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rawliverandgoronspice · 2 years ago

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THE GERUDO POST

(aka an attempt at a critique of how gerudos were handled in BotW and before)

Oh no. TOTK being right around the corner, it might finally be time for the Gerudo Post.

(aka half of the reason why I made a Zelda sideblog in the first place)

So I want to preface all of this by saying that, as you could probably tell already, I’ve always adored the gerudos. They have fascinated my small child brain when I was 7; then the obsession made its comeback when I was 14, and now, here we are, almost 28, and I’m still thinking about the gerudos. I think they might be among my favorite fictional cultures for their potential and their understated storyline. I guess growing up in a very Arabic neighborhood, coupled with being bi-culturally latinx (?? does Brazil count?? you tell me), also always made them feel like home to me –especially when I was very young and there was not a lot of cool female representation flying around that managed to involve fiercely independent PoC women, flaws and teeth included.

This whole weird-essay-thing tries to do two things. First: analyze the place gerudos have occupied in the series, their initial problematisms and their subtextual narrative arc during the Myth Era coupled with their relationship to Ganondorf. Second: tiptoe to Breath of the Wild and poke it with a stick to see what happens –and in doing that, explain why I believe a lot of their characterization was defanged in service of smoothing their past with the hylians instead of deepening the culture on its own terms, and why I’m a little apprehensive about what that might mean for TotK even though I adore seeing the best girls at it again.

Those are the uhh terms of service??

And now, we must go back to 1998.

OCARINA OF TIME ERA

There’s so many things about the gerudos that are noteworthy and rich, and they’ve made for a complex piece of Zelda lore ever since their introduction –and when I say complex, I don’t 100% mean it as praise. The very racially charged decisions made about their inclusion have been discussed at length by the fandom, especially when it comes to orientalist and Islamophobic tropes being deployed pretty thoughtlessly in Ocarina of Time (their sigil being literally a crescent moon and star originally, the parallels are pretty obviously there).

We’re talking about a band of amazon-like, big-nosed brown women from the desert ruled by a single Scary Evil Man born once every hundred years hellbent on conquering Hyrule who they apparently worship like a god, characterized primarily as thieves, decked in jewelry and orientalist-inspired harem/belly-dancing clothing, hostile to the white good guys of Hyrule (especially men), unblessed by the Goddesses and so deprived of elongated ears (this is true for OoT –we’ll come back to that), also known as a demon tribe with their deity straight-out described as evil-looking by Navi (on my way to cancel you on twitter Navi you watch out), and secretly led by evil twin witches who can turn into a single seductress and, as two mothers, raised their Scary Evil Guy king who happens to basically be the devil.

In so few words, gerudos are the future that liberals want.

It’s worth notice, also, that Ganondorf’s characterization in this game is… kind of relentlessly uncomfortable to play through, especially before the 7 year skip. The utter assumption of depraved and evil intents from every character surrounded by dialogue that does little to hide its biases in spite of having generally very little proof to back them up –even though, in the game’s context, every character is correct to call his eyes evil and the darkness of his skin a moral judgment in on itself. The scene where Zelda demands that we believe her conclusion that the sole and only brown guy in the entire kingdom is evil and will do harm, and the game straight out refuses to progress until we concede that her dreams are prophetic and that this man must be stopped at any cost even though she has no more proof than her discomfort… hits different on replay.

I’m restating all of this not to pretend I’m making a novel and thought-provoking point, but to bounce back on a tumblr post I saw a while back (that I can’t find anymore!! I’ll link it if I find it again) –and so express what it is that gripped me with the gerudos in spite of their pretty damning depiction… and actually maybe thanks to it.

There’s a surprising amount of texture to Ocarina of Time’s worldbuilding that exists folded within the things introduced and left hanging, or in its subtext –and whether on purpose or not, I believe it is why people keep coming back to this iteration of Hyrule.

What was that about the king of Hyrule unifying a war-torn country? Why did the gerudos break the bridge connecting them to the rest of the kingdom during the 7 year timeskip while still worshiping Ganondorf, and why are the carpenters trying to rebuild it against their apparent wishes? What was that about gerudos imprisoning hylian men trying to force entry into their lands? What was that about the secret death torture chambers right next to the Royal Family’s tomb and connected to the race of people who were, apparently, born to serve them?

Nothing? Oh okay… okay… okay….

The same can be said about this strange depiction of this hostile tribe, consistently described as wicked yet suddenly friendly once you prove you deserve their respect once you... defeat them, so you now have joined them? Ocarina of Time isn’t very consistent when it comes to characterizing them as their occupation (thieves) or as a proper culture, with a king and a strange system of rulership that seem to involve at least 5 people: Ganondorf, the Twinrova, Nabooru and the unnamed random woman who decides you’re now part of the gerudos because you slashed enough of them with your sword and hookshot, which, uhh ok.

They’re but a ragtag and negligible group when discussed next to gorons and zoras and hylians, but they also clearly have their own religion and at least a 400-hundred years old history (probably far longer than this) and hints of a written language of their own. I’m not sure the game itself knows what it wants them to be, beyond: intimidating and hot and cool, but also wicked and, because of Ganondorf and the way you barge in their forbidden fortress (heh) with the explicit intent to dismantle their king, in apparent need to be saved from themselves.

Speaking of rulership and the Spirit Temple, let’s have a quick tangent about Nabooru: I always found her characterization when meeting with Child Link pretty strange. I refuse to mention the promised reward, which feeds into everything orientalist mentioned above, but I always found her moral compass so extremely convoluted for someone coming from gerudo culture. Nabooru says that, despite being a cool thief herself, she resents Ganondorf for killing people as well as stealing from women and children. Stealing... from women. Nabooru. Why are you this pressed that he steals from women!!! This feels so out of place, that the only girl of that hostile culture that betrays her king and befriends you, is the one that upholds moral values that only a hylian could possibly hold.

Either way: the strange unquestioned contempt of the game for them as a culture, mixed with the occasional bouts of heart, friendliness and badassery, makes it hard not to consider their depiction as pretty biased in favor of the hylians finding them at once exotic, scary and exciting, and could hide a more complex reality you might only get one side of –especially when you know there were originally plans for Ganondorf’s character to be more gray and motivated than what the campy final version ended up being. To be blunt: even in the context of a game for children, and maybe because of that fact, it all reads like a reductionist and imperialist/colonialist reading of a more complex situation.

This might seem like A Lot coming from a game where the actual game writing can be this overall flimsy and simplistic due to the standards of the time (it’s rough, it's so rough). But I would have never dwelt on that thought about a little children’s game if not for the mainline entries that came soon after, because... ooo boy.

The sense you’re not getting the whole story was certainly not helped by the introduction of Wind Waker Ganondorf, and the chilling emptiness of Gerudo Desert in Twilight Princess.

AFTER THE TIMELINE SPLIT

(I’m skipping Majora’s Mask, not because I dislike them in the game or think they’re not worth talking about, but because it’s a parallel universe and they’re never even called gerudos and their reality seems extremely different from their sisters in Hyrule so I think it’s okay to call them tangential and not dive too deep in this particular depiction)

Here’s something I want to highlight about gerudos and how they were characterized before BotW came along: their absence. Not only their physical absence, the lack of any gerudo character that calls themselves gerudo, but their absence from the text itself.

It’s not that Wind Waker and Twilight Princess retroactively scratch them off existence: we can clearly see Nabooru’s stained glass art in WW as well as recognize them being mentioned in Ganondorf’s final boss soliloquy, and WELL there’s quite a lot to say about their imprint over the world of TP. They are there –or at least they... were there. But nobody ever talks about what happened.

In Wind Waker, there was the deluge. It’s assumed lots of people died then, and those who survived scattered across the Great Sea. Are they sealed under the waves? Have they drowned? Is Jolene, Linebeck’s ex-girlfriend in Phantom Hourglass, a distant relative of one of the rare survivors? It’s unclear, beyond the fact that Ganondorf is the only living gerudo we see in this entire branch of the Timeline split.

In Twilight Princess, the desert which bares their name is empty. The hylians never mention that it used to be the name of a tribe: they’re not even named when Ganondorf is introduced for the first time, reduced once again to a mere band of thieves. We learn his plans to steal the Triforce in OoT were foiled, and that he may have turned to war. Then he lost the war, and was executed in Arbiter’s Ground: a strange structure in the desert, a mixture between a temple, a prison and a coliseum. What looks like gerudo writing coexists with hylian symbols, which often look much fresher. This dungeon is the Shadow Temple of TP: a prison hosting the worst criminals the kingdom has ever known, now haunted and cursed. Besides the locations, the only character that vaguely look gerudo in the entire game besides Ganondorf is Telma, a character with pointed ears that never seems to identify as anything but a hylian. What happened? Who’s to say. Nobody ever says anything. Not even Ganondorf bothers to mention them the way he did in WW –and though the game’s story is quite focused on another exiled tribe seeking revenge and dominion over Hyrule as retribution, the parallel is never explicitly drawn. So who’s to say what happened there. Who’s to say.

And in A Link to the Past and the games forward? The only mention of other gerudo characters are Koume and Kotake, resurrecting their son in the Oracles games through their own sacrifice and failing to bring anything back but a monstrosity incapable of making conscious decisions. Granted, most games in that extremely weird Fallen Timeline predate OoT and therefore had yet to make gerudos up at all. Still: canonically, between the gap of OoT and ALLTP, whatever it may be, gerudos disappeared here as well.

I think there’s something subtle and a little heartbreaking about the fact that no matter what Ganondorf does, the gerudos always end up dying out. His yearning for Hyrule, its gentler wind and the Triforce blessing its lands always costs him the kingdom that he does have already.

Now, does he care? A lot of people would argue that he doesn’t, that he used them like pawns for his own ambition and saw them as servants more-so than sisters, and I wouldn’t be surprised if it was Nintendo’s official opinion, but… One very powerful thing about most of Ganondorf’s incarnations (focusing on the human ones) is that he never seems to reject his cultural heritage. They could have gone for him wearing more kingly hylian stuff given the whole underlying theme of envy and pride surrounding his character, but never once does he try to look more hylian, beyond the ear situation that seems to be tied to the Triforce of Power? Either way: he is gerudo. Several of his outfits reference his mothers, as well as general gerudo patterning and jewelry. His heritage is something he proudly displays, even hundred of years in the future when there is no one left to remember what it means but him. I think it’s a very potent piece of characterization, an arc that crosses over multiple game and says something pretty intense about this character’s fate and his inherent destructiveness over the things he touches –starting with the Triforce, all the way up to his very own body and mind. His mental breakdown by the end of Wind Waker, when the king of Hyrule himself forces him to give up on the thing he sacrificed everything for, takes a new kind of weight with the whole picture taken into account.

(not to excuse genocide or general egomania-fueled madness and violence, but one thing doesn’t mean the other isn’t also relevant)

Regardless of whether this is a tragedy for Ganondorf as their uhh complete failure of a king, honestly, it is undeniably a tragedy for the gerudos themselves: a once-in-a-lifetime joyful event turned into a never-ending nightmare from which there seems to be no escape, their legacy now condemned to fade to black, leaving nothing behind but a demon boar forever laying ruin upon the world.

One may say I’m taking on the bleakest explication for the gerudos’ absence when there could be others. It’s true! Perhaps the gerudos are just chilling off-screen, completely fine, not interested in whatever is happening in the kingdom nearby and their disaster child having yet another temper tantrum about not being the Goddesses’ favorite boy. It’s possible! But regardless, what little elements we do possess as players doesn’t seem to support this, even if it remains possible –and regardless of actual gerudo lives, gerudo culture is definitively a goner in every single timeline.

Even if they did survive... Hyrule still won its unification war.

(I won’t mention Skyward Sword as they are not really a thing there, except for a butterfly that seems to suggest the Gerudo Province was a thing before the gerudo people –I don’t know what to do with this honestly– and the whole Groose situation, which, I’m not sure what to make of either beyond the fact that he may have gotten cursed by opposing Demise? And then went on to start the gerudo tribe, which ended up being an all-women group for some reason? Maybe? It’s not confirmed? I feel like it’s more of a fun tidbit than a central piece of the gerudo puzzle, so I’ll leave it there like I would a cool rock I brought back from a walk and that I don’t know where to put in my house)

Then, Breath of the Wild happened and changed things.

BREATH OF THE WILD

(Additional short note, but: while I won’t mention Four Swords Adventure, since it’s a weird one that almost nobody has played and severely messes with the Timeline, we kind of see the beginnings of what is about to happen in Breath of the Wild in this game –gerudos coming back without much explanation, then distancing themselves from Ganondorf to become friends with hylians because he was too hungry for power and now they are nice and have good reputation because they are our friendsss)

I was actually so happy to learn gerudos were making a comeback in a mainline Zelda game, and this got me more excited about Breath of the Wild than basically anything else the game involved. And getting to explore the Desert once again, meeting this new batch of impossibly tall buff girls, getting more about their language and their culture, Riju and the rest of the little girls are adorable, the grandmas are so cool, the sand seals??? sign me the fuck up??? And above it all, hanging around Gerudo Town at night and feeling as warm and cozy as little me liked to imagine how freeing it would feel, to stay there and watch the desert behind the safety of their walls in OoT… This was great. I loved it.

It was a huge compensation for the criticism I’m about to make, but did leave me with… questions regarding how their culture was going to be handled moving forward.

I’ll start with something small yet deeply revelatory, then work my way from there.

So... gerudos’ ears are pointy now.

This is pretty significant. Lore-wise, it’s been said that the elongated ears of hylians are there so they can better hear the voices of the gods. It’s considered a sign of holiness in-universe. There's a bunch of really thoughtful analysis on tumblr over that whole Ganondorf ear situation, which is a mess but also very interesting, but the short answer is: I think the absence of pointy ears was a clear design choice to originally signify them as Less Good. Even when Ganondorf gets pointier ears, they never get as long as hylians’. Worth noting: not every non-gerudo character has pointy ears: gorons, zoras and ritos (among others) do not possess this trait, and there are even some humans that have regular rounded ears in the series –though they always seem to be of lesser relevance, if not downright peasants in Twilight Princess. Pointy ears always tended to implied a strict hierarchy in the series: basically, the more pointy, the more Protagonist you become.

(also their eyes becoming green instead of the traditional yellow/golden, which looks more wicked and demonic --and cooler also tbh)

The pointy ears imply two things. From within the game, this could be interpreted in two ways: either that gerudos… converted, for a lack of a better term, and are now considered holy through their worship of the Golden Goddesses and/or Hylia, or that their mingling with hylians through tens of thousands of years had them acquiring this trait out of sheer genetic override (though they have kept their mostly-women birth rates, their big nose, darker skin –for the most part– and red hair). Probably a healthy mixture of both. Design-wise, it signifies something quite simple to the player: they are on hylians’ side now. They are good guys. We can trust them, even if they still have a little spice in them. They aligned themselves with us and against Ganon in all of its manifestations (even if he’s but an angry ghastly pig being parasitic to everything it touches in this iteration). They are on the side of Good, definitively, and will fight evil by our side.

On that note, I think it’s worth bringing out another major change from their initial iteration, which is their overt friendship with Hyrule as a whole, and with the Royal Family in particular. Despite not allowing any voe inside their walls (we’ll come back to this), their relationship with hylians is pretty neat. They have booming trade roads, travel and meet with the rest of the cultures, and are fierce enemies with the Yiga clan, who are renowned for being huge Calamity Ganon supporters. The tables certainly have turned. I want to bring out, in particular, Urbosa’s friendship with the queen and her role as the cool aunt taking care of Zelda and protecting her from evil (to be noted: I am not familiar with Age of Calamity so if I’m mischaracterizing her in any way, please let me know). The gerudo sense of sisterhood has been extended to the royals they used to fight against. I would go on and say the cultures peacefully coexist, but I think that what we’re looking at here is a case of vassal behavior, just like we used to have from zoras (in the non-Fallen Timelines) and gorons. This is a huge departure from gerudos being openly rejecting of Hylian culture in their initial iteration, and something that is worth returning to later.

Okay. Now it’s time to mention the weird obsession BotW gerudos have with romance. I didn’t take notice of my issues with their writing until I realized how prevalent of a theme that was. Now, the reason given for gerudos to refuse entry to males (of every race) has much more to do with preventing young gerudos to make mistakes than anything else, and is actively being put into question by the younger generations –which would make sense. But the amount of NPCs that either lament their lack of match, talk about their husbands (because they marry now apparently) or are invested in romance, and a very limited understanding of romance at that (heterosexual, closed, etc), makes for much more of the population that I initially expected. There’s no mention of what’s going on with their males, if there are new males being born and either exiled or abandoned, or if Ganondorf being technically still alive have have cut them off male heirs. Either way: no more kings, only girlbosses chiefs.

To have the gerudos so interconnected with Hyrule, not only through trade but through extremely coded romance where they have to make themselves palatable to a future male partner and enforce fidelity, was… a choice. The extremely brief and skippable mention of gerudos sometimes going to Castle Town in search for boyfriends in OoT became half of their personality traits in this game. We went from a race that was fiercely independent and mocking of the unworthy men who tried to mingle with them, to… this. Now I’m not saying some of the sidequests aren’t cute, or that I didn’t like the wedding, or that the grandma near the abandoned statue of Hylia (so she was worshipped at some point) clocking us and talking about her love life wasn’t one of my favorite gerudo conversations. I’m saying that the vibes have definitively changed. For the better? I’m not sure.

I once stumbled upon an article that said that Breath of the Wild gerudos were a huge improvement compared to their original introduction, because they were no longer presented as evil and hostile thieves groveling at the boot of a single man, but as a full culture allied with the protagonist and actively involved in the story, while still getting their Cool Girl Badass moment (again can’t find it anymore, I’ll link it if I stumble upon it again). I see where this comes from, but I honestly can’t help but consider it a reading that assumes something pretty major (though through no fault of their own, as the games tend to hammer this down as hard as they can), and that being hylians as the unquestioned anchor of Good.

Which, in spite of what the games want me to believe, I… feel uncomfortable taking at face value.

To me, regarding how gerudos are being incorporated in that goodie narrative, this is kind of a case of surface-level feminism trumping over colonialist/imperialist concerns. It becomes more important to perform the aesthetics of being cool and friendly and independent than scratching at any deeper problem that would risk making people uncomfortable. This is kind of Green Skin Ganon all over again: oh wait, isn’t it a little icky to have the evil bad guy being brown while faced by the most aryan-looking ass heroes of all time? Okay, then let’s take the brown guy and make his skin green so we don’t have to feel bad anymore that the conflict has racial undertones!! Solved!! There’s nothing questionable about changing a PoC's features to make it more monstrous and less human, right?

To me, it’s kind of the coward option: instead of accepting the messy reality those initial choices created (and their interesting nuances if taken at face value), let’s just… rewrite the PoC culture’s history to make it feel less uncomfortable for the white heroes. In many ways, it is an extension of what hylians have always done: scrubbing the weird and messy things about the past and shoving them deep down into the spooky well and far into the desert prison and away in alternate hellish dimensions, and then make up a very simple story where they get to feel good about themselves –except this time, it’s the fabric of the games, the literal reality, bending backward to make it happen. Which, in my opinion, makes it much worse than before. Now, there’s no conversation. The fabric of reality is changing their own history so that there is nothing to discuss anymore. Ganondorf was always evil incarnate. He never had any point. It was always 100% his own fault, his own hubris, his own fated wickedness. He was always demonic (and green, very important –having a flashback to people on twitter accusing artists restoring the TotK green skin to the original brown of wanting to make Ganondorf black, and like….. how do I put it gently…..)

And, above all else: gerudo are to distance themselves from his legacy so they can stay in the club of the Good and Just and Holy.

Because here’s the messy thing: as much as I love seeing the gerudos again in Breath of the Wild and as much I love for them to have survived the Era of Myth (??? somehow ???), this… kind of changes Ganondorf’s character arc. No longer do we have the story of a king who wanted more, either for his people, for himself or both, and led his culture to its destruction in his search for absolute Power, while remaining ironically incapable of maintaining what little he already had. This starts from him kneeling to the king of Hyrule in OoT and leads to the deluge, Arbiter’s Ground, his own mothers dying for the sake of his failed resurrection. Breath of the Wild changes this: now, the gerudo were apparently fine without him? They apparently did their own thing and became suddenly and inexplicably disconnected from his actions? I know it’s kind of implied they side with hylians at the end of OoT, but it’s honestly never really explored why they would cheer for the death of their king while never seeming to resent him before except for Nabooru –there are mentions of brainwashing for those who resist him (as well as “other groups in the desert”, tho they are never mentioned again), but it’s hardly a proper plot point for the majority of the tribe, aaaand they still die by Wind Waker in the Adult Timeline, in spite of their potential alliegance…

(again, this shift towards submitting to Hyrule actually started with Four Swords Adventure, getting crisper with each iteration)

There used to be this polite blur regarding Ganondorf’s relationship to them, how much he used them and how much he acted in their name (with arguments for both sides), and I think this messy and debatable question mark was one of the most compelling aspects of his character. Gerudos rejecting their relationship at a near-cosmic, reality-bending level, removes a huge layer of complexity to both parties… all for the benefit of making hylians come out cleaner out of this whole exchange, their moral grayness barely a whisper in the distance.

I’ll kind of go on the record and say that I suspect the addition of Demise to the canon to serve a similar purpose (at least in part): if Ganondorf becomes but the manifestation of a demonic curse, and is no longer an extremely messy character brimming with agency and drive, forcing the heavens to reckon with said agency in a way he was never meant to access, born from a complex set of circumstances from which we clearly get only a limited and biased perspective, then it becomes extremely clear that he’s a Bad in a way that isn’t worth exploring further. Even if he does have some points, he is a Bad. It’s what matters most. Not to say I even hate what this angle can bring to the table or that I want him to become Good (I don’t –I’ll talk more about why I dislike most takes on him being a helpless victim to the curse), but once again, who benefits from adding another Unquestionned Baddie to the equation to rest upon? Not him, and not the gerudos, that’s for sure.

So. Why did I, me, personally, like the gerudos in the first place?

Beyond the inherent coolness factor of their culture and the fascinating mysteries of what is merely suggested, I think… I think I loved gerudos because we were obvious outsiders. Because their rejection of Hylian culture was so sharp and extreme, their value system so different, and their writing, their religion, their relationship to power and hierarchy and worth wanted nothing to do with hylians. They didn’t need hylians, beyond them having potential resources to steal. In fact, the threat of hylians influencing their culture was such that the entry to the Fortress was forbidden to everyone (I don’t think men were ever singled out, by the way, even though they are mocked relentlessly). I think there was something inherently hopeful about this semi-matriarchy resisting the outside world, and especially its notions of what girls were meant to be –it was 1998, and every other girl character in OoT, besides Impa and Sheik that?? is another can of worms entirely, is either helpless or someone to save. For them to reject this narrow vision of femininity was, in my opinion, much more radical than what we got in BotW. Less nuanced, more problematic perhaps? But also much more powerful. Gerudo Valley is home, not to a town, but a Fortress.

Hylians were worth being resisted.

In Breath of the Wild, their refusal to let men enter their town is kind of boiled down to a fading tradition over-focused on romance, a meek little game of chase. Their entire goal seems to be finding a hylian to settle down with. Say what you will about the single man and the many girls (never explored and completely open-ended in its implications, btw), but at least it wasn’t… that. At least it opened the way for different ways for people to exist and imagine culture and civilization, outside of the heterosexual couple, the christian-infused patriarchy and its trickling down implications. What I want to say is: let my girls tell hylians they ain’t shit!! That they aren’t the end all be all of reality! This is what made gerudos so compelling in the first place! Where is that bite now? Where is that self-definition?

It’s gone, because hylians need to be Good. So we tee-hee at the creep running laps around the town, we disguise ourselves to breach their trust and infiltrate their town (though there is nuance to be had there, gender be complicated etc), we watch them pine after shitty dudes and take classes to become the perfect approachable woman and make love soups with ?? strange ingredients honestly, and we witness them get very friendly with the Royal Family they used to conspire against, dying to protect the princess against the manifestation of their ancient king reduced to a raving puddle of Bad Boar.

Hyrule, unified against him.

TEARS OF THE KINGDOM

For posterity’s sake: this post was made before the game was released. I’ll probably update my thoughts on a separate thing later on.

I don’t think gerudos allying with the hylians and burying their own legends about Ganondorf as deeply underground as they can until it blows up in their face is a bad setup at all. It’s actually pretty juicy, and there’s a ton of fascinating stuff that could happen here –even some involving gerudos taking a firm stand against him while still reconnecting with their past and the choices they made once. This is my hope with the title of the game: Tears of the Kingdoms. Let’s examine them all, account for the damage, and decide how we move forward from there with the full knowledge of where we come from.

What I am afraid of (and I already made posts about that) is the scenario where gerudos rallying against Ganondorf, which I expect will forcefully try to take back his place as their king, is used for cheap feminist points that completely fail to examine, well. Everything mentioned above. Where reality bends itself out of the way of the Goddesses, and hylians’ responsibility in any of this mess, so that everything bad is 100% Ganon’s fault and so he must be cast aside and torn away from the Cool Gerudo Girls and this is 100% justified and deserved because we are Independent Women Who Take No Shit from No Men (unless they are the king of Hyrule or any random hylian they wish to marry apparently).

I’ll say this here because it’s been burning my mouth every time I see discourse about Ganondorf and the gerudo: gerudos declared him as their king. To make a really bad comparison that I dislike: he didn’t run around to assemble girls and make a cult around himself, he was born with the cult already formed around him (and it’s not a cult, it’s just a different mode of governance –hylians also revere the Royal Family like gods, don’t they?). This heavily changes the dynamics at play. Not to remove any agency from him to do a little invasion about it, but chances are the ancestors to BotW’s gerudos fully expected him to behave in this way, at least to a degree –in OoT you see very plainly that they value physical prowess, feats of thievery, witchcraft and general violence. It’s more complicated than him being a Bad and making the poor helpless women go along with the plan uwu –even taking the brainwashing into account, AND Koume and Kotake counting as gerudos too, even if they might not be not fully innocent in shaping the culture and the man himself. If manipulation and forced servitude is the explanation given, I’ll be genuinely mad –because, once more, all the nuance and messiness would be flattened for the sake of making Ganondorf Bad and the gerudo Good (= on hylians’ side).

It bears to be said: I think feminism stances that require, not to criticize (which is fair), but to fully dehumanize and bestialize men of color to make any sense are uhhh bad, and it's worth questionning who they end up serving in the end.

The flip side of this would be to make Ganondorf a poor little meow meow that was secretly controlled by the evil Demise all along, and... I’ll be real. I really don’t think it solves our problem at all. It might even make it worse.

My problem with how gerudos have been handled thus far, being mostly connected to how they behave in relation to hylians Good, is that they’ve been systematically defanged not to threaten the status quo as much as they used to. I think it’s pretty clear why I’m not a fan of Ganondorf being a mere victim of cosmic circumstances; I have a post that goes more in depth about this, but to simplify: my man has legitimate grievances. To make him a mere puppet to Evil Incarnate would, to me, be just another attempt to erase the despotism of the Goddesses, the unjust hierarchy of the world, what hylians have historically done to the races they were in conflict with (looking at the Yiga for the most recent example…)

I’m not saying his fight is clean or even legitimate, that he isn't driven by his own sense of self-importance above anything else, or that he should win (he has no plan beyond domination and victory, that's not a future). But I think there’s something really important about having someone being willing to fully consume himself and everything around him for the simple fact that someone should resist the order of the world. Even if that makes him a heartless, cruel, and egomaniac demon-pig. Even if there’s no Hyrule left to rule. Even if his own people despise him, or are long gone and forgotten.

Is it a little heart-wrenching? Uhh yes to me yes most definitively. This is why Wind Waker Ganondorf hits so hard, and remains (I think) his favorite entry in the series so far. But… I still find this fate of eternal resistance more resonant and empowered, and far less grim, than if Hyrule’s lore absorbs his hatred and rage, gives it to another entity that would be Badder (= more opposed to hylians and the goddesses), and scrubs it off anything icky and uncomfortable, rendering it completely domesticated and non-threatening to hylian domination; rubbed of his skin color, of his complexity, of his own emotions, even made... kind of sexy now, in the same way his sisters have been made before him? I am very, very afraid of him being turned from furious and an unapologetic subject in his own legend to a "redeemed" (according to whom??) and palatable object in somebody else’s, that you now end up having to… save from himself.

Again, I want to trust that Tears of the Kingdom can walk that line and preserve everything sharp and contrasting and profound and thrilling about this fascinating setup. I don’t expect a philosophy course, this is a game for children –but it doesn’t mean Nintendo didn’t do an astounding job with similar setups in the past. Again, I’ll invoke the Wind Waker conflict, but Twilight Princess did a lot of great things as well (Zant’s speech, if you can get past the weird stretches and stumping and NNHYAAAs, is pretty fantastic) –and the subtle writing of Majora’s Mask is also proof enough this series can be complex without being impermeable.

So this is where my hope lies. Not really with BotW’s writing, which, I’m sorry to say, but I found to be below what the series has done in the past (I have no problem with the setup and how the story is explored, I think it was a great idea, but wasn’t ever sold on the actual writing the way I may have been with previous titles –it felt… very tropey to me overall, with a couple of highlights). But Nintendo has shown to know how to write compelling stories for children that know where to sprinkle its darkness and how to preserve its hope, and this is this side I’m relying on for this delicate storyline moving forward.

And now? Now… I suppose we wait and see.

(thank you for reading my impossibly long essay what the actual hell, at least I got it all out of my system, see you in part 2 for when TotK comes out I suppose aaa)

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yourlocalsaiko · 2 months ago

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I have more Victoria Neuman Observations.

Okay so 1st i wanna talk about her Bisexuality. I believe Victoria is bisexual with her preference for submissive nerdy men being strong, it’s stereotypical Bi behavior. I attached to this because of her relationship with Hughie and her relationship with Samir which i will touch on now.

Victoria is a secret nerd we established this through her war-games comment. Her platonic or potentially romantic relationship with Hughie was cute it was whatever (i dont personally ship it) but pivoting to Samir. We learn alot in Season 4 episode 5 just from the dialogue exchanged between Edgar and Victoria. Specifically when Edgar is still at least slightly mad at Samir for “deflowering” Victoria. Victoria then responds by saying she was thoroughly deflowered at 20.

Going off what i said in my last post once again A: Vic was a Hoe. Cool great more power too her. B: Edgar had never caught her until she ended up pregnant with Zoe. and C: She most definitely seduced Samir and based off Edgar’s relationship and interactions with Vic i could and would go onto say she probably did that to get under Edgar’s skin.

Edgar has a soft spot for Victoria and thats seen when The Boys mention Victoria’s betrayal of him with him saying something along the lines of “And i taught her exactly how to do it” which to me indicates he is at least a little proud of her. I think Edgar has a soft spot for Vic. Its not an obvious one at all but he has a fuzzy area where Victoria is concerned and that would explain why he immediately jumped to blaming Samir and maybe not noticing and/or believing any of the other sexual encounters shes had in the past. With him only truly rationalizing it when she ends up pregnant and then he immediately blames Samir who you can see has little to no back bone.

Moving on i wanna talk more about Victoria and the Female Gaze. I love Victoria on the boys because she is the hardest to straight up sexualize. Like they mentioned how she gained fame from a dancing video (i think they dancing like an Egyptian? Which i hate for racial reasons) and thats when i realized….i couldn’t imagine Victoria dancing, or more so how she would dance. I never had a good enough grasp on her body type because of the outfits she wears. I had to look at the actress herself which led me to realize. Victoria is LEAN like very lean muscle. Its very subtle which i think could explain her durability and she could possibly be a decent bit stronger than we think. And its in her arms even in the blue dress we see briefly you can see how lean she is. But shes still healthy she isnt quite skinny. Like she could quite possibly have subtle abs.

And thats what leads me here. the subtle masculinity of Victoria and the quote “Gay accent”. The way Victoria presents herself she crosses her legs and she sways slightly and wears heels yes but she spreads her arms when she sits in certain/most scenes. She takes up space and kinda “hugs” the back of a chair in one scene. Also her voice, did you know there is actually a lesbian accent? Its a lower inflection its more masculine and thats why most people don’t notice the “lesbian accent” but thats my thing with Victoria her voice is almost always pitched down. Even when she’s excited its enthusiastic and but always stays in her lower range. And unironically that could be another reason why she’s able to sway or gain so many voters as she acts more subtly masculine. Nobody can call her emotional but shes still charismatic. She’s stern but she still smiles. Its really good if you think campaign sway.

And yea thats it so far these are my observations of Victoria Neuman. I wanna do one of Cate Dunlap next but that might be a little bit i gotta analyze Gen V a bit more.

#victoria neuman #victoria neuman x reader

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undercover-grisha · 5 months ago

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Happy Priiiiiiiiide Month!!

now obvi this is not a queer relationship, but I don’t have any drawings of Jesper and Wylan (yet).

But also, I used Inej and Jesper because I wanted to explore platonic relationships within the queer community as well, even with allies. My best friend currently identifies as straight, and I’ve been out as bi since I was 12. Of course, I’m very fortunate to be able to do so with supportive parents, but truly there is something different— special— about the friends that support you. My best friend doesn’t always know how to talk to me about queer representation in media when I’m on a rant about it, but she listens, the same as I do when she (a South Asian girl) tells me (a white girl) about racial and cultural representation. She doesn’t ever try to tell me that I’m “more straight” or “more gay” (sounds like an exaggeration, but legitimately I’ve had friends say that to me), and she treats my girl crushes just as she does my guy crushes: by judging me harshly.

My best friend is truly another part of my soul, like Tinkerbell and Periwinkle— our wings line up perfectly. She is truly the Inej to my Jesper, though I hope she never ends up in a Kanej relationship, because I would be better than Jesper and pull her out of there STAT.

Happy Pride Month, love your friends, be happy to be alive!

#six of crows #soc #shadow and bone #jesper and inej #six of crows fanart #pride

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chevelleneech · 4 months ago

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I hope non-Black and non-Asian fans who might also ship Reylo quickly come to understand that while Reylo did get a lot of push back for both valid and bullshit reasons… Oshamir shippers do in fact get to celebrate some of the hypocritical arguments working on our favor, because Black/bi-racial femme presenting and Asian male actors are almost never the leads in popular television and film.

They are either paired off with a white partner or they themselves are the sidekick to a white lead, and usually only date people within their ethnicity. The latter of which is neither bad nor wrong, but adds to the misguided belief that Black women and femmes and Asian men are not bankable or attractive outside their own demographic.

So I’m sorry to say, but if you are a Reylo shipper who feels slighted or even frustrated, that’s fine. Feel how you feel, I’m not saying you can’t or shouldn’t make posts about it, but white people being in corruption arc romances or etl is not a rare occasion. Meaning, when yet another one exhibits traits that are toxic or not so great, it is fine for people to not like it. It’s fine for people to call it annoying or repetitive, because it is. When it comes to non-white characters who either match ethnicities or are in an interracial relationship without a white partner, it automatically becomes something new.

Why? Because we do not often see it play out that way on screen. And no, Osha won’t be dealing with anti-Blackness or misogynoir on screen nor will Qimir deal with Asian stereotyping, because race and ethnicity aren’t played the same in Star Wars as far as I know, but that doesn’t mean their casting matters less in reality. At the end of the day, it’s all fiction, but that doesn’t change the fact that Black people and Asian (Filipino men to be exact) people shouldn’t be allowed this opportunity to seem ourselves reflected back on screen in the same genre based shows white people get.

Star Wars, science fiction, and fantasy in general is so overwhelmingly white and creatured/alien, that people don’t even realize how uncommon the tropes and cliches they’re tired of seeing, really are. Osha and Qimir would kikeky still work yet not be as thrilling if either one of them were white, because a white woman being corrupted by the evil man of color has very racist connotations, and a woman of color being corrupted by a misunderstood white man is very common on screen. And if they’re both white… then it’s just a Reylo do over, isn’t it?

So like I said, I understand people will be frustrated and want to know how Oshamir is different regarding the character journeys themselves, but it’s not always just about what’s on the written page. The Acolyte needs fine tuning in terms of the writing, but it’s not the worst show on tv by far. And the fact that Oshamir is interracial and non-white in the classic sense, is a huge part of why they work and why people are more interested than what may have been for Reylo.

#the acolyte #oshamir #not actually indirecting anyone but a post #in the tag did spur this since I also saw #people saying similar stuff on Twitter #also if there are typos… sorry I’ll fix later

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daniclaytcn · 5 months ago

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I have been telling my friends that season 7 is a bridge. Also, that Tim had a plan and as he wasn’t in the last 2, the story isn’t as he planned so he spent the whole season taking the characters there. Meaning healing from last trauma to add new traumas and building the foundations for the next season, foundations he thought were going to be build.

For example:

- Chim and Maddie fostering Mara is the bridge to Maddie and Chim having another child, maybe adopting this time.

- Hen and Karen will adopt Mara, and I’m not quite sure about the next step because I’m thinking about Captain Hen but I don’t think it’ll happen in the next season.

- Bi Buck we know what bridge that is even if some people don’t want to accept it.

- Eddie, being bad written, is the bridge to prioritising and putting himself first for them establishing boundaries with his parents. (Kind of Buck did). Also, to discover himself and what he really wants. Healing.

- Bobby to realise he’s a hero and that his works wasn’t over, especially now that Gerrard is back.

- Athena hasn’t been a proper cop this season and both times (Harry incident and whatever the fuck was the Amir thing) she has used her power so I think something will happen there that’ll make her stop and think.

The reason why the wasn’t room for development is because for some stories, it was the end (Chim being traumatised in his wedding by Doug) and for other stories it was the beginning (the whole episode 7x10)

i'm sorry, i don't want to sound like i'm being dismissive of your opinion because you're entitled to it, but i don't agree with any of this. to start with, it's too bad that tim couldn't tell the story he wanted to after s4, but that's not an excuse for him to come back two seasons later, throw a temper tantrum and ignore everything that's happened since that isn't convenient for him. lol. as for the rest, let's break it down:

this sets up for maddie and chim having another child...except we don't actually KNOW how THEY feel about it. they've never talked about having more kids, let alone fostering. we never saw any of this from their POV, we were just up and told that they wanted to do it for henren. which is a beautiful thing for them to do, but we don't know what they feel about it, if they've considered the logistics of having a second child, about jee having a sibling—none of it!

my issue with henren this season was that they recycled the plot of them having trouble with expanding their family for, what, the...third time? it's so tired and feels like misery porn at this point (and let's not even get into the uncomfortable racial elements around the way mara was written in 7x05).

something as monumental as the bi!buck arc should have been explored better. sorry. aside from his conversation with maddie, we barely got to see buck do any kind of serious self-reflection about this major part of his identity and his relationship with tommy, has, well. it's just been written in a very strange and off-putting way post 7x05. sorry to say.

whatever happened with eddie is really not the way to get him to prioritize himself! think about it. for the first time he prioritized his own grief in trying to get catharsis with kim. and it backfired on him spectacularly. he hurt his kid. he lost christopher. i don't think he's ever gonna recover from this guilt. if anything, what's happened will only reinforce his belief that he should never prioritize himself, ever. the thing with kim didn't lead to any kind of healing, it made everything a million times worse. he was quite literally punished by the narrative for his grief and it's quite sickening. and given how things were handled this season i highly doubt it will be treated with any kind of nuance or care in the next.

this has not been the first time athena has abused her power—only the most egregious instance of it—and it won't be the last. if abusing her power in s1 and harassing a teenage girl then didn't get her to stop and think, i don't think this will. sorry.

my entire point, is that most of the things you've mentioned here was incredibly last minute. madney fostering mara. the eddie/kim plotline. eddie's conflict with chris. the bobby and amir plotline. everything in 7x10 felt like an afterthought. why is it that bobby's life was in serious danger and yet we barely saw anything of him? why didn't we get to see more the firefam being worried over him and holding vigil? how is it that eddie and chris didn't even have a single conversation before chris went away to a different state?

you don't use all ten episodes of a season just to set up new plot points for the rest without developing or concluding the stuff already going on in a meaningful manner that makes sense. sorry.

#neethu answers #anon #negativity

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zephirite · 11 months ago

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'Complicated' doesn't equal 'Queer'

The analysis of Mizu's gender and identity are wonderful to read. I am a massive fan of queer readings that complicate and enhance the present narrative, and feel like a natural extension of the character.

However. It is a bit saddening that people see a fraught relationship with gender and immediately label it as fraught because it's queer, instead of allowing their idea of womanhood to expand to include fraught relationships with gender expression. It's as if...the demographics Mizu's confirmed to belong to (being a woman and being bi-racial) aren't 'enough', so people have to put her in another demographic (being trans) in order to care about/understand her. It feels like it erases the specificity of her story as being ABOUT womanhood, because they cannot fathom womanhood being this full with pain and confusion without signifying queerness. For a relationship (between people, or between a person and themself) to be queer, one would say it must fall outside of the norms enforced by society. But in reality, EVERYONE is outside the norm in various ways. There is no person who's a paragon of society, strutting about confidently. It's why the 'all white men have it easy' argument fails; if it's not gender or race complicating your life, it's religion, ability, mental illness, wealth, language, or a million other things. In reality, everyone has a complicated relationship with all facets of their identity. People are forced into roles now as much as during the Edo period, just in different ways. So anyone expressing difficulty within their roles does not immediately equate to them being queer. Is Akimi queer because she wants to control her life? By modern standards, we'd say "No", because modern conceptions of womanhood include independence. But during the Edo period, womanhood equaled ownership. Seki tells this to Amiki, and she flees, determined to prove him wrong. By their standards, her attempting independence is inherently non-womanly. Another cultural/historical difference is the characters in this show don't have the luxury of their presentation being self-expression. To claim that Mizu wears pants, a hat, and cloak because she IS a man ignores that being revealed as a woman will get her kicked out of cities, killed, assaulted, or ignored. She is not living in a neutral environment and choosing to dress 'masc'; she's trying to survive. She wants to be seen as a man so she can be let into the city, and not freeze--which we see happen to a woman and her child, whom the guard refused to let in without her dead husband. If Mizu didn't have to fight and lived with people who all knew she was female--and she still dressed in men's apparel--that would signify her comfort in far queerer ways than pure survival. (Notice she wore a kimono around Mikio for years without seeming any less comfortable in it than her 'male' clothing. She dresses for her role, not personal expression.) Other characters allowed to fret over their appearance without the fans questioning their gender.

Akimi is haunted by having to blacken her teeth, since it signifies how she'll have to modify her body to appeal to the husband she doesn't want. And Taigen is distraught over Mizu slicing his topknot--not for the bald spot, as Akimi teases--but because even cutting hair was seen as defiling the body your family gave you. Additionally, it was done without his consent--therefore ruining his honor as a warrior, which was how Akimi's father justified ending their engagement. Both these reasons could lend themselves to queer narratives, but because Aikmi and Taigen dress consistently in their gendered clothing, the fans let them maintain their cultural significance and don't question their genders. Whereas Mizu looking at her boobs supposedly signifies dysphoria--and therefore being trans--as opposed to the growth of something that could get her discovered, and ruin her life. Bit inconsistent, no? I can see where people relate to the androgyny/trans/nonbinary reading of Mizu--but that should be an expansion of themes, not an exclusion. Let womanhood stay part of that analysis. Please.

I've been longing for a show to critically dissect womanhood in a historical and cultural context, and was so excited to see if other people felt as seen as I did. So watching some Queer headcanons ignore the established cultural, character-specific, and plot of the story...kinda stings. It's similar to the Encanto fiasco, where fans were quick to prioritize their assumption of a character's gender/sexuality/neurodivergence over their established motives. Like Isabella not wanting to marry a man because she was a lesbian, instead of her feeling pressured to do it because it was what her family expected of someone as 'perfect' and 'pretty' as her. Being a lesbian could've enhanced that, but claiming that was the ONLY reason rubbed people the wrong way. Particularly, people who were excited to see cultural norms and familial expectations mold the characters. Now, headcanons harm no one. Characters are not fragile; they can be stretched to fit many interpretations. But when entering a fandom, we do not leave our biased baggage at the door. And it might be nice to question why we feel the need to take a situation we may not understand and reshape it to fit our modern lens, instead of growing our understanding. It's cute to imagine the characters in a less-fraught world, but...are we losing the very essence of the characters when we do?

#blue eyed samurai #mizu blue eye samurai

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positively-bi · 1 year ago

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It ain't over til the bisexual speaks...

The March on Washington for Lesbian, Gay, and Bisexual Equal Rights and Liberation took place on the 25th of April 1993 in Washington, D.C. An estimated 80,000 to over 1 million people attended.

The 1993 March was the first March on Washington to include bisexuals in the title. Out of 18 chosen speakers, only one was bisexual: Lani Ka'ahumanu.

Afterwards, she wrote an article for bisexual magazine Anything That Moves about her experience entitled "How I Spent My Two Week Vacation Being a Token Bisexual", which can be read on her website here.

The webpage also contains a transcript of the speech she made at the event, which has been copied below the cut:

Aloha, my name is Lani Ka’ahumanu, and it ain’t over til the bisexual speaks...

I am a token, and a symbol. Today there is no difference. I am the token out bisexual asked to speak, and I am a symbol of how powerful the bisexual pride movement is and how far we have come.

I came here in 1979 for the March on Washington for Lesbian and Gay Rights.

I returned in 1987 for the March on Washington for Lesbian and Gay Rights.

I stand here today on the stage of the 1993 March on Washington for Lesbian, Gay and Bisexual Equal Rights and Liberation.

In 1987 I wrote an article on bisexuality for the Civil Disobedience Handbook titled, “Are we visible yet?”

Bisexual activists organized on the local, regional and national levels to make this March a reality.

Are bisexuals visible yet? Are bisexuals organized yet? Are bisexuals accountable yet?

You bet your sweet ass we are!

Bisexuals are here, and we’re queer.

Bisexual pride speaks to the truth of behavior and identity.

No simple either/or divisions fluid – ambiguous – subversive bisexual pride challenges both the heterosexual and the homosexual assumption.

Society is based on the denial of diversity, on the denial of complexity.

Like multiculturalism, mixed heritage and bi-racial relationships, both the bisexual and transgender movements expose and politicize the middle ground.

Each show there is no separation, that each and everyone of us is part of a fluid social, sexual and gender dynamic.

Each signals a change, a fundamental change in the way our society is organized.

Remember today.

Remember we are family, and like a large extended family, we don’t always agree, don’t always see eye to eye.

However, as a family under attack we must recognize the importance of what each and every one of us brings to our movement.

There is strength in our numbers and diversity. We are every race, class, culture, age, ability, religion, gender identity and sexual orientation.

Our visibility is a sign of revolt.

Recognition of bisexual orientation and transgender issues presents a challenge to assumptions not previously explored within the politics of gay liberation.

What will it take for the gayristocracy to realize that bisexual, lesbian, transgender, and gay people are in this together, and together we can and will move the agenda forward.

But this will not happen until public recognition of our common issues is made, and a sincere effort to confront biphobia and transphobia is made by the established gay and lesbian leadership in this country.

The broader movement for our civil rights and liberation is being held back.

Who gains when we ostracize whole parts of our family? Who gains from exclusionary politics?

Certainly not us...

Being treated as if I am less oppressed than thou is not only insulting, it feeds right in to the hands of the right wing fundamentalists who see all of us as queer.

What is the difficulty in seeing how my struggle as a mixed race bisexual woman of color is intimately related to the bigger struggle for lesbian and gay rights the rights of people of color and the rights of all women?

What is the problem?

This is not a competition.

I will not play by rules that pit me against any oppressed group.

Has the gayristocracy bought so far in to the either/or structure, invested so much in being the opposite of heterosexual that they cannot remove themselves that they can’t imagine being free of the whole oppressive heterosexist system that keeps us all down?

Bisexual, gay, lesbian, and transgender people who are out of the closet, who are not passing for anything other than who and what we are all have our necks and our lives on the line.

All our visibility is a sign of revolt.

Bisexuals are here to challenge the bigots who have denied lesbian, gay and bisexual people basic civil rights in Colorado.

Yes, Amendment 2 includes bisexual orientation.

Yes, the religious right recognizes bisexuals as a threat to “so called” family values.

Bisexuals are here to protest the military ban against lesbians, gays and bisexuals.

Yes, the Department of Defense defines bisexuals separately as a reason to be dishonorably discharged.

And yes, out bisexuals are not allowed to be foster or adoptive parents,

And yes, we lose our jobs, our children, get beaten and killed for loving women and for loving men.

Bisexuals are queer, just as queer as queer can be.

Each of us here today represents many people who could not make the trip.

Our civil rights and liberation movement has reached critical mass.

Remember today.

Remember that we are more powerful than all the hate, ignorance and violence directed at us.

Remember what a profound difference our visibility makes upon the world in which we live.

The momentum of this day can carry us well into the 21st century if we come out where ever and when ever we can.

Remember assimilation is a lie. It is spiritual erasure.

I want to challenge those lesbian and gay leaders who have come out to me privately over the years as bisexual to take the next step, come out now.

What is the sexual liberation movement about if not about the freedom to love whom we choose?

I want to encourage bisexuals in the lesbian, gay and heterosexual communities to come out now.

Remember there is nothing wrong with love. Defend the freedom to express it.

Our visibility is a sign of revolt. We cannot be stopped. We are everywhere. We are bisexual, lesbian, gay and transgender people.

We will not rest until we are all free;

We will not rest until our basic human rights are protected under federal law;

We will not rest until our relationships and families are not just tolerated but recognized, respected and valued;

We will not rest until we have a national health care system; We will not rest until there are cures for AIDS and cancer.

We deserve nothing less. Remember we have every right to be in the world exactly as we are.

Celebrate that simply and fiercely.

I love you.

Mahalo and aloha.

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tessarionbestgirl · 19 days ago

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I have yet to see a Rhaenicent hate on Harwin Strong the way they hate on Criston, and for the life of me I can't figure out why 🤔

Oh honey, you know why!

House of the Dragon has exposed just how racist this fandom is, and Rhaenicents take the prize.

But it’s not just the fandom, this show is racist af.

Rhaenyra sleeping with Criston is shown to be a mistake, so she quickly jumps into bed with first-man Harwin because he’s soooo much better than that Dornish creep.

Which goes to my main issue with Rhaenyra’s paternity crisis. If House Velaryon was black then so should Harwin! We don’t know who his mother was, she could’ve been from the Summer Isles. The fact they kept him white was racist, because no way can their white flower be in a 10 year relationship with a black man, no way can she have biracial kids who she puts above her white sons.

They replaced her relationship with Laena and gave it to Alicent because sapphic girlhoods are for white girls only.

Daemon went from loving Laena so much she’s the only wife he never cheated on to fucking his niece at her funeral because she was just a placeholder until white Rhaenyra became available.

Criston is the only one who truly loves Alicent, how does she return his devotion? By betraying him to the Aryan Queen because brown men aren’t deserving of respect and love, white women are better because feminism.

You have good points. Interracial relationship in this show are weirdly demonized. And the poc always get the worse treatment on the relationship. And this may be the result of white feminist writing.

Still one of the creepiest things I see a writer pull off with that Rhaenyra and Criston scene. Is clearly rape. Like he spend a good time fighting the idea and she slowly pushing him into the edge. And then give in. So of course he will hate after, because that is the thing about consent, you may enjoy something, but if it comes in a time you don't want to do it or you are forced to do it. You will bitter the experience. Criston situation remember me a lot of rape in marriage or yearly days of dating.

And then Sara tries to frame as "empowerment" lmfao. And then she goes fucking Hawin. Lmao you right, her babies dad should be a black man. the show made the Valaryons black for brownie points. But the consequences this bring to the narrative are so big and ridiculous.

First you make descendents of imperialist and slave owners...black people lfmao . And consequently make Rhaenyra extra dumb, fucking around with a white man trying to pass a white kids as bi-racial. That become such way bigger open secret that even fucking Daemon miles away knew she was fucking around.

Is even worse because Laena already is biracial and her kids with Daemon are very black, Baela is even more than her. So in comparison when put side by side with Rhaenyra kids is even worse. They not even tried to cast some white passing to make Rhaenyra look less dumb. And her relationship with Laenor is also bad. She boss him around and is disrespectful to him for the few scenes we get with them. She totally disregard his wants and needs.

Then of course they completely make Daemon and Laena relationship off screen, and imply he was just settling down, no love for her, no love for his daughters. And no polly thing going on. Because they totally want to erase the fact Rhaenyra is a very hedonistic character. But doesn't change the fact she already cheated on both her marriages.

Not to count the fact they erased the only canon woc love interest of Daemon....it was a joice.

And yes Criston and Alicent relationship. Lmfao you last sentence made laugh a little to much. I have nothing to add besides Justice for Criston Cole.

#house of the dragon #hotd #team green #alicent hightower #hotd criticism #anti hotd #anti rhaenicent #anti rhaenyra targaryen #Anon ask

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millenialmfa · 7 months ago

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Maybe I’m dumb, or just naive, but I don’t understand the people who suddenly don’t want to watch 911 anymore after 7x4 ?

Like, have we been watching the same show all these years?

It has addressed/displayed interracial relationships and marriages (multiple), homosexual relationships/marriages, mental health/PTSD struggles, racial injustices, emotional/physical/mental abuse, disability, trauma, death, etc.

Michael came out in his 40s/50s and is in a loving relationship (engagement? I can’t remember) with another man while still acknowledging the love he felt for Athena and maintaining a healthy coparenting relationship with her.

My girl Hen has been UNAPOLOGETICALLY gay for the ENTIRE show! She has a whole wife and kid. She has ups and downs in her marriage, a well rounded love story and family life……she is more than her sexuality but also so much because of her sexuality. They are intertwined and she is so beautiful and nuanced (can you tell she’s one of my favorites?)

….. and y’all gonna draw the line at Buck’s bisexuality? Is it insecurity? Can you really not handle the white masculine bro firefighter being bi? Is it biphobia? Do you not like that his most relationships with women were valid as is this new thing with Tommy? And that they are ALL valid and real to him?

Even if you think this came out of nowhere (which I can’t say I agree, but I will let you have it for argument’s sake) Like, you look at this incredibly nuanced and well written character..you see the relief and happiness in his eyes…and you’re mad?

This turned into a rant, but I’m honestly so perplexed by this

Anyway…I’m proud of Buck and he deserves to be happy and who he is

#911 abc #911 spoilers #911 show #evan buckley #canon queer buck

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korkiekenobiconfirmed · 1 year ago

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I'm on a roll with the s/j/m hatred tn so I'm going to compile a masterlist of all her shitty lgbt/poc representation and why it sucks booty cheeks. it should be noted that none of this is meant as shade on any of the characters themselves... I actually happen to like quite a lot of them

EDIT: there are some nice additions to this post in the notes you can check out

LGBT rep

Aedion (Bi/Pan)

Literally known as “Adarlan’s Whore” (a nickname that references both his allegiance to the king and his tendency to sleep around)

His only same-sex relationship is with a vaguely-mentioned unnamed lover from the past (it’s not even said straight-up that they’re a man, but I’m assuming they are bc they’re mentioned to be a commander of the Bane)

He’s shown being attracted to women and only women for two and a half books. He’s a womanizer retconned into the slutty bisexual stereotype

His liking men & women is compared to prostitution

It’s insinuated in koa that he slept with an ex while he and Lysandra were fighting (because the cheating bisexual trope is such a new & creative one!)

Helion (Bi/Pan)

He’s always trying to have 4somes with three of the main characters

Realistically he’s probably one of the most powerful/interesting High Lords but this gets sidelined in favor of him flirting with eVeRyOnE

All we really know about him is his name and the fact that he’s a bit of a manwhore… very 2-dimensional

He has an affair & a child with a married woman… just the Slutty/Cheating Bisexual Trope (Volume 2) :/

Mor (Lesbian? Possibly bi?)

She’s never shown in any real relationships (with men or women)

She had tragic off-screen relationship with a mortal queen a few hundred years ago

We get literally no hints that she’s gay throughout the series, she just randomly mentions she likes women at the end of book 3

She gets no happy relationship, she stays closeted to spare Az’s feelings (as though he’s not a grown ass man), she’s retconned into her sexuality most of the way through the series… just shitty shitty rep all around

Hasar (Lesbian)

She’s a villain, and a shitty one at that

Lesbian rep from a side character in one novella that half the fandom didn’t read? What’s even the point?

Thesan (Gay)

A very minor character & his unnamed “lover” who serve no narrative purpose whatsoever… thanks for nothing sarah

Emrys & Malachai (Presumably gay)

Oh look! More minor, background mlm that might as well not exist for all they do for the story :/

They are cute though, I’ll give them that

POC rep

Nehemia

First (and only) black main in ToG

She dies to fuel the white protag’s character arc… a very tired trope

She was actually a pretty well-written, likable character up until her brutal murder, which made it that much worse to hear about her organs strewn all over the room

Sorscha

Described as “plain” (particularly in contrast to the white women like Aelin & Lysandra)

We know she’s POC because of where she’s from, but the way her features are described suggest she could still be white

Dark hair, gold eyes, “tan” skin

She really just fawns over white-boy Dorian every 2 seconds before dying a violent death to fuel Dorian’s arc…

…Aaaand I’m sensing a pattern here

Nesryn

Much of her character (especially in QoS) is reduced to her beefing with Aelin (and thus being villanized by the narrative) because of jealousy over Chaol

Simply described as having “tan” skin (again). I think sarah is allergic to calling people brown

She is also described as plain compared to white protagonist

She has a (presumably middle eastern) family that only wants her to stay home and be a baker/someone’s wife

Yrene

Once again very racially ambiguous to the point where she could even be white, with “tan/golden” skin, golden hair, and golden eyes

She almost immediately ties her literal life force to a white man she hated like a month ago. Seriously, can WOC not fawn over a hunky white man for once?

She defeats erawan in the end — considering she’s been a character for such a short time, this just feels more like a deus ex machina the anything really set up by the plot

Helion

Not going to fully rehash what I said above but generally… he has great potential, but is basically not a character

Tarquin

He’s portrayed as very nice and reasonable, if young and naive, yet he literally only exists to get manipulated/robbed by the main characters

He seems like such a sweetheart. He deserved much better than Riceman and Feyrug doing him dirty like that

I’ve heard rumors of a High King/Queen F*ysand plotline in later books…if that happens, Tarquin will likely be bending the knee and forgiving the people who fucked him over just a short time ago

Lucien

He’s described as very caring and loyal (yay!) which seems to always get him taken advantage of (damn!)

He’s portrayed (especially in ACOWAR) as someone we’re supposed to dislike when all his actions are perfectly reasonable

He’s literally retconned out of being white when it’s revealed Helion is his father instead of Beron. I’ve seen ppl get mad at “white-washed” fan art but it’s hard to expect much else when his original character description was straight red hair, amber eyes, and “tan” skin (holy shit agAIN)

The people of the White Fangs from TOG

They’re described as having black hair, black eyes, and “tan” skin

They live isolated in the mountains (away from civilization) and are described as “savage” and warlike, always raiding villages in the mountains and stealing women away from their homes…

Cain, who’s from these people, dabbles in dark magic/religion nobody else understands

This is feeling, intentional or not, like a horrible Native American caricature. Idk maybe that’s just me

#anti sjm #anti acotar #anti tog

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citrusotakutea · 10 months ago

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Hey op just curious what makes you hate the new Hellsing fanbase. As a fellow Hellsing fan I was wondering if I’ve completely missed something strange going on lately.

The new Hellsing fandom honestly irks me because of the surface level probing of the source material*. Yes, to most it's a hard core, dark, violent, mad and bad-ass anime but, like I've said so often, for so long on this dumb blog, it has the BEST female characters I've ever seen, recently rivaled by Arcane. Incredible depiction of platonic relationships and morally grey characters. To me, it's primarily a found family story, among other things.

The side characters are incredible, Yumi and Heinkel are the most underrated of the show. I mean come on priest and nun lesbians (lesbian used liberally). Heinkel is confirmed by the author to be an INTERSEX HUMAN. Alucard shapeshifts into a female (which, looking at the Devilman fandom, everyone took for an obvious trans metaphor, why not here?). The source material is as homoerotic as it can get between a lot of the characters (the tension between Sir Integra and Seras during the blood scene). Let's not forget Rip van Winkle, Pip, Walter, and Alexander. Alucard's teasing, Seras' naivety and subsequent maturity, Pip's endurance and playful wittiness. These characters and relationships are stuck in my head forever, they're all incredibly unique, fleshed out and worth remembering, no matter how short a time they spent on screen. And the character designs? As a long-time vampyr and catholic guilt fan, can I just say. Rawr. This show shaped how I dress like irl and my own shitty characters, as well.

Sir Integra is my favorite character of the show and one of all time. Sir Integra Fairbrook Wingates Hellsing. Like, an actually good depiction of a no-nonsense, androgynous as hell, unabashedly commanding (dare I say) woman? And it's played completely straight? No "Whaaa that's a woman?" every 2 seconds or "heh, you will listen to me despite my womanhood" from her. Powerful in her own right despite being the few "magic"-less humans of the series. 0 sexualized Ultimate scenes (sorry Seras and the "hot down there" comment doesn't count, that was banter). She was fucking knighted by the Queen of England before she was even 25, hence Sir Integra. Canonically bi-racial and South-Asian. I'm not even going to go into her character's willpower and values but. Hellloooo???

Not to mention, something noteworthy about the series, but Hellsing works because Hirano made time for silly moments. I mean, hell, one of the scenes I remember most vivdly was the gag of Heinkel lighting Sir Integra's cigar and being mega-pissed about it during the final battle, it's funny yet in character, despite many fans saying the humor throws you out of the "reality" of the show.

Oh no, but what do the new fandom gremlins talk about? "Alufart rails Y/A" "OMG VLADCARD'S BARA HAIRY TIDDIES I WANNA RUB MY FACE AGAINST THEM" (you know who you are) “I drew the most fucked up version of Alucard I could think of in my twisted mind”

and my personal "favorite":

"omg 🥺 what if intewa and alucard kisswdd", it's almost as bad as Seras x Alucard.

Unfortunately, I am a part of the ship police, so I'm gonna say right now that these two are my most hated ships:

1) Sir Integra and Alucard's relationship goes beyond romance to me. Since none of the new fans know the lore, Sir Integra is and will die a virgin (canon), it's literally plot relevant because by having sex, if she gets bit she will become a zombie slave (obvious but apparently needed to be said) and, taking a note from the 2001 anime, gone is any chance to continue the Hellsing mission. If she was bitten, plot armor aside, she'd have to off herself instead of becoming a vampire. (and for you freaks out there/pos, dare I say… ace representation? you can argue about desire and subtext later)

2) Seras and Alucard's relationship was specifically noted by the author to be a father/daughter dynamic, which is kind of obvious in the show. Like I said, fundamentally a found family series. Yeah, you don't need to treat found family like family family but I gen can't stand this ship.

I know that people will ship characters who've never been in a room together before. I can't stop people from shipping them and these two ships have ALWAYS been popular in the fandom. I typically ignore this and, yes, "don't like, don't interact" is my main rule. However, new fans ONLY talk about this stuff. None of the rest of the show seems to matter, just Alucard's hairy mustached tig bitties and him fucking one of the two women in the main cast. Or someone's self insert.

((tangent but personally my favorite ships are Alexander x Alucard (obviously in an enemies to enemies way), Heinkel x Yumi, and a romance only Seras x s.Integra. Like, you want old women yuri??? There ya go! They were in a mansion for like 30 years (I forgot) together, probably going missions alone and sharing their grief over Alucard and their unique experience/history. Like I said, I can't help who people ship, I'm not trying to say the source material is in favor of my ships or "how dare people interpret these obviously gay characters as straight". like no, that's not why I'm upset and ik alucard and alexander weren't yaoi-ing it up but like. alucard and s.integra shippers dni /j))

Not to mention, I couldn't help but notice, despite this information being readily available to my middle school self, no one knows the fckn lore or background of this show?? I honest to god saw someone comment that Hellsing Ultimate™ was a bad “remake” because it diverged from the original anime.

Here's SOME fun facts:

-the 2001 version of the show has a different ending than the manga because it wasn't finished yet (duh). Hellsing Ultimate is "soooo short" because production took almost a decade and it was trying to be a faithful, well-animated (that takes time bruv) adaptation. Oh, and a bunch of directional changes that I won't get into.

-there are multiple OVAs following Walter's youth in WW2 (Hellsing: The Dawn). Young Walter's design honestly was one of my favorites from the series so. Walter enjoyers. Check it out.

-there is a bonus book explaining a lot about the characters and process of creating Hellsing written by Hirano himself. whenever I got a hold of it, though (8+ years ago) there was no English translation.

-Alucard didn't just transform into a girl that one time, he was in his girl form the entire time during WW2 (hence why when people mention his possible affair with the Queen it might've been a sapphic thing but I think that mostly stems from the abridged series. the queen thing not the girl thing)

-Hirano used to be a Hentai mangaka and actually designed many of Hellsing's characters in said hentai or in short stories (such as Crossfire, it's basically extra, non-canonical Hellsing content) beforehand. Which, this used to be the most popular "fun fact" but has been lost to the sands of time now, so prepare for a lot of people rediscovering this.

-personal lore is I almost named myself Rip van Winkle bc of this show (quirked up Portal, Grell Sutcliff, queer-coded, rifle-wielding shawty)

Anyway, to sum it up, I hate when people don't interpret characters in the same way I do. Yes, I am a bad “fandom elder”, idgaf I am fundamentally a hater.

*I keep seeing this happen with old shows that resurface. Unlike newer or more popular shows where every scene gets scoured, characters who showed up for one scene get analyzed, and endless cafe AUs are made- older shows mostly get fan art of the main charas and the ships of the two hottest characters and that's it. Discussion of lore and themes are completely off the table. So I'm not surprised, just disappointed.

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renthony · 2 years ago

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Entirely too many people erase the contributions of Ian Jones-Quartey to Steven Universe.

I'm definitely not saying there aren't criticisms to be made about SU'S handling of race--there ARE--but I am saying that way too fucking many people insist that Steven Universe is "a white woman's show" when Rebecca Sugar is a nonbinary Jewish person and Ian Jones-Quartey is a bi Black man from an immigrant Ghanaian family, and those things have a massive impact on the way the characters are written.

Nanefua Pizza is directly based on Theodosia Salome Okoh, Ian Jones-Quartey's grandmother and the designer of Ghana's flag. The Pizzas are directly based on Ian Jones-Quartey's experiences and loved ones. Garnet's design and personality are based on the Black women in Ian's life. Ruby and Sapphire are directly based on Ian and Rebecca's relationship.

And that's not even getting into the contributions and influence of the cast members of color, or the fact that there were other people of color in the writers' room.

But somehow this gets erased and ignored for the sake of "SU is a white woman's bad show" discourse.

Idk man, I just feel like if we're going to commit to talking about SU's portrayal of racial issues, we gotta stop pretending that it is solely the work of "a white woman."

#original post

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cadybear420 · 8 months ago

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Cadybear's Reviews- My Two First Loves

Welcome to the twenty-seventh official Cadybear's Reviews! Today I'll be talking about My Two First Loves, which I have ranked on the "Rotting Flesh Tier" at 2 stars out of a possible 10. My last and only playthrough of this was back in April-June 2021.

Oh boy! Oh boy oh boy oh boy! I could write a whole essay on everything wrong with this…

So I will.

To put it briefly: this story feels like it was adapted from a Wattpad story that was written by a 12-year-old whose only ever exposure to high school media and depictions of teenage sexuality was Glee, and then had serious queer and mature themes slapped onto it in order to make it seem better. Y’know, the equivalent of trying to polish a turd.

Or, heck, it’s probably PB’s attempt at ripping off “The Kissing Booth”, seeing as both have a MC in a love triangle between her childhood best friend and a bad boy named Noah, after all. Which, funnily enough, was also originally adapted from some tween’s Wattpad story. That’s about the equivalent to a dog eating some rotten food, shitting it out, then another dog finds it, eats it, and then shits it right out again. And THEN that second dog’s owner comes along to try to polish that double-toured turd.

Number 1: The LGBTQ+ tag is clearly an attempt to appease the queer players that they probably think are being whiny.

Ava’s arc about realizing she’s a lesbian who had been experiencing compulsory heterosexuality is pretty solid in a vacuum. But her being an LI was so blatantly only a last-minute decision PB made during the writing process, and it shows because Ava’s CG just uses her game sprite while Mason’s and Noah’s are fresh art.

MC starts to fall for Ava sometime around at least 30 chapters in, but we don’t get to officially pursue her as a romance option until about 70 chapters in. I get delaying her as a love interest a bit because of the whole thing with MC realizing she’s bi, but even then, there’s just so few opportunities for building any kind of relationship with her that it hardly feels authentic.

Speaking of, MC’s supposed bi awakening is completely rushed and treated with about as much value as a Family Guy cutaway gag, even outside of Ava being sidelined. As someone who realized I wasn’t straight three years ago and is still questioning if I’m bi or straight, I understand that people take different amounts of time to figure out their sexuality. But this MC does not spend any period of time figuring out her bisexuality. She basically just goes “Welp, guess I’m bi now”, and then it’s back to being indecisive as per usual except now there’s a female love interest in the mix too.

To add insult to injury, "discussions of sexuality" is placed in a "player discretion" warning, alongside "racial tensions" and "occasionally violence" to boot. How the fuck is discussion of sexuality even remotely on the same level as either of those? If they meant discussions or depictions of homophobia then maybe I could understand… but I don’t even recall seeing any depictions of homophobia in the book, so including this in the freaking warning tags is pointless at best and kind of insulting at worst.

Not to mention, plenty of other Choices books like MOTY, ILS, D&D, etc. have had discussions about sexuality/LGBTQ+ stuff before, and didn't have to warn us about it. Not even MAH, a later book which had discussions about freaking conversion therapy for Christ’s sake. Sure, some of those books did have content warnings, but they were generally vague and/or mainly warned for violence, and didn’t warn specifically for depictions of queerphobia or discussions of sexuality. Yet for some reason, MTFL feels the need to include a player discretion warning for sexuality discussions, even though it contains far less harsher queer themes.

Number 2: The portrayal of teen sexuality in this does not feel earnest.

Let me just say, I found it very jarring how this one was much more sexually charged compared to PB’s other high school books. PB is usually way more “safe” and PG-13 at most when writing high school characters. Even in books like ROD and WEH, where the characters are 18+ and do have smutty scenes, it’s clear that those books are a lot more restricted compared to the adult cast books.

I mean, with WEH, the safeness makes sense– it was meant to be a serious and tender story from the start, and it does actually follow through on those themes. But ROD feels like it could have easily been as horny with its writing as MTFL was, what with being about a studious “good girl” who goes rebellious. In fact, the story’s loading screen was pretty infamous at first for looking “steamier” than other covers and loading screens.

In actuality though, ROD had only, what, one smut scene? And despite a lot of MC’s outfits being revealing or arguably sensual, there are practically no moments where MC fawned over how “sexy” a revealing diamond outfit looked. Like, I’m pretty sure there were just little to no sexually charged scenes in general.

My point is, whatever compelled PB to make MTFL *this* sexualized is beyond me. My guess is the fact that PB called this one a story about “navigating sexuality” and thus wanted to focus more on the aspects of sexuality, but if that’s the case… hoo boy, did they do a terrible job at it.

I don’t really care about the hypersexualized writing of the teenage characters on its own, or how the characters were initially not confirmed 18+ when the earlier smut scenes were written. What I find far more important is the fact that this sort of cliche and formulaic hypersexualized writing is in a book that markets itself as being about “a young woman navigating love and sexuality for the first time”.

Teens do indeed have sex and can be all over the place with their hormones and sexuality. A lot of us have been there in some way, myself included. And there are ways to talk about that type of stuff in a manner that is silly and/or exaggerated, but still earnest and respectful. But the particular way that MTFL handles super-horny teen sexuality, specifically while claiming to be a coming-of-age story, is neither earnest nor respectful.

The way this story handles these sorts of topics is the writing equivalent to doing a surgery with Fisher-Price toy surgery tools. It’s genuinely difficult to take MC “navigating her sexuality for the first time” seriously when has to constantly blubber about how Mason and Noah are so muscular or how a diamond outfit has “naughty little thigh highs” or how she wants to do a “down and dirty” cheer routine with Ava for Mason and Noah.

That last one especially feels like the kind of stuff we’d see more in a campy chick flick that doesn’t take itself seriously. Honestly, if this was a more campy high school book with the tone of DLS or the 2023 movie “Bottoms”, it probably wouldn’t be as glaring. But in a book that markets itself as a coming-of-age story, the tone feels completely off and the whole book honestly felt like it couldn't decide what it wanted to be.

(Also, while we’re on this topic of MC’s premium outfits, I really fucking despise how MC gets so upset about wearing "mom clothes" if you choose to wear the free modest clothing instead of the revealing diamond outfit in Chapter 2. Ugh. Yes, the dad was being shitty about not letting MC dress how she likes, but all it does is it just makes you feel like shit for not wanting to dress in more revealing clothes. Stop making me feel bad for wanting to wear simple non-revealing clothing. Same goes for you, Chris Romantic Getaway story with your “the regular jerseys aren’t cute enough for girls to wear, we have to cut one up into a cleavage crop top in order to make it good for us girls to wear” bullshit.)

And it just slaps you in the face with these sexual moments too, placing them in frequently whenever it feels like it, and the amount of it that actually contributed to any coming-of-age navigating-sexuality are few and far between. Honestly, it felt like it was trying way too hard to look "mature" with how it handled sexuality (as well as some of the other stuff like them drinking alcohol). Like it maybe was trying to portray teens realistically, but it only does so at a very shallow level.

It's literally just "Look at the teens that talk about sex and like doing sexy things and having sex and doing grown-up stuff like drinking alcohol, see how MATUUURRREEE they are!" and they don't do anything more with it. It's just tacked on so they can pretend their book is a realistic story about maturing/being mature, when it fails at actually doing so.

I mean, I guess you could argue that the MC is meant to be seen as more messy and hormonal. And in that case, I could give it a pass. But, again, MC’s supposed arc of “navigating sexuality” never goes anywhere from that until the very last few chapters where you choose which LI she ends up with. It’s pretty much the same crap all throughout the book. MC doesn’t navigate sexuality, she just runs around aimlessly in it like a chicken with its head cut off.

Number 3: All the serious themes they try to have in the story are overshadowed by MC’s stupid indecisiveness plot.

I’ve already said MTFL tries way too hard to make its story seem “mature” with the trashy way it sexualizes its characters. I’ve said it feels like it doesn’t know what it wants to be. Honestly though, this just sums up MTFL’s writing in general.

MTFL has quite a handful of subplots, and I will admit, all of them are pretty compelling. You have Ava figuring out she’s lesbian, Mack dealing with gang drama, and Mason and Noah dealing with their past and Mason’s dad’s abusive behaviors. And an admittedly decent arc about MC discovering her love for photography instead of cheerleading.

And then you have MC going on about how she can’t decide between her love interests, which is just the bad apple of the bunch that ruins the rest. It just makes it very hard to take everything else seriously. You ever seen that one meme where the Power Rangers put their hands in a circle but then a Teletubbie tries to join in? It’s the writing-equivalent to that, and MC’s indecisiveness plot is the Teletubbie.

And maybe it wouldn’t be so bad if MC’s indecisiveness wasn’t the main focus plot of the whole book. I want to take these other storylines seriously. I want to take this story as a whole seriously. But how can I when the main focus of the story is so god damn shallow? No matter how many "soft positive heartfelt" piano tracks and “so sad and tragic sad” piano tracks from WEH they try put over it, it doesn't change the fact that the focus is MC going on and on about being unable to choose between Mason, Noah, and Ava.

I get teens are shallow and can have shallow issues, but did we really need it to be that big of a focus of the story? Especially when the way it handles it is completely empty? Something like OG HSS was great because even though a lot of the issues the characters had were seemingly shallow and basic (such as the band fighting over which song to play), they do give a little more depth to it and reason to care about it (ie. Aiden starts to feel like a failure at music because of the band infighting). MTFL just throws MC’s indecisiveness at you for 95 chapters and expects you to take it seriously with nothing else surrounding it.

And they try to pull the twist on the title at the end where it’s all like “LI and photography, the two greatest loves of MC’s life”. Which is an interesting idea in concept, except it feels so artificial and non-earned when MC’s romance plot was spending 95 chapters being unable to decide between the LIs.

Number 4: It reuses way too much from HSS.

I know this is a less severe issue, but I just can’t get past it. Sprites, backgrounds, school colors… even plot points like the corrupt principal embezzling from the school, or MC and LI(s) being locked in a large school room (remember when HSS:CA MC and Ajay were locked in the auditorium?). Heck, even MC having lost her mom and having a photography passion connected to that, rings way too similar to one of Autumn’s arcs from the freaking HSS PRIME GAME! Oh yeah, and both of those characters have a love triangle with a golden boy and a bad boy. Holy hell.

Easily the most noticeable part is the sprites. In my playthrough, I counted 7 whole HSS sprites that were used in MTFL: Sydney became Iris, Payton became Toni, Frank became this random kid in a flashback for Mason and Noah's past, Morgan became a kid in Elijah's gang named Lucy, Lorenzo became Chad, Aiden's mom became Asian Noah's mom, Skye's dad became White Mason's dad (PB really said use that sprite for abusive dads huh). And there’s probably more, I’m sure.

And the worst offense? They even reuse the iconic bird's-eye view of Berry High in MTFL. Call me petty if you must, but that's just criminal. It's one thing to reuse and alter a bunch of the sprites, uniforms, and backgrounds from the series but to reuse another book series' iconic background like that? Honestly, it feels rather insulting. They couldn't even be arsed to change the "Go Tigers!" on the football field, that’s how little sense it makes to use that background outside of HSS. Fuck’s sake.

I know it’s kind of the norm for Choices to reuse assets throughout different series, but the fact that they do it so much here and majority of it is from HSS just rubs me the wrong way. At best, it’s jarring and lazy. And at worst, it comes off as trying way too hard to be a “more mature” version of HSS. When in reality, it makes HSS:CA’s side characters look like Citizen Kane in comparison. I mean, at least Clint and Natalie and MC stopped whinging about Rory ⅓rd of the way through the series.

At least when other high-school-setting books like ROD, WEH, and ILITW were made, they at least somewhat bothered to change up a few things and make it feel like an actually different school. They changed up the backgrounds a bit, used different school colors and uniforms, and didn’t reuse nearly as many sprites from HSS.

In MTFL, all they did was make new cheer uniforms for the non-reused sprites and remove the Berry High logos from everything HSS that they used. Yeah they made some changes, but it’s clear that they didn’t put nearly the same amount of effort into it as they did in the other high school setting books.

All it does is just make me miss HSS. Like, stop toying with my heart by piggybacking off of a better series (that has better queer rep too) so much. It’s to the point where it feels like they should have just used the time making this book to instead make a HSS senior year (Which, y’know, would be nice, especially since the sendoff we got in HSS:CA 3 was absolute flaming fucking garbage).

So… in all honesty, I don’t hate this book. But it had a lot of things that annoyed me to no end and it sure as fuck is disappointing wasted potential. It had a great opportunity to be a nice queer coming-of-age story. But instead it felt like a Kissing Booth rip-off with serious themes only hamfisted in order to make it seem more “mature”.

#choices stories you play #choices #choices game #choices stories we play fandom #choices stories we play #choices mtfl #mtfl #my two first loves #choices my two first loves

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