned through this book in about three hours, desperately rooting for her. It’s also a brilliantly constructed narrative and world. The gods are cruel and absent. The underworld is a maze in layers, a twisting, turning palimpsest, one that allows Wasp to descend almost archaeologically through time by literally experiencing her ghost-partner’s memories. The pre- and post-apocalyptic worlds reflect each other in shards and fragments, all the more powerful for being subtle, for their resistance to being spelled out. It was also keenly refreshing — especially in something that’s ostensibly YA, where the Love Triangle of Doom is so annoyingly pervasive — to find a book in which all of the strongest, primary relationships are friendships; where friendship has the narrative, motive force usually reserved for sexualized romance. I very much wanted to see the A in QUILTBAG represented in this column, and this is a fine example: while the connection between the ghost and his (female) partner is intense and loving, it is never represented as sexual, and sex is in fact completely irrelevant.

Sci-fi books where a queer woman has the ghost of an annoying dead guy in her head

*Misery is nonbinary (she/they) and who’s in her head is not dead or a guy but I’m counting it, okay

[nymph1e]

On Discomfort and Morality

My father finds gay men uncomfortable.

He's told me before that it's like a knee-jerk for him. Something he doesn't consciously control. He sees two men behaving romantically, and his body reacts with mild discomfort.

In the 1960s, when he was in high school, most of the boys in his form thought he was gay on the simple fact that he wasn't homophobic. He wouldn't participate in insulting queer people, he didn't care if someone was gay, he wouldn't have a problem hanging out with gay people. So people thought he was gay. That's how prevalent homophobia was in his formative years.

When I was 10, my dad told me very seriously that Holmes and Watson were gay. That it was obvious from the literature and the time period that they were meant to be a gay couple. When I was 14 and I came out to my parents as bi, when my mum was upset my dad ripped into her for it. Told her that she was being stupid, that it was my life to live how I wanted to and that she needed to get over herself.

My dad formed my views on censorship: that being that it was completely ridiculous and thoroughly evil. He didn't believe in censorship of any kind. If I asked him a question about sex, he answered it honestly. When I was 12 and I asked him about homosexuality, still young and uncertain, he told me that there was nothing wrong with it. That it was just how some people were. That there was likely an evolutionary reason for it. And that for some people it was uncomfortable on an instinctual level.

He taught me that just because you're uncomfortable with something, doesn't make it wrong. He also taught me that most people don't understand this.

I see a lot of this on the internet as of the last few years. The anti shipping movement, the terf movement, the anti ace movement. It all stems from discomfort that people have crossed wires into believing means wrong. Really every -ism and -phobia out there stems from this same fundamental aspect of humanity.

The next time you see something and you automatically think it's disgusting, or wrong, or immoral, I invite you to ask yourself: is this actually wrong or does this just make me uncomfortable?

[autistichalsin]

In retrospect, four years later, I feel like the Isabel Fall incident was just the biggest ignored cautionary tale modern fandom spaces have ever had. Yes, it wasn't limited to fandom, it was also a professional author/booktok type argument, but it had a lot of crossover.

Stop me if you've heard this one before: a writer, whether fan or pro, publishes a work. If one were to judge a book by its cover, something we are all taught in Kindergarten shouldn't happen but has a way of occurring regardless, one might find that there was something that seemed deeply problematic about this work. Maybe the title or summary alluded to something Wrong happening, or maybe the tags indicated there was problematic kinks or relationships. And that meant the story was Bad. So, a group of people takes to the Twittersphere to inform everyone who will listen why the work, and therefore the author, are Bad. The author, receiving an avalanche of abuse and harassment, deactivates their account, and checks into a mental health facility for monitoring for suicidal ideation. They never return to their writing space, and the harassers get a slap on the wrist (if that- usually they get praise and high-fives all around) and start waiting for their next victim to transgress.

Sounds awful familiar, doesn't it?

Isabel Fall's case, though, was even more extreme for many reasons. See, she made the terrible mistake of using a transphobic meme as the genesis to actually explore issues of gender identity.

More specifically, she used the phrase "I sexually identify as an attack helicopter" to examine how marginalized identities, when they become more accepted, become nothing more than a tool for the military-industrial complex to rebrand itself as a more personable and inclusive atrocity; a chance to pursue praise for bombing brown children while being progressive, because queer people, too, can help blow up brown children now! It also contained an examination of identity and how queerness is intrinsic to a person, etc.

But... well, if harassers ever bothered to read the things they critique, we wouldn't be here, would we? So instead, they called Isabel a transphobic monster for the title alone, even starting a misinformation campaign to claim she was, in fact, a cis male nazi using a fake identity to psyop the queer community.

A few days later, after days of horrific abuse and harassment, Isabel requested that Clarkesworld magazine pull the story. She checked in to a psych ward with suicidal thoughts. That wasn't all, though; the harassment was so bad that she was forced to out herself as trans to defend against the claims.

Only... we know this type of person, the fandom harassers, don't we? You know where this is going. Outing herself did nothing to stop the harassment. No one was willing to read the book, much less examine how her sexuality and gender might have influenced her when writing it.

So some time later, Isabel deleted her social media. She is still alive, but "Isabel Fall" is not- because the harassment was so bad that Isabel detransitioned/closeted herself, too traumatized to continue living her authentic life.

Supposed trans allies were so outraged at a fictional portrayal of transness, written by a trans woman, that they harassed a real life trans woman into detransitioning.

It's heartbreakingly familiar, isn't it? Many of us in fandom communities have been in Isabel's shoes, even if the outcome wasn't so extreme (or in some cases, when it truly was). Most especially, many of us, as marginalized writers speaking from our own experiences in some way, have found that others did not enjoy our framework for examining these things, and hurt us, members of those identities, in defense of "the community" as a nebulous undefined entity.

There's a quote that was posted in a news writeup about the whole saga that was published a year after the fact. The quote is:

The delineation between paranoid and reparative readings originated in 1995, with influential critic Eve Kosofsky Sedgwick. A paranoid reading focuses on what’s wrong or problematic about a work of art. A reparative reading seeks out what might be nourishing or healing in a work of art, even if the work is flawed. Importantly, a reparative reading also tends to consider what might be nourishing or healing in a work of art for someone who isn’t the reader. This kind of nuance gets completely worn away on Twitter, home of paranoid readings. “[You might tweet], ‘Well, they didn’t discuss X, Y, or Z, so that’s bad!’ Or, ‘They didn’t’ — in this case — ‘discuss transness in a way that felt like what I feel about transness, therefore it is bad.’ That flattens everything into this very individual, very hostile way of reading,” Mandelo says. “Part of reparative reading is trying to think about how a story cannot do everything. Nothing can do everything. If you’re reading every text, fiction, or criticism looking for it to tick a bunch of boxes — like if it represents X, Y, and Z appropriately to my definitions of appropriate, and if it’s missing any of those things, it’s not good — you’re not really seeing the close focus that it has on something else.”

A paranoid reading describes perfectly what fandom culture has become in the modern times. It is why "proship", once simply a word for common sense "don't engage with what you don't like, and don't harass people who create it either" philosophies, has become the boogeyman of fandom, a bad and dangerous word. The days of reparative readings, where you would look for things you enjoyed, are all but dead. Fiction is rarely a chance to feel joy; it's an excuse to get angry, to vitriolically attack those different from oneself while surrounded with those who are the same as oneself. It's an excuse to form in-groups and out-groups that must necessarily be in a constant state of conflict, lest it come across like This side is accepting That side's faults. In other words, fandom has become the exact sort of space as the nonfandom spaces it used to seek to define itself against.

It's not about joy. It's not about resonance with plot or characters. It's about hate. It's about finding fault. If they can't find any in the story, they will, rest assured, create it by instigating fan wars- dividing fandom into factions and mercilessly attacking the other.

And that's if they even went so far as to read the work they're critiquing. The ones they don't bother to read, as you saw above, fare even worse. If an AO3 writer tagged an abuser/victim ship, it's bad, it's fetishism, even if the story is about how the victim escapes. If a trans writer uses the title "I Sexually Identify as an Attack Helicopter" to find a framework to dissect rainbow-washing the military-industrial complex, it's unforgivable. It's a cesspool of kneejerk reactions, moralizing discomfort, treating good/evil as dichotomous categories that can never be escaped, and using that complex as an excuse to heap harassment on people who "deserve it." Because once you are Bad, there is no action against you that is too Bad for you to deserve.

Isabel Fall's story follows this so step-by-step that it's like a textbook case study on modern fandom behavior.

Isabel Fall wrote a short story with an inflammatory title, with a genesis in transphobic mockery, in the hopes of turning it into a genuine treatise on the intersection of gender and sexuality and the military-industrial complex. But because audiences are unprepared for the idea of inflammatory rhetoric as a tool to force discomfort to then force deeper introspection... they zeroed in on the discomfort. "I Sexually Identify as an Attack Helicopter"- the title phrase, not the work- made them uncomfortable. We no longer teach people how to handle discomfort; we live in a world of euphemism and glossing over, a world where people can't even type out the words "kill" and rape", instead substituting "unalive" and "grape." We don't deal with uncomfortable feelings anymore; we censor them, we transform them, we sanitize them. When you are unable to process discomfort, when you are never given self-soothing tools, your only possible conclusion is that anything Uncomfortable must be Bad, and the creator must either be censored too, or attacked into conformity so that you never again experience the horrors of being Uncomfortable.

So the masses took to Twitter, outraged. They were Uncomfortable, and that de facto meant that they had been Wronged. Because the content was related to trans identity issues, that became the accusation; it was transphobic, inherently. It couldn't be a critique of bigger and more fluid systems than gender identity alone; it was a slight against trans people. And no amount of explanations would change their minds now, because they had already been aggrieved and made to feel Uncomfortable.

Isabel Fall was now a Bad Person, and we all know what fandom spaces do to Bad People. Bad People, because they are Bad, will always be deserving of suicide bait and namecalling and threatening. Once a person is Bad, there is no way to ever become Good again. Not by refuting the accusations (because the accusations are now self-evident facts; "there is a callout thread against them" is its own tautological proof that wrongdoing has happened regardless of the veracity of the claims in the callout) and not by apologizing and changing, because if you apologize and admit you did the Bad thing, you are still Bad, and no matter what you do in future, you were once Bad and that needs to be brought up every time you are mentioned. If you are bad, you can NEVER be more than what you were at your worst (in their definition) moment. Your are now ontologically evil, and there is no action taken against you that can be immoral.

So Isabel was doomed, naturally. It didn't matter that she outed herself to explain that she personally had lived the experience of a trans woman and could speak with authority on the atrocity of rainbow-washing the military industrial complex as a proaganda tool to capture progressives. None of it mattered. She had written a work with an Uncomfortable phrase for a title, the readers were Uncomfortable, and someone had to pay for it.

And that's the key; pay for it. Punishment. Revenge. It's never about correcting behavior. Restorative justice is not in this group's vocabulary. You will, incidentally, never find one of these folks have a stance against the death penalty; if you did Bad as a verb, you are Bad as an intrinsic, inescapable adjective, and what can you do to incorrigible people but kill them to save the Normal people? This is the same principle, on a smaller scale, that underscores their fandom activities; if a Bad fan writes Bad fiction, they are a Bad person, and their fandom persona needs to die to save Normal fans the pain of feeling Uncomfortable.

And that's what happened to Isabel Fall. The person who wrote the short story is very much alive, but the pseudonym of Isabel Fall, the identity, the lived experiences coming together in concert with imagination to form a speculative work to critique deeply problematic sociopolitical structures? That is dead. Isabel Fall will never write again, even if by some miracle the person who once used the name does. Even if she ever decides to restart her transition, she will be permanently scarred by this experience, and will never again be able to share her experience with us as a way to grow our own empathy and challenge our understanding of the world. In spirit, but not body, fandom spaces murdered Isabel Fall.

And that's... fandom, anymore. That's just what is done, routinely and without question, to Bad people. Good people are Good, so they don't make mistakes, and they never go too far when dealing with Bad people. And Bad people, well, they should have thought before they did something Bad which made them Bad people.

Isabel Fall's harassment happened in early 2020, before quarantine started, but it was in so many ways a final chance for fandom to hit the breaks. A chance for fandom to think collectively about what it wanted to be, who it wanted to be for and how it wanted to do it. And fandom looked at this and said, "more, please." It continues to harass marginalized people, especially fans of color and queen fans, into suffering mental breakdowns. With gusto.

Any ideas of reparative reading is dead. Fandom runs solely on paranoid readings. And so too is restorative justice gone for fandom transgressions, real or imagined. It is now solely about punitive, vigilante justice. It's a concerted campaign to make sure oddballs conform or die (in spirit, but sometimes even physically given how often mentally ill individuals are pushed into committing suicide).

It's a deeply toxic environment and I'm sad to say that Isabel Fall's story was, in retrospect, a sort of event horizon for the fandom. The gravitational pull of these harassment campaigns is entirely too strong now and there is no escaping it. I'm sorry, I hate to say something so bleak, but thinking the last few days about the state of fandom (not just my current one but also others I watch from the outside), I just don't think we can ever go back to peaceful "for joy" engagement, not when so many people are determined to use it as an outlet for lateral aggression against other people.

[husberttee]

that one girl in my class today was like hey is your girlfriend pretty? despite me never having told her I'm dating a woman. so i ask her how did u know and she was like first of all have you looked at yourself? second of all I'm gay

:')

[todayontumblr]

Friday, April 19.

Enchanté

We've someone we would like you to meet. Her name is Jean Deaux, and she does a lot. And when we say a lot, we mean a lot: she is a Chicago-based artist, musician, and filmmaker, spanning genres and disciplines, and a trendsetter in the Black queer community. She even has a Tumblr, as luck would have it, which you can find at @thedeauxdiaries. We think you'll get on just great. 

She released the video for "Roll With Me" today. It comes from her new EP, Nowhere Fast, a record that explores themes of fears of intimacy, stagnation and returning, and chasing your dreams.

At this point, we would like to write something clever about themes of intimacy and its fears, stagnation and returning, and chasing your dreams. But why would we do that when we can leave it to Jean Deaux herself?

Nowhere Fast is out now. If you're fearing intimacy, feeling stagnant and getting back to yourself, or pursuing your dreams, this is a record for all y'all. It's a record that shows, despite these challenges, you can always create something from it.

[acowardinmordor]

How does Steve manage to greet his boyfriend using pronouns in such a way that Robin overhears, but also doesn't call him boyfriend? I have no idea. That isn't the point. I just want Steve to be so happy that Eddie is actually there that his brain shuts off, and he barely manages to not jump the counter and kiss him. Sure, Eddie was coming to apologize, but then Steve calls him a he, and its not being outed, but its weird, so he leaves in a huff.

And then I want weird weird antagonized tension between him and Robin. And the bathroom confession to be her coming out, and him saying that he has a boyfriend, maybe, hopefully still, or will again, but doesn't give a name. The kids show up before Steve accidentally says something really dumb, like asking if Robin would like someone who is like Eddie, or inverse Eddie or something. Give him a break, he's a drugged Himbo in this who is high key supportive but very confused.

And obviously, Eddie hears about the Mall fire, and obviously, he calls Steve's house to check on him, and obviously when Steve doesn't answer, Eddie heads to the mall, and utterly freaks out bc he sees the beemer, but no Steve. He camps out by the car to wait. And something something, Eddie half tackles Steve and kisses him when Stobin finally escape the paramedics. Robin punches Steve in the arm and starts yelling about how she thought Steve was in love with his boyfriend (which is news to Eddie) and how dare Steve cheat on his boyfriend Eddie and --

Yeah, I just kinda want bisexual trans Eddie, who Robin kinda admires for having the gall to flip off expectations of how a girl is supposed to be, and maybe once had a baby crush, and all three of them talking over each other bc this would be utter chaos of people almost outing, actually outing, and trying to un-out the others as they argue.

Fucked up thought as I do material spec: transmasc Eddie Munson who gets bullied and called a guy because of how he dresses and acts (transphobic so bad they looped back to what Eddie wants on accident) dating Steve post S2, who knows and supports him, but still has to misgender his bf in public until they can get out of Hawkins. Eddie fails again, they get in a fight about whether they should leave, and aren’t broken up, but aren’t really together as S3 starts. So when Eddie visits Scoops, Steve is so happy to see him that he calls him Eddie and he/him in public, just like the bullies, and can’t explain to Robin, who is absolutely pissed that Steve is treating her Eddie like that.

[yamujiburo]

Why I Love Hanamusa

I get this question very frequently but have never given a really in depth, definitive answer. All just kinda implied through my comics and spread out asks. So here's this I guess! Long post ahead:

First, as a Pokémon fan in her mid 20s, I love seeing a ship where the characters are both in their mid/late 20s. Already, they’re much more relatable to me and my current experiences. Most Pokémon ships are between preteens, which can be cute but ultimately don’t interest me as much as they used to when I was a kid myself. Not enough to get super invested in and draw a lot of fanart for anyways haha.

I’ll also start by saying that canon doesn’t always influence whether or not I’ll ship something. I’m much more drawn to potential. Could the characters work together? Do their personalities work together in a nice way? I feel like this so much of fanon is anyways. Especially with queer relationships because they’re rarely depicted in the first place. A lot of the context for these ships is usually up to the fans to piece together or make up in general. And that’s the fun part to me!

Jessie and Delia have only met in the anime a handful of times. Any interaction they’ve had has either been pleasant, or just a typical Team Rocket interaction, with Delia dismissing them/not seeing them as a threat. Already a great jumping off point for me since, truly, they don’t have any actual beef or true, ill feelings towards each other. It’s not TOO out of the realm of possibility for them to potentially fall for each other. “But Jessie chased Delia’s son around trying to steal his Pokémon!” That’s where that dismissive and aloof attitude that Delia has comes into play. I’ll go more into Delia’s whole deal a bit later but I do think this aspect of her personality is a large reason why this ship can work. It’s not that she doesn’t care that Jessie has a bad past, but she can tell that, on the inside, Jessie’s a good person. And, in a scenario where Jessie is trying to become a better person, is forgiving enough to give her a shot. I feel like this is such a solid foundation for a ship. A character who has done wrong but is trying to be better and another character who is willing to help them be better. A classic dynamic!

It’s not just one-sided though; where Jessie is the only one benefitting and learning from the relationship. I believe Delia could get a lot out of being with someone like Jessie. To understand why, I think it’s important to know these characters’ respective backstories.

Jessie is an orphan/foster child who grew up in poverty. Her mother Miyamoto (from The Birth of Mewtwo) was a Team Rocket operative herself, who went on a mission to find Mew. In order to do this, she had to leave Jessie when she was just a toddler. Unfortunately, Miyamoto went MIA on her mission leaving Jessie to more or less fend for herself. Jessie went through life with zero stability, evident by her MANY different careers and constant moving around. It’s implied in the show that she went from foster home to foster home, and later in life tried being an idol, weather girl, florist, wine connoisseur, actress, most notably a nurse and finally a Team Rocket field agent. And even while in Team Rocket, she, James and Meowth were always doing odd jobs to get by. We see that Jessie used to be a sweet kid, and even adult, but the world and her circumstances repeatedly did her dirty, leading her to become the character we know today. Hot tempered, mean, selfish, etc. But despite this, her soft side does still shine through for the people and Pokémon she cares about. She is incredibly loyal.

Delia, unbeknownst to a lot of fans, also had a rough past (see Pocket Monsters: The Animation). Like Jessie, she had a lot of dreams and aspirations like wanting to be a model and even a trainer. But when she was 10, her mother didn’t let her, telling her that she had to stay home and learn to run the family restaurant (she’s an only child). Delia’s father left her and her mother to be a trainer, and never returned. When she was 18, she married Ash’s father and became pregnant shortly after. But right after Ash was born, he also set off to be a Pokémon trainer. And soon after that, her mother passed away, leaving Delia with just the restaurant and baby Ash. This gives so much context to Delia’s attitude in the show. We see that Delia is pained whenever Ash leaves on a journey, but she never shows that pain to anyone. ESPECIALLY Ash. She’s very quick to shoo him off when he shows any sign of wanting to go on another journey and even when he returns home, she acts more excited to see Pikachu than him almost every time. Without all this backstory, it’s easy to just read this as a funny gag, BUT with context, I think it really shows how quickly Delia shuts down and detaches in order to not confront her own feelings. She’s afraid of losing people and getting hurt again.

All that said, I think Jessie and Delia provide each other with EXACTLY what the other needs. 

Aside from becoming rich and famous, Jessie’s biggest aspiration is to get married. In my opinion, this is more so an underlying want for love and stability. There is no one more stable in the show than Delia. Delia’s lived in Pallet her whole life, she’s worked at the same restaurant since she was young and she is always there when Ash comes back home. She has all the love, patience and stability Jessie needs and craves. While forgiving, Delia’s not stupid and can keep Jessie in check. Delia’s also just an angel, which I feel, would make Jessie want to be better. And on top of all this, on more of a surface level, Delia’s a chef and excellent cook. She shows love through cooking and Jessie, who grew up poor, regularly starving and eating snow, happily receives that love. Jessie’s able to live a happy and healthy life with someone like Delia.

Delia, as stated, is very stable. Likely pretty monotonous and solitary, especially living in such a small town like Pallet. This isn’t a bad thing but it’s a little sad when you consider that Delia also had dreams of traveling, being a model and a trainer. She had to give up so many dreams in order to fulfill her duties as a restaurant owner and mother. And even now, when Ash is off on his journey, she feels the need to always be home and be that stable pillar, leaving behind any ambitions she had, thinking it’s too late for her (she’s only 29 btw). But then along comes Jessie, dangerous, passionate, an absolute firecracker. Someone who’s whole life has been about chasing dreams and either, never giving up on them or finding a new dream to chase. Upon learning about Delia’s past aspirations, I could see Jessie pushing her towards them, letting her know that life’s too short and she has nothing to lose from trying. On top of this, Jessie’s also loyal. She, James and Meowth are depicted as doing anything for anyone who gives them food or shows them kindness. Delia does both so there’s no way Jessie would leave her. This fulfills an essential need for Delia, who is afraid of the people in her life leaving her.

There’s so much potential for mutual growth and learning between these two and I adore that. They compliment each other, they help each other and they bring out the best qualities in one another.

I’m not really sure how to end this and I could truly talk about them even more but I don’t want this to be tooooo long haha. OH I could end it with maybe the most funny aspect of this ship that I've brushed over and also what drew me to it in the first place. Jessie. As Ash’s stepmom. THE END.

[juney-blues]

June Egbert is, and always has been incredibly fascinating to me because of just, how many factors have conspired to make Homestuck fans show their collective transmisogynistic asses.

The main character of Homestuck transitioning is a planned future plot point for the official continuation of homestuck, that was spoiled in advance by a fan making a joke about finding some toblerones Andrew Hussie the author of homestuck hid in a cave.

The current main writers of Homestuck: Beyond Canon have went on record in an AMA confirming that this was indeed always the plan, even before they took up the project.

In spite of these facts, the general consensus among certain homestuck fans seems to be that "June Egbert" is purely a headcanon for the original comic that was "made canon" by a "Toblerone Wish" (a concept that didn't even exist at the time)

For a variety of reasons, the "canonicity" of the postcanon official continuations of homestuck is a mattter of much debate, (though a debate that most homestuck fans seem to err on a side of "it's not canon at all in the slightest," something the writers have feelings on I'm sure.)

All of these factors combined leave the concept of "June Egbert" in a very nebulous place. It's assumed by most to just be an "ascended headcanon" that was shoehorned in, it's a spoiler so it hasn't happened yet in any official media, and the official media it will eventually happen in is regarded by some to be nothing more than glorified fanfic.

If someone is talking about June Egbert, and you don't like the concept of June Egbert, you have your pick of a million different excuses for why she's fake and gay and not worth discussing and bad writing and just the authors doing a gay dumbledore*, paying lip service to representation while actually doing nothing.

And of course, lots of people *don't* like June Egbert! Rather than being introduced as transfem from the start, she's in this nebulous position of discovery where people have to truly reckon with the idea of a "Pre-transition Trans Woman."

You can try to write off *some* of the backlash as transphobia, because obviously not everyone in this fandom is gonna be cool about trans people.

But there's no shortage of fans just dying to tell you about how much they like reading her as transmasc, or the idea of her being nonbinary or genderqueer or genderfluid, or literally anything besides a trans woman. And since they're fine with all those other interpretations, there's obviously no implicit biases driving their distaste for the concept! (if you want to try explaining the concept of "transmisogyny" to people like this you're braver than I.)

you can trust them when they say it's *just* a problem with whether or not it makes sense with the writing, or it just doesn't feel right somehow, or any of the thousands of excuses that this writing situation gives them to just Not Like It.

It's just, so interesting to me. There's not a lot of characters out there that get a trans arc in this way, that leaves room for open denialism and insistence that we have our trans cake and eat it too... Because Homestuck is a timeline spanning multiverse story, lots of people seem to want it to be an alternate timeline thing. Assuring us we can have this character share space with a non-transitioning version of herself and it won't be weird or imply gross things about trans people.

If you ask me it feels like a plotline that'd be really good for exploring some gender horror though, finding your true self and then being demoted to a footnote, an alternate version, because everyone around you likes your pre-transition self more....

Anyway I have no broader point beyond "hey look at this isn't this kinda weird. You don't get this kinda stuff often!"

*side note: it's a little ghoulish I think to compare "a future trans plot point that hasn't been given the chance to even happen yet, in an already famously queer piece of media, from a nonbinary author" to "some stupid shit done by the literal most famous transphobe of all time" but that's perhaps a discussion for later.

[squidthusiast]

Ok, but why do I imagine Eight being the unofficial child of Pearl x Marina?

Because I imagine Eight was minding their business and all of a sudden, Pearl would slam the paper down and said “You’re adopted now”

Basically OTH at the start of their world tour haha, I love that they took Eight with them.

I have more detailed thoughts under the cut for those interested in my ramblings, analysis and interpretations of the characters.

Disclaimer: This is my own take on it, don’t let it ruin your fun!

I personally don’t really subscribe to the fandom’s ‘pearlina moms’ headcanon.

On the one hand, I am an absolute sucker for the ‘found family’ trope, and I definitely think Agent 8 and OTH fit in it!

On the other hand, I think people immediately put Pearl and Marina into the ‘parenthood’ box, a little too eagerly. Not saying this specific ask is that, btw, it just reminded me of some instances i’ve seen.

I personally think that the relationship between OTH and Agent 8 is a little more nuanced & sibling-esque, for the following reasons:

1. Within canon, we often see 8 being referred to as a friend by both Pearl and Marina.

Pearl does it more explicitly (see that one interview at her house), whereas with Marina it’s more insinuated (ex. In the Side Order dev diaries, she starts calling Agent 8 as ‘Eight’, which is stated to be a name used by their friends).

Pearl seems to be an accidental-duck-parent of sorts who haphazardly collects octoling teenagers & young musical talent. It goes in line with her whole mentor-esque leader personality, and i’m sure these disoriented teens find relief in an idol who seemingly knows what she’s doing (she really doesn’t).

However she doesn’t act in a parental manner. More-so like your estranged gay cousin who hit it big in another country and is down to show your queer little butt the ropes.

Marina on the other hand seems to have a more empathetic approach with Agent 8 (opposite to Pearl’s brashness). Marina clearly connects with Agent 8 through their shared experience as defected octoling soldiers, and probably sees her younger self in them. She’s already caring as it is, but this is accentuated during octo expansion given the circumstances.

I feel however that, unlike Pearl, Marina has a bit of a harder time actually forming a bond with Eight at the beginning. Their similarities (seemingly) end at their shared experience, and probably leaves Marina awkwardly wondering how to approach them further. What we can assume though is that they become closer friends during OTH’s world tour, given the events described in the Memverse Dev Diaries.

Meeting Eight during difficult circumstances (OE) and helping them get out creates a sense of camaraderie between them, which probably devolves into genuine care, established friendship and a strong bond amongst the three overtime.

2. Pearl and Marina are very career-centric both in Splat 2 and 3.

It is reasonable that the two young idols, who see their fame and musical recognition rise spectacularly & fast, are not particularly interested in settling down at this point in their lives.

Now entering her late 20s, Pearl is most definitely still interested in keeping the ball rolling with Off the Hook’s international success. Her character often points towards restlessness, freedom and discovery. There has definitely been character development in regards to her maturity in Splatoon 3, but these aforementioned traits are still ever present in her demeanour & decision-making.

Marina on the other hand can be seen slowly blossoming from a supporting character to being her own person. She definitely develops more self-confidence by Splatoon 3, but is still naturally bashful. It’s clear that she is allowing herself to explore & open up to new things for her own sake. She remains a caring and somewhat nurturing individual, but she is at a stage where she’s learning to live for herself and not for others.

Parenthood (and all the responsibilities and sacrifices it entails) at this moment of their lives would probably freak Pearl out, and stunt Marina’s personal growth.

3. The age gaps between OTH and Agent 8 are too close for it to create a parent/kid bond.

This makes their relationship a little hazy in regards to roles; 8 is still young enough that they may seek out rolemodels and mentors (still relatively influenceable), but they’re also nearing their 20s. By this point they are fairly self sufficient, have a sense of their personal values & identity, and they are relatively responsible & mature.

Pearl and Marina are 8’s seniors by approximately 4-6 years. However, in Splatoon 2 they’re entering their early 20s and their career has just begun to take off.

They are both still relatively youngsters, albeit older & more mature(? glancing at Pearl) youngsters than 8. This places them in a position where they can guide 8 and offer certain support and resources, but lack the maturity and experience of a full-fledged adult. This would approximate their relationship closer to that of siblings in a family setting.

Pearl & Marina are also less likely to feel a duty towards Eight as an adult would with a child. Instead, the latter’s circumstances are more likely to incite feelings of rapport and compassion as a fellow young inkfish.

Now, with all of this said, I will acknowledge that friendship/found family is MUCH more nuanced than a strict binary.

From personal experience in my last years of college, I did find myself caring for my fellow freshmen as though they were my kids, in certain ways. Hell, I called them my kids.

I acted as a proud parent whenever some of them achieved something, attempted to pass down my knowledge to them, and was protective of them to a certain extent.

They also annoyed me sometimes, like younger people do haha. And i’m sure I annoyed them too!

So I wouldn’t put it past OTH to call Eight their kid and have this mentor/parent-esque rapport with them in certain circumstances.

This is all based both on canon & my own interpretations of it, but still closely aligned to what has been shown in-game.

So if you have a different interpretation of Agent 8 and OTH, that’s great! I love to see people’s personal headcanons. Ultimately, Agent 8 is meant to be somewhat of a blank slate for the players to mold, with some hinted-at personality traits of their own.

As long as you have fun with these characters, that’s all that matters. This is just my personal opinion on their relationship in-game.

If you read all of this, you deserve the biggest golden star for listening to my incessant yapping 🤲⭐️

Feel free to bother me about this or other opinions you may have in my inbox, just be kind please!