#break the stereotype

[ultra-rockart]

Another Thing Blue Eye Samurai Got Wrong

There were women who fought as fighters and samurai (or more often called as onna-bugeisha or onna-musha) for their clan. They didn't have to hide their femininity. There is a long history of female warriors in Japan that date back to an Empress named Jingū (she ruled from 201 to 269 AD). I bring you two of the greats:

Tomoe Gozen

She was skilled at archery, the sword and the use of the naginata. Tomoe is one of the most feared women because of her cleverness and offensive tactical skills. Her men trusted and respected her. During the Battle of Awazu, she killed the Musashi clan leader. Sadly, there is no more records of her after that. Tomoe is the most known and celebrated of the onna-bugeisha.

Nakano Takeko

Like many samurai of her time, she wore the typical samurai armor but instead chose to wear a red hakama. This red hakama became a symbol of not just her femininity but empowerment. She fought in the Boshin War against Imperialists who wanted the Emperor to rise to power (they eventually won during the Battle of Toba–Fushimi).

Similar to the Kiheitai (or the ad hoc army by the Imperialists), she led the Jōshitai or women's army fighting on the side of the Tokugawa Shogunate.

Nakano was wounded with a rifle shot and rather than allowing her enemies to parade her lifeless body as a trophy, she ordered her sister (also a capable warrior as with her mother. all 3 women fought alongside each other) to cut her head off and burry her head in secret so her enemies would not have a reason to disgrace her. Her head was buried under a pine tree and her beloved naginata was given to a temple.

In Aizu during the Autumn festival, girls parade around the streets wearing a red hakama and a white headband to honor Nakano and the women fighters of the Jōshitai.

Other female fighters include Yamamoto Yae aka "Bakumatsu Joan of Arc" and Hangaku Gozen or Lady Hangaku.

______________________________________________________________

There is a reason the filmakers of Lady Snowblood (a film Blue Eye Samurai heavily borrows from) didn't chose to disguise Yuki as a man when she enacted her revenge.

[estranhossonhos]

If this truly happened, then I have only two things to say:

1) How can one argue that Feminism is no longer necessary when women have been conditioned to compete against each other, leading to the internalization of misogyny? It's a hard truth to express, but it must be said: sometimes we are our worst enemy.

C'mon: break the stereotype. Break the gender bias. Break the patriarchy!

2) There are as many people falsely identifying as feminists for personal gain or branding as there are those opposing the feminist movement for similar reasons, often without understanding the true goals of feminism. So please, please, please try exploring the historical roots of gender conditioning (think: why are women always considered less valuable than men? Less dignified, less important, with no rights - only duties).

You'll soon realise why societal structures traditionally undervalued women compared to men, and how the lasting effects of these biases endure TO THIS DAY.

It is not an overstatement to say that every single day, multiple times a day, little girls and women must choose between their own safety—by fawning, fleeing, or freezing in the face of any danger, discrimination, or even misogynistic "jokes"—or to stand up against them. And, funny enough, even if you chose to stand up and fight, is looked down upon, and often labelled as "the crazy ex". Or, when demanding respect in public, they're seen as irrational, rather than the actual perpetrator of harassment or assault. And then there's the ultimate final boss - that the majority loves to hate them: "gold-digger" or the "fame hungry" ones that, according to the popular legend, they emerge whenever they pursue legal action or to speak out about their abuse, regardless of how much time has passed.

Jokes aside, after studying, investigating and considering all of this, please please please, don't be scared or ashamed to change your opinion on this matter.

Many lives depend on it! - patriarchy hurts men and women.

this part of stevie nicks’ interview with rolling stone is taking me out

[writerofstuff]

Dead Boy Detectives was surprising.

It surprised me when, instead of Crystal dropping in and fracturing Charles and Edwin's thirty years of friendship, they went with Crystal sinking into the fold of Charles and Edwin's friendship and becoming an important and unique addition to the group.

It surprised me when, instead of Gay Boy Pining Over Straight Best Friend, they went with Gay Boy Realises Feelings For Straight Best Friend And Confesses Almost Immediately with a bonus of Straight Boy Accepts Confession With Surprising Grace And Nothing Changes, Not Really.

It surprised me when, instead of making the female characters repetitive and semi-rational and ultimately less powerful, they went with characters who are smart and selfish and kind and cruel and strong and flawed and oh, they happen to be female too.

It surprised me when Charles liking Crystal did not affect one bit of how much he loved Edwin.

It surprised me when Jenny talked about spinsters with cats and Niko did not bat an eye.

It surprised me with Edwin and Niko. It surprised me with, we have forever to figure the rest out. It surprised me with Crystal's kindness, Jenny's empathy, the casual and absolute, the good you do will come back around.

Dead Boy Detectives was surprising. One day, I hope I can sit back and watch another show and none of this has to be surprising anymore.

[la-esmerqlda]

I would like to thank Elon Musk for breaking the stereotype that “high functioning” autistic people are geniuses, because he’s genuinely so fucking dumb I can hardly even fathom it.

[deancasforcutie]

"Now you live in a secret bunker with an angel and Lucifer’s kid", AKA queering domesticity par excellence

[thief-of-eggs]

When you break down their character stereotypes, Sokka and Zuko actually make perfect sense together.

Like- Sokka is the comedic one. The one known to lighten every mood.

And Zuko is the moody, strung up one. The one who is always serious, never laughs, never lightens up.

So of course they’d work well together. Sokka would help loosen Zuko up, and Zuko would help ground Sokka. These stereotypes are paired together in media all the time. (aka grumpy x sunshine one)

Literally, if one of them was a woman… they would’ve been canon.

[thaern]

One of the many reasons to why George is my favourite musician and artist is the fact that even when he was raised in a small town with many closed thoughts he didn't let that or even the fame construct a image of him as utterly masculine and stereotypical, with his friends (different from Paul) for him showing love to everyone being physically close to them or hugging them no matter the gender, was something normal, a simple act of love.

Just like Olivia once said, George had romantic relationships with all of his friends because he was so full of it that it didn't scared him to show it, being making presents or just giving a hug, he did not let the fragile masculinity and conservative speech stop him from being himself.

And that, for a man raised in the late 50s is something to admire

[calciumcryptid]

Kinn would use pet names because he is the type of dork who would find them genuinely romantic.

Kim would use pet names because he thinks it gets him a good grade in boyfriend, a normal and possible thing to want to achieve.

Vegas would use pet names because he is trying to exert ownership in the ways deemed socially acceptable, but he has to be pretentious about it.

[auspicioustidings]

Graves who sends a package to the 141, an apology all wrapped in a bow. It would have been better if it was a fucking bomb because when they find a girl inside the box they aren't equipped to deal with it.

She's well trained, all gussied up with a collar and pretty, lacy underwear that hides absolutely nothing. So eager to please, blinking awake, smiling and immediately in a pretty stress position with her ass on her ankles and her knees splayed wide.

And they can't take advantage. They shouldn't. They're the good guys, they don't use girls who have been fucking broken into little sex dolls. It's sick that they're getting hard from the sight. Price hurriedly covers her up with his jacket, tells her it's ok now and that she'll be looked after. She just smiles because of course they'll look after her. She has absolute blind trust in her new masters as she has been taught to. If they hurt her, then it's only to help her in a way her little mind can't understand.

It's torture of the worst kind. She wants to please, wants to warm Gaz's cock while he is sitting playing video games as his dolly, wants to rim Soap out in the showers to help him while he's stroking out some tension as his obedient toy, wants to cook a full roast dinner dressed for Price and offer herself up to give him babies as his perfect little wife, wants to give Ghost a place to put all that anger and violence he's itching to unleash as his stupid fucking slut. And every time they have to gently stop her, have to look into those big doe eyes as she apologises for not being good enough, not being worthy enough.

She screams and cries bloody murder anytime they try to get her off of base, get her into a place that can try and undo all of that conditioning. It's bad enough that the doctors say they can't take her, not without keeping her drugged into unconsciousness the whole time. They need to try and help her, need to keep attempting to get through to the human underneath the doll. Once they do that then there's a chance she could recover and handle being away from them.

They're good men, but it's just such a stressful job. They're good men, but it's really quite cruel to not let her earn the praise she wants so desperately. They're good men, but it's rude to not accept a gift. They're good men, right up until they aren't.

[alwaysbewoke]

[canichangemyblogname]

“The show isn’t going to cater to your fan fiction fantasy 🤣.”

Yeah… no. See, that’s not the issue. 1.) I don’t read fanfiction; can also barely write it, 2.) the issue 100% is that this was very clearly intended to come out of the blue, but because it seems increasingly likely LFJ isn’t returning to the show, there is a lack of resolution. This breakup is result of Tommy’s insecurities in the relationship. He feels he’s gonna get left behind; have his heart broken. The breakup even surprises Tommy. It blindsides Buck, a character who has long been characterized by a listlessness and a lack of defined vision for his future. When his boyfriend breaks up with him because he doesn’t believe that Buck can actually see him in his future, the narratively weighty thing is for the characters to later—after processing this breakup and struggling with competing wants—confront that. But that seems so incredibly unlikely, so it feels more like they kiboshed this for some external reason rather than a narrative one.

Then there’s an issue with the follow through with themes. If this is the end-end— and that seems likely with LFJ’s departure from the show—there’s a lack of follow through on reoccurring themes in the show, like second chances, making one’s own happiness, and how “our people” make life worth it. If the goal is Buck’s return to a 1.0 era, that would be a stark and sharp character regression instead of growth for a character who has come a long way over 8 seasons, which is not narratively satisfying. And when it’s ONLY the bisexual character who ever gets arcs like this, and it’s explicitly because of some “he doesn’t know what he really wants” or “he can’t commit,” then the story isn’t original; it’s a stereotype. There’s also then a very jarring lack of follow through on changes to structure and style they had been planning to explore, like finding ways to integrate a Love Interest into non-romance and non-relationship storylines, being able to expand these characters through professional scenarios together, and that whole thing about Buck getting off the “hamster wheel.” All of these hinted at major structural changes to the way the show writes secondary characters, which would also have major implications for characters like Karen and Josh. This sort of shift, understandably, gets viewers invested in a new era of an EIGHT season show, and disappointed when these structural changes fail (repeatedly, may I add) to manifest.

It’s disappointing because it seems—due to casting changes beyond their control and of no fault of anyone— there won’t be any follow through on this purposefully sudden breakup. Even some upcoming confrontation between the characters could wrap up the tension left in the air. The narrative doesn’t need tropes or some rom-com ending to be narratively satisfying! It can end tragically and still fee resolved.

Most fans’ issue with this is that they did this for the short-term drama, not for the long-term story telling.

—Sincerely, a novelist (a VERY different writing form) who writes tragedies and recently finished a gay romantic tragedy that ends—well—with a break up.

[spicyraeman]

goes into bg3 tag, sees a dogshit take, immediately leaves bg3 tag

[221-home]

hope this is not only my gay obsessions diagram to you guys but also a friend

[hopeisgrey]

women who demand emotional and financial contributions

women who do not shy away from their sexual desires

women who are ambitious and go getters

women who take no shit

women who practice polygamy

women who write and read smut

yes. everyone say thank you No Gain No Love

[ludinusdaleth]

i do not remotely mean this as in insult to the bells, but to me, even before c3 began, i knew it was never going to be a story that would survive on or deserved to be about one party. critical role would have gone stale if it went on much longer as it was, with just its og cast, and you could feel it brimming with understanding of massive events - changes of reality & its own fictional world - on the horizon. i know the concept of a "crossover" story with a staggering number of central characters is inherently risky, but i genuinely think one of c3's biggest strengths is just that.

avalir needed to be presented during c3's runtime, a precursor to past calamity as exandria entered a new one; aeors story needed to be told in this campaign, the apex of mortality's fall in the past as the war for ruidis began to fever pitch in the now; the bells hells needed "guest" stars that truly became their own party members, more than just the og white cast, so many people surviving as nobodies in apocalypse beyond those you expected to take up the call; the crown keepers needed to parralel the bells (hell, they are the bells), infinite parties thrown to slaughter by war when all they wanted was friendship, with hope still deep within them to return to each other; the mighty nein & vox machina & their cohorts needed to push & bear witness to the bells, analyze their own dynamics with power and what it means to be a hero/leader in a time where that isnt clear cut and comes at severe cost not measured in these ways in their campaigns; and most importantly the bells needed - and as of recently chose - to be thrust into being heralds of history. their story was built on heartbreak of being crushed under the boot of other's hero journeys (the story emphasizing that while they got caught in fate, they arent alone in that fate of being "unimportant"), and so it is in the campaigns lifeblood to provide them the chance to look at the tapestry in a way no other can, to bear the tragedy of being the sacrificial lamb and deciding what sacrifices of the world & themselves to make in turn, especially in a campaign that is blatantly asking the question of what is worth it to be in an imperialisically-designed fantasy universe where thousands are not seen as important to the pov of the hero.

[anhonestdaysworkcomic]

I’m updating my art fight profile rn and I’ll realizing how little I’ve drawn the farm family