#another problem (as far as i’ve seen) is that a lot of trans people are verrrrrrry confident talking about

[my-darling-boy]

Good morning, I hope you're doing well.

I just wanted to start by saying I deeply admire your work, and have found it beautiful, emotive and inspiring.

From what I know, you do reenactments in the UK and I've been wanting to get into reenactment myself for a looooong time, but I've always chickened out because I'm trans (ftm, pre T/medical transition).

It's super refreshing to find a trans person in this scene. I was wondering if you had any advice? Whether that's how to find safe groups, how to find costumes that fit, how to maybe start projects yourself. Any advice at all would be deeply appreciated.

The ww1/ww2 periods are really close to my heart and I would adore the opportunity to explore reenactments for these periods of history in a safe environment.

All the best,

🪖

Ah that’s awesome you’re interested in getting into reenactment, it’s a really fun hobby! Don’t think I’ve seen any advice posts for world war reenactors specifically in your situation; I think “modern” military reenactment with this in mind comes with special considerations, so I’ll do my best to give a loose Survival Guide below the cut if you’re wanting to start. This will be Long, but I’ve not seen another resource on this sort of thing from the trans angle so might as well be specific! These are just my own observations to hopefully give you a bit more perspective on whether or not it’s something you’re comfortable pursuing. That all being said…

★ In the case of being trans, especially without medical transition, I HIGHLY advise against doing this hobby completely stealth, it’s just not a good idea. For many events, you camp in the same tent/room with lads your age to men 60+ and may have to change in front of them. Even in the event there is space/bathroom to change, it’s sometimes only a single stall crawling with spiders as a lot of re-enactments are in a little village in the middle of nowhere. If it’s not your own group that could cause problems upon circumstantially finding out, it could be another reenactor or member of the public. If you bind or pack, you have to get the things on and off secretly around so many people you don’t know. Some events are in other countries. For a lot of events, there isn’t any cell service so in the off-chance something goes wrong and you have no one to help you…. You’re Cooked.

★ Transparency to some capacity is best. Whether it’s just a couple group members that know or the whole group knows, someone’s support is your greatest safety net. If you find a group you want to trial, I recommend first shooting an email rather than meeting face to face. Ask if they’re looking for new members, if they already are, that you would be interested in a trial. Add that you’re trans and you want to know if this is an issue, there’s really no other way to ask this. It’s complex, but really they’re not allowed to tell you no on grounds of discrimination, however you can gauge how accepting they are by their response. If they’re suddenly not looking for new members or they play email tag over weeks with no clear answer, pass. Being upfront about it if you’re pre-everything will save you wasting time on groups who don’t want to work with you.

★ Research local regiments/groups you want. Searching near your county may mean you won’t have to travel too far for events, but not always. And you don’t have to stay local, I find groups accept members from just about anywhere in the UK, even outside it sometimes! It’s also good to have some research done on the regiment/battalion you want.

★ Next, big, very important: World War re-enactment is a very Actual Military dominated hobby, and you’ll be exposed to all that entails. I say this to give you a heads up as to the social environment you’re entering into which not many trans people may consider. There’s no way to engage with this area of group reenactment that is completely divorced from the genus of the military as it exists today, even for historical education. The groups I’ve met as well as my own are comprised mostly of veterans, people currently serving, or those from military/first-responder families. In my own observation, world war groups feel more like off-shoot capillaries of the military as opposed to doing something like medieval reenactment or a Jacobite. They are run, funded, and supported in full or part by current/ex military members and organisations. Now obviously it’s not the real military, you’re not enlisted, you’re not going to get court-martialed if you do something wrong! However, these groups try to hold themselves to the same professionalism that you would get if you were actually in the forces cos you’re portraying someone in the military—albeit 1916–who would’ve held themselves to the same standards. There’s fun, there’s jokes, but you stand up so straight on inspection that it’s uncomfortable, eyes front, you never fool around with a weapon, you do what you’re told, and you try to help out every member as best you can cos you’re a unit. It’s a balance between being serious and fun. I know I’m silly outside it, but once I’m on site, it’s time for more discretion. You’re first and foremost an educational historical actor, and as such you’re required to conduct yourself in the public eye as a service member—someone’s ancestor—representing a real regiment that more than likely still exists. This is not a Ren Faire environment. A reenactment group does not exist in a vacuum and neither do the world wars. Not every group is as connected with the Real military as others, but this is just a Heads Up in case interacting with these entities contributes to making you feel “unsafe” in your position.

★ There is also that complicated grey area of how even the most progressive group still exists within a network of current systems which are traditional and affects the way that group must present itself to the public and their Real Military Counterparts they are inseparable from. World war reenacting is still deeply intertwined with current forces and old tradition because the wars and their decades are still within collective consciousness and still hot topics of discussion. Some people really take issue with trans people in the hobby, we all know this, so even as supportive as a group may be, many choose for safety to be on the DL when engaging with other hobbyists whom you don’t know (outside of your group). I personally don’t know any other trans men active in WW groups, though I know they’re out there. That alone should give you an idea as to how Quiet we keep it for safety, even if, bless them, our cis group mates would gladly tell someone off for being transphobic. Though having to be on the DL to anyone outside your group at events for someone who is pre-everything can be anxiety inducing. It’s why I say it’s for your own benefit that at least someone in your group 100% has your back.

★ Lads love teasing each other and will tease you, with love, but don’t be the doormat for anything transphobic. As is the case with the real military, jokes/teasing is an integral part of the camaraderie and as I said, lots of people doing WW reenacting are current/ex military. Short jokes @ me are common, they’re made with love, it’s not transphobic or malicious. While someone messing with you is common cis male bonding, don’t hesitate to tell someone steady on if they go over the line or they’re genuinely being malicious before you go to the sergeant with a formal complaint. It’s usually an immediate apology and then never doing it again. And as said, don’t let transphobic teasing slide. If there is any phobic joke that could fly under the radar to someone not privy, it would be jokes equating you with someone called “Bob” so if you ever hear that one—if you don’t already know what that means—definitely bring that up to someone!

★ A tip for cis male dominated spaces: self-confidence, optimism, and a general good nature will get you far. Being extremely, constantly awkward or aloof from dysphoria or fearing cis men will tend to get you “othered”. It can be hard to be more vocal or confident if you’re anxious not having had many dealings with cis male social groups, but my advice is to try to be as casual as possible, shaking hands with eye contact, going about your business, and Being Normal about guys walking around half naked in the mornings or accidentally catching sight of your mate’s bits. Generally, if you’re not Weird about them, no one’s Weird about you!

★ It’s also a mutual respect-based environment. As long as you’re mature, level, putting in the effort, are quick to learn, friendly, and doing your bit in the group, chances are you will get along with everyone fine and they will get along with you regardless of anyone’s politics or beliefs, which I think is most trans people’s fear for this hobby. Everyone is aware infighting and heated debates over anything can destroy a group or bring harm against yourself or your mates, which is why I’ve found if you simply say you don’t feel comfortable talking about something, people back off cos they respect that. Trans or not, if you’re abrasive or egotistical, just like any social situation, respect for you goes down.

★ People are more than happy to impart knowledge, there are lads who could easily talk for hours about one thing if you get them going so don’t be afraid to ask questions! If you’re nervous about asking someone for help with drill, kit, etc it’s less “How do you not know this?” and more “I’m SO glad you asked!” It’s sort of like having a group of brothers for the weekend, always teaching you something. I find reenactors can never pass up an opportunity to thoroughly explain something (myself included) and sometimes even unprompted will just point to something you’ve got and start telling a story about it. Everyone, even elder members, learn something new every event

★ In terms of clothing sizing, I’ve got stereotypical male proportions (bar my height) so I can’t speak much from personal struggle on this one. Most modern-made reenactment gear is quite amply sized, which is fine if you’re larger but is a pain if you’re smaller. Most groups will have spare kit in diff sizes you can borrow on trialling them, and there are good videos on YouTube to familiarise yourself with all the parts and how to care for them, and of course you can ask me here as well. If you want something yourself, everyone and their mums starts out with Soldier of Fortune these days, and owning your own trousers/tunic of course means you can tailor it if need be. You’re also looking at around at least £600 for a relatively complete kit, but tbh it’s easily over £1000 weapons and extras included.

★ On clothing, maybe it’s cos I’m short, but your grey flannel is your best friend if you have to get changed in front of someone and don’t want them to see your Downstairs. The greybacks are quite long I find, so as long as it’s on, you can change trousers and sometimes even undergarments without flashing anyone.

★ On getting changed: always try to be the first to get ready, it doesn’t look weird, you just look on top of things! Do a bit of recon when you can about changing spaces and the toilet situation cos you might be able to get creative where you change, including in your sleeping bag. It’s good to try to get at least an undershirt and bottom half on before the group wakes up, you easily put on tunic and boots and the rest alongside everyone else. You might even find you just end up sleeping in kit, sometimes we do that. Getting to the toilet first also means you not only avoid being late for inspection trying to sort yourself, but you’re not after the lad with the Least Desirable morning routine (and believe me, there will be at least one, if not more).

★ Though sleeping in the same space and getting ready around each other is usually expected, it’s not mandatory. For some multi-day events, it may be possible to go home and come back the next morning so you don’t have to sleep/change with the rest of the boys. It’s possible to show up to events already kitted and leave kitted so you don’t need to change at all. If you’re all staying in a hotel, you can get a separate room or if everyone is staying at camp, you can stay in a local inn if there is one. If you’re under canvas, you can always bring a separate tent and sleep by yourself. HOWEVER, because sleeping together (and drinking till 3 AM) and getting ready polishing brass or making breakfast is a Group Bonding Experience just be aware you’ll miss out on that bonding if you go off alone a lot or cut events short to go home/come back, if having more bonding is particularly important to you!

★ If you’re binding, it’s worth noting depending on what exactly you’re doing you carry anywhere between 20-50 extra pounds on your person. There is decent physical activity, you are with equipment on your feet for most of the day, and hobnail boots are not the most comfortable. Being in an entirely wool uniform on a baking, humid day in a binder would be absolutely bloody miserable. You would have to take the binder off after all that lest you hurt yourself. Also, if you join a Highland Regiment, it is not a good idea to pack. And I’m not talking about your kit bag. If your Swagger Stick falls out on a demo in front of hundreds of families, there is no coming back from that, there really is no room for Oopsy in that scenario, it’s not worth the embarrassment!

★ As for starting projects yourself… that’s a tricky one. If it’s like a little reenactment group, that’s a massive undertaking, I could write a novel about that alone and the money and insurance and complex social things that would involve. There are ways you can do solo reenactment for educational purposes, though this requires having a relationship with whatever venue is hiring you such as a museum. While doing a scout or medic would be easy enough, doing a fully kitted infantryman would be a bit harder. If you have weapons like a rifle or bayonet, you need a permit to carry them. Solo reenacting also requires you to know A TON of information, not just about the war, but the surrounding time period give or take 20 years, your entire kit, gear, and loads of other things.

★ In conclusion, as intimidating as this can seem to navigate around cis men as a trans man for (potentially) the first time in a very military, traditionally masc environment…. I think as long as you come into it with the same attitude as any young man would at the time, you’ve got pals to back you up, and you try to be cheery and do your bit, you’re likely to do just fine and have fun! I know reenactment can seem like the straight white old male phobic hardcore conservative hobby, but it is a really rewarding experience as long as you take some precautions, there are some genuinely lovely people in it, eager to pass on their knowledge. If you feel a group is not a good fit, you can always leave, and there will be other groups who will be more than happy to have you. While I can’t say I’ve met any trans men in my time doing it, I’ve at least met some other LGB reenactors who are really lovely and very supportive.

Hope something here puts your anxiety at ease, or at least doesn’t make anything worse! If it’s of any comfort, I think groups as a whole are becoming much more supportive of LGBT+ members. I think the coming generations that are starting to have more active involvement in this area of reenactment look to be making it better for LGBT+ people to participate in historical education and overall hobby engagement.

Cheers! x

[allalrightagain]

for the WIP ask game: 4. Knights Posting > Tortall > Gender Nonsense (opposite edition)

Hi! Thanks for the ask! I answered 4 here, but I’ve taken the liberty to pick the fic I actually forgot to put on the list (feel free to send another ask if there’s something else that caught your eye!) and also include another snippet from Gender Nonsense (opposite edition)

George Buys Alan a Prostitute AU:

Technically I forgot about this one because it does not have actual written prose yet (hence no snippet) but it lives rent free in my brain and also my dms with @mkaugust.

Early In the Hand of the Goddess, Alanna is seething with jealousy over Jon sleeping around, and George has done his light propositioning and come up empty. However, he’s a sex positive, trans inclusive kind of guy written in the height of second wave feminism so ofc he thinks Alanna should spread her wings and have the same (sexy) opportunities that everyone else gets. Now, there’s obviously the complication of Gender (for both participants), but thankfully he’s the Rogue and between himself and Rispah, they can actually guarantee discretion, so he sits Alanna down in private (in the post war timeskip, maybe? extremely awkward bandage to the Goodbye Kiss’s potential effects on their friendship) and says okay I have not changed my mind still and I don’t expect to, however if you wanted to lose your virginity like the less romantically inclined young lads often do, I can promise your secret would be safely guarded by any of Rispah’s people, and you’d have your choice of gender(s).

And initially Alanna says no because of who she is as a person but then Jon is who he is as a person and, well. She’s back in George’s rooms within a day.

(eventually, she and Jon do get together still, and Jon is a lot less jealous about the whole thing once he sees her experience is a LOT better than. well. any of the other uptight ladies he’s been meeting. Alanna is less impressed, but does love being better at things than her partners so it works out.)

And also at some point, possibly not until late in Lioness Rampant, they end up at a party or meeting with Jon, Alanna, George, Alanna’s ex fuckbuddy, Rispah, Myles, and Eleni, which is delightfully awkward.

Gender Nonsense (opposite edition)

“George, you haven’t seen the ladies at court. I’d have better luck marrying Gary.” He was whining. He knew he was whining. It wouldn’t do him any good, and he knew that too, but perhaps if he’d gotten all his whining out here, with someone he loved and trusted, someone far away from the inner workings of court politicking but who understood the game, he’d be able to stand another day of it. The day after that was anybody’s guess. “Don’t think Gary solves any of your problems, other than perhaps not being bad to look at.” “Not as bad as some.”

[dervampireprince]

I am so glad you care so much for your community- I’ve seen ASMR people who really only do it for ghe money, but the fact you care so much is very sweet!

I do appreciate you also taking the time to show things that aren’t often done like age regression, chronic pain, pet regression, and period comfort. I rarely see any type of regression in media or asmr- it’s a nice feeling.

The mere fact you have made me fall in love with your characters (metaphorically) is wonderful. A lot of people don’t have their characters fleshed out and are left scrambling for answers when someone asks about the OC’s lore.

-sincerely, a fan trying to get a phycology degree; 💿💛

I don't know if I've seen anyone do asmr 'for the money' because it's really difficult to get a following in youtube when it's so oversaturated and youtubr ad money is not ad much as people think it is, at least for smaller channels, and youtube had a nasty habit of demonitising or putting limited ads on asmr videos because it sees them as 'sexual content', which no asmr is not inherently sexual whether it's a platonic roleplay, a romantic one, or someone tapping on things.

So I disagree with seeing people doing it for the money but maybe I just haven't seen the channels you're thinking of. My problem with the asmr voice acting space is far too many channels use stolen artwork in their videos or thumbnails (no artist credit anywhere, 'credit to artist' is not credit, linking to Pinterest is not credit, and even with proper credit I feel like using someone's fanart in your monetised video is something you should get permission from the artist to do, and I think picrews are a grey area as many are listed as 'not for commercial use' and does a monetised youtube video count as commercial use?), or in the last year or so an increasing amount are using AI generated 'art' and images in their videos which is disgusting, and I hope the channels that read scripts from reddit have permission to put them on monetised youtube videos instead of soundgasm because I'd feel weird if I wrote a script and shared it on a sub reddit for someone on youtube to voice it and monetise it and it get 100k views and the script writer not see a penny of that.

But anyway, ah, thank you for your kind words. If you look through my FAQ you can find a long answer about why I started making asmr va stuff, but basically it helped me when k was in a dark place and I always wanted to try my hand at it to be able to help others, especially as I saw no trans people or audios made for trans people at the time, but also I want to be clear I did also do it because I was struggling finically and trying another attempt at making money while working from home. And I don't think me partially doing this to make money is evil, we're all feeling the cost of living crisis I'm sure, and I'd just graduated straight into a pandemic so no one was hiring, I'd had a mental breakdown during my last year of uni, and I was trying to find how I could woke while figuring out I have autism and going through trauma that's left me with chronic pain and other health problems. So while yes I genuinely enjoy doing this, I've always wanted to tell stories and struggled to so that via writing books or drawing comics, improvising and acting these audios seems to come naturally and easy to me and its been a joy to discover this way of story telling and have other people enjoy it and care about my characters, I'm also not gonna sit here and lie and say it's never about the money because if my chanbek hadn't grown and after years I had no patreon members I wouldn't still be doing this because I'd have to have a different job and put my energy into that and wouldn't have time to justify doing this. I dont know just saying people 'only do it for the money' kinda rubbed me the wrong way a little because times are hard and of people get into this space to try and make some extra money I have no problem with that (as long as they aren't stealing art to do so).

The reason I cover topics like age regression, pet regression, chronic pain and periods is because I personally experience all of those things and know that I'd like comfort for them so I make the stuff I wanna hear. I hope knowing that I experience and I understand the topics makes people feel like they can trust me to talk about them in a way that isn't insensitive.

And thank you for liking my characters and that you feel there's are fleshed however, most are really not. Ambrose and Arden are the only ones who have fleshed out backstories. I've spoken about this so many times and I'm often someone who has to say 'I don't know' when people ask about my audio ocs. They weren't made with the intention of having complex stories or any backstory at all because not everyone wants that in their comfort asmr. I have other worlds and stories I've made that are like that, but my audios ocs were never made with that intention and it stresses me out when people assume there is more because I just don't have more. Maybe I'll make more for some characters, but you can't force me to have ideas and backstories for them. I dont think people should have to have fleshed out characters or backstories, especially when they're just making ocs for fun. I get it's frustrating if things aren't consistent, I've experienced liking someone else's audio ocs and remembering the lore and facts given only for the creator to have seemingly not remembered any of it or just randomly retconned it and it was frustrating and I hope I haven't forgotten major things I've said in my audios because when I do improvise lore I try and remember to note it down. And do remember my audios are improvised, I scripted parts of the love bites backstory but that's really been all the scripting I've ever done. If I suddenly made all the audios plot heavy and lore heavy I think a lot of people would stop listening. I have been trying to allow myself tl have my ocs as they are and not force them to have backstories and not apologise for "scrambling for answers" as you say. I dont think not having answers for questions about your ocs is bad, I dont want anyone to make me feel bad for that, and I have asks I haven't answered about my ocs sitting in my askbox because I don't the answers (multiple questions about what movies or music they all like I'm s- no I have to stop saying I'm sorry, the answer is I don't know, also those questions are hard to answer because I don't know most movies or music and I can't just give them all my fave music or movies over and over again because I don't know any others). When I introduce a new character now I do try and give them some story because I'm finding it fun, but I've found I cannot now force a backstory onto satin or valentine for example.

So thank you for liking my audios and characters, I just personally don't think there's anything wrong with someone making an asmr channel to try and earn more money as a lot of people are struggling finically right now, and I don't think there's anything wrong with not having answers or lore for characters that you've made for fun or for asmr videos.

[transamorousnetwork]

The False Bible Truth That Keeps Killing Trans People

Some Christians will dispute this, but the Bible itself seems clear on the issue: God hates gays. At least that’s what Christian evangelicals will tell us. 

As does the Bible. I mean, it’s clearly stated many, many times throughout the “good book”. And it’s not just gays. Apparently, god also hates trans people. People who love them too.

But is that all really true? Or might the Bible have it all wrong?

I’ve always seen the Bible as something other than the word of god. It’ can’t be the word of god because god didn’t write the Bible. No matter how a theologian will try explaining it, god did not pen the Bible. Man did. And man is fallible.

This post is about a new documentary I watched. It’s called 1946: The Mistranslation That Shifted Culture. This film examines one of the biggest bombshells Christianity dropped on humanity and the massive destruction that bomb created. Turns out that bombshell was based on a lie.

The problem is, that lie shaped the world we see today. One where a lot of Christians don’t act very Christian. One where a lotta far right Christians persecute trans people, believing they’re doing “god’s work”.

Let’s dive in.

The Bible’s original intent was pure

1946, the film, is great. It offers extremely compelling evidence supporting its contention. Its contention is the white, presumably straight, men who translated the most popular versions of the Bible got it wrong when translating two critical terms. They conflated those two terms to mean “homosexual”. Then, publishers used that conflation to fill the entire Bible with the word “homosexual”, thus creating the weaponized version of the Bible many evangelical lay persons and their leaders use to condemn trans people today.

The difference that conflation created sent human civilization on a totally different trajectory than if that translation error never happened.

Not only does the film offer proof, it offers proof that’s extremely compelling. The 20 men translating the Bible were theologians. It’s clear from factual examination of these men’s own notes that their intentions were pure. After the conflation happened, however, another man saw the group’s translation. This other man happened to also be a theologian.

But something else about this guy made him the perfect person to get involved: he also was gay. And he also was a pastor. 

This person wrote a letter to the group. He urged them to reconsider the conflation. And he gave compelling reasons why they should. What’s amazing, given today’s Christian perspective on gays, is the group’s leader was super interested in this guy’s opinion. The two exchanged extremely cordial letters about the conflation. In the end, the group leader agreed with the gay pastor: the translation was wrong.

^^A question that can change the world. From the film’s website.

Sacrosanct words meet politics

However, our process-driven society amplified the problem. Some years would pass and the error didn’t get fixed. In those years, publishers published two other versions of the Bible. Those versions also contained the mistranslation.

Then Billy Graham and Jerry Falwell popularized those translations. They gave mistranslated versions of the Bible for free to congregants. Back then, these two men were Christian rock stars. Their audiences were HUGE. Which meant a lot of people got those Bibles.

Right about this time, Ronald Reagan became president. Politics and Christian values birthed the Religious Right. And that was all she wrote. Needing a foil to keep Christians agitated and engaged, the Politicized Religious Right focused on gays as “the enemy”.

Right around this time AIDS happened. AIDS was the perfect example of homosexual depravity. The Religious Right claimed AIDS was divine retribution for homosexual sin. Momentum took over from there.

This explains why, today, the Bible contains the word “homosexual”. Accurately translating those two words would put the Bible in a completely different standing on gay and trans people. The documentary offers undeniable proof about this. Unless you believe the Bible is the word of god.

And yet, many Christians will not consider this proof. Even though it comes directly from the men who did the translations. Again, many Christians believe the book is the word of god. It is therefore infallible. They don’t consider these words the words of man, translations prone to error.

The power of belief and momentum

The film maker’s family shows how powerful belief in the book as the word of god can be. The film maker is lesbian. Her father is an evangelical pastor. He swears the Bible is the word of god. As such, he believes what the Bible says about homosexuals. Even when presented with proof documentarians found, he’s unwilling to budge. It’s the word of god, he says. End of story.

Not only does this pastor’s example show how powerful Christian belief is, even when it’s based on distortion, it also shows how powerful beliefs in general are. Beliefs and momentum literally create our realities. So many Christians believe like this pastor does. Other pastors believe this too. And they pass that belief on to their flock, using oratory fire and brimstone, thereby creating even more fervent believers.

And so generations have believed this lie. Generations of congregations and generations of Christian leaders too.

Even some gay Christians find themselves believing. They can’t reconcile who they know themselves to be with what their religion tells them. Indeed a central figure in the film is another theologian. Like the pastor who challenges the conflation, this central figure is gay. At one point, inner conflicts drove him to nearly kill himself. In the film he says his life is significantly diminished compared to what it could be had the Bible not been translated the way it was. He claims the Bible destroyed his ability to form intimate bonds with people.

Our beliefs matter. They literally shape reality. Some literally shape society and culture. They are nottrifling matters. Decades have passed with many tragedies happening because of this one translation error. A translation error picked up and weaponized by fanatical politicians as well as religious fanatics.

There’s hope

And yet, this documentary can potentially alter our future. I’m holding space for it to reach those who can do something about this egregious lie perpetrated by so many who have come before us. So many claiming to be Christian.

I also hold space for people to watch the film. Some of it is hard to watch. Especially interactions between the film maker and her father. I know after his transition, he’s going to be shocked when he discovers how wrong he was.

And yet, I must offer both the father and the film maker kudos. Despite this enormous difference between them, they maintain a relationship. One seemingly based on love and….tolerance of one another….if not outright acceptance. That’s not something I could do.

I prefer a life where life is peaceful and joyful. People with gross distortions, such as the film maker’s father, don’t appear in my life.

I like it that way.

Whether you’re Christian, gay, trans or otherwise, watch this film. It’s powerful.

[brownweaselreblogs]

I added a lot more thoughts to my tags of the original post, because this blog is a void and I didn’t expect replies. Another big issue that appears repeatedly in different artists’ work is the theme of complete isolation and of losing something essential to thinking and existing as a fully capable person.

A lot of comics very directly show their characters becoming severely disabled, both mentally and physically, from recklessly using this “otherkin HRT.”

A lot depict intentional overdoses, blatantly ignoring medical advice, and not really listening to genuine health or safety concerns. Of course, a lot of this overlaps with HRT in the real world. I should know. I’ve experienced discrimination and unfair treatment from docs, I’ve had to order medications off gray market sites, etc. I understand it’s in reference to real frustrations and real experience.

I didn’t use the word identity death because I mean it really just shows death. If I am transformed into a normal frog by a wizard, with no way to return, I am dead. The wizard killed me.

I am pleasantly surprised with the generally respectful and intellectually curious replies so far. It’s a nice thing to see. Here’s my problem: I still believe the messaging is harmful.

Portraying transition as something that comes with intense physical pain and turmoil, something that makes you isolated and even dangerous (or alternately disabled where you weren’t before) is a bad message for young trans people to be potentially internalizing. Being trans isn’t like becoming an animal. These characters aren’t “becoming themselves,” I’d assert they’re undoing themselves. It’s suicide.

Another point I’d like to address is yours about abdicating responsibility and withdrawing from a toxic wider society, because it ties in with the themes of intense isolation/danger I keep seeing.

Part of being a person means relying on others and giving back to a community in mutual support. Humans are social animals. The importance of community, with the fictional otherkins, is depicted centrally in many of the comics I’ve seen. If where you are going leaves you alone, disabled, with no higher intelligence and a shorter lifespan, is that freedom? And maybe it is to the authors.

The cost is too great and the benefits never really bear out. It is depicting people who cannot exist in wider society deciding to delete themselves, their actual selves. That is not good.

Hey guys maybe the repeating theme in those “therian HRT” comics about losing your sapience is bad, actually. Maybe it reflects a suicidal tendency that is not healthy and shouldn’t be celebrated. The desire to be non-sapient is not easily distinguished from a desire to not exist, imo. Those comics kind of make my stomach turn.

[drdemonprince]

> I’ve never had a problem getting topped, personally, even as a lifelong s-type with a variety of hyper-niche interests. ... Nor have I had any problem finding casual partners to fuck, or romantic prospects to date.

...

> I’ve never had trouble finding dates or hook-ups — even back when I was living as a supposedly straight woman.

i really respect your opinions and you make a lot of good points, but man... you are also thin, white, attractive, and pass.

i also had no problems with hookups when i was living as a queer woman. got more interest from all genders than i knew what to do with. then i started t and gained 60lbs (and still don't pass at all after nearly a decade plus top surgery), and now there is absolutely no reciprocation no matter how direct i am about what i want.

one of my friends is a black trans woman who gets treated like a predator when she actively initiates.

i 1000% agree that the idea of a top/bottom shortage is bullshit, and "initiate more! be more direct and active!" is great advice for like, shy 20something lesbians, but yeah, it does sound "glib and unhelpful" for a successful hot white guy to say "well i've never had problems so just do what i do"

Oh yeah absolutely. I try to put my cards on the table so that my biases are clear -- and the gaps in knowledge and lived experience that my privilege creates are huge. That's all the more reason not to take my word on such topics, and instead to read the original article by Belcourt, Dust, and Gabriel, who are not white and thin:

I will say anecdotally that I know a great many fat people, non-passing trans people, and Black trans people who do not have any difficulty finding people to date or to fuck, because, well, those are groups of people who are quite desirable! Fat people are hot! Non-passing trans people are hot! Black trans people are hot! But it's undeniable that they face challenges on the dating market I myself do not face -- partners who are very attracted to them being uninterested in being seen with them in public, for instance, to the point of outright cruelty and violence, or prospective partners viewing them inherently as 'brutes' (as the article puts it) and aggressors in ways that make their every move potentially unsafe.

(yet another reason to hype this safety guide for trans femmes).

Those are massive issues, and I think the Belcourt/Dust/Gabriel piece covers it far better. I hope more people will read it. Belly of the Beast and Whipping Girl are also good texts for anybody reading this who is new to grappling with how much anti-Blackness and transmisogyny corrupt how people recognize and express desire.

[duckprintspress]

Ten Things We Hate About Trad Pub

Often when I say “I’ve started a small press; we publish the works of those who have trouble breaking into traditional publishing!” what people seem to hear is “me and a bunch of sad saps couldn’t sell our books in the Real World so we’ve made our own place with lower standards.” For those with minimal understanding of traditional publishing (trad pub), this reaction is perhaps understandable? But, truly, there are many things to hate about traditional publishing (and, don’t get me wrong - there are things to love about trad pub, too, but that’s not what this list is about) and it’s entirely reasonable for even highly accomplished authors to have no interest in running the gauntlet of genre restrictions, editorial control, hazing, long waits, and more, that make trad pub at best, um, challenging, and at worst, utterly inaccessible to many authors - even excellent ones.

Written in collaboration with @jhoomwrites, with input from @ramblingandpie, here is a list of ten things that we at Duck Prints Press detest about trad pub, why we hate it, and why/how we think things should be different!

(Needless to say, part of why we created Duck Prints Press was to...not do any of these things... so if you’re a writer looking for a publishing home, and you hate these things, too, and want to write with a Press that doesn’t do them...maybe come say hi?)

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1. Work lengths dictated by genre and/or author experience.

Romance novels can’t be longer than 90,000 words or they won’t sell! New authors shouldn’t try to market a novel longer than 100,000 words!

A good story is a good story is a good story. Longer genre works give authors the chance to explore their themes and develop their plots. How often an author has been published shouldn’t put a cap on the length of their work.

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2. Editors assert control of story events...except when they don’t.

If you don’t change this plot point, the book won’t market well. Oh, you’re a ten-time bestseller? Write whatever you want, even if it doesn’t make sense we know people will buy it.

Sometimes, a beta or an editor will point out that an aspect of a story doesn’t work - because it’s nonsensical, illogical, Deus ex Machina, etc. - and in those cases it’s of course reasonable for an editor to say, “This doesn’t work and we recommend changing it, for these reasons…” However, when that list of reasons begins and ends with, “...because it won’t sell…” that’s a problem, especially because this is so often applied as a double standard. We’ve all read bestsellers with major plot issues, but those authors get a “bye” because editors don’t want to exert to heavy a hand and risk a proven seller, but with a new, less experienced, or worse-selling author, the gloves come off (even though evidence suggests time and again that publishers’ ability to predict what will sell well is at best low and at worst nonexistent.)

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3. A billion rejection letters as a required rite of passage (especially when the letters aren't helpful in pinpointing why a work has been rejected or how the author can improve).

Well, my first book was rejected by a hundred Presses before it was accepted! How many rejection letters did you get before you got a bite? What, only one or two? Oh…

How often one succeeds or fails to get published shouldn’t be treated as a form of hazing, and we all know that how often someone gets rejected or accepted has essentially no bearing on how good a writer they are. Plenty of schlock goes out into the world after being accepted on the first or second try...and so does plenty of good stuff! Likewise, plenty of schlock will get rejected 100 times but due to persistence, luck, circumstances, whatever, finally find a home, and plenty of good stuff will also get rejected 100 times before being publishing. Rejections (or lack there of) as a point of pride or as a means of judging others needs to die as a rite of passage among authors.

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4. Query letters, for so many reasons.

Summarize all your hard work in a single page! Tell us who you’re like as an author and what books your story is like, so we can gauge how well it’ll sell based on two sentences about it! Format it exactly the way we say or we won’t even consider you!

For publishers, agents, and editors who have slush piles as tall as Mount Everest...we get it. There has to be a way to differentiate. We don’t blame you. Every creative writing class, NaNoWriMo pep talk, and college lit department combine to send out hundreds of thousands of people who think all they need to do to become the next Ernest Hemingway is string a sentence together. There has to be some way to sort through that pile...but God, can’t there be a better way than query letters? Especially since even with query letters being used it often takes months or years to hear back, and...

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5. "Simultaneous submissions prohibited.”

No, we don’t know when we’ll get to your query, but we’ll throw it out instantly if you have the audacity to shop around while you wait for us.

The combination of “no simultaneous submissions” with the query letter bottleneck makes success slow and arduous. It disadvantages everyone who aims to write full-time but doesn’t have another income source (their own, or a parents’, or a spouse’s, or, or or). The result is that entire classes of people are edged out of publishing solely because the process, especially for writers early in their career, moves so glacially that people have to earn a living while they wait, and it’s so hard to, for example, work two jobs and raise a family and also somehow find the time to write. Especially considering that the standard advice for dealing with “no simultaneous submissions” is “just write something else while you wait!” ...the whole system screams privilege.

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6. Genres are boxes that must be fit into and adhered to.

Your protagonist is 18? Then obviously your book is Young Adult. It doesn’t matter how smutty your book is, erotica books must have sex within the first three chapters, ideally in the first chapter. Sorry, we’re a fantasy publisher, if you have a technological element you don’t belong here…

While some genre boxes have been becoming more like mesh cages of late, with some flow of content allowed in and out, many remain stiff prisons that constrict the kinds of stories people can tell. Even basic cross-genre works often struggle to find a place, and there’s no reason for it beyond “if we can’t pigeon-hole a story, it’s harder to sell.” This edges out many innovative, creative works. It also disadvantages people who aren’t as familiar with genre rules. And don’t get me wrong - this isn’t an argument that, for example, the romance genre would be improved by opening up to stories that don’t have “happily ever afters.” Instead, it’s pointing out - there should also be a home for, say, a space opera with a side romance, an erotica scene, and a happily-for-now ending. Occasionally, works breakthrough, but for the most part stories that don’t conform never see the light of day (or, they do, but only after Point 2 - trad pub editors insist that the elements most “outside” the box be removed or revised).

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7. The lines between romance and erotica are arbitrary, random, and hetero- and cis-normative.

This modern romance novel won’t sell if it doesn’t have an explicit sex scene, but God forbid you call a penis a penis. Oh, no, this is far too explicit, even though the book only has one mlm sex scene, this is erotica.

The difference between “romance” and “erotica” might not matter so much if not for the stigmas attached to erotica and the huge difference in marketability and audience. The difference between “romance” and “erotica” also might not matter so much if not for the fact that, so often, even incredibly raunchy stories that feature cis straight male/cis straight female sex scenes are shelved as romance, but the moment the sex is between people of the same gender, and/or a trans or genderqueer person is involved, and/or the relationship is polyamorous, and/or the characters involved are literally anything other than a cis straight male pleasuring a cis straight female in a “standard” way (cunnilingus welcome, pegging need not apply)...then the story is erotica. Two identical stories will get assigned different genres based on who the people having sex are, and also based on the “skill” of the author to use ludicrous euphemisms (instead of just...calling body parts what they’re called…), and it’s insane. Non-con can be a “romance” novel, even if it’s graphically described. “50 Shades of Gray” can sell millions of copies, even containing BDSM. But the word “vagina” gets used once...bam, erotica. (Seriously, the only standard that should matter is the Envelope Analogy).

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8. Authors are expected to do a lot of their own legwork (eg advertising) but then don't reap the benefits.

Okay, so, you’re going to get an advance of $2,500 on this, your first novel, and a royalty rate of 5% if and only if your advance sells out...so you’d better get out there and market! Wait, what do you mean you don’t have a following? Guess you’re never selling out your advance…

Trad pub can generally be relied on to do some marketing - so this item is perhaps better seen as an indictment of more mid-sized Presses - but, basically, if an author has to do the majority of the work themselves, then why aren’t they getting paid more? What’s the actual benefit to going the large press/trad pub route if it’s not going to get the book into more hands? It’s especially strange that this continues to be a major issue when self-publishing (which also requires doing one’s own marketing) garners 60%+ royalty rates. Yes, the author doesn’t get an advance, and they don’t get the cache of ~well I was published by…~, but considering some Presses require parts of advances to get paid back if the initial run doesn’t sell out, and cache doesn’t put food on the table...pay models have really, really got to change.

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9. Fanfiction writing doesn't count as writing experience

Hey there Basic White Dude, we see you’ve graduated summa cum laude from A Big Fancy Expensive School. Of course we’ll set you up to publish your first novel you haven’t actually quite finished writing yet. Oh, Fanperson, you’ve written 15 novels for your favorite fandom in the last 4 years? Get to the back of the line!

Do I really need to explain this? The only way to get better at writing is to write. Placing fanfiction on official trad pub “do not interact” lists is idiotic, especially considering many of the other items on this list. (They know how to engage readers! They have existing followings! They understand genre and tropes!) Being a fanfiction writer should absolutely be a marketable “I am a writer” skill. Nuff said. (To be clear, I’m not saying publishers should publish fanfiction, I’m saying that being a fanfiction writer is relevant and important experience that should be given weight when considering an author’s qualifications, similar to, say, publishing in a university’s quarterly.)

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10. Tagging conventions (read: lack thereof).

Oh, did I trigger you? Hahahaha. Good luck with that.

We rate movies so that people can avoid content they don’t like. Same with TV shows and video games. Increasingly, those ratings aren’t just “R - adult audiences,” either; they contain information about the nature of the story elements that have led to the rating (“blood and gore,” “alcohol reference,” “cartoon violence,” “drug reference,” “sexual violence,” “use of tobacco,” and many, many more). So why is it that I can read a book and, without warning, be surprised by incest, rape, graphic violence, explicit language, glorification of drug and alcohol use, and so so much more? That it’s left to readers to look up spoilers to ensure that they’re not exposed to content that could be upsetting or inappropriate for their children or, or, or, is insane. So often, too, authors cling to “but we don’t want to give away our story,” as if video game makes and other media makers do want to give away their stories. This shouldn’t be about author egos or ~originality~ (as if that’s even a thing)...it should be about helping readers make informed purchasing decisions. It’s way, way past time that major market books include content warnings.

Thank you for joining us, this has been our extended rant about how frustrated we are with traditional publishing. Helpful? No. Cathartic? Most definitely yes. 🤣

*

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[afuntimepartyy]

Alright so first off, I’m going to get this out of the way before going on a ramble thing for silver about personal headcanons- as its trans related headcanons and something i should say before getting into my own lol   Silver the hedgehog, honestly as long as I’ve seen them has always *seemed* trans to me- canonly or not silver just seems like that one character that would be trans or at the very least gender non-conforming!  Maybe it’s the personal connections playing into favoritism here as being trans myself however-   Silver was born in a mostly dead future, as far as we known there’s no actual society of humanity left standing except the few survivors through the future ending events that led up to whatever kind of future silver originates from.  A lot of gender related things are more so heavily ingrained in our society, male and female and so on- that’s likely. not really there. even if there was more humanity there than we ever see- why would that be what they’re worried about when fighting for their lives?    The idea of gender is likely not that relevant to silver, it just feels right y’know? they grew up in a place where that just basically wasn’t a worry.  coming to sonics present time, depending on how you view silver (because that’s the best part about fanbases! is different approaches to the same character and their identity!) they could have multiple reactions to that world around them! they could figure out actually, I do like this or I don’t like this- or this explains a lot and I didn’t know that was what gender dysphoria was! its limitless in that retrospect. Nonbinary silver, transmasc and transfem silver, the list goes on as tha’ts not all there is! At the VERY least despite there not being coding or anything in canon referencing to silver being trans or gender non-conforming it just feels right, in a way.  Anyways! that little ramble aside! let’s get into personal headcanons for silver! in honor of her birthday, and also trans awareness week it felt like since I couldn’t push out art like I planned, I’d do this instead! 

                                                          <>

 Silver headcanons revolving around her trans identity and how her emotions revolve around those feelings!

-Silver is a trans girl! using she/her but they/them aren’t a big deal to her! -Silver still isn’t afraid to be flexible in her gender identity either, androgynous, masculine all of the above! it doesn’t matter to her in the end because it didn’t matter when she came to the present!  -”passing” is also not something that worries her, as long as shes happy with who she is and how shes expressing herself there its good enough. Once again, why would she worry about what silly gender norms may be around, where she grew up it didn’t even matter- though she is at least glad how being in the present helped her find a version of herself she was happiest with  -Silver doesn’t have any major dysphoria relating to her gender identity- this is all purely because “it feels better, and it feels right to who I am.” and that is completely valid. Sometimes things just feel better, and it makes you feel more... you. Which is very important to this version of silver especially when relating to other headcanons/au’s of mine  -(more detail on the previous statement) To put it lightly, silver struggles to find herself different from previous versions of herself. being aware of them through some ‘cycle’ or loop of sorts. Is she really her? or is she just another version of them? Her personal found comfort in her gender and pronouns helps a bit in that regard- she’s herself. she’s her. She’s silver! she may have a job to do, like all the others- and in some aspects are the same in personality and motives as past versions- but she’s still herself. it provides some comfort in it all.  -It takes a bit to come to the realization of what she feels suits best, Afterall it’s a new feeling and an unexpected solution to an internal problem! but she does talk it out with people- even if in confused questioning that can sometimes be out of nowhere  All in all, her gender revolves around making herself feel more like... her! what makes her happiest when shes around others and isnt afraid to be flexible with it! genders weird and she thinks confining stuff to masculine or feminine can be a bit much at times- she wants to be a girl and be free to do what she wants with it! shes defining herself as a person and saving the future as we know it. 

[onyxheartbeat]

People: “Feminism is about equality but it has been taken over by misandry.”

The perceived misandry: women simply calling out misogyny.

People: “Feminism is no longer needed in America. Everything is equal.”

America: Still has never had a woman president, still restricts abortions, still has men getting offended when you dare to tell them that the world still has a drastic violence against women problem, has a legal system that allows men to sue their victims for speaking about abuse and win.

—

YouTube was recommending a video to me where teenage boys anonymously answer questions so they feel less pressure about speaking, and when the prompted question was “Feminism has gone too far,” the answers a couple of them gave as well as people in the comment section of the video just showed how fucked we are.

It’s amazing how so many men perceive women getting any type of success or attention as hatred or discrimination towards them as men.

And I’ve said before, I’ll say it a million more times, people should stop saying “Feminism is just about equality.” All that does is make it more palatable for sensitive egos and easier for people to perceive any conversation that calls out misogyny as “misandry.” Not to mention equal rights will not combat or punish the hatred of women all around the world. As we can clearly see, when women gain more “rights” or a voice or a successful position, the backlash and misogynistic rhetoric skyrockets.

—

Another thing that baffles me is the infighting. #Libfem, #radfem, #terf, #swerf, #first wave, #second wave, or the opposite end of the spectrum—not identifying with feminism at all. The cultlike mentality of it; assuming one’s position about a subject before it’s even discussed in a nuanced manner based on their “group.” Bizarre to me. It’s all just conversation at the end of the day, with room for improvement. It’s reductive to say an entire group of any of the above listed is “bad” in every aspect, especially since people wrongfully assume things about individuals. I’ve seen people call trans women terfs…literally, I have….and libfems rape enablers…all radfems anti-trans…how the fuck does any of that make sense?! And since all this has divided so many women, a lot of women have given up completely and begun to look the other way when it comes to women being treated like shit in the world, which shouldn’t be an excuse. It’s such a cop-out. I’ve never witnessed such apathy regarding misogyny and even internalized misogyny of women than recent years, despite seeing a growing wave of it. Sickening.

[oumakokichi]

What are the differences between the original and localization?

Hmm, that’s a very simple question with a pretty lengthy answer! I did answer some similar questions in the past, but that was a long time ago, much closer to when the localization was first released. There are probably a lot of people whose main experience with the game has only been with the localization, and who don’t really know or remember those differences anymore.

For that reason, I’m going to go into kind of a “masterlist” of things that were changed in the localization in this post. This will be very long, but I really want to explain the whole story behind the localization and its differences from the original to people who might only be hearing about this for the first time. I’m going to cover full spoilers for the game obviously, so be careful when reading!

Also, please feel free to share this post around, as I think it contains a lot of information that might be interesting to people who’ve only experienced the localization!

Before I really get into it though, I want to stipulate that the differences I’m covering in this post are mostly going to be things that I believe could’ve been handled or translated better, not every single line that was changed verbatim in the game. This is because a localization’s purpose is incredibly different from a literal translation.

Where a literal translation seeks to keep as much of the original authorial intent as possible and has the leeway to explain various Japanese terms and cultural specifics to the readers in footnotes or a glossary, a localization is usually much more targeted towards a specific target audience, usually one more unfamiliar with Japanese culture or terminology. As a result, some things in a localization are occasionally changed to make them more understandable to a western audience.

So, for example, I’m not going to fault the localization for changing Monosuke’s extremely heavy Kansai accent in Japanese to a New York accent in the English dub. It’s much easier for western players to immediately grasp that, “hey, this guy has a very specific regional accent that the other characters don’t,” and it works really well as a rough equivalent. Similarly, localization changes like changing a line here or there about the sport of sumo to be about the Jets and the Patriots also helps get the point across to players quickly and easily without having to explain an unfamiliar sport to western players in-depth before they can get the joke.

That being said… there were some liberties taken with ndrv3’s translation which I don’t believe fulfill the point of a localization, and which changed certain deliveries or even perceptions about the characters in a way that I just don’t agree with.

Let me explain first how the localization team actually worked, to people who might be unfamiliar with the process. Ndrv3 had four separate translators working on the localization. When NISA first announced that the game was being localized, these four translators introduced themselves on reddit in an AMA, where they also mentioned that they were by and large dividing up the 16 main characters between themselves, with each translator specifically assigned to four characters.

Having more translators working on a game might sound like a good idea in theory, but it’s often not. The more translators assigned to a game, the harder it is to provide a consistent translation. Translation is messy work: often there are multiple ways to translate the same sentence, or even the same word between two different languages. If a translation has multiple translators, that means they need to be communicating constantly with one another and referencing each other’s work all the time in order to avoid mistranslations: it’s difficult work, but not impossible.

However… this didn’t happen with ndrv3’s translation team. It’s pretty clear they did not reference each other’s work or communicate very well, and the translation suffers for it. I’m not just guessing here, either; it’s a fact that various parts of the game have lines completely ruined by not looking at the context, or words translated two different ways almost back-to-back. I’ll provide specific examples of this later.

Many of the translators also picked which characters they wanted to translate on the basis of which were their favorites—which, again, isn’t a bad thing in and of itself, but which does raise the risk of letting character bias influence your work. No work is inherently without bias; all translators have to look at their own biases and still attempt to translate fairly regardless. But because translators were assigned four characters each, this meant that while they might be really enthusiastic about translating for one character in particular, they were less enthusiastic for others. These biases do reflect in the work, and I will provide further examples as I make my list.

This system of delegation also leaves more questions than it answers. It becomes impossible to tell who translated certain parts of the game, particularly in areas where the narrator is unclear. For example, did Saihara’s translator translate Ouma’s motive video, as Saihara is the one watching it in chapter 6? Or did Ouma’s translator do it, since it’s his motive video? Who translated the parts we see at the beginning of certain chapters, where characters from the outside world make occasional comments? It’s really unclear, and I’m not even sure if the translators divvied up these parts amongst themselves or if only one person was supposed to handle them.

To put it simply, there were quite a lot of complications and worrying factors about the way the translation was divided by the team, and the communication (or lack thereof) between said translators. It’s impossible to really discuss the main problems that ndrv3’s localization has without making it clear why those problems happened, and I hope I’ve explained it well here.

With that out of the way, I’m finally going to cover the biggest differences between the original game and the localization, and why many of these changes were such a problem.

1.)    Gonta’s Entire Character

To this day, I still feel like this is probably the most egregious change of the entire localization. Gonta does not talk like a caveman in Japanese. He does not even have a particularly limited vocabularly. He talks like a fairly normal, very polite high school boy, and the only stipulation is that he’s not very familiar with electronics or technology due to his backstory of “growing up in the woods away from humans.”

Gonta does refer to himself in the third-person in Japanese, but I need to stress this: this is a perfectly normal thing to do in Japanese. Many people do it all the time, and it has no bearing on a person’s intelligence or ability to speak. In fact, both Tenko and Angie also refer to themselves in the third-person in the Japanese version of the game, yet mysteriously use first-person pronouns in the localization.

I wouldn’t be so opposed to this change if it weren’t for the fact that Gonta’s entire character arc revolves around being so much smarter than people (even himself!) give him credit for. He constantly downplays his own abilities and contributions to the group despite being fairly knowledgeable, not only about entomology but also about nature and astronomy. He has a fairly good understanding of spatial reasoning and is one of the first people to guess how Toujou’s trick with the rope and tire worked in chapter 2.

Chapter 4 of ndrv3 is so incredibly painful because it makes it clear that while Gonta was, absolutely, manipulated by Ouma into picking up the flashback light, he nonetheless made the decision to kill Miu of his own accord. He was even willing to try and kill everyone else by misleading them in the trial, because he thought it was more merciful than letting them see the outside world for themselves. These were choices that he made, confirmed when we see Gonta’s AI at the end of the trial speak for himself and acknowledge that yes, he really did think the outside world was worth killing people over.

Gonta is supposed to be somewhat naïve and trusting, not stupid. He believes himself to be an idiot, and other characters often talk down to him or don’t take him seriously, but at the end of the day he’s a human being just like the rest of them, and far, far smarter and more capable of making his own decisions than anyone thought him capable of.

Translating all of his speech to “caveman” or “Tarzan speech” really downplays his ability to make decisions for himself, and I think it’s a big part of why I’ve seen considerably more western fans insist that he didn’t know what he was doing than Japanese fans. I love Gonta quite a lot, but I can’t get over the localization essentially changing his character to make him seem more stupid, instead of translating what was actually there in order to more accurately reflect his character.

2.)    Added Some Slurs, Removed Others

It’s time to address the elephant in the room for people who don’t know: Momota is considerably homophobic and transphobic in the original Japanese version of the game. In chapter 2, he uses the word “okama” to refer to Korekiyo in an extremely derogatory fashion. This word has a history of both homophobic and transphobic sentiment in Japan, as it’s often used against flamboyant gay men and trans women, who are sadly and unfortunately conflated as being “the same thing” most of the time. To put it simply, the word has the equivalent of the weight of the t-slur and the f-slur in English rolled into one.

This isn’t the only instance of Momota being homophobic, sadly. In the salmon mode version of the game, should you choose the “let’s undress” option in the gym while with Momota, he has yet another line where he says, “You don’t swing that way, do you!?” to Saihara, using his most terrified and disgusted-looking sprite. This suggests to me that, yes, the homophobia was a deliberate choice in the Japanese version of the game, as Momota consistently reacts this way to even the idea of another guy showing romantic interest in him.

The English version more or less kept the salmon mode comment, but removed the use of the slur in chapter 2 entirely. Which I have… mixed feelings about. On the one hand, I am an LGBT person myself. I don’t want to read slurs if I can help it. On the other hand, I really don’t think the slur was removed out of consideration to the LGBT community so much as Momota’s translator really wanted to downplay any lines that could make his character come across in a more negative light.

This is backed up by the fact that both Miu and Ouma’s translators added slurs to the game that weren’t present in the original Japanese. Where Miu only ever refers to Gonta as “baka” (idiot) or occasionally, “ahou” (a slightly ruder word that still more or less equates to “moron”), her translator decided to add multiple instances of her using the r-slur to refer to Gonta specifically, and on one occasion, even the word “Mongoloid,” a deeply offensive and outdated term. Ouma’s translator similarly took lines where he was already speaking harshly of Miu and added multiple instances of words like “bitch” or “whore.”

To me, this suggests that the translators were completely free to choose how harsh or how likable they wanted their characters to come across. Momota’s translator omitting just the slur could maybe pass for a nice gesture, so people don’t have to read it and be uncomfortable—except, that’s not the only thing that was omitted. Instances of Momota being blatantly misogynistic or rude were also toned down to the point of covering up most of his flaws entirely. His use of “memeshii” against Hoshi (a word which means “cowardly” in Japanese with specifically feminine connotations, like the word “sissy” in English) is simply changed to “weak,” and when he calls Saihara’s trauma “kudaranai” (literally “worthless” or “bullshit”), this is changed to “trivial” in the localization.

Momota’s translator even went so far as to omit a line entirely from the chapter 2 trial, which I touched on in an earlier post. In the original version of the game, Ouma asks Momota dumbfounded if he’s really stupid enough to trust Maki without any proof and if he plans on risking everyone else’s lives in the trial if he turns out to be wrong. And Momota replies saying yes, absolutely, he’s totally willing to bet everyone’s lives on nothing more than a hunch because he thinks he’s going to be right no matter what.

This is a character flaw. It’s a huge, running theme with Momota’s character, and it’s brought up again in chapter 4 deliberately when Momota really does almost kill everyone in the trial because he refuses to believe that Ouma isn’t the culprit. But the localization simply omits it, leaving Momota to seem considerably less hard-headed and reckless in the English version of the game. If anyone wants proof that this line exists, it is still very much there in the Japanese dialogue, but it has no translation whatsoever. This goes beyond “translation decisions I don’t agree with”; omitting an entire line for a character simply because you want other people to like them more is just bad translation, period.

3.)    Angie’s Religion

In the original Japanese version of the game, neither Angie’s god nor her religion have any specific names. She refers to her god simply as “god” in the general sense, and clearly changes aspects of their persona and appearance based on who she’s trying to convince to join her cult. Everything about her is pretty clearly fictionalized, from her island to the religious practices her cult does.

Kodaka’s writing with regard to Angie is already a huge mess. It feeds into a lot of harmful stereotypes about “crazy, exotic brown women” and “bloodthirsty savages,” but at the very least it never correlated with a specific religion or location in the original version of the game.

This all changed when Angie’s translator, for whatever reason, decided to make Angie be Polynesian specifically and appropriate from the real religion of real indigenous peoples native to Polynesia. That’s right: Atua is a real god that has very real significance to tons of indigenous peoples.

In my opinion, this decision was incredibly disrespectful. It spreads incredible misinformation about a god that is still very much a part of tons of real-life people’s religion, and associates it with cults? Blood rituals? Human sacrifices? It’s a terrible localization decision that wasn’t necessary whatsoever and to be quite frank, it’s racist and insensitive.

As I said, the original game never exactly had the peak of “good writing decisions” when it came to Angie; there are still harmful stereotypes with her character, and she deserved to be written so much better. But associating her with a real group of indigenous people and equating a real god to some fictional deity that’s mostly treated as either a scary cult-ish boogeyman or the punchline to a joke is just… bad.

4.)    Ouma’s Motive Video

Some of the decisions taken with Ouma’s translation are… interesting, to say the least. In many ways, he feels like a completely different character between the two versions of the game. This is due not only to the translation, but also the voice direction and casting.

A lot of his lines are tweaked or changed entirely to make his character seem much louder, less serious, and less sincere than the original version of the game. Obviously, Ouma lies, a lot. That’s sort of the whole point of is character. But what I mean is that even lines in the original version of the game, where it was clear he was being truthful via softer delivery, trailing off the end of his sentences, and seeming overall hesitant about whether to divulge certain information or not are literally changed in the localization to him pretty much yelling at the top of his lungs, complete with tons of exclamation points on lines that originally ended with a question mark or ellipses.

Tonally, he just feels very different as a character. The “sowwy” speak, lines like “oopsie poopsie, I’m such a ditz!”—all of these things are taken to such ridiculous extremes that it feels a little hard to take him seriously. Even in the post-trial for chapter 4 when Ouma starts playing the villain after Gonta’s death, a moment which should have been completely serious and intense, the mood is kind of completely killed when the line is changed from him calling everyone a bunch of idiots to him calling everyone…. “stupidheads.” These changes don’t really seem thematically appropriate to me, but overall, they’re not damning.

What is damning, however, is the fact that Ouma’s motive video is completely mistranslated and provides a very poor picture of what his motivations and ideals were like. I still remember being shocked when I played the localization for the first time and discovered that they completely omitted a line stating that Ouma and DICE have a very specific taboo against murder.

Literally, this is one of the very first lines in the entire video. The Japanese version of the game makes it explicitly clear that DICE were forbidden to kill people, and that abiding by this rule was extremely important to them. By contrast, the localization simply makes a nod about him doing “petty nonviolent crimes and pranks,” without ever once mentioning anything at all about rules or taboos.

This feels especially egregious in the localization considering Saihara later uses Ouma’s motive video as evidence in the chapter 6 trial and states there that Ouma and DICE “had a rule against killing people,” despite the game… never actually telling you that. It not only skews the perception of Ouma’s character at a crucial moment, it also just straight-up lies to localization players and expects them to make leaps in logic without actually providing the facts. So it winds up sort of feeling like Saihara is just pulling these assumptions out of his ass more than anything else.

I actually still have my original translation of Ouma’s motive video here, if anyone would like to compare. Again, translation is a tricky line of work, and obviously not all translators are going to agree with one another. But I consider omitting lines entirely to be one of the worst things you can do in a translation, particularly in a mystery game where people are expected to solve said mysteries based on the information and facts provided to them.

5.)    Inconsistencies and Lack of Context

As I mentioned earlier, there are many instances of lines being completely mistranslated, or translated two different ways by multiple translators, or addressed to the wrong character. This is, as I stated, due to the way the translation work was divided by four separate people who appear to have not communicated with each other or cross-referenced each other’s work.

One of the clearest examples of this that I can think of off the top of my head is in chapter 3, where Ouma mentions “doing a little research” on the Caged Child ritual, and Maki in the very next line repeats him by saying… “study?”

On their own, removed from any context, these would both potentially be correct translations. However, it’s very clear that the translators just didn’t care to look at the context, or communicate with each other and share their work. The fact that characters aren’t even quoting each other properly in lines that are back-to-back is a pretty big oversight, and something that should have been accounted for knowing that four separate people were going to be translating various different characters.

This lack of context causes other, even more hilarious and blatantly wrong mistranslations. At the start of the chapter 3 trial, there is a line where Momota mentions that he couldn’t perform a thorough investigation on his own “because Monokuma disrupted him.” In the original, Ouma responds and tells Momota that he’s just using Monokuma as an excuse to cover for his own flaws. However, what we actually got in the localization was… this.

I don’t even have words for how badly this line was butchered (though I could make several hilarious jokes about Monokuma “over-compensating”). Presumably, this happened because Ouma’s translator saw Ouma’s line without any of the lines before it or the context of what Momota was saying, had no clue who Ouma was actually supposed to be talking to, and just ad-libbed it however they could, even though it literally makes no sense and doesn’t even fit into the conversation.

There are other similar instances of this, too. For example, did you know that the scene after Saihara faints in chapter 2, just before he wakes up in Gonta’s lab, is actually supposed to have Ouma talking to him? The narrator is unnamed, but there are several lines just before Saihara wakes up where Ouma tells him “come on, you can’t die on me yet!” and keeps prodding him and poking him to wake up. This is never explicitly told to you from the text… but it becomes pretty obvious when you look at the context and see that a huge CG of Ouma looking over Saihara as he starts to wake up is the very next part of the scene.

In the localization, however, Saihara’s translator pretty clearly had no idea what was happening or who was supposed to be talking to him, because they translated those lines as Saihara talking to himself, even though the manner of speech and phrasing is clearly supposed to be Ouma instead.

I could go on and on listing other examples: Tsumugi makes a joke in the original about Miu being able to dish out dirty jokes but not being very good at hearing them herself, but it’s changed in the localization to Tsumugi saying “I’m not so good with that kind of stuff,” and a line where Momota protests against Maki choking Ouma because she’ll kill him if she keeps going is instead changed to him saying “you’ll get killed if you don’t stop!” In my opinion, the fact that this is a consistent problem throughout the whole game shows that the translators weren’t really communicating or working together at any point, and that it wasn’t simply a one-time mistake here or there.

6.)    Edited CGs and Plot Points

I have made an entirely separate post about this in the past, but at this point I don’t think anyone actually knows anymore: the localization actually edited in-game CGs and made some of them completely different from the Japanese version of the game. I’m not accusing them of “censorship” or anything like that, I mean quite literally that they altered and edited specific CGs to try and fix certain problems with them and only ended up making them worse in the process.

In chapter 5, Momota gets shot in the arm by Maki’s crossbow when trying to defend Ouma, and Ouma gets shot in the back shortly afterward when attempting to make a run for the Exisals. These injuries are relevant to how they died, but they’re not actually very visible in the CGs of Ouma and Momota shown later in the chapter 5 trial.

There are a whole bunch of inconsistencies with the CGs in chapter 5 in general: Momota gives Ouma his jacket to lie on under the press, but is magically still wearing it when he emerges from the Exisal himself at the end of the trial (I like to think he snuck back into the dorms Solid Snake style to get a new one from his room before joining the trial), the cap to the antidote is still on the bottle when Ouma pretends to drink it in front of Maki and Momota, etc. None of these things really deter from the plot though, and so I would say they’re fairly unimportant.

However, for some reason, NISA decided that “fixing” at least some of the CGs in the chapter 5 trial was necessary. They did this by adding bloodstains to Momota’s arm while he’s under the press, to better show his injury from the crossbow…. and in doing so, for some completely inexplicable reason, they changed the entire position of his arm. Here’s what I mean for comparison:

This is how Momota’s arm looked in the original CG from chapter 5, shown when the camcorder is provided as evidence that it’s “Ouma” under the press.

And this is how the localization edited it to look. I can understand and even sympathize with adding the bloodstains, but… changing the entire arm itself? Moving it to be sticking out from under the press? To put it nicely, this change doesn’t make any sense and actually makes it harder to understand Ouma and Momota’s plan.

The whole trick behind their plan was that nothing was supposed to stick out from under the press, other than Momota’s jacket. They waited until the instant when the press completely covered every part of Momota’s body, arms and all, and then performed the switch to mislead people. But the edited version of the CG in the localization just has Momota’s arm sticking completely out, hanging over the side, meaning it would’ve been impossible for the press to hide every part of it and the whole switch feels… well, stupid and impossibly easy to see through in the localized version.

Again, this shows a total disregard for presenting the facts as they actually appear and actually makes things more difficult for English players of the game, because they’re not being given accurate information. I really don’t understand why these changes were necessary, or why the bloodstains couldn’t have just been added without moving Momota’s entire arm.

7.)    In Conclusion

This has gotten extremely long (nearly 10 pages), so I want to wrap things up. I want to specify that my intention with this masterlist isn’t to insult or badmouth the translators who worked on this game. I’m sure they worked very hard, and I have no idea what time or budget constraints they were facing as they did so.

Being a translator is not easy, and typically translators are not very well-paid or recognized for their work. I have the utmost respect for other translators, and I know perfectly well just how difficult and taxing it can be.

I am making this list because these are simply changes which were very different from the original version of the game, and which I believe could have been handled better. Personally, I disagree with many of the choices the localization made, but that does not mean that they didn’t do a fantastic job in other places. I absolutely love whichever translator was responsible for coming up with catchphrases and nicknames throughout the game: little localization decisions like “cospox,” “flashback light,” “Insect Meet n’ Greet,” and “cosplaycat criminal” were all strokes of genius that I highly admire.

I only want to stress that the Japanese version of the game is very different. Making changes to the way a character is presented or portrayed means influencing how people are going to react to said character. Skewing the information and facts presented in trials in the game means changing people’s experience of the game, and giving them less facts to go off of. Equating fictional gods to real-life ones can cause real harm and influence perception of real indigenous peoples. These are all facts that need to be accounted for before deciding whether a certain change is necessary or not, in my opinion.

If you’ve read this far, thank you! Again, feel free to share this post around if you’d like, since this is probably the most comprehensively I’ve ever covered this topic.

[silverthetheorist]

Wilbur returning as a writer is good (and why it will be an uphill battle)

I am back I guess. I disappeared for a while, which I tend to do. Anyways, my point today is explaining why Wilbur returning as the writer of the SMP is the best possible thing for the server. I’ve seen a lot of hate towards Wilbur and his writing, people say it was too focused on his own character and leaving everyone else out except for Tommy, to which I say.... Have you seen Season 2? They could have renamed the SMP the “Tommy, Techno, and no one else SMP”

Before showing proof to how Wilbur can improve the storyline let me talk about the Final Disk War Arc for a bit:

- It was very good!.... Until you start thinking about it for a little bit. When everyone showed up to say goodbye to Tommy and Tubbo and the Endgame moment were good, but then you remember half of those character either hate Tommy, barely interacted with him or have nothing to do with the plot of Season 2 (Because everyone who was not called Tommy, Techno and Dream were left out). So yeah, those moments are good on their own

- When Tommy starts listing all the horrible things Dream has done to everyone in the server and can’t think of any besides a joke about Quackity not wearing clothes... Even they know no one had any stake in the plot jesus

-Dream ending up in the prison was the perfect ending. Anyone else ending in that prison would not have made sense from a story perspective. Glad they dodged that narrative bullet. 

Really, the Final Disk War made me realise the biggest problem with season 2. The exile arc is very good... on its own. Doomsday was very g- hahahahaah... I’m kidding Doomsday is the only bad bad event on the SMP. And the Final Disk War is also very good. But when you put it all together.... it just doesn’t fit. This is a classic example of something being worse than the sum of its parts (Not sure if I am using that phrase correctly but you get the point... hopefully). Each arc on its own is fairly competent but how did Techno’s execution affect the rest of the arcs? How was the Final Disk War affected by prior arcs? It lacks cohesiveness and consistent themes.  

Now I have two more things to say before I give Wilbur his credit: 

- I’ve mentioned Eret, Fundy and Nicki a lot because I think they were great characters with a lot of potential. But, as we know, the story completely ignored them in favor of Dream, Techno and Tommy (Even Tubbo was sidelined for most of the Story). I am not insinuating anything, but something about one of the few LGBT CC of the server, one of the two women of the server and the only (I think) canonically trans characters being left out of the story they have been a part of since the beginning just... doesn’t feel right to me. 

- I LOVE Ranboo. You can see the passion and dedication he puts in his story and I love it. But, has he really done anything? Like... that affects the plot. He grieffed George’s house with Tommy but you can cut him out of it and nothing changes? Same with blowing up the community house, you can just say it was Dream and cut Ranboo’s character all together. If you can remove a character and the plot does not change then that is a bad character. And this is not Ranboo’s fault, you can tell how passionate he is and he is definitely the best actor of the SMP (Low bar there but whatever), but the Storyline says: No, your character cannot actually do anything. This also fits together with the Eret, Fundy and Nicki situation: A character giving his opinion and feeling over an event is not a character being involved in the plot. That is a reactionary character that never affects anything but is delegated to just reacting to the plot other characters move. Sad.

Now. How can Wilbur fix all of this? The evidence can be seen on his failed resurrection. He went directly to Eret to ask for help. That is the key to everything. 

Tommy is the main character. There is no changing that this far into the story. But by writing stories that involve other characters you include them. Big shocker there, I know. Season 2 was more character centric (Although not in a good way), the problem is that character centric stories cannot handle that many characters. Wilbur has said that he prefers geopolitical plots and why is that? A country has many people, not only one. if you built and open narrative, it allows for anyone who want to be included in the story to... well, be included. And a story being more geopolitical does not mean it is not character centric, but a character-centric story cannot be geopolitical. 

Why did I mention him asking Eret for help before Philza joining in? Because it is simple thing like that the way to go to include other characters. If you invite another CC into your lore event, then that CC can develop how his character interacts and grows from that event. You see this with Eret, he shows regret over the betray, he shows his love for Fundy and his respect for Wilbur. It really is not that hard to do, which makes everything season 2 has done way more infuriating. The ONE thing Wilbur decides in season 2 showed more skill that anything in season 1 (Kind of an exaggeration but you get the point). 

So to summarize, Wilbur will improve season 3 in two ways: Writing a bigger narrative that sustains more character and inviting said left-out characters to help out on events that they may not really have a lot of stake in. 

Why it will be an uphill battle you ask? Because they got rid of L’manberg. The geopolitical stuff is barely present anymore. And season 2 negative’s will still affect the future of the SMP forever just as the strength’s of season 1 impacted the mix reception season 2 had.

PS: English. Me make mistakes sometimes. Me sorry. Also sorry if I rambled a bit too much. Head full. 

PS2: The egg plot is cool and new and refreshing. But I cannot say it is very good until I see what the emotional core of the story is. It is still fairly new so I will give it the benefit of the doubt. 

PS3: Sorry if I was too negative again, but there are already so many people pointing out the good things about the SMP. This fandom forgets that they are allowed to not like things, and disagree with the CC. I see many post per day saying things like: If CC does this (Insert stupid idea) then we (Their viewers who they have to appease in some way or another) we CANNOT COMPLAIN EVER. Like, no. Have some critical thinking and point out bad when you see it, I know this fandom is capable of it but many suppress critical thinking in this fandom in favor of very weird hive-mind ideas. 

PS4: Dream’s song is not it. I am sorry. 

[discoscoob]

I got a weird ass ask and...

does this mean that antis not only marked Sylki with the "selfcest" stamp, they also make it seem as if Sylki made it happen irl but instead of blaming their perverted brains for it, they put all the blame on our ship? It's frustrating.

Honestly I never saw the “harmful stereotype” that genderfluid people fall in love with themselves until antis started using it as an excuse to hate sylki and I’m not saying it never happened I just don’t think that it is as huge a problem as people make it out to be. There is a lot of genuine transphobia and prejudice that genderfluid and other trans spectrum individuals face, people saying “haha you gonna date yourself?” as it may be one, it doesn’t exist to a degree that’s harmful and the majority of people I’ve seen say this happens have been cis.

Loki isn’t even canonically genderfluid in the mcu yet, they are in the comics but that doesn’t make him genderfluid in the mcu, so how can it be bad representation when he doesn’t even have that official label yet? You can’t represent something unless general audiences know exactly what you’re representing and thus far all Loki is representing is two variations of himself from completely different universes falling for one another. They aren’t the same person, they’re variants. Sylvie doesn’t represent Loki was a woman or femme presenting, she is her own individual person. You know what is harmful genderfluid representation? Acting like a persons gender performance is two different individuals just because one day they might present as femme and and the next they might present as masc. Loki could totally do that without shapeshifting just like genuine genderfluid people do in real life. They don’t have different bodies, they aren’t two different people, they’re one person. Just like Loki is one person and just like Sylvie is one person and whatever their gender identity is that is individual to both of them.

[soulvomit]

stuff with gender anguish about not fitting in with today’s current gender constructions

From another post I made: I need to talk about 20th century gender norms at some point as a living breathing 20th century fossil and how different it was. To most straight people, being gender non conforming meant gay, trans was on the far end of the gay spectrum, and gay was associated with being socially Not Normal at a time when you had to be Normal to get a white collar job. (The whole Normalhood thing im gonna talk about is VERY connected to mid-late 20th century construction of the white middle class.) Apropos of gender specifically... I’m not sure how 90s/00s genderfluid/genderqueer map to NB, or whether they do. It’s a big reason I am weird about IDing as NB - because it seems to mean something else than my particular understanding of my identity as it was formed in the 1990s. (Another thing is my social world being more people over 45 at this point and also I’m in a hetero relationship.) Part of 90s GQ stuff was that you could identify as a man part time, a woman part time, you could contain multitudes. “Woman-identified person with a male side” was a legit identity within that, so was “man-identified person with a female side.” You could be one person in the streets and another in the sheets. You could be several people in the sheets, especially if you were aligned with kinky culture. (And for a long time... I was.) There was a greater sense in the 90s and early 00s in genderqueerness culture that you could be GQ for no other reason than wanting to be and it wasn’t assumed to be bundled with physical dysphoria or even desire to change your public social identity. Some spaces - like West Coast geek culture and goth culture - had enough flexibility baked in that we didn’t really need to go to LGBTQ culture to explore our identities, and there was a whole geek queer sensibility that was evolving alongside of the broader LGBTQ culture that was definitely its own... thing.  And while people *say* that NB doesn’t mean any one particular thing or any of these things, that’s not always the message I get when visible NBs on TV/in film are almost always at present one very specific image or “type” of person, and that doesn’t resemble me. NB representation on TV amounts to presenting NB as a third gender with very specific codified behaviors (androgynous AFAB person who binds and has body dysphoria).   The message I get is that whatever my experience is, is better described some other way. Also the discourse around relationships with NBs is that a relationship with an NB is necessarily a queer relationship yet having been in relationships in and out of LGBTQ culture, I’m not really sure how to distinguish “a queer relationship.” My relationship is non-traditional in lots of ways and we’re both gender non-conforming in lots of ways though it doesn’t parse to most people because it’s along the lines of stuff that shouldn’t have ever been gendered in the first place. What my partner does not ever question however is his actual gender identity.  The thing is, actually publicly identifying as anything but a woman would create weird problems in my life in terms of social dynamics, and other stuff, and probably an unpredictable series of ripple effects downstream. But - that... just means I’m closeted, right? And closeted doesn’t mean your identity doesn’t exist or isn’t as unreal as someone who isn’t? And what if - as a “shapeshifter” - my relationship to myself within my relationship *is* part of that shapeshifting?  One of the things is that I’m in a heterosexual relationship. My relationship *is* one of my few spots where I’m happy in my skin, let alone happy in the world and I have no complaints with how I’m perceived in this relationship, and part of it is that practically every assumption about my gender is true, or has been true at some point, including the fact that I’m fine with being seen as a woman in the context of my relationship.  It’s in other spaces besides the intimate, that gender stuff makes my skin crawl. My deep interior gender identity is “pixels floating in the ether, which can assume any shape or form.” My gender identity among other people in non sexual friend spaces is “friend.” My partner identifies as a cis het man. I don’t feel like my relationship has any special quality that’s different from queer relationships I’ve been in, other than identities people have. If my partner doesn’t feel our relationship is queer then I don’t feel it is, either... though it’s not exactly *traditional.*  I don’t feel like our relationship is different from our hetero neighbors’ relationships regardless of whatever history I have. I have no way of knowing what my ostensibly-female ostensibly-heterosexual neighbors’ interior identities really are, or what their history is. And because we’re monogamous, it just never ever comes up. Our social world is about half queer and half not so nothing has changed. After decades of only dating people who had LGBTQ identities, and having a particular social world, now I’m with a cis het man from that same social world and nothing really has changed about the shape of my life.   I’ve moved between different spaces my entire life, sometimes I perceived myself as a boy in a girl’s body, but sometimes I didn’t, and don’t. And gender is one of the spaces in which I feel like a chameleon. There seem to be a ton of gender expression based communities that disappeared since the 90s that either disappeared or were erased from discourse and that makes this weirder/harder to talk about.  Another thing is that a lot of the discourse around pronouns (if pushed I’ll say I’m she/they but I am literally comfortable in anything, depending upon context) makes me really uncomfortable. Even in LGBTQ spaces it makes me uncomfortable. There’s the me that my friends know, and some of my family knows, and it’s a big enough world to contain that part of me at this point. I would rather not put my identity under a microscope in any space that matters. It’s weird but I wish I could just be “they” in the work, creative, etc, spaces, without the loading of what “they” means. I wish it meant nothing about the people who love me, or who I love, or how I love, or how I live my life, besides what pronoun I use. But it doesn’t mean nothing. That is why I hope more cis identified people will actually identify as they in the public sphere. There are plenty of spaces in the public sphere that I don’t think should be gendered at ALL. My wanting to be a “they” is in some ways more about wanting public anonymity and having formed my sense of self - at a tender time - online, than about my gender identity. Which means I’d be potentially appropriating “they” from people for whom it IS a deep identity, and yet... haven’t I spent half of my blog talking about how I’m not exactly the gender identity I advertise?? Haven’t I spent a long time up to now advocating for “they?” Isn’t feeling like a they, evidence that I’m a they?  And the thing is, this is such a YMMV issue and the problem is that EVERYONE has competing access needs with EVERYONE ELSE. Anything one queer person wants or needs seems to oppress some other queer person, and it sucks. But sometimes I wonder if I even need to just recognize how cis het passing my life is and acknowledge my privilege. The thing is though at that point... is it how much oppression we’ve experienced or are currently experiencing, that alone makes our identity? That’s as silly an idea as saying I’m less of a Jew because I haven’t personally experienced a hate crime. And yes there’s a lot to shared oppression experiences forming group identities, but I’m not talking about group identity. I’m talking about personal feelings of identity.

[asynca]

I'm curious of your thoughts on "no rep is better then bad/fetishizing rep"

I had to have a long think about how to answer this, because I feel like the statement comes very heavily from the Tumblr-esque purist community (which is now leaking onto Twitter) who have extremely black and white thinking about everything. It’s a loaded question. You’re expecting me to answer “NO REP IS BETTER!”

Here’s why it might not be. 

Much of the content I’ve seen people label as ‘bad, fetishizing’ has actually not necessarily been objectively bad and fetishising. That’s becasue there’s really no yardstick for this. What one person considers to be bad and fetishizing, another person might find refreshing and liberating. 

Also, I’ve seen a lot of people label rep ‘bad, fetishizing’ simply by the person that created it. For example, women write a lot of queer dude porn. A lot of it. The vast majority of it, especially in fiction circles. I’ve seen this rep called bad & fetishizing simply because the ‘right’ person didn’t write it, even if it’s respectful and well-written. This is regardless of the fact there are lots of gay dudes who consume this content and love it. So, completely removing this content from the internet because it’s ‘bad, fetishizing’ (as decided by a few people) would reduce the content actual queer people have to consume and enjoy. 

Another thing I’ve seen labeled as ‘bad’ is angsty or ‘problematic’ queer stories. Again, this is a hangover of purism - all gay stories must be uwu perfect or they are ABUSIVE AND HARMFUL etc because GAY PEOPLE SUFFER ENOUGH. and it’s like. Look, I personally also usually prefer to consume fluff, but calling rep bad just because it’s not perfect and pure and happy is silly. Queer folks have problems too, and sometimes you’re just really in the mood to read something ANGSTY. Writing this sort of fiction, and reading it, can be hugely comforting and cathartic to people at certain times in their life. Again, removing it or cancelling it because it’s not happy and cheerful is actually unhelpful. 

What I consider bad rep is going to vastly differ from what someone else considers bad rep. Of course, ideally everyone writing/producing queer content would do so either AS a queer person or in consultation with queer people and make something representative and respectful - but again, whether that person succeeds or not is actually subjective. No one person or group of people can really decide universally that that rep shouldn’t exist because they decided it’s bad. 

Even things that are generally considered problematic and harmful like the idea of ‘traps’ in trans circles aren’t black and white - a trans woman friend of mine actually came to term with her transness through consuming trap content that would probably be considered by most to be horribly offensive and harmful. It’s her guilty pleasure. 

In general I’m hugely against any sort of censorship, and I’m hugely against the idea that content should be removed because people don’t like it. I also come from a time (early 90s) when there was almost ZERO queer content fucking anywhere, so the huge smorgasboard of content there is to consumer now is like, bother heartening an overwhelming, especially since it looks like it will only increase!

As far as I am concerned, no rep is actually not better than rep someone has decided they think is bad & fetishizing. Don’t like? Don’t read. 

[itsclydebitches]

Was planning on making this my own post, but I thought you would be more suited to discussing this sort of topic. Something I've noticed when it comes to the more prominent/important/strong female characters (Nora, Pyrrha, Penny, Robyn, Emerald, Sienna) is that RT often has the tendency of giving them masculine allusions (Thor, Achilles, Pinocchio, Robin Hood, Aladdin, Shere Khan) as if they are unable to stand on their own as characters unless they have that connection to a male character. 1/3

It is worth discussing! Yeah, I hesitate to call it a pattern just because, as you say, Team RWBY themselves are an exception to the rule  — and as the title characters of the story, they’re a pretty big exception. We also have good women allusions turned into good women characters (Glynda with The Good Witch, May with Maid Marian) and bad women allusions turned into good women characters (Winter with The Snow Queen — I don’t think she was ever meant to enter full antagonist territory, but that’s another post). So it’s not just a matter of saying, “RWBY models their strong women after male inspirations and turns all female inspirations into male characters.” It’s not that simple. But the fact that it’s not simple doesn’t mean there’s nothing there to unpack because I definitely understand the feeling you’re pointing to, anon. Team RWBY feels like it has the most thought put into it in terms of changing up these allusions, specifically when it comes to subversion: the little girl in a red hood who previously needed a hunter’s protection has become the hunter herself, Belle overcomes both her Gaston and the now evil Beast, Snow White extracts herself from her own abusive situation (with a little help from the Dwarves still), and Goldilocks is no longer lost and in need of basic necessities, but can rather punch her way out of any establishment  — like, say, a club. The execution of these themes aside (how Adam was handled, turning Jacques’ arrest into a joke, etc.), there’s a commonality here that works. Or at least, it works for me. Yet when we expand the allusions past our title team, things get... very messy. That’s when we start to hit on these concerns. 

I’d say the problem stems primarily from that lack of thought, not the act itself of turning women characters into men or vice versa. Meaning, as I’ve said in the past, RWBY’s use of allusions is terribly unreliable nowadays, and that’s not just in terms of plot expectations like, “Why did Penny have to become a flesh girl because Pinocchio, but Ironwood didn’t stay good because Tin Man?” It also includes these questions of why these changes were made and what sort of messages they send. As you lay out, why are so many of our heavy hitters  — the most talented huntress, the lightning-immune smasher, the Maiden android, etc.  — based on men? Why are many of the effeminate and “weaker” men  — Jaune the untrained, Ren the emotional councilor, Oscar the kid who wants to talk it all out  — based on women? Again, I don’t intend to sling any hard accusations, but rather to point out what’s likely a subtle, unconscious bias. To provide another example, I’ve seen talk recently about how RT (again, unconsciously) depicts the faunus, where all the good characters have culturally established “good” animal features and all the bad character have culturally established “bad” features. It’s cat ears, rabbit ears, sheep ears, monkey tails, dog tails, and beautifully changing skin color vs. scorpion tails, spiderwebs, bull horns, tiger ears, bat wings, and crocodile scales. Is it a perfect 1:1 divide? No, Ghira has panther claws and Fennec has fox ears, but there’s enough there for us to go, “RT tends to give the good guys cute features and/or features we associate with safe animals, whereas the bad guys tend to get ugly features and/or features we associate with dangerous animals.” I feel the same way here, that there’s a bit of a trend at play, with the caveat that there are more complications simply by virtue of these allusions being, well, complicated. But there’s enough there to make us stop and think, “What were RT’s intentions with this? If they just chose something based on the rule of cool, what might those inclinations tell us about gender norms in America?” Meaning, when someone goes, “Idk, we just thought it would be cool to change this up” there’s a lifetime of media consumption driving that choice. It’s not actually random, but based on whatever has been normalized  — unless you actively counteract that by thinking through what you want the change to do. 

Unconscious biases are always at work. When we analyze something like this it’s often not a matter of saying, “The author is [insert accusatory term here]” but rather just, “The author is falling into expectations, patterns, and normalized decisions based on the culture they’ve grown up in.” Which includes things like thinking, “Well, if this character is based on a male god, she must be crazy strong. If this character is based on a woman fighter, he’s probably more emotional.” Such biases may be driving a lot of decisions because, as said in the past, I really don’t think RT is putting much thought into these allusions, if any at this point. For me, Penny was proof of that  — the inability to see how following her allusion utterly destroyed her character growth  — but even if we don’t agree about Penny, what about Salem? Far from just using her name, this volume gave us a blatant reference to the events of Salem Trails in the 1690s. Namely, the burning of the witch. 

Except references like this can’t just look cool. This isn’t a video game Easter egg with no real connection to the story, it’s a cinematography/plot choice that carries meaning. So what is that meaning? Well, the thing about the women on trail at Salem is that they were innocent. This is what that reference says: “Hey, remember that real life event where women who weren’t witches were horrifically killed because others thought they were evil? None were actually burned, but culturally we tend to think they were. So that’s the image in our collective mind: innocent women on fire.” Except... Salem is actually a witch. Salem is evil. Salem is guilty. Or at least, the questions surrounding the extent of her guilt  — How much responsibility does she hold in comparison to the Gods? How much agency does she still have after the grimm pool?  — has not been acknowledged by the text. Yang just yelled at Salem for killing her mom and Oscar is about to blow her up. This is not a “Question Salem’s humanity” scene, it’s a “Kill the witch” scene... yet it uses an allusion that is contrary to what the moment is trying to achieve. So what are we supposed to take away from this? Do we adhere to the subtext and believe that Salem is innocent somehow, ignoring what the actual text says, or do we uphold the text and in doing so undermine the reliability of every other allusion in the show? If we can’t trust Salem’s, why would we trust, say, Penny’s? 

RWBY’s allusions are all over the place and yes, I think that lack of consideration extends to who they randomly decided to genderbend. There’s no acknowledgment of  — let alone engagement with  — how many of these characters and historical figures were trying to pass themselves off as another gender, nor does RWBY acknowledge how the need to do so feeds into our current and historic assumptions about gender as a whole. Why does the man dress as a woman? To keep himself safe and seen as a non-threat. Why does the woman dress as a man? To gain access to places previously barred from her and to gain the respect she otherwise wouldn’t be afforded. And, of course, in 2021 there’s the expectation that media will include trans characters, GNC characters, non-binary characters, cis characters uninterested in practicing traditional femininity/masculinity, etc. None of which RWBY tackles outside of May, a woman who references a systematic transphobia we otherwise never see in the show. May, as a minor character, is great and I am in all honesty thrilled that she exists in the RWBY canon. However, the rest of the show is built on an anime conception of gender  — combat skirts and bare midriffs in the snow  — while nevertheless engaging with the very complicated question of how you re-imagine canonically/historically gendered people. As a “girl power” show, RWBY has opened itself up to questions like, “Okay, it’s great that you made these four fairy tale girls kickass, but can we talk about making Joan of Arc into a bumbling guy whose presence as a blonde, blue-eyed, sword-wielding man taking up lots of important screen time has generated accusations about this being a male-centered show?” It’s not a “RWBY is horrible for doing this!” issue, but a “RWBY is deliberately playing with gender and marketing itself as a progressive show, so... let’s figure out what these individual choices are actually implying and whether or not we consider that progressive.”