#and you know i support books with messy queer protagonists

[libraryleopard]

Adult romance novel

Follows Amy, a twenty-something bi woman in an open relationship as she navigates the ups and downs of the dating scene–until one-night hook-ups are complicated by real emotion and she must learn how to deal with unexpected new feelings

Bi, polyamorous main character; various queer side characters

[bloodgulchblog]

Important question.

Which halo book is the most gay

Sorry this took a minute, I've been dying on the job lately and this ended up longer than intended. (I am under so much stress and writing absurd amounts about Halo canon is enrichment for me.)

First of all: Is anything in Halo hard-canon, completely undeniable, text-only no subtext, gay? The answer is: not much.

Cards on the table, jokes to the side, Halo is overall very sexless and, when it remembers sexuality exists and maybe a character would have a feeling about that, it's usually heterosexual. Halo was born in the early 2000s and is one of those properties that wears a "mature" coat of paint but knows that a huge percentage of its audience is probably teenagers and thus it's very scared of what would happen if their parents got mad. (This was even true when they were still making the games M rated.) The games have a lot of incidental dialogue with the marines and sangheili allies but it's the kind of thing of thing you know people let skate in 2007 because lol gay, hilarious.

It's one of those things where the only way to square it with, you know, the fact queer people exist in reality, is that queer people existing is commonplace and not taboo ergo it's not brought up. This isn't a great patch job and fixes nothing, but these are the hoops available to jump through if this is your chosen circus and you're trying to have a good time. Do the tigers at the circus have a good time? Probably not, actually. Let's move on.

There are two instances of the written Halo canon specifically and undeniably mentioning gay characters. (...Or at least there have been two for the longest damn time. If I blinked and missed something recent y'all should yell in the notes. The gay couple they kill in the TV show doesn't count.) They are both supporting cast characters in short stories written by the same author, Tobias S. Buckell, for each of the two short story anthologies.

The older story is "Dirt" in the Evolutions anthology, and there are two gay women in it. The first is Felicia:

The second is Allison:

Both of these characters die (Allison dies in an attack that happens literally seconds after this moment, but Felicia is important through the story until she goes). "Dirt" is good, contains the first mention of the Rookie, the most detail we've been given on ODST training, and is a love letter to Contact Harvest so it's following up on the messy pre-Covenant insurrection vs CMA vs UNSC tensions we haven't seen in as much detail since.

The second story is "Oasis" in the Fractures anthology and there is much much less here. The protagonist of "Oasis" is a girl whose remote desert community is being ravaged by a virus, and she's the only one able to set out across the desert in search of help (where she gets caught up in some infighting among the planet's Sangheili).

Nearer the start, she finds one of her neighbors burning the body of his partner, who has died of the virus. I'm not going to post it, it's very sad. They're one-scene characters and one of them is dead before we meet him.

Tobias S. Buckell is the only Halo writer who has given us canonically gay characters, and they're only supporting cast in short stories. I can't know why exactly (fuck if I know what has happened internally on Halo) but the why socially (society homophobic) is pretty obvious.

Honestly, I think the only other direct mention is there's a bit in the first YA novel where one of the kids teases another about whether a third is "his boyfriend" because they've been talking a lot and he's like no stoooop!! about it.

Anyway.

If we have to choose a gayest Halo book based on actual mention of gay people, the award goes to Halo: Evolutions because it has one story where a lesbian is a major character.

Having crowned this dubious king, let's move on to the subtext. It's fine. We're all on tumblr, we all understand having to descend into these mines to have fun.

There are a lot of very gay moments in some Halo stories. Certainly not enough to recommend a whole book to someone, because these are always incidental, but hey. I'm a master at chewing the scraps off the bones.

I'll lead with trying to answer the original question: What is the gayest Halo book?

I think to me, the most sustained gay vibe in a written-out Halo story is whatever was going on between Romeo and Dutch in the short run comic Helljumper.

The actual text of Helljumper is: Dutch has put in for a transfer to a non-combat post in order to be closer to his wife, Gretchen. Romeo is really upset about this and they have conflict about this through a big high octane ODST adventure that ends with Romeo saying "hey Dutch I've put in for a transfer too" while Dutch goes "oh uh, I talked to Gretchen about it and I canceled my transfer request..."

It's the intensity of Romeo's hurt feelings, and the obvious fondness between the characters. I'm not saying "Romeo/Dutch real." I don't like Romeo a whole lot (mostly due to later outings in the Buck novels) and Dutch is definitely very married to Gretchen. I don't actually care that much. But for the space of time where I was reading Helljumper thinking about it that way added more emotional interest and made sense.

For things that only last for moments, I have a little collection of bits and pieces.

First: The essence of the Lord of Admirals Forthencho oversharing with our poor boy Chakas about his Didact feelings. (From Primordium.)

A moment where you know how bad the Arbiter and the Rtas 'Vadum wish they could be reunited one day, from Shadow of Intent:

Also I think the strongest "oh you could build a romance out of that" moment with the Arbiter about the Chief is actually him fully prepared to tell Locke to fuck off over him in Halo 5, but having that conviction in the Arbiter's warrior crush on the Master Chief makes passages like the below (in Outcasts) fun:

Uhuh Thel you are commissioning art of him in your home? Tell us more.

(Yes, I'm playing, I know the saga wall is an important Sangheili cultural piece, I know-)

Zita, you may ask, do you have even a crumb for the lesbians?

Alright boss, best I got is probably Adriana-111 making tea for Melody Azikiwe after the Big Stressful Book Events have concluded (from Halo: Envoy)

Okay.

I think there might be more, so everyone feel free to use this post to shout out your favorite spots that you think are better if you read them gay.

[treesap-blogs]

Review for “Ophelia After All” by Racquel Marie!

Hello, Tumblrians! I’ll try to publish at least 4 reviews this week. If I go on another unpredicted hiatus, at least I can have all this writing to make up for my sudden absence? 

Real talk though, I’m sorry about the inconsistent schedule. I get pretty self-conscious about this Tumblr account (there’s a reason I don’t use hashtags anymore), and also I’ve been kinda exhausted in the last week. I already told you guys about South Carolina. (There was originally gonna be a 540-word rant after this but I cut it. That was definitely for the best!)

I really gotta set realistic standards for myself. I keep thinking I’ll be prepared to upload reviews for this account but then I get hit with anxiety paralysis and just never upload anything. It feels like a chore sometimes, even when I made this for fun. I know not many people follow this, because I stay out of hashtags and the people who actually choose to follow me ‘cause they saw my reviews somewhere and liked them leave because I’m inconsistent. I’m sorry for repeatedly disappointing you all.

Okay! Time to actually start my book review! 

Ophelia After All by Racquel Marie follows 17 year-old Ophelia: daughter of an Irish English professor and a Cuban immigrant, she’s spent her whole life being a passionate rose gardener, gossip lover, and hopeless romantic with a crush on nearly every boy she meets. But a few weeks before prom, when she undeniably falls for a female classmate named Talia, she begins to question the identity she’s developed over time—and how much of it was because she wanted to appease the people around her. 

I really loved this book! Ophelia was a realistic teenage protagonist, and especially liked the dynamic she had with her friend group (which was one of many relationships paramount to the story). They teased and supported each other, called people out on their shit, fought and later made up, like a lot of friend groups do. While I get that not everyone likes to read about teenage drama, it was resolved by the end, and it didn’t take the melodramatic approach. There was also an interesting examination of Ophelia getting used to being around guys and not necessarily liking them romantically! Maybe it’s because I’m gay but I appreciated that too.

Anyhow! Other things I liked: Talia and Ophelia’s friendship! Ugh the embarrassment in the middle though😬 (WHY OPHELIA). I did like that even after everything they maintained that platonic relationship, though. I was expecting for it to be a romance because a lot of the YAs of this variety I read typically are, this is the first one I’ve read where the MC didn’t get the girl and learned to deal with that! (Also, Talia was sweet.) The multifaceted discussion of Ophelia’s identity was cool too, mixing together discussions on heteronormativity, culture, and dealing with the future in a coming-of-age story. I also just really love queer contemporary stories! It’s something about the light, sometimes snarky but overall honest writing style of basically every single one I read that leaves me whizzing through several hundreds of pages in under a day.

And of course, you can’t go wrong with the additional rose anecdotes sprinkled throughout the story.

(Sidenote, though: I was reading this the same week I was reading and listening to Bianca Torre Is Afraid Of Everything, so there was this weird coincidence between the two where both MCs had Shakespeare-obsessed moms who named their children after lady characters from his plays, assumed they were cishet, and initially weren’t trusted in their coming out journeys lmao?!) 

Uhmmm I don’t know what else to add on, except for that I just really liked that although everything was resolved there were still consequences and (eventual) self-awareness, and this and Felix Ever After are probably my favorites of the “messy coming-of-age” queer contemporary subgenre! (Which isn’t actually a real subgenre, but it should be considered one, right?!) My positive reviews are always very short, lol. Just look at my When The Angels Left The Old Country one, I remember I was going in circles? So I’ll cap it off here!

Book rating: (predictably) ⭐️⭐️⭐️⭐️⭐️/5 Finished 06/07/23.

(Book content warnings: Homophobia, lesbophobia, racism, outing, mentions of aro/acephobia and islamophobia.)

-Paz, signing off! ^^

[unfilteredfantasies]

Pizza Girl by Jean Kyoung Frazier is an Asian-American fiction novel about a young eighteen-year-old woman that is pregnant and working at a local pizza place. When an older mother becomes a regular customer, our unnamed protagonist finds herself a bit obsessed with her and begins a strange stalking shindig.

I picked this up because I read in some spoiler-free reviews that this novel was absurd and complex, showing the messiness that comes with being both multiracial and living amid single parenthood. Given that our main character herself is on the precipice of motherhood, I was curious about the story. Luckily for me, it was entertaining, insightful, and intimate. However, it may also be somewhat polarising.

This girl, our lead, has quite a few dysfunctional relationships in her life, from the one with her baby’s father to the one between her and her mum, and then the eccentricities that arise with the newfound customer. This is the best part of the novel. Life is messy and can rarely make sense, especially when you’re on the cusp of adulthood and trying to finagle out your identity. I’m sure that unexpected parenthood can complicate those feelings of disorientation and uncertainty even more. The writing is a stream-of-consciousness perspective of the daily instabilities and anxieties that the main character faces with respect to her cultural identity, questioning queer interests, and also the grief of losing her father. It was wonderfully genuine and relatable, yet candid and vulnerable. There are people who deal with the challenges and obstacles of life by sorting through them in a chaotic manner, which can include compartmentalising and flat out ignoring the issues at hand until it corners them into making choices, and that’s essentially what we are presented with here.

Folx that prefer stories with cohesive and structured writing dynamics may not enjoy Pizza Girl as it can feel experimental in many ways, especially as it jumps around from one topic to another as the Main Lead’s thoughts gush out of her. If the writing doesn’t rub you itchy, then the ambiguity might. Again, I appreciated this element in the novel, however, I can see how off-putting this would be for many readers. We never receive a concrete solution to any of the things that Main Girl is balancing. There are tons of snippets and interesting pieces that form a huge chunk of dimension to her life and problems, things are very easy to relate to or empathise with, but like life, most of it is left in the air waiting to be resolved. These unknowns can leave the reader somewhat frustrated. I definitely felt frustrated when I reached the end with certain things left unended.

This is why I can see the story as being polarising. Pizza Girl in and of itself is a symbol of the madness of growing up, particularly without a healthy framework to support one’s questions and curiosity (such as whether one is more Korean or American or neither, or if one would make a good mother, or if monogamy is the right choice, etc.). Left to our own devices with a brain and emotional system that is obscured by things like grief and having no sense of direction (i.e.: life goals) plus a severe lack of parental interest, everything feels overwhelming and loud. The only thing that becomes important is seeking silence from the noise of pending decisions and desires; to escape. This is a fantastic narrative tool here for readers who don’t mind or are open-minded to the reality of how tumultuous young adulthood is, especially for kids riding many different identities without ever feeling a part of any of them. Yet, by that same vein, the story may have connected to a wider audience more effortlessly if it was closer to the traditional novel structure and followed a semi-linear track.

Personally? I loved the chaos. Aside from some of the ambiguity, I felt this was a phenomenal book and should be one that many young adults pick up, just so they know that life is an untidy fucking bastard and that is perfectly okay. In fact, it’s fucking life. Honestly, I didn’t think I would like Pizza Girl when I first began it, but it blew me away with its mosaic brilliance. I only wish I could have read this when I was around eighteen to twenty.

If you are a reader that doesn’t mind sublime idiocy of the youthful (so to speak) in your literature, then definitely give Pizza Girl a read. It’s also short and comfortable to blow through within a day or so.

Title:   Pizza Girl Author:    Jean Kyoung Frazier Publisher:   Doubleday Released:   June 2020 Genre:   Asian American Fiction Content Warnings:   Some language. Some sexual content. Abandonment. Fatphobia. Queerphobia. Racism. Neurodivergence content. Detailed description of blood (brief).

[canonicallyanxious]

last year i posted a list of some of my favorite queer lit recommendations in honor of pride (which i still stand by, just ftr) and i thought it might be fun to try to make this into a bit of an annual tradition and keep the list more or less updated as time goes on and i (hopefully) read more queer books. who knows if i’ll be able to keep it up lol but we won’t know unless i try so here we go!

As per last year, recs will include links to the goodreads page (if applicable), any thoughts i have on the books, and any trigger warnings i can remember (please be forewarned that I do not have the best memory so I can’t guarantee that I’ll be able to catch everything). Including a mix of YA and adult, and excluding books i consider to be staples of the queer lit community (like Aristotle and Dante by Benjamin Alire Saenz is one of my favorite books of all time but i’m sure it’s the favorite of many of the people who are reading this list lol). Organized roughly by genre, then by author.

Contemporary

Felix Ever After by Kacen Callender

I’d like to preface this recommendation by saying the premise of this book originally had me quite hesitant. Like full disclosure, I’m not a big fan of the catfishing trope unless it’s done very carefully. That said, without spoiling anything I think it’s actually really well-handled in this story, and in a way I didn’t necessarily expect (in a good way). The main characters are very likeable and overall this is a book with a lot of heart. Highly recommend for those looking for a heartfelt story about a trans teen learning about love!

Features: gay trans protagonist and a variety of other queer characters in the supporting cast

Warnings: transphobia/misgendering as a significant side-plot, outing/deadnaming

Autobiography of Red by Anne Carson

First of all please mind the trigger warnings on this book (of which I’ve probably missed some rip it’s inevitable). I wouldn’t consider this an easy read by any means. That said it is also probably one of my favorite things I’ve read this year so far. It’s a modern retelling of a Greek myth (the tenth labor of Heracles if I’m not mistaken) melded with an original coming-of-age narrative, woven together seamlessly in poignant verse by the brilliant Anne Carson of the Sappho fragments translation fame (as well as infamous tumblr aesthetic quote “not to me, not if it’s you” etc. etc.). The interplay between ancient myth and modern themes/tropes is so fascinating, and the writing is just one punch in the gut after another (imo the verse makes it a bit easier to digest, your mileage may vary tho). i recommend this book for anyone who wants to be emotionally destroyed via quietly devastating poetry.

Features: mlm protagonist

Warnings: pedophilia/sexual assault of a child, incest

The Last True Poets of the Sea by Julia Drake

What is this?? Another modern retelling of a famous story??? I have a brand lol. Yes this is a (loose) retelling of Twelfth Night by William Shakespeare (AKA 17th century She’s the Man) but if you’re hesitant to give it a shot because of that let me tell you i did not even realize this was based on Twelfth Night until after I finished it and I don’t think that detracted from my enjoyment at all. The parallels are there for sure but this book is so much more than a retelling, it’s also a very compelling story about a complicated female protagonist who’s allowed to fuck up and have messy feelings while still being thoroughly sympathetic. i really love the relationship between Violet and her brother Sam, it’s so complex and heartwrenching, but of course the love story kicks ass too and also this book is just really well written!! the writer does a lot of cool things with narration and point of view and stylistic choices, definitely worth checking it out just for the writing imo! happens to be a nice bonus that i think everything else in this book is very good too.

Features: bisexual/pansexual (honestly I can’t remember exactly what label she uses sjknfskjnfs) wlw protagonist with male and female love interests

Warnings: themes of mental illness/depression, various portrayals of self-destructive behavior, hospitalization for suicide attempt as a significant sideplot

Fantasy/Sci-Fi

This Is How You Lose the Time War by Amal El-Mohtar and Max Gladstone

Let me preface this recommendation by saying I wouldn’t consider this the most accessible read. I suspect the prose style isn’t one that would work for everyone as it might feel overly wrought/purple to some which is completely understandable. That said, personally I devoured this book in one sitting so I had to give it a shout out. It’s basically this sprawlingly epic story about two mysteriously powerful agents fighting on opposite sides of a millennia-spanning war who eventually fall in love, and I just think the world building and concepts in this book are so enchanting. I’ll be the first to admit I’m not usually one to gravitate toward epistolary narratives but I’ll give anything a shot if it’s well done and I think the letter format of this story is exquisitely well done. like of course the content of the letters and how they develop these characters’ dynamics is very good, but i also really enjoyed reading about how they delivered the letters to each other and in what contexts they received the letters because I feel like those situations in themselves really helped flesh out the settings and characters. anyway i just think this is really beautifully written, would recommend if you’re in the mood for some truly wild storytelling!

Features: wlw protagonists

Warnings: violence/body horror and major character death

The Imperial Radch Trilogy (Ancillary Justice, Ancillary Sword, and Ancillary Mercy) and Provenance (standalone sequel) by Ann Leckie

With these lists I’ve more or less tried to limit myself to one book per writer so I’m definitely cheating with this one but I can’t not recommend this entire series in all its excellence. I truly feel that these books are now the benchmark of sci-fi for me, like never have i encountered an exploration of gender in a sci-fi context that was so richly drawn and satisfying to explore. The different conceptions of gender as explored in these stories are quite different from the typical western conception of the gender binary but Leckie does a really good job of fully immersing you into these new ways of thinking about gender, like it feels so seamless and organic. That aside the world-building in these books is very good - lots of complicated politics and such made more accessible through Leckie’s clear writing. And they’re all just thematically so complex in terms of questions of morality and justice and agency/autonomy/humanity, it’s been a long time since I had a reading experience that was as rewarding as tearing through this series.

Here’s how I would sum them up: if a sprawling series that thoroughly deconstructs questions of humanity/agency and justice from the perspective of a once-powerful military-grade AI intrigues you, I recommend starting with the trilogy! If a standalone story that more resembles heist shenanigans with a plucky heroine, complicated family dynamics, and unlikely friendships at its core is more your speed, I suggest giving Provenance a shot! If those both sound good why not read all of the above!

Features: Trilogy focuses on the Radch, a race of humans who do not have a conception of a gender binary (the author denotes this by referring to all Radchai characters with she/her pronouns); Provenance focuses on a different culture that recognizes a third gender (denoted with e/eir pronouns) with a tradition of not choosing one’s gender until adulthood; in general just some very interesting explorations of gender and sexuality in a sci-fi context

Warnings: genre-typical violence, prominent themes of imperialism/colonialism/genocide/war, consent/autonomy issues

Not Your Sidekick by C.B. Lee

I mostly recommend this one as a very sweet and feel-good queer story about superheroes in a vaguely futuristic society (as I know my taste in stories tend toward the tragically maudlin I’m trying to balance it out at least a little bit skjdnfskjnfs). The main character is very well-drawn and sympathetic, and her character arc in terms of coming to terms with her identity and agency is definitely one of my favorite parts of this book. my other favorite part of this book is the main romance which I think is just so, so sweet. Personally I found this read a bit predictable but that’s not necessarily a bad thing because it was also just an absurd amount of fun!

Features: bi wlw protagonist with a female love interest, trans character in the supporting cast

Warnings: genre-typical violence

One Last Stop by Casey McQuiston

Okay so I have absolutely no doubt this book will become a staple of the queer lit community (and if it doesn’t we will be having Words but seeing Red White and Royal Blue’s fanbase and the hype this book is already getting in the days after its release I would genuinely be surprised if it doesn’t) but I read it on the first day of this month and I haven’t been able to stop thinking about it since so I couldn’t not put this one on the list. i won’t say too much about it because if i let myself go i’ll probably never stop but i just. i’ve been waiting for a story like this. it feels so wonderfully self-indulgent in the best way, so warm and genuine and full of heart. it’s one of those books I feel like I read at the right time in my life - I also happen to be a 24 year old disaster queer with so much uncertainty about the future it hurts! - and it feels like the most sincere love letter to the queer community and reading this book felt like getting the best hug in the world by someone telling me I have a place in this world and I deserve it. It’s that kind of book and I have a feeling I’m going to be thinking about it for a really, really long time.

Features: bi wlw protagonist with a butch lesbian love interest and a supporting cast of trans/queer characters

Comics & Graphic Novels

Monstress by Marjorie M. Liu and Sana Takeda (note: this is an ongoing series; as of my writing this there are currently five volumes out but I believe individual issues/chapters are also available on a more regular basis)

Okay so this one is kind of an intense read and honestly I’m not sure that I would recommend it for everyone but I personally like it so much I wanted to give it a shout out. I really love the world-building in this series, it’s so intricate and well-thought out, and I love that the story is so female-centric. Like the society in this world is matriarchal with strong roots in asian culture and it shows, with such a rich and diverse cast of wonderfully complicated female characters and female relationships. Also the art in this series is just exquisite. i recommend this series for lovers of comics with rich steampunk-esque world-building and deeply flawed characters who also have a high tolerance for blood/gore.

Features: a wlw lead and other queer characters in the supporting/background cast (please note that sexuality/romance is generally not a major part of this story)

Warnings: body horror/gore (like… a lot of it), themes of imperialism/colonialism, cannibalism, child slavery/death

Laura Dean Keeps Breaking Up With Me by Mariko Tamaki and Rosemary Valero-O’Connell

Love the breathtakingly beautiful art in this, love the heartfelt coming of age storyline, love the focus on friendships and how to get out of a relationship that might not necessarily be the healthiest for you, love everything about this book. Absolute winner of a graphic novel.

Features: a wlw lead and other queer characters in the supporting cast

On A Sunbeam by Tillie Walden

I’m telling you this book has everything. Sweet pining across years in a boarding school setting? check. a vibrant supporting cast that basically hits the found family trope on the head? check. a captivating sci-fi setting with carefully detailed worldbuilding? check. themes of loneliness and connection across galaxies? check. Hauntingly gorgeous art that pulls everything together? check! Hands down one of the most beautiful graphic novels i’ve ever read.

Features: a wlw lead with a female love interest, a nonbinary supporting character and wlw in the supporting cast

Warnings: genre-typical violence, bullying, brief instance of misgendering

The Beechwood Helm by Letty Wilson (note: link goes to publisher’s website)

I am aware this is quite a niche pull, also the comic itself is very short (like under 50 pages) but I wanted to give Quindrie Press (a relatively new indie comics publisher) a shout-out because I recently backed a kickstarter they did to print some of their comics and I’m super impressed with their collection already, like i definitely think this is a publisher to keep your eye on. Personally I would recommend all the comics Quindrie Press currently offers (check out their site!) but I’m shouting out this one in particular because I think there’s just something so captivating and haunting about it. It’s an Arthurian-style story about a pair of knights who one day encounter a mysterious knight in a red helmet who challenges them to a duel to the death. I think this comic does an excellent job of quickly and effectively establishing its characters, relationships, and themes in such a small space, and I’m super into what this comic has to say about perpetuating the cycle of trauma/violence and how love/tenderness can help one break out of it. Doesn’t hurt that the art is gorgeous either! Please consider checking out and supporting indie creators/artists if you can!

Features: mlm protagonists

Warnings: violence/blood

Poetry & Non-Fiction

Drowned: A Mermaid’s Manifesto by Theresa Davis (note: link goes to publisher’s website)

Another very niche pull but I wanted to take this opportunity to shout out a poet/writer from my own local community. I found this collection in my favorite local bookstore and was immediately entranced by its simple yet evocative language. Please consider checking out and supporting indie creators/artists if you can!

Personal favorites: After This We Go Dark, Hypocrisy, Suite Movements

Devotions by Mary Oliver

This is basically a collection of Mary Oliver’s poems throughout her career so if you want a comprehensive primer of Mary Oliver’s poetry this is one I’d definitely recommend checking out! I mean what can I even say about Mary Oliver’s writing that hasn’t already been said. It truly is the epitome of tenderness and comfort; every time i read a poem by her I feel my heart grow a little lighter.

Personal favorites: I don’t want to be demure or respectable, Oxygen, You are standing at the edge of the woods, Singapore, One or Two Things, Wild Geese

Why Be Happy When You Could Be Normal? by Jeannette Winterson

I’ve always loved Jeannette Winterson’s writing - there’s just something about it that feels so punchy and poignant all at once - but I truly feel that this memoir is her writing at its very best. Heartwrenchingly honest writing, haunting ruminations on how complicated the concepts of family and love and grief can be, beautifully drawn atmosphere that seeps the whole narrative with a heaviness that aches but is also somehow breathtakingly accessible. This too ranks among some of my favorite reads this year.

[batmanisagatewaydrug]

hot book summer

I remade the post because 1.) I kept adding more books to this list and it was getting disorganized and 2.) the original hot book summer post had a typo that was cruelly pointed out by @dykerory so that shit CLEARLY HAD TO GO.

anyway, by some coincidence June is filled with new releases I'm very excited about (... and a few from May), so I've decided to do something I never do and spend a solid month or so reading mainly brand new books. PEEP THIS LIST:

Sorrowland (Rivers Solomon) - dropped May 4

Solomon is the author of a gorgeous book called The Deep, a story about queer post-apocalyptic mermaids and also about intergenerational trauma and community healing. faer new novel, Sorrowland, follows a pregnant woman feeling from a cult to raise her children in a deep forest where she’s haunted and hunted - I don’t know by what, exactly, but I’m seeing it described as both fantasy and horror, so I have to assume there’s something juicy going on.

edit: I'm reading it now and lordy lordy, it's even better than I anticipated. Rivers is a tremendous talent, y'all.

The First Ten Years: Two Sides of the Same Love Story (Joseph Fink and Meg Bashwiner) - dropped May 11

“Makenzie doesn’t this break your rule about not reading any books by men this year” actually NO, because Joseph Fink co-wrote this with his wife and that doesn’t count. plus I just think it’s nice that they’ve been together for ten years and love each other a lot and wanted to write a book about it, and I think that’s a simply delightful way to write a memoir. I just love love, you guys. plus, you know, spicy behind the scenes Night Vale info maybe.

The Chosen and the Beautiful (Nghi Vo) - dropping June 1

Vo has absolutely become one of my authors to watch thanks to her novellas The Empress of Salt and Fortune and When the Tiger Came Down the Mountain, so you bet your ass I’m going to be there for her first novel. The Chosen and the Beautiful is by the far the most exciting of the Gatsby retelling rushing forth now that it’s in the public domain: it reimagines the supporting socialite Jordan Baker as the queer, adopted Asian daughter of a wealthy family. also - she has magic powers! fuck yeah!

¡Hola Papi!: How to Come Out in a Walmart Parking Lot and Other Life Lessons (John Paul Brammer) - dropping June 8

if y'all aren’t reading John Paul Brammer’s advice column, ¡Hola Papi!, what are you doing??? Brammer offers excellent compassion and insight while unfailingly being the funniest bitch on the internet; I guarantee you’ve shared a screenshot of at least one of his tweets on this hellsite without realizing it. go give him a follow if you’re also shackled to twitter in addition to this hellsite, and kindly join me in getting hype to have so much of his messy wisdom in one place.

Dear Senthuran: A Black Spirit Memoir (Akwaeke Emezi)

so far I've eagerly read everything Emezi has published (their two adult novels are phenomenal, their YA novel an impressive abolitionist fairytale), and I'll continue feasting since their upcoming books include this memoir, a book of poetry, and a romance inspired by a Florence + the Machine song. Akwaeke Emezi, I cannot thank you enough for allowing me to feast in your brilliance this way.

The Jasmine Throne (Tasha Suri) - dropping June 10

a f/f romance/fantasy epic set in a world inspired by historical India, which is basically the coolest shit I can imagine. our protagonists are imprisoned princess and an undercover priestess masquerading as a maidservant, out to topple the princess’ tyrannical brother and his entire empire. plus it’s the first in a series, and I have a POWERFUL hunger for doorstopper fantasy series right now.

Star Eater (Kerstin Hall) - dropping June 22

friends, I will level with you: I don’t know a TON about this book except that I keep seeing it described as “lesbian cannibal high priestess fantasy,” but honestly? that’s all it takes to capture my attention. the synopsis gives me some major Traitor Baru Cormorant vibes - scheming, espionage, fighting complicated sinister power structures from within - and I read the shit out of that.

Darling (K. Ancrum) - also June 22

the upcoming YA read of the summer! a Peter Pan retelling that casts Wendy Darling as a sheltered girl in contemporary Chicago, who gets whisked away for a night on the run by a wild-eyed delinquent Peter Pan. the Lost Boys are a gang of unhoused youth, Captain Hook is a dirty cop, and Tinkerbell is the bicon we deserve - what more could you want?

also: Ancrum has since revealed this GORGEOUS art for the characters, which you should definitely check out.

[tuiyla]

A Definitive History of Bubbline

With “Obsidian” coming out in two days, it really is time for a definitive history of Marceline and Bubblegum’s relationship. And by that I mean the tumultuous road that led us to “Obsidian” from a production and fandom point of view. For a list of Bubbline episodes, check out my Bubbline Guide (and part two) - which I need to update, I know I know. For this post, I wanted to highlight how far this pairing has come and what Bubbline means to queer representation in children’s cartoons.

This is less of an analysis and more of an overview with links to more information on specific incidents to keep it (relatively) brief. I say it’s a definitive history but it isn’t an exhaustive one, so do check out the links included to learn more about how we got here. I realize not everyone cares about these kinds of things but I think it’s important to know how hard Adventure Time’s creators had to fight. Bubbline is a pioneer ship in many ways but it doesn’t always get the recognition it deserves.

Initial Concepts

As is the case with much of Adventure Time, the initial concept of who the characters of Bonnibel and Marceline were going to be is very different than what we ended up getting. @gunterfan1992 explores this and other production tidbits in depth in his book so I do recommend checking that out. The short version is that these two were created to be opposites and with a Betty and Veronica type dynamic in mind where they would both be love interest to the protagonist, Finn.

This didn’t quite end up being the case but remnants of this concept are seen in “Go With Me” (March, 2011), the episode with the first on-screen Bubbline interaction. As Marcy helps - and sabotages - Finn in asking Bonnie out, she also becomes a potential love interest for him but she shuts him down immediately. So while Finn’s crush on PB continues, the notion that Marceline would be part of a love triangle is dismissed. Instead, this first Bonnie and Marcy interaction established that the two already know each other and there’s some bitterness in that past.

“What Was Missing” and the Mathematical Controversy

A potential preexisting relationship between the two was further explored in “What Was Missing” (September 2011) just a season later. The episode was written and storyboarded by Rebecca Sugar and eventual showrunner Adam Muto. Sugar was responsible for much of the character depth added to Marceline and later even played, quite aptly, her mother in the Stakes miniseries. It was Sugar who wrote the now beyond iconic “I’m Just Your Problem” based on personal experiences and suggested that Marcy and Bonnie be queer characters with a complicated romantic past.

“What Was Missing” was hugely important in how it hinted at a complex relationship through character interactions, Marceline’s song, and the last scene twist with PB’s shirt. The AT crew were supportive of the idea and sneaked in plenty of queer subtext, but this is where I have to point out that 2011 was a very different time and it’s thanks, in part, to Bubbline that things have changed. Autostraddle’s article from back when covers what is now known as the Mathematical controversy. Audiences picked up on the subtext and Cartoon Network was not having it. The popularity of the ship soared but the execs were not taking to queer implications kindly.

Great Bubbline Drought

So, the ship has sailed but controversy looms over it. “What Was Missing” s subtle by today’s standards but it was enough to keep Marceline and Bubblegum apart for two years on-screen. Each character went through wonderful development in the meantime, as did the show itself, but there’s a certain sense of bitterness to what came to be known as the Great Bubbline Drought. CN got so afraid of the potential backlash that they waited two years to have a new episode featuring the pair, “Sky Witch” (July 2013), by which point Sugar had left AT to work on her own show, Steven Universe. I’m happy that Sugar got to create her own show and push for even more queer representation, but it’s also sad that she never got to write more for the ship she pioneered.

“Sky Witch” still happened, though, and featured even more subtext, from PB’s side this time around. The shirt returned and there was hope as Marcy and Bonnie were seen hanging out together more often (”Red Starved” and “Princess Day”). Another controversy threatened to emerge in August 2014 when Olivia Olson, Marceline’s voice actress said that creator Pendleton Ward had confirmed a pre-show Bubbline romance. It was a messy ordeal with deleted tweets and questions about whether the two could get together again in the series. Fortunately, though, things changed in the three years between 2011 to 2014 and another Bubbline drought didn’t follow.

The Season That Changed Everything

It took another two years after “Sky Witch” but the ball was finally, inevitably, relentlessly rolling. “Varmints” premiered in November 2015 and three episodes later, the Stakes miniseries kicked off. What season 7 meant wasn’t just breadcrumbs and (not so) subtle songs anymore: suddenly, there were too many Bubbline moments to count. “Varmints” served as a follow-up to “What Was Missing” and a final reconciliation, and though Stakes was primarily about Marcy, it also developed her relationship with Bonnie. Afterwards, it became clear that Bubbline was heading somewhere.

It’s worth noting that the cultural context also changed between when “Sky Witch” and “Varmints” aired. In December 2014, The Legend of Korra ended with Korra and Asami beginning their romantic relationship, and Rebecca Sugar was making Steven Universe more and more explicitly queer by the day. Adventure Time started the ball rolling but now it wasn’t alone as a popular Western cable cartoon with queer characters. However, Bubbline was still very much subtext at this point, just with significantly more hope of becoming more.

Late Series Entanglement

But at what point does subtext become plain text? Bubbline fans sure did have fun with that question between Stakes and the finale. Bonnie and Marcy became near inseparable, with most of their major appearances involving one another from this point on. These included the meet the adoptive dad date “Broke His Crown” (March 2016), the Elements miniseries (April 2017) and the nigh on obnoxiously on the nose “Marcy & Hunson” (December 2017). In fact, all but two of Marceline’s major appearances from season 7 on included Bonnie - the exceptions being “Everything Stays” as part of Stakes, and “Ketchup”, which really wasn’t any less gay.

Bubbline moments really did become too many to count, with the vast majority of them having romantic implications. And with queer representation becoming more and more prominent in Western animation, canon Bubbline romance seemed like a question of when rather than if. I’d like to point out here how this was often frustrating, though. After the very rocky start, this relationship was thriving and was really basically confirmed, but that last little push to make it undeniably a part of queer history was still needed.

“Come on!” - The End and Beyond

The almost three years that passed between Stakes and “Come Along With Me” (September 2018) were much more tolerable than the Drought; after all, there was plenty of Bubbline content in the later seasons. The big question as the finale came was whether Adventure Time would fizzle out on its early pioneer of a wlw ship or follow through, once and for all. Almost four years after LoK ended and just before season 1 of She-Ra and the Princesses of Power dropped, Marcy and Bonnie had an emotional moment, kissed on screen, and ended the series together.

The intricacies of why a kiss was needed as a signifier of romance is a discussion for another day. But wouldn’t it have been strange after almost a decade of build-up for them not to seal the deal with a kiss? And to think it almost didn’t happen, as by that point it was so obvious they were together. Again, I direct your attention towards Paul Thomas’s book, he explains how it was storyboard artist Hanna K. Nyström’s call to add this final detail. Because, come on! Sometimes, you need to be as clear as possible, and that’s the case with queer representation in animation.

Since the finale, the comics have been continuing the Bubbline train - which are not technically canon but one can have fun regardless. In any case, the existence of Marcy and Bonnie’s relationship, of their queer identities, is not something that can reasonably be denied. It was a long road, and, make no mistake, an arduous one, but this is the story of a win. A win for storytelling and a win for wlw relationships.

We’ll Build Our Own Forever

So, there you have it, a Bubbline timeline of sorts. In March of 2011 we had the first on-screen interaction and now, in November of 2020, we’re getting a 45-minute-long special with the two of them as the central characters. They’re canonically in love, with King Princess covers of Bubbline songs and more. I tried to contain myself, for once, and not write too much. I think it’s important that people have a general idea of just how monumental all of this is and how, even just 9 years ago, “Obsidian” would have been totally inconceivable.

Some of this might have come as a surprise to you. It’s certainly not been easy to get to where we are now with Bubbline and it’s yet to be seen how open “Obsidian” will be about the relationship. I’ve been talking about Bubbline for years and attempted to chronicle their relationship many times so I’m happy I’ve finally done it from this perspective as well.

Adventure Time: Distant Lands “Obsidian” is streaming on Nov 19 on HBO Max. If you can, stream it so we can show that there’s popular demand for stories like that of an angry vampire and a despotic piece of gum.

[booksandwords]

Autoboyography by Christina Lauren

Read time: 2 Days Rating: 4/5

The quote: This is how we reveal ourselves: these tiny flashes of discomfort, the reactions we can’t hide. — Tanner Scott

Autoboyography is a wonderful book that enjoys a lot of praise. I really enjoyed it. This review ended up being quite lengthy. I have chosen to focus largely on the characters of Autoboyography which I really appreciated. This is a well thought out and designed story, intended to provoke thought in readers. Not just about religion and relationships but maybe about themselves a bit. It deals with The Church of Jesus Christ of Latter-day Saints referred to as LDS with at least some dignity, more than is normal.

The opening is great, a walk through the relevant parts of Tanner's life and clarification on the LDS. Some stereotypes are displayed, these are still high school students. The LDS we all think of are those on their Mission. The pacing of the plot is at least reasonable, it fits the relationship. Especially after the line "You've always led with your heart first and your heart second, but I need you to think about this one." (Jenna to Tanner, p 100). There are a couple of moments that are questionable. A convenient change in the enrolment numbers for the Seminar (14 to 15), one frequently mentioned moments comes to nothing. The plot is described as Tanner falling in love with Sebastian, which just feels right it really is that simple and that complicated. The ending feels right. An HFN was almost certain but it was the journey that I was unsure of and really enjoyed.

Characters are multidimensional and of their circumstances. With Emily and Jenna wholly distrustful to the point of nearly hating LDS due to their previous experiences with it. Paul knows what could have been and knows the situation his son his in, as well as his familial history having a role to play. Due to the differences between the families, Tanner and Sebastian don't face the same concerns or restrictions within their relationship, though both have the same source to a degree. Tanner's family objects to Sebastian's religion. Sebastian's family stringently objects to same-sex relationships. Autoboyography is one of those books that shows love in multiple forms. Familial, in different forms. Romantic between the protagonists, it's complicated and messy. Platonic between friends and unrequited love as well. Autoboyography has some wonderful quotes about love, faith, family and friendship.

Tanner 'Tann' Scott is a bi, senior and transplant to Provo, Utah from Palo Alto, California, a move that put him firmly back in the closet. Even his best friend, the brilliant Autumn doesn't know his true sexuality. His parents are extremely supportive of his sexuality but don't want him to get hurt in the very Mormon town he now lives in. His subject strengths are in the math/science stream. he's an honors student essentially with his pick of universities. After accepting a challenge to join the Seminar, a semester-long book writing course he is introduced to local celebrity Sebastian Brother. Tann's attraction to Sebastian is instantaneous  "His smile ruins me." (Tanner, p 22) which is a great line, I remember being bowled over like that. His fast movement from infatuation to love is interesting to read. Tanner is helpless to resist even though he knows he should (Sebastian is in the same position there). His coping mechanisms are sometimes healthy, sometimes destructive, reading both in the same character added a great depth. I quite like Tanner, because of how this book his written I could feel his anger and pain.

Sebastian 'Seb' Brother is a published author tutoring the Seminar Tan is in. After the semester is over he goes on book tour than on his two year Mission. While he is attracted to men, he doesn't identify as gay. His father is the local Bishop as such his family are expected to lead by example in both word and deed. Seb's family are very welcoming and accepting of Tann when they meet him. Sebastian's experimentation and reluctance to label (and hair-splitting) were extremely off-putting. I've been known to DNF a book for less, despite what I said earlier, that was more about Tann's reaction rather than Seb's choices. "I'm not gay, I'm not straight, I'm me" (Sebastian, p 224). The very thing that makes him off-putting makes him a great character, it's the circumstances and expectation (familial and communal) that make the person. He also has a hidden passion that is shown only at the right times but it was definitely needed, and it, not a small streak either.

In the support cast, there is a standout. Auddy. Autumn Summer Green. Tann's best friend, she is ride or die but with a complication. Those unhealthy coping mechanisms I was mentioning, they relate to her. My one question about her is how can she be so beautiful and accepting of everything that happens? It's not passivity she's just a really well written best friend. But Tann's family are great. There is a lot going on there. Full acceptance of Tann's sexuality, but wanting to protect him from the pain they experienced. "How would this be any different from his parents saying guys are off-limits?" "It's completely different. Among a hundred other reasons, going to church is a choice.. Being bisexual is simply who you are I'm protecting you from the toxic messages of the church." (Tanner and Jenna, p 99).

One of the minor problematic elements in Autoboyography is a sense of abuse between Tanner and Sebastian. It's psychological, not physical and it called out but not in words. Some people won't have an issue with it due to the context but I did. Your identity is your own if Sebastian (or a real-life person) wants to live their life according to a religious doctrine rather that is their prerogative. There is of course the larger issues of homophobia. The LDS elements may be an issue for some readers. It is core to the plot and cannot be ignored. Those with a particular issue or history with such religions/ doctrines/ cults should read with care. I make no judgements on organised religion here.

Reading the acknowledgements I read something interesting. "We started talking about this book years ago; Cristina worked in a junior high counselling office in Utah, and Saw teen after teen coming through who honestly believed, devastatingly, that their parents would probably rather have a dead child than a gay one. As a woman who grew up bi in the queer-friendly world of the Bay-Area, Lauren felt a social obligation to reach out to teens whose experiences weren't as easy". I like that this is where Autoboyography came from. Built on their experiences with at-risk teens. Given this was the source of the idea I love the inclusion a resource section. The Song of Achilles is entirely unsurprisingly, it is hugely popular and stunning. Aristotle and Dante Discover the Secrets of the Universe has been on my tbr for far too long. The Adventures of Priscilla, Queen of the Desert is an absolute classic and is also a brilliant stage musical. LGBTQ Reads I'd never heard of but it's really good. If I may add my own recommendations; The Gentleman's Guide to Vice and Virtue by Mackenzi Lee (it's my purple pride book) and Cemetry Boys by Aiden Thomas (own voice Trans POC).

[butyouvealwaysbeenthecaretaker]

Sort of related to that, but the newest Tales of the City on Netflix is just so hilariously earnest and po-faced I can’t handle it.

I’m a huge fan of the books, but I only tuned in because I thought a narrative about a trans man possibly coming out as a gay post-transition was an interesting one to see.

And it’s dreadful, it sort of functions like a tumblr educational post. The way that the cis gay men around him are supportively neutral about his exploration process and positive about him coming out, the way that his cis girlfriend who has just agreed to an open relationship earnestly talks about how she misses being seen as a lesbian, it’s...you know, there is a fantastic movie to be made about this story, but you have to treat your characters as people rather than ideological widgets in which everyone is behaving correctly.

It’s queer-utopian to the degree of being actively unrealistic. Now, realistic doesn’t have to mean horrible. But the show just has everything just working out for the characters the way it’s supposed to, and it just doesn’t read as sincere. I didn’t see a story I could relate to.

~*~

A really good comparison point is actually Jake’s introduction in Michael Tolliver Lives, the book in which the character is introduced. Michael Tolliver is the author’s stand-in-self-insert who he’s been writing since 1970-something in a series of like, 7 books; he’s a HIV+ gay man and widower. Unique for the TOTC series, this story is written in the first person from Michael’s perspective.

Michael picks Jake up at a bar, they hook up, and afterwards stay friends and Jake becomes a series regular.

You’ve got Michael’s inner monologue of like, being worried that he’s going to mess up somehow and hurt Jake’s feelings, which reads as legit to me - he knows this isn’t as simple as a tumblr post about inclusion. And you’ve also got Michael making this strong connection between Jake’s transness and his own HIV+ status. Another guy at the gay bar outs Jake nastily to Michael when they’re in the loo; and it reminds Michael of the era in which people did that about him, when being HIV+ meant being a pariah. Michael thinks about how attracted he is to Jake, not only physically but also to his confidence, wondering how often he does this and knowing he is probably scared.

Maupin wrote the first trans character in american literature as far as we’re aware; he doesn’t always get it spot on, but his heavily autobiographical books always come from a place of inner truth and personal experience.

Like, I don’t want trauma porn or to see a character like Jake - my fave trans man in literature! not that there are many to choose from - harmed on screen, but I also don’t want this bland pollyanna-ish utopianism, especially when the original source handles this scene so well. I want complexity - I want conflict. Conflict doesn’t need to mean anger or violence, but it does need characters with fully-realised inner lives like...Jake and this random guy going home together, and the experience not being a simple one for either of them. It doesn’t need to show shame or abuse to be realistic, but it does need to be surprising or a moment of discovery, perhaps discovering something unexpected, or something that changes a person or is mixed, rather than just - and it was all OK. How often do trans people have sex with a stranger and the experience is one where “...but they supported and validated my gender identity, and that’s all I really needed, so I had a great time!” is the total reality of the experience.

And ditto with things like, the girlfriend’s response being so even-handely “I want to support him, but I miss being seen as a lesbian and I’m not sure how I feel about this being an open relationship” like, get angry, girl! Or, repress it. Or throw yourself into supportiveness as a cover for how you’re feeling. Or get a new girlfriend and have some proper poly drama. Or throw something at him, or throw him out, or endure it politely, or say no. Don’t just behave the way you’re supposed to in a single tell-not-show dialogue scene. Humans are messy! The conflict between what a person says they want and what they actually want is a ripe source for storytelling! What if the girlfriend has the worst possible response in the world, while knowing that it’s unethical and unkind, and her story is about trying to reconcile those two parts of her experience? I’d watch that.

(Case in point, I really love the protagonist’s wife in Victim (1961) - she’s a fantastic character, really nailing this middle ground where she doesn’t want to cause harm to her closeted husband, and she isn’t depicted as some kind of cludgel to beat the gay character for being destructively gay; but she’s still strong, about her own need to be in a real, mutual relationship, about feeling deceived. Perhaps the best line of dialogue in the film is hers, something like “I’m a woman, not a life raft, and I want to be loved for myself”. It’s fantastic writing, maintaining empathy for its closeted character in a way that’s radical for the period but also holding empathy for this wife as well, who quite rightly wants more from her life than to be a life-raft or a savior figure or a beard for this messy guy. idk how a 1961 movie arguing for gay rights has more compassion and understanding of the “ally spouse having a hard time with new information” character than a full 2010s series focused on queer people of all kinds)

[noxstellacaelum]

Filtering Female Characters Through the Male Gaze

Female characters filtered through the male gaze:  A (way) too long post about why we need a more diverse and inclusive approach to staffing showrunners, writers, directors, crew – heck, all roles -- in TV and movies.  

Yes, I know I am not the first person here on this.  

And note that while I have included a few tags b/c I talk about my frustration with Shadowhunters, Veronica Mars, the Irishman, Richard Jewell, and a few other recent shows/movies, I don’t get to this stuff until the very end,  I appreciate that fans may not want to wade through the entire essay, which (again), is a bit of personal catharsis.

I recently had a random one-off exchange with a TV writer on twitter.  The writer said that she had enjoyed the movie Bombshell much more than its Rotten Tomatoes rating would have suggested.  She wondered if the disconnect between her experience/perception of the movie and that of mainstream reviewers might have been shaped by gender: Specifically, she observed that Bombshell is a movie about women, but most reviewers are male.  

I have complicated feelings about Bombshell.  On one hand, yes, there was and is a toxic culture at Fox News.  Yes, Gretchen Carlson and Megyn Kelly were victims of that toxic culture.  But no, these women were not mere bystanders:  They traded in the racism, misogyny, and xenophobia (for starters) that still characterize Fox News today.  Why should these wealthy, privileged white women – both of whom spent many years as willing foot soldiers in the Fox News army -- get a glossy, Hollywood-approved redemption/vindication arc?  On the other hand, I am glad that the movie makers made a film about sexual harassment, and that the movie presented Kelly, in particular, as an at least somewhat complicated character.  This would not be the first time that a movie about women – especially complicated, and not always likeable women – has proven to be polarizing.

My ambivalence about Bombshell notwithstanding, the writer with whom I exchanged tweets is (not surprisingly, since she is in the industry and I am not) on to something when it comes to gender, character development and critical reception. It’s not just that Bombshell was about women, but reviewed largely by men; it’s that stories about female characters (real or fictional) often are filtered through the male gaze in Hollywood:  On many projects – even those focused on female characters – creators/ head writers are male, directors are male, showrunners are male, and producers are male.  This matters, because preferencing the male gaze impacts what stories about women get told, who gets to tell them, and how these stories are received inside and outside Hollywood.  

First, though, the caveats. I do not mean to suggest that men can never tell great stories about women.  Of course they can.   I also don’t mean to suggest that being female exempts creators, writers, directors, showrunners, etc. from sexism or misogyny (or any other forms of bigotry, as my discussion of Bombshell suggests).   There are plenty of women who prop up the patriarchy.  Rebecca Traister’s work speaks to this issue, as does the work of Cornell philosopher Kate Manne.  There is an important literature on the concept of misogynoir (misogyny directed at black women, involving both gender and race), a term coined by black queer feminist Moya Bailey, as well.  Intersectionality matters in understanding what stories are told, who gets to speak, and how stories are received in and outside Hollywood.  I also don’t mean to suggest that there are no powerful women in Hollywood.   Shonda Rhimes; Ava DuVernay, Reese Witherspoon (increasingly, given her role as a producer of projects like Big Little Lies), Greta Gerwig’s work in Lady Bird and Little Women, and others come to mind.  As I am not in the entertainment industry, I am sure others could put together a far more complete and accurate list of female Hollywood power brokers.  And, finally, I appreciate that Hollywood is a business, and people fund and make movies that they think their target audiences want to see.  So long as young, male viewers are a coveted demographic, we are going to see projects with women who appeal to this demographic onscreen.

Given these caveats, why do I think that the filtering of female characters through the male gaze is an issue? For me, it has to do with a project’s “center of gravity” -- that place, at the core of the project’s storytelling, where the characters’ agency and autonomy comes from.  It’s where I look to understand the characters’ choices and their narrative arcs.  When a character’s center of gravity is missing or unstable or unreliable, the character’s choices don’t make sense, and their narrative arc lacks emotional logic. Center of gravity is not about whether a character is likeable.  It’s about whether a character – and the project’s overall storytelling and narrative voice – make sense.  

When female characters are filtered through a male gaze, a project’s center of gravity can shift, even if unintentionally, away from the characters’ agency and point of view:  So, instead of charting her own course through a story, a female character starts to become defined by her proximity to other characters and stories.  She becomes half of a “ship” . . . or a driver of other characters’ growth (often through victimization, suffering, or self-sacrifice) . . . or mostly an object of sexual desire (whether requited or not).   Eventually, she can lose her voice entirely.  When that happens, instead of a “living, breathing” (yes, fictional, I know) character, we are left with a mirror/ mouthpiece who advances the plot, and the stories, of everyone else.

What are some recent examples of this? The two that I have mentioned recently here are Shadowhunters and Veronica Mars S4.  

- With SHTV, I will always wonder what might have been if the show – which is based on books written by a woman, intentionally as a “girl power” story – had female showrunners. Would an empowered female showrunner have left Clary, THE PROTAGONIST OF A 6 BOOK SERIES – alone on an NYC street in a skimpy party dress, in November, with no money, no ID, no mother, no father figure and no love of her life, stripped of her memories, her magic, and chosen vocation, as punishment, after she saved the world?  Would a female showrunner have sidelined Clary’s love Jace, and left him grieving and suicidal, while his family lived their best lives and told him to move on?  Would a female showrunner have said, in press coverage of the series finale, that the future of the Clary and Jace characters was a matter for fan fiction?  After spending precious time in the series finale wrapping up narrative arcs for non-canon and/or ancillary characters.  And to my twitter correspondent’s point, I guess I am not surprised that mainstream entertainment media outlets didn’t call out the showrunners’ mistreatment of Clary, and by extension, Jace, and the obliteration of their narrative arcs -- and yes, I am looking at you, Andy Swift of TV line (who called the above-mentioned memory wipe “actually perfect”).

- Likewise, with Veronica Mars, would a more diverse and inclusive writers room have made S4 Veronica less insightful and less competent than her high school self, or quite so riven with self-loathing, or quite so careless and cruel with the people in her life who love her?  Would a more inclusive creative team have made S4 Veronica less aware of the class and race dynamics of Neptune, yet more casually racist, in her mid-30s, than she was in high school?

- There are so many other examples from 2019.  Clint Eastwood falsely suggesting that a female reporter (who is now deceased and thus unable to defend herself) traded sex for tips from an FBI agent in Richard Jewell. Game of Thrones treatment/resolution of the Ceresi and Daenerys characters – where to even start.  Martin Scorsese’s decision to give Oscar winner Anna Paquin’s character a total of 7 lines in the 3-plus hour movie the Irishman.

- And, in real life, I wonder whether a Hollywood that empowered and supported female creators would make sure that people like Mira Sorvino and Annabella Sciorra got a bunch of work while also making sure that Harvey Weinstein never again is in a position of power or influence.   Same with female comics targeted by Louis C.K. Matt Lauer, Charlie Rose … the list is long, and Kate Manne’s work on what she calls “himpathy” is useful here.

To be clear, I am not saying that stories involving “ships” of whatever flavor, stories of suffering and self-sacrifice, and stories of finding (or losing) intimate relationships are “bad” or “wrong” or inherently exploitive of female characters.  I don’t think that at all.  I also don’t think that female characters have to be perfectly well-adjusted, virtuous, or free from bias, or that they should never be make bad choices or mistakes.  I want female characters who are flawed, nuanced.  I don’t mind lives that are messy, or romantic entanglements that are complicated.  Finally, I don’t think that that faulty, reductive, or unfair portrayals of female characters is a new thing.  Mary Magdalene was almost certainly not a prostitute, after all.  And classicist Emily Wilson – the first woman to translate the Odyssey into English – has brought a hugely important perspective (including an awareness of how gender matters in translation) and voice to the translation and study of canonical characters and works.

At the end of the day, I just want female characters to be able to speak with their own voices, from their perspectives.  I want them to have their own, chosen, narrative arcs.  I want them to speak, act, see, and feel as autonomous individuals, with agency, and not just in reference to others.  And, I think that more a more diverse and inclusive approach to staffing writers rooms and in choosing show runners, directors, and key positions in storytelling would help.  

[manifestoonmoralmanlove]

Blameless? Shameless? More like Shiftless: Wrap-up

I grumbled and fumbled through the first book in the series Soulless or Brainless. I fumed and gloomed through the second book Changeless or Gormless.

Now we’re onto the last book of the (initial) trilogy Blameless or...how I originally wanted to riff it...

But, I do not have riffs for you for this book.  Why?  I thought this series would end because I would run out of energy for it.  That’s not what happened...the true reason, is that this book is BY FAR the best out of the three, and that because of that most of my riffs aren’t very funny.  Despite that, I would not classify this book as GOOD by my standards. I think it’s barely mediocre and fixed a lot of problems the other books had.  So I feel as if I have to concede a bit here.

Instead of riffs, you’ll be getting a summary and my review so I feel as if I can tie this off with a nice little bow.

Summary:

Obvious spoilers ahead.

The world is steampunk supernatural Victorian England.  Vampires and Werewolves are real things, and there are also soulless.  Soulless are another set of supernaturals that can negate the powers of vampires and werewolves with touch.  Alexia is a soulless, and is married to an important werewolf Maccon.  Alexia becomes pregnant by Maccon, however werewolves are not supposed to be able to have children.  So Maccon is convinced she cheated and abandons her.

Alexia goes back to live with her family.  She discovers her one vampire friend has split town without warning, and that every other vampire is out to kill her for this pregnancy.  However she wants to prove that the child is Maccon, so she decides to go to Italy with her friends.  Italy is a country that’s run by religious zealots out to murder every single supernatural person and DESPITE THE OBVIOUS benefits a soulless could provide that organization they treat soulless people shitty too.  However, they suspect that with all the research they’ve done, they will have some information which can prove Alexia right. So Alexia travels to Italy with her dead dad’s stoic bodyguard Floote, and with a woman who has a crush on her named LeFoux.

Meanwhile her husband Maccon is being shitfaced and angsting a bunch about this.  His 2nd in command Lyall is taking care of all his duties.  Eventually Maccon sobers up and publishes a public apology for Alexia and claims that the baby is in fact his.  Also on this end it is discovered that Alexia’s vampire friend Akeldama had his boyfriend kidnapped.  So Maccon and Lyall manage to rescue the boyfriend, murdering the head vampire and being forced to change the boyfriend into a werewolf to save his life.

On the trip to Italy they battle a bunch of vampires and meet some allies.  When they get to Italy they’re captured by the religious Zealots known as the Templars.  When the Templars find out she’s with child they lock her in the dungeon.  However with the help of her friends and Maccon they rescue her.  Maccon and Alexia make up and happy end.

My review:

The story in itself…is simply not good.  I could list you plot holes by the dozen by neither of us has the patience for that I’m sure.  I think the sticking point for me is that their whole mission feels pretty pointless. They go through all this hassle getting to Italy (which honestly seemed like a super bad idea) while also being attacked by vampires the entire time and for what?  To find out that yes she could get pregnant from a werewolf?

….Don’t we already know that since she’s uhh pregnant from a werewolf?

The lore of this book is super bad.  All the major plot points hinge on nobody understanding anything about a rare but super fascinating and important race of people.  It feels as if the author doesn’t really care about her own lore, and makes everybody in her fictional world the same. Also it’s kinda hard for me to believe, that even if female soulless are super rare that literally in this world’s whole history a female soulless has become pregnant by a supernatural person twice.  TWICE! IN IT’S ENTIRE HISTORY! SEEMS LEGIT!

But there is a reason this is the best out of the three I swear!

I think the story starts off really strong with believable and easy-to-understand exposition that draws you in.  I legit read the first chapter of this book and was like, “WHAT THE FUCK, WE’RE A GOOD SERIES NOW!?!??!”

I think a large part of what makes it better for me is that they finally treat this series like an action/adventure.  There are lot of vampire battles, fighting weird technology, and dramatic escapes using wild steampunk vehicles.  We also have Maccon fighting werewolves and vampires, and dramatically saving a person from a glass bubble from the bottom of a river.

The steampunk technology used here is just straight up really lame and forced but I think that’s easily forgiven in a silly action adventure novel.

I think the POINT of books of this nature. Is the fun action!  We also pace this all together well.  We have suspense, breaks from the action, and it’s not all the same pow pow fight scene by a long shot.  I will say there isn’t a lot of suspense that she won’t be able to make it out alive. Nobody dies or even sustains any kind of serious injury.  The protagonists seem to fight as if they’re invincible, but oddly enough LeFoux spends a lot of the later scenes almost instantly getting knocked unconscious. Which I suppose is fine to up the ante of the tension but she’s the only one who gets that treatment and she gets it a lot…which is kind weird.  

Speaking of LeFoux, I was really bummed about her and Alexia’s relationship in this book.  One of the few enjoyable things about the last book was the lesbian flirting and the unresolved sexual tension between LeFoux and Alexia.  Sure Alexia didn’t know lesbians were a THING but it was quite clear that Alexia was attracted to LeFoux.  In this book LeFoux continues to flirt with Alexia but Alexia treats it like a droll annoyance.  Quite frankly it doesn’t make any sense if you’ve read the last book.  Alexia is at her lowest point in her relationship to her shitty husband, there is mutual attraction, LeFoux treats her nicely and is very willing, they’re off on an exciting and at points romantic tour of France, Alexia is on the cusp of a huge life change without her family or her husband’s support, and LeFoux is raising a child too.  I get that Maccon/Alexia has got to be OTP and that you don’t want her to look like she would actually cheat since, cause she’s gotta be morally better than the negative reputation she’s getting in the press. Yet at no point is a relationship with LeFoux treated as even a temptation for her. There isn’t even like a sub plot where Alexia worries about hurting LeFoux’s feelings or clearly explains that they can’t be together.  LeFoux has no reaction when Alexia reconciles with her husband.  It’s not treated as fucking anything more than comedic swatting down of lesbian advances.  So honestly? That kinda made me angry.  Now Alexia did sexually assault LeFoux last book and totally doesn’t deserve her but to treat her now as they wacky queer who hits on your Mary-Sue so you remember your Mary-Sue is hot is utterly aggravating. 

The story still has the major problem of being such a no bummers train that she won’t dare give LeFoux and Alexia a messy relationship.  It could have been so much more compelling ugh!  A part of me wonders if the author originally intended for the two to get together this novel since there was all that previous build up and the set up here makes it ideal.  Yet an editor said BIG NO to it, because apparently a hero cheating in a book is considered one of the most toxic of novel poisons.  OH WELL!

But a female/female relationship that is way better in this book?  That would be the friendship between Ivy and Alexia.   In the last book, Ivy was the stupid comic relief with romantic troubles.  Alexia spent the last book just being a condescending asshole to her.  Ivy never treated Alexia’s bullshit romantic troubles with anything other than support and respect but did not get the same in return.  They did not seem like friends.  Ivy was there to make Alexia look better and for a cheap laugh at Ivy’s expense even though she does nothing wrong. That was garbage.  In this book however Ivy trusts Alexia that she didn’t cheat, gives her all her love and support, gives her tea for her trip, and competently runs LeFoux’s hat shop while they’re both away.  In exchange Alexia appreciates what Ivy is doing and treats her like a smart person capable of doing difficult tasks.

I said it before and I’ll say it again.  Ivy is MVP of this series and you CAN’T CHANGE MY MIND!

But while we’re talking about relationships the crux of this series is Alexia and Maccon. I wonder if this is my favorite book of the series because they barely interact in person. The one time at the end where they reconcile was unbearable. Basically the just barely escape the dungeon and the entire crew is standing just outside it.  Alexia goes on a tirade about how much she hates Maccon but she’s very obviously pretending to be mad at him, and it’s the most pathetic scene in the series.  It was rushed and painfully awkward.  We just immediately forget about any possible danger and the other people there so Alexia can pointlessly pout while we all pretend its agency. (It’s not.) We also than very quickly transition them to a RANDOM barn so they can have sex, which is fade to black anyway.

I can’t help but view their reconciliation as a desperate woman who’s been through a lot, wants so badly for things to be less chaotic and familiar again that she capitulates to a shit boy garbage man.  She has many, many, many reasons to be properly mad at him. She is shunned by her family, loses her job, becomes a social outcast who can’t walk down the street without being harassed, and is the target of open and constant vampire hostility.  But he publishes a public apology and now they’re even.  The public apology is talked about as ~humiliating~ but he loses nothing for it. The series tries to sell us that they’re equals in this relationship cause they sass each other.  They are not equals in this relationship.  The series never seems to acknowledge that Alexia does like 90% of the work and gets way more shit than Maccon could ever dream of. Not that the series has to have a political message, it just seems so doped up by our shit heterosexual culture that it has no self-awareness.  I dislike Alexia for being a bad person, but Maccon is a worse person who doesn’t do anything good and lives a charmed life while his wife suffers quicker and more severely.  And what do we get out of it?  Dialog that can be boiled down to…

“Let’s have sex”

“No you’re a gross terrible very bad man!”

“Oh okay, I’ll go over here to contribute nothing and whine a lot.”

“I MEAN MAYBE IT WON’T BE SO BAD TO HAVE SEX WITH YOU???????????”

“…Is that a yes?”

“YOU VERY BAD MAN WHO IS GROSS AND TERRIBLE! I WILL NEVER HAVE SEX WITH YOU.............................................................

.............................................................….unless?”

I hate it very much.

So let’s talk other characters:

Floote is boring and pointless.

Tunstell shows up briefly to be comedic relief and really bad comedic relief at that.  He shows up in LeFoux’s lab and opens with him being very afraid of her wacky technology but then immediately starts sticking his fingers in dangerous stuff. Way to contradict your character in under a paragraph.

The way Channing was established last book, while making him look like a shitbird, gave him personality. In this book he’s there as a protective prop to make Maccon look marginally better. None of his personality comes out at all, and despite the last book showing him as a romantic rival there is 0 of that in this book.  I don’t think he has more than 3 lines of dialog.

LeFoux’s one friend was also pointless and personality-less to the point I can’t even be bother to look up his name.  He existed so they could dramatically borrow his flying contraption.

The villains of this series are two-fold:

We have the Templars who are religious zealots who want to kill all supernaturals and are disgusted by Alexia’s kind despite how useful she could be.  They were not good villains because they are utterly pathetic. They let Alexia and her friends have the run of the place.  While they can go outside the compound, once captured, they’re followed to make sure they return.  However, the author did not do an adequate job making that atmosphere…even stressful. The pack of them should be frightened by this.  They should be treading on eggshells because one wrong move and it’s an inquisition for them!  …No they zip around enjoying pesto and don’t seem to have a care in the world.

Even when the fight is brought to them?  They spend their whole lives training to kill supernaturals but when they get a chance to do so to protect Alexia they’re not very good at it.  3 podunk humans managed to evade capture by the entire vampire community as they trotted through Europe but zealots trained from birth to stake vampires fall left and right when they’re attacked by them?

OH YEAH, REALLY FEELING LIKE THEY’RE A LEGIT THREAT! THANKS FOR THAT!

Oh but don’t worry we have another villain to help balance things out!

We have Langs-Dorf or whatever the fuck his name is.  He is a heartless dude who researches soulless.  He basically wants to use her for experiments so he later teams up with the Templars and spills the beans that’s she’s preggorz.  

He, like the Templars, are flaccid shit tier babies.  He’s the archetypal sniveling scientist, who can’t even outwit them.  He honestly doesn’t even really get much screen-time. I am not exaggerating when I say they dedicate more time to describing what his irritating dog gets up to than what he does.  They did that for comedic purposes, sure okay whatever.  But it’s not funny and the ankle attacking just highlights how harmless he is as well.

So Alexia’s pregnancy?  

I mean, they do try to give her a character arc on how she feels about carrying a child.  It starts with her calling it an inconvenience and just assuming she’ll miscarry eventually.  Yet later is like, “Well I guess it’s okay if it lives.”  I’m glad they tried but they didn’t do a good job. Little time is dedicated to her personal feelings on the matter and her steps in pregnancy acceptance feel disjointed. It felt very much like,

Chapter 1:

This sucks.

Chapter 10:

Well I’m not morning sick today.

Chatper 20: I guess it’s okay.

I get we can’t talk about her wanting an abortion cause EVERYTHING IS GOOD TIMES but this no-bummers train cruising straight into never-frown-town we’re on here really stamps down her ability to have a MEANINGFUL arc not just on her role of her impending motherhood but like recognizing it’s going to be whole different human being.  ISN’T HER PREGNANCY SUPPOSED TO BE THE CORNERSTONE OF THIS WHOLE BOOK?!  Like at least 50 shades had Ana recognize her pregnancy as ANOTHER POTENTIAL PERSON and that she wanted to protect it even after her shitty husband lost his mind over it.

But I mean…for Alexia it’s at least in character cause she doesn’t give a shit about anything besides herself.  Alexia has not won me over as a relatable protagonist I want to root for.  She’s self-obsessed, and dumb.  Yet the whole world clamors about how great she is. She never has consequences tied to her negative choices or personality traits. She never gets in trouble for going into dangerous situations without planning.  Nor does she get in trouble for her lack of empathy, or belligerence. What she does get in trouble for is being born a soulless woman.  It feeds her smug martyr complex and overall is pretty fucking annoying.

TL;DR

Plot and characters? Bad

But this time the story has action, suspense, good pacing, and Ivy never did anything wrong. Good!

[sol1056]

a bunch more asks waiting their turns so politely

These are all various asks about the likelihood of a remake, a rewritten season, or a spinoff. 

1 could we get an alternate version 2 is a rewrite for S8 a viable option 3 would they change the ending for a spin-off 4 are single-episode edits possible for S8 5 will S7 reactions affect S8 6 how will DW get us to watch S8

Behind the cut.

With the shitstorm that vld became, would dreamworks ever take pity on us and remake some seasons of voltron that turned out like crap, or not even air, just release them as alternate versions on dvd? Im questioning the possibilities, not the probabilities, bc Im really not optimistic about that, I just wanna know if a show can do that and what would it take for the company to snap their fingers and be like "lets do it" (besides having money)

It’s not like frequent reboots don’t have precedent in other franchises; hell, comics do it on the regular. It’s also much cheaper to do a series of graphic novels or full novelizations geared towards an older audience. The problem there is that Dreamworks isn’t a comic book company or a publishing house; that part of the franchise would have to be farmed out to someone else. 

My guess --- if another remake is ever a possible option --- it’d be several years down the road. The first version would be set aside as, say, the Y-7 version for kids and family, and then you’d find a new angle for the next version. 

If DW got the impression there was a massive older crowd (say, 25-45) who would’ve eaten up a more mature, somewhat darker, version? Sure, why not try to grab that audience? I mean, look at the Castlevania series: it’s not pulling any punches on making clear it’s for adults. That would also require a different business model, since what adults like to buy for themselves is very different than what kids want. Skip the cake toppers, for starters. 

do you think given the reaction to VLD S7, is a rewrite for S8 a viable option? I feel the fandom is divided about the general reaction to S7. If JDS and M can just [focus on the fanbase segment] that liked it, why [bother trying to fix it for those] that didn't?

Given what I’ve been seeing in terms of data from the season... I think they aimed to please everyone and ended up pleasing no one. 

Pretty sure I’ve said something to this extent before: when you can’t please everyone, the answer isn’t to split the difference and piss everyone off. The answer is to pick your audience and give them the best damn story you can. The rest will sort itself out.

Let me put it this way: there are enough people who didn’t like S7 for the crummy animation, the OOC dialogue and actions, and the nonsensical storyline overloaded with a host of new characters that stole time from the actual protagonists. And there are also enough people who didn’t like S7 for queerbaiting the audience, killing off three out of four queer characters, and sidelining the one remaining queer character. There may be some overlap between those two sets, but taken together, those two sets are pretty much the dominant majority of the fan base. 

I don’t know if that makes a rewrite a viable option, but it should be making a few execs think twice about letting the EPs/staff carry on in the same direction. I mean, you want a series to end on a high note, not an ‘omg that had such potential but boy did it self-destruct in the last two seasons’ note.  

So if DW wants to do a Voltron spin-off, would they consider changing the ending to VLD to give Shiro the things he earned so this spin-off wouldn't be dead out of the water?

That would depend entirely on whether they’ve gotten the message that Shiro’s current status isn’t good enough for a significant part of the fanbase. If all they’re hearing (or all they choose to hear) is that it’s great to sideline one of their protagonists with no in-story explanation whatsoever, what’s to tell them there’s anything that needs addressing?  

Additionally, if the entirety of the issue is Shiro --- and everyone else is just fine, thanks --- I’m not sure that’d rate as enough to warrant changing so much. More likely any spin-off would start some X length of time between, and we’d get an implied intermediary backstory (or even a mild retcon), and go from there. 

Truth is, whomever gets the spin-off will (I really hope) be a better writer and not have to deal with intrusive newbie EPs. Even then, they’d be kinda limited on what they could do, given the spin-off does need to make sense placed against the first series. Then again, VLD hasn’t respected its own premise or continuity for the past few seasons, anyway. 

So I guess there’s always the option to start with an episode that retells VLD’s ending... Kinda awkward, but not unheard of, to basically retcon a previous series out of existence.  

I have no doubt DW is looking into what went wrong with this season. I know it might be a little to late to fix all of Season 8, but do you think they would have at least maybe the last few episodes changed to give a better ending to the show - or at least more respect to Shiro as a character?

Normally I’d say no. I mean, episode 1 should have characters making choices that in turn impact episode 2, and those choices prompt the events in episode 3... but that’s a logic VLD threw out the window somewhere between S3 and S4, and it’s only gotten worse since then. 

In which case, oh sure, why not? It wouldn’t make any less sense than what they’ve already got planned, if S7 is any indication. 

Could the reaction to season 7 cause any change the execs minds going into season 8? 

One problem: this is a Dreamworks production, but it’s not a DW-owned story. It’s a franchise: there are other players involved. There are the two guys who first butchered GoLion into Voltron, Toei whose story got that embutcherment, Netflix as the distributor, along with Playmates and Lion Forge and other contracted partners. There’s a lot more people at the table than just DW. 

It’s one thing for the EPs to say they messed up, and apologize. It’s quite another for Dreamworks to admit publicly their lousy (or nonexistent) oversight allowed the situation to happen. 

Legal would have apoplexy, for starters. What wins you a franchise is often showing you have the confidence (if not sheer chutzpah) that you can do this job justice like no other. And then you hit S7 and must admit you hired people who made a complete hash of it? 

If there’s anything that will cost the EPs any future roles of a similar position, it’s that they’ve put DW in a very uncomfortable position. Caught between a furious fanbase and overly-interested co-owners, someone --- or several someones --- are treading very lightly right now. They’re not going to forget the EPs are the ones who precipitated the whole mess. 

I think we are in a unique situation where the fact that the EPs were vocal about [changing] VLD ... could be a blessing for us & DW. [But we know it] was changed, & DW's part seems to be more negligence than direct fault like the EPs. So DW can drop it or fix it, and a rewrite would be worth us sticking around, while restoring DW's name.

Again, that depends on whether DW is in a position that they can do so. I assure you they’d throw the EPs under the bus at the first opportunity, because that’s how the corporate world works. So their failure to do so is either because they don’t see the EPs’ actions as untenable (as far as we know), or because doing so would expose DW corporate to greater retaliation from elsewhere. (It could also be part of the agreement that these particular EPs are in place for the duration of the series’ production, too. Sometimes that happens.) 

I still can’t get over the fact that the EPs were so blunt about having already had a script fully written when they asked to revise. From the Studio Mir leaks, we can guess at least some of the animation was already in production at least a year ago, or earlier. That’s a lot to redo. 

Here’s something that only just occurred to me, when I listed the co-partners in this franchise: the Koplar brothers. These are the geniuses who figured they didn’t need to know Japanese to make GoLion into an american production; turns out they were geniuses on some level ‘cause it was a hit, anyway. They went on to produce Voltron: Fleet of Doom (1986), Voltron: the Third Dimension (1998), and Voltron Force (2011). If there is anyone at the table who’d be likely to have nostalgia goggles, it’d be the Koplars. This has been their ongoing story in one way or another for over 30 years. 

Originally, the EPs said they weren’t tied to nostalgia; they weren’t going to redo the story as it was, but the story as they remembered. (I’d argue this actually indicates a stronger set of nostalgia goggles, but eh.) Their determination to get rid of Shiro has always felt like nostalgia goggles to me. Perhaps the Koplars were the greatest supporters of Keith as BP --- since that would respect the pattern they’ve followed, over and over, in all the iterations. 

Considering the Koplar’s somewhat litigious background over Voltron ownership, they may’ve had the ability to overrule. So... if you want to bench Shiro, you pitch your work with the execs who are most likely to agree with you. And if you can do that in the window between the previous VP of TV retiring and a brand-new external hire coming on as VP... welp, you got permission, and the new VP may’ve signed off, not realizing the impact. 

Which would put DW over a barrel, in some ways. If DW could’ve overruled their partners, the EPs never would’ve been able to make that end-run in the first place. 

How do u think DW will try to get us to watch s8? They & the EPs have shattered our trust and the show is so messy its almost unsalvageable. 

Stay to see X point's resolution? Yeah, we stayed many seasons for nothing, next. 

We have more rep? Ex. blonde girl is autistic... So we should be scared for her too??? 

There's more queer rep? Yeah, we heard that one already. 

Unless everyone responsible is fired and a new crew runs the next seasons?

I don’t know. I would hope the answer is ‘by giving us a story that makes sense, and creates closure for all the protagonists, and not just by making two of them emotional rewards for two other characters.’ 

At this point, there is only one thing that’s going to make Dreamworks change course: if the fallout from VLD impacts its other projects. If the majority of the VLD fanbase up and announced it would be boycotting She-Ra or Fast & Furious or Trollhunters on the grounds that DW screwed up so badly with VLD that it cannot be trusted... Then you’d see movement. If the PR got so bad from so many upset and angry VLD fans that major news outlets paid attention and started writing articles about the situation, that would also put a black mark beside Dreamworks’ name -- and then you’d see movement. 

With the VLD toys a failure (for whatever mismanaged reasons) and a financial model set entirely on toys, fixing VLD now would be throwing good money after bad. Unless, of course, there’s an impact beyond just this single series. 

Until Dreamworks can see the impact in some concrete sense, they have far more to lose from their partners than they have to gain from their fanbase. It’s just how it is, with corporations in late capitalism. 

You want to make an impact? You tell Dreamworks ahead of time, and then you follow through: pick a week and go silent. Nothing about VLD, here or on twitter or anywhere else. No reblogs on She-Ra updates. Ignore the podcasts. Don’t click on the articles. That stuff’ll be there when the week is over, after all. Show DW what it’s like when a fanbase checks out, by doing it. It’s a short-term boycott, but the reason groups do boycotts is because they work. 

[sjaejoneswriter]

hi JJ, not sure if this is okay to ask about on your tumblr, but I know you've talked before about how you identify as queer. For a long time, I've been wondering if as an asexual person if I'm also allowed to identify as queer, but I've heard so many people within the LGBT+ community say ace people are not queer/are not welcome. I'm terrified that querying agents and talking to other writers and saying that my asexual #ownvoices character will end up working against me

Oh nonny, I’m so sorry you feel this way.

First off, let me say this: 

You do not owe anyone your identity.

Let me repeat that.

You do not owe anyone your identity.

Now to move onto the meat of your question (bear with me, this might get long). If you are afraid that writing your truth will work against you, then publishing is no different from the world at large in that there are those who will accept you with open arms, those who will not, and those who fall somewhere in the middle. I wrote two books with a protagonist who shares my bipolar disorder. That resonated with a lot of people. It also made some readers hate my book. It also made a great deal more or less indifferent. #ownvoices is simply a way of alerting people that you share a marginalization with your character. That is all. And yet, the hashtag has become incredibly fraught, for many reasons.

If you are asking me to absolve you and allow you to claim the queer label, I cannot. Do I identify as queer? Yes. I am also on the ace spectrum (I consider myself grey asexual, or perhaps demisexual), although that is an identity that took me until my late 20s to claim. When I was younger, I thought I was bisexual, and that was the label I proudly used. It wasn’t until I understood the difference between sexual and aesthetic attraction that I slowly came out to myself as a different orientation.

I’m not sure how old you are, nonny, but in my time and involvement with the LGBTQIA+ community, definitions and identities and our understanding have shifted, evolved, grown, expanded, and even changed. I did not have the vocabulary to understand my sexual orientation until I an adult, and that was with the help of my queer friends, many of them younger than me. I still consider myself queer. This is my community. This is my family. They raised me. They helped me understand myself. They are gay, lesbian, bisexual, asexual, aromantic, trans, non-binary, and more. My friends and I are bound by a common language, sensibility, understanding, and history. That history? Is why I identify as queer. 

The history of the term “queer” as an identity is long and complicated. As a word, it means “strange” or “peculiar,” but did not come into use as a derogatory term against non-heterosexual people until the late 19th century. In the latter part of the 20th century, people began reclaiming the term as an act of political resistance. Who gets to claim the label now? That’s both a personal and intra-community matter.

Identity is an intensely personal thing, yet claiming an identity often means finding where you stand within a community. The scholar Debbie Reese once said that identity is not just a matter of who you claim, but who claims you. And communities, like every other social group, can be messy and hurtful or supportive and loving. Sometimes both at the same time. 

I’ve written before about my complicated feelings about Korean-American identity. For a long time, the community did not embrace me, and it wasn’t until I was older that I found Asian-American identities beyond the rigid ones with which I had known growing up. I don’t know what to say, nonny, except that I hope you do too.

[bentchcreates]

Start Here, Stories of First Encounters 

Let me just say this right off the bat, I’m giving this 6 of 5 Stars! First of all, the editors and my co-authors deserve the 5.5 of 5 Stars. This is my favorite book this year, cheesy for me to say, but it is! I’m giving a half star more for my own story because I’m very proud of this, okay? :P I’ll talk more about that on a separate blog post, haha.

To begin, I want to thank the editors (and our PM, Hi Mina!) for coming up with this anthology. The intros by Ron and Brij, in itself, were already strong messages to those who are looking for contemporary romance that represents Filipinos of this time, LGBTQIAP or not. It perfectly put out the reasons behind the conception of this anthology, as well as the hope that this sparks a flame towards more Queer Romance and Queer HEA in Philippine Literature.

1. In the Moonlight by Agay Llanera

This was a sweet start to set the tone for the rest of the stories. It’s an awesome sequel to my other favorite, Another Word For Happy. And like what I said in my review for AWFH last year, Caleb seems to have been made after my own heart.

I wish I was exaggerating, but the indecision, the awkward reaction to ‘the kiss’, the hyperawareness to the smallest of things, IT ME! When I was Caleb’s age, at least. LOL. And I’m sure a lot of gay people (maybe not even gay people, everyone, really) will find it relatable one way or another.

What Caleb is better than me, though, is his courage towards the end of the story. He did something I never would’ve been able to do. And I hope when others read this, they’d be inspired to be braver, too.

2. Come Full Circle by Bobbi Moran

I love me some slow burn romance and huhu, the slow burn in this one killed me (in a good way!).

This short felt quite episodic as the characters are shown through different stages of them finding themselves – and eventually, love – but that slow progression allowed me to really root for them to be together at the end.

I found the attention to detail fascinating (especially the architectural ones when Alana and Marion went on a holiday) but what I loved most about this is the accuracy of tiptoeing in a relationship when one is still unsure where the other one stands. I mean, relationships are already complicated without the whole guessing-and-hoping-the-other-one-plays-on-the-same-team narrative, but add in sexual confusion (and tension!) and you’re in for a wild, but nonetheless more interesting, ride. This story tied to a full circle satisfyingly.

3. Gorgeous by Motsie Dapul

This is probably my first F/enby romance and it certainly lived up to its title. This might also be the first fiction story I’ve read using the singular they/them pronoun and while it took me about a minute to re calibrate my [faulty] sense of grammar, it wasn’t jarring and it told Jays and the MC (I’m not 100% sure she was named, I need to reread the story, stat!)more genuinely for me.

It is also somewhat a variation of the enemies to lovers trope which is always interesting. I’m happy to note that there is grovel. :) 

I think what I want to focus more about this story is how something that happened years ago, something that seemed small and irrelevant to you, might mean a whole different world to another person. And simple things like words said haplessly, or actions that weren’t well thought of in our youth, could still impact us as adults no matter how much we’ve changed in the time in between.

This story tells and awesome story of discovering one’s self, discovery of love, and acceptance of the MC’s past, present and future with Them. :)

4. Shipping Included by Danice Sison

Can this be any cuter?? <3 <3 <3

I will admit that I didn’t get all the KPop references but I know those who are knowledgeable (and obsessed) with oppas will appreciate and enjoy this.

Done in alternating POVs between the protagonists, David and Kiko, the story’s strength lay on the well-rounded characterization of the heroes, as well as the kids who made their meetcute extra cute! There is a glimpse of what it must be like to be a Filipino KPop fan while also focusing the spotlight on those who don’t share the dedication but support their loved one’s hobbies nonetheless.

The Kuya and Tito may not be in their girls’ fandoms but Kpopocalypse gave them (all of us, really) a different reason to swoon and make fingerhearts at each other.  

5. Delubyo by Barbie Barbieto

This is beautifully written.

This was the first work from the author that I’ve read and I loved it so much, it made me seek out her other work. Haha. The style and flow of words are smooth and easygoing, it hooked me up real quick.

Add to that is Pebbles’ odd four-month relationship rule which I thought was mean at first, but actually makes so much sense and is understandable from someone who’s constantly afraid to put her heart on the line. Still, I don’t tolerate it. (I loved this so much, I’m super invested and I want to have a talk with Pebbles bec huhu, the poor ex-girlfriends! LOL)

I love the progression of her feelings towards Gabrielle, told brilliantly somewhere in the middle of the story – after that awesome beginning! It made the ending such a relief and a source of immense kilig!

6. The Other Story by H. Bentham

*sly grin emoji*

7. Blooms and Hues by Ella Banta

I loved the softness of the themes in this short story, reminiscent of Gay YA fiction I used to devour in college (from foreign authors like Brian Sloan, Alex Sanchez, John Hall, etc.) and the short films I still find on YouTube from time to time.

It is a lovely addition to this anthology, despite not being heavy on the romance like the other stories, especially since being queer in this country, love, relationships - and matters of the heart in general - are less likely to be this soft and dreamy. (At least during my time as an actual young adult. IDK, maybe kids these days are allowed this gay tenderness we weren’t given access to. It wasn’t even such a long time ago, I mean…anyway, that’s not what this review is all about. I got distracted. lol)

The artistic MC and LI are adorable. And flowers! I’m never not in love with stories where flowers come into play.

8. Another First by Yeyet Soriano

I admit that I felt scared to continue with this once it was established that Jess, the MC, is in a long term relationship at the beginning of the story. I dislike scenes with messy break-ups due to cheating, but I soldiered on and was greatly relieved that this didn’t go that way.

I liked that the characters acted like the adults that they are and that this did not turn into a rehash of popular love-triangle telenovela plots. I especially loved the part where things had to settle down and fall into place for all characters (Jess, Lili and even Matt) separately at first – on a personal level – before the romance could be resolved. It showed a healthy depiction of self-discovery and acceptance a little bit later in life.

9. Luck from the Skies by Katt Briones

This one I’ve actually read before the book came out and ugh, rereading it second, third and fourth time did not make it less wonderful! The characters have supporting roles from Katt’s other book, Chasing Mr. Prefect, but the timeline here is before that book’s time.

I liked the fictional artista/modeling angles and the progression of friendship between Chan and Asher towards a romantic ship (#ChaSher5everr!!!). The rainy weather theme is also very Filipino and how it plays in the advancement of the plot is just brilliant! And kilig! So kilig!

Sab is defineitely a scene stealer (I love bestfriends!) but since the romance was so strong in the first place, she didn’t overshadow my boys. LOL.

Also, prepare to crave bulalo!  

10. Lemon Drop Friday by Brigitte Bautista.

“Here goes [Brij] again, making a mess [with my heart]”

When I was reading the review copy and got to this point in the book, I stopped for a full day before I started this story. Part of me knew I would breeze through it and I didn’t want the book to end just yet. And I was right.

Brij did it again! Made me fall in love with her mastery of words and then made me cry because this was so good and so satisfying.

I was highlighting passages throughout the book (for review notes) but with this one, I couldn’t even stop to highlight words, I just wanted to fully immerse in that universe and feel the love, and the fear of rejection, and the ultimate HEA where these messy girls finally, finally got together!

I have a favorite quote (aside from the mis-quote above. Lol)

“If she looked at me a tad longer, she would figure it out.”

Argh! MY HEART! I loved Tala’s POV so much! It’s quirky and funny and honest and SO relatable. I’m done talking about this because I WILL SPOIL IT FOR EVERYONE so please get the book and read it! :P

To end, again I want to thank everyone who worked (and continue to work hard to promote) this book! I cannot fully express into words how important this is to me, as well as to others who might need these stories in their lives (whether they know it or not). I hold this dear this not because it is among the first queer books from #romanceclass, but more because all were written with wonderful skill and heart. Each story offers something unique for the reader who might be reading queer for the first time as well as someone looking for themselves in the written page,

We yearned so much to be represented well. We craved for stories we can connect to on a deeply personal level. We waited for our happy endings, in fiction at the very least.. This is definitely the beginning of us getting all that. And more.

Blurb:

There’s a first time for everything. Gatecrashing a KPop concert with an oppa in a business suit. Taking shelter from the storm with the girl you’ve been meaning to shake off. That kiss that blurs the line between friendship and something more. A one-night stand (or, is it?) with your best friend from across the hallway.

Dive into these 10 stories of first encounters – unapologetically queer, happy endings required, with a smattering of that signature #romanceclass kilig. Whether you’re recalling your own firsts or out there looking for one, there’s a story in here for you.

So, go on.

Turn the page.

Start here.

Edited by Ronald S. Lim and Brigitte Bautista. Featuring short stories by Agay Llanera, H. Bentham, Ella Banta, Danice Sison, Yeyet Soriano, Barbie Barbieto, Katt Briones, Bobbi Moran, Motzie Dapul, and Brigitte Bautista. This anthology contains M/M, F/F, F/NB romance stories with happy endings. Some stories have a high heat level.

Release Date: January 27, 2018

Book Cover Design: Dani Hernandez

Additional Photography: Alexandra Urrea & Chachic Fernandez

Buy Links:

Pre-order Start Here on Amazon: bit.ly/rcStartHere Order Start Here on paperback (PH only): bit.ly/StartHere-PrintPH

Add Start Here on Goodreads: https://www.goodreads.com/book/show/37880247-start-here

Author links:

Katt Briones: @kttbri (Twitter& IG)

Ella Banta:  @gabbie_ellaine (Twitter) , @ellamaepot (IG),  gabrielluna.wordpress.com (blog) , https:// www.facebook.com/ ellabantawriting/ (FB)

Agay Llanera:  http:// amzn.to/ 2k2gj34.(Amazon)

Yeyet Soriano: @ysrealm (Twitter & IG) @Yeyetsorianowrites (FB), www.yeyetsoriano.com (blog), yeyetms@gmail.com

Danice Sison: @hastyteenflick (Twitter)

Bobbi Moran: bobbimoran26@gmail.com

Motzie Dapul: FB.com/atemozzarella, FB.com/atemozzarellastories, @atemozzarella (Tumblr) , mozzarellastories.wordpress.com (blog), motzie.dapul@ gmail.com.

Barbie Barbieto: @barbiebarbieto (Twitter),  barbiebarbieto.com (blog) 

H. Bentham: this is me. heh.

Editors: 

Brigitte Bautista: @brijbautista (Twitter & IG), brijbautista.wordpress.com (blog)

Ronald S. Lim: @tristantrakand (Twitter), ronlim20@gmail.com

[dubiousculturalartifact]

everyone who makes queer art is valid and worthy and does amazing things, you save lives and create beautiful narratives and I love you so, so much, especially when you are doing it in defiance of the status quo, from your own blood and sweat and tears, and self-produced because no one else will do it for you....

but at the same time?

when people complain about the lack of good queer stories, and people respond with ‘what about this little webcomic’ or ‘what about this self-published novel’...

That isn’t really the answer.

Because yes, those stories matter, but they shouldn’t be all that exists. 

We shouldn’t have to self-publish, we shouldn’t have to only have little webseries and low-budget indie movies, and stuff like that, as the only place where we can find our stories.

The lack of mainstream, well-publicized, positive queer stories is still a problem.

The lack of support for these things is still a problem. 

The lack of major, institutional backing for queer narratives is a problem that needs to be fixed.

We should have tons of big, well-marketed books by major publishers, the big books that everyone reads and everyone talks about and the story becomes a part of our collective consciousness, it becomes a part of how we breathe and live and understand the world. We need blockbuster films with queer protagonists, and romcoms with major actors and tv shows where queer people are the leads, they are the heroes, they are valid and worthy and not just supporting characters who die when the hero needs to feel things. 

We deserve to have a major place in the cultural landscape, and we aren’t getting that, and sometimes the reminder that we always have to do it ourselves, we always have to put in the work, because no one is going to help us, unless the stories are pretty in their tragedy, unless it’s about the ways we die and suffer so straight people can nobly feel sad about us.

We shouldn’t have to search and look for ourselves, after we come into understanding who we are, in messy and painful and doubting ways. We should have enough stories that queer kids who don’t know themselves yet will find the stories by accident, by sheer saturation of the media, because they are normal stories that everyone sees, everyone reads, everyone watches, and they’ll see these stories and they’ll know themselves, when they might not have, otherwise, when they might have been lonely and hated themselves because they never saw anyone like themselves.

We deserve so, so much better, and we don’t get it, and sometimes that makes me angry in a way that nothing will fix except it getting better, because it still hasn’t, not fast enough and not nearly enough to satisfy the need I have for the kinds of stories that other people get all the time, without question, without doubt, the way straight people and their lives and loves fill up screens and bookshelves and myths and our landscape and our social lives, and it’s not enough, I’m too greedy, I want more, and I haven’t gotten it yet, and we shouldn’t have to do it all ourselves.

[entergamingxp]

Pride Week: Final Fantasy 7

Hello! All this week we’ll be celebrating Pride and the power of positive representations in games. Every day we’ll be bringing you stories and insights from different parts of the LGBT+ community. You can also help support Pride with Eurogamer’s newly redesigned t-shirt – all profits from which will be going to charity.

In the midst of a recent replay of the original Final Fantasy 7, I found myself welling up. Not because I’d reached that bit – the mandatory, number-one entry in every ‘gaming’s top ten saddest moments’ list from now till the Lifestream runs dry. No. The tears were rising much earlier in my playthrough than that. And those tears were accompanied by a big goofy grin. What in this gloriously janky PS1 classic that I hadn’t picked up in almost fifteen years could have had such an effect on me?

I was in Wall Market – Midgar’s gleefully ungentrified equivalent of San Francisco’s Tenderloin, or London’s Soho, a century ago – and the game’s taciturn, hyper-masculine, ex-mercenary protagonist, Cloud, had just donned an extremely pretty silk dress. Not only that, but he’d put on a blonde wig he’d won from a body-builder at a local gym, splashed on some sexy cologne, and had just had his make-up done by a burlesque dancer. And, to top it all, upon emerging from the dressing-room to reveal his transformation, he had been greeted with utter delight by the friend, ally, and (though it pains the Clifa stan in me to say it) love interest who had accompanied him there.

The reason I was crying was because, here, in chunky polygonal miniature, was my entire experience of coming out as a non-binary trans person.

No, you’re crying!

Okay, maybe not my entire experience. I didn’t start wearing make-up and femme clothing as part of an elaborate plan to rescue my childhood sweet-heart from the clutches of a local sex criminal, and Cloud’s family weren’t around to worry about what the neighbours might think. But, the key components were all there: the thrill of a new wardrobe; the unforeseen generosity of strangers; the relief that comes from the support and acceptance of friends and loved-ones; and, above all, the quiet euphoria of suddenly looking the way you’d never even realised you wanted (or needed) to look before. Heck, even the frantic squat-driven glow-up at the local gym was present and correct.

Don Corneo (trans. ‘Lord Horny’), slum-lord sex pest, in action.

I concede, I may have been projecting just a little. But, if there is one thing that queer culture and, indeed, gaming culture, have taught me, it’s that queer people find representation wherever they can, and that, often, those discoveries occur in the most unexpected of places. And here was an echo of the moment at which my gender identity suddenly ‘clicked’ for me, captured in a game I had played and replayed as a kid. It was uncanny.

Admittedly, the fact that I had the uncanny feeling of suddenly finding my queerness so clearly reflected in a game I had loved as a child while playing Final Fantasy 7 should, perhaps, have come as no surprise. To paraphrase Paris is Burning: it is a known fact that Final Fantasy 7 do be as camp as a row of tents and as queer as a ten-bob note.

A reminder: We played this. As children.

Rightly described by Eurogamer’s Aoife Wilson as a ‘bi thirst-trap‘, Final Fantasy 7 buzzes with enough queer energy to power a thousand Sister Rays. Whether it be Cloud’s journey of self-denial and self-discovery (coming-out story much?), Tifa’s status as the living embodiment of soft-butch energy, Reno’s status as a chaotic bisexual pinball (you just know he and Rude met on Grindr), Jessie’s omnidirectional flirtation, the way everyone talks about Cloud’s eyes, the fact that everyone is wearing a harness, or Sephiroth’s, like, entire deal (if you ever thought a twink couldn’t also be a leather daddy, he’s here to prove you wrong), the game is, if you’ll pardon the expression, queer af.

Everyone’s favourite chaotic bisexual makes a graceful exit…

But, aside from being almost impossibly horny with virtually no concern for the gender of the parties involved – a feature the recent Remake has turned up to 11 – the game is also queer in deeper, more meaningful ways; ways that resonates strongly with the origins of Pride month, and its roots in a tradition of anti-assimilationist political protest.

A key figure in this regard is Barret (or, as he may be known to some of you, ‘Gunny’). In terms of representation, the game’s off-beat tone and broad-brush-strokes story-telling sometimes leave it seeming… unnuanced. At its worst, Barrett’s characterization in the original game comes off feeling like the production team watched a couple of re-runs of The A-Team and that music video where B.A. Baracus told us all to be nice to our mums and decided that they had learned all they needed to know about Black people (a serious problem in an industry as White-washed as gaming). But, without wishing to downplay these problematic elements, it is worth taking stock of who we ultimately discover Barret to be across the course of the game: a Black, physically-impaired adoptive father and climate activist, whose lost hand forms the basis for a narrative not of disability, but of empowerment, as he engages in a liberationary struggle to protect his local community and the planet at large from the toxic influence of a militarised form of corporate capitalism.

Barrett Wallace: Queer Big-Shot.

Like so many queer people who find themselves at the intersection of multiple forms of violence and oppression, Barret surrounds himself with a diverse team of like-minded individuals, united not by externally imposed categories of identity, but by a shared set of values and a desire to change the world for the better. This chosen family – for, what is the ‘party’ in an RPG if not a version of the ‘chosen family‘ of friends, partners, and allies upon which so many queer people rely? – comes to include not just a former member of SOLDIER like Cloud, who turns his skills and training against the oppressive forces he once served, but a figure like Nananki / Red XIII, a character whose story parallels those of many Indigenous and First Nations people whose lives, land, and heritage have been devastated by corporate imperialism. Like the Stonewall rioters, the Gay Liberation Front, Street Transvestite Action Revolutionaries, Lesbians and Gays support the Miners, the AIDS Coalition to Unlock Power, or the queer activists currently taking to the streets to support Black Lives Matter, AVALANCHE – the revolutionary band of eco-warriors Barret founds and leads – take a stand against a society, culture, and political system that seek to oppress them and exploit the planet they inhabit.

Barrett tells it like it is.

This is not to claim that everyone in AVALANCHE or Final Fantasy 7 at large is ‘queer’ in the same-sex attraction / gender non-conformity sense of the word (though, again, does anyone really believe that the Turks aren’t living together in a gloriously messy, pansexual polycule?) But, if, as one influential theorist has it, ‘queer’ refers to ‘whatever is at odds with the normal, the legitimate, the dominant’, then Barret and AVALANCHE are about as queer as they come.

It is for that reason that, with Covid-19 necessitating the cancellation of in-person gatherings across the globe, I recommend Final Fantasy 7 to you as the perfect way to bring the spirit of Pride month to life in your living room. Whether you think Pride should be a protest or a party (hint: it should be the former), Final Fantasy 7 is both, and, in its depiction of a radically inclusive chosen family squaring off against a militarised, corporate police state to protect marginalised communities and the environment, it has never been more timely.

So, do yourself a favour, unfurl your rainbow flag, boot up the game, and try to decide which character you fancy the most. In the meantime, if you’ll excuse me, I have to see a body-builder about a wig…

For a fun and accessible introduction to queer theory and queer history, check out Meg-John Barker and Jules Scheele’s gorgeously illustrated Queer: A Graphic History (2016). If you are interested in thinking about gaming from a queer perspective, Adrienne Shaw’s Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture (2014) and Queer Games Studies (2017), edited Bonnie Ruberg and Adrienne Shaw, are a great place to start. To learn more about the history of Pride and the queer liberation struggle more generally, you may wish to explore some of the books listed here. For some beautifully written reflections on the intersections of race, sexuality, gender, and disability, take a look at the work of Audre Lorde, particularly her essay collection Sister Outsider (1984). Two books I have found particularly resonant in my own gender journey have been C.N. Lester’s Trans Like Me (2017) and Nonbinary: Memoirs of Gender and Identity (2019), edited by Micah Rajunov and Scott Duane. To support QITPOC (Queer, Trans, Intersex, People of Colour) charities and organisations in your area, check out this list for the UK, or this list for the US. Also, everyone go watch Paris is Burning (1990). Right now. I’ll wait.

from EnterGamingXP https://entergamingxp.com/2020/06/pride-week-final-fantasy-7/?utm_source=rss&utm_medium=rss&utm_campaign=pride-week-final-fantasy-7